in ee ae — a a HN SS soxe® weet emcee tae paging SRM EO SS rg nr RS PA Ne et THE UNIVERSITY OF ILLINOIS LIBRARY ' CS va f a a , > : ; ) , f > aw ae i ia soot HIN, 0 oi ABTA aa | a’ is a * wf » - ~ : 3 , + i ‘ iy: 5 ‘és Sy ; | ted ec eaudoes iiosh ioandD to akieses Labtibi's 6 le i ; | | ig ey tba eee Pre ee Pan) whe j Ps eas Pa RRR TT. YO. ‘Arekriibw. eu . ve e - id i. “ow a => 6 ty P 7 Se ax, Se y Re te ay tdlg. ue hy yy apneh shed Raid chy > y's i . war ss hehe ve e ) 8G ei ; Sal i i MSE spon ffowsenusd oi nod (Somuo® “grabline bow Anemeneucd ; AP Ac: ie? : ‘ "7 . | 4 | ; - Lee ea ae ek o ; fie, wat Sate fhe 4 3 | he bh re * or * ; , a - Le a i‘ | ; 7 * Pore ae «®. OD Ma * av, z Be! ay , <, “ 4 E. e | bt ni ie 7 gir = r gi ors sees bk SEA ORE OME prenecbagis 5: RAN ni , iD “ we a > w ow ‘ - » » é Fr, Ce ao CORE parietal Ae vw" oe ws ~ _~ aa a! * fi +96) ie t } ‘ x . e \ Sia ean Linney OF inosnrecring.. cc” he . yas -. A e 4 anhd eee" OF (LL, i 4 ,40%018 sity i Hos, betelenext |. nat eee signe rae: ae Re AJ Paton ABO AemORsRNEE cc _ ‘ ‘ Bde! cae i oe a + yrs ~ x ee ~ le - satel cod wey NG PT ns Ea 0 TAIIA Arun HANDBOOK O# ARCHITECTURE Fart II ARCHITECTURAL STYLES Volume 4 ROMANESQUE AND GOTHIC ARCHITECTURE Hert 4 Betails of Ghurch Architecture By Max Hasak Sovernment and Building Gouncillor in Grunewald near Bertin STUTTGART 1903 franslated by N. Clifford Ricker. D. Arch. Professor of architecture UNIVERSITY OF ILLINOIS ateana. MA. 1910 Ul mo - 7% - pe. ? , b rad | Ms). qauROETTHORA HOAUHD 40 eatataa ee deest xa “8 a atuanrod oO adsay DOR we ee wn + om oy nzened), ot) Gadd OR eee eee ee te te eo ahksted to egisV AL PE a - « - « = ouutoatidos to ytoeds ataedortsO8! «Ss BP --- ++ - > omndostinvts to yiovdd esequed 8 bf ee siudoetidows asi¢qyh§ Yo amtot to elowsD «5 ME we + > + adoord oft yd noiteatoiescr? .5 “NE -a8. to. sasmteort edt sot efqioning Leeed stato? .8 ww - meee te eee te tee + © amtot ferutoet tio OS ----- see ee ee tt alist 6& .gadd “te “7272-7 ~~~ gortvoexo bas meolisaadenqd «6 OB eee ee eee ee ee te onote, ea0 |.F O en eae reer ern ersten ss ~ wtatol 8 ee ee eo Me Te ewe ee ~~ oe ~~ ollew to. soostuan, Ieatedal .OL — SS ma~ eee ee oe = alian to sevatise. Laqzedx3 ht SS we ene wine oo» ~ OMOTE Cds Lo vttians Sf BB eee eee ee Rosson bas qetiidemsG 6.3L 0 PF BR die ee ink ms ee lnce - pe orm. Shae Re behets od BB a ee ee ee tit moldord At & - = ~- ae Rh Le oe tcdomtaess ato® oat eu i lied = asso - » a eentare9 fegioarry 0B. : ¥ bie —— 2 ow oe re ee Oe ~ - eptod sugaensaod Br ee te tt + mobsianens Qniaeh eotot .TL { Lt se ML mB, vO TER tUe re: amiot sgdsos ¥ 08k. mee eet tt te to obsetectsd |.eh ~ orm 208 “a boiatvete , pistes JaarOeTTAORS b. omslov. _goranoeaeEn Das Opto omr0epani08 ~~ ty toveu Te. favane8 2 HANDBOOK .OF ARCHITECTURE Division IT ARCHITECTURAL ‘STYLES Volume 4 ROMANESQUBSAND GOTHIC /ARCHIPTECTURET ULE Part 4 DETAILS OF CHURCH ARCHITECTURE By Max Hasak TABLE OF CONTENTS Chap. 1. General - +--+ we eee e- ee -- 10 1. Value of details -- +--+ - +e ee wee ene 10 2. (Bétticher’s theory of architecture - - - - - + 11 8. Semper’s theory of architecture - +++ - - - 14 4. Circle of forms of Fsyptian architecture - - - 16 5- Transformation py the Greeks - ------+--+-+ 17 6. Gothic basal principle for the treatment of ar- 17 chitectural forms -- +--+ - - e+ se ee eee ee eee 17 Chap. 22 Walls ---- we = ee - - es ee 20 & Construction and execution ------+--+- 20 7. Cut stone ---- +--+ ee ee eee -“--++ 20 8. Joints ---- -- e- ee ew ee ee ee eee 20 @. Mortar ----+-+-+-- = ii a 21 10. Internal surfaces of walls ------+-+-+-- 21 11. External surfaces of walls - -----+-+-+-- 22 12. Quality of the Stone - ----+-+-+-+-+--- - 22 18. Durability and coating ------+----+---+- 23 i4.DeocPhinth ef-walt --------+-+-+-- aoe 24 14. Problem --+--2+ =e 2 e+e ee =e ee ee ee 25 15. Form treatment ------+-+-+-+--+-+-+- -~-- 2 ce Principal cornices --<«-+--+-+--+-+-«-+.-.- 26 16. Romanesaue forms - -- +--+ + = “eee eee 26 17. Forms during transition ------+-+-- - = 26 18. Gothic forms: -~-eie ee eee enn e ven = 27 19. Balustrade - ----++ 8 eee ee ew ee eee 27 20. Removal of water --- +--+ 28 --+--+-+ - +--+ 28 1. Bivetedty fo:- 6 ibe ee wel on ol eee oe 28 a ee, fe “ 8 | es aeatcoo thed aatbivihdue 48S es --- ~~ shathinog qicd 8S ae O¢ - Pe ne dean teteW «bs 5 OE ae we eee ee we = = = lomeist bodoth 18s | &8 Ss && bE -~--- afoedtot. bas atett .anaviod .S .qedd ee ee ee ee hed 7 oe! sanuioo to: eons 6S tte met ee te ee esuatos to saead .38S wt tee terete ~-- .stebg Yo aoeed .TS ; “see em ee em ~@ » @ Boedoo to aftade .d BE wee ewe wwe ne mm = eeltede elaqwis 8h i ~~ ee mew ee ee ~~ ~ Opmofon yaordinoh 48S 2 Oe Oe mm Oe Oe ai9kq. basog@oD .O8 -——a— ew none en wom mo » Ottade beso, abose .°S “=e 2-2 een wer +» ~ Brote to ettead® 29 AF eo em 2m piel me Binie mm — SEeeGolere— -8S ~—s—-—-—- =~» gBgiete bas arokq to: aletiasd~ .6 -_— <= = ~~~ ~~) Baggloe to, aletigad .88 “see ee ee we oe ee we 6 6d toa aofdiaesS 188 ~ - gletroso aetdeno hetaement) .538 -_--<—sw wwe mee ~~ alatiqsas Lebiozgeqar? .6F ~ -— ~ ylesl af alstigqao eccvanawof betasasaad .8S — ee ew ee em One ot aderigad 1.88 ee aww en mm om @ elathges otdtog 98 Ss eee we om 6A YOK -—s+eeee ee e e e @ Bletiass 16hG 12h eee te ee eee eet a Bledsoe wo #ledioo. ogpeansmol = 4S) oo ~~ elogdtog ofivod Sd nme meme me at Loay «> .@ba0 -->+--- =. atinsy ist bas eaote .lonast oa cee ee ree ee - © om BelueviespeanemoR «MD: --— 7 ee ee we ew ee ee + Belay ofdteDd = .ah ~--- ~~ eéiosv dea fos save .3h -~---= =~ ~ edia jatigsv seeso to alanoascd = .%S = en = om ~~ OedAe To. katngtess .88 - -PP HK ee em mh adieay: to astod tods0 off, | —- = avigay kebsaeqaus = -~—-— = = RON relteenone: ~ A - seo sna ta. nay ‘ ' : 3 ' ' i : ry $ i : ; ? 5 : i 1 ; i ‘ ’ 1 = | a ' ' ~. Peeeeresesesveveeesrresseese - ay Pa ie ‘ ; ; ‘ ‘ ( Ay cy ey Tet “TAY od te) Sey Dee ty eta | bi ow, 3 22. Subdividing belt courses --+--+-+-+-+--+-+ 29 28. Drip mouldings -----+--+ 8+ +-+-+--+ 2 - 29 24, Water wash ---+- e+e ee ee ee eee ee 80. 25. Arched frieze - ----- e& ewe eee ween 20 Chap. 3. Columns, Piers and Sorbels ----+ 82 &.- Bases of columns -« - =e - e ee ewe ee ee 82 26. Bases of columns ----+-+-+---- -~--~--+ 32 27. Bases of piers ---+--+-+-++-+-+-+-+-+-- 34 b. Shafts of columns ----- +--+ +--+ 85 28. Simple shafts -—-----+- +--+ - +--+ --- 35 29. Auxiliary columns -----+--+-+-+-++--- 36 80. Compound piers --- +--+ - eT ee ee ee a 31. Bands around shafts ----+---+-+---+-e+ ~- 41 ec. Shafts of piers -----+-++-e+-e-++-+-+-+ 41 32-2 Development - ------+ wee eee ee ee 4 ad. Capitals of piers and shafts --- - - ~- 42 33. Capitals of columns ---- + -+-+-++-+-+--+ 42 34. Gushion capitals -----+-+-+-++-+-+4-+4-88 44 35. Ornamented cushion capitals -----+-+-+-- 44 36. Trapezoidal capitais ----+-++-+-+-=+- - ~ 45 37. Ornamented Romanesque capitals in Italy - - - 45 88. Capitals in France ------+-2+ = +--+ = ~ 26 3°. Gothic capitals - - - + + ee ee ee 40. Abacus --+<--- a ee ee eee 48 41. Pier capitals ---+-e +--+ 858+ 2+ s2- se 49 e. Gorbelsie - + - ee eee ee eee ee 49 42. Romanesone corbels - +--+ -+ +e ee ewe eee 49 48. Gothic corbels - +--+ - +--+ eee Chap. 4. Vaults --+--+-++-+--e+-+ ++. + - &2 & Tunnel, cross and fan vaults -----+-+-- 32 44. Romanesque vaults -------------+- 52 45. Gothic vaults ------ + ee ee ee 46. Star and net vaults ------+ +--+ - sw « ~ 54 47. Biagonals of ‘cross vaults; ribs.-- ---<+--+ 55 48. Besisnins of vaults -------- = ee ot 68 b. Other forms of ‘vaults :- --<---+-+-- ww oe 49. Suspended vaults ------- eee eee = BO. BO. [Sbabivenl B8eGh ele eee ee ew oe eee ee ec. Details of vaults - - - - - oak i a! ti 61 - ix oy i) Tee eT ee vw ae ee h «= = = Bt00b to sevend eliosoe tdgvoim atin etoob to esvael askool | -of8 ad £8 ob8 oe - hie s 6 ebeetionalt | th heties deongen. base 81. Tympanums ------- ee } -— ee em eK = BB 82. Perforated tympanums - - - - + “see ew ew = 68g bi heaves of Goors = +--+ bh ie eee ie BBD &38. Bronze leaves of doors ---+-+--+-++-+-+--+ 8g 84. Wooden leaves of doors with' wrought scrolls and .nehwotk) s+ -! -ie sie ee ee ee ee ee 90 85. Complete covering with iron, linen cloth etc.- 91 86. Artistic joinery and wood carving - - - - - - “92 87. Door pulls and knockers - ------+----«- _ 93 ec. Windows -----------------+- 93 88. H#arly Christian windows - -------+--- 93 89. Romanesque windows ----------+-+-- 04 20. Gothic windows -------+----+-+-- 95 O1. Window mullions and jambs - --------+--+ 96 02. Tracery ---- --- eee ee eee ee ee 96 08. Rose windows ---- +--+ ee eee - ee eo o7 ad. Grilles -----+--------- + - - 99 94. Romanesaue and Farly Gothic grilles - - - - - 99 95. hater windowS ------------- - = = 400 Chap. & Glass Painting ---+--+--+-+---- 101 96. Glass ----------- + - ee ee eee 101 97. Crigin of glass painting ------+-+--- 102 98. Harliest glass paintings ------+---=-+ 105 9. Grisaille windows ----------+---- 106 100. Glass painting of 12 th and 13 th centuries - 107 101. Production of painted windows - -- ----- 108 102. Qohored glass --------- ee ee we ee 116 103. Selection of colors - -----+-+--+-+-+-- 117 104. Wealth of color ------+-+-+-+-----6+ 118 105. - Glass painting. - - - is = ~ ae | nt ate em he 106. New kinds of glass and new colors - - - - = = 124 Chap. 9. Mural PaintinS --+--+------- 127 @ Paintins of interiors ------+----- ~ 127 107. Painting ------ meee eee ee = = 427 108. .Church at Schwargrheindorf - - - - + - - = - 127 109. Ghapter hall at Brauweiler ---+------ 1292 110. Cathedral at Bamberg - - - e+ -- - = = = = = 129 111. Representation of figures ----+--+--- - 129 liz. Cathedral at Gurk ------=-+-+-+-+-+- ~ 181 is’ ae Py i ¢ Ln i i” } d ca U ee i ae ) Tae?’ ao A hie ee Bie Fi ; as ie ed ie nt roe -- a pon +2 « Hh el me P, . P tout - a8: es weet eee ~ akyia® a Spe ee, ee “7 - = = eysweded. .trt SBE -- +--+ + ~ - = - = soostone Yo enitdaraG St! OBE. + - - ee He er0OsM 20 cgs0d i 0 OBR ee ee ee ee eee mie) et00ll oiszod = .etr . o we wee ee eee me eee mle eldoiiyded §.O&f i ; | . “ee ~ eaoo0lteldwey .f8f 1 BBE ee eee ee ~~ = = dale to ex0olt r98dsO .S8t PY, eA see ee ee ~~ - ~ welts elo Io ascoft § .ssf a BRE «+ - ee ew we = = oelit yaio beteroosd .agt ns? BRE «se ee ee ee ee ee HiiBoD TOteRiT § .aaL BBE eee ee ee - = - cobtetaomensO wf geno Ae} ae s+ = = ~~ ~ ei deomento asices® .dSf BBE ew ee ee ee ee + ~~ «SBMBNIO eUDeenaNCH «NSE ro % ' : $ : ' t : ; ' ’ : BBE we ~~ ee =) Snomsnrp ovpisua to isvived 6882 Pie OBE - - = ee em snessato evoidas to TaomvsosT Bk | i idee bGf --~---- onsiiod fawisn to sonstecughs, 06! M9 BBR we ee Stow e'aotginos Yo pokdvoexd «182 ohh, 2 BBR we eee tee ee toomsnto bednisd SSE | 08 -~------- empigiso® to tah 682 .qedd 1 % : OB ~----------- ~“-~< += = wowed .86f — . OBL ~~ eee ew ewe = ~) outgqinos, Io semmOD 6ST { — 8 ee ee ee - - otniaines Yo deaudisO .d6r | BBE wee ee ee ee ~~ c0nHTF nb CrUsginoe - .s BBL = = = = = cpngtT iss0% ni cemutqivos yiasd .8St Beis, 8r ~ eatet-yse-enoiedd ds eas exdo% to dowidd .T8l Aan} ‘BBE - aeginos bas fied109 .efaed..8 de aedorpdd .B8EI i. BBE + ~~ eonssedd te Jerbentad To ebsosk seeW .eEL e = ie —«S8r ~ st e t ee moose ateged ds ierbedisD OMI . F BBE eee ee eee =) 800899 itno8 ak.ewmdqisom fs! yer ~~ - esfosel. bas oseakow te elatgo9 .Shr 862 sedis bas ot0ted sesusqivoa Yo .eettea.bncos? .Sht os DMRS 5 <8 ~~ 5 ~~ opens nid nad 4. - + ‘OOGr ay (r= ~~ + + + +> etisd Je emed emsol Yo somdd het - ¢ | : MN ana see ~ tomes monnen & leshensad «Bbt ; i teers ens detbedded BAT nad —— - ay x ee 113. Chapel at Pisweg ----------+-- ~ = 1982 lid. Church 8. Maria byskirchen at Clolsne ete. - 132 115. Mosaics in Italy ------+-+---+-+-+--- 134 4116. Origin---*------+- ee ee 136 £27. i §abenaya:eic oe ole ee Ciel Sie eae 137 118. Painting of surfaces - ----+--+-+--+-+-+- 137 : Chap. 10. Floors ------------+6 140 222. MWogaic floors --.----- = tie ee ee eee 140 120. babyrinths -------- - = - - ee eee 141 121. Marble floors - ----+-+-+--+-+-+-+-+-+-- 141 122. Other floors of slabs ------+--+-+-- 142 128. Floors of clay tiles -------- ~=-— = « ee 124. Becorated clay tiles ------- -<---- 148 125. Plaster coating -----+-+-------+-+- 144 Chap. 11. Ornamentation - ---+-+-+-+--- 145 126. Grecian ornament - - --- = ee ie am tm em BRS 127. Romanesque ornament --------+-+-+-- 146 128. Revival of antique ornament - ------- 148 i29. Treatment of antique ornament ------- 149 130. Appearance of natural foliage ------ - 154 131. Execution of seulptor’s works ----+-- = 155 132. Painted ornament ------ +--+ - ee - = 158 Ghap. 12. Art of Sculpture - ---+---- 160 1338. Review------ +2 ---- +--+ +--+ = 180 184. Course of sculpture ------+-+--- += 160 185. Outburst of sculpture - ----+---+-+-+- 162 a. Sculpture in France - --- - ~-- « = = 468 186. Early sculptures in North France - - - - - - 163 437. Church of Notre Dame at Chalens-sur-Marne - 168 ‘138. Churches at S.-Denis, Corbeil and Bourges - 164 139. West facade of Cathedral at Chartres - - - - 164 140. Gathedral at Angers ete. - --- = = = = = = ‘£65 141. ‘Sculpture in South France ------+---- 166 142. Portals at Moissac and Vezelay - - - - - - - 167 148. Second series of sculptures before and after 168 1200 ----- - ee er ee ee 168 144, Church of Notre Dame at Paris ------- 169 145. Cathedral at Chartres -- -- +--+ ---+-6 170 146. Cathedral at Amiens ---- ----+-- += ‘Si ie é iT A * “= F Tae ce ee meee eee ss amioot as Leubsdsed ea t sins to eeises. ‘prea? ; in oil soma ‘@Siyasered bas soustl ai eugdqgiuoe Yo aotdontsx3 oGhE . aoe ds @f bus, dd $f edd Batiwh ewegiue? .08r MBE - ~~ - ~~ - - = = = yemt9® wi omscise? 6 18r mee ee ee tee ee ee = tines ae GE {fet ‘88r- “---+--+- == gaediendoef ds dowd .Sdr ‘SBI... -+-- +--+ += doiwenwr te leibedse} .S6r | ‘BSE. ~---+ +++ = guedtex® de Isixog apbiod .sér © BSI. .~---+---- = daydobaek as leubedis)..3ar (86l ~~~ ~~ + - ~~ - = aegniainoe nstisaqaael .8ar NS8le w+ ee + - - - = = = Breda te Isibedtsd Lat (O8f ~~ ~~ + neasiol fas sandmsst te elevbedse® 88! fer ~s eee ee + o = ~ » souniginos dainedS .@at HGl-. +--+ - ~~~ [etT-wienetamiW gs sowdd .O8t _ SOE. wt ee ee ~ ~~ BedesEsde te sodenth .I8r oF ASE e-ee ee ee ew ~ Bedietl ts retard .Sbt ‘a CCl. - ~~ ww = = crntginon to vas decmel® .88L . (SSE --- yrydaeo ot Gf edd nt eussqinoe asmie8 .BBf 00) ee visil at-owsqiue? «ol yo ; SEI -seisusaeo dd SI bos ds th eds ak eerssaiwoz .Zst _ SOS ~~ - ++ + yapines dé OF ont af gemntqisos .88f BOS 2 ew ee ee ee oe © YOUN? He SIBtGIBOR TBE BOS ~~ ee ee ee ~~ = - BmOMENTD TOseEN .BdI BOS 2 ee ~~ me ~~ - ilorseis bas eonindsA .e6t BOS - ee ee ee ee ~~ ~~ = OMEBET OfonDEH LOTT YOS 2 eee we eee ee = = Omletignd avi 2th VOCS ee eee ee ~~ = ONBBET innsvoid .Sht BOS - 2 ae ee + ~~ =) Oftnsd Eb obfonsA ETE (80S 2 ee ew ee ee eee ee = BoksoTd CATE OfS ee ee ew ee ~~ oof .St .aend OLS... -~ + gonogeevers fas aseupedacotse saose att ‘Ors -—- ewe wre wr rw wm ew om ow om = BOs Deartal att LIS 2 - 2 «= ~ = gladaoo 0 esaubsdacotss saove .TVE SIS 2 eee ee ~~ - - edmod Yo LeineteK .etr PRE im 2 -—-- A MeO ~~ - - dasmginsod ebf .qedd- ES SO em em mm ein em ie BEBTLE 6s $e. “++ > + = = noivovidenoo bas seoqisd seid - - ~- oar] Ney ay.* 7 we 4 en sana nolhneiend Wek: 157. 158. 159. 1360. 161. 182. 163. 184. 185. 186. 187. 188. 162. 170. i171. 1726 173. 174. 1756 177. 178. 179.6 180. 7 Third series of sculptures after 1250 - - - 173 Cathedral at Rheims ------------ 173 Extinction of sculpture in France and Germany179 Sculpture during the 12 th and 18 th centuried8O bd. Sculpture in Germany - --------- - 498 12 th century -<-- - -- ee ee ew ee “384 Church at Weehselberg - + --+---+-- == 182 Gathedral at Brunswick ----+--+-+-<-+---+<6¢ 182 Golden portal at Freiberg ----+-- at eon sek! Cathedral at Magdeburg - ---------+-= 184 Westphalian sculptures ------+----- 186 Cathedral ‘at Bamberg -<------ - = ee Cathedrals at Naumburg and Meissen - - - - - 190 Rhenish sculptures - -- - - ‘Sango eS le 191 Shurch at Wimpfen-im-Thal -------+-- 191 Minster at Strasburg -~ ------ +--+ + 192 Minster at Preiburg -------+-++-+-- 194 Flemish art of sculpture ---------- 195 German sculpture ‘in the 15 th century - - - 198 ce Sculpture in Italy ------- sot dens “vied ae a Sculptures ‘in the 11 th and 12 th centuries- 199 Sculptures ‘in the 13 th century - - - - - - 202 Sculpture in Tuscany - ---- +--+ - - = = 203 Master Gruamons --<------------ 204 Biduinus and Bigarelli - -~-~-+---- - - 204 Niccole Pisano -------- ee - ee 204 Fra Guglielmo ----- -- eee ee eee 207 Giovanni Pisano ---------+-+-+--- 207 Arnolfo adi Cambio -----+----- sts: oni ac Orcagna ‘= ---- ee ee ee ee - eee Ghap. 18. Tomps ---- - - de ORSINI pce ee gd im ya 210 Stone sarcophaguses and gravestones - - - - 210 Raised tombs - - - -------+--+-- am B20 Stone sarcophaguses on corbels - - ---- - 211 Material of tombs -----+----- ih ingen Chap. 14. Equipment -- ------ eee 214 a Altars -------- i Lol: ox, mre pn 214 Purpose and construction'---------- 214 Slab on small columns -<.- - -----+ += + 215 pei a id ae a Be ae ty eR i ib >= piegaaninege seakses! saber ne toe ayesce’ .t8t ME wh ae re ot ee pesoberer agin edad SBE" ee Lo COLer iT) 1. (ete BIS \- -'- ebniw suodtiw seeoberst bexit bos mesh .det _ BIB -+---+------- - = -e1sdle bsigomsd .38t e168 -----+--+----- - -zafoearedss bas coxy@ 06! NyREe me we ew eH - - empienoatd TEL QiRe4-- +--+ -- +--+ = - enlists tions ‘Oe - ---------- - -entodd Yo ytierevid .88t” iB--------- +--+ -'= - aliste thodd. .e8E ssg et Cee eee =i+\\ + + —seeloed , . WBE ‘B8E------+------ - - - =seeoe boot ter ee em BR sm iH A -veeeoro {edqevtat” .8ef pss em te ee eee = = HOTHEOLONS shod’ .€er , “18340 Sos setseifes ‘ptac} {emettqed .pirtalpd .o ae a + Se we ~~ += Je ls © posiol teas 4 ee eee ine Seer > eS etiqigd .set iG . BSS ee ee we ee ertese bas thalwa to srdqaee © , Get a pase eae) he oe ig et etl atin eat as =~ ~eiao# © .O8f rane: mame nee ee ee ee Hegizel iad: .8er 3 k 888 - — ee eee eee ee ee ee He et LPL Beer a = + ta Hiss ~ +eatpfeboed .b i OSS - - - - - - - = - -gide!obaes bsdonest+novee eet ae ten = = << ew eo ~ - = eioidepl bass tes lb . L008 hy $68 - + ~ - ee we we ew HH ee mpgdifefasdd © .10S/ eee Se eae wn = = onigraW: at .qedd | ee se 6 ee ee ee eiettel Yo ebni® $08 Re iar) < Wie l~ | < ,egugogaisota to ysoed? e*vesorss5S .¢ i ABbOO 79 to etevisado eldsinis veom edd t6 ono ! venoisabe sb Ldases: yIoeds od¢ nt yew odd Havot bed of gand boveiled .2us — theds to. ‘Hofsseso sid nt bewollot sieeI) edd soidw wid yd pede 4 _ begor 64 bas ,eolqmes tisds to elisseh ons es ifew e8 tnewsnro a : coeth bed sedorvs6a .suvot won oF Bukeesq ni hoovous oF | eetions to eliateb ed? sot eiead 8 wa off seam oaineem & dant _— bap: eonsito Stem wort didz5es fon bib sonsdeixe rvieds Ssds sand beeooig sagn Suton whedd sedd bas *nottsdaemaato Yo been ens 2) A see Ro hwamie -R0bfind sds Yo eissen oad sott sR8BE sre 1% Beseb Araosaet erg , oS nn kens sda 902 Jf etok Ve vmae leak ‘bas. elisdeb feitiaseg ext eaachqo sotdw bos ene ldorg ow | soonsiinid & es ousdeyteve mid of voveel bexo. 41 2 themselves; they must discover on their own account, how the tioulding and the foliage is then to be drawn at natural size and to be designed, in order to have a beautiful and proper effect. But since it is quite difficult and reauires much time to train one’s self in @ new science, instead of receivins all that race after race has created, directly by instruction, and as little as the individual succeeds in this, it is just the same with self-trainins in the details of buildings. To create the necessary and proper resard again for these details, to insist on the most diligent use thereof, to make room for them, to set them in places belonging to-them, partic- ularly in one of the most prominent places in art creations, that is the purpose of this Part. Since the details of mediae- val art are treated here, then wili the representation of Goth- ic details exhibit the ground principle of suitability as the unfailing means én a stiil higher degree, than the descriptions of the ground plan and elevation, together with.the sections etc. have already shown, in.order to transform the old and to create masterly new things. The transformation of the ekistins for a different. purpose ‘in a reasonable way can of ‘itself create the new; this alone makes the artist master of the art; this alone gives expression to his nature in art. The superstitious imitation of the art of past ages makes the artist the slave of art, the bondman of an art foreign to his thought, that does not solve existing problems, and which opposes its petrified details and +B: $a= - ered leaves to him everywhere as a hindrancea 3 2. B8tticher’s Theory of Architecture. Bdtticner, + one of the most aimiable observers of Grecéan art, believed that he had found the way in the theory establi- shed by him, whieh the Greeks followed. in the creation of their ornament as well as the details of their temples, and he hoped to succeed in passing to new forms. Bétticher had discovered that a meaning must lie as a basis for the details of architec- ture, that their existence did not result from mere chance and the need of ornamentation, and that their nature must proceed from the nature of the building. Note 1. See BBtticher, %. Bie Tektonik der Hellenen. 1874. Wii Pe eee ee | fee oft a f oe i a Aa, ae | 3 @ SS egneet edi etoelter ybod eds topmret ent” > © “®iolbbta od to [soe eid seool yoy si soxet® Pisses. *eelflidod’ oda at evoda :yienitivai’ abosoe Soiyae vial — rtdsob hoe idavord sevieedo odd oF tnokerq FoR Pauw AtoW dHe oA “gtow daa edt .edsusnel evoisedeym om eastqze gaum ofisdeh ers tepa tt rovaeRdo odd nogs oxios Heesi to seum alistek vsi hue -929% Odd otinpet ylesem gon bas sitiqe eit eosen{tat yisoetrh -3n7q odd bosdtersbay yom ef dacs of .¢i Rnisea nk GubOKT to sal beatesh soszidows edd tedw .gnibliad etd to dueq Fans to saoc “} wotssero ak FHA .taokdtyueve begestrs aad oo wod base yRe oe “pA .dhibastetobuy dv Sol nottseto ef eonetoa panibios? wd ya sped oftitnetoe 8 .hntiset “ heqesth ak etotereis ddow tye e3nibweteiebay eas aisbeh antoosé t0 ewiot esd to noiganeluxe esedoresOe sen? ene Oltidnetoes a ylowes dud sebt okdeitdas Leese on enissnoc dis os esouboug ve vot eden oF Sistetm a Yleattas ef ai caus bevorg need ybseils esd etds .sivtoniawa basa ewidd yd noisaero _~bio0os nt need eavot nsioerh ef? bah .c2 yeve oguaqeth sdz ve — Tent .-eet daedeize-noa t0% anigquetkh eshhoisaes yibliw « cisess biaow etitige to’ ancitseso faves to beetesi «teddagl-dnidson ~- sas 6 me basors: bnéqowg bliin sat ss000 bivow nosset doiw bewobue . etoeset sicietilesak yas. Guodtin soisroserh -suptostidotéA to giced® etveqme? .8 séofen eldsnogset getinoss bas edese yldavtiedoisshS olial as dans of .staag fesutousse to eroqzug bas s10t moewied enot od singouise sat Yo disq sdv Yo eeoqtsg edt ,heseve ybsents a ai s6qe@e8 ead of ,wtot gue oft yd bhedsoibui bas. hestnovetges ‘to yroesds ond begoqae ylsnoude dJeom od nioisia © *fre8*) eed gem bas met edd neorded soidsior yue seineb ylgmis .isioisso8— smvot dae Lis hentsiqxe yder]ed? aad oH .dusq deuntourte eat to Yo ebnifieo bos aveta .alisw ¢iind new tedd .bsovbeb aan boa #{mg0? ylouttns ..o%9 edoiad .ysio .boow es dows ,isiuetem yas» fae peters dior vapaigasd tin meds teveouneds od webioO ai ses ae (2 -shoow yitsos ist bai wenuetcaaewn neb ni L548 198.8 etme! es2° . 8 eto¥% BBR 1-98BE) Morne oPOTSAEE nadossnos penne wie tadt timbe Idzin ono .eueds beqaods isqmee: beh eyewis ets eekiceds dose d2eoddls ,yroeds sldsdqsoos us eusdzeq beeouotg teqmes gud eecnsmos isoitoteta besgaoqque: eael 410 ston vent 00 ».en0 oftett1s bos soor109 ylno ess es eusbsoot1g aids ‘+ syibebtood ood si daniess Jeetouq tonuso sao: . Sued telvo ame as) yferem ah eqstossisors dads ,edveeas Jost ai reqmed stostitio1s, lo tnemqofevst oinsaio ifs ei ydsiesT lanitevog Yo. yewend onfs ei ydeted? tu8 .eldieeogni obam tus beyied op Panstounkee® \atinntagoses: bas stutostivors Inissusd oF hesolo re A a a 14 purposes of the parts of the structure, not to mention that s such procedures and such forms should direcily convey to the eye just what the structural part does and what the architect intended. This saying from B8tticher’s Tektonik may be disclosed only in the mediaeval sense as an inexhaustible fountain of new forms:-~- “The form of the body reflects its nature.” That this Sayins has made the middie ages victorious over government is its unconquerable strength: that is its immortal merit: this — places the middle ages at the apex of all periods of architec- ture. Except for that inexhaustible fountain of youth, ever spouting forth new things, all tendencies of the modern period would remain a wildly @apricigus srasping for non-existentcid- eas -- nothing further. instead of sound creations of spirits endowed with reason would occur the wild sSroping around and d distortion without any intellisible reason. 3. Semper’s Theory of Architecture. While Bétticher justly seeks and requires reasonable relate ‘ions between form and purpose of structural parts, so that as already stated, the purpose of the part of the structure be represented and indicated by the art form, so has Semper in h his “Seil”,* wherein he most strongly opposed the theory of B6tticher, simply denies any relation between the form and use of the structural part. He has thereby explained all art forms and has deduced, that man built walls, piers and ceilings of any material, such as wood, clay, bricks etc., entirely formnl- ess in order to then cover them with hangings, sold plates and costly woods. : Note 2. See Semper, G. Der Stil in den technischen und tek- tonischen Kinsten. Wunich, 1860-1883. Had Semper stopped there, one misht admit that this misht be perhaps an acceptable theory, although such theories are always more or less supported historical romances; but Semper proposed this procedure as the only correct and artistic one. On the ‘other hand, one cannot protest against it too decidedly. - Semper in fact asserts, that architecture is merely an art of covering! Thereby is all organic development of architect- ure barred anf made impossible. ‘But thereby is also the way closed to truthful architecture and deception is declared as a =i var eee a ry Sie Re) : he 80 base gee poisedeaien: i. er0tered, Tiawe f hi * ?¢ Yu wer bis 4 al tak af MG Cue , enelqxe sa? ode. edt ai gaad youd :s0ksaso. no bus eoaedo ‘dott. .ssneaelg de eeostupe isovedxe bas [envednt siciaxe dead “yhaitetsa of mot: sfoisountenoo on mort deen on moxd sinset ‘Ss 700: Seoqes: sisinenos gino gadt ,noiveosites LeutooLiodni on movt din 42910 nk motdqeceh s .ereineeto nose aniigowos ylssoLroize ohio. yd yino bas xe9entgse edt yd eldstie ebsm sd yino aso doida | ets atiuey oeoda .noisourdaaoo Leste yrosiaquoo bas auoe Med ylesksas ton 24 ;(beorotntet) edetones seinold 10 sdideh ak bs — i Titedhiad ody ek tadd jerstaetidow on viv dad? | .eviosm teiqsq nk | ee hetedkws sasnsmriey eds .sereseloday bas sosetoO9b ene We ha 4) ae A Wis p@BCOING YIstOGQHET > ot aetioenis iageathes edd ons aS yedorss6S .e‘xe9ms? . seve) bas. evteesooue seids inseesqe: emtot ¢aa to soivseip eng 2 , oe y Av : (ee Qatesaq svodsiw hewolLot ed tehn0l on neo, doidw Yo. bsoosa . boa edd bisode qi .soissewo Isandostinois at levei rewol « > yo bao: yi fantddyteve bevscioi¢as evad enod® agneiie® ati! - stone aseud to sfosnuta gaedatd edd ao boote eone ga ovad ar q sd meds em 0% ediveog bus bowolis ed exsdd bivode YAN Suotd a hemoa2 totts anivedsist eliseog ,moisecini Jad anidtoa sem pv 2 5 298 Soy OW. ,oTOMISddIET fanoitsets belisoxe od of teven bas ‘foreblet? sedso ynsm o8 ni: bezeeqtse need eved edeorD sds send peiaetoqmesnon as0 yd neve ,2e08t asibeecose yO nolsseto: nemne : apme testes Laubivibsi edd tacm Yfor avo eid mort .nokeined od a ee igretos shoiteg asebom edt tot ess “ ellen odd «xs Loon edd to asenod etd bas seoslag Isyou edt al . | teoredr ,20f7d8t bas eeiisesqss fin basd need evan Siow ys |» belzsvetq gaitevoo Ifeu aids soy yhevougms fos hoarobs gated “omens o elise eid nt neve cogs eibbim etssne eds suodgvoxds we aged eves: beebat ysm anhod aehoow bas ateog asboo® .adnom & Yo. wmotsstooeb eda yam adds bas ,fedom sdasoww asin bodnoms r = som aapmoanete bewrald eves bas seostive Liew etd. 10 besqoks ’ ¥ -eldon edd ai gaissdo to s18.edd 0als Buds bos ,ncer0edd ;* qiwsser i aatnaee, add od 718q: mae are bedadingaso sige. a0 t. mati tae fees ‘A ee > A ay # ~~) ; ; 7 A oy i f i é A Sa ea dedi | gbamkb Lad: geod of yoo ebaoqeertcs ylregors sedd reqme? pena oo deaet edd ,eeititivos [sinsoedsiaows, beqoleveb ylabid exom ' asdesed aid {sgoo asm eoob noisdsdini yd: JoW--.eseenigae sag -~. ~Squetieeaid sevig teom ts enc aoldvedint dova yd yotd) {aoxe 10 | ned: ovad. .ys9biondas bas goiveen Io ,oiast bas seiadesued — d ye “¢ a | ba .o% eg, Cis ar 4 ae a a a et bg eae ‘8S alone jastifiable: therefore all architectural forms depend on chance and on caprice; they hang in the air. The explanation of Semper then properly corresponds only to those buildings, that exhibit internal and external surfaces at pleasure, which

Fs result from no need, from no construction, from no material, from no intellectual reflection, that only somewhere ‘repeat ca- priciously something seen elsewhere, a deception in forms, which can only be made stable by the ensineer and only by toil- some and compulsory steel construction, whose vaults are feign- ed in Rabitz or Monier concrete (reinforced); if not entirely in papier mache. That is no architecture, that is the art of the decorator and uphoisterer, the permanent imitated for the temporary purpose. : Semper’s, B&tticher’s and the mediaeval theories concerning the creation of art forms represent three successive and ‘ever more highly developed architectural activities, the first or second of which can no longer be followed without passing to a lower level in architectural creation. Why should the god- like Hellenes ‘alone have anticipated everythings? Why should they have at once stood on the highest pinnacle of human crea- ‘gion? ‘Why should there be allowed and possible to us later b born men nothing but ‘imitation, puerile falterins after sacred and never to be excelled creations? Furthermore, we yet see, ; that the Greeks have been surpassed in so many other fields of humen creation by succeeding races, even by our’ contemporaries -- the engineers.--Not by imitation does man eaual his teacher or excel hin; by such imitation one at most gives himself up to derision. From his own self must the individual artist cre- ate for the modern period. In the royal palaces and the houses of the wealthy, the walls may well have been huns with tapestries and fabrics, thereby ‘being adorned and improved; yet this wall covering prevailed throughout the entire middle ages even in the cells of the mo monks. Wooden posts and wooden beams may indeed have been orn- amented with wrought metal, and thns may the decorations of tapestries and fabrics, of weaving and embroidery, have been adopted oa the wall surfaces and have formed friezes and bands thereon, and thus also the art of chasing in the noble metals may have contributed its own part to the original treasury. of Ay paar: ae Pa +7 ast ae ; ¥ ai ~ , ay a a nS A Pye ‘ We ‘ “wok wae r saa : Ve hale a | me, ee on x Pe Me tc Cae i ie se east sb 7 gdh bdnaiet ate Lis ~- esstostiaors to emot os sae ) eundossidows No ewx0d evktimiag ode tk geve t8 .ofde sore teas ,bovorg yoersad don ei Jt .nxondsm eidd ni hes S anived smiot vais bas yen dads ok onize team |mx0t Lai’ dant bee aiad ylasiooidisgq -- oigxisve Yo ekead tueret . dase fins mineie ‘ecto motlt ebesooig Meetr ai mot its edt daateise etd 26 ebisket seqaeG dedh eased teddo wort diveos. i ule eecwborg elkeveb Ieasdosdidoss to emx0t 18 end to sized aa =D sobnelqs tetgid boa scissiogsh sedsetg sdd 101 ednement0 ¥, “abrotie “Li02", atveqmeg ,toftd al .2tveq ieustossiiows niséseo ; ~ob eidipilietnios sepidas Io 19daua deetR 8 102 noLianslgqxe 28 ante to. paereny evidsmr0l on dad ferstoetidoys to eax0t List Me be re | seovieameds oi amt0t leasoadl = SMBATO: e195 t0% entot enpisaa io yrosds aidd afeder yew ond ~—s- Lode edd sot ¢usq s eedst emtot iesadoesidous to noitansiaxe ie oupidas clo nottsasigxe atagdoivsb8 diiw ab ei tonnen oxi of | a 7ite & dguods ,oloiw edd tot s1sq 6 sexed estwexkl ain? .emi08 7 it | “ot diet sokay, waited eds HOLTSSI9. miairienwenad lo gusq satel 2 ae gS Vaal wer Say ane, Tesaliand Wiest pibextae to eamtoY to siorrd » laiiea helseonoe ai wi0t efees edt Sead .eemuses regime? aol | _Teven ek bas blobs seeds gadd bua eeivdevasd istuensai0 eds ase (betstea as heaigooo ovat: yeu teas saubsooig 8 .iis ts heeogxs pevisoes’ amnion: Ont = .sar0l fertsésa ofmt amiot shots. seeas m19 ee ai amp ios: ods to tiede ets jrewoll. 10 bud eutol se baed att vs ye.’ oat bad eudol tenol & 88 sesd od baa weds angol s as besseud gevaal to wor galaworo & 28 bednesetqe? et spinioo fsomvecan | Std ytivises, ai etseqgs woo saett <2nkreveo %o anigasa Yo tod ‘sesa m0? end 10% gnivoal Lite ef vi of du@ .dtaiae rasusarTE” Ss eb Mks8. .Beati gaiblivd ess mort boxiveb sigiouixg © dcomss = etkakdd iswien velisie Io noiéstint os aoivsero Istiaoesiaors | fi SontFaNOD 8 eetieeb as¥ .scemonedq wen to nostseio 6 ton ““To00s a6 wo} ebu1o edz elebom of .etenolt ensol to csweoioue , bei sebie arr ; eee taekg tate: nk iehou. eid oF ‘Bab Peer) le aed + 2 Thi Dae \ a es eet a md oo) oeetteq isendoss bow: 10% aggot ds beouborq ead -~ - =s908b has Snemanip dowe eohe bas eeiqosg Ila of gsonte ,noitas — ~ e*qeqmeg: 80itsmiet Jom ef notistosusaze inf .acmwoo sie soids | eteaaas bas biewi0t qete s eit yldnebive ansidgyhd ons cee ow set Isofeydq ylevaq edd to beedenI deed to oqo s yd bheastesi 16 the forms of architecture -- all this is conceivable and accept- able. But even if the primitive forms of architecture orisina- ted in this manner, it is not thereby proved, that architectu- ral forms must arise in that way, and that forms having a dif- ferent basis of origin -~ particularly this and that industry -~ has produced art forns for architectural parts. The art form in itself proceeds from other grounds and must result from other bases. What Semper regards as the original basis of the art forms of architectural details produces only ornaments for the greater decoration and higher splendor of certain architectural parts. In brief, Semper’s “Stil” affords an explanation for a great number of antique unintellisible de- tail forms of architecturel but no formative principle of arch- itectural forms in themselves. One may retain this theory of antique forms for mere ornamen- tation, since to all peoples and ages such ornament and decor- ation are common. But ornamentation is not formation. Semper’s explanation of architectural forms takes a part for the whole. Tn like manner is it with B8iticher’s explanation of antique forms. This likewise takes a part for the whole, though a dif- ferent part of architectural creation that that, which fell to Semper. 4. Gircle of Forms of Fsyptian Architecture. While Semper assumes, that the crude form is concealed bene- ath the ornamental tapestries and that sheet sold and is never exposed at all, a procedure that may have occurred as stated, we see the Egyptians evidently risk a step forward and transf- orm these crude forms into natural forms. The column receives as its head a lotus bud or flower; the shaft of the column is treated as a lotus stem and the base as a lower lotus bud. The uppermost cornice is represented as a crownins tow of leaves fastened by a rope of bast. Instead of the purely physical la- bor of hanging or covering, there now appears in activity the permanent spirit. But to it is still lacking for the form tre- atment a principle deriwed from the building itself. Still is architectural creation an imitation of similar natural things, not a creation of new phenomena. Man desires to construct an enclosure of lotus flowers. He models the crude form as accor- ding to his model in the plant. a - . + ,euses® edt yd sottemsetenes? 1c 4 Ar laine edt To aliqug sdt ylinebive aeds eae eteon® on? ~%o ep10t Isapten yixeelo. edt fetqobs ylotem son evan vend 08 ansot ens belgntm ors mict toyysmeseisy iiedt ni ansivays? ond [snterro e*xeqme® to Lis oss nvtweteit doe uss eursoe gay Yo off Je¥. .ytedtog bas sow isvem ,.ytebiovdms .eatvess to enuod - 1fedt sebat -axoet® oft oF oidigilicininng gusa nt sis sediel edd to vovsel Isvuten Tide edd .eeiautnso dutsub ehusd setean pekudesbakt ong tans .ewrot istoemsove testo Lis bas snsisovad 92900 Sstiom teva ovat heqoloveh stew .fevesio syed taviaO sais to te bos: etasuscio “[snotsnevnoo* ads ete seen? seentisuo intss wenetd Yo. gukosgia odd oviW .edeerd eid to eerot Leveyoerins O¢ ts9dqe nedt eiserD ods .ySueed Isoiveslo osni emsot osvdin not¢snidmoo eit ,eebo Isel beaeetgqeh sas beyofame yilavins ovad “88 Qninowses eae ai .ode seduiov .ebyoo bas egnony bexesig io SOHeN PSs: seemstthe eas af gon Tir seve ,weopla oldetiag ao sen spy » fieteds 1998 wad tefotes88 dons .esobr to nickels Pishnivad toes neooe1s edd Jead these gon ifkw ono IT ©) mbgito: stedd sedtien sword ono Ti .yennew Bits nt borentaico gadd gnebive-tles aire aeds ‘ooneteixe tLoas to BSanox1d sid gon arot eldskiisenct: vino edt ets yond Feds ,oieduten Founso evo > ema0t eidrbifiesnian eesdt cxtspet woo avef itive blnotte eno ons Fads .eTaqeo0os Sho Thr sok w.stowteve dbesetini od onole of | mobsamtotensys ont yd beteniaiio gered isuntoestiows | asins1® “yoo gts oft mort nodes yidisg s19gw tolnn. wart bod dimanert to -mfehowet netsqys? edt woit yliqeq etorwednt Ledusito to gains beebat sno aso osdd wateolone eutud @ oft slamey ede to enti Inokdseto siz won 6 10% motieteds asebi Good on soubob yfiegors 4 $6 890m. waren tials ewo told. neat Yo ytneserd s at st ~~ 4 : bY edaebiooe of vagel a. ~ooritonk to: duenssest oat. 10% sotysoatey isesg oiivoD .5 SHI} iazos elie eis sot iieibes isesd & betevooarh Jerk? ofiiveD ot eof YO: 398 wen & beouhorg ti bas ,gmrot Levgdoevitiows to per ton bevevoo vedsien ese avot sbhuvo ef? .notdeobiqge ankuienn ; — SOFGGS Rew IE) Twa) .oeLodaye gnidtyns Yo eqade sat oi hogolone | RIeBeeooN Od YSm Be awoke Zi oot ebuse oA? .bouede yleterig - eofone bas: {atiedsam! sat oF RNLONOGeCYNOO Slooy aus Ottw AdaWOIH ae “a alana se¢epen tT) eaends ara yh i to bie eas yd bos 7 > ‘Be Transformation by the Greeks. Phe Greeks are then evidently the pupils of the Fsyptians. But they have not merely adopted the clearly natural forms ‘of of the entire Fast and therewith also 11 of Semper’s orisinal forms of weaving, embroidery, metal work and pottery. Yet the latter are in part unintelligible to the Greeks. ‘Under their master hands during centuries, the stiff natural leaves of the Egyptians and all other ornamental forms, that the industries ef the Orient have created, were developed ‘into ever more beau- tiful outliness These are the “conventional” ornaments and ar- chitectural forms of the Greeks. With the ripenins of trans- mitted foras into classical beauty, the Greeks then appear to have actually employed the depressed leaf ogee, the combination of plaited thongs and cords, volutes etc. ‘in the ‘reasoning man- ner on suitable places, even if not in the perfected sequence of ideas, that B8tticher has seen therein. Tf one wihl not grant that the Grecoan architectural ‘forms originated in this manner, if one knows neither their origin not the ground of their existence! then it is self-evident that one cannot maintain, that they are the only justifiable forms; one should stili:less now require these unintellisible forms to alone be imitated evermore. But if one accepts, that the Grecian architectural forms originated by the transformation of transmitted forms, which were partly taken from the art cov- ering of oriental interiors, partly from the Egyptian remodel- bins of the temple into a lutus enclosure, then can one indeed properly deduce no good ideas therefrom for a new art creation! -—- It is a treasury of forms which owe their origin more or less to accident. 6. Gothic Basal Principles for the Treatment of Architec- _ tural Forms. The Gothic first discovered a basal principle for the creat- ton of architectural forms, and it produced a new art by its unerrins application. The erude form was neither ‘covered ‘nor enclosed «in the shape of anythins symbolic, but it was appro- priately shaped. The crude form is shown as may be necessary, wrought with the tools corresponding to the material and enclo- sed by the aid of geometrical lines. If greater splendor is per ‘ <'* Rie, Pali: 5: &f -) Sedt-20. steed ons bng exutan to sgsifot edé neds beqoloveb we -9) je' ce .»segustdgeoedd Yo seostise edt uo beosiq ors ableit leidlcieetens wobatw oidto® eds to nitzixo sas .1ebisa0o an Jog Lgnineco oad ai bextnpet danT .dneagoloveb reqgoerg Jo noiverd a ” hyeubennbaves Istuoxtiod & hoe worse od efdd TL, .disw eat gk q eelwiedso ;#itevo biel ei fegatis .evote sue .yrsexs0sa ed - «- =n00 ai wobniw odd oonte .kninego ots evocs beuwws ei dows us _—«ssp we oS nO THREE skmbs oF . howd amo ods 10 Joo Xoo! os. besounsa , ~ ¥useseoen bas vesoqisg diod 10% sidssoivies Ti aL sons .tedd «=beesds wessoee yderedt cals ea0 sedmst 10, esbie odd yeloe of wege gael oss heoubows ysoreds selgas eanddo sis tadd .ehedsasy on? .efons sdgia edd Yo eonc esucs exom odd nedt bowind yi to. .s6tmedo es to nokvibbs odt adimreq yheouls ebetnavbs gael taet@ sdf .dmsi, odd Yo aeigne odd no bavor a to 10 odvevSO 8 yd audd) above bas awollod yd dnemisotr awolls oals yaige bas ,ebade bas sdak{ tot sesots ,(emx0% Lssiatemoes Yo ensen ~lod gaedd oF nokdsdtnewanto dsenbid sad eovi seatiot Lewean edt mott betaataiqao yilewisa awohaiw ofsse8 edd ana? .awol etsasgixo esandesvy wen yebod saiwedif yam oe bas .edcometiuoey “ten esbesoorq eeostse ots Yo Jaengoleveb ed? .ebasd won rebd8s ‘et gaiyeioe odd yd idows od 10 lotail tdbisate edd Goole ylisas | doolsno rest & bas toiaedni edg ott eliet sail exom seeds Yo enasm yd noivednewanio tedoie ond to8 «henisido er med? mort ~ “Ene ons baveis ebnedxe vsslints ebsiiol so abayos ,awollod to Coldest, isgin susgoloas beil “tive s sosig deunet adi ot boiiuspes et iségaw ent Yo yuseo of _ekatbinon gith & anied sidd teban .i lie wobstw eat to sqole sida cisiw ewobuin sowadenoo oF asad ,banot od nao sinst t9tvee72 off ~uiw edd tebom Lisw sutdae edd {mods dgsened egerbhinow qiab suo a: -gidaveiisersk “bodsor® ef wob “e mot bosenikive tadd. .wobiw oinded ead Yo atoll edd ei aLal ; eteitis os Yo abhusd odd af: moigvouidsaoo odd bas siaswetiuped sds ish of seb10 at Iedsoo & to muct 94% tebtenco ishdist vo ses _ [etndoutse to aoitsero ent Yo sebi bavoty Isvesibem odd taslo gosiase webas asi: ti) .beainos? ef enote anitostowg A .emtot «Bad OF Haoguentoo Hisow aids .w1et oilodsisq at bevine ‘su98w Bud) Bevoner ed elges sowol ond Iii aud? .einemetiwoes ofdede [edtoe & toknottonut efé nods .tnstbsgo 8 30 cdteveo & ,selundo a oe ahaa eis seoiT .bevebienco ylisterso dao al hi) Ohi) Sebe ii a vane ay; ae z —— — te ain ~/ 18 developed, then the foliage of nature and the beasts of the fields are placed on the surfaces of the ashlars. fet us consider the origin of the Gothic window as an -illus- tration of proper development. That required is the openings ‘in the wall. If this be narrow and a horizontal termination be necessary, ane stone, a lintel, is laid over it; otherwise an arch is turned above the openins. Since the window ‘is con- structed to look out on the one hand, to admit Light on the o- ther, then is it serviceable for both purposes and necessary to splay tke sides or jambs. One also thereby secures the ad- vantage, that the obtuse angles thereby produced are less eas- ‘ily injured than the more acute ones of the right angle. ‘The last advantage already permits the addition of a chamfer, of @ cavebto or of a round on the angles of the jamb. The great splay also allows treatment by hollows and rounds ‘(thus by means of geometrical forms), richer for light and shade, and natural foliage gives the highest ornamentation to these hol- lows. Thus the Gothic windows naturally originated from the requirements, and so may likewise today new vestures originate under new hands. The development of the surfaces proceeds nat- urally along the straight lintel or the arch; by the splaying of these more lisht falls into the interior and a freer outlook from them is obtained. But the richer ornamentation by means of hollows, rounds or foliage similarly extends around the iuni- fied enclosure with justice. To carry of the water 1S required in the fourth place a suit- able slope of the window sill, under this being a drip moulding. No greater fault can be found, than to construct windows with- out drip mouldings beneath them; the entire wall under the win- dow is “soaked” irretrievably. This is the form of the Gothic window, that originated from the reauirements and the construction in the hands of an artist. Let us further consider the form of a corbel in order to make clear the mediaeval sround idea of the creation of structural forms. A projectins stone is required. If “its under surface were curved in parabolic fora, this would correspond to the s static requirements. Thus if the lower angle be removed by a chamfer, a cavetto or a quadrant, then the function of a corbel ‘is most carefully considered. These are actually the forms of ee ee Ee ek ae a ea ee ae i ae fa aes ee. “ ey | omen edd Semninky; so seen: 70d sack. atuenoo iavesibea y Yi siseten: cenit Isotusesoen ewoflot cords eesp wrouLivequa ous | Aa | 90 ,notsudtssetb oiveigis ot shade bas sdatL oye ent of sidka -- fetaemsnr10 gatowbora ni beyoigme ed nove euowsLtveque ond send he new Yo heen’ eda os ebhbnoqaest0®: .ehsed {steossk bas edbst fot | gokeetaonsns0 to. smemertuoes etsant eta? .aoktetnemenre a0 i). ae shatbiind nf gas ifs Yo etead evizviwing oft af sptbew to: notsdincesb eit sonenpee ylvebte nk sosemmos sw wot a — SditoR’ edt to edoodidorws) sis doven {is Yo sexkt has efteteb Lav Bens To noisamuotensts bos Inenqofeveb eseisqorqas es ak ot a pakadaivo "soe 9 sellin odd eonimaxe sett? {itn of .emse Bas ute Heth 0 Z a | ' / i Ova oe ‘< a r Bs MR igs a iy et 2. As a Prt’ By ene. r MS Oek: wr70: 4 aie 7 peas. g SALE § iY i * eager t u ‘ , , Bree te : +e alae Bin Sane ePHS ¢* i iq “shi BH JG IC, ew Ave wha Agi | 5 ee F Re " e2Kue: 44 So ee eee: t tome , Ae BS BF : “eee Rese i meh | ee eth Rub SEROGS, Os OOe CaM . « ee is peas bose rood ACC iat: 4 SN a, al #34. Say S°X 3 0 ple WIPO Bas jhewe Ia eeters ~ RODEN de: be sanene Sg MERA VIG PR. Sa eS ON Be Boe he SON he, Hee Perk oe eT a use ts yop eats idol POL URGAMY ) FeO R ECE! MEMLR Co AS . aged oi BAe WA whade. won tye Me Ker tes . | Pano, @dcwey atead RRR ed ah Sth eget rey. 19 mediaeval corbels. That for greater richness the removal of the superfluous mass then follows geometrical lines, which ex- nibit to the eye light and shade in artistic distribution, or that the superfluous stone be employed in producing ornamental foliage and graceful heads, corresponds to the ‘need of mankind for ornamentation. This innate reauirement of ornamentation is the primitive basis of all art in building. | Now we commence in orderly seauence the describtion of media- val details and first of all watch the architects of the Goth- ic in the appropriate development and transformation of thes same. We will first examine the walls. Ree i re ane ail sell | t s cy “ hteee: “bis p. Sn, eh ee a: ae -6List — 8 sesoen9 ei se OEP RY snot snooxt bas sotéoumenod «6 a ase Ati ae: | 90072 guQ .* f ; “000° 30: bones eas: die née etbbte ois .beteve yitaeupert- 2A - oid es bntbhitud edt to advaa edd Yo leixesen sit) bas notvousse eebwetih oe bas oo oivaisis aieds scot sniog Rnivaasa 4 oder elfew eas 20F att .ofdelievs conebess: -isizesem Jesidon sis saw onote sod ‘.°sten eesotsdo af eliaw eig to esostaue [sayetei dus Isatedxa yiisoen azw [isn os to eibbim anf .enose Juo to besouréenoco bati 8 to hevourtenoo eau zk dud) ,beduooxd deed soiviog edt sou >) efbbim ead ni conte .set10m bas evenote Ifema to sdeaonce to exon bepiuk esw onotebuse iguot ond to notésiaeaasasd eft aoRs more .oidiesoq a8. doum as beximonooe asw ik ,yshod neds yisaoo qg 20 ssifnes eidieeog depbusl edd Sehasosw gaw snove dkuet HoeG -ivo to evosia edd ,eiqmaxs sot .esoteved? ~ .gntbhinom te eseig ~ Jo e468 eonote dost: .edvanel taese3tib to fie ylisen sxe oats - ,0%S: ,eeostise obte eit ar ylsasisttib baod bas esdbied evoivev Isuve: to! seetvoo Te hosoguos Jon osle sew Llew edd ylanrbuoood 8) .tedto dess sbised tea etex senote wol bose iaid dud .sdaied _ —igoo ee1dd 10 ond segta nisse qa tevef od tdarce yino nem One ¥ (wo .dmtot Isinontsod exounténos 8 nisddo of asba0 ak 208 -tsinpet gn0fs betwtso eesqwoo Adin akothlivd evorswsa ehaiy o2 enidd yliswew ets boiteq sansecamof etd gniawh etniot,oaT i oe istiw boliit exsw edniot ed? .oiasod 2: _godmn bi add 90 .. is eJoelis bled. “sve aude eins a8 , apn weped® ayy ~Saedatot Faul™y -a0m to bed & ni: eteides beweerh oft gos zeke eLbbia ond nod? 4 edt .ysbot exuoo0: yinommoo: ce ce .meisy “Jeo1R” Tom bib bas red | —s- BB. dadot bod Iatmosinod # es wsis0m Yo hed [fut 6nd guistos : ao sasings siz Yo untdtee nego eat .tleert atisasinavbsa yseve _ wIsoq end bas .bsef Yo eqiuse 10 copbem nehoow ,brsediss to etic | sth ai egsdnsvbseth yreve aed ebtswied is asdi0m néng Jo oi ont | Poetueq: edd Bt fetsegot yldsisavad seomfs yratst SaT .ilse Pai: _ ris eecsqe wollod eaol ‘so, ston Ona ofdrtesoqmr taomls ex ankilst s res eee Lfleme 8, dud go steer encode ed stoleted? .nisned cyon ‘ iatonnt-enesends; os. ben: hebeol: titvend, oot at. vedpat: ast -oldssesinoonh od dees betsois oz Lisx s to dostie sad ad yaqed.... ~Is sno :qyivuotrsy bebesoorg eioedidors Isvesifer ods i9vosryt™ © 20 Chapter 8. Walls. & Construction and Bxecution. 7. Gut Stone. As frequently stated, the middle ages took the method of con- struction and the material of the parts of the buildings as the starting point for their artistic treatment, and so likewise ‘for the wall. Gut stone was the noblest material. Whenever available, the external and internal surfaces of the walls in churches were constructed of cut stone. The middle of the wall was usually not the portion best executed, but it was constructed of a kind of concrete af small stones and mortar. Since in the middle ages the transportation of the rough sandstone was indeed more costly than today, it was economized as much as possible. Prom each rough stone was wrought the largest possible ashlar or p piece of moulding. Therefore, for example, the pieces of moul- ding are nearly all of different lensths, jamb stones are of various heights and bond differently in the side surfaces, etc. Accordingly the wall was also not composed of courses of eaual height, but high and low stones were set beside each other, a and men only sought to level up again after two or three cour- ses, in order to obtain a continuous horizontal joint. How happy is the effect of a wall so treated must be incontestable. _ Moreover the mediaeval architects proceeded variously; one al- © so finds numerous buildings with courses carried along regular- ly. The joints during the Romanesque period are usually thin- ner than during the Gothic. The joints were filled with mort- ar and-thus have a bold effect. yi “98. Joints. . hen the middle ages set the dressed ashlars in a bed of mor- tar and did not “grout” them, as so commoniy occurs today. The setting in a full bed of mortar as a horizontal bed joint has every advantasgeiin itself. The open setting of the ashlars on bits of tarboard, wooden wedges or strips of lead, and the pour- ‘ing in of thin mortar afterwards has every disadvantage in it- self. fhe injury almost invariably repeated is, that perfect filling is almost impossible and more or less hollow spaces al- ways remain. Therefore the stone rests on but a small area. This latter is too heavily loaded and so the stone breaks. But Dope; Saeicd: to eid wot n0 eveod yine dethin sig yinommoo suf mi _eutgosd ylgetbie@oos si bas . nk Sonnse isssow begveta oft sonke nee Yo bed teqotq A .ti Svods teldise ot word sivegetg on as | gids mort bas «dont @3.0 tesol ts to easndeids 6 eetivpss 487 (etew etniot bae odd tu@ ©.edntot bed olvso dotdt edd slveos * eege elbbin eds ai adntot bed edd ese doids as ofsm setwevtl yleett eis yind «pbiswiasdis bednows gon eiew oale yous sonia e8 isdéexos vissolo es tee stow anibinom to esceta aaisostord dnoubedean need eved Setwreiso blaow wsss0M sid sonia ,eldiesoa p ontes ya See heetinn sev isenstis sbuove etntot ee seolo utebos sdT gapooos no sont? .(f%) sew medw hbasqxs etiusiR bas euotabass mote gd .bosesiqmoo ed Sounss adaiot eft erendoids Liswe tiedz Yo yeh sebisl sid teatsas 30 19eddJo dose Iegaisas aeo%q eendis ~ , | ini | ; sito sisit oe Sas tsd40m sdé ni base to | ‘phen: ; | eTsts0W .¢ -yt)romtl yer2 ,emii etidw io isds0m .{sitesem enidaemso @ ah -Sooido sada at taomeo tnd) .sidsietetq ei seats 10 (swti oiigexd | tasiom onii ted? ,moitvos(do edd exsed siedwyzeve sa .oldenoi | “vse giogqve ot aobsestqaoo elisif ong eerybas bas stoa ooc af _ wtiw jetetq fas anauioo Yo edlsis edd es fous ,2tisq babsol wii ’ float .pe seq adi ©.853 of T.8Sh got bebmedat eqsdisg sxe dot donaso asd%0m ett eonte .tosrtooni ylextias ei goitou ent “seid bos besveiqnoo yianoite ei ci tarot olf Yo Sue osesunR eit to Invooos no 08, .sonnésebaes yuezeeocen ant sotinoos yd .etise Isoimedo puinisdaoo etr hoe Inewoo Yo ytinisesis Yo yosl =] .etine12 10 enodehase goisiox 10% Isiasdan dex0ow sid ef si iis yiletsasy sonie ,edioiid avin 3afost yo! Jb et bad yileuc ered? .yxbh eemivsmoe bas dow eemiteomoe et bavesg ovods yincecm iid sik asides odd .yInocase Inemeo to atnkot dasmeo ni s103 - ab eintotLsevesibes Voids odd Yoiad of .e@atot edt Yosio exo iS epeeape 18 bas 1sqo1q saom ond ylisoindogs exe tes10n oat hearty 45 edutityssd yrvev Tt oe aa | -eiis® to seostis? Isosemnt ..Of be “-ousgeaoo satwott Bbesbat sien soostine szodw .yoiuestai ods al A | *hontadaseqgs yl isveseson: ssoh: isiredsn edt jomoda suo to bes dod Bao]: at hetaisq .egnibluom Lis bas atlnev .esostise yl a S19 2darot Isoisrev bas istaosiqod ..exolos avoinowisd Se we ‘A a = me P , y os weld UW a \ m4 * ore «SusmegaetT1a welykex at oe ens ho Lay 21 But commonly the ashlar only rests on four bits of tarboard, since the srouted mortar cannot in, and it accordingly receiv-. es no pressure from the ashlar above it. A proper bed of mor- tar requires a thickness of at least 0.59 inch, and from this result the thick Gothic bed joints. But the end joints were likewise made as thick as the bed joints in the middle ages, since they also were not srouted afterwards. Only the freely projectins pieces of moulding were set as closely together as possible, since the mortar would otherwise have been washed :out by Pain. The modern close end joints avenge themselves, especially when sandstone and granite expand when wet (?). Since on account of their small thickness the joints cannot be compressed, the stones press against each other or against the larger grains of sand in the mortar and so flake off. 9. Mortar. As a cementins material, mortar of white lime, gray lime: (hy- draulic Lime) or trass is preferable, but cement ‘is most object- -ionable. One everywhere hears the objection, that ‘lime mortar is too soft and endures tco little compression to support heay- ily loaded parts, such as the shafts of columns and piers, ‘wh- -ich are perhaps intended for 426.7 to 568.9 lbs. per sa. ineh. This notion is entirely incorrect. Since the mortar cannot squeeze out of the joint, it is strongly compressed and there- by acquires the necessary fesistancee. But on account of the lack of elasticity of cement and its containins chemical salts, it is the worst material for setting sandstone or granite. F- qually bad is it for facins with bricks, since senerally all masonry above ground is sometimes wet and sometimes dry. There- fore in cement joints or cement masonry, the ashlars like bri- eks crack the joints. In brief, the thick mediaeval joints in line mortar are technically the most proper and are actually very beautiful. 10. Internal Surfaces of Walls. Tn the interior, whose surfaces were indeed likewise construc- ted of cut stone, the material does not :usually appear, but on- ly surfaces, vaults and all mouldings, painted in strong but harmonicus colors... Horizontal and vertical joints were drawn on the surface in regular arrangement. But on the contrary in GUT A 2 0) eae jeetsoth eds 26 bebisyet yisasbive wen Fi ,zedouNGS XoLxd yt 2.) shbetetesiq gon bas. dzondtorid ac - eat eBe0st ods no J}el stew esasod YiisHO Shs dod ,udooms angio "+ oe shetsesd oe yilsueu ste etowos Yo bos esevod to asitns — “a ~iviidue heitev teom oid ni exXoiad bess vin eniwetisg of bea 22 brick churches, it was euidentky regarded as the greatest rich- ness te construct not merely the exterior dut also the interior in brickwork .and not plastered. 11. External Surfaces of the Stones. In many regions, the visible faces of cut stones were not wr- - eught smooth, but the quarry bosses were left on the faces. The angles of houses and of towers are usually so treated. These posses are predecessors of those of the Italian Renaissance. 9 Yet the middle ages never employed them to accent thereby the unity of the effect of the surfaces, and to emphasize the ef- fect of the separate stones. The bosses at the angles are al- so as long as the different stones permitted, without a resul- ar alternation, which the Renaissance gave later. The surfaces of brickwork in the richer treatment were arran- ged in patterns with glazed bricks in the most varied subdivi- Sion. The scaffold holes were usually left open and in regul- ar arrangement, without filling them after removal of the seaf- fold. This procedure is especially found in Silesia. . For cut stones, that were set math a kind of tongs, which re- quired a small hole in the front and rear sides, this hole re- mained visible, even if filled with mortar. Where this cut stone facing shows very irregular hooked joints and the like, the external surface was yet certainly intended for colorings. The entire surface was colored and regular joints were drawn thereon. , i 12. Quality of the Stone. Men have been of the opinion, that the middle ases possessed particular knowledge of the oualities of the stone or worked particular quarries, that perhaps were used since the Roman pe- riod. Nothing can be more erroneous than this. For one:kind of rock, the good stone lies above, for another in the middle of the rock, while in a third quarry it is at the bottom. This changes at a distance of a few miles. If a sood ledge exists in front, this ends in the same quarry after some £00 or 1000 yards. Thus if a people possessed a good quarry ledge, then this was usually denied to their successors. Men opened new quarries anywhere during the middle ages, as the documents state. .For example, if the @isterctans of Walkenried desired to construct their church and monastic buildings in stone, no if: al i aa ed ai eee Bats in tas ak i ae 4 » 3 cn rer fe veh 3 ie a i? es _.eforepaben gakvoddgion wall vine anodes xtoW oF frexicousile | Dion mca bevotq ef snote tnelisoxs bailqqua yataup aids tad? tev dgsow doum asw Yioos eit yusitnoo edt gO ~= .egisn a “a at boronast ateye asw tiotiw bas .sévaq tewol) atk: nb dovs ph. lao: nov éxbtor! tas09 dotdw at .inemyoob odt eont? at ,betsiedis¥ to ysetasnol] odd of ytisup saote & bore tensa © ,fevig o1sd ai sf ,fosqees sho asdd stom at gatbsed Adtou =4ebsy4 49% xisxe¥ asdoeisotsta seb doutnsbhaudst e82 8 at oh | er —HetbLide atd bas gred*etnsd cov sau0y ,brsdorwa” 7 i, ~~ Sa@kds Sea offw uate) [ls sot (le of ,dorinred .zenT9¥ .dorerne r ‘ED BARS eet «tgttal We Oe hatieeuot edt Yo duenbins Chowien eit evol Bivotea ew soaks ‘ ot yflasolfses aevieattuo ylqqs of av o¢ [uteam ei Fk Bas .fio0d , wekrd9 sot wego1q 2&6 ,2etxedesnom baa aeforwdoe to githlind ead of Hetistensis ovsed ow ted? .awomd od o¢ Si (liw sw oe .eaeis (utetasnom riedy yakblied tol Saevaoo0 edt bas godds btol sat h “moo oft ts betinsdtisW ab yretesaow trent gathliud wot betrtano “Bidets (lot dtiw .etovesons two To Iavenoo- edt doin ous baam m as (pmotve oid bas yrIssD ont Oau yam yods tedt o8 (bavot sd . *oatdo od ton ocala ysm Sk wodw of .msat OF; ytRaa9090 mBeR8 LEM - oitooas se1ods{ [eats9 to fasausq .neatsto agin yas. tea? , hat \@eds \ekasdoxe to essdorsq TOT sosttn0o ,vot mi ABET yd. yBe ) eyswle 96 bas arotasons two epute ,atd of guoled ebfert yas a “tatoons itgnsi evi at yutevo bise odd Fadt .iltw od bas beiliw j pene tien: ‘odd Yo) oa9 edt oF bayevnoo has howses od asvqob bas 7 Son. sw isitten tsdy ,tomod avo ao egiso1g ow aid? .ytasecnoN bo ,Beatod Tom Bnokaw tedtien .19bnid. eetw yous. ar fifw eco tabeod Iliw ow ,soy ,etaswo ott ai antddon etariodsl yaoo sdt ‘bas sodds biol odd oF efemsa ,moaz of qatsuo abi to dg & ods ao .Sagt bod wo to ts9y oat ai etob bus nevid sli iene agian FIRM LOW Mw s, LOOKS) NOL How to abuaiieo edd Pw 7 . skatisod bas yorlidemnd | .e2 bive ab ors preteen to si eae sui0f feoxe oat PERE / £2 {SBOE ,veuonph 1818 .q .T SSH Unesdon?. yam snota odd es ,dtqeb edd bos dtbhestd oft ak .dtanel edt ni a &r deed erototeiei eed onove odd dotdw nt sbhoveasbiW ui yuasuo odd “naksossoxg bsotts Litw bus kaksabatd: seods atowoq aso of © 2% 4 ‘aes Gp soaks eesy ytuows agedisq ttatolo * 23 Roman quarry was at their command. They acovuired or received authority to work a stone quarry in the neighboring Wideserode. That this auarry supplied excellent stone is proved by the re- mains. -- On the contrary the tracery was much weethered, very much in its lower parts, and which was again restored in the cloister perhaps twenty years since. Since the document, in which Mount Burchard von Lavterberg transferred a stone guarry to the flonastery of Walkenried, is worth reading in more than one respect, it is here given. Note 8. See Urkundenbuch des historisches Verein fur Nieder- Sachsen. Heft 1. p. 218. Hanover, 1886, /O Burchard, gount von Lauterberg and his children, Otto, Heid- enreich, Werner, Heinrich, to all for all time, who see this letter. Since we should love the embellishment of the House of the hord, and it is useful to us to apply ourselves zealously to the buildins of churches and monasteries, as proper for Chris- tians, so we will it to be kncwn, that we have transferred to the lord abbot and the convent for building their monastery, the quarry in Widagerode in which the stone has heretofore been quarried for buildins their monastery in Walkenried, at the com- mand and with the consent of our ancestors, with full rights in the length, in the breadth and the depth, as the stone may be found, so that they may use the ovarry and the stone, as m may seem necessary to them. To whom itt may also not be objec- ted, that any knight, citizen, peasant or rural laborer may s say by right. in fee, contract for purchase or exchange, that. any fields belons to him, since our ancestors and we always willed and do will, that the said ouarry in its length, breadth and depth be assured and conveyed to the use of the Walkenrged Monastery. This we promise on our honor, that neither we nor ours will in any wise binder, neither wagons nor horses, nor laborers working in the ouarry, yes, we will resist according to cur powers those hindering, and will afford protection for this ouarry to them, namely to the lord abbot and the convent. Given and done in the year of our bord 1256, on the 4 th of the calends of March.” 18. Durability and Coatins. | The excellent preservation of mediaeval stone is evidently re, tf] es = Te Et aR aaa a. es ee soo alee Cee 2 oy hittin bad am es ,dafawsy oird -Ritts00 aiedds. oF onb Y wisnttitas Stes ofoitta siduloa dviw abayoqmoo sidufoani aot i - Qatioloo eid tT .x0ddeon yd Homwtat ton sostive, dred 6 aism -— snote ota atestorg deitast aide. efits .borssqqeeibh tleesi asa : | tuto edt “revo diow* oF sldenoivostdo yldgia ef ai oxoteraat gat mebto ai ,k1iteco evisosdo1g 4ieds of sosqeen ab yebos aedo ey teddsew aedt ani sadtaom wet 8 102 “Lotitossd” madd, odse ao Bee . eV lgno%2 yt =s86 Raoxwte sit noom ads of | headin fom ,aohe olbhia siz al ekdd sonte .eedotwds to eebia divoe sdv no ylisiosqes ,gaitead ek) th sono etdain ad¢ garteb tdeil et yd bersvos esw abia toum og et Istoeitso sis dsdé adnidt ono Tk .io1ss as qlettsas 7 “Gam odt ai tt eausoad) ,shta dttom edd no batssas ylatedg atom - potitsogs aft at tdgu0e ad of ei akit aot aocasex on? obits toad : 99a yieoisos aoe sbt2. aston sdt otedw Bosse istbodseo ant to | fettet asw obte ttcog att slida .tsom Yrs, sat ovods data go. ay 22 esas or ttetw ysito ods Ons goalsg a*qoulatddors odd biewod es © scale il etom doua tadteow yiisusos, asbia atodénoa eat / © @0nta tad ,entdanoom to tavoons ne soa. ,“asbia todtsow” odd Paie ebta atedtvos 243 a0 enote edd to asoatisa [nqiedxe ond os mort °hS o¢ °38 to stavsteqmet to sowetetiib s davoids 2aeaq sie aolottisq asi bas ,tdgiabia 1590 bloo sdé oF Jsed yshacon a détoa ed¢ mo saso odd Son ab. cidd olkdn .Sefoetie ylasoiwts aude. Bet Ruasioes, S..4nkd a) “TAR ¢ el ~obta % isuo ott $3 ataldes bedatat? sd¢ tuo od yshot eldsetvos af 37 mteap aisis s09 .idsieteias iLtta ei onotea edd elidn .Yiseti- ye © a atise etsobita to btos oftotlie enkednoo yLlatene8 owdaion yt 7 bey edd aniaub scatyca edt fo batisoqed ots dotdw ,noidusod at. agouborg: ylistess: awwetatom yxts00 gaitetogsvea ad? .aatyts Lew pireqten ignores asmoosd esdd dotam ,sostrge oft. ao relates eeeds "4 + vaca ee? a t DOT . yadisw daveiededed, no seationt pay saitiate .2odaew lla, ftvidom ti 10 ,detavav dviw deteqwisa od noat teow .atsatio bag m Wak.eainta swteatow katilet [Ils tot ;Letem dtiw beteves , side i f eneal [Pe ma “oP m3 | Baryl de RR eat edd beteistea ei ands bas .snate offs Kor’. Ah ie ey ove90s'twe Satgole sq beakfond aoue ata ° oltaaa. tate eiLey done botsoo satnedil asge elobia o47 | “a ae. 4% vi gk ae. ea an at ebsal agin meat naa aomnty ay Kh GHEE RY effet Yo dgatld sd. NER eee lin iN la a a el a 1 24 : due to their coating. bike varnish, as egs and casein colors form insoluble compounds with soluble silicic acid and thus m make a hard surface not injured by weather. It the coloring has itself disappeared, this skin further protects the stone. Therefore it is highly cbjectionable to “work over” the chur- ches today in respect to their protective coating, in order to make them “beautiful” for a few months. They then weather ve- ry strongly. In the middle ages, men ascribed to the moon the strong wea- thering, especially on the south sides of churches, since this side was covered by its light during the night. Hence it is entirely an error, if one thinks Bhat the cathedral is so much nore plainly treated on the north side, because it is the wea- ther side. The reason for this is to be sought in the location of the catnedral itself, where the north side was scarcely seen on hish above the @ity moat, while its south side was turned toward the archbishcp’s palace and the city traffic. The southern sides actually weather much more rapidly than the “weather sides”, not an account of moonshine, but siace the external surfaces of the stone on the southern side must pass through a difference of temperature of 86° to 54° from the noondsy heat to the cold near midnight, and its particles ere thus stronsly affected, while this .is not the case on the north side. | | . It is adviseble today to cut the finished ashlars at the quar- ry itself, while the stone is still saturated. Por this ouar- ry moisture generally contains silicic acid or silicate salts in solution, which are deposited on the surface during the grad- ual drying. The evaporating quarry moisture generally produces these salts on the surface, which thus becomes strongly satura- ted. Ali washes, window sills, inclines on buttresses, walks, step- ped offsets, must then be saturated with varnish, or if not vis- ible, covered with metal; for all falling noisture sinks into the stone, and thus is saturated the entire masonry lying ben- eath such inclined or sloping surfaces. The middie ages likewise coated such walks with mastic or ¢ covered them with lead. i} be. Plinth of Wall. i See ee pe iat RO yes he TS a) a) ae aa, » toe e fan Ly? 5 ri : ? 2 dq % ‘. ’ , : Biss. pay le that e ate ae ayia holga tito? oh aipatbtind eda at Tie ide dint die no adisq latwiourta saedT hy -—attnatoo edd to weesd odd bas [lew ods to dzakty ots 918 atess in mt becauoeth 96 ‘Tiiw setzal oat -04oqqua esi 1ido bas ee oe 9d of 918 temToY ait Av smmmmuesns to a028d t8 tebau) 8 19¢q880 Be, i i, | 9190 Setebtenos a ; edt die 82019 ittaes B iad beeen ististem fobiad oa? a ao0§°.bsol omse ant 107 aottosa aaoto ase%el 8 aattvost restos : - ot: boxtaps: auofeneath godt at). amvloo to [few om .moaset eras .bas07g 9dt,,90nfs ,bavotgZ edie ao yivoettb soe sd binona. mens pee foot .c8 t9q adi SSIS usdd atom ddin bedsol ed sonuse Didithictanene 101 istustsm sesttoe adit siidu. ,bBeeesigmoo gated (a8 tact ,olgmdéxe 10% .bs01 dowmw ee sottds 40 soins a1e0d Yb 009%. sitowioitd yisaibio ao disis edinertg & tea sno aso oltstl .. tesiog ed noowted besusant od tava adsibebiedat as yitasupse D> saeligme edt got adi no aevieoss Sad ,Letasise t9eb1sd eat bus aggesesoq ti oftdw \ttede amuloo to Llew sid to notdoss ezoro a -lettets@ test0e ‘43 to noistsea ea04o askael add modtod att és q i “$60 29h19d: odd to sbhsm ad aysuls Sena sooty otatbemistai etaT ay -bsol sat sad to sesdieds dtatia taedoiy oad , vd tadtast soy JO9f07q S803 -,2eetv0o tedvo no aveer ylisees +1 Ropegaibliva: supzensmof eds aucT dese 8 10 aosteveo to ansen | wk bagot et eted? .egnitbivon diaiiq evieasa sididxa eagolog a dtntla ordtod ylaso bibaeige s givdanekxel stizoqqe todmatbed? | 7 ‘no yluslimte 628 ,foqad® Lstiqaod saz ao,.eittow. eesd dtin yd awoda et atds <° (2.22%) bisqqoS 4600 dosuestif se dorado a boarotaness: lgibadssd dbsvetediah to even ofdstod agi aac Ep peartannss dastoog yiov ots yin .tennsm intitusad teom odd Z. 98 bas. sottstoosh yisescosa, bus avisootts teom aad time ‘. < - ’ im adt ,bentfaat ad odie odd 21 .dasw olamte s dtiw bette E nal. santnd Lsoitiey yd gatbloom dtailg ati Seatst eaga ald ye at ylseluoisieg oa. jayewtoob ed%. hagers beaiates yilevau 480 stolssdat ody tt eztweiid .aue oftsod yluse. bas supgeas a ae i conde fexbodts9 pradebas¥ to ofats aiodo sda at slquaxs ~a8: oka 28 «usw ylistesm 8 ak —_ edt dDetvosxe toos Be Cael ‘/~ : a & 14. Problem. These structural parts on which everything in the building rests are the plinth of the wali end the bases of the columns and other free supports. The latter will be discussed in Chapter 3 (under a; bases of columns); the former are to be considered here. The hardel material permits a smaller cross section: the softer requires a larger cross section for the same load. For this reason, go wall or-column, in the dimensions reouired for them, sbould be set directly on the ground, since. the ground cannot be loaded with more than 5126 lbs. per sa. foot without being compressed, while the softest material for masonry alrea- dy bears twice or thrice as much load. For example, just as little can one set a Sranite shaft on ordinary brickwork. Con- sequently an inierdediate must be inserted between the softer and the harder material, that receives on its top the smaller cross section of the wall or column shaft, while it possesses at its bottom the larger cross section of the softer material. This intermediate piece must always be made of the harder mat- erial, since its smallest cross section must support the load transmitted to the harder material. 15. Form Treatment. Tn Romanesoue as in Farly Gothic art, there is employed as the richest plinth the base of the column (See Chap. 3 under a). It usually rests on other courses, that project yet further by méans of cavettos or a wash. Thus the Romanesaue buildings of 6ologne exhibit massive plinth mouldings. There is found in Siedtamhof cpposite Regensburg a splendid early Gothic plinth with base profile on tne Hospital Chapel, and similarly on the Church at Hitzenach near Boppard (Fig. 1) *: this is shown by the High Gothic nave of Halberstadt Cathedral, transformed in the most beautiful manner. Only the very poorest structures omit this most effective and necessary decoration and are sat- isfied with a simple wash. -If the site be inclined, the mid- dle ages raised its plinth mouldings by vertical turns. It was usually retained around the doorways; sc particularly in Rom- anesoue and early Gothic art. Likewise in the interior, for example in the choir aisle of Masgdeburs Cathedral, the-archi- tect executed the plinth in a masterly way, eas the circumstan- kee Pokendevects Bogs otbbta ont -devingod esouetanaorle epee ade to aevsle gon bas emtol to e1sdesm ozgdu Soe Str wD odo) poeemoktibatt gnivotisest bas eldigri Peudusd etotifovshistG . .Diose® wou 4 -of40G moqh 22 930% pain -o) 4) els pee Te MARE ctaogtiuss rote sebnnlonedn seb mak gis 66 Sooke -290inted isqtoatsd .o. Yai! (9! ora iét ii os s@mtoF eupzensmoR .8f savtadioLiaw s sn qoquy edd eotanimtes teat sokateo eAT F aalaiadidetec ot 10 ~tk maoto of .yiisottetias [few aids ons oF ww -tien teas nt sevssi [sotitevy to aWwot adt divin o¢vevso asivaya i i. ‘Wed esssergxe ylso slamet aasftoor eft no bas ytdauce aaol ey -/a& 9200109 adit 2gestesdqus solmt0o afsm astos13 sid wRoiawote _ ‘9% to 191600 8 a5. bas t0d¢0% Toot sdt to tedt0quse ond SRB Ue «tood sad Thi ets weeny ‘8998 t9¢697% s nistdo o¢ efesa ylietio t18 suoasngmo8 “mi tedidxe aledioo sacdT. .sigdtoo bae sxeiai bakors a3 4 as. dose: ~Bi10t beradgisos sateveb saom aad sotvakasy aaslorky } aieas fads o2 .olsoa Lisma yiev 5 3% .alsmias baa, dom ‘Yo ebsed bomsot af noktgeoxs gatessig. A .tao%sqgs ylsotsee g1a aliated | © fo eeye sat otodt ¢(882f iuods) vetsuleginhX to ttromto eat yd > ~ tsa off .alomsqs aasly bai0log diiw #93 asve 948 abcod ont | 4.19 @.9f9. at bodsatenflivai savolvo? ss aiaxe2 .2 to sotates , *svitsa diowdoitd odd yw10t to dusmsae1s Sasiet3ib 3 awoda. bus 4 ; e80fst09 Yatmisdo alas beosborg ylaisig esourvoig seodd ai is OTk*4 Ob sonogetnd esionsoisosG 1.4 .owh-al-selioiV mors 12 eee LS +stNos 108 6G ).8 LOY Len dnotor% autos! ae or $83 ;2 ; -10idfaasiT Satanb ato¥ .v2 989. iipeat oni. fiteensd eauovo avitiassxt sdt to emis odd th —. tod .agtotod ative aiseqgs seit .ledtos Yo mot 2 a s9dd dtiw yasated of omso bas sageguedd bas ybaseis8 woxt uh aed 80 SE doe oy) saatroseanom’ nsiowsseto, adv to. otdsod sk es i) BtudedRsM ov sxseeasq.e‘godaid sdf eveds sointos, Isqisattg ae eatE .cover? vs estdete .2 to vefatole adit no bus Larbo. | 191 -odt dtiw sadtsgos mtot doaesF (suey edd atusaetget apa Sa olgute dtod s af: Ps atoms ai doidw .elds odd » » a To en a) eh ae ooh Se) eBadea of ee (a ARRtece a Hot OmDs cede WONT AD pees bid cee Mies) Y OMe) Spgof olds’, 982+ 0% a ee edt efrdy .tett0g aist bas Yoot ede 10Ol Quiised ymsaasden {\ 26 circumstances required. The middle ages showsthemselves every- where masters of forms and not slaves of consecrated, unintel- lisible and restricting traditions. | Yote 4. From Behio & von Bezeld. Bite Kirchliche Baukunst des dAbendiandes ete. Stuttgart. 1884 et seq.’. c. Principal Cornices. 16. Romanesoue Porms. The cornice that terminates the upper part of 9 wallcdsesves to end this. wall artistically, to crown it, or to pruduce the ‘2 neeessary bearing for the roof and rein gutter. While the B- gyptian cavetto with its rows of vertical leaves in that rain- less country and on the roofless temple only expresses the crowning, the Grecian main cornice emphasizes its purpose as the supporter of the roof gutter and as a bearer of the rafti- ers «f the roof. 3 Romanesaue art chiefly seeks to obtain a greater area at top by an arched frieze and corbels. These corbels exhibit in tireless variation the most diverse sculptured forms, such as heads of men and animals, at a very small scale, so that their details are scarcely apparent. A pleasing exception is formed by the choir of Kénigslutter (about 1188); there the eyes of the heads are even set with colored glass enamels. The main cornice of S. Sernin at Toulouse is illustrated in Fig. 9 ® and shows a different treatment of form; the brickwork native in those provinces plainly produced this charming cornice. 5, From Viollet-le-Duc, EF. Dietionnaire Raissonee de L*Arch- itecture Rrancaise. Vol. 2. p. 201. Paris. 1867. 17. Form during Transition. At the time of the transition occurs beneath the main cornice a form of corbel, that appears auite foreign, but is derived from Burgundy and Champagne and came to Germany with the earl- lest Gothic of the cistercian monasteries. We see it on the principal cornice above the bishop’s passage to Magdeburg fath- edral and on the cloister of 8. Matthias at Treves. Fig. 3 6 represents the usual French form together with the starter of the gable, which is arranged in a both simple and intelligible Manner. 6. From the eame. ‘Vol. 7. .p. «187. 18. Gothic Forms. Sey ee me Pe ea Uy eh cml e PN sy | OO ammo okwt0g BE | yaledtoo avin ascimtcs thnieheien abogitenod cals okdsod ent a ~e1s aleduao. tl .zee1yen gabsoetowg to sasem yd ylteido tu ee ott yd boriwped eas @8 ascaadeib dove 38 dusta yeds ,bayolgme the godt eis 10 1esIeh sds Troqqua OF OVEo Iedd .mods wo Stal dale conta eas yd" baditoe¢eng. 28 Son .etestsg es Tao bewolLod eavies ~e99le at atd? .taemetivos1 oid of btsyot tooddiw omeoe beoud ; troG ub om69 s1s04 Yo sotat0o alas eatatprssn oad qd'awoda yb | -sreb eds: \s18 supacnamod uf sa0m afig .(%S 28324). taomt0f0 t2 Soneds. jop0itas adv Yo seodt as eldtarlistat. es taut sts ali to eatot sslugate sesdt bsebat gntouborq tasadnos eas azluzes “weboow gniviwor-tise sds ateiedd aese ouG-al-seiloiY .elodzoo | ebwiamsdd ait to abso of% escaetb tetnsqtso eds asiw .azatvedea " © fokdsaroleasat 6 8d of alsdi0o seedt ofas aisdto ioxe oft A? ae. --90e)947 tdaum voY .elloigs uiead dtiw. ealognos supitas att To 4 ‘ietdebadd) ylush edt seom: [lsoea estuloy olssil seedst to asi ~ SHOds 36 S32 9) BOnBIsSeGgse1 Sa0iw ,stewolt atafuRans ous muta ; 'saSii¥ gs ofbordmA .2 to tsdle dgkd odd go suid omaa ond Benes g 886i o +} .J0¥ .omdse BAS mong .V ato =a ksi af eoinioo Lsqionrig std ,oiddo9 begoloveb adv al ‘g -ad 9a9d3 to’ano tewol ei jasatvoo betoatouq to beaoguoo ayaw eam sdtohas ,2ovacl (do aotisinemsnto. dota dsiw avoo s shen ant peat) teia son yitazow eas se0intoo. sescT .daaw odd aaivaad’ taq } Eerroeteet as ieakares ywdatodd ee mare doo (ut O88 oF mee ees +RuinworD ie eSheitauisg .et — ilse & sabatbhe eiiarnien 92105 teqqu eas svods sbaiteutsd 4 oy (9d Ysa tedies bas toou odé doidw worl .saseesq Uneiasvaoo tol ¥ 7 iy a eens Persie / | =Base0ed adit 108 .eleaaq. qteosid kaiwtsde teow dvin bodatatw? < @ -B£4 - .aeugeta 10 elsmine .elainit Va Senwots awed of “t to. aiodo aid wort deoq eéi ddiw shsuveuisd s noug asasest te ‘Wyttneo ds Sf edd to BMsd taxét ods to bas Lsthedssd aauded boom sat bas aaectet) ods to e5ns tewol edt Susvesy of 19H10 aT oe ), 9990 yisel s mort t9d8W Yd) beri ai dated inott Avow Jesu ttabie ain bas shsateaiad: abit baided aoat1 {lew eh oo toor ado Yo Atoweae 1? oat seis Tee | 08 tyson & GSTILSM shemeld aoxn¥ .B atok - Y aye a Wn We yey a hea Bh yvidsitavai. Taoals O28 sebsisaulsd seedt .beninsxe ylinteiss eh gad mo baste yilevey ataog tegasl .ytiauosa yt . -y. /3 27 \ 18. Gothic Forms. Tre Gothic also constructs principal cornices with corbels, but chiefly by means of projecting courses. If corbels are employed, they stand at such distances as are required by the Slabs laid on them, that have to support the gutter or are then- selves hollowed cut as gutters, not as prescribed by any intro- duced scheme without regard to the requirement. This is alrea- dy shown by the illustrated main cornice of Notre Dame du Port at Clermont (Pig. 4’), Like most in Romanesaue art, the deta- ils are just as intelligible as those of the anticue; thence results the contrast producing indeed these singular forms of corbels. Viollet-le-Duc sees therein the self-curvins wooden shavings, when the carpenter dresses the ends of the beams.iwi- th the axe: others take these corbels to be a transformation of the antioue consoles with their scroils. Yet must the ser- ies of these litile volutes recall most the Barly Christian plum and angular fiowers, whose reappearance we see at about the same time on tae High altar of S. Ambrosio at Milan. Note 7. Brom the same. Vol. 4. p. 822. In the developed Gothic, the principal cornice is almost al- ways composed of projected courses, the lower one of these be- ing made a cove with rich ornamentation by leaves, and the up- per bearing the wash. These cornices are mostly not high (1.64 to 2.30 ft) but project strongly, thereby forming an effective Crowning. 19. Balustrade. A balustrade above the upper course generally encioses a walk for convenient passage, from which the roof and gutter may be carefully examined. These balustrades are almost invariably furnished with most charming tracery panels. For the necessa- ry security, larger posts usually stand on the piers, that are in turn crowned by finials, animals or statues. Fig. 5d 8 rep- ‘ resents such a balustrade with its post from the choir.of Mag- deburg Cathedral and of the first half of the 12 th century. In order to prevent the lower ends of the rafters and the wood- work from being injured by water from a leaky sutter, a small wall rises behind this balustrede and the sutter, on which is set first the framework of the roof. Hote 8. From Clemens, Heliin & Rosenthal. Der Dom zur Magde- Ce ee ee Oe ete ge oP re am . ie Ce «BSL = LBSL .asudebgok .gqindebood Pe Lab GONG Be RP burden ia... -toieW to Levomsd .08 | b aguordy 160d te “9iiug edd mnt betouduoo at te3ew saT shake Yo. eatwoo odd wolfot eu ged .uslyogisg dgvoudd a0. aduog fe a ailst aid? .yiodaiselo odd to oor ont mort rotsnmist s qa.a6iq foss ts. {skat? Buttostowg edt dkoordt toddua aie sas | a) moasod eit tejismtus a4 .secrtdtud gaiylt sag to, got eds a0 q h - §O n998, od yaw efit «dows of3 To got odd no 1998" sit atuogs | - -Ratbto994 -(@8Si tuods) ensiat ts Letbedstsd sit to even eng eaadt) (toot edd to aottoutsauoo odd etoted .oud~al-salloi¥ of : - YovaLaubaage 947 mot tevew dt spisdosih of bevisa gelyoxtes a 89.002 OF ooneds mort anus tods0 eat {% 8, 2i9).adiuev sai is -gkem. odd. oF awob tetq od7 nifdiw gasg atsas oF ,isintt teomza “ae aegig. isteaa .sofvoutsanos boog al .asleis sbie ads to soini0ce sta giso 947 wor§ .alsnagdo 16 ebatasgo saeit at betteant ox besawob- bus biswsu0 sogacq 19sSW) 243 2elsis.sbia oid Yo asd © <=toggo:bebtotts coved aelyoaiss aesd? .aolyogisg te6978. dagoads a Yo aetbod .ossilot at enoisissto: gniwisdo s2om. edt 10% ytiase -en0ta* ens to asvitom etiaovet sd¢ ors ysdT .ngugte bas aismins ‘bas ,tiatga dtin baaataeb ayswis 918 yodt teY “.ataet asvedtus Hite: jotdsod etal. mt agnied agoluds? bas blin emoosd yeds té axsbow Yo @ettididtesogut e'assitis bad end edt l raven ors youd bas fexbedsen sasoi{s9 to stofto eat wort af Of s DIG: -eedotsis | ' edt estasdame dtod resgs19 ts IsabedteD odt mort ci 1! 9 Jace - Ultaom anottesio dosead off .futituesed odd asdd stom sapgairtotk ‘s «M0LTostteq oldetiis to eassiq-a9daid dAoum-s ao baste 2S a .8 TON .amoz ea vbang eH mont ,Sesok | Anoblossts 979 Sib: us mod «98 etebtaded sort . Of efot BPR A cba: baa Bie 9.0K ot uF . soa ShOn 9 Oe eh a So sQntaasb s*ateunesedi mond . LL at08 > Soe | Vdinwovid ate. ok ja. to 9eoqtsa! didansot mr yiatem svat soddie esaisoo sea ‘pooo neds. deum yous. dad. ;Liew utelq, od? gattemins to O08 guihiv * mtd roolt edd) oieda begnsiis od ,.8.i) ,wotsiaoy sldsnogsey. 8.yq sy 10) .mest. batded eti estielisg) edt to 10 seitosa et to co eddy Yor gats9 of aeb10: ak awobmain) edd) dtsened, Ssoela axe fo. Tomek, seeds to. dusuisord odd oso Jerid edd mi oican monpesene tenets, ‘bas yveisgormq to, ebawora Vas Yd Sedsaimed sea Pat. .soivibsad oF ‘to; sobaqso: oF Hem wea agol TR ‘a } jm 28 Hagdeburg. Magdeburg. 18381 = 1888. 20. Removal of Water. The water is conducted fran the gutter either through downs- pouts or through gargoyles. fet us follow the course of the rainwater from the roof of the clearstory. This falls from the rain gutter through the projecting finial at each pier up- on the top of the flying buttress. An animal at the bottom s spouts the water on the top of the arch. This may be seen en the nave of the Cathedral at Amiens (about 1225). According to Viollet-le-Duc, before the construction of the roof, these gargoyles served to discharge the water from the spandrels of the vaulis.(Fig. 6 9), The water runs from thence to the out- ermost finial, to again pass within the pier down to the main cornice of the side aisles. In go0d construction, metal pipes are inserted in these openings er channels. Brom the rain gut- ters of the side aisles the water passes outward and downward through great gargoyles. These gargoyles have afforded oppor- tunity for the most charming creations in foliage, bodies of animals and ofumen. They are tee favorite motives of the*stone- cutter’s jests.” Yet they are always designed with spirit, and if they become wild and fabulous beings in late Gothic, still they are never like the bad artizgan’s impossibilities of modern churches. Fis. 7 10 is from the choir of Cologne cathedral and Fis. 8 11 is from the Cathedral at Prague; both emphasize the sSrotesane more than the beautiful. The French creations mostly stand on a much higher plane cf artistic perfection. Note 9. From Viollet-le-Duc. Same. Vol. 6. vp. 24. Kote 10. From Schmtte; .( Mb eebsars odd vvods gatbastxe setuoo Sfod ont at awonk taad re to sasffot feol bas {oteosth asd di ;enskmA to Isabsaisen oat mi asosiq dove at eyolqms sno sedW .sayt aidto9 yiuse: oat abnods ,2qith sovew bas eedesw dsiw etisd esdoiwdo atebos etootie oitatiis aletil esd toizetai add ai ‘gintbd bi é 7’. r: ~ )eeets09 tied oq tanm itoitsitxe edd no .yisitsoo add no tad “lrsbieaga tot bagsde osfs ",2%0 qo7b blucta sessw dads atodwyasvs dann stodt eidt 10% . abatbluom Gi36 beates sis yod? .saeq4ug ) .Batttvuoxebss as ons Liaw o43 mort tassw odd bsol ot desw s od (eka -tto eqorb bus desw odd yd ysws bol 2i tstsw eds tadd og toot moog Si ded .9vyoo #2 saso Jeslomte odd at 2k aatttuotsbas * 4 - ies (8890 £t Tezeet— ods Gtiw ezolotess taawemon bersagas desw ato edt bas ewoliod yd bavsuins saiwaitl esw sostiss toqgs ett ~) )saiegeiteas bobsed exif emtot. yd. beosiqer asw.qith istan sq bettupet stew tofew eat Ratvomer tot atled dos? euicereenl di d$6ened (Inossa odd setwredso. ywobats AK: andy oidsouzagat edt mort: awob augy seiditnsup sse18 of dotde - - \§9%su°6 doves etomrsddist bas .gottfreoq salst 8 ak siod & dove a i, saantbivow giad. .88 © 9\ — \ } eds eonk?: .abavot bas ewollod at ¢asmgoleveb saenors oda 29 kind of belt course occurs the imperative necessity of removing the water from the wall beneath, allowing it to drop off, and -which in great quantities funs down from the impermeable glass in the windous. 22. Subdivicing Belt Courses. Let us first consider the belt courses, which in both the interior and on the exterior merely have the purpose of subdi- viding the wall. First of all since the Roman period is forn- ed a dividing belt course above the lower arcades in the main aisles of churches, that is arranged at about the height of t+ the horizontal roof beams of the side aisles or of the floors of the galleries. It naturally ai.first represented the anti- aué main cornice, which then in the Harly ghristian period was transformed more and more, to appear in Romanesque and merely as an actual band moulding, that is ornamented by a chess-beard pattern, as in 8. Michsel at Bildesheim, or by rich sckolls, as in &. Andreas at Cologne, or by a plaited band, as in the Liebfrauen Church at Masdeburs. ‘In the Gothic period, these members were formed with rounds or coves, indeed even beset with foliase. That. of this kind best known is the belt course extending abovv the arcades in the gathedral of Amiens; it has graceful and lush foliage of the early Gothic type. When one employs in such places in modern churches belts with washes and water drips, then is such a belt in a false position, and furthermore such a water Grip in the interior has little artistic effect. /6 28. Drip Mouldings. But on the contrary, on the exterior must be belt courses ‘everywhere that water should drop off, also shaped for this p purpose. They are termed drip mouldings. For this there must be @ wash to lead the water from the wail and an undercutting, so that the water is led away by the wash and drops off. This undercutting is in the simplest case a cove, but it soon took the richest development in hollows and rounds. Since the smo- oth wash appeared somewhat tasteless with the greater richness, its upper surface was likewise animated by hollows and the sim- ple water drip was replaced by forms like beaded astragals. Such belts for removing the water were reauired beneath each window; otherwise the masonry beneath it would become saturated il bits Sena ‘Urb T6van bivow bas aetew itiw nail Sc aie ee a i ao) sdeseasseh .ag: ‘fevievss otdtod ax ssekttrin busd. susm sis saiwadtd Latno; Saisie. tt vodtisve ssit qatbuist yisv4 .eqot afeda no ih ae lantzge Hoftostory teddo ro ontbivuom a Yo got antqola) +o | tket ode yirsliate tf ovods (lew ott to notsi0g ont evsw bus wetol eldsiimds bne: Gasmoxtdoot ent .desw 9d% ao ‘tte {fat ddoa _ etodmyteve ~ Ato) enmeheeeRebaed: 28. bet fle ht negqasd at bevste asu tenn of aatswates pia: to se8d Sd¢ tebtano0d tasxit au tel dat lo: ifew odd ot aso gd? atimansts dotdw .aavloo sdt to tiga sedt avde ins 2 ytcouss tedsew edt of amsgloo sat to dtsde sit yd bertoagss 2 ; Toe seed. 24 + wt . «Savors sd? og ox “a6 9f% to oasd odd hiker hewtaad aw @i10t dis gartaixze as sh | -@e203 Sagot ‘to a@teatenoo aid? .tis Levestbom of auuloo augit -hte-ods svodu test .dela tsisguetost 5 atin .asttooe bas 23 ‘tog 2tb of @oeqgest ai mxot odpitns ains pentotensit sozs 916 f peed? Bas gQuitssio~wen odd ylteul oe svteoreq sao aso. .s@0q: ie 1 guidoenatal ot ooo ogls [lin eno Jud taacnstatigqoygqga to Saniuaets “igo Silay siiéti deselq disq est 90 supidag ons tana notaulo | jea@tot dona to aoivemiotaists to daeucolsveb etsiagotggs odd 4 eet Yo Jnontseotd betostseg ®& of yllodw teomhs YWeest batiath sk =tibh teoth os atatenco nmisi9%. .tf of Osttiagners efLtates ong - batt dtea .t1s (svesihom bes eupitas avewted oimeésa. ak soaetat ~f eteghoiq oeendt atotensrsd diod :eltsteb fsastosridesxs atstiso Mf 6idegd hetimt£ et notsemrotanstd 2ind teY meds od nacerot a eal o¢ teb10 nt. .Yeesi miot of oF vietitus teomls edsagd_ ) -09 yifstesqes bas sohe elbdia ods sliaw .iutiaused sto tesqas \ gauoses no yierrtne bas tare? nottsmtoteasit e2etdt qv eevee ofdt | Qdeteds gaivoelgea tuoddin toy .yttitdesisa Letutostiaows to -“48 .otdtod to siutaa aba? .mtot sdf to tasatssrs [utisused ai% mt ou@-elstsfloiVY yd betyezetysx tart? asw amict [sautoséiits -eonsT7 fhe eimai 9b sonuozte® srisanottorg" Lattomar ehi “.elosia TVX us IX wh sak ‘as ond pair nottoe.eiq alssti{ ylovitslouresd easd sunita ad? - eno tr vinstvortteq .Yo aserd yliese dale saswol-edd to aals te - gead sunpzensmon sat .dasmaos is elovaw aeioss) sysa gon e306 » bua: 98i2 Satasetoni tav9 mi cebastixe ylisnbserg yreidnoc 347 wo | pttatretosisdo vivre ‘sis yIvinen dt SP edt to¥Y tadt of .Tdgtred ac bakadeobiie:.te feedot®..2 bas bisdebo§. .20to eoasd ts0th sat } lsottosigar e413 bebtova yous Stomisdsast s98 . .Ysotanwh to ‘Qatvael yd dale atsups off Yo auotdostorgstensco sett. aT (5! pr .Qtt).sor0d. bas dale neewtsd auotsoatozd to asveak to ancot adi dood nooe ysdF .OODT duods bo ¢ ¢ ao ee earned tas me 4 ia ad Ag i 7) { ‘ 4 " a : itt ’ ns: . Fa Re. * 7 J Nao Gee Fer 32 Chapter 3. Columns, “Biers. and Corbels. a. Bases of Columns. 26. Bases of Columns. Referring to what was stated in @hapter 2 (under b) relating to the wall plinth, let us first consider the base of the col- umn, thus that part of the column, which transnits the load s supported by the shaft of the column to the weaker masonry or to the ground. As an existing art form was transmitted the base of the an- ticue column to mediseval art. This consists of round torus- es and ecotias, with a rectangular slab. Just where the mid- Gle ages transformed this antioue form in respect to its pur- pose, can one perceive sco justly the new-creatins and the tran- sferring of appropriateness; but one will also come to the con- clusion, that the antique on its part placed little value on the appropriate development or transformation of such forms; it limited itself almost wholly to a perfected treatment of t the details transmitted to it. Herein consists the great dif- ference fininature between antioue and mediaeval art. Both find certain architectural details; both transform these products foreign'to them. Yet this transformation is limited by the Greeks almost entirely to the form itself, in order to make it appear more beautiful, while the middle ages and especially Go- thic takes up this transformation first and entirely on account of architectural suitability, yet without nesglectins thereby the beautiful treatment of the form. This nature of Gothic ar- chitectural forms was first represented by Viollet-le-Duc in his immortal “Dictionnaire Raisonnee de l’Architecture Franca- ise du XI au XVI Siecle.” fhe antiaove base hasrrelatively little projection and the an- gles of the lowest slab easily break off, particularly if one does not have Grecian marble at command. The Romanesaue base on the contrary gradually extended in ever increasing sige and heisht, so that for the 12 th century are truly characteristic | the great bases of S. @odehard and S. ffichael at Bildesheim or of Wunstorf. But furthermore, they avoided the unpractical f free cornersprojections of the square slab by leaving angle p projections between slab and torus.(Fis. 14 13), These appear- 29 ed about 1100. They scon took the forms of leaves or of fanci- ful animals, and they formed at the time of the transition to co A .7 Ul yar? 1. re . z i. Ts | ie ie Pr < "s en if ’ ale a | > ei e lll be abil | i nh at * Bi rey Be si adstgrtiesahy 19 Fal op bins {utess2g dsod. obdged abel ens 3 i asena edt oo) mont batt of . agntblivd) edd, Yo esisq Letaemen patents ausos tewol eid sie ymnordissh ts yrotoetss ysi ods pone bas ns Ol sr ar ard) sitfoog teorsbay att baoysd efostoug Abe: aeris te Tats J -searl otatod askdinxs soksose aao19 Rpkaoain. we 7 -bidved nou & olfe€ monf © oth stot _ fisonstuiol tesdh Aaeneionsssih otq .% .euiuod mosh = .8E) sge% ee bw eokas | ! -efdteeog ae sidadiceny as yilecitaisys at eidd teat o2 #8 818 eoeed ody Qatblind ond to nattolquoo aetis. ,yabor as tt Bs [steasy odd ai asee od von of 26 Ce .2wegq Ssdotd ai beitsd sono ,botteq azsbow edt to “astostsno ovisa* sav aevorg aids atv ij oul ~~ oh a) Aine Ti _ 1 ret Ss a S 21710 4 Veep LSS a P ee Te ae ee aS hk nia lh WOME RE ol ee TP . AY te gs re ie F as ¥) ' der : . ) ey” - §5 oe vA 88 s aabte soon 0 entett based »9880) oft Rete1o0sb axtow : i oe Bais leckise sate eddy Oo) asd gables: alt soa igor os ab eoate 0928 ards Cee aiidiiaaet & beyalq otfex seddons tof” teh betosjorg, saad ont to autos ont Horteg oidvod ylise ody of - -peveol. to. aodoned: bebbs asostidows eat ,dénifg tewol edt baoy -$620096 osizovsi bas. gaiwiedo qiev 8 ,gsoisostois edd dtsened | w bettettse oson, nem aedt .botaixe yenom on tl .soaed to aor _ -=dtod etal yd bomistere1gw sfedsos seed? .sledaoo Liema dtin vn peeeeansse: inaegstt aidtazoq {le tdiw boqaleveh er9w bas of .- babii Ho, 1 (40 o> “ehatdtsosaote to amiot evidzoga todto fae: Wappen Na ) » SY) ov fede: etc8dund semett word 18. stot Ph oedin mee be \\ «BanefoQ to atted@ .d a hin us: 7 | satted® ofqute .8S 190 begstooebh as pei ae dgoome ,boftteq eupfeaswo8 odd. aniast |. _ eevicsmedt efiada edt sony of stew. eamoloo to adisda beislt. egw attede odd Yo moftsainib aid? .bodetniwsh vignoxta onan obsm oxen eitsde edd node .cidto9 yizse edt at aeve banister 2 severed: eisisyes to bezogaco stow yeds tL .enota alate « to | ) sotdtoQ edt of borseqgssib avituainib edz neds "es tsaa abe. ~borseq supssaemol sit ai orgtibaegxs tedset% Atih | teG.ote. gelsoe ,2zeunesol eatesteg sostise doka yd betsvoo: stew a -ome ayeuls ote yserin0o edt ac eamulon ofigo2 to eooslave odd | -=foo to atteds supzenamol ousx ot bevol yilstceqee visit. .dato ee ett $0 «seancbivom @idtaaoc fis daw. asgor betarwi ocd anus 7 \ ot botive olatil yisev yiieses ©IB anvedisq sostine batosise eaods ab betigos2 whitdsse bus s20qst.ens sys sas oF Ja9a9t9 Tissseie. eidiaeog se0teeth sit eworoaitco saeds sis nadt .esosly # Tt oetdtod: .amvgfoo a to tisde Gafitogque edt to taemtastd nod baal ab qin® .evtsde betaine s2o0dt obsdsot yletidas si0teso ster cals evew yout Fad .gs07R 08 wont 10% goasietsyy sit aaw vy eokavod ois af dents 7 © ssuptins, sdt to. agliterg eds bus sgsilotsto aieps odd dik arene eit to Subsult eds s2iwestl atske ai omso (ChIt sucds) “ened St ous touhas eit biswot déiweteds as9gqs2kh yieitine oF si de She aa Pe -“tesA80 ie Wad eit to aanofoo ots to attede telsonte tiesoiverq oa? -eixe ‘ dos ‘ae: no Xosd, polcel dordw. ,anssol bas. zisen9 , tw saivedtt Wom. Seum, 2189" basegous ons: ses0L te Xo esi Gn Fumaceine bel inbowes, ndiutasos to somsadne oad * A 35 works decorated the base. Gabled flutes or hollowed sides were to replace the lackins base. ‘Yet another relic played & great part in this age. Since in the early Gothic period the torus of the base projected far be- yond the lower plinth, the architecis added bunches of leaves beneath the projections, a very charming and favorite decorat- ion of bases. If no money existed, then men were satisfied w with small corbels. These corbels were retained by late Goth- ic and were developed with all possible diagonal changes and other sportive forms of stonecutting. Vote 18. Erom Wiener Bauhttte ete. be. Shafts of Columns. 28 Simple Shafts. During the Romanesque period, smooth as well as decorated or fluted shafts of columns were in use. The shafts themselves were strongly diminished. This diminution of the shafts was retained even in the early Gothic, when the shafts were made of a single stone. If they were composed of separate courses, then the diminution disappeared in the Gothic. With greater expenditure in the Romanesque period, the shafts were covered by rich surfece patterns, lozenges, scales etc.But the surfaces of Gothic columns on the contrary are always smo- oth. Italy especially loved to make Romanesaue shafts of col- umns Like twisted ropes with all possible mouldings. If the selected surface patterns are usually very little suited to present to the eye the repose and stability required in these places, then. are these corkscrews the. greatest possible mista- ken treatment of the supporting shaft of a column. Gothic th- eréfore entirely forbade these twisted shafts. Only in Italy was the preference for them so great, thet they ae ained in the. Gothic. With the again of foliage and the profiles of the antiaue, (about 1140) came in again likewise the fluting of the shafts, to entirely disappear therewith toward the end of the 12 th c Century. The previously circular shafts of the columns of the Fgypti- ans, Greeks and Romans, which locked back on an unchanged .exis- tence of at least two thousand years, must now likewise with the entrance of Gothic be remodelled on account of \appropriate- (Wace we ee ree: J rin oe oS ; “,) i bien a x if f ‘ ty ha te st ae fi " @ his - so] # ay ‘ a at pit: eas Ge benheilgmooos sactzotg Isetg off al igs bavorp oid mo dxsq Ietetourse sind to, dneutsetd oat nt oats ) -batéttmeasit: odd 20. ScemgoLoved’ brs notésarohensss aldsuossss os = wom Avimveado daom edt 10k Waorsqgs ylisivetiseg ef zuro? Ai sacgedt: bus na ene: ited athe) ‘Od sonotalxe th|edt ono anokéa ‘a ee ae a sSinbeootg. svits Yo mrod odd sevsiotaetin on zai aauloo edt to Stede bawor od 4 | ff ¥0 yhno motvosamon osat agniad istigeso eat ..dt no beol ant a { sat: to entot bekasw yiev yilewas sas suede yastbgmtedas ati “mya & asad deol aftds es Sno o8 .tiede asivoyts ods avin baol | Bs faa: bovomet yiseerk oos von af saiisuc sacdw ,wiol leorstes a edd; to. mot ab epasdo s tot bseq) eds ,etaupa edd xo sforio sav § ~ae8 ashind oad node dog -kaleaetq Jon ak nuulco esd Yo state ) %0 noitoatorg # wssee0 shia eno a0 dads oe ,anicd (svauas’ te8M" if - edt) .anrifsdioo) of troaex oF dais toa e906 sao one .bsol sae. | | -mrot me bogaets od auclon edd to steds ods tan) © esnmeioo yserlixuh .8S . Svea. duchons eas .eaoaeros to isxbodss) edv to utodo add al - deabedss) ois to tiodo ofc oT .nucloo yiskriixus as bovisoe1 | eit sbyswot eno ,sauufoo yxstiixus ows hegastza 91s eoyor? to | +) e Se: toetidors: e0?, .ofais. sbte ont txen suo bus oleis slbbin | 9vsq edt nt meidorg smeavens. bovios esi ans® to Lexbedied ond Bb eacadorad eis aezotos e@astiemaib levos to angulosa ows antosiq yd | supdeusmofl ods aS seo doss. ehiead bes Lisa yrosarselo sid to amber! to: Loxbodaso ed? vdowods yraaupest yosesis atesaroto | anmofoo elssii sebnele acl to sassegneais ods adididxe: asds =vst s dows .(°* S5¢ spit) .amsloo aveloum bauer ¢a072 odd Juods ; nesstitdery. eas ok mrot aide Satl oF. .oidtod asmisa ok stkse asset eat af Lseeascnnel te dtodaetl8 .2 at ,sovesT ta dowwad .oFe angolof ts: dogete eateld Bagoqmod .0f 86 st feviase edz yosqmeoos zamoloo wbasle t4gio tetsJ fi Ing Rf2) enzoicS fe Lerboits> oad to, wtedo isntbusinnel sar nt /eedd to ¢tede end: toi tens et eontl yeod nt nwsxd antltco ods oe Ratyasquooos entitvo tafuo1to awerb yltdptl sao odét .:amyloo > et wistiqso: odd Yo, fied edt to okSe.1e700 edd to sans 2i ti Hemcrmuporiy agoads) ody. io ybod edt gevty emeolose 1 1uans ais S sit ersiaditceds to asbo wesyo) Ott Je eioom ond bas { kedwusova ovediindis oad ST9dN ,edasmsieymOS sds. To. agai Bakes |. a a is . ' a 36 appropriateness. The great progress accomplished by the Cothic | also in the treatment of this structural pari on the ground of reasonable transformation and development of, the transmitted forms is particularly apparent; for the most charming new cre- ations owe their existence to this both conclusive and imagin- ative procedure. The round shaft of the column has no relation to the form of the load on it. The capital brings into connection only by i its intermediary shape the usually very varied forms of the 1 load with the circular shaft. So long as this load has a sym- / metrical form, whose outline is not too greatly removed from the circle or the square, the need for 4a change in form of .the shaft of the column is not pressing. But when the burden ass- umer unusual forms, so that on one side occurs a projection of -the load, and one does not wish to resort to corbelling, then ) must the shaft of the column be changed in form. 29. Auxiliary Columns. In the choir of the Cathedral of Soissons, the columns have received an auxiliary column. In the choir of the Gathedral of Troyes are arranged two auxiliary columns, one towards the niddie aisle and ane next the side aisle. The architect of the Gathedrai of Sens has solved the seme probiem in the inave by placing two columns of equal diameters. across the trickness of tne clearstory wall and beside each other, as the Romanesoue @loisters. already freanently showed. The cathedral of Rheims then exhibits the arrangement of four slender little columns about the great round nucleus column. (Fis. 26 15) such a fav- crite in german Gothic. We find this form in the Riebfrauen Church at Treves, in S. Elisabeth at Marbergs in the finorites church at @ologne etc. 2 eee se 30. Gompound Piers. Later eight slender columns accompany the central column, as in the longitudinal choir of the Cathedral at Gologne (Fis. 2719), the outline drawn in heavy lines is that of the shaft of the column; the more lightly drawn circular outline accompanying it is that of the outer edge of the bell of the capital. The angular enclosure gives the body of the abacus lying thereon, and the hooks at the outer edges of the ribs are. the spring- ‘ings of the compartments, where the tfosshave separated from iP ie mh i : ey ay ‘ a : 4 a a Y reo he ie ? ae oo eae ategy tonto. tone fis omnia i a gebke: HeI AeA DH, e ‘aa sekeen Gok 2.81. ston, i ee pois aisemd:s0t gntbaoqaertos adt adididxs 2 ge .att, a (etel) setedh Letbedssg) oad Yo ifodo ent mr alfsw yiote inl Te sconehn ede dtsoned beosig, ysesils 2 aumefoe to quoms “ etit) $8 nla edt betasszerqer at °! eS .ard nt. .aedoms: Lenoysis a . ofa St og 329 ak bas wuitotisc# edt to tdated pedve "Pe 2G apts. als. swobuin ytotatsefo eds to sdated edt ss ask y videeadicntt. tad. ytotarssio edt) to atingy odd wed uase ad yeu q #aesetith siiup bsovbe1g cals evad annuloo ¢isiltzes ogedT f { om: af. z9tomarb oaT .nmeloo od¢ Yo FIuda add ak anorduogoig | -9am09! taetora odd af ae .aauloo. eds to tdagied edy yd haxtt +9 i: nage yltetdo t& ;eieesD bas. anstdgyg9 odt Yo aaic} bstats ‘a } i et906 team tf seat ,heol odd to shatingsa odd. aoqu. 4 ‘wono. garaged eis to sotesusib odd dedt Quitiygsd swedoe sdz al. edd) to tdgiod edt of benotss0ogoxqg ylefoe ad bluoda nottoea ae | Dieies2) et aavfos edt doldw soit HDsol edd oF Disger Tuodsiw omeloo | ; -amiot) oms2 edt of gonatedbs sit tot acoaset ens aati yisaeusqgs | absofieds to sottudiatath oat ai 10 nalg at saemsaianst won of _ = aseitdgeodd ed autos boise. odd nk sgusto 8 Jimseq binge 698 bus ead. boms0% aan. auudoo edt ydw .soktqeonos. odd .gabvasn . 4 Batteustagoo: bas gattsfuciso.s to soys. odd déiw awoiv. sao. tt | eaods déiwatedt bas slamed guvtins edt to alistsd add tostidows | =qg4&, atoetidors. asice19 ods .{ssensk ak sagtostidows supitas Yo _) 9%8) dotsourtagoo. has eastoaaido1s modw, of ,aaetaqluog satl 4609 | =Lleboasat0mseve: (eaciog.6 to noteasageg ab 928. odw sad ,agierot i” =dotq: Isauytoetidois svios sauma dofda ,oibuse odd atyategs bal _ deed) oved tau noftsivoise Isotisia yad .dk 03 agistol ame, % een ed tag@ yodt satwienhto ;medT oF awondag ylesicas / tae" at tongit to saemibodas sat .emt0l. odd to Lisa to sos ae ee, \(998) Ulexbedted asliv to watoitisé)ekd at “sonvtoa suodtin e aiddint taegs elbbiw odd ui egarblivd to. eoitets 3:8 .qedd +(doudbasi odd to cte4 ! Jedilentésnbtas ofdtod to afisdgssdt oF gatnister woll es mobgett exttne déiw sausloo yisélixus. seeds dexogaid ad Pnerersenengy: ddgia yous gsds ,asdmua doug. af ads neeeee. cabyesstioneria: ‘Btzoaauoy Saspasdows gacrs ,edit edd avi * j adoadidors..o0t stiodo Lenogglog al. .awiet psec gas sot emtot bavosg. Levo of ‘bettoao4 37 each otner. elote 19 From Schmitz. Fis. 2 28 19 exhibits the corresponding pier beneath the clear- story walls in the choir of tee gathedral there. Here a richer group of columns is already placed beneath the transverse and diagonal arches. In Fis. 29 19 is bie abba the plan at the height of the triforium and in Pig. 30 1 9 the corresponding plan at the height of the clearstory window. In Pis. 31 19 may be seen how the vaults of the clearstory rest thereon. These euxiliary columns have also produced quite different proportions in the shaft of the column. The diameter is no lon- ser fixed by the height of the column, -as in the ancient conse- creted forms of the Esyptiens and Greeks; it chiefly depends: upon the magnitude of the load, that it must bear. In the scheme reouiring that the diameter or the bearing icro- SS section should be sciely proportioned to the height.of the column without regard to the load for which the column is there, apparently lies the reason for the adherence to the same forms. No new requirement in plan or in the distribution of the loads could permit a change in the sacred column. The thought was wanting, the conception, why the column was formed thus and so. If one views with the eyes of a calculating and constructing architect the details of the antioue temple and therewith those of antique architecture in general, the Grecian architects .ap- pear like sculpturs, to whom architecture and construction are foreign, but who are in possession of a scheme, evermore model- led asa@injin the studio, which must solve architectural prob- lems foreign to it. Any stetical calculation nust have been entirely unknown to them; otherwise they must have burst the coat of mail of the forms. The embodiment of Mignot’s “ari without science” in his €riticism of Milan Cathedral! (See Chap. 8; statics of buildings in the middle ages; in this Heft of the Handbuch). : Now returning to the shafts of Gothic columns. The architec- ts disposed these auxiliary columns with entire freedom and en- ployed them in such number, that they might conveniently rece- 2/ive the ribs, cross arches and voussgirs above them in their 3) numerous forms. In polygonal choirs the architects themselves resorted to oval ground forms for the principal columns ‘in :or- bate x - By oe he en mana t 4) - saokdorq od evloe ot tobs0 _ slgusxs f& atnesetq. oatnodtt fatbedss9 eageloa to thodo Af, . _perbalteczorat has ea0gieg avi gatéteaas ylisske dtod .wids YH | nalq gaibnoqser100 eds etasestqet nisgs Sf os.cae8 ..(8 .act) “940d wobaiw yiovareeio edt-to adated eds te ovoda awitg ade to ‘eda ai, .tiesv ysoterselo sad Yo adia anibasdxe edd ddinw cade edt ai: bosaeiggss asw asuics t6913 Jeomteqat oad atods avea aa. Dbesteant o19w toeteds bsetant bas ,wteig basoquoo sasilase etm ah $dt toanaeo dotdu..anollod. 10 syson00 yieitias 2908 t '. seanghoo a Th saaea: asuitsd? ,tlow? ss dowd aakosetakdisds. $0. 4i040 oat , -flatididze yiaselo s20m .zonnsdol toatidors yd Bsr - Saer at O86) segka .S ttef anibooetq odd 902) .tavmgoleved to gata sid | Qwetq gutasoto ode at OF DS. .at% .(doudbdush sidg Yo .OSf bas 4 pt9iq sdt of absouzeti0o fosavoloved Isotgdomnyea eft at doidw ) + ofod ta Issbedts9 add to tiode anol -sdt to asiais sbia odd at gaetemath ait yltoexe taomls svsi attcde ¢set% tot od? , .onk ‘Be9dtd seiwodti. bas .motleteds Yurbaedxes adit ods To, agzot baa | seviude vleritae ots eissiges eds yabauos. Lanoasid alissl a0t ‘4, ed¢ afytetg, Saibaoqaettos. sdi stusasigas Of ss -3k9. .b9f5 geeutediesodt bas woRylog iiode sas ak tetg sat ystons. gaol | gottelos ofgus. od3 388 of SS .2ait ai aves od yaw slsaqedo add Bo iciues, a@Si “att nk bedeatauili ai alogedo avysa edd to bas edd ts a .S34Bdusd sonedh more 08. 9901 is astaseat yo DOSf-afvagked ssw doidw ,ogke19 ta L[sabeatsd od P sa) glatetzeo: tad. .saaagoleved to, gota txon. sdf awoda. ,a8at4) to feyeomoe .tiodo, gaol edt to 2isiq edt 10 .dstitsead. s10m, tou » asedtovno. :abso0us ad¢, to sedous oft désoned. 2istiqaso. sasaaog _» 928d) odd of awed noitquitstal tyodsiw. baotxe egathisom add Ra Ts od tak fd) Bit jatetq. sgedd to s40 adasagiget TS te 22i4 .etooredt at Sen. .gc9 bas nvisotixd oft Yo sdgiod ods ve ovods a vo @. ewobaiw ytotarselo odd Io. ThBied ods Ja. an0 gatbaogaes Bo RAiuvoth s*ahounessd monk .i% st0¥ ‘ ebaiw odd ng0wsod, bas: mpitotias.sat at atatog gastrogqua on Lit wom. taum ono teat .eodoni s1sspe wolt.oe oF beovber ax¢ awo Eivadenios tobto. ak wutrotias. ods ta teig odd ai aniaoge edt qu te ) edt s919d yew awo sid éasw s9lue9 asveF .oldets slodw add | eens hr cg yisaebive, toszscsie19 aid To agia age. naas ang: + Loneme gm opi 08.,0ad8 ytote reqgs "4 38 order to sclve the problem. The choir of cologne cathedral likewise presents an example Qi this, both clearly asserting its purpose and interesting. (Pig. 32). Pig. 38 12 again represents the corresponding plan of the pier above at the height of the clearstory window toge- ther with the extending ribs of the clearstory vault. In the nave there the innermost great column was suppressed in the — earliest compeund piers, and instead thereof were inserted sur- faces entirely concave or hollows, which connect the slender columns. The choir. of the Cistercian Church at Zwelt, that was erected ‘in 13843 - 1848 by architect Johannes, most clearly exhibits + this step of development. (See the preceding Heft 3, Figs. 30 and 160, of this Handbuch).. Pig. 34 2° is the crossing pier, which in its symmetrical development corresponds to the piers ‘in the side aisles of the long choir of the Cathedral at Colo- gsné. The four great shafts have almost exactly the diameters end forms of the ribs extending therefrom, and likewise the f four little diagonal rounds; the capitals are entirely. shriy- Led. Pig. 335 20 represents the corresponding pier in the long choir; the pier in the.choir polygon and those between the chapels may be seen in Figs. 36 to 38; the angle solution at the end of the nave chapels is illustrated in Pig. 39, Hote £0. From Wiener Bauhitte. The Catnedral et Prague, which was begun :in 1844 by Matthias of Arras, shows the next step of development, but certainly n not more.beautiful. Of the piers of the long choir, some ‘yet possess Capitals beneath the arches of the arcade; on others the mouldings extend without interruption down to the base. Fis. 41 21 represents one of these piers; Fis. 41 is the plan above at the height of the triferium and Pig. 42°1 is the cor- responding one at the height of the clearstory window. Hote 21. From Essenwein’s drawing. The supporting points in the triforium and between the wind- ows are reduced to so few square inches, that one must now fill up the opening in the pier at the triforium in order to make the whele stable. Peter Parler went his own way here; the de- sign of his predecessor evidently had broad wall piers in the upper story also, so wide as result from the two strong tracery PR ee Te enue, Se aa sth to pbiavaions: awoda wobuiw oat 36h et ak seaentie q.(dowdbast aidd-Yo § SIah gafds001q sat wi SSI .BrT 90%) S 90098 .teiq vqmuts aids too bowoldod ylertsas selse 6 bo @nobnin yiotarselo: edt Yo acisivebdss saidtsqaxod asia a Tas aap: dotdt eft to taomvhgastas sldivitiedatas. eatuedis ‘sort ods to. agiesS od? santtotiat of3 at 2a wobatw ysotaxselo a: Rukddosoe) saiwsxtt at auivotrat afd at sbeqdegisd, patdoototg po agiseb add ai yeserls, batetxe yitaebive tevewod. dotan . leven ieee Shere pene teow sno said natseb 2 .asitiA to asiidia to is “* WE ob | \ ‘80f0f0 of6¢[69 odd at ated | Cacandinaciel to. dorgdd Aaivet oid. to tiodo sdf ai exatg od? “etd peauelbh ofat omoo alstiqeo asdw settsmiotesags aledt wode ; iy M00: 25H. th, bas, .telisd 19399 YG Gaiwedil esa suutouita “ttodo to a00d. satel ebieed avityizocent ns of gutbtones .088f ni baone Bape, ohie 20 SS weeigese ond, a 9 Oa 19189. doiruated. to 1O2 terag” a ade mode .gatditud atdé to 19tasq Saooes ,sidaw2 at Safed mort | foizssesm obsm bas ydio bise edd wo} ddgaowd VI (185- roteqae aussie: doos oa Oa8 . bio. arsey SS madd ass od bad -.dowgdo aide bode at thoto arat.beaoqmoo bas 348 bod edt to assy edd af ier afl{ste. edt b2ogensoo,ad usey dotdw af .598f bied eds to ise p=ue: basietatee L1s to afodo eit hedatatt ed. bad .stoda aids to moktebasot sav mozt asked bus ,oRdttd asbloW odd. Oebastaixeg 2 Sodi¥ odd mo abtol mir tiodo. ond tate vey gas sebtieakes begtndo yliosstoo essai 2.8% stok e a 0) ) .BtNOFeD ofad Heomado yltoawoo eth. .b& stool hg ) bata Yorasisad 18399 1 Atstuwel sof . 8 stot - . Rear Lol w) OO) ow ERBU ,eUQONT BEE .q) a osengens mb: ted 5. mad, | -asotitasd at dood affod edt to atodo oat . “Et habtetsesonsade: ai seuity, <0iFa08 Bsor9 6 evad ao Ce 4 ne y ed ' j 9 " Le pS 89 ) mullions in Fig. 42; the window shows four widths of glass. (See Fig. 128 in the preceding Heft 3 of this Handbuch). Peter Parler entirely hollowed out this stumpy pier. Hence the pec- uliar hexapartite subdivision of the clearstory windows and the likewise unintelligible arrangement of the thick posts in the clearstory window as in the triforium. The design of the free’ projecting balustrade in the triforium is likewise something novel, which however evidently existed already in the design of Matthias of Arras, @® design that one most commonly finds a- Sain in the Baltic cities. The piers in the choir of the Parish Church of Kolin then s show their transformation when capitals come into disuse. This choir structure was likewise by Peter Parler, and it. was comm- enced in 1860, according to an inscription beside the door of the sacristy. 2° Kote 22, See Veuwirth, J. Peter Parler von Gwénd, Bombau- meister in Prag ete. p. 115. Prague. 1891. “The erection of this choir was begun in the year of the Lord 1360, on the 138 of the calends of February, in the time of the ausust Prince and Lord Carl, by God’s grace Roman emperor and king of Bohemia, by master Peter of Gmind, stonemason.” bikewise in the inscription over the bust of Peter Parler in the triforium of Prague Cathedral is mention made cf this choir structure. (This bas almost entirely disappeared). “Peter, son of Heinrich Parlier “° of Cologne“, the master from Gmind in Swabia, second master of this building, whom the emperor Carl IV brought from the said city and made master of this church. And he was then 28 years old, and he took charge in the year of the Lord 13856 and composed this choir-in the y year of the Lord 1886, in which year he commenced the stalls of this choir. And he finished the choir of all saints and su- perintended the Moldau bridge, and began from the foundation the choir in Kolin on the Plbe.*> Hote 28. Here correctly changed into Parleri. ‘Fote 24. kere correctly changed into Colonia. Fote 25. See Neuwirth, J. Peter Parter of Gmtnd, Dombaumeis- ter in Praguvete. p. 116. Prague. 1891. 35> The choir of the Kolin Church is basilican. The arcade arch- es have 38 cross section, that is characteristic for Silesia, yo het fla a i ka | ay hw bade. kal Pi bi ao ets t iis vias | (iE we i 4 pe ie i ead bese rere sinka LA asiateoh eae bas mre 3¥ ~ yipieesead De Granny 9ead od? of awob ayatq oad woLtot - ov oag mort yisnexsltid betserd ers etiuay ais to adit ods yim J dott iaogresat ‘edd Suodtiw meds Fovatedal bee adieda iso + mrashg wottosetetnt akds oldtaacg oles of t9bte al siatiaso eds ,atteda Lsnitsey ods wort adhe odd to gateatige Isobats — plosd qai of J92 918 asqxtaeo dots 943 Yo sSHgted ods 3s atta ea¢. Yo seosTtisa vit toom wbagor toris to atelLit eat gine seat Ee Blson os th. .ught at aasiq odt yd uwode as ,adtede Laoteray eat Sd. 0879 .troilo: edt to atxs odtiak tefg edt eevib Sd .eb¥ ogy fog. adit dotdw ao gedd af GS waif bas .t9ta antaboybs oar Varese gaol edt to tetq & acied 56 .9r% .euteged aLodo sdt to - edt ef Gd .gf% ,afeqsdo edd seentod tatq & atnoestqed VD nit — -Raksostorg elbis ao at Gb .9f% ,alegsdo dae edt Yo sola of3ns edt ebtesd Saftoqg &atyektqe sit ar 02 ott a8 .feqede sis ofnt E pbnb S008 2tek sutbenera siz ak Set .ytt cee oafk) »¥taitose ade — wobuniw. edt to asiq edt aevrs SS tg REG -tdomdéani G aR efldniiq gaideixze. oft 918 asnhl gateoLons eaten -O88@ BttSAnns doneIh work .9& sto Tsoi tov odd Josatetal adis adi ylao auBmoloditeS .2 ta sfidd -_ nemnaapoa oale gedors ebso1s eit Yo selttorg ods yatteda edit ved? bas .aoas deeoned etetq ods to awollod ode agiacqqa tatts9 IstIoSgwedmoo Sas mk aldd Salt of .tedvo ose tosetetak ebso1s' edt rebaw betquetstat ers addakigq eds ces¢alD a doxgdd tee, geds att a ttodo ait to saemaveg if sonia ,gedoxs bal eT -2ists ede to y to y#tlegtborg ong: wodg esnnetY Js aedqet? .2 to atetg edt. Roe tuods' ts aensiq dove at hevolame asm sed perience e am bas abawon Isupe svorsws eaedt to footts eat .(@86t) at jekstbluoe begada s60q yd bsitiiied oals 91s: esostuve. sacdw 4 ) Seo0\ ode 109 .dutdiate qiteluottisq 100 Lutidused teddien. SP avtie site y1ev set Hetou1saqoo seed eved sizim seiq dove ono | eae : Utiotignts ofdsod. vires eas at atetgq } sebienod Lipieihdilnalii Lieto mans: tanenllaihtile teed | gree nO et Sn teas ‘it antiga oft O° p@ card ak bas eeigonso ait gerasa04go1 O18. ‘~pareinatanptiteciea qidgid abaertel eds yetigey ads to i (a8 nevi = .kaidtcosnote edd to tuenqoleveb ads Ub suegKe aah at Uiovetaqea déx dose eainraseb ono ; ii | % | rn i Pan a Fae eye Y 7 a he Vad -)* » Sk ina & ube Ps ia y | a t >) 40 Bohemia and the Austrian Alpine lands there. Their mouldings follow the piers down to the base without any capitals. Yet the ribs of the vaults are treated differently from the verti- cal shafts and intersect them without the interposition of a capital. In order to make possible this intersection or the Sradual springing of the ribs from the vertical shafts, the r- ribs at the height of the arch centres are set so far back, that only the fillets of thier rounds neet the surfaces of the vertical shafts, as shown by the plans in Figs. 48 to 50, 28 Fis. 48 gives the pier andthe axis of the choir, Fis. 44 is t the adjoining pier, and Fig. 45 is thet on which the. polygon of the choir begins, Fis. 46 being a pier of the long choir. Fis. 47 represents a pier between the chapels, Pig. 48 is the angle pier of the end chapels, Fig. 42 is an atigle projecting into the chapel, and Fis. 50 is the springing point beside the sacristy. (Also see Fig. 125 in the preceding Heft % of this Handbuch). Pig. 51 26 sives the plan of the window jamb. The enclosing lines are the existing plinth. Kote 26. From Wiener Bauhtttte ete. While at S. Bartholomfus only the ribs intersect the vertical ( shafts, the profiles of the arcade arches also mostly change opposite the hollows of the piers beneath then, and they like- intersect each other. We find this in the contemporary Parish Church at Glatz; the plinths are interrupted under the arcade arches, since the pavement of the choir lies higher that that of the aisle. fhe piers of S. Stephen at Vienna show the prodigality of p profiles, that men employed in such places at about that time (1859). The effect of these numerous eoval rounds and holloms, whose surfaces are also belittiled by pear shaped mouldings, is neither beautiful nor particularly striking. For the jcost of one such pier might have been constructed ten very effective piers in the carly Gothic simplicity. Just as little do the bases come to their own. Consider the confused breaking of this member in Fis. .52.76 In Fig. 52 26 are represented the canopies and in Pig. 54 2© the springing of the vaults; the latter is bighly instructive on account of the development of the stonecuttins. Even as architect must one determine each rib separately in its extent, if he desives = Ag wh i at yy atl Sisal =, (ie poate te went Bode ‘to. fysoeds, teno8a ia caeinei ade \idtieasnenit ow Phat PRT LM PRR G TA Moor 4 e oeeetoge* Ley eoyewo niet basbaincaet cabelas gd? at) aegef ying [isda 2¥ - 5 “920d 10% ati eh: eh 6idsod ylasae edi Yo emaot aalqmia e439 yd Pa er eee emontd 20 ataomegastte gatdiwitaro-aierd BS aie 3 - -@0%ed2 buwots. ebasd . re | =dasbive o1s— yedd qatteda bavore ebned ag900 bianao OOTL wort DS castade ei% to eeoetg gaol odt 10% avis 26 svtee oF bebnedai of teeqqseth of ,ordso9 ylass o1btas edt tuodguouds aunidaos ysdT / tent .elisteb 1edso yosu os atiw dedreyet oiageg dgia oar ai .~feiaaotdius .afbtosdsapsd edt to patldwob uiierao ai mot > on) a «(85 ed o3nt4) .aslqmaxe ylasseew atnsanta oe Me eR RiNe sah 81629 Yo avieag .o Ves humn i Jnengelsved «Ss tact ea at nalubanesin afalq s1¢@ etefq end Jo ai teie aaT en bedostis asw ofeia ebia e473 sxon- Lhive tu9 .d18 suoge ~ietdsiaedtoiW .dows asoio s sisd? avisee? oF tehao aL anvleo - SE agttita of gniliveo) asboox sdf avseaed baasst yleteisqss asw j dos8-eetevenstt. ed? to autantsed odd vodo Js agw ti 10 .Setaed | | S.@uscegeta dog? .bemtmroteh 4d yibted yam .tinay sz0v0 8 to - -ongolod ts aitas¥ +8 tee78 bas losige) mi aite¥ .2 yd boaagzecd | “ol sont-etetg saeds oF bedostis 19781. ateW agmelod tiea ow? », . igas: ebsota to e9itee bnoose 5 ttogyse OF NOdToOnxLO Leutbarts ~Loouiebaela diosa ydyhsts1cosh og s1em egeds wiadiasd? al. .2o eam, eiieai® sagas babded) tus bowollow ase edota.s feds .enas _ tetde ,olets elbhig odd sxeu amuloo ted ddqwet es bebds ois . «diusv oat 40 dowd satevansit ont te0d of bobaetat ogls as k dod te sodas .2 nb bavel so of af tIneaqolaveb saadoit atat signs. atin aretg atalg tesdsigY ods. eovar? te asidtiek .2 ‘s0igua- 200} ast Ermerostoces beoliso-oe edd t9au at e128 anne e. ij -atted@ ilewe yd beselqod ous b arora: aaa balaladan aeus sien sieig Yo eat sesds mo7l 8 8. dkdsdxs ous desageet yimiotiny o1% dokaw .ofasod. yluee ak | we19 Rataredo seed?) selgas rtttostotg dese ta amyloo tadsela ers J odd has gredmaGivs. Is1b2ds80 90% ys boaidtaxe evs eaots | ae )/spelquexe fo8ttsesd soon eddyateevert ts aowwds ascsst i _ advo sestivasveds at yisal oF evicet at qT5iq Ousogmoo 4 oa ag (88 Sh sap 48 of gotdmd 6B Yd anoda ydsotis 2s ‘bu tevedstd enanedenenn -stved 3s ofedoost ; bs. 4 4 he i. @ ae | asf 44 to disentansie the drawing, --“a secret theory” of the mediae- val “stonemason.” We shall only later (in the Q@hapter on Vaults) train our eyes by the simpler forms of the early Gothic springings for these brain-disturbing arrangements of lines. 81. Bands around Shafts. From 1100 onward occur bands around shafts; they are evident- ly intended to serve es ties for the long pieces of the shafts. They continue throughout the entire early Gothic,to disappear ‘in the high gothic together with so many other details. Their form is chiefly a deubling of the baséi profile. Maulbronn al- so presents masterly examples. (Pigs. 55, 56). | Ge Shafts of Piers. 82. Bevelopment. The shafts of the piers are plain rectangular in early Roman- esque art. But still next the side aisle was atiached a half column in order to receive there a cross arch. Whether this was separately turned beneath the wooden ceiling to stiffen it better, or it was at once the beginning of the transverse arch of a cross vault, may hardly be determined. Such piers are possessed by S. Maria im Capitol and Great S. Martin et Cologne. 36° Two balf columns were later attached to these piers in a lon- 3/gitudinal direction to support a second series of arcade arch- es. .In Thuringia these were so decorated by such slender col- umns, that.a niche was bollowed cut behind them. Finally was also added a fourth half column next the middle aisle, which was also intended to bear the transverse arch or the vault. This richest development is to be found in 8. Castor at Coblenz, S. Matthias at Treves etc. Further plain piers with angle col- umnsS are in use; the so-called paneled pier; its four angles are replaced by small shafts. Brom these forms of piers were then developed. pax penal piers in early Gothic, whien are uniformly recessed and exhibit as slender column at each projecting angles These charming crea- tions are exhibited by the Cathedral at Bambers and the bieb- frauen church at Treves in the most. beautiful examples. A compound pier is native to Ttialy in the earliest Gothic, as already shown by S. Ambrogic at Milan (Fig. 57 27) and §. Micchele et Pavia. Beneath the transverse arches stands a ee St a TY m4 Se Ss LAS Ore so TES nth ss ti ale agate Gee sh My ’ 3 ets hhnobette ea%, tebag: ;ratq qelogasdoss nisla ri 0082 etoted yiduode betentgito. asdotudo oged? jasasloo bavor te) dasis? sa, ierbedsed eat mt bivet ove axetq {few omsa-odT < | rfeveb poonsvbs ai ues69 dssdotwdd datisd eds af bas (sree 199 pr rimehans smisd ts Hapeteas edd. ag mone spe gaiwadil of . .tasmqo Pemenvs 2o0alq. taiiaie | ebsobm0d enot eos Hdouk' s4uB Sbus% .ob .Gsiateatsxed mond 8S Lays bhtvene My e8B3T-GhRi .etanG ots cf bes. -aanmsLod to: bas aqetd. to alatiged .b 4 ry aC Ee -anauiog, to sissigsd .85 \ aelgoitisg. .bsoL & autvivoss to. aeldotqg sis asd. [atiqss oT _ %o fas .b5etissy to Issnosisod iedtedw .grifies edt to sada yl » @tede etds eonte tf. disensd stsde sas oF th gatstimensad -/ebsam at t£, ,oidtesoq es. sosgea eftsil es yquooo yliszensa seum $f odsa of tebio af sldieaog Isfisssm taed to taebtad edt to »@& evods sailieno.1so atiusy odd olidu .oldiaeoa as tobdusla as _ qua togiel & etigosr stotsienid bas Leiteten sasdtor to secenoo q . 2 saasdo: daca ieisetsm gnitioqaua odd agoasey dved tod .710g | -t9002 daum ti ..0.% .noksova ezoro, 19hisma 8 ot zegxel 9 woud q * ~f00; Sdti mo ti) Peds. aselo ai 31 «god ts anttostoug wiol se av sq atk .istigss edt os nevik ad cotsoetoss Sigile s sud yusad telisne. 8 oft sobtoes) aaoi0 teg91eLis gattuwansyd to ysirattao | -=tuqoatt alktitiot; vino si fsed¢ bas .teol ylewisas daoais ai sno | «itoea azote beqsda ylsnetsltib asiw amto% ond gaiaiot to saog meds fanuot s tedvet, sonetdeixe evi a0ed, esd szoteisdy bas, ,aanos ae eafasc Llagetaa 8 : Decals he edd tokdeint wegen: ove. vlatedses. orsds. nol: | @t af Sioowstiw yilevau: Gi) aiaT .szoqaug Llegict so avier oF, aed oy tae bagoguetat od oF aki xo mio? s to bae odd xo bsed odd od ae \sgneitoogkS ambtettib ows avented aoivoeg eaoro omse siz y p ithestaess att yd teum (etfqsc sid to, edew euyotyey. casdd 704. ‘3 : - ods, tedvedh .eye odd ot sldtgilledat aevloemeds to sbhsa od ' mofdevo s t9dtedw .evsonoo to xavnoo sd Isiigeo add to outiavo * aa Qnotta edt .boyolqus ed wtol tedte yas to istiqes [isd xo pecan qistiqso) edd, to noisonct; gutused edt woda Litw aoivoot Seapine eataoan glaces UISItHe edd to sottosie1q oa aeve oot ‘Don di aetdiansss dif@amtol veds .oyo ody tot sacget | “aptee: boiteitan eahyeepeaes aad at .etmemvvom 10 anyok taeaek se Sad alaatqao. ons. cies aiaciatataa taoad. og, Lkin te ae ~~ 42 plain rectangular pier; under the diagonals are added little round columns; these churches originated shortly before 1200. ?The- same wali piers are found in the Cathedral at Trient (af- ter 1212) and in the Parish Churchsat Bézen in advanced devel- opment. We likewise see them in the €athedral at Parma and s Similar places. 27, From Darteinic?. de. tude sur l’Architeeture Lombarde etc. Raris. 1865-1882. Gd. Capitals of Piers and of Columns. 88. Capitals of Golunns. The capitel bas the problem of receiving a load, particular- ly that of the ceiling, whether horizontal or vaulted, and of transmitting it to the shaft beneath it. Since this shaft must generally cccupy es little space as possible, it is made of the hardest or best material possible in order to make it as slender as possible, while the vaults or ceiling above it consist of softer material and therefore require a larger sup- port. For beth reasons the supporting material must change f from a larger to a smaller cross. section, ise., it must recei- ve a form projecting at top. It is clear that if on the con- trary but a slight projection be given to the capital, its pe- culiarity of transmuting allarger cross section into @ snaller one is almost entirely lost, and that it only fulfils its pur- pose of joining two forms with differently shaped cross sect- ions, and therefore has for its existence rather a formal than a natural basis. ‘Now there certainly are cases :in which the capital merely has to serve a formal purpose. This is usually where it -is to be the head or the end of a form or is to be interposed with the same cross section between two differing directions. But these various uses of the capital must by its treatment be made of themselves intellisible to the eye. Whether the outline of the capitel be convex or concave, whether a cushion or bell capital or any other form be employed, the strong pro- jection will. show the bearing function of the capital; less or even no projection or the contrary merely creates a point of repose for the eye, that forms.the transition between two dif- ferent forms or movvments. In the first case, artistic design Will so treat the outline of the capitel, that its shape may oe 8 fetes eodescback-asdsebon sage 14078 viteor oF tesqgs don i iS to, suiituo odd 10% sagbrad ed? tatcer. ylanouwe ytov soarl aK eoeuatorg edt etoteted? .seviesdo add toetts yLitoosih Latiqso | =n9t frengu Lottenog aids ni oteqgtottaey todris. Lite egatiot ov a “toate elonc0L oa od yeu ti to ,b80f betieqque edt tabag yousb ,008 étuewavoa oft esiasdqme; ot Jon as chod auiduogque edt of bo a Sasiettib odd ab atesqqe Lstiqsos 947 wot sutusxe wou an tod _ ~feqat eee ony to oent basorig futsiatt sds exoted eatitaves oe pate notdand .as me fetéeiad) yixsd isin YIsSiogmernos somete ac eatot sat e ylezolo eeol to atom otedbs ysd? .eflistsd aatbuoquaties ad¢ as 89 at beiseqqs neds OOOf asey sd¢ *uodk .ewotsas edd of y bad) Ietiqao akdd davoddis .istiqas notdewo ads .wrol waa 2 os #09) vixs8 ed¢ Ratasb guitaszy9 ai desasvnk vbse1ls aeed oz a add dasei JA .evitdsa assed sved of arsequs bye bolusg wei tom. ai Latiqso. aids tididxs alqoutsasdenod te eatetato eur sqmooval Istiqso won) aids to ydod notsiensas sat oes Leveneg ¢ suge 8 aovtesoor qot 38 vant .sasigesined besisyvsa.s to base sist bonita oais (38 Sd .2s8) anottose L[aotsasy yd mtot ve WG seb100 | (8° 9a .2t4)caaot isnogatoo ms gat cma? it eh) | -Blorel now % ode mont” (Bf ato x ts fesdorM 2 ai sie eisitgss iofdego aamied szetlias sa? ps2 bas: exT09s9 .2 ae -596) soxolog deem teLienusra: ,(@2or pasar 2 -ong0fo8 ta doosl Rone | \) selatiqed sordag® bsttemsn10 .4@e patnoteae ets aistigso saead yisiaso did ff saF antasd aliaw 1 918 rene fota bas efsmins yistnaso is Sr eit af ately DS etatadind y(®2 ae oF 03.0257) aeestaue teat no betasas4 ata suisse #eav .goltednsasato [ottoas? 4 tua seailot {sauraa wo .nsitetidd yirsed eit wort beqolsveb yllesbarg aafhiusmse } ak soitssa9m807%0 egpesnsios eids asw Ssqolsveb ylbtbaslae bith ts Isadotl .2 ab alsiiqso: Sasig eaf «sage ak bas yao gaso8 te (8800 at Setsothed ,aok¥eucveot g4f moet) aies ene cane’ sviten sds to xantio edd aio} 19ds oder ate brs. re fortes aiveQ oft al .(95 oF 83) .28£4) oisniveied ote ot ne aneeeed ‘ttodo towol sdz-to eletiqso edt ao .giddedasy ip: ee ‘5 ‘he i uke ei "a sbeb) sngoiod ts fotiqed wi sits .2 .(€SSOr .b96) stedesblis- 9 exo%s tertt sageneiuedS to ops 943 ,eu of dsviensaa gon 848 ed nisd ta 6 os soni enema Sit 9%8 mods Asiw yretoqgueincQ } boxim ens/asnassat0 a att (OF .9t9 cost 44 transitional bo@y appears @ novel and natural decorative art. This latter did not originate from inability to further devel- — cp and to sculpture the Corinthian capital; for the Sorinthian capitals were then executed in the same building and at the same time: no, men were evidently tired of the Corinthian cap- ital: the impulse toward novelty created these surprising forms. These were not at all Roman, not to mention Grecian. 84. Cushion Capitals. The forms in France contemporary with Harly Christian art a are not preserved to us; the age of Charlemagne first shows us the corresponding details. They adhere more or less closely to the antiaue. About the year 1000 then appeared in Germany a new form, the cushion capitel, although this capital .had al- so been already invented in Byzantium during the Early Chtist- ian period and appears to have been native. At least the nun- erous cisterns of Constantinople exhibit this capital in more general use. The transition body of this new capital is comp- osed of a reversed hemisphere, that at top receives a sguare form by vertical sections (Fig. 58 28) | also frequewsay tak- ing an octagonal form.(Figs. 59 28), Yote 28. From Dehio & von Bezold. The earliest German cushion capitals are in S$. Michael at 46 Hildeshein (ded. 1022), S. Maria im Capitol at Cologne (ded. 1049), Brauweiler near golosgne (ded. 1071), S. George and S$. Jaceb at Solosne. 25. Ornamented Cushion Capitals. While during the 11 th century these capitals are entirely plain, in the 12 th century énimals and rich foliage are rep- resented on their surfaces (Figs. 60 to 65 28) certainly not natural foliege but a fanciful ornamentation, that during the centuries gradually developed from the Barly Christian. “Most splendidly developed was this Romanesque ornamentation in Sax- ony and in Hesse. The grand capitals in $8. Michael at Bildes- heim (from the restoration, dedicated in 1186), at Wunstorf and Kénigslutter, form the climax of the native development. flontemporary with them are the beautiful capitals at Gelnhaus- en in the Palatinate (Pigs. 66 to 69). In the Cathedral at Macdeburs, on the capitals of the lower choir aisle: (begun 1208: Fis. 70), with the native ornaments are mixed those of 1 aa?) we reer, t Pale 2 Wika ie ee et ee ms tk OR ee ap. ra ee a vi “e eT eg A ee Ae a ee all cw, a : ai Dae Le alts ath aici ae eves te steeaisiieae al Sinan m ia — c? a3 teas tad Letiqso nottauo edd a9tsetmoheqq toguol. on er ! Te ba ate Va hh if : a nay id gs ay eRe, p Bet , Te 7 ae : ih ee ak oes ves A28 ah: ht apiM) ncenddated:seidonsd’ sistneveddiatoes 2 sao. etd aod oatwodet ef%e0 ;{stiqas dattooM ads at boyolane. i on.8t +8388) .Lasi20 oe goa edt af 148 9upasasmo® of rsefleceq P ce va: (25 ay _ seomsog a1 ‘fils. 48 nishadend totdado-ad¢ -noad-tou sesh eona48 Mibas haslgak ,yxsiiaeo edd 20 .aletiqan bhetetoosbay aad yl « rere ta ., ssonsaetotq {stooges dékw miof bebfot ptvte inte s | | eistigs) ([ebzoseqa1? . 88 bas Lat igqae cilia hetsaaols ted’ss s aeowied eeitsy ylsrl 4 ee autd’ss ylisluéttisqg at aetial edf .Lattass Isbtozecais sat | wtiensts eas sausosd .bedsnigito FE bas sisvootidors xotad ar -Qemsot sud ,wrot [seed 8 a6 otedge edt. evad son asoh ybod go's i ot amaloo ed¢ to glotio edt moat &atbastxs ,asostave Laotaco 4 iA ae -(avosd4)}ebsol edt to seins an0t sdt i)) wooo eykesl at alstiqs® supaeasmof besasmaqx0 = tS | 29008 ‘edmun t9ds918 geve.at ylatl at Savot o18 sxomiediisg 88M 928, dobiw. .ecoldas add gnidetin£ seodd ofat.--:equerg ont bas: ye. (noftstaeasn76) ff asiqsd) af bersdianoa. yilol sno ad (embas odd mort. egnted avolsdat. yd betevoo. qitefde. saods otni | steve! aids to woitv aI .’ntisbom ai [ifda to dosl bas ytibare sis \éadt avisonoo tongso on0. .oFaed bas Lie to sasy katsewog - binoo! soasesisae® (ed¢. to boixeq edd ni tedel efqosg sasa aidd " . staktstasusato bentter bass beosvike yldaid seom edd ofak goaqrs Spt aoszanatore aneiged yltasteqgs ai s19dT .atotaigca ons ime of bacquett00; ton. bib yitaersqgs tas. [evestbem- eidt saida oo Baro asmoh Saetons. ods .eIsxidneo edt no sagiviosgse 1f “ta ons 903 Yo atta: (snsooilesat bas atenog, aad of besiva setew dotde, -"issT sfdSiu Sas sons10l9 ylisivoitusa ,zett } Ton sare, belqmszens.od¢ esas sdoold asm199 yo botsoaneq 1ed%s afeisis des tig. yloatvid to sbhbutition tasv @ wo ak qo ofig — enois bas teverod. oF , «bas. fhanogace visneyoert at Lsdiqso notdaso ad¢ bayolqas ybusm p otak. bebtyth od yltetdo yam seed? .elatiges euoaeasmof bers eldsvteouooat etiup tididxe dotdw ,setuett asasd bas aobgnid y to ytetusy Isteogs A sgota d3td yrov 8-00 baste tas ‘ | Siw o20dd —- se luoitssq at: sooud bas said af bexsert yLlatues — ctonttine: og i) .8i n0aset aad 109. sbeoaevisouborgas | i ii ll A5 France. In the Cathedrais at Naumburs and Magdeburg, as well as in the Parish Church at Gelnhausen (Fis. 71, 72 78), there no longer predominetes the cushion capital but that basak form employed in the Moorish capitel; here likewise doés the ornan- ent stand on a very high step. A special variety of capitals peepee to Romanesque art is the coupled capitel.(Figs. 72 to me 28) France doeu not know the cushion capital at all. It scarce- ° 4ydy has undecorated capitals. On the contrary, England and Nor- mandy employed the cushion capital in freauently compound and folded form with especial preference. 86. Trapezoidal Gapitels. ltaly varies between a rather elongated cushion capital and the trapezoidal capital. The latter is partitularly at hime in brick architecture and it originated, because the transit- jien body does not have the sphere as a basal form, but four ec conical surfaces, extending from the circle of the column to the four angles of the load. (Abacus). 37. Ornamented Romanesque §fapitais in Italy. Furthermore are found in Italy in even sreater number decor- ated Fomanesoue capitals. These may chiefly be divided into two groups:-~.into those imitating the antique, which are mas- terfuliy treated in Pisa and Lucca in particular -- these will -be move fully considered in Chapter 11 (@rnamentation) -+, and into those chiefly covered by fabulous beings from the animal kingdom and human figures, which exhibit quite inconceivable crudity and lack of skill in modeling. In view of this over-— powering want of ‘skill and taste, one cannot conceive that this same people later in the period of the Renaissance could ripen into the most highly gifted and refined ornamentatists end sculptors. There is apparently but one explanation for t this; this mediaeval art apparently did not correspond to the- ir capacities; on the contrary, the ancient Roman:forms were Suited to the powers and intellectual sifts of the same count- vies, particularly Florence and middle Italy, which were least permeated by German blood. Hence the unexampled rise of this vast multitude of divinely sifted artists after centuries of unproductiveness. For this reason is it so entirely useless to forever and alone collect and pile up. in our museums the ee ae BA Bi tens seth ofysa tas aid yectsaatsnef natissl to entenct at foanss ¢T: .igiveb mamse9 a6 Llow 28 esteiosaao asate® abissuc org od? .doette [utdinwt s bed asd toven st bus ,ietsinal od ‘gstissl to asomisew oid 103 .2etxstas0 edt yd badataint ai: to 9 “etkqso odd ws BY. VT -aglt ak betaseerq ai etaisss suoesasmol M ede quone-thtte ats: dottiw: ,sasboW. to Lethedds9 odg¢ wort ales | ,@R>.ebt9) neifM te ofpordwA .2 to. eisdiqas »ff .agno rastied (888 yrs -23f%) sare ts fexbedtat) od mort esodds adil FS, 08 —s askissT to oktaluesocaisds ylomsisxe dud .seteviburo tostisq sae etiaovat. s dove .letiqes efgse edt nevi .eks sedé to adzon ~ba olttif ditw exseqqs .ynamteD ni betserd yligtisused oa bas | Sweasoous ox0m ybsoris et tt .(TF 58 yet) asleM at sottaottt | + anstissl eaott bas bettimo os umtot asaed bos alamina (Le ti =x9°16% sud? .dn5as010 s20q yoloms. botieq syozensmoS sax mort bs 62 ott ovtworti *F .%8 ov G8 (88 .egtT at aletiqso ods: atoms ~40m bas otek rege e10m dovm iseqas yosotls sige ni ofgotdms | tes sigh Bs ‘ ate, oe sali ws nasa Minister a6 ab pens escoK 9 St ToWIND Dewos w ened toon econ smmot Insti yo ‘WIstaos Aste brow bap Fosag o. om neta seldaom BAT md hoon wASOX Siuow Kem Pout o8 stadu s4 gn eb ase gntusesdo at yob e4tine eft Yaeoe ‘ot bap stood $0n ono nom TL \edas s*bod 10% .unt s*bod Yo ANAS OS nods 9 eft suns isnot sa ton yads Since a pie eA? Yo benoisn iia oat: eran)? "Teenage er tas eat is taeda glguhitae: 370m eno asd Gevtog *) {8% (88 .a8f9 992 oaf&) femtot Lewias ylay yltetdo ; ps odd Deh od yea nolitqeoxs. sfdsbosmm09: bas tastenoo 3 ah bee Gnertdl oe -2i%) oasolnof ts avgapM oat wort Istiqse belquoe ' si hind - soueds atute® .2@ to Istatolo edt aoxt eomoo boebat it +808 .q 8 bch .omo2 .oud-ol-telfotT mort 08 sio8 Pt ee ee (88st deans eo: bs | selsvigqes ofitod 606 ff + Yo. netesevat add dtiw: 1-Sef ,OLKI0D Yo Ratnatsed ods atin _ fitseasd tee aameloo tobasia odd bus edia no Siuay aaomw sag ‘pope to Lsvives S ould ous@ odd J% botisOCG oTeds .weds - baa askdsais0d eis to notvsdint say coals dviwexedd bas soeasa ylvetesm. sting netto, bus oivatdsa ae ai alsdiaso ssiaoqaod | utes eidd dviw anoigsero. wen Lutisueed ylislsoteisd .t9nnse tea avididxe 18 te extG .aiola ta n9muad .2 ak, bagel vas yoao iM oie oF teanse: yas ab besseler. Ji, at vom nottqsou0o nemoF Tedd i. worsiquos ® evneuenq si ;sonsearsnef eit to alatiqao issel & dsiw Lstiqso nsidvaitod sat to nolssmrotanysas. Jnabnegebak- sGensoole sioe od [fiw “aousaaisast*: etd? .tasméisextd Lu isetasm s, e(soktetnensnr9) If tetqadD at bedtiseeb son onutaiues Si .Oh UN Sobuek mont beeuhowqed 118 otok | i mn | » BSB Lela) Leomnsstanel of o $9 sop neyom uo estan ins onan ateddion. ,{stigso svcitas ods to. Lavives. aiar mon? | bas, opted ood smeoed sevesl euddusos ed? ‘.Lled eat deaisiet ) wovaad egddasse To amxo} sguoy sid es tyode. .eeysel nialg ogd to alsrbedded od¢ at 902 od xLketoeges ¥sa scent ra30q 0: oR0nd otak bedasdo. neds asew esvsel eaT’ .enoeato® to bas ares baltoo etew. sevsef oft te egis eat jatstisiq sat slid to. led. edd osemtns oF asged egeifo} Lewwran bas g eth sede bagasse 08 saxtt ts Bow oRsiiod edt ‘ ear to. fled. eds. oF; Bessie: bas elise i aa \ igi } ' ‘ ' &. ALS i : ' ase f A huss 1 Yr rae |) +. bd eo, wel" y J ir ee UP | . c a? ALS 47 a wild beast, a horse in front, behind which is the half of a goat; there a horned animal is a horse behind. ‘In brief, such a great and wonderful variety of different forms appear every- where, so that men would rather read in the marbles than-in beoks, and to oceupy the entire day in observing these detatle than to think of God’s law. Por €od’s sake! If men are not ashamed of the unfit, why should they not at least save the e expense? ; Gan one more strikingly characterize the ugiy confusion of chiefly ugly animal forms? (Also see Pigs. 88, 89). As @ constant and commendable exception may be given the coupled capital from the Museum at Toulouse (Fis. 90 30) that indeed comes from the cloister of S. Sernin there. Fote 80. Prom Viollet-le-Duc. Same. Vol. 2. pv. 502. Parts. 1867. 5 89. Gothic Gapitais. With the beginning of Gothic, i.e., with the invention of t the cross vault on ribs and the slender columns set beneath them, there occurred at the same time a revival of antique or- nament and therewith also the imitation of the Corinthian and Composite capitais in an artistic and often .auite masterly manner. Particularly beautiful new creations with this tend- ency are found in S. Laumer et Blois. Fig. 91 $1 exhibits nei- ther Roman conception nor is it related in any manner to the later capitals of the Renaissance; it presents a completely i independent transformation of the Corinthian ‘capital witha nasterful treatment. This ’Renaissance” will be more fully described in Chapter 11 (Ornamentation). Note 81. Reproduced from Baudot, A. de. La geutpture fran- ‘caise au moyen age et a la Renaissance. Parts. (1884. From this revival of the antioue capital, nortbern France r retained the bell. The acanthus leaves became too large and plain leaves, about as the rough forms of acanthus leaves ap- pear; these may especially be seen in the Cathedrals of Laon and of Soissons. The leaves were then changed inte those of “he plantain; the tips of the leaves were coiled in.volutes, anda natural foliage began to animate the bell of the capital. The foliage was at first so arranged, that. ‘it. ascended -verit- ically and adhered to the bell of the capital (Figs. 92-94°%), / ryt oe YA ee Te he te Byel pile eas Se Meer eee am we lan : riser? 4 7 aA ef ’ ts ae Bd selieiadihas ss: Mebaanlen 6 eds to eLohia ont suods rie sree edt yd awode 28 .2evaol Yo setguio s 28 19dfap | +a: Lerbensen-aor?-.(8°, a0, .4i4): aiaad 36 ellegsin .2 ao BG.8£9) aozesdaied ts dowd? dais? edd most (TS BC agi) ie monk ee ($5 20r of @9 298%) axedesw3 + resent’ ong mor ae he. o( SOL. .SOL'.8a24) G-f-giedier9 te a9vani¥ eds 3 iv . -blosed sow S otie® moe 48% stok _ eas ,boiteq: ofdsod daid ods gntanh yistaes as SL ads of YS ., . etak aesq of ,Atow a‘ uomaobsis sdif bas geyth sasoad okeil | =pfaeo: dt. Gf e4%. at amrot oivaidd bas exsddso bebsolsevo saods - 848 oved 2ocatase seodw bas ,bolusg oidtod etal eid Raiaub v2 RE Ci 0.5 ? -adnemevom hequsic. clot List bas aauud Is a - saeneqes 5. », bonoLiot alstiges od, to saemgoiesvad edt yisal al ' .medt dbeonsnitat apatbigog euni¢as ede bos aundoses sdx :dosa “me sot (0 o8bB) ofetvzx0 ta Isvbedted od7 mortilstiasos sat Siege eoineY 38, op06 aasladimort gsect bus (OOS tuads emit on -o6 ot Died ait tetsal oft Yo sks oad sevO910N 00S! Foods (Gor Satatod phdto®centene ede garish, asuni¢uoo ylisieasy mot Lied oA? shs0a8ds ens, Jedd Iqeoxs, jaogasdo istdsesadsa suoatiw botteg " Yo saith asol stom omsoed tetel ,2tacmom, Lasusoodidors Lis exit Be 63 se le | a | . ~eonstaogms aael , 2 eauosda .0b } emia oat to. ndaone edd ,boiteqg expasasaod teiluse sdt af \ a Saoqet azid yleviteler sididxe mitedeobi{ch gs Losdoi .2 to eagaibison agottas fateosi> bas datvoeio1g ylgaoitea déiw eda latasoosh of Deyolqas Anédinom sasd Seereves eft r9¢eL agea sad | rub daid ylomotsxe berseqqs aeds OLE tuogd dale seogmt ads a _ Elen as engoled 4s akgieM .2 26019 at ofqmaxe 102 .edala taoa )auesds sissos edd .ofdjo) odd al .set2 te yrotettqsd edd ak aa : gy 8& aids esbiee? .eno Isnokstoo edt ofnt SeRasdo qiisubss sew Be. +8209 tulsouto beyivo9o coals - Bhodtem tons ats nde Pentisso yitsiugorst ed aebisd odd YT is )etitas edt teddie. ;agiqesd sastoktine @ ti sot antbivesg to - Dawe seamreteh apents eno. 16. ,m1o} islugetsi to obem ai letieso. pF i Ahn eaqsde 698 aaufoo odt to sisie one461G, 28. bevY .2 Yo. toegidows oa? as Said Att RAALbdb abnattp. on. abies. nt 5 novo. edt heoelg oa .91d090 ofd ta0ds xis ’ } Y 48 About the middle of the 13 th century it was loosely bound to- gether as a cluster of leaves, as shown by the capitals from S. ghapelle at Paris (Fig. 95 32), from-pathedral at Gologne (Bigs. 96, 97), from the Parish Church at Gelnhausen (Pig.9822) | From the Minster at Strasburg (Pigs. 92 to 101 22) and from the Minster at Freiberg-i-8.(Figs. 102, 103). Note 82. Prom Rehio &€ von Bezold. 54 In the 14 th century during the high Gothic period, the fo- liage became dryer and like tradesmen’s work, to pass into those overloaded cabbage and thistle forms in the 15 th centu- ry during the late Gothic period, and whose surfaces have gre- at humps and fail into cramped movements. In Italy the development of the capitals followed a separate path; the acanthus and the antioue movidings influenced them. The capitalifrom the Cathedral at Orvieto (Fig. 104) dates from the time about 1300, and that fromiPalace Doge at Venice (Pig. 105) about 1400; moreover the age of the latter is hard to de- termine. The bell form generally continues during the entire Gothic period without substantial changes: except that the abacus, like all architectural members, later became more lean and of less importance. 40. Abacus. In the earlier Romanesque period, the capitals of the time of & Michael at Hildesheim exhibit relatively high impost sl- abs with strongly projecting and graceful antioue movldings. ys-One sees later the reversed base moulding employed to decorate the impost slab. About 1170 then appeared extremely high im- post slabs, for example in Great S$. Martin at Cologne as well aS in the Baptistery at Pisa. In the Gothic, the sovnare abacus was gradually changed ‘into the octagonal one. ‘Besides this a also occurred circular ones. If the burden be irregularly outlined, there are two methods s% of providing for it a sufficient bearing; either the entire ¢ capital is made of irregular form, or one starts from the round shaft of the column and shapes it to correspond to the burden. ‘The architect of 5. Yved at Braisne with unerring consistency, in order to arrange the load with the greatest possible symme- try about the centre, so placed the overlying parts, the slen- are Ysa i - \, ha 4 + ‘ ‘ A * at : a) ; a) ae ih ated ed ie. nag @ ass i ih « ia ; - » © dead We, Oi ul in ae ok aie A eee > | A yh PP ae b. Lies BA al bh al a rw aa ) j , : it to ei 0 Kies» oe aswé ' “108d Neat ade hide? ‘eens too “sd betbite . q 1s3set8 8 -dh 9v8g si9ds bas eosala esods va istiaso ine bsetent tt (fdtivused stom bas Skvaidas erow et sT a 18f 8 to baed' se yd beosbo1g ab Ratifedvoo & ysiualuged . ‘alssias9 eid SO fees od vem ain? .erswolt bas sevesl to to8 it pave i a GMS 88 gor por Jeatd)saroxdA-ne-10008 mort y = -QNhuntb e*wteuneas® mond 28% etal “bile SOR TLOt yee gue leet SlOudrol-sesloI¥ wove 88 os0% - beeinih cin af enayfoo [lswe escdd to nottosior ois soar? 98 YLioisy botreq ofdvod vite on Yo avoetivuorws edd .blod oft es ‘ods ‘ebleteo nuyloo i9baela @ eosiq atds te sgneits o bebto’ ‘ -sdd ,etubecoty devsutns ylouostxe na .amufoo haotts bas vbral wed to eoasbuads eldiseuedxent as 20t yew ote aatrasio YIoe mao} -(eamulod to ettsd?).88 .eh af’ bediteesb as . auto? nigns’ deomls o¢ todtoRot Anttde vileséer4 aedt aissiqeo ea? . gto at eidt fotdtod efel ‘to botieg edt ni tesaqaerb yf {ee BRE: dao > 20 808s ta eats ads wort S° sor 025% yd | on be OP 2 Sistiqad 9rd Jt distin: 3%s supiins ody nt eletiyso astesizra od¢ voure © lies af setwott!l af tk ,eameloo add Yo elstigas eit mott dey | “ toes atinteq qisersoa besbur Letiqso notiiaso sd? .d4e Ley Barbivow yntaworo ode ylno acd? .r9tq odd of Hoitetaaste od oF 5 & to got si? .isfq add Savors ebaerxs Istigso amufon add Yo _viyeand aoterdeat It flew foasd- ta down buen itt aor? 19ig | ° ) (808 ainoveeuds te ,bsteouws shade sion 8d teiq eds to got addy tT ‘00 hewise eitdgtia om Ftsite of% to senstyss ody ..o.t .iled 2 VO betsxo0eb o¢ t9dgis bivow eins autios sot ea iebiew San ee mee) @ dows ewone OF! -a29 °° .woteRtt yd 20 snoW or. aT OO geaend ge or geoertey anid 7 St ones . . Cherie Sb ben, ty ow safedrod: - _ Pos ReGGl) e Pee: -3fadro9 Nibieblstin lela eve > ation edt to shibioae esdoas eatevensts aurttoqque ‘oF } bas anmpfoo ifsme Yo bsetent devise ¢efisven asnote belied ju yout .ebeed bag wovael va bentobs eta dotiw baa ,2tscas ted ‘ain ee0ds oat! zebait oF Ofgt bebivid ad yiksieusR i, t oftt bas ‘fitelq bated acbie sions Beqofeveb encls 83. Sa ‘eved aevo'donext eal .eebte sexds {Le no ‘boduen |! am fa rd ven ob tecevat ved aeons {aoatd ows eds yo? aem ~ ti meee 4 a Na 1 +} Bevacine ss Mea hs be Sieg, Bi: oa 49 slender columns, that he simply bent outwards the bell of the capital at those places and there gave it a greater projection. Tt is more artistic and more beautiful, if instead of this ir- resularity a corbelling is produced by a head or a larger cius- ser of leaves and flowers. This may be seen on the capitals from Semur-en-Avuxois.(Fiss. 107, 108 32,34). Note 88. Prom Essenwein’s drawing. Kote 84. From Viollet-lerDuels Volt. 2. p. 514, Since the projection of these small columns is generally au- ite bold, the architects of the early Gothic period quickly de- *) cided to arrange at this place a slender column outside the 1 large and strong column, an extremely animated procedure, the- reby clearing the way for an inexhaustible abundance of new forms, as described in Art. 28.(Shafts of Columns). The capitals then gradually shrink together to almost entire- ly disappear in tae period of late Gothic; this is illustrated by Fis. 106 33 from the Cathedral at Prague. 41. Pier Capitals. Since the pilaster capitals in the antique are chiefly deri- ved from the capitals of the columns, it is likewise in mediae- val art. The cushion capital indeed scarcely permits itself to be transferred to the pier. Thus only the crowning moulding of the column capital extends around the pier. The top of a pier from the Abbey Church at Laach well illustrates this. (Fis. 109). If the top of the pier be more richly treated, “1t receives a bell, ise., the surfaces of the shaft are slightly curved out- ry wards; as for calumns, this would either be decorated by orna~ Sa) I) 2 ee ment or by figures. Fig. 110 shows such a pier capital from the Cathedral at Parma. | e. Corbels. 42. Romanesove Gorbels. Por supporting transverse arches and ribs on the walls, cor- belled stones usually served instead of small columns and pil-, asters, and which are adorned by leaves and heads. They may generally be divided into two kinds; into those with the front alone developed, their sides being plain, and into those orna- mented on all three sides. ‘The French even have different na- mes for the two kinds: those sculptured on one side being ter- J es PO AR. fae a ‘ maser 9808 sebitytsltion’ “xga0dt00" hole »“oguel~ob-algo” aated aad: yao Biedz00 beyosans viseqotg dus esozeasmok be Lwos ror sodw! ,yuasnes av SI edy Yo bao edd te Ja1kd ».a90 on suport asdous estevansad vit stow .bexseque aatsiuev to “bt | edt at or te avi .seao%a vvsed no sao beliedtoo Fe - Grek ' gtbstetedieh 36 bsedots§. 2 at dns % Tadiiscobents eds bet1eiesg, aedd goitetasaoe astotedard ost 1d aba Jedd o# ,acdows to esaogmg bas anwuioo fleua Lis Deantroo ne @iesvetolo ,asdotndo atedi to oiteitetosiedo ree habetess aids to stel gabbeoe tg odd af auode ase ecn? aes wi nvubetenuetsel: en +9) Raudantd Yo. enoiieusan tit an Wed Asta | | 3 ve e082 6g) mpisceney bane Prva Pee) Wald De eyes hs ealedtog ofds08 65d | to, gan. evieustxe ysov 8 Cates obddod eds. .bnsd isdto odd a0: Pe Ab sfetses eds 946 ofdtod yluse Yo. emtod yluevasl, .aledio9 (be ods see) sanetY se90 stootdwexigteh ga {isi s9tqsdo sus ee mio? rsLugassoer. ai sonemmos otedt adia odd jaladtoo as boxold a M's, stovauo yliss edd od gaibico0s eft to aledtoo edt so sissqqs oksifot Lsxiudsn. begoleveb oat ae absed ows to ¢ 7(98 opr .f8h .2td) G-r-guudtewd vs sateail ; is & to basd odd yarted teddy .aai0t sacds to. bLodesuds sdt 18980 a bodtoterb yievs to sevoassotg eaedd To tavooos no mods oF os atehom to aztedtow die Intaeeooseas to amsot bottosaid Lis { yy I it ses bollidenu bas bolltie stow otedT “.efyte at soour0o” ad vst baogeiq tettsi sdf .bevisasiq aged eved adtow belaaua ons ‘wlisroegas sven) ethhte ead at aoukt ntetieo te yloaitae bod i hr . obits agra eas gaikagb oacdT. \wolwa ods Ot i uabénces tO O98 egakdd otespsbent dow? — mains: alodnoo-9at to awrot Iseins ed? watt -2k% ak taeda e . > Dee Bk oe rhe mae AP $ got elistigqeo “feuntod” bean ois. eistiqse sd? .(stei9 sa9 4 2 yitoostb o1s yous bas .wedt kaldoousa1o, sevsel ods to m10t basse (88 brt .ere *23k4) becsiq ylioerrh ete edia sav, dotde qase eis st9dd ylsisaustota) .taidvve ss to toa bas asmaebers hemseas. ai dtow ‘aaseitis dove bus “isvesibeu visas? ISSqGs \ - gatwodel td. edtowtetass edt ylesem toa bas ,eehs. elbbia sat +08 You blacda 900 dadw to egaigaew ois aeiqmaxs. ' =< : = — w dad ;bellabow wlioiltde e168 dotog ease odd woat. srr oI j100 9d¢ Yo seoqtsg. 10 eqeda edt dviw nottoounco Lis. foal 50 termed “corbeaux”,(corbels) and those ornamented on all sides beins *“culs-de-lampe”. Romanesque art properly employed corbels only beneath corni- ces. First at the end of the 12 th century, when the knowledge of vaulting appeared, were the transverse arches frequently .c corbelled out on heavy stones. Thus at Steinfeld in the Pifd and in S. Burchard at Halberstadt. _ The Cistercian monasteries then preferred the corbelling of all small columns and imposts of arches, so that this became a characteristic of their churches, cloisters and chapter halls. This was shown in the preceding Heft of this Handbuch by the illustrations of Arnsburg (p. 69), Heiligenkrentz (p. 70, 71) and Chorin (p. 180). 48. Gothic corbels. On the other hand, the Gothic made a very extensive use .of corbels. Masterly forms of early Gothic are the corbels in t. the chapter hall at Heiligenkreutz near Vienna (see the adjac- ent Plate). The capitals are named “horned” capitals from the form of the leaves ornamenting them, and they are directly em- —, ployed as corbels, the ribs there commence in rectangular form, according to the early custon. The developed natural foliage appears on the corbels of the Minster at Freiburé-i-B (Pigs. 111, 112 33); of two heads on which the ribs are directly placed (Pigs. 118, i114 2%) stand near the threshold of those forms, that betray the hand of a tradesman and not of an artist. Unfortunately. there are many, to whom on account of these srotesaues of every distorted face, all distorted forms of unsuccessful art workers of modern times » appear “truly mediaeval” and such artizans’ work is assumed.to be *correct in style.” There were skilled and unskilled men in the middle ages, and not merely the masterworks but Likewise the bungled works have been preserved. The latter prepondera- ted entirely at certain times in the middle ages, ‘especially during the high Gothic. Such inadequate things are not peculiar to the style. These examples are warnings of what one should not do, especially that in Fig. 114. The animal forms of the corbels in. FPigs..115 116 from the same porch are skilfully modelled; but they so lack all connection with the shape or purpose of the corbel, | ass eved ities nein ar sade bie ore TY eee ea ots bs00sq. eidsaivbs of tril -ae90 sdueadaonetted 36 dowd edd wort Ledago oa? © aseqas ou aeons seats odd 38 avidiaxe (5° ogr ane 2 bas Istiqes welsottisg Yon ovsd, adiz odd yoidso® sial vn Raited vino, .fadios edt to awuloo eit to Jtede sd¢ gnob Sasvienees -oateog, Lita wobatw eds to aatbluon gso odo yd cate hs add ot beoxteteg sesel ts od bivow ouibitad redo i 4 908 ,beviege1q a90d oved edaemgo0b doy iqasdaeo dé of he bibs. O@SE nt aayed een. kode 4.20 aniblind Wea 9d2 dokdw, oF 23 i alisteb to amtot. Leveuny oft .tost at bad .296! at beveorh wad dud .nottsntasxe t9a0l0. 10 okdtod esel oxti oa 160995 ton Ravine Soosidors eff .oidsod yinss gattigxe eit of Raok®) . ‘ ) tastse1g odd to taitas Asotgol vloteves bus Lsubivioar ens: jie) catalan | 5 e80a8 by Ree Sits 0 gif aes 6) oo AWetaod mont, . 86 e208 » tte estas ened daeten’: ow HIHMALSAIS IR word .88 gto% NH Red aeneng ein boldeq oldto8 etal ht ho exsot gutmindd 19.003 wort bas diossu e284) totaain wf] wort aledieo eda iis inet Vo a er Supe fe o fRS2) sSiU)enognt iad ws aeacel h 3 » f * + a ‘ ae j A. ‘ % oe nee i OL" gate Pots Fy aang ny ma 4 bet ors nal MOA e Caw AGP BI thuse kT) t imtes » ae era: fy 3 ae i Rhinw a oe hs ie re ~ r « sem A , , : ne Fy i A mays te id chs see rit: yes ies nee os ee ive ian’ oy! 4 neat . Pr RE et Se gar ti pti 4 (i: Rat sib L ‘ is a ‘ Pn : d oe ma bay a F " . :S. wa a tt ” vate at aia UR che ae ide eR 2 hy ; ee ey ; hoe A ang ih us , r 4 ; / — — viae | a 51 that they might as well have been wrought on any other place. No advisable procedure. fhe corbel from the Church at Heihigenkféutz near Vienna, (Pig. 120 36) exhibits at the first glance forms that appear Late Gothic: the ribs have no’ particular capital and extend down the shaft of the column of the corbel, only being stopped by the cap moulding of the window sill course. Therefore the choir building would be at least referred to the end of the 14 th century; yet documents have been preserved, eccording 6? to which the new building of a choir was begun in 1290 and de- dicated in 1295. And in fact, the unusual forms of details.do not appear so like late Gothic on closer examination, but be- ‘4long to the expiring early Gothic. The architect was a both ‘individual and severely logical artist of the greatest import- ance. Note 85. From Dartetn. Note 36. From Mittheilungen der @entral~Commission ete. Charming forms og the late @othic period are presented by the corbels fron Ulm Minster (Pig. 121) and from the Frauen Chureh at Esslingen.{Pig. 122). Pee te Mea oo eee EP ee ae ace ee Cay ae Ne, MAR et ’ / iy. 2a ae oe silsidill call uaael aan eattus¥™ .Or sanqado ile DORA > The A -2d Loay ns% bas exo)! leans? ss ees oie s sadiga¥ ovcronsmoh .bS one st ddiw +fewe assist: edt wend oiutooti dors onp2ensn0d — rf yet Wotan {suob edt dae sLusvy aot eds .etaemtasquos hat re “\Sstetuyisys meds bart of .betourtianos yitasgps1t base yi ead yetaqto it ~eevfeemed? to betalzes atasatuds yisaeesosn sds > | oheohhadte vind: .atewos edd neouted bas aaaieeote ai ,avaqs e068 bortooet os Sshivong oF List due sias bro YIOeI6 rearendgtie ofdsod: .etzegqua seeds Towsseneo of tovesbas. ant por sc ? ' .e96Lfg. avi ueos wom bas tis supesasaon wort tigev' eao10 sas aqeaoh edd sort sess Sed s1e auozenemoe i sastony fenned Saitoseietat. ows to atetenoo 2 sedca duoas ‘fostqs) mr sta .2 to etqyrto eds vd swode saa edtivay do A eseee, +6eb) oagolog ts0a toliewsese to .(Gd0r .bob) sarnoLod ke, PrEor ) -(880f .beb) angolod 7s noo} .2 to bus “pbortnt! ctw nottose aeo1d 1einanavoot to eedovs oaxevanst? ed ak esdf .atiusy taetettib ods stexeqea doidw p1e¢ef ba0 ¥ _efseed ods ak ,(O@LE) sagzoicd za noe1sd .2 to sayx0 betedaels | +beb)! dosed) ts doxga> aeddA edt ak .ktedaatibesd se Legadd Pin he o eats: (Bate ’ a yd leiiens ston ekiesenie fasithativo edt shuawrestA” eas to mottooe Leatbodigaot ett ..9.% ,2dnemszsumoo boliewe tad aoait SRnroute: ‘tegaol on ot]en tinsv sas to a7 1 9id ISGAGS | -dowa istuenmges s bomtot lecdbbvadetec? bagot at sisav aids to: taongoleved tceddret & edd of .gf2s9) To dtaon yitasoo sat at hotusvai sons eadi¢ fenogech: no Siesvy. aacto sav .anoseto® to saes0ib 9d? . .nottese evoto as{uhastoe1 olqate startet ta bed edits t dotaw «HSatSss ak edits sarct es? yd owode satwoiil at emee ‘qrsilixus sat déaaned Stilt et9otsd ylttoda betsatatao heed to steven -2? $8029 To Rateso1o adv Tevo Tewod ydRlm ods to 1 190% Js0tR ows yd Hotavoosh stew selgne edt ned? .angolod - bag : “edt so .basot-tieds dsosiq oafs ase ssc Lg ro. ba cia yuan ae, tok a8 og BSI .2er9)) Lerbedte? arudsbas¥ to todo :: “a soceelad 094s asonssd stof asw telt fiane s ylotem Jaas og » ybaBd t9ds0 ede nO sbasignd at tou atea® .vlesT at aoa ienam Lanai bertvo0e. estwedid © .dtieds beatot enols . ‘vba eaieW yd nwoda evs emtot seeds [1A .mottoes steve ie eat 52 Chapter 10. Vauits. Be Tunnel, Gross and Fan Vaulis. 44, Romanesaue Vaults. Romanesoue architecture knew the tunnel vault with intersect- ing compartments, the cross vault and the dome, which it slaed- ly and freovently constructed. We find them everywhere, that £4 the necessary abutments existed of themselves; in crypts, over apses, in crossings and between the towers. Only over the cle- arstory did this art fail to provide the required abutments. By the endeavor to construct these supports, Gothic originated from Romanesoue art and now took its place. Romanesque art had taken from the Romans the cross vault wi- thout ribs; it consists of two intersecting tunnel vaults. Su- ch vaults are shown by the crypts of S. Maria im Capitol at flologne (ded. 1049), of Brauweiler near pologne (ded. 1051), and of S. Gereon at Cologne (ded. 1068). Transverse arches of rectangular cross section were introdu- ced later, which separate the different vaults. Thus in the eslongated crypt of S. Gereon at Gologne (1190), in the Castle Chapel at Quedlinsburg, in the Abben Church at Laach (ded. 1156) ete. Afterwards the cylindrical compartments were replaced by swelled compartments, i.e., the longitudinal section of the compartments of the vault were no longer straight lines but formed a segmental arch. A further development of this vault is found neither in’ iae~ Yana! nor in Italy, Spain nor in Fngland. On the other hand, France invented in the country north of Paris, in the ancient diocese of Soissons, the cross vault on diagonal ribs. These ribs had at first a simple rectangular cross section. The game is likewise shown by the first ribs in Germany, which in- deed originated shortly before 1172 beneath the auxiliary tow- er of the mighty tower over the crossing of Great S. Martin at Cologne. Then the angles were decorated by two great rounds, so that merely a small flat was left between them. On the sa- vere was also placed a half-round, or the semicircular round alone formed the rib. Likewise occurred a colossal round of ovate section. All these forms are shown by Walkenried, the choir of Magdeburg Cathedral (Pigs. 123 to 125 87) | the vesti- a wae ! — AS8egr 219) naotdfeam at sosaiolo edé to dasq @ bas sludttasy pega aezig® .(°S ser .YSt .eatt) amxo¥ geceLandodeed odd -» e0%@ ateattals® edt ai gisdies70 Yo dowdd ytetasack sud wie 5. / -bloweA now.) ot4e8 mont) 74 stot : Sad dokdn penne ous betaeval owls si9ew botieq eine gaiaut | #6078 of Dokialns otew, yods tads .OOSE tzes%s sectiaovst dose sas ~ Rast. of modd Seiki nem borisq yixes eias at auG .anotenanrd “f°? OS .Br9) dostsdesd 76 dowd) detis4 ods at anit. 248% owob | +) Saswtec! ts dorsdd aswettderd sit ni .omgolod #8 sos1e8 2.8 ac ). @nd) .tedety sasced yllesuitnoe adix odd Yo welttoiq aa? sot ) © S08) .giutaoo dé Sf ont to Sadankged edd GA. .4anntas satwodtf | e8eeeo0d: fisma 1edzo 10 eeeaod ssigads yo mead Sianiaa of FdguoR phas;onRolod ts Lotiysd mi sits .2 yd anode ots eoaaod isionnd r | eMetototant ts lerbedtad odd yd aeamod etaidemietat oitl-iakb ) woceb qilsioncy ste" zedo1s setevansyt bos adia sad basiaatial “e¥tedtetas® bas ¢ii .medt0d af ands .ebavos asekis yd betsy - \ppliamendaa ob sinpwined aboniniedG .% hood monk .88 af08 Cae 238 \.gaush bao sagesed Latte) + < GéiseV oidtod .35 [0 iedebus etitasasxed: .aticsy eeoro sigqure an¢e to basse al » efdtod segtizse ody at hoiti doum yiev orsw slate ofbbia ag beakot yderedt ayswis) siow csiq eds Yo aysd ows yA .d0tteq St, 10%. ybeatelgxe ylseqoig toa ai atfusy sit to ysd sao osak q » @etots Lanogetb edd bas: .bebsol yitaszettib s1eu aretq syed | Eeoksere ak od tégbu ogssasvhs ylao od® .ansga ebiw ytev oven | Roceaworo edf asqe chia to aisqogsib edd yd sada al .adooqaed 4 inte taeousttiov end bas ,daid o8 beitaso ora atiusy: ods , B® avlvsy ofitisgsxed dows .sauidd sel{sma & dtex9 sedots. bas | SagotoS edt ,n08),aiaed te 9050 o1tol novo yd besidtdys 94s ) | | ‘sttrsl .2 ts979 .sreding®. .2 fosiged aii sitsM .2 to agdowsde: ee Ss) 5 ; -ote q ty salaar 2 82019 ecbrdaeiees baa stihieaiaaies g20ns esbiaedg Af ,200s1G teoudtuoa at adit exbia. dziw atiusy aaoxe eta axons al .siledgdeoW af as .vottod bas aoimA datian® asas. edz ed tsi ed? .9a9 ci ylevotvesq.eyew zomod: .sansy® sean fnedivey azoi Snibosooua edd yd banteds2 asw 2om05 92944 Yo -Sbisdeteo" otat beosbortat besbat crew yod? .adta exdia iditiw Oed extaweo edd Yo s1eq eins anottsies worst to e480 eiteqoug wloiwsauaa to oF30 sedans } Ad 7 4 t as 58 vestibule and a part of the cloister in Mavibronn (Pig. 126°7), the Cathedrals et Worms (Figs. 127, 128 37) Spires and Basle, the Monastery Church of Otterbers “in the Palatinate etc. Note’ 87. From Behio & von Bezold. Buring this period were alse invented the bosses, which bdec- ame such favorites after 1200, that they were enlarged to great. dimensions. But in this early period men liked them to hang down far; thus in the Parish Church at Bacharach (Fig. 129 °°), in S. Gereon at Cologne, in the Liebfraven Church at Roernand etc. Phe profiles of the ribs continually became richer, but likewise thinner. At the beginning of the 18 th century, men sought to animate them by annular bosses or other small bosses. Annular bosses are shown by §. Maria im Capitol at Cologne and disk-like intermediate bosses by the Cathedral at Munster-i-W. Tn England the ribs and transverse arches were generally deco- rated by zigzas rounds, thus in Durham, Fly and Canterbury. Note 88. From Bock, F. Rheinlands Denkmale des Hittelalters. Coltegne and Neuss. 1869. 45. Gothic Vaults. In stead of the simple cross vaults, hexapartite vaults over the middle aisle were very much liked in the earliest Gothic period. Why two bays of the plan were always thereby joined into one bay of the vaulis is not properly explained; for the nave piers were differently loaded, and the diagonal arches have very wide spans. The only advantage might be in statical respects, in that by the diagonals of wide span the crowns of the vaults are carried so high, and the different compartments and arches exert a smaller thrust. Such -hexapartite vaults a are exhibited by Noyon, Notre Dame at Paris, Laon, the Cologne churches of S. Marie in Capitol, S. Gunibert, Great S. Martin etc. Besides these avadripartite and hexapartite cross vaults, .t there are cross vaults with ridge ribs in sovihwest France, in the then English Anjou and Poitou, as in Westphalia. .In south- west France, domes were previously in use. The general form of these domes was retained by the succeeding cross vaults with ridge ribs. They were indeed introduced into Westphalia by the relations this part of the country had with southwest France under Otto of Brunswick, properly Otte of Poitou. They likew- "ad Breet 7 ie ; Lin ie Me by ae re 7 ' , 1a axsddsom to adluey esc19 ont movi aotnrs ebteodtl ons. Lo. etatot, edt testsi ond al o3uitarot to abom 903. ab teeliots ebre bas eeo1o edd on asiyotbascreg sas ott oF teLootbreqseg: sif agate, edd adit epbia asiv | e@kus TOT sozset eas oF Smon won of "ee . :; sak 90° ny P ba atte + A sdigsY tof bas tes8 5d Seasons as Sf eds at) ofdto9 dard eit to botieq odd at: a dea exotstedT .esebtod etem ogni daauie yilaubeats edia gsvied? .ativew som dns asda one .asluey aedein natesb of # arab bebtvindus aievs oten adluev. esots oft Yo adasutasqmoo ‘eis ak atsde dota beagtasb s19w te¢sq .edasmsisamco setts neat ten odo bewssggs ytevneo dd él oft nt .aysd sastek ~—m ernie teom eat a8 {fen 26 agdowstio Yo aelete oft anknans “fas aaors (Ls gateactqque .tlusy Loaays teetg & yd ars «) ) dom ed% Yo of0 .edit yo ata? gnituoqque bas ,estors Lan i aaa ed? af Savet ogis at agisev saadd to eelquaxe gutw 8 ) 9) © «8tndoesrdors: to sewesess sd¢ at dora o8 .na0ndfush to! To) enoks10q Terzd te e198" esivav ton seeds to adiy of? . t; .talg ak cenkl sigtsisa beuxok neds doidw goss taigo iduo6 Yo sus yous gedy on ,oelq at bevaso sets oefa stew. edin “08 )Pasot ylistceqes ors etivay dove .(°8 ger «3f4) e4atevano We ode akieavd? .skasedA. at ysodaeo dt Gf ede to seolo ait x00 “ veugerd te akdoebsal ods no oneled aft wii Lled wsletbel® (ode ab .pr9dmedtus te sasdis8 .2 dowedd ak ASO0GL hotely a ysto ons af bas simoedod af aved bas xia ve eadoagdp dee 9 riegutbitud cneds: {14 © stesic? nt groduswSd bos seienwi 36. ‘Tossidote edd venee to. doesasG yd sd of Sozogque ta bevoug bei) tr. | wIl waletdslh antd al {a 0) betubquodan: daw tiusy tea. edt Yo sususoleveb acu? @ odd dtsensd. .torssmtotensst todefs Sas tastiuzel ot0n ideas .adia to itonten nego bnoose 8 hedotettea saw tisav ten “‘notssotiquh to its a*niwid .liev s yd @8 49M310% dz dHatavoo lows odd dotdw .isibedisd g1sdesat2 to shsost qwseen sit ao Pacts. ek. ecpinis ve epionee oss otdtod sts and to aioed ie ees. (Oy @iiipsy sdt og betastensias dor ative dea. ia sat lo daemgoloveh edgy basfgnG at dd Io akbeeb ode go Heesd asw doitim ,eaigeo Isioega satedd ' b oroloseted. asiusy ois to antakteeh edt suotes9odt qetivey | Dee es gaed aoqu Setedde od saakt yom bedtzo * Pal ‘ee. "4 oY : : \y ‘ aly ee ae i : - : at i 7 hil * as , ; ay . bs ; v4 PR hae eee a Bcubereke ihe aes ey) a ae Cand 54 likewise differ from the cross vaults of northern France ‘in the mode of jointing. In the latter the joints of the compartments are perpendicular to the cross and side arches; in the vaults with ridge ribs the joinis lie perpendicular to the diagonals. We now come to the reason for this. 46. Star and Net Vaults. In the period of the bigh Gothic (in the 14 th century}, the ribs gradually shrank into mere borders. Therefore men began to design richer vaults, the star and net vaults. The separate compartments of the cross vaults were again subdivided into t three compartments. Later were designed rich stars in the dif- ferent bays. In tne 15 th century appeared the net vault, sp- anning the aisles of churches as well as the most elegant clois- (> sers by a great tunnel vault, suppressing all cross and diago- nal arches, and supporting this by ribs. One of the most char- wing exemples of these vaults is also found in the parlor of Maulbronn, so rich in the treasures of architecture. The ribs of these net vaults were at first portions of cir- — cular arcs, which then formed straight lines in plan. These ribs were also later curved in plan, sco that they are of double curvature (Fis. 188 27). Such vaults are especially found ab- out the close of the 15 th century in Austria. Thus in the Wladislaw ball in the Palace on the Hradschin at Prague (com- pleted 1502), in Church S. Barbara at Kuttenberg, in the Par- ish Ghurches at Brix and Laun in Bohemia and in the City Halls at Bunzglau and Léwenbersg in Silesie. All these buildings are proved or supposed to be by Benesch of Laun, the architect of king Wladisiaw IT. This development of the net vault was accompanied by a still more luxuriant and richer transformation. Beneath the star or net yault was stretched a second open network of ribs, that c covered the former as by a veil. Erwin’s art of duplication on the western facade of Strasburg Cathedral, which the archi- tects of the late Gothic also carried yet further, is thus t transferred to the vaults. | In England the development of tke star and net vaults took their special course, witich was baseé on the design of these vaults: therefore the designing of the vaults heretofore des- Gribed may first be entered upon here. s103 nivods oe beouboug «etiagy 220% asae8 to ge eit 6 .fatiosy Leanst) arsbari¢s 18 lsovtokmea ows ‘Yo aortoo ev lsagud oat %6 nottoustanos. ean mont tisasy yods tesaqt mol. sat Rainimtesed bas saxkt jantterxes soa’ ,eevisaneds jainsah Sis I9vOoTON -.atasmsisqwos siarsger sit to a0 digsy stiaad aou tk ofamexe stot acts Lnokttip ainbagta aeaariie to tees of 10 medd tot aoiduso sisteces gouttanoo oF oba tee73 4 eiisa stoteieds SI sdtow suose suo ni 2edota ores 3 on sartoms isaogeib edd boiteq sgoesnsmod edt rot gedy <008V edt to emtot odd bas aetiase sat neds se9lortoines of desist @isnoxsib ozeds etotesed? .anerh ¥ltaas stow aenota SoS18q8a im to mrot sie sas atds to bas sdv of boatsesos yilaiaass madd désoned tee enon adit boizeg obdyod ods ai Litas .elotiot + 19680 beoslq adit ea? .asdots fetatog emoosd ton bib yates aooen yisv besbat asa atds :anitetaso aaodés tasasmisq 6 Sta eon. owt to asams09 Eppberecsvene od 108 .ceoely es0dd at 1ORSLO edt da eroleieds rensiq eno at afl soa ob esnsndtaqaoo x0 dsenstaquoo eno pao dose deaisks toads yoag sisdw afte Bos Vods bus iso od taum yous ysedte eat odat beaaod. oc som jemxs Satot esountsace « Isnoxsib sdt no Sewiod si asd? sxods ~" eusiestesae ef ¢ade .awoto edd of Bakgnixaqe ods mort garb fbtove oF asTivsb eno TI .asazetse tet497m sas aoObag aMOISR " aetsivat 2th edd LA. eetuoETIsgMoD dfvod to asaigoo sdv-od sfq sae0s ta@ bdetivost |autsedneo noboow odd ti .bstbowst 94 vs al eit to yoo odd nO dit odd .on0 enate 8 yd bsosiyery ad re duoddin tedso doze tantaps yltoeith tude asarvoo eds yom sb oT atot asigotdieg to eenote tuo tvodsin bas 19$48b 10 yo os sads <2v9hisd OF seTkeh Faedatd sdé ak ayoosorts s1otersds. b yous. te .m976) Sebbe neve otew to fstusmanzo yico ete edit a2. .tiuev edt lo einomfisgeco eds os¢at baod 10 buetxs son ch seeds: asggsiss ?6eth t9609 aeda yind ebatingnst tou ad eum .dtssatobay. enoitoge 22099 eget ooF wuktuped sodows fs ¢sdt os <2taomsisqaeo Sadi Saoyed Sastxe genbs teqqu sateds ts Sai cuentt 2th aidsucaser en? .edéa) ods deutsrs sid tostel req: £ orapendabom wea oad bsoubcig 919d satwsdil asd tacmsnisosy oy ‘ Usqdz ,asqsda Tasis 2345 to ascold hetourtanos sd teow aodt i.) i ae i ania eC - fii on Heriot x oy Ps * : < ae AG * , 4 * Pat ane cs 2 , v 14 4 ra , # ‘ pit > ar eB ' 7 batidt oacdeinchieahnsias 22010 to okanenhen can 7 ee eS ot .darsatserd fase moet sf ot toed bas i to ebte 1 soaa0 edd of eda osady to Itaneisg stizovet bes): >: mY, pA 4 : T a \ °e | LS < St mae Sale | saan) wy 55 (~~ 47% Diagonals of Cross Vaults; Ribs. Phe diagonals of Roman cross vaults, produced by the inters- ection of two semicircular cylinders (tunnel vaults), are ell- ipses; they result from the construction of the tunnel vaulis themselves, not existing first and determining the form of the _ vault or of the separate compartments. Moreover the drawing of ellipses presents difficulties, for example if men desire | to construct separate centres for them or to lay out the sepa- rate stones “in cut stone work. It therefore marks a great ad- vance, when for the Romanesaue period the diagonal arches were raised to semicircles; then the centres and the forms of the separate stones were easily drawn. Therefore these diagonals generally retained to the end of this art the form of the sen-. icircle, until in the Gothic period ribs were set beneath then; they did not become pointed arches. The ribs placed under them are a permanent stone centering; this was indeed very necessary in those places. For the ‘corresponding courses of two adjacent compartments do not lie in one plane; therefore at the diagon- als, where they abut against each other, one compartment could not be bonéed into the other; they must be cut and abut toge- ther. ‘Thus is formed on the diagonal a continuous joint .exten- dings from the springing to the crown, that ‘is particularly dan- serous under the greater stresses. If one desires to avoid it, then must be constructed blocks of different shapes, that bond into. the courses of both compartments. All the difficulties are remedied, if the wooden centering reouired at these places be replaced by a stpne one, the rib. On the top of the latter may the courses abut directly against each other without ‘inju- vy or danger and without cut stones of particular form. ‘It is therefore erroneous: in the bighest degree to believe, that the ribs are only ornamental or were even added later, if they do not extend or bond into the compartments of the vault. This is not reouired. Only when under sreat stresses these diagon- al arches reauire too large cross sections underneath, must their upper edges extend beyond the compartments, so that the latter fit against the ribs. The reasonable fulfilment of the reauirement has likewise here produced the new structural :part and lent to it form and treatment. The favorite transfer of these ribs to the upper side of the letabeewse:silia Issutoestior, to cinunet: seeshen at stluev $: om Ls siti tnd) ;drowsaosa to “sistaau”® edt wort ene s¥Ba sh st yebaas ont to atetgsa”. anomst casdt yo. beattos7g - aacdiyte epsetoat eds gedit .enolaegnt ee eldiailleiaias 25 Jeut ak iAask: oss. 1800 $ed3 ,ataomtseqnoo edt Yo dot ods 38 easadotds lose wi sai at .ecot aiesdt avods z00lt 8 3uiveed gtigsy Lie 10% 308 tebtesoo # tsdt .taeasiid 9d nso. dlosy oat saan nyoto odd ta it ‘QainedsRaewte gaods of ebnogqesz109 yleuocenotie dtaeb 9fds. irene nen éaegh 2bbs yisoasa x10 gat {ley isids obs eonte ” nips 09 oy -eeddew 943 a0 assilow as ad lusy oid “08 beac edt io noftowstenoo atebou afdd as agoenorre esivediid mbdads. .qroseid tts. n0 adood at betovst daeasisée ed ai aiaa “i 2 edt asdd aoidoeisanos ng tesdarl ots etigey e2ets bedarog - sa010. bodows-bavor dtiw eeiseoa yiao siuev aso ne .salgories mid. boiiso-oe odd .borseg svpzeusmol ed ak exoteteds Sas luay @fdbimvodd ui Jisev ousype s s0t ..9.i ,bowolfol asw aoseya bo A a: eedats ebie ous eoaeH .eiaia sbia of% afanetenomtb oat tien Bee nnere bedaiog.odd volats sisbiw odt Yo atbin sig tisd ets na | »taists2e2 aids work mobesat syse taret ee Rastenactence siz to aisnohsib odd ,betese ybsetis as wok eag yd: yen aseon odd af beowborwd goa at atds asdw .tivsv seo » to seods euki selotfotase ois ,2isbative ows to sottosasesak exd odd ai yoo eino00 goweustiib s +¢loey aero. bedaiog aug ~se01 eds tebienoo ete aebtanos au.vsd .agdous obfa bas eevev svods gacanrd Toot edt Godouzteacoo ayswie teomis seas elbbia f »Lgoo amsod od dads .dkfin-oe allow yrotesselo odd basdxe. oF @istiqss edd ao woled toa oron .gedors eeisvansad ous asad 2 bus abed &. endbain eds svods beouborq 199d sysd oiluow asd toot oid begyeiae eyed bivow Jedd ,cdgiow ste078. to Liew bE i! ¢ ’ ‘ rte: etinsv:etsupe ows botourtence sd ayanis evads saua slais _ebesittve doom yidstiavai: saomis or9" aodets-abiea ent .39. + i08Loas00- Gdeteis aaw ti seusod-elt dae0eds atiw atigsy oat eilsn yiodareeio odd ~.d.f .sodo%s Satoversit ais evods egaq E) -esde%s satevansid off to anos odd asdd sodged uyswis os0N gion east exoleteds bas asqa eel bad doida sedois obie sid on it erotesed? sdomedo edt to 19bktedNr edd tou dud sides. ous a Bi td 88. beatey ogow awodain. ont) dtiwemeds bas sedots obi nv, OA dary.’ ve. 5 . he a oe ee ee an 15 ae ‘iL aolista ateboa vedT .tselo ak s10qque oty9es on abrotie» ) sawond Llon ei wodtod dé ta Qniaedsagucqes odd astiepss sath , “4 ee 56 vaults in modern manuals of erchitectural construction may well bave come from the “masters” of stonework; but like almost ev- evrything practised by these famous “masters of the trade,” it is just as unintelligible as ingenious. That the increased thickness at the top of the compartments, that bear the load, 67 affords no secure support is clear. That modern statics like- A /° since the thick filling or masonry adds great special leads on wise requires the strengthening at the bottom is well known. But for all vavlts bearing @ floor above their tops, it is just at the crown where the vault can be thinnest, that a consider- able depth erroneously corresponds to these strengthening ribs, the vaults as welleas on the walls. Likewise erroneous @8 this modern construction of the diago- nals is the statement favored in books on art history, that ip pointed cross vaults are lighter in construction than the seni- circular. Men can vault only sovares with round-arched ‘cross vaults! therefore in the Romanesoue period, the so-called fix- ed system was followed, iee., for @ square vault in the middle aisle must there always be constructed two souare vaults of half the dimensions in the side aisle. Hence the side aisles are half the width of the middle aisle; the pointed cross vauit first gave freedom from this restraint. Now as already stated, the diagonals of the round-arched ecr- ess vault, when this is not produced in the Roman way ‘by the intersection of two cylinders, are semicircles like those of the pointed cross vault. a difference occurs only in the trans- verse and side arches. bet us consider the consider the lati- er. The side arches were almost invariably much stilted. The middle ages almost always constructed the roof trusses above the vaults with through tie-beams; it was thereby compulsery to extend the clearstory walls so high, that the beams could pass above the transverse arches, i-e., the clearstory walls were always higher than the tops of the transverse arches. ‘If the side arches, which had less span and therefore less height than the transverse arches, were set below on the capitals, + then would bave been produced above the windows a high and sol- id wall of great weight, that would have enlarged the floor of the attic but not the interior of the church. Therefore the side arches and therewith the windows were raised as bish as eels Aan ae | ay 6 tee: ‘a a5. Lhe t- ou) 09 ae | pesca eas to ons 20’ sbemenbeetes! one ehisutetts agtamey fey sistt:. wor otis tedd aselol aii tl, .étivav ows sus to ebddous oatey bas «tows fetniog edd asit fauiit t98tsena 6 adaoxe dove mz toisedque set at dows. Setovaensis betareg edd adsav st0t Beds: ons: to asiq ends to. “4 ebodon WO hetsoqerb ei dows bagor - ooteda, Sfynsd oes: 8 MOve.10 stenpe & sd. yan oslq erttT § .dows i baste ond odd moreeen to: banot ed ereds Vi dove asetevenesd zit Serine. w) | “tofte low evitiniad on 1 deanol om ei: eobe: efbbin eos to seentoie eis sede .yebo? once, od eidtesog ei: ti e1ede ylno tebfenos cen sao beige yatinersbte. edd yrsso; don ot sldseivhs: otcteveds ati sl cont otedt eebtlorsi oble ont tfite yidiekwy som oF buna data yaev for 30! etesavoas ov egnpoms Isds ymonose ne forudo eat Dayote aiupe gon ob aszents toor leete ens 10% -YTnores To toed otd oda Btaomednet is. TinoktIih duottin bre een [stnosivod de esidide ot .toow edt ogni: dein. Snetze: oF atinav esd wi 01g ydoroas owsdo sad to rvetietai ede kt ofits enontiusane ti t Ine0s xeered? .betese ybser{s en .awbvoe taerg s bnioss nr Ob teas «Rokseuudenoce to ebodssmH wer edt oF bsigqehs eyorse “te tod? .sodotuic Jevestbom to enotieuhorgey tuozesge7 yfoven tito botifetas.oaf .tinioe Isvesifer sit nit bovisonce! ots Pie sae, e: ; .mens beouboug xed gesnods! ingougas' to To betniog vedz otsia’ ot Booanorse ylowkine seiwedit at 3T: zs gon? bedots-Dav07 tends hotousdance yitese stom sts si ivew ato Issey geogo: bedows-bayo1 Jedd .dnemodede edt et) cedateim os fe seve: a {kad od yen yous see18N0e TeVe! hesoussenuo $c ve HBO wtlosv: eeoto hetntog. eit ve ylibeed es Sent eigustoen yne eo >t Houser: edt. don ‘SteTsISshs e1s Biinsy eeoto: dstows-bavot -apheaing aew mocveye: pexit eta? smsteye hexit boliso-og “SupeensmoR of3 mort notsienss eds Soicub hoisveq tetas siiboteen: Supsensmof. edt nk noseno edd esm ti sonte .ordsod r) = sank 9 ebind sletn slbbimueit tuo: yal o¢ vils tos’ bons. Yor es Ms " ma" : bi ik Ye eersvensi edd Io mot edt to tuefasqebai yloiitae et alosv edd- to. sd#Riod oat at fest O8.8f of SILEL beveae vifeas et ge ni wosevo sit sem eint beebai bak Lot ta: ube dint tne vou _sboataeg nobaboe: ai aat or" Be oT 5/ the main cornice permitted. They must be boldly stilted for /2.snis purpose. Now whether one bad to strongly stilt @ round or @ pointed arch at this place has no effect on the utility of the vault. There yet remains afterwards the consideration of the trans- verse arches of the two vaults. It is clear that the round arch exerts a greater thrust than the pointed arch, and there- fore that the pointed transverse arch is far superior to the round arch is disputed by nobody. But the plan of the crass vault is entirely independent of the form of the transverse a arch. This plan may be a square or even a rectangle; the transverse arch my there be round or pointed; the two stand “in no ‘primitive relation. Today, when the richness of the middle ages is no longer ‘re- ouired, one must consider only where it is possible to econom- ige. It is therefore advisable to not carry the side walls very high and to not visibly stilt the side arches. Thereby ‘is easily saved 13.12 to 16.40 feet in the height of the walls around the church, an economy that amounts to thousands ‘of cu- bic feet of masonry. For the steel ‘roof trusses do not ‘require horizontal tie-beams,and without difficult arrangements, they permit tke vaults to extend high into the roof, to utilize the superfluous attic for the interior of the church, thereby pro- ducing a great saving, as already stated. Thereby result ‘int- eriors adapted to the new méthods of construction, that do not merely represent reproductions of mediaeval churches, but which are conceived in the mediaeval spirit. The unfailins fountain of appropriateness has produced them. Tt is Likewise entirely erroneous to state, that pointed cr- ‘oss vaults are more easily constructed that round-arched ones. ‘Also mistaken is the statement, that round-arched cross vaults can ‘only be constructed over squares? they may be built over any rectangle just as readily as the pointed cross vault. The round-arched crogs vaults are therefore not the reason for the so-called fixed system. This fixed system was enployed for a brief period during the transition from the Romanesque to the ¥3 Gothic, since it was the custom’in the Romanesque period gener- ally to lay out bhewmiddie aisle twice as wide as the side ais- Le. ‘And indeed this was the custom, in spite of the fact that | ‘ % ree at ne ‘i | ; sted ni besivev gos titan soit knktedabsite ens eeods ercestonnic-eness aodt eayntliso nshoow yd bavevoo esen * etds. Soireq oidsvod ylise sat at hetinsy ehientests oa tiind yfisutos nem ti to8 .tloasi to bexiveos “nos fosv x0} bebnetai sexit edt mowd van doidw ,omit sede te ts od him edt tuo gatysi to: .bepiavet esu wotess ble edd aens wr ey fife s@8feis obfe sit es sbtn es soiws ole esious serovenssd bas Isnogerb edd) .eodors shie eis soit perettib slnasaiylissuten event eseverta tnetettib eiivo sved rose pose mort wettib qignowte yed? .eevose seeds a0 tithes tds ‘onodd yino sr1edW -eistiqso edt evods dminnisaa sat te we an eis 9n0 bas Isnopsth ond .vedots ebte oxd) eedows avid to | a ke ab qtivievab: Bist ,bateatiqe s fs benteonoo exe (dows eetey. oY sulge aseqgs) ton e90h yilsiene’ esdors edt to anidrede eng ened oursenos oF ofdioh yitss ods ai hetquetts yhasuls nom ne stdentenilt: ne-ak ewseqgs aid? .epibet amas edd dtinw aadows a eetoa sd: {dssoosaoh eb eitsli¥ Yo Noo§-toseia eat ni 7 thsinsqo eno: diiw vodiots to ebai¥ es1tt sediete sro noe? einbssota efad hentsiqxe esd ‘onG-el-delloiy) “.ershivebh ede | - r€ aS ebenoisnen. yxbestis izow ods ai-tennem bheiiviqe aid ied Pore Gt eh PeCR sqy 28) SOV ldaGe-aheteldot¥: .eh at ok elsrebienos ed dostrnivctann esdoia-haset es elanobeib ott oe ‘most yews seid oF useqqs fon yeo yedt vst oe .berlbee # fae ebie betatog edd to aauthniagqe Iscitiov yfasen stom Wendvmet? anieiiqe edia esotémunesdd du8> .cedots setov. y ORs. tod ots ovedt .stinsy ton bas tate so? seso od east fiyeds wedaiG .adia ovond to tnemegnsrse sis vot eettbtiat: w teoqmt: eat mort: antage edia sit sedt om ,tinev lonans 8 tO Sostene 8) Lied s wiotvadix caedd 10. weostave-<~ bovine. << 6 sabnan o8 Ste BS ISSqGs enoisuloe ted#o fA .snoituloves» to deal | ? sities) to aningtes@ <8h don tenos. bivods eno Jads ,sivx dvode 6 ebnit yvyilaveg end to: ediz eft nbteeb of isbio ai dows antbee! beliss-ce sad ai: (heitre{st nooe ei: sqo0e1q sind Jo .tigsy ten 10 sate sb p dion. gathsel edt .disev sata teefqmie oa¢ sot yino asokt ens “rovasiq: edd. a0. “yaw JeeknoL?) sad datdas yd hoesuudenco Hw: hte tea np od daigniqga sid moatidinev Jon to iste. 1 .euoktsy edd ‘Yo asiq $dt nocemoktosiorg fstnozttod satvawomnegan:sé¢ os deoqmt sit moat tigsy saz to. yoo lS b eeey at 58 these are almost without exception not vaulted in Germany, but were covered by wooden ceilings. When these churches were then afterwards vaulted in the early Gothic period, this’ *fixed sys- tem” resulted of itself. But if men actually built a church at that time, which was from the first intended for vaults, 6 then the old custom was ‘retained, of layins out the middle ai- sle twice as wide as the side aisles. | Since the side arches, the diagonal and transverse arches have auite different stresses, there naturallyvresult different radii for these arches. They strongly differ from each other at the springing above the capitals. Where only these three or five arches (two side arches, two diagonal and one trans- verse arch) are concerned at a springing, this diversity in t ‘the starting of the arches Senerally does not appear ugly. Yet men already attempted in the carly Gothic to construct these arches with the same radius. This appoears ‘in. an illustration ‘in the Sketch-Book of Wilars de Honecourt; he notes thereon: -- “Phus one strikes three kinds of arches with one openings of & the dividers.” Viollet-le-Duc has explained this procedure in his spirited manner in the work already mentioned. 29 ‘Note 39. Viollet-le-Due. Vol. 6. p. 489. Fhe diagonals as round-arches must in fact .be considerably stilted, so that they may not appear to break away from the more nearly vertical sprinsinss of the pointed side and trans- verse arches. But the numerous ribs sprinsins from one impost, ‘Like the case for star and net vaults, there are but two poss- ‘tbikities for the arrangement of these ribs. Bither they lie on a tunnel vault, so that the ribs sprins from the impost in @-- curved -~ surface, or these ribs form a bell, a surface -of revolution. ‘All other solutions appear as usly as unwise. “48. Besisning of Vaults. One usually finds a short rule, that one should construct the so-called leading arch in order to design the ribs of as gtar or net vault. But this precept is soon falsified; it suf- fices only for the simplest star vault. The leadins arch is constructed by taking the “longest way” on the plan of the star or net vault from the springins to the highest boss. The horizontal projections on the plan of the various ribs of a bay of the vault from the impost to the uppermost boss are suc- oe - ae ay yd ee ch a, i ie oF , x eS ee d @ avenb et aids rev0: 48880 8 es To biaLiylevieescoue ‘ee Hbeaeoae' gevine ows feszergeb @ 10 Hore besaiog tisi s moo sees sdhied seotw .e2od end te ebusebos seogmi stig setze nenil yd bentsido sis adsdion etsibemvedat iis asdt ist oigivib To stuiog eteieqges ede abuowds ylleoteroy ydtsibrosos hebeesora evs wen eepe elbbim asered off edeogmi yiho bas aisdisonn déod edd bestsido andd sved vem sevodT .ediusy den lutidased ysev yileven ovtwiedito edt Ov lo satsiteew edt nidtiw eevieemedd havo uitasbive sitios = ) yLleat® .hioviexse: ton: binoo yedt seit jesivnrot besere tosesetat yous siniog sno movt dousde tean0f on sew edia ond _~ ‘nivreddoe Hose! gor? wesusteth teses1y é4 sivesofa Je be : pte reso « edd no bustxs of a9bi0 ot bedeisoteq asve yortt sflew th saerediip eng at nodens eng dokdn tentabe preenonhaa {sok est « 2 a ae sf YE oar CEL .88rF)sdnds anottoer tee Deepead end divin enteg i9dseth sedady oved neifand oof eng evsd: bos Istiqse oss mort edia es to bafbakrge welvass debetssn0: istene: nivoved yedt: -.enottufoa sense bentstdo yd itieegihao: dnevetenoo teom ek sisay to mot and .ewv0od wer “Lovet Jopeostise ovat 8 edix 23 Agim eticod Fi shombined yt vr to bos .tdhied fespe ,dtanst Lenpe Yo eas eadia Ila snore onded Stel eve athtw fagpe to esne RITSGMOD (OTs TalsCTiO omee ‘ons Biodd te ets eawo1o Tiedt .ebas teveu ateng att . mses nos wods eelovioinee seed? .nsig of eloviotmes)s mio? bas sedated ois Vorsvods oF Teegass yileses e18 eatdaogqnt wo er9f0 susentbs . ite eoege aniniemes odt af -Sagmkes talyouto s exoel doses 74 Rieti css: og dmegast .efovic s bediveank ei tipav edt to nwouds< wamoo Isoisedge wol s yd Selizt ef dotdn dae: .aelosvioines mp 8 Qnimxot bus Sninismet lide eliabnsce bedniog a0 eff — we ni nwode as bedouréanco ess dinay exténe ody to ansae e2dhs] 808 Dacteetsase bas efiqnie et sige. aide: Yo mol end es pho ‘ont gonte! soitosazence ak siwokttib os ek sk sostige edd gosest vias 104%. .etetsvano: avonntdnoo on tofu, bentstey need yifevened esd gnigniaoe end Yo xoks o*e lett t-Seehooeti ‘Yeas o19de .MwoYD eae oF t9eKdtxut heedxrse nen rsttaoieue:neots. abuesxe Seas .diu-epbia ¢ anut egben \ i Pera © Vit, ter be i he! a ie : iy eee ’ eal | . A | - ; 4 he ur s 5 (ot Ae edisite 928 stisev:oeeis [Is to eoasod ont .ifsy ons wt dads stooetssné o8 eofotio sascetbhe edd eftdw ifaw eftizoqgo: ‘ ’ 59 successively laid off as a base. Over this is drawn a:quadrant, — a half pointed arch or a depressed arch curve, that begins at the impost andéends at the boss, whose height is at command; then all intermediate heights are obtained by lines extending vertically through the separate points of division. The German middle ages may have proceeded accordingly and may have thus obtained the both uncertain and ugly imposts of the otherwise usually very beautiful net vaults. Phe archit- ects evidently found themselves within the restraint of conse- crated formulas, that they could not make void. Binally even the ribs were no longer struck from one point; they intersect- ed at pleasure at greater distances from each other in the wall; they even penetrated in order to extend on the other side into the wall. The bosses of all these vaults are chiefly ver- tical cylinders, against which the arches ‘in the different di- rections abut. (Piss. 139, 140 37), Phe EnSlish have taken greater pains with the imposts and a regular springing of the ribs from the capital and ‘have there- by obtained other solutions. They have in Sgeneral created two new forms. One form of vault is most consistent and more eas- ‘ily designed; ‘it forms with ‘its ribs a true surface of revolu- tion: all ribs are of equal length, equal height, and of the game circular arc; compartments of eaual width are left betw- ‘een teem. Thus their upper ends, taeir crowns are at the same height and form a semicircle in plan. These semicircles about ‘adjacent piers or imposts are usually tangent to those of the opposite wall, while the adjacent circles so intersect, that each Lacks a circular segment. In the remainins space at the y/trown of the vault is inscribed a circle, tangent to the four ‘semicircles, and which is filled by a low spherical compartment. Tne four pointed spandrils still remaining and forming the main spans of the entire vault are constructed as shown in the adj- acent Plage. Just as the form of this vault is simple and consistent ion paper, it is so difficult in construction, since the vault has no continuous curvature. For this reason the surface of -rota- tion of the springing has generally been retained, but the ribs extend further to the crown, where they intersect. Alongs the ridge runs a ridsge-rib, that extends along the entire vault, om ua if ne ! ¥, rose ty OB as a hme oo) Bnbtuew ove edit setevaneis, [is sonte it ys besnovetq. at ediney seeds tc taohaevk eds to ond: + Or ynsered ai) bawot o1s vdivev rslimil svesox® gs [sabe . kate v :snhanall ts mmeees edd nk fas dundnekieM etd pt elisd POP sites, « stlaiiaa® com et uigiao tte Pee tuentah > > Sox's ies -etlusV¥ to emro¥ reas0 so st eGSigeV hebseqase .eh vinitieanilie ent (aueebinek evew ev{usv aet end sbrest 1 xe H0! oid nO okdved Jesilueo one ni veer Yhastis oved ef BEAf .awob 1st gosd of saosayex edt simteg o¢ bets nem fede i peiaeteos ens tosefets obre oft yo ylintisused ytov awods at renee o(@SE .grF o98) .(OGGE suds) doBTedes® ge soUDHO . bitwd Isnogsoeb os of enoteyed ewiensd ete et efonexe en ce : sf dinev ati dtiw beselqwoo esr er yenRoied se noewed O eds to ,\TS&I bYOd ond To noiverwsons! ens: to saey end nT® © | ov on ern igs bas se7e% esftaocqs ons %0 syed ae: | . S,noese® .8 To ytedeanoM ets to We + ato sae sas oser: piles bhedoteve ovels sxuvoosnoh ef eae leh sks bheceiq eds Sef) .dove hebhasgene a Jostdenoo biluos suo wor ) sche bebaogava’s duo end esoh avi”: .(nowabash sind: Yo stew pi Petwosze: ns dope nose od yam eleeen8 to [fh ysiO ent oO ) ors hebaeqane (yeenoteysd bebmeqene hoiti vitsivotdasa oinsod evel aa? ($6 nedgeds) .2 Io tewod ont nt entyedted .2 to Leuedd ,toweds ots Yo: enose-ten100 sat lopkaiyeliens ,OOM posused) 4 Bnofytey) B wezzsedog (198WOT SAT To nOTSlawon SRA hae aeseeer: wore nomi yd besiogque yliststean 2i\ sadt onode ra bP saare): eonoveyed! obi2' ens oF THs sds aRnodIds edit o89% heap aan foue, dreani’ ot evel ovis trident eat (PP ‘Sar gatmrsdo: teow hus avenx sued edd iecingvy asf ai eenove | ca rer ssdeninges® at ITV ysaek to legend sag of ek aa -OTS SUIBAGRE send moqs (02 o20¥ eetinaVY asad 008 seideths emia pray to Satd wiiseeg s et sisdd vifent? (yreosis yd hedtoqans has dotdw Yo esbhes «eqqn edd so ise pas Kose nekw fedetnae’ ef Samdebeel Jer leniodsed ofa io IB @ us BGSER Cote honbtecbryLiatresne: yisv! fas sidvod tdxe foidw ces ts sttekd .6 to sieqedo sid ofo! etd) to segod ngssov0t seY sedele to roolt fernoxtved 60 Since all transverse ribs are wanting. ‘One of the grandest of these vaults ‘is presented by the Cath- edral at Exeter. Similar vaults are found in Germany over the nalls in the Marienburs and in the Artushof at’ ve yet th- eir origin is not Enslish. b. Other Forms of Vaults. 49. Suspended Vaults. ‘Beside the fan vaults were developed the suspended :vaulis. We have already seen in the earliest Gothic on the lower Rhine, that men hiked to permit the keystone to hang far down. ‘his is shown very beautifully by the side aisles of the Parish Ghurch at Bacharach (about 1220). (See Bis. 129). The grandest example is the hanging keystone in the decagonal buildins of S$. Gerson at Cologne; it was completed with its vault in'1227: ++ “Tn the year of the incarnation of the bord 1227, on the oc- tave of the apostles Peter and Paul, was completed the vault of the Monastery of §. Gereon.” Wilars de Honecourt also sketched about 1240 the art work, how one could construct a suspended arch. ‘(See the preceding ‘Heft of this Handbuch). “fPhus does ene cut a suspended arch.” On the City Hall of Brussels maybe seen such antexeassed suspended arch. Fhe late Gothic particularly liked sueessee keystones. The Chapel of S. Gatherine ‘in the tower of S. Stephen at Vienna ‘(between 1400, the layingcof the corner-stone of the tower, and 1433, completion of the tower) possesses a very hons key- stone, that is naturally supported by iron. From*it extend free ribs through the air to the side keystones (Pigs. 141, °1 ‘142 40). The English also love to insert such suspended key- ‘stones in fan vaults; the best known and most charmins example NPN vad oo is in the Chapel of-Henry VII in Westminster: Abbey ‘in London. Fote 40. From Wiener Bauhiitte tube ‘50. $Lab Vaults. Finally there is a peculiar kind of vauit, consisting of ribs on the upper edges of which and supported by tracery rests 2 horizontal floor of slabs. The fountain house of the cloister of the Cathedralaat Magdeburs ‘is ‘furnished with such an early Gothic and :very beautifully designed slab vauit. famous are the chapels of S. Pierre at Gaen, which exhibit this slab vaul- ks a link ht tae we > bciunnse bh ne renuen issnonente view 6. nd Qnisivev “ ! 7 ibe (oo > 9 (sisted. conseaigae®: ene acin write PW atte oom ty _ eatiosV to elisted: een’ | } | edinus¥ to. anaes 6) neds epeniie eiscove ed eatiney to anakpietesie ond si en Jon aii SI) .smobasa se t9ddo toss sovexetui som Lena >» {Saiog Sno mort diste bisode asnil olbbim saieds tend giv sd s0nin diz of% Met eno ylno sadt .tw090 yliass dabim tke i$. 2) .0%9 game: died edt ai Rniitaeqqeritb asddo eds .oLdi ) fiat ak: wooa bait sounso edta bas eoaivoo sled. dsexsTtib ® to noiisog s deum neds .dsogmk 9dt ne teidio does. ebiaad tons Joezietani Jaga eliloug sno 10 .beereigene 9d oli tora j eB nod? tS apr ~OdL .88L% ai vseiveo tewol ead vo bedsutaud toda ‘foss worl siaisqes yiiesbeas eelitorq edd eeuia dow. sid oe ‘ | (2 OR 1g 2B L4OY .oud-ad-aektolY td stok ‘bw ntped lintaden Son bib akoignivas eds ees elbbim oad al of bed dstuosiion yo bebivib evew youd sad .edaio{, fsibsx do Bear bkb .bodexsqes bed edi1 oat codw yinO .8bi .i7 ai eo. ada ing Pieter: “y | ett Leibst off oF Jreved si Bet evisemsasgqne) 6 .&é | 5) sbegneras qidaowsttibisis edasmézsqmoo esd to etniot ea? -dgtol odd most betsaikisoresiusv esoro sad rendonn od enrotoo =e sav todvede tensa? das, ,eLootiog, doaest? naeddn0k 10 ate y ‘foi, bed eid ,yieddaeo eis oO .astomws sbie bas sevevansud ste 10 £b 1iedd sviteb edinev eeors sonexd ayedduo8 sag io san B1ot esidns sid ee gent .siivev eeoto asmoA Raiseixe edd s073 bostat gifeloogas need sed-ev ddiw divev to dati esat Hoovesvi dsiw sonsbsooos ni Has ylinesdetenoo t1) .siledqsaeW of - vbas eiesd on eyed doidn .edix egbte gevieoes soivounste ne woe. te i | oa) ee Qa > 4 ft, ae ed i | i _ Vy « 7 Ay A Se PY oa ey Pein vi a ee Fe th a ae pe Mi ide Bee ie Wa ae : dedz . boos fq oa od OF 896 eefots ebie bas sdia .se9ein980 | i ‘ebieids: ;ysu asivget 8 nis tp000 J¢eunm nokdoowyxsdn: atdt asyvh ‘Honer? i misdsxo od? “sbeliowe” 10 ieotibaiiys sham oxen etaem ) eft acisa «Vaamied: af beyolqns ylieos aew dotdw .tissv esora ms eexovenssd sdd of teipoibasqiusq dueadusaaco oft to esatuoo: edd ot esidus ddgi7 36 aut Biniot bed thedd ,.e.i ,ees0us Obie «8I0¥ [sotmob end eetsiini teddast: divev seous eiat to eet rernpeermengant Hieds10N. 94s at evoulixeque eiotese Yo) saworo/ edd totde ai sinevi geow dones® ayeidion sda emcees ‘$d oF t8Leoibaegveg s1s. esnemsuag re : os" if bt a i= ‘ i. , ; en 4 oe me ON te te ct. J, aa, ae “Sa . Spel Tae es ee eae 61 vaultins in a very ornamental manner and in charming combinat- ion with early Renaissance details. Ce Details of Vaults. 51. Imnosts of Vaults. If the springings of vaults be properly arranged, then belt courses, vibs and side arches are to be so placed, that they shall not intersect each other at random. %It‘is not necessary that their middle lines should start from one point: otherwise it might easily occur, that only one half the rib might be vis- ‘ible, the other disappearing in the belt course, etc. ‘If the different belt courses and ribs cannot find room‘in full size beside each other on the -impost, then must a-portion of each profile be suppressed, or one profile must intersect another. fyen this intersection must occur in a regular way; this is °il- lustrated by the lower courses in Figs. 148, 144.41 Phen as the arch vises the profiles gradually separate from each ‘other. Note 41. Viollet-le-Duc. Vol. 4. p. 98. In the middie ages, the springings did, not usually begin wi- th radial joints, but they were divided by horizontal bed -joi- nts as in Fis. 1438. Only when the ribs had separated, did:men revert to the radial form. 52. Compartments. ‘Phe joints of the compartments are differently arranged, ac- cordins to whether the cross vaults originated from the Norta- ern or Southern French schools, and further whether the compart- _ments were made cylindrical or “swelled.” The Northern French @ross vault, which was mostly employed in:Germany, makes the courses of the compartment perpendicular to the transverse and Side arches, iee., their bed joints run at right angles to th- -eir transverse and side arches. On the contrary, the bed: joi- nts of the Southern Frence cross vaults derive their direction from the existing Roman cross vaulis, just as the entire form of this cross vault further imitates the domical form. This kind of vault with us has been especially introduced -in- to Westphalia. It consistently and-in accordance :with:its ‘con- Struction receives Pidsge ribs, which have no basis and are th- erefore superfluous in the northern French cross vault; for sin bhe northern Prench cross vault in which the crowns of the com- ‘partments are perpendicular to the transverse and: side arches, ., a leis r ra. i. Jah 2 +. Vie LA a) ve ay iM » eo wi Se oar beds: eieudde heduns: obls’ 6x8 ebbt¢ ani So: eeensoe: ong | atedsson edt to opsinsvbs end ei eid? .aedors antdiog eset ) sadadot atk Yo aolsoeiib eft 103 soeset ons base tine is deity af .sigay esoto aiediuoe sid sot .eteddmoo six a0. | e@lenogerd edd o¢ sef{yoibhneqieg ylaisen ots6 staniot bed MOt) GOaH0D: SusseIegmOD ont 2s noCe 28 ,selod qwoOY god a8 nism irs moo Saibessona od? fois savevensss ont to nwo edt fos pas Sas Isnozeib edd uo bettogque seda01 of £16 eeetsOS tnon tedd te beoubotg ek mace & svotsieds .999% 948 ebne teiiso Sieds siott basixe edi egbia Yi goY. 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This is the advantage of the northern French vault and the reason for the direction of its joints. On the Contrary, for the southern cross vault, “in which the bed joints are nearly perpendicular to the diagonals, there :re- main at top four holes, as soon as the compartment icourses ‘re- ach the crown of the transverse arch. The succeeding compart- ment courses are no longer supported on the diagonal and the transverse or side arches, but only on the diagonals and their other ends are free, therefore a@ seam is produced at the crown, that is very insecure. Yet if ridge ribs extend from the ‘key- stone to the transwerse or side arches, the last ‘courses of ‘the Jcompartment then rest on these ridserribs and ‘on the enclosing transverse and side ribs. This-is the reason for the origin of ridge ribs. ‘Now the filling courses of the compartments are either stra- ‘ight or curved. If they are straight, they are then supported ‘only by resting on the next lower courses. The nearer the cr- own, the less theyaare supported, therefore they sooner slip, and hence these compartments must be also supported by center- ing, so that the courses may remain in place before the entire ‘compartment ‘is closed ‘in, and until each compartment supports ‘itself like a:portion of a tunnel vault. Compartments of vaults constructed of split :stones or of :con- crete must naturaily have centerinss always, and therefore they are scarcely ever swelled; they are then a kind of pointed tun- nel vault. If they are swelled, then a form for the swelling is made in wet sand on the straight lagsins; but this:produces very unsatisfactory shapes. ‘However when compartment courses are curved like arches ‘and are constructed of dressed stones or bricks, this centering «is onitted; this indicates a sreat economy of time and money. L 0G tikewise each course rests on the one next lower. ‘But. towards the ridge, if they threaten to slip off a lower one, they are turned between the diagonal and enclosing ribs as se] f-support- ‘ing arches. Therefore only one centre plank ‘is:reaquired for the shape of the curvature of the compartment courses, that-ail have the same radius or arch; yet these compartment ‘courses are i re 4 ‘sb f if wv ; oy NN ; ‘ be a ee oy ' : | ; a ri Pe att fea 4 * ; . 7 : we aan oe oh 4 ar | J ime é yf Woy “i 4 4) a rns ’ e pte ~ ae . f 28902 ofad Asupe) to eteduyieve erctoreds 9x8 edoiot bed saf ti Yc i moisisog edd bos suentusgmoo geoto & dove to w10% ed. Preqmoo odf yen aniwoliot odd ai is9efo ebsm gaed ste agamyos % betatog ets Yo enois10q sis beilowe son sus dads adoon ‘ eb- tedwesoe beebai sis yeds phesete ylasoivesa es etivay $ mort noigoeiorq yd beouborg Jon ats elsenogsib eds sonte .bs aoe rshesastas 216 Ju6 asdows ebta 10 sarevenend bed tients ,sbbiw eft de ylisaogg bao ysm eoetn0o edd seds woul - ipa ous ydoteds. jeinio{, ehbis sad of leotisisg ed tenm —BSeTHOD Seeds as nook a6 IvS -neendoiads miotiag to exe biw stom asqo edniot, ods ,antilewe & sopboig of ebisngn bedo 38 to8 edaiot) sbin sesst ,diow onode Jno al, .eibbin eds te yi pemaponed -Itoudoitd nd ?eon vad .dnidduooaose ons yo bebiovs Ws sete ids ybeaes tedtie oF beilequoo oxen nem ,xesdsi eas _— oF IO ,eteny bas otod eelkasiszd Yo aeeiwoo anidsoani to Baigaiol ous Snivemixouggs .iivev fionet® avedsion. aid AS su meas: ;9hDia ods se. as9e, 8, asin flssy sonex3 arvedaonituoe Bilis Bn loeta, Igoddin tavnisaqmoo eng sourtenoo ano “bim odd ab qideesd beitsy ednendisqn0e eds to sasadognd at, oY, (saat B.if dgods): xoidd oot ylisseask ous yeus .eese sib S8eb. sud to sasadoidds 6 wote 2izs4 Je emeG exgol to avinuev eax ) -+sps0deent! Yo diivd ers. yeds oewsoed so dogodate ens Bas) 3 Bdih 68S ‘fa 4 solgaesoga oad ef adis odd Yo, wx0l. ovisiniag saow on? Beifuso off cia sd Yo moidose eet eds eseoqmoo eisupr nis QD-ts situs .o dset2 nt bavol od suum. yasered ni edix sous to nit }, batesoss oad to sowed yIsilizos aredeen odd idsencd.emgol dg evods qitsivgevth: efing Jeet etowod tediewa ogedd esedw te waits bedyooxs, ciw Jostidors oa? -aeieis ebie eat Yo edigsy wt heb ssw Jadt .ngieeb enpecasso8 ylesisas. to sauvouxds wkodo al i fionesf sees adviw bosmsenpos asw ,.eSit at bed eivond 8 eyeided esivedil s9wot 9a3 Yo esniitse sxitee ea? be Hos, vIsELIxuS HOT doin ereWoT .eIoBesosberg don|T% to ° @ Slide, .yasmred ai oes ai sou ylevokverg ote: eectans sag D. ong a0 .isbom 10 abiesb ni: doug, beeseesog ybssils hesbsi L.e8 38019 Yo a9wod eds conke ,bodsde oo yam si Sued. 10. «yin mee od Seeds Yo; en0n sedw .onid 8 38 bedeiqaoo ybhsorls easy Ar is ok Ssestosi as) Jost oi sate neers etens (G08). atriereh aS y 3 Be ee: 4) mr ae aA es 2e ‘a 7% ie wi s Yo seets0D ‘edtinheh wrtune: & suods ei iakhenstobaonsn son 4 63 not arranged radially about a centre like the courses of a dome. fhe bed joints are therefore everywhere of equal thickness. fone form of such a cross compartment and the position ‘of its courses are best made clear in the following way. The compart- ments that are not swelled are portions of the pointed tunnel - vaults, as previously stated; they are indeed somewhat depress- ed, since the diagonals are not produced by projection from the bransverse or side arches but are independent semicircles. N Now thet the courses may end properly at the ridge, their beds must be parallel to the ridge joints; thereby the bed ‘joints are of uniform thickness. But as soon as these courses are ar- ehed upwards to produce a swelling, the joints open more: wide- ly at the middie. In.cut stone work, these wide joints may ‘be avoided by the stonecuttins, but motein brickwork. Hence for the Latter, men were compelled to either remedy this defect by ‘inserting courses of triangles here and there, or to abandon the northern French vault, approximatins the jointing of the southwestern French vault with a seam at the ridge; then may one construct the compartment without piecing. Phe thickness of the compartments varied sgreatly*in the mid- dle ages, they are generally too thick (about 11.8 :ins.). Yet the vaults of Notre Bame at Paris show a thickness of but 4:72 ‘ins.e, although or because they are’ built of limestone. ‘58. Ribs. The most primitive form of the ribs is the rectangle. A pl- ain square composes the cross section of the rib. »fhe earliest ‘of such ribs in Germany must be found in Great 8S. Martin at °Co- logne. beneath the western auxiliary tower of the crossing tow- er, where these smaller towers rest ouite irregularly above the ‘vaults of the side aisles. The architect who executed this-c choir structure of entirely Romanesaue design, that was dedica- ted in 1172, was acquainted with these French acquisitions. T Tre entire outline of the tower Likewise betrays aiknowledge of French predecessors. Towers with four auxiliary towers at the angles were previously not in use in Germany, while haon ‘indeed already possessed such *in design or model. On the iosh- er hand it may be stated, since the tower of Great S$. Martin was already completed at a time, when none'of these towers ex- ‘isted in: Laon; there would exist in fact an increase in. the y ¢t jh ae . 70) eS eee oe : a ris ‘ } ‘* \ ae ‘i; mM Gh 4 ya yeu ’ ; a na 4 ' " } i ; Pad om : cose ug EN mee ef ‘ A ‘% ; ; ie! y ia} re! y ah ‘ = i. r % j AY j fs ah | pi : “a | by ‘ fhe ai 7 ‘9 la ; ws i 7 7 Fh \ ) ‘ . ¥ Ps 4 -duomqoleveb lin 44 faa -olds@ yreoesT bas. ahiak «€ 1edgead . “ay é ; -o1d82 pe mat bl edt Yo bac edd edsniwies of vevies sldsy oat ot ai edt Yo settofos asec sas heyolame ek anotsibnes 100q on beesozeog elamed nsidaysd (sidteivet) eeeLtoor oft 8 saatient: ety Jo aoktsénemsato beioze etd .ytstés0D ent a0 jereese dort yo bentobs saw wuceqmys sil .tnemtbeq edt caw witei edd at .gboe edi bas xeys edi bsnwoxe esixevores | ry Dikéient ee yilewes sogmol on soisi0o aiss sad. boris¢g asic yoious to abao sit ylno ;eldek sit to suad sas anols yliasao Bes: enolist yllsrece3 ton ed di ti .eoint]ee aise 8 wode ef “ sognsissgye sidgy mi eknads yléeouk ton bib dus eupsenamo# ‘ prreeoes yilsshetg yino esostuse toot sis to notdenifoni oa? p> dose -eoosiiwe odd bedenins esisoilse, Tusnb bas .asqse ie) “doudSaan* eins to sief gnifecerq edd ai-nsvig ots asi ) duotae ot si til wen bib ofdtod sddudzee vind .( sve | e2nerésitevy to hison s souboug oF get0 odd to daemibeq eno yloo Sas sno edz wexsqnon eno IE ey: '.BIsey Dasavods s sot oF bevedbs has benksesh yeds sokdn fide efdsrsmunni: ccond .g1s-Ievesibew to asldat to notkei aida Reeto bas noiésniveni aniltstan bas olditenedxsat as to nerb Eas, 1eqg01q Sds tol eisoe sc ylotemixoigas esd. sno nens .s6N0R ‘— stonsidoss Adavyesibon ad¢ Sasjenioss9 edz to notte +89id89 To ewi0% cd Bias, eqsie edi aavideh gilsunten nisas sidse I[evesibem oa? . ‘peaiabamndedal eds bas noidouasaneo edd moxdt eto} To advissy: eyed solasesxs Jee1g diiw aloo’ sasv edenimieds deum si sonst f to goigos edt of sostave. [eeeoloo.s alsvasta aund Ji . add ~bs lovnt- bensd@anewsa bus bsastiive ed ssctetedd geum 1 ~balw pe etzes edd Je eoegsstdsud sat wot .nwoxddasve ed fon of 49 ade yodssth sat sot esscuqsa biotite esvisamsat to yleiis Move) edd of bebbs oss alsinsY .eeldsg eas to gbse. oft Yo ‘Sides ois Yo e19m709 19K0l odd euds bas .etewod Lise said ee sees yfdstetesq at mzol ain® .darbhile seaisds. bovise gost ei Seinetiica edsibsoredad eonie ids ofdtod yiase _ > Udiad ak ylferoeqes ned? ,eeldsh dain bos sbhtw 10% e088 to sestisa odd mort Joeio1q eongeitdud atil-Isiait bavo0t sesi ¢6 doidy ,ewxot wea to govm0e gidiveusdxent as bs) y’ ‘ be y J 4 a se * fs ’ \ “i aa he) 7 —~ — oy “a ’ 2 . co 64 development. Chapter 5. Gable and Tracery Gable. 54. Gable. The gable serves to terminate the end of the roof. Only “in poor conditions is employed the cheap solution of the hip roof. The roofless (invisible) Egyptian temple possessed no gable. On the contrary, the sacred ornamentation of the Grecian temple was the pediment. Tts tympanum was adorned by rich statues; acroterias crowned its apex and its ends. In the Harly Chris- jian period the main cornice no longer usually extended :horigz- ontally alons the base of the gable; only the ends of the gab- le show a main cornice, if it be not senerally fallen. Romanesque art did not greatly change in this appearance. The inclination of the roof surfaces only gradually became st- eeper, and dwarf salleries animated the surfaces. Such examp- les are given in the preceding Heft of this “Handbuch” \(p.1é6 etc.). Only withthe Gothic did new life begin to sprout and “to produce a world of variations. Tf one compares the one and only one pediment of the Greeks, which they designed an@ adhered to for a thousand years, ‘with this legion of gables of mediaeval art, these ‘innumerable chil- dren of an inexhaustible and unfailins imagination and ereative power, then one has approximately a scale for the proper estin- ation of the Grecianaand the mediaeval architect. 55. Forms of Gables. ‘The mediaeval gable again naturally derives its shape and-its wealth of forms from the construction and the ‘requirements. § Since it must terminate vast roofs with sreat extension in: hei- ght, it thus presents a colossal surface to the action of the wind. .It must therefore be stiffened and strengbhened°in ord- er to not be overthrown. Now the buttresses at the angles en- tirely of themselves afford supports for the sreater strength of the ends of the gables. Pinials are added to them, ‘even en- tire small towers, and thus the lower corners :of the gable are curved asainst sliding. This form is preferably shown by the early Gothic gable. Since intermediate stiffening -is required for wide and high gables, then especially in brick countries, finial-like buttresses project from the surface of the sable, an inexhaustible source of new forms, which at last found en- EEE A Pee mi 4 aT Bi kg : Ri 9 sling ms j ee, ae ake w ae Hl , We VRS A iW) 4 ws We ah! ie ms aa , j i us : ne We Lene 2" eS agi Rare wT. Ht sie MP ieekieabied: itera’ Be ‘yaoutoraae paaiee seas eiv tien Terrien 10% Jnewedivoed Bacoes od? vu isis sem ons tot at eneen fesiqnie fos Jesqseds sii? .betovoo 8 a seldsa ‘ett Yo eéqofe oft tevo basexe of Yor sid RuitevOD t oe Peston: sabes YI § sits dtseaed estetsensq yftase ‘wrote dt i 20% anigos & yi {fen sides ode s9voo of sidaretetq ef oO akas Yo noitoetowg 8 tebay snitoos sit eisaimsst of bas ‘atin emif to antiatds s beilqas od esm omit yne te stodu “evode seers gedt .[iaw sidsg edd to notédoq snort Bia? is’ (eidieeoq es nits ee yhod ett ak er foot ent Yo |nive Bk ‘Sides edgy to eeendolds antaismer oaF .doias ist Peit eqola 6fdsg ond Snols yewitese s datysieo nt beyofane yi Maley bas ekeor sds Yo Sonenstatew ond so% -.enbia ats of isiq taelisoze ae at . Weebeens: to sie aee edt wellot qitis yam adale! aakzaoo snT oly feo at betevoo ed vem yxnozen efdss eit to aseasoo siz endian iat beqqess ois esouborq atdd seqete ieusstdeid asi at etnoserg sidnivod? ai seensn{ddM .sodossdo fe B81dse hoqasia dove’ Yo eeu ait to efomexs bibnefgs s dowwdd sa9 at Smsees eqote onedt .boitsq ofddvop yfise ods to bas sad elds: 1d: Yo: emo} Isduemsato efdiveog Lis tuemqoleveb Yo seebon a . -e2enom ~ lew ‘Io dnomssstt saz a0l sausdiaged to snidg Hirds oat ‘Saitaati so2 sidseivis 10 beiigoss sas Jsay .eaniasao ead of eve ‘ewobaiw Yo eHtot eldiseoq Ils bevfexst sasd? .oists SeAseeerse etqeensad oaP) .yrooeid teival dsiw seo00 ewobudn o tied ‘bnoose oft mort eelgnexs savor tingss brotts aryed ds | W 9207 edt to nage sid (Se Sat .Brt) wadasd dt Cr eds ‘o -dt V.Sh osdt aeol’ton ct .eldse'edd gosta dokdw eveds . (utd steamer gee la isnilq edt ao noktgqiaoani gniwollot m@redeb soe bas dsoetidois bedtiaiae sit ese ‘ods Io bacose Sit go .VES! Hrod esa Yo seey ods al¥ wots Yo toned ai hestommoo sew aide .ytsu7de? Yo Agaon ods er Neopet cone to enkowtte edt tated tefad0' to z9 hye * “\eelfedd mott soos m = eee si WL fey Depa ivh pt ekaiedy mote Lh erok LL pens Be Se 5S" Yedewol@! deid070” 83" hee eR ent heiieabey: 168 oele at nokeeroesb astivosq § 1b o1s soon la oacds no-eakwredd0 » -Tiscars Haild yd efor Be } a aaa. ride 85 employment as purely decorative. The second requirement for the gable wall is that it must be covered. The cheapest and simplest means is for the material coverins the roof to extend over the slopes of the gable. But the storm easily penetrates beneath this. If means permit, it is preferable to cover the sable wall by a copings for itself, and to terminate the roofins under a projection of this coping, where at any time may be applied a chinkins of lime with hair. fhis front portion of the gable wall, that rises above the coy- ering of the roof, is in its body as thin as possible, at most 1.31 ft. thick. The remainins thickness of the gable is usual- ly employed in carryins a stairway alons the gable slope inside to the ridge. For the maintenance of the roofs and gable, this is an excellent plan. Phe copings slabs may either follow the slope of the roof or the courses of the sable masonry may be covered in horizontal steps; this produces the stepped sable; these seldom occur on churches. MUinlhausen in Thorinsia presents in its biebfrauen Church a splendid example of the use of such stepped gables at the end of the early Gothic period. These steps assume in the course of development all possible ornamental ‘forms of battlie- “ménts. Phe third point of departure for the treatment of gables are the openings, that are reauired or advisable for lightins the attic. These received all possible forms of windows; even rose windows occur with lavish tracery. The transepts of ‘Notre Dame at Paris afford magnificent examples from the second half of above which rises the sable, is not Less than 42.7 ft. fhe f . following inscription on the plinth of this transept commemora- tes the spirited architect and the date: -- “Tn the year of the Lord 1257, on the second of the ides “in the month of February, this was commenced in honor of the Moth- er of Christ during the lifetime of Master Johannes, the archi- tect from Chelles.” Note 42. From Viollet-le-Duc. Vol. ¥. p. 144. 56. @rocket Flowers. 4 peculiar decoration is also here placed on the gable span- ‘drels by blind tracery. Otherwise on these places are developed Si A ie ee ; . Bu @ : - i at ee, fits a oat is Pala i i. nea ) eboobal .2oiten wey ges s ni eldsg sds) To. selbas ong is ifs no bavot ete yodt jweds even aclesh edd Yo, eplans edd er .eebsiéepisd to eiasq Yo. bus eleinkt ead to sel alg ae od ee aps ot d aqsd209 -setoted asee teveg; .nseasm Ils ao noidsetaonsax19 x j ylegotverg obem usw aiewoll sexloor seeds to soisnovat ode \deemsar0: doldw eBtetiot: asigeiad> yiis2 end ao ylaomaos yx “eae queso Istasizo al .adoysqib bas senordd sacteid ,castis Lidesuant istasizoOnsioes) déiw benisdes aged yeds eyed andy SP Bat: att -ysbot Litany hoitzeq nsiteiadd ylus® edd. acst yd iS Tovetenos odd word stenoit sexsou obdso® yfuse: etidsixe “ , Reds ba0cee $ad mort .2iied Je omad oxsoll to shsost aveteen gs bi Gexooso} oidtod daid. eng ove © Bar Bit ryausaoo as BL ons n See #829) ;istbedssD engoicd to tewod ntedisoe add most atone pede Sisd: otid=bed odt wWasmsaio oigektesosisio yiisioeg ee Te ; “(oat OL rePRepnetiog eds nt beosia me? 2 oe j -Qhivoid etaisunessd mori .bb stot , i ee | ' -Btimio® mong 22 si oF ie ea : 1dsd ysrsoss? .0a s iilaes os J380 sebnanaite ns #8 tivesdi awode est olday oat 08 oumens Od mxsio esi to JHG0CO8 nO Jdzuee nom Jedd .seurk]|eb a prenhtn 29 lds YG. Dstsvoo oten exceb bas ewobuie to egak ne soye os egreqntt).2eLdse yiecesd heared neds iddiiviscsss. yiieso: er eysns00h tevo noidoubordsst ates? si faw odd mort sootor1§ yifesau yswioob oud to edmst sbiw odd id a8! gaisoesorg eat ef efdsy ysoost¢ sd? .seve beloor ed saum eprneetts youd. .ewobniw eds ovods bsgnettd .etoot sashes rot de sit 102 aovesidind odd seended Saoqque to eadniog smos ee sigeuisd toot edt sot es {few as ,eokni00 nism enivostorg 08 beebat ef eit’ .2syor? ge niadal 12 at .(O* rer ete) ase out badtzs as fg ai esbsidanisd est fads .bsyolqme yvilet “Ts ae « e#efds: yiecsts et oF soggextiud sid. mort BN) ie) 04 | .bbosefi noe & offe€ mont .be etoh) f wea, Se a te sovsed -getenolt, etkae.10: Pilowkd ofa ‘ankmuedo 8&8 ye edt tentsss anibliod sat to eeniisuo seus Y ofquie at aseaod ot [ikve.sas yout .tas oeisetand yi » ids: s stinpst qlvosxe gon bib) dois .zeosig w8eite dk | . a a) aA i i le a a - wee wl) 4 he i-<¢ “> era) ‘i he Cae L ey Le phy ; A ® Tal id ' 5 ae Poi @ ; . f d i L i { : be hae, iF ie wai = 9 fh . iw -hanei¥ te neiqes? .& wort sevooxm 10 seno0ld sedoore se ei fi Sidsod yises. ai) berssqgs aiewoll. Joxooro edd céin s9edsea “Ps a> 66 she crocket or angle flowers. Leaves and flowers) aeeeek from the angles of the gable in a regular series. Indeed, not only the angles of the gables have them; they are found on all ang- ies of the finials and of parts of balustrades, giving to the outlines of the building against the sky a charming means of ornamentation on all masses, never seen before. Perhaps. the invention of these crocket flowers was made previously by Far- ly Christian art. They are still to be seen in simple. form: ve- ry commonly on the Barly Christian reliefs, which ornament the altars, bishops thrones and diptychs. In oriental carpet-wea- Vins nave they been retained with GrecianOoriental immutabili- ty from the Farly Christian period until today. Pigs. 146 43 exhibits early Gothic crocket flowers from the towers:of the western facade of Notre Dame at Paris, from the second half of the 138 th century; Fis. 148 45 are the hish Gothic crocket fi- owers from the southern tower of Cologne Cathedral; Fig. 147 44 is a crocket flower or crocket from S. Stephen at Vienna. To- gether with the crocket flowers appeared in early Gothic an.ess pecially characteristic: ornament; the budslike ball flowers are placed in the hollows.(Pig. 140, 150). ‘Wote'48. Viollet-le-Duc. Vol. 2. np. 248, Note 44. From Essenwein’s drawing. Hote 45. From Schmitz. 57. Pracery: Gable. fhe gable has shown ‘itself as an ornamental part to such a degree, that men sought on account of its charm to assure to ‘it other places, which did not exactly reauire a gable. ‘Open- ings of windows and doors were covered by gables, which were then termed tracery gables. (Wimperge). fheir introduction over doorways is easily conceivable, since the wide jambs of the doorway usually Broject from the wali and must be roofed over. The tracery gable is the protecting gable for these roofs. Arranged above the windows, they afford wel- come points of support. between the buttresses for the strongly projecting main cornice, as well as for the roof balustrade ( (Pigs. 151 45). In S. Urbain at Troyes, this is indeed so skil- fully employed, that the balustrades in plan exténd like struts from the buttresses to the tracery :sables. ‘Note 46. From Dehio'& von Bezold. ae On ne ae age as " : ‘ea 5 ia : one to. a if pinout "evo ofdey: yreoH4s 35092 eat i¢ i i Gg St .yi@).eeldsh yreostd fiove Yo esiqnuaxe gnettexul emg eid nk moved notsqisoaat atsootidows evs of anki bio nse ede goni@ .smiedd to: tetiose? yd besvvoexe eaw bas anol “ laren nt bist asw Isvbodtso edd aniblindss vot snore (Gerttdd .odbbim odd JA OSE anodes begenthiro avas¢ Bas bo2 imo? obieed: basse @fezas has widwasds tvedzoM rey 4B .a 48 NOW .06G-eSetedtory: uth! ere’ ppabines pi | -etowol® egos «8d Bom 85990 asevos® eeo1o lestistoiss enpttas eas to bsetenT istos to difsen 6 betididxe ybessia asinstoxosg 2 .otdsos babe ‘ead Yo abothasd aoge oibbim oft beblotaw o2 .enotstsizay yout MOLsse19 wen nsios7d dos 10% etewolt eeoto intivuasd ™ a = . 10: draechahiganindieamvantanie Jesanid has sgaohnowse att ore ui s # fo: tebiod eag of geoio sk bas meissansm toga esd ybsartis doidw as to ono Ssosbhouges ak BG .ef al .diow e*memeobeid atetisg vetoed 30 Retundye?)ioidsoe etel to enottisero besirtiges ceo Pet eee | ‘ is .{¢xotneo ent towel abr -8f9 at ofqmsxe 103 28 .8¢endore letooge tot” aah esteae yd henwove etew stenolt esor oeeds .2rte9 te sued wer ts ae ‘ ' «B99 wT \4efdsb of¢ nworo of wo90 yidasunett oats esencto essdt -e19dete pyr abies Bons MN UC on baw Seedotsreds ‘XorsnovEl; eaiegh wevebsoR¥ nxeteee suo | dobys fengresh esw tr .(6CL +0) “Soudbash™ etag to Stel — pid) wiecibnisi ) aqdgtaed cob edool TS aveowge doidw .meinseio wivil ssemooed cat aniblind< put bus r9w0g sidsisqmoont atin aworg bas elas bas tatoy °* we peat pte! eso? to aksda¥ .2 moxt eenioo 5° SS .ai4 2800 © efptbenises enzolos mot? Yewolt aeors ofddoo Waid 8 aviditixe OD teeiinee od@ of miotiesizovet yrev e@ estertepflt bar: .ec® ig bas. aedomuio payereneny eas yo bestiditixe yirslsoitisq or 87 The sreat tracery gable over the middle portal of the slori- j ous western facade at Rheims is one of the richest and most 1 luxuriant examples of such tracery sgables.(Fis. 153 47), ‘Aco~ ording to the architect’s inscription siven “in the precedins ‘Heft of this “Handbuch” '(p. 196), it was designed by Jehan le Loup and was executed by Gaucher of Rheims. Since the corner stone for rebuildins the cathedral was laid in 1211, then these parts originated about 1250. At the middle, Christ crowns his Mother; cherubim and angels stand ‘beside them: Goa tae #ather looks down benignly. Note 47. Violletsle-Duc. Vol. 6. p. 6. 58. Groas Flowers. Instead of the antiaue acroterias] cross flowers occur in 6G Gothic. If acroterias already exhibited a wealth of spirited variations, ‘so unfolded the middle ages hundreds’ of the most beautiful cross flowers for each Grecian new creation. They are the strongest and highest expression meanwhile, that the ey building has becomeia living ‘organism, which sprouts at every <2 point and angle and grows with incomparable power and fresh- " neas. Fis. 152 46 comes from’S. Urbain of Troyes. Bis. 15549 ‘exhibits a high Gothic cross flower from Gologne @athedral, which already has much mannerism and is close to the border of pattern tradesmen’s work. ‘In Fis. 156 is reproduced one of the most spirited creations of late Gothic.(Besginnins of the 16 th century). For special richness, as for example in Pis. 145 from:Notre Dame at Paris, these cross flowers were crowned by entire stat- ues. Fhese crosses also freauently occur to crown the sable. Thus Fig.‘154 illustrates a very favoritetform.fo bhe earliest ‘Goth- ‘ic, particularly exhibited by the Cistercian churches: and their Bursundian sisters. sen, rf ii ‘ A " bY ; i A o # 1 rt < ; ' uy 5 Ja bitah a by 4 ’ . viet ri + {" 4% f - as, wesoe Lie & tes 7 : ; ~fstite 68a eds ek eiiibtartwe: sini {998 StotTovsied even on ae vot ousel coals disde ew .elietob lsvesiben suso doidw 7 caqtenabagtie ne oivsidas aod to eseon elideet Duoose + nisivoidseq oid bos eeidiwiisoey fetineuas agi: idiw isi of t ods od bivoda gadW .eetinpsy af tens ,noktaiagsagq Yo. sate. ag eolnzoo bas wobniw offen base ietigao .jtede .oesd a psy" | Temsdoed if9 800052 tuo asdd saniecenth selisme, aved yilewdan edoind : oa tation seomlsa ove oldsitave enciagemib oad uevsai eng al endupet etoiad: .bensuud: Liew bas yiives ad of sebi0 at sud on. eee fotin to: ,si0iud hebisem oi¢ tI .eoxie s9f \yideisbienoco ni obsm ors .besogmon sag .ods elstiqso a ha, gnivosi9: odd yd beyouteeb e718 seedy none .euoteanemih | sontud Aoitd edd svoteved? .ysilo doiad ond Yo aniic ‘a “es 44 er ce _ mae sidiwesedd seoimioo biod yledaxabom souhoug of geiised ? , ed ¢aum saciid 10 ,evedmem Lis to nokvamsotenstd and estiop = “s elieebey. i: | ebotnade eat ve 7 ' tesuiaphanst) Ame odd ni sonoma .08 $e svotls 2et8b stanimasiebh divin asdoinds dorad teeiicse eat pidoetkh aids nk atqmedta nededein sevit ts diditxe .wotoissl ae eed sit exoiid to esetsoo to hbsdcurysenoo eed Joesidowws sAT W 30 dose seoegs oad Yo ediniiq ant ea ilew ae anmuloon ant to a ananagsee 70. abagvos: Isuan east Do eno snoanapmentiya Abas , a Le 6 et ies (ee VSt wha). sas0sia issetons: enekdxphapiosian oW ASSER menT 2B) tok’ -8BBI ~ OBBE .ndiseh .setante?. cedoasasuend ash : euisdI secolonetw oidenmobssio&® .f£5 at Looe m1ol asoidavo od Jnevexg dou eeob istiqsc sat mivovedu ,qisdI wort noisesioleaatd awoad ifew sna dod .yns si 2 odd of tyo Sieda ons sor1k hasixe eoostase Leoinoo. boa Bai teeter bom dsaobsrh & benisddo et ydewea? -erenid0 1e8q “i F x : Fac in ‘ sh tere. Owe } es Oe ee ms pe 5 ' f ; cs Peels oe al nae ay AE | ae (diveat bd oetinowk xoied — 6B seaqeds - eve th aye 4 ahew Lo si dah chil eae selery ey et See pbask: man ° kt toma squads oct elinw \woksostorg dieiia s \nottie bas aetna wfsomses ernitnentnth istiqeo notdaso a ‘ d ‘ “a ia i A \ ; PN NF ‘Upper Italy. of preparation, that it requires. What should be the form of 68 Chapter 6. Brick Architecture. a Brick Cnurches in the North German Lowlands and ‘in 59. Material. If we have heretofore seen how suitability is the basis from which came mediaeval details, we shall also learn to retognize a second fertile means of the artistic imagination, the mater- ial with its essential peculiarities and the particular. mode base, shaft, capital and wall, window and cornice in brick ar- chitecture? Bricks naturally have smaller dimensions than cut stones. In the latter the dimensions available are almost unlimited; but in order to be easily and well burned, bricks require smal- ler sizes. If the moulded bricks, of which mouldings, bases, capitals etc. are composed, are made in considerably greater dimensions, then these are destroyed by the cracking and crum- bhing of the brick clay. Therefore the brick burner prefers to make oridinary and moulded bricks of the same sige. If one desires to produce moderately bold cornices therewith, this re- guires the transformation of all members, or these must be gu- ite stunted. 60. Churches in the Mark (Brandenburg). The earliest brick churches with determinate dates, those at Jerichow, exhibit at first mistaken attempts in this direction. The architect has constructed of courses of bricks the bases of the columns as well as the plinths of the apses, each of w which represents one of the usual ‘rounds or hollows. They are entirely lacking in scale and appear badly stunted in their p places. (Pig. 157 48). Note 48. From'Adler, F. Wittel@lterliche Backsteinbauwerke aes Preussischen Staates. Berlin. 1860 - 1869, 61. Relationship withcUpper Italy. The capital does not present the cushion form usual in Gern- any, but the well known transformation from Italy, where incli- ned conical surfaces extend from the shaft out to the four up- per corners. Thereby is obtained a diagonal and gradual tran- Sition, a slight projection, while the abrupt projection:of the cushion capital diagonally is scarcely possible for bricks. s- _ SS re ae eed, Se eR NEL I SR EE ae TE ee eS SO Pe ote ee ee ee a x a ‘ “at -yeored we ¥ done:'90.ysina lisse’ tavore ent 10° od evoxg ike ti tou {bsaoitnes eltstebh sat to wotv, ak 39 pins: 52 o gwotseatsesvad aev0lo ao eldsnstag om ) bodves od sedt .bise sexkt od taum TE ,yuBtda0e edd 50 ~ man sid bomvezs oat to emit seid te dss oft gi adoisd anivem aie “gninisd Yo tte odd Yo welenetd yns Ses yaa at Sods tae - eas to: enottentseevai seidvigt bus ,beiseb yieridae eo genm Re’ -bosutitent ed sews enret Yo nigivo asiie seg whestat bus ,seddous exil ylsosxe et void of yisal of “porstoTeif yd beodtalqxe od sonaso eins sone iitam oa ota “euadgton ion -eisbin .entane! {supe eved. seities yout poniatud ~deide mort .ysio Yo eoiss dse1h nedsed eved Jaum eastiasT saf - eevevansi bas feifarsoq to ansom yd edotad eid too suo verde madoiss Saeisitib To sien esiso oft voare .etind & to sovoxde = eefans daaia Je atvo edt vin exuo Islisusaq edd bas aseee é beonbotg st9ow sisds ,obsm yistaxuoog 003 ton snrew ove : ni ytsidaoo edd ao tua ensued yus oF eldiaif{letai toa diveog od yea gids es 18st oz ,oiife [fa e1s edotad edd .dne¥ “ons oe meen a8 pareee ait donides eten yont pedoind s0% 7 \n ad — hide ens soupboudar goa bib ensiles] odd sacteasd? “28 .edasmpooh yd bevorg ei ain? .fofreq newol edt eonte yuan eigU 90° dyow sid af svad on .(088 suods) ebin® Yo nedsA .2 uo fetis eioiad to aaibivom eins Yo notiqisoseb otelquoo s “oedev ee -~;awollot es setiaw sedsf? .bodiem samisd ons > youd sonte .(eslurket) aslis gnisavoo belisoe sexs woah sviocer yods sensood .(esoisdmt) esitt atats bas .eantbhlind i B : be $loabesdtt: ets yous sus .aplligisy eb ovitonimid ett bos Oo Is0t yd beeolvns .(ttel) obtw ebsm sts yodt es ,tivoredal | q/oe o#fs sus yott .iacot 918 esdedsl odd Sud .zqidde ais ei nea? .ebluoW neboow ni beord ebsw 928 yeds Ssausoed “tot yefo eds ysiso sem dokdw no (elbast) setsi0. bediso 0! Frdnorel: dssod oft Yo exmsoesiNows Yorsd eds fadd bonuses. | view amese nokens$onoo eiit evissi wort bevigeb sew aba e2Itb of .vissT to sady mor¥ Sacvettib elsatsas ssw songiot S869 — 199 nt nommos ste" bes owond svew ehinom Aoki soe ong otk eid to mre} gevit ors at sieges tog .{aedat) aise ond pbefiss ebot to encissniduoo 818 yond 10% -utotad dhoot itt ieeetenel -bevogao af dad ,.9.f .widete oF ‘ wil f ‘ il qa My ve Mat . . a ay TH ie Vip ery 4 ) ey et =f) | \ SQ? COS eee, 9 es he eee 1 se 69 On the sround of similarity of such detail forms, it has been $y assumed that the brick architecture of the north German lowla- nds was derived from Italy. This conclusion seems very prop- er in view of the details mentioned} yet it will prove to be untenable on closer investisation. On the contrary, it must be first said, that the method of makings bricks in the Mark at that time of the assumed trans— ference was entirely different from that of Italy, so differ- ent that in any cage any transfer of the art of burning bricks must be entirely denied, and further investigations of the It- alian orisin of forms must be instituted. In Italy no brick is exactly like another, and ‘indeed they are so unlike, that this cannot be explained by distortion in burning; They neither have equal lengths, widths nor heights. The Ttalians must have beaten sreat cakes of ‘clay, from which they cut out the bricks by means of parallel and transverse strokes of a knife. Since the cakes were of different thickn- esses and the parallel cuts with the cuts at right angles the- reto were not too accurately made, there were produced bricks not intelligible to any Germans. But on the contrary in the Mark, the bricks are all alike, so far as this may be possible for bricks; they were struck in moulds, as still today-is the case. Therefore the Italians did not introduce the makins of bricks into the Mark. Brick moulds were known and were common “in ‘Ger- many Since the Roman period. This is proved by documents. Pr- om S. Raban of Pulda (about 830), we have in his work “De Uni- verso” a complete description of this moulding of bricks after the German method. Raban writes as follows:-- -*fhey are called covering tiles (tesulae), since they cover buildings, and prain tiles (imbrices), because they receive t the vain (imber). But tegula-is the first form of the name a and its diminutive is tisillum. But they are likewise termed laterculi, as they are made wide (lati), enclosed by four wood strips. But the lateres are rough. They are also so named, because they are made broad in wooden moulds. ‘Then ‘is that c called crates (handle) on which men carry the clay for these ‘rough bricks. For they are combinations of rods, called: apo to cratin, ise., what is opposed. The clay’ (lutum) is so: nan- Lee Ga ay eR er tee ep : a eat 4 weg ' f i i p> ’ ws : . mY ¢ j ‘ “i , ‘A _ ; , OS “ pibeaced: 61: eussosd ,destta0s sad wort .oveiled suoe es .bomsa fan) bbls oo ves Shoumqg en (mute): bodesw gnideyas. 10% .cava somgsmelasay: to emis oft s9ette owond Liew enod et9sw adoixnd » Yo baswats8 .2 io sosns nw {1eminsT COOL usey ond tos ts neal ; .moisoutieal agioto? guodsin send min Yo avasod: .meedeobhirh = ‘ebtes nods .(meisged bs estel) eelis oe0 of won bersvooetb _=Se\\snometsse atay to Sniusem edd si easniseio Yo desi edd mo qnond oxen eioiud emizy eins suods, tsdx \niedaeo ek soum oe Sit ‘BisdebkeM 1290 ov esii miretsoblit tu8 smiongebii4 ai: sbsm bos | =x6 bei adoixd to ogbelwond ond yLdnibiooss gsds .AneW sis bos - a¢i¢giisoit ensared oft asdw .,odfF estit no eoigusgnso 10% bates ties dove eddy buepet oF yaseesoon gon ai dT .abast otvelS joue asw ynsmieD .edoiud to auibicom eft mens atin sntgaisd vs 4 Ardidtaice 02 etow ansmte9 odd bas yiduuco heqofeveb yidgin ses Hwond stivne oid nies {low es yitnuoo vedtom oat nt Sakyenrsot eng. ouibinom to seas siil egboliwond. bas seiatvegboai dsaz. .bisow | ebLib bas shine emzoledg aii beerevseug.bns swond sien eiol toga ? -Riscedesw ok. ylouedive bas biedveugte ateM sit nt syutosdinoys dotad to emi03 add dents ; | noo ¢usezeces: ti batismesuodtin .ofdfeeod si yisdl moat beviw a. foisd gevkt ond to atotenthixo ont od of enstisdl © a nsure) .yissiT to. eistesm nods o19K% ensmted edd 10% :daeM ont MN bandehesM to qofeidiotA sit .esonivorg msgisdT bofud eqoteid © egw pisdfevsh to mieenA qoser@ bagnyekokasaodctoisaned esw idebksW to sontvo3g. odd bas yiswI gu@ .eanevsH Lo qoserdootd ftemied isis aselolar sl .ysbos ex anotisie: stsmitni: aa ben jeblett {utivcsed tot edguoe eaysniwot:yhuse ated oo etoodsidees _ asiissT To esyvor fisieb Sis.Sm0d Jdbvowd bas wendk.add dedi, bos BS ha . rie) «lulvobnow ton excteteds ef sae | Intisesed seom odd eeweceeog atudshysM sSuods-yttauoo eds wok | etuvoedidows oaiudebasN oid evolevedd bos ,egove anthlino To enismed sit yd nwone ei ein? dae snove tuo « eyswls ee ovens 218. 1oNe {Raedotudo supeensmoh aid ve -tbsvanio8f asen isidneizsM. bas ecouss oad ra fespstlip ‘oad no ebathiiud Yo: arsano oft deat, © T. segqm@ oF aigd ton bib ,edsoedisow ynem.oe mort selina pho: 9a80 odd ni ,ioobive tlea af dowsio egsiliv a dsere poed i 3a) .wodotsel ds cousdd ysetesnoll edt to soesesed | Eedantes. edd Toedoedidois odd. een eenouuae doisd seeds Yo 7Q named, as some believe, from the contrast, because it is not pure. For anything washed (lotum) is pure.” Bricks were thus well known after the time of Qharlegagne. When after the year 1000 Tankmar; he tutor of S. Bernwatd of Hildesheim, boasts of him that without foreign instruction, he discovered how to use tiles (latus ad tedulam), then aside fr- om the lack of clearness in the meaning of this statement, st- ill so much is certain, that about this time oricks were known and made in Hildesheim. But Hildesheim lies so near Magdeburg and the Mark, that accordingly the knowledge of ‘bricks had ex- isted for centuries on the Flbe, when the Germans finally these Slavic lands. It is not necessary to regard the Dutch settlers as bringing with them the moulding of bricks. Germany was such eJa highly developed country and the Germans were so constantly journeying in the mother country as well as ‘in the entire known world, that industries and knowledge like that .of mouldings or- icks were known and. practised in @ologne, Fulda and Hildesheim, and evidently in Wasaeours. That the forms of brick architecture in the Mark misht be de- rived from Italy is possible, without makins it necessary for ‘Italians to be the originators of the first brick buildings in tne Mark; for the Germans were then masters of ‘Italy. German bishops ruled Italian provinces. The Archbishop of Masdeburs was CounbiofoRomashotea;vand Bishop Anselm of Havelburs was Arenbishop of Ravenna. But Italy and the province of Magdeburs had as intimate relations as today. It is clear that German architects on their study journeys sought for beautiful fields, and that the knew and brought home the detail forms of Ttalian aré is therefore not wonderful. ay Now the country about Masgdeburs possesses the most beautiful ouilding Stone, and therefore the Masdeburs architecture was always a cut stone art. This is shown by the remains of Magde- burg Romanesque churches; such are exhibited in K&8nisslutter and Marienthal near Helmstadi. That the owners of buildings on the right of the Blbe, some miles from so many architects, did not turn to upper Italy to erect a village church is self evident, in the case of the pre- decessor of the Monastery Church at Jerichow. The architects of these brick churches were the architects of the neighboring ae Re ee ol Uy | A a of Pore, (om ke ‘ aA : */ Patt b P Fis yi Y Re vs ; f ee, te one iM) i A fe at . “*, 7 Ae - : is ; . ON rats) ies ua ye Ep INE IMB ea ny tet My, aciwb dateugos eorex of: eontvorg aes eae “us p o1kdao sud y J anode ab-eict .yisal. teqas: to.e1ndoo easton vou sé fokaw ,2aedotudo doisd ezeds Yo sonesseqggs ue sien i bE bates Wad Bir -RImdebRsN to ylest } co said sceainore ylasinoiizseg ebsm od gasm si teyoeTO » Lfew sid dads ,wolle oF nokdiaog Hi need esi eno of, won Pbchakisnane to agaibliud Aoiwd suvesnemof baidsizxe. ALtge bon | uot ai soiniqo efdF .ixe¥ odd to sons st0ied bessnigiao yissI Yo d1s nsiteiiad ylisi ed? .10vet esi ai dom eed. bas } poeta naa tsad .noisgqeuees sit aeaists sicisisad -3%6 AXOLtd 6 BSH if 96¢) Io omit e463 al neve noisovisenoo Aoivd heatdoasxg enstiss | ™ 93g sil? lo so1sed eis asw Avitd dedd oa .1edsi bus abysdmod ) dotud eepeensnod awond tedt .geixe tom ob eloorg dua. .emx0t tentolsal ond to eaodsy nets r9eblo sxe yles] seqqu Yo eakuiblind = , beiseqgselh teven bed oaiwetil yusered ni soktouttenoco doixd | paianestan oad yd bevorq ei boiisg nsiveiadd ylisd sad sone <-diase teom fue [fs to terit beeaobive ef aids. qbetsie ybsotds - -Aresoa eis te esitosiqg named gussettib yileaitas ent gd ylons | | » 20) Botigem s ,odifent. no besgobs esw soisout¢enos foiad nedw seen yasmro9 at hedidoesb ybssils bed asceh gadd moLdouboug .* aioe Fie, ) . sbetetea ylegorverd ies. 0&8 sd ed1sM odd ot ggnibdisd gxoias texs3 .88 one ise ais to eknibfiad goiud bevab yletinrieb sartt eat eft ywodoitel vs tioved® yistesnoM edd bas dowdd oReL{iV eda goose ean tevisl edd pbbii exyolted aaibassye ybsents saw asms0k ** «ewollot es sis edasmpooh Jeqioning ows sat .OSil ebaewos be 2) baovs suoitomoloid xehod .4 .k) oebsiF 202 .eb etot oak is | SRBD .nddsea@ Leh iq 18 hoV) .ete : Ty de exeddérd oneds endt ~ - - (Qnédugw at aninaixed eat)® | qtbstetediel ni site¥ .G lo sostowg doigsishO sessed to sovt To tad) yono§ ofdusieelocs sit pialoosh .2. to nonge .dsodseia eens to goeterg: 1ecebsH jJredlsbA eversiia .ytiel ons | " jodserd cov ‘anemieh jdofieviA bas bivtes® enoe ein bas ne twodwaD mov doienish :bomeed nor ein bas axue nov sHiotdi® ftov YlobsA znedsineiasz® bstaod swototset Yo aslileseso 908) .etento Isrever cele bus ciadnewl® gov ¢19disbA iniogens Tol ai eiodikien: tieds avin exendord onsa odd oF taBKd Sv sav Yo .Snsl eavdesq ent Yo \Feadot eat to sen nommoo sid NtsaneaaateS ‘bae eldas eas to (baat wobsem eds to has yte Pisa es ye + Aa -bosn yeds 26 dona ce eas at saddeliliaicls wih'ns: seihiiaidhindlinda chasseiy naitaney x ‘JaeTIVS, oad ni ' Sosqs ricietenadl edt .moivoibnt dtas ie nt: pete 72 In the village of Jerichow 15 solidi and some measures of 1 land appertaining to the needs of the priests, and the remain- der previously belonging by right to the priests of that church; namely from the fishery and the proceeds of the harvest, and from what the farmers paid from the yearly yield of their fru- its. The village of Wuikow and Niginthorp, and also the vill- age, which is named Slavic Wulkow and also Little Wulkow, with all usufructs, arable and not arable, with fields, meadows, w WayS and non-ways, exits and access, with pastures, waters, fisheries, mills, forests, hunts, debts and demands, with all rights and its appurtenances, or whatever is elsewhere mention- ed or can be named. And so that this our sift may remain fixed and unchangeable for all time, we have written and made fast by the attaching of our seal and that of the venerable Ansela, b bishop of the said church; so that whoever attempts without our permission, which be far frsm us, to proceed, shall know hims- elf to be punished by the ban of the Apostles Peter and Paul, by the curse of the aforesaid bishop, and by the restraint of eternal damnation, unless he again makes good his procedure by worthy satisfaction in repentance. But the witnesses of this our sift and act are:-- the venerable Anselm von Havelburs, b bishop of the above church; bishop Wisser ffom Brandenburg; Gerard, prefect of Masdeburs Cathedral; priest Adolf; priest Gunther; Bruno the younger, Bartold and Godefrid, deacons and canons of Magdeours Gathedral; Evermod, prefect of S. Maria, Gi with its convent; Waio, prefect from Havelburs! Lampert, pre- fect of Letzke; Odalrich, prefect of S. Maria in Halberstadt; Siseboth, canon of S. Nicolai; the ecclesiastic Bono; but of the laity, Markgrave Adalbert; Hademar, prefect of Magdeburs and his sons Sigfrid and Alverich; Hermann von Plathey “Adalelm von Burs and his son Gernod; Heinrich von Grubow: Hartmann, castellan of Jericnow; Conrad Frankenleben: Rudolf von Gibich- enstein; Adalbert von Flwenbuie and also several others. But we grant GO the same brothers with their neighbors in Jericnow the common use of the forest, of the pasture land, of the fish- ery and of the meadow land, of the arable and non-arable lands, So much as they need. In the year of the incarnation of the Lord 1144, in tbe sev- enth indiction, the fourteenth epact, in the current sixth year SIT ES taints ae ee Fe Reta is yea Hie piers gm: Seep. ie ee ae + - D Chth ALP ee a es a ae apie es eae ¥ Ver ‘ihe ari. \ ee ae wa). fa a Lk 7 , i vin : ey hs | ; / Sh. mA godeid eldexenov bas biol ene to, noivanibic ena’ to ’ ob to doruio ekde to 188% dénestxis ode ‘nd baw 21nd level a +* nomd, .noitevis’. .bied edt ni dundebasM vse nevid » bowls: eed wotdixel ta dowd eaeL1iV ons .eidd oF gnifmoned Baidveien ineuyooh bshaevxe teom edt .8SIl asey, ead eonia hoods ne ae . 8. eno lfod Bs “tot yiedeado ony to an foased edd of OTT ree ‘ oo) pes Se BSS .q .Sobeih eee .O2 sto” finendprh .ysinial eleieivibar bas ylod edt to eman and al*® 26 80 , efigandd Sundebeem ylod edd Yo goteiddoss sowsy at bod yd. be } Zo, eoiito efd a9deinimbs ow .f08 to Lavosqas eda Asin 7 dis yldieiv bsel-on decm o2 bod to dowd ylos eft to he | fet ylon ois Yo exenollot oud vileiooyse gud .ietudG ak aco qHtosset: eidd 10%, .ecituh bas soivis at efdesiaedo od od AOL} pomadakact ni sitedtoud ano io dasupe1 edd oc dueenoo yibels ew gibelg ow bas ,Raidfain sind ni oosiq tieds disegs tor ow has ; bit oid ai sii ys noivspergn00 téi9eds tevewon dads ,exitnaRonss 9) et Bnoled vdgia Luk dtiw Llive yeds ,enoizeezeog as0 to ge Ka ~~) ah: es Liew as isiogmed aiedd ai déeod .dowsid gipcleval aad eee fon ovsd seum ysis sedd of ,enoieasove {sudinige tiers | yen Lie dtiacieoned most isad. 0% «en moxt tud ano sient most ; q fo ak goktsiohbianoo ano sooxx09 wod .qwomd yiniadseo stem ed | -®t08) Jadwemoe qu sist ot oidsvivbs siiblod sw .noissooo eiad Ay eit netiw 109 MOLssgeiggoo od? to Suibavol teikt oft ylint | Bem ,21obyf evexzisl to noe odd ,obst2 sow’ Mobsd tay09 evonst | ©) miele: edd Yo s8dtoid, .gindash bio} yesensoia? ont yd niste | -touws swesel bas dowd. aeme19 ead Yo vooteig seait de .eoutag | =ti.ybsd ,sedtom beiti¢onse bas esoig yey tise’ bas .godeid Seoete Ntomem ai -eisidéad. to yasquoo ebde bebasok neve .aibtede Oo Sted douvdd bindebasW sid shem yeds exoted .ment to bre mid /hebasot yeas jenoiesosaacg esi bos wottotisl to elgasd sissd f£1eb to eltasd sid stoted voit teds .foisdd dered ott ac: ) beineS anid Yo soneretq ai ssutivesvat ti9edd betefqmoo bas Tb1sM otedin ,kugdebkseM to yiio sdt nk dowsdQ sandlevsi odd fet P 19baw noidsgoxgn0e eidy dood ols oF30 noe ein bas taedlA : es 10% asnas heniemes bed etsidoid eds nedw tug. .noidoedoug xo WOT betina sidtii bexseqqe eosiq ond ,eie9y sxe ens emis Tadd Fa vew odn .wleenA hiod neds ,seakoro. aexd 2sw od e1cted anol .doasdd gundleveld to wodara d fersiies .sasevei lo qodgiddowA sid to suoidd sat ¥ ee a se i ue 3 ah! 73 of the ordination of tne lord and venerable Bishop Anselm von Havelburs and in the sixteenth year of this church of Jerichow. Given at Masdeburs in the Lord. Salvation. Amen.” According to this, the Village Church at Jerichow has alredy stood since the year 1128. The most extended document relating to the founding of the Monastery runs as follows: --°° Hote 50. See Riedel. p. 836 et seq. 95 “In the name of the holy and indivisible Trinity, Wichmann, by God’s grace Archbishop of the holy Magdeburg Church. Since with the approvai of God, we administer Bhe office of shepherd of tee holy Ghurch of God, so must we lead visibly all believ- ers in Christ, but especially the followers of the holy relis-— sion, to be charitable in advice and duties. For this reason, we gladly consent to the request of our brothers in Jerichow, and we set apart their place in this writing, and we gladly recognize, that however their congresation may lie in the mid- st of our possessions, they still with full right belongs to the Havelburs Church, both in their temporal as well as in their spiritual occassions, so that they must have not alone from their own but from us. So that from henceforth all may be more certainly known, how correct our consideration is on this occasion, we holdiit advisable to take up somewhat fiore fully the first founding of the congregation. For when the famous Count Rudolf von Stade, the son of Margrave Rudolf, was slain by the Thietmars, Lord Hartwig, brother of the slain prince, at first prefect of the Bremen Church and later arch- bishop, and their very pious and sanctified mother, Lady Ri- chardis, even founded this company of brothers in memory of him and of them, before they made the Magdeburg Church heir of their Castle of Jerichow and its possessions; they founded this ‘in the Parish Church, that lies before the Castle of Jerichoun, and completed their investiture in presence of Kins Conrad at the Havelburs @hurch in the city of Magdeburg, where Margrave Albert and his son Otto also took this congregation under their protection. But when the brothers had remained there for sev- eral years, the place appeared little suited for religious ex- ercises, then Lord Anselm, who was at that time the venerable Bishop of Havelburg Church, long before he was translated. to the throne of Bhe Archbishop of Ravenna, bettered the great d SOS b ee a re a A i aL ie. ee 7. Va. ie Sta 2. aoe tT ~ 7 oo an 7 a y= - nies a iil wn bial ie Laat wale a weeny ook f Ae rh, PALL ‘ ie Pal y ‘ FH, ‘ q id ‘ - py. 10 secbediniinelt edt ,doisbets¥ bod. esi obstusviseib ‘ deta peed bas dorinreh yd. bas dowd disdebasW ong nt +0 ¢ | $8 \eldaad: eds beaeeeeog. yads tol wodokiuel: to sisasord bi ketteaktbhesis one moti sesel .giwses brod mort asol yd gti ede mois oF Sto cele o¢30 svathisN dowd. BrndebRel 08 — eid to diseh sat setIs yretesnoM. say to noisol ¢ ‘oad Siswot hosogerbh yldsiovet scom {live even vers Fitna: toon goats yd sonelovened of benitont oels ezow youd? (2 + Sev0vst sesi on aneudish sed¢stqete riedt ssusoed oar ‘wottom avotg ytev Iieds Yo noktinomds ods te bas Gs eeog yest dotin .ytio edt anindotbs blert edt ever tesct a © etedw .ytio ons to ebietno sosigq ens hebbs meas yous pyabos -patgeened sidsttolsoo st0m bus betelos: ,soiuo o10m 8 bed yout e8) \wtevesnom & détw dorio.s besoors yeds bas .yfasevot usas _ ed8te9)on3 anigeod sont .tfestr tost ont mort tuabive eomoosd © «Ste wo ogelity edt to sbie aveds1ok ond no yxedesnom ont Yo wo Ons Sniwoliot yliastvenoo bus ,avonifd helfso eat tsag ,silel ens Yo eaxsbiod sds ov hiswiase ebnsixe .sevix eid to sasd bev a ~3E ouedd mort dud jsdvines? bomen easiliv aatsodsgien elssid aa eid SIiR Sissotols add oF TMeemin tO bedbbe oa modw! | -- a bad yous, sensced 10. Abeet Yo) aebin. edd Yo. dancoos. to 75 therefor 11 hides (of land) in their village of Nizendorp, th- _ ab is otherwise called Gerdekin. - Vt When we thus again regard this well considered act of our predecessor, we concur in the exchange, judge it to be right, and determine that it may continue with unchangeable strength on.both sides. Furthermore, we concur in that to the same ser- vants of God, the eighth part of the village of Buck with mead- ows and appurtenances, which the aforesaid stepfather and the mother and the said full brothers have possessed by just pur- chase, they have transferred to the brethren fer their souls’ welfare. All agreed on this occasion in order to make it 62 Lawful effect; they even gave every complaint, that any person whasever made against the monastery for any reason, whether on account of tne ides (of land), or because they had -begun to raise the tithes, into the hands of Lord Walo, Bishop of © Havelburg, in presence of Lord Bishop Wolmar of Brandenburg and of Lord Margrave Otto and before many credible witnesses; and they besigned these unanimously, in order that the breth- ren might henceforth possess @ quiet and unchangeable right. Besides this mentioned in detail, we sive to the same brethren the continued possibility of undisturbed possession of all, that they today possess from the first donation of the princes, who founded the old monastery. As already stated, this ‘is in the village of Jerichow, the Parish Church with all its rights, further the village of Wulkow and the Parish Church therein, with one hide (of land) in the village of Brist and with ell its rights; further another viliase, called Slavic Wulkow, and no less the aforesaid village of Nizekendorp, excepting 11 hi- des (cf land) therein, as already stated, which are intended for exchange. Further one hide (of land) located in Scholisene on the river Boda, that yields 10 solidi. Moreover there shell be secured to them the estate of their Lord Bishop Anseim, to whieh he added one prebend for them, when he gave them a farm within the old wall Kabelitz, and likewise the village very near thereto, that is also called Kabelitz, of which one of t the two was confirmed as a prebend by his successor Lord Walo, ?9when he added for himself to the aforesaid sift bis own vill- age named Visica. Thus all this, as it is contained above, with all its appurtenances, income, tithes, pastures, waters, pig ia oes ~ FOP a To Sr ee ee ne EN Te RC NO Ee Ne Ree ee Tee ee ie ee ae EE eT a OS Fae TE Se So, aR ; aah : * ay; ; i ls : erage Aah itileas inihldeprican inmcantt nit adi seviw odd Yo dusd eds ao eilim eerie oft evan + amoael. ebsm od. yew sis {Ls seds baAs sieteds gardatt ce >a 1s Los9 bas stoted eeltaogé ylod. edt to asd adv yd mods oF ¢ yd agol on bas .dorsdd aswod yloa ais to exttotizus gas vik ob) caw elie of t08 wwtiliasd) io oF akaolsd seds .agelitv mott! atdgis ath {is baa ti Foetorg, bas eosiq dbiseeiols edt oF a bas 2til sides ab nevig od 99899 bus oos1k Ysu .soisautut te odw gua .alki Asatate. atuset ofat yaws aesq ostwoirl yous "0. se0qe% viedt at molit etwtni- bison bas ewety live af exe ina bia: toitsiaqet ydtiow edew toa ob yads Tk .Taetedni aed msiyesharess: at eieania ody déiw deol od qed? Lisde . seit ods ae : . | 908% «=.b0D to sonsestq 64d mort si ilearanasne igh +-;918 fos L[atottto atdzy.to esaeoasth teeterg \Woterasbied :dowsd2 Lexbedsed adt to tootetq .1edo0d ~ovalh odd) .dt9%s2 jsosty B*bod yd soeteqq ,awiednw® ;elish to ynooseb ebiatee ysdsotd to tosterq yronie :doaterq gad vo fostetq .mstebisd :dowd® a\nsitesde® 62 to tosterq . dots , bemod bas dokti0 .bst009 .o19ed .sred{A idorsdd ataiasht saobasyG nov off0 sveigisM iycisl eds 0 .dotud? arudebas to ot Svetagie8 ,Stsdotss wdoisaiel bas of%O anoa aid déiw ,bund ite ‘evstgEs .bitth? .qrobauasmiol to doitebosd? ppasdabbeM \ dokraieR ottastastooe edd to jevelateié mov onutd :dorodents iy “bas dtediN moa atd dtin dowd gisdebyst add to wodotsebk to _ brstotd ‘giudsbash to “agtedivos”® bein0d :tfobsd tedtord ett . | s@aeddo Istevee oasis bas .ovedais nov Ssan02 bas to teey Saf nf) btvdebys to ysio eit at movie ai atas ta9 \baooss oat nt 88 tosqg® .Stif bi0ed eat to anttantsont odd } een on apc brod avotioly oft nedw <3 tnetTHONOD .motrot «nomd, scoitsvis® .evoust evs. .ro19qms asm H atdt yd nwoda esiwon ni ei Th Teds ,botostde at a1 at to asdoqe s#odd ors gnthaste wom gedoraito owt edt tant i ing A ., i 24 ek: Sdgt@ ono o8. bas .spakbigud of 2 .iteloy evuemsoob a aim ae ae : OF satwoditd stow moitoutdeaaos Toor ab asldsa sat <6 yous .gatnntgesd: edt al -istiedem sad ddvin soasSto00a bitte eiqusxe eno yeaota tuo to esidsg mort yixeivotiusa gon £4) .noosa0 ts dowsdd usozionst§ od¢ to sidek dévoa sdt eax jt détw ylovieestgorg hegzasas. nods mot Listeb ait (2% a¢e ‘te ‘same odd sadd o@ toy .(5* att .at@) anivswoonove 10 25 8B edd ‘ao ti e92 ow eadd ysonsulIuk. bentetde. ylleuvdsxa adoiad no eenistieq Isaoketh at elotud to ven add yd ainded to. ald d to. elisseb {stooge yd bewrolensid yletelquoo ssw efdaa ons hance j@rod Snomslstiesa sid yo as .wottonttanoe xotad 80. dotd® asotatmoG: oft to eldsy todgid yl n odd tao tasbaods te¥.. (98 wer, 94): ofquaxe food yekad at Oauot a9tel stew enoitulog mesure cs ae . i / wh ae : 9 Ac nen ate cs Y - od = J “¢. a ‘| Ay, at rr } 80 part in Silesia, which practised no pure brick construction; there only the wall surfaces are of bricks, the mouldings and tracery being constructed in cut stone. Also in the Mark, men made use of such surface patterns} very beautiful ones are ex- hibited by the Cathedral at Brandenbers (Piss. 168, 169 48). /o9 Phe slazed moulding bricks also alternate in the members with PO the unslazed; on the contrary, horizontal mouldings are enti- rely glazed. / 68. doints. i The joints are at least 0.39 in. thick, but mostly thicker. They are struct flush and are white. Commonly one or two joint strokes are torn off. If the joints are of uneaual width, then the projecting lime is colored red. Whether the entire surface of the brick was colored red can only be determined with diffi- culty. 69. Arched Frieze. Let us now observe how the detail forms were further develop- ed. We will first stop with the arched frieze. The cornice of the Ghurch of S. Maria at Salzwedel (Fis. 170 48) already exhibits the early Gothic trefoil arch. Of a somewhat later date is that on the western facade of the Monastery Church at Jerichow (Fis. 171 48). How these forms were later changed in Italy is represented by the cornices of S. Antonio at Padua.(Piss. 172, 178 95), Note 55. From Essenwein*’s drawing. 70. Gable. The gables in roof construction were likewise transformed in accordance with the material. In the beginning, they differ not particularly from gables of cut stone; one example of this vis the south gable of the Franciscan Church at Gracow. (Pig. 1 174 55), The detail form then changed progressively with the art of stonecutting (Pigs. 175 4b) | yet so that the nature of bricks sradually obtained influence; thas we see it on the ga- ble of Lehnin by the use of bricks ‘in diagonal patterns. Then the gable was completely transformed by special details of br brick construction, as by the battlement form; the subsequent- ly higher gable of the Dominican Church at Carcow affords a good example (Pig. 177 55), With abundant means, the most ex- pensive solutions were later found in this direction! thus the A oe eT he ane ; j ae hy ¢ ‘ 0) fe : - ay LA «toh g uf : 'S ae Ae ; iv a ae ee os b dda XS i Me ie ij ¥ 4 Ay iy , gH in 4 a i, 4 hd Lry | iia ty = pe, 7" | ae ous ik ie , pus ° sits a (°98TL ‘aD: donnd® asotataod: ods, to, eldaa aresaen. ga . y’ i. hile e8i9)wooet) ts £teirdd anqiod ve PWT oR 3 ‘eo etOL9S0ar oad ab azerg =o fT ia > eds ab haa one do sainlaisiitaiietsi edt tebieseo ew IT sonua pods to axstq edt to aokteor eeoio odd Fads bakt ew .x%0 sto las) sdt dort ess teds .(5* est os ost .eatt) attodd ai jon, fitan olysva dotsd edt taeda woda ,(8bSt rexte) boiseg of )\\) » atedt ak dotdn ,amrol eaosa tuo Ip noktslausas 2 eyanls saw -wpiotud 10% betive Liow ytev. oafs. o19# aatot evsspa ylass ae ueoue ebentgd es bas. asoatg egisl to beaiel sis aistiaqso ~ datd edt si besentaiue avdieN go. anedot .2 doidd od? “to auottooe asoto etididze tf yrsetdaco efit ao bas .botaeq of: (3h b8L ,S8l .2gk9) adoksad ed? oF egade abedt owo reds. etek ea q9e20l to ansem yd oqeda rede ai shan sted ox8 sueky on? Alene ont owoosed Jom bih atoduem Lingebh edt IL .extoidd. bog pened: ,TevewoH .foetlo auisisdo prev & evsd agizolt. dove asdt \ tasiqque son bieoo seq edt to anotetyibdys yitaoo bas dois add sonia .aunsfoo ofttii Iasosibs met drin at tade hagox oud aeqsde olomie estdt 10. ows of. befoustagoo ad sxiweiil biseo naaio ) oagds, tididxs ausM ads ai eodowde ead to seo .atoisd Ppaenteics edz agaiolind taesal odd Yo owe oels auds rateia hes ine | hg SL .g48): dosaeliW sa douedd Bie eTortsdxa ST ’ ASBB0IO moet aedois & Sldiguog asbas1 atolad aonté coals asi fods. .enose tuo dsiw easo edt wi aadt .do00 (Lema ta al *B10itetze 10 Tostedd eay dasbauds obam eussaesidows dois a | cna sities" 8 oF betiqas téven 10 moblea asd sk bea _ ead di jaleneq doga sot saeilot beyolqme: .9.t .“eagtoa m ison & at ai eiad .gimowso8 .atoiad beqede déiw isetnoo be ‘i tuodd iw, beyolqme: Sas sostise sae ted ao bus tancem. at nedzoR v@ dowed> a*ansdoL .2 yd betnesetq 918 aolqussG |. om «2 das (5% ver .ytt): Lobowsie? se aivaaw 22 (2% sar. « | -(3* s3h 929) grodsebas1 \ 10kd s" . sositupa: dons atididze. obabaregneT at nodgss? .2 vtd .(°* @8r .att)resoeiq boasaam sodsed yLisoidiatess ai: nanenien taeosi bs odd, see) tse9eil ta LsqedD sltasd ods. an sito doit agi tot adoiad beblwom qiletivssed boxe i eho spon yvlevieadoxe teomls sie, e%oiad beqsds dove {iA | ty oth tn BeEPOL: eqnas Of atquetss uet.ons to. end | aa - - i“ OD oo," " ae Jaa, : 7 ey s ¢ oe ey ... «= Z q n + 4 A t/ we me, *~ 81 western gable of the Dominican Church (Fis. 176°°) and that of Corpus Christi at Cracow(Fig. 178 °°), £ 71. Piers ‘in the Interior. If we consider the transformation of the pier in the interi- or, we find that the cross section of the piers of the Church in Chorin (Figs. 179 to 182 4%), that date from the early Goth- ic period (after 1248), show that the brick style until then was always a translation of cut stone forms, which in their e early sauare forms were also yery well suited for bricks. The capitals are formed of large pieces and are burned. : The Church S. Johann at Werben originated in the high Goth- ic period, and on the contrary it exhibits cross sections of piers, that owe their shape to the bricks (Pigs. 188, 184 48). The piers are here made in star shape by means of lesser sha- ped bricks. If the detail members did not become tico small, then such forms have a very charming effect. However, these rich and costly subdivisions of the pier covld not supplant +t the round shafts with four adjacent little columns, since these could likewise be constructed fo two or three simple shapes of bricks. Most of the churches in the Mark exhibit these column- piers; thus also one of the latest buildings, the Pilgrimage Church at Wilsnack (Pig. 185 48), 72e Hxterior. Since bricks render possible a richer surface ornamentation at small cost, than is the case with cut stone, then has also brick architecture made abundant use thereof on exteriors. In- deed it has seldom or never aspired to a “terra cotta” archit- ecture”, i.e. employed foliage for such panels) it has remain- ed content with shaped bricks. Commonly, this is in a weak m manner and on but one surface and employed without mouldings. Examples are presented by’S. Johann’s Church at Werben: (Pig. 186 48) | S. Martin at Salgwedel (Fig. 187 48) and S. Johann at Brandenburg (Pig. 18s 48). S. Stephen in Tangermfinde exhibits such surface decorations in astistically better managed pieces. (Fig. 189 48). Likewise the Castle Chapel at Ziesar (see the adjacent plate) .has empl-- oyed beautifully moulded bricks for its rich ornamental bands. ‘All such shaped bricks are almost exclusively glazed. ‘One of the few attempts to shape leaves and to thereby conm- d we are eee ies. Wr ', - Zt re ) ye | Pai . ey ae * ; j ’ r - : e nebaa76 a0 oven aa ‘ad awode et asgeia? eacquco oe | hs 8 Moer wea) sand 318 81 iso to esoneultar deett oa yem@ ego aebhtesd aod gisdaehas1a te sattedts9 .2 00 .notsowrtence dota sb easissud doiy edt sieving ot antsg dood tostitois ote \ettoo artes slttil sds tay -esdotuito onotve tvo to esor “eit 00. -alisteb easdt at moitosisives bait o¢ ono tot rot we 101% odd at egasegaog QuudaebasiG ve satisdiad .2 ,ywisatéaco Dedienied yisteesidois of1d to moog dgtd edz Leqade amaadotel ‘auotobbst dtod betuosxe aad sostidois edt .toor add to eaves alistob tisds at ddtdw ysetsdoutts yress1t Loticast aa (lew aa steitinatiaoeg tisdt bue alottd of sogetaixe ikets swo see i . _ e8goted to afieg. tedso af aedosudd dorvs: .d Dele GRE * 3 ebusloG bas stasli2 Ev itounataned oud edd yluo bsisbiesco otiedtid oved on @A + bemtotassts as heoasdltak adotad dotdw atdtiw sottoustenoo * .xoids want 8@.2 oF 83.0 yLisneneg ose aduiog o9d 943 “he ‘elsint? .sbathivos [14 .basot mobles sad o1a adoiad sath mes | | -210%8 sug Yo sham s1s yteosed . S88 + «8° . 409° .oud-eh-tedlor¥ e228 8.88 etod «ibeqe BT ie 938 goRettA af ‘cibeien doiad ack wad sisg? oalb | moxt sedorwsdo sitsae bas stewot auitéestedai bas eviasas igod “Stooge edt to sagagofevad s4o al .oidto8 dain edt Yo omit od pbatele wol odd of Saetsen smoo abteiasag ods ,amtot doisd Is egatbliud edgy [aso9 goa of yods ti asve .ynsats® saeddiod. to ie IT .ydesed fas gonsbagda ai ton ,youstatanoo ai iueM eds ai @\: seyolgus oven .aojelush edd .aelit boroloo bibnafas edd cisg? 8 agarblind Aotad sdf aoqs astnoo oF 1ebte ab woisetxe eft ao ‘Batt oW 10409 to tobuelaea tfedt yd stade as{voitisq tadtons \ |, eneser: 200180 ,acozsis? .s2s0hke1s2 te eadowsdo odd ai: eitast \ \’ | «budaysisd ) e700 edt aort beviteb Sara a8u noitoaifanco dotya | to esaideey wot edd to enc smoned ydewedt bisow ti bas ‘to etasoesidows Isveaibem edd ai bantswax sved dotde watanoo Aottd daevar oa bh Jasq at9eds no et00ON oad saat out 3b boatsel yLleiisn ode .adsod edd mort st batgobs aud amiottd to aoksgizoseb dguorods ads yd bevorg ai ,answod oad me - oLLives woken *2 vd dood 8 .“asnagix0" ods at ant pr ae or oo bed. ad 7 ie a) Mi % . 2 : : : @ 2h 83 the bricks. Strasburg in Alsace is likewise more or less ac city of bricks. 75. France. The regions around Albi and Toulouse in France form a sreat brick domain. 8. Sernin ai Toulouse from the 12 th century is one of the earliest and grandest examples; further the former ywonastery of the Jacobins at Toulouse from the end of the 13 th century (see the preceding Heft of this ”Handbook”, p. 88). From the 14 th centsry date the city wails of Toulouse and the Bridge of Montauban. ‘The Cathedral of S. Cecile at Albi, that was begun in 1282 but only completed in the 14 th century, ‘is jj, one of the most gigantic brick structures of that region (see the preceding ‘Heft, p. 54). To -it are added the Churches of Moissac, Lombes and the Tower of Caussade.. The bricks in this region during the 18 th, 14 th and 15 th centuries have a size of about 12.99 x 9.84 x 2.36 ins thick; the bed joints are generally 1.58 to 1.97 ins. thick. 56 voul- ding bricks are but seldom found. ‘All mouldings, finials and tracery are made of cut stone. Note 56. See Viollet-le-Duc. Vol. 2. p. 250. 78. Spain. Also Spain has its prick region. ‘In Arragon are preserved both massive and interesting towers and entire churches from the time of the high Gothic. In the development of the speci- al brick forms, the Spaniards come nearest to the low plains of northern Germany, even if they do not equal the buildings in the Mark in consistency, nor in abundance and beauty. In Spain the splendid colored tiles, the Azulejos, were employed on the exterior in order to confer upon the brick buildings a //€ another particular charm by their splendor of color. We find ‘/? this in the churches at Saragossa, Tarazona, Daroce, Ternel and Calayatud. | ‘Brick construction was apparently derived from the Moors, a and it would thereby become one of the few vestises of them, which have remained in the mediaeval architecture of Spain. That the Moors on their part did not invent brick construction, but adopted it from the Goths, who naturally learned it from the Romans, is proved by the thorough description of brickmak- ‘ing in the ”Origenes”, a book by S. Isidor of Seville (died ‘ oh sobs lo? dae ‘enlooeLisv 6s 123 20 “rere phe vedi hve wae Any 9. Ne ales OO TOMh ROM CSU Mee: ad cette ah ae b Ad. Mauer gay Se ee toners yas Ae a Sy proc ft Ae te RRR ES MEA He diets y cde te oe tilt iuter; Sy eee Ee ee ae er ae oe 2 Va ys ae ee Te oe ae al op ta.tees » Se" Hite G.. \rt Othe : yi ‘ a > ¥] & 7k : ;, ue eae: Sete 8B + vad ? A en? i i — a yA a BP deel ‘4 ‘Ly Weare mn CnRY Ss cof wi’ ‘ Yin gues a, bi oe Ae 2 Corer ve ) eee SW) Ray We see our ig: Gara.” YY a 5 Rie pe Re! ae ae he a 43 BIMeAtie yh) "cys? ¢ | Wai kee "er my re eye ; Peete + A ame fo mn he ee ea ay Pee meee arr Po ph tt Ae : . 2 on aL 4 Babs! ee ek" RR ‘is mitered . y RMSE? «tr Od ReRrie ua» ba astieliaa | OUANNORS. 0 KONAERLEIEY Ke ' 4 uber bes: ah Sehake eh Bes dow ry a yy ™ ade Rw ta ¥) Vie eed ee they Sf ih a oe Y ‘leh J Bes Hy | i oe ere Guhl fuk ake ds yi RS i nt Ae IY: AG ‘i cane! oe uh aN Umi ioe - = ‘ich hicibbibaal i Na: iee et ewe, | fe oe Vn a ‘ oe Re a Aw. Pheee: S00 Bea. Hey wh a ae ce ed emai MOO Sax » at BOPRR ORE ERs ORO! PaO lt DAs 6 hela | bans Mts Dil: PS hay ia were ar Wid AM wiv Syitine Be oattetiianes RLY Maa ok ea cot a ine * ! AA ORR Aci Haye 4 Sry me 7 ne £% eit det eee ee We ae eh ¢ we nee Sle Ch CS ON de hee Pope be es ia ¥ olivia %: my Vis a ' a i he, a ce va 3 ire ant a uy PN a s i ce ie PA oe “4 hora ise swbtLentasorobat gecar206 ot esgeds 6) ow ha Mest ted bes eevee hi ta ee Patino o& awe? dua’ a - e8yaw2008 tev. aedows 10% sapiens oubweits ayswiogb dosuds to nec. ant ce qeod teom Sudasqo t9biw dos¥ .etnowetteps® Letetouita 30. ano to befoursedoo nedw .deotd aletatl eoate .dow as ya 4 oA int ygeds Toa aedw secetq t9gt4l ai gaiiserd adeiess sacdabas2 thy ates uo bedsoe aiege aon .gatyib ak evosatanos ocala tk ee ed ti 41 «.hatyxh yd denotiode agsge smoned of .abagt née: Sedt .aostsds atest bsol se tsexh 03/10. eabue dted gs bexit =tw 4 19v0 vous as s1otered? .dos1 sedd teem gt yovoa conned potest ~dords od [few odd tL .sidesaneqetbai at antneqo 196 peas oat conte ,dow ed¢ at asaigos banesoes Istevee ative .xlleatesxe Tabiw yswi0ob sid to gainego sda gniies tot atat got bas awolfod yd bedaeusate staw eseasoes Jaexstiib sd? Yedt Yo m1oh odd ai aid? .adwsi, ods co saucloo. to auseu yd 10 _teiisod1eds to @vot bavo01g sty bas yaw100b doxsdo suocenamol d: \yaLoontd to yawiood {isa eds yd awode ai tove ,olgmaxe tol A dabignd: edt to efqusxe book a atmanetg tr (SOr .atB) sda ylxeisoitisd ."nsatol® omen iatlgnd edd dotde ,olyde. aup ‘edt: bus dows eas to sgexkis adv ous elyte eiadv sot oftaria¢o8 a samglog sid to alatiqsa aoitagc bsblot A it 8 aeeeossog dosad)ss dowd yoddA edd to siscoet9t od? © get, .2it) OOS! tueds: to agiesd suoseasmo% datusda ai yaw100b B® 20 eovsel edt yd besoio od ot bebaetet vou aaw ylatatieo ti TR cdl aweae ef emtot ofdtod yitse niyawroob galinie 4 .100b edd) bas {isd tetqedo sd¢ aeonted .saasiVoassa novetdaeail bas dz daagineb odw .toetidowe ode :(°% det .yt¥) tosat * \eupeameaigioanen tes eit to. ono asw ,ativay bidbaeiqa edd eeiw . .of6d03 yiise Loltewoq atds ‘sedtShuod temerh monk .YB etot. | esompiod dtiw [etaid Letaostvel. .8t 206 tot oldetivebiai gaibae taqqa ietsoatiod 2 sonia tu8 3 “gated ee Suo yd besolo, esu agasgayd ods .saveal 2 a ‘gas Tf das, .dows edd yd bsveifat eaw eras ued. + e@ibbin sd2 36 amsloo edt yd battoggne 1ttt-abds, to pe qowol edd .agewsoob supasasmoS 10% %) mtot selodasiat-2 Soaueas Yitasuper? aunsquys ads fest gots anzbinon « ud harsrement qileseg vew th Bas ra ns AT ray BY 85 Chapter 7. Doorways, Windows and Grilles. a. Doorways. 77. Arches over Doorways. The development of church doorways likewise results from the structural @eauirements. Fach wider opening must be spanned by an arch, since linteis break, when constructed of one stone. Sandstone resists breeking in larger pieces when not then dry; it also contracts in drying. When again soaked by rain, it ex- tends, to become again shortened by drying. If it be firmly fixed ait both ends or so great @ load rests thereon, that it cannot move, it must then crack. Therefore an arch over a wi- der opening is indispensable. If the wall be thick, there re- sults several recessed courses in the arch, since the need ex- ists for making the opening of the doorway wider externally. The different recesses were ornamented by hollows and rounds or by means of columns on the jambs. This is the form of the Romanesoue church doorway and the ground form of the Gothic. For example, such is shown by the small doorway of Lincoln; (Fis. 192); it presents a good example of the Fnglish Romanes- oue style, which the English name “Norman”. ‘Particularly char- acteristic for this style are the ziszagss of the arch and the foided cushion capitals of the columns. The forecourt of the Abbey Church at Laach possesses a rich doorway in Rhenish Romanesaue design of sbout 1200 (Fig. 192 57). it certainly was not intended to be ciosed by the leaves of a door. A similar doorway in early Gothic forms is shown by Hei- ligenkrevtz near Vienna, between the chapter hall and the clo- ister (Fis. 194 °7); the architect, who designed it and like- wise the splendid vaults, was one of the greatest masters of this powerful early Gothic. Note 57. From Wiener Bauhttte. 78. Horizontal Lintel with Columns. But since a horizontal upper ending is desirable for door leaves, the tympanum was closed by cut stone slabs, since it was relieved by the arch, and if the span were great, it was supported by the column at the middle. oe For Romanesoue doorways, the lower limit of this fillings of the tympanum frequently assumed a triansular form (Fig. 195 98) and it was usualiy accompanied by a moulding along its inclined ean oe es ete, ea ie | “kl (ate a ng a -) ' a a : f. '. << i fs % Ee ‘? zhi ’ ghey 7 a, 4) i ee vi “" oe) : | ats ie : Ws ‘ ¥ «t) on bia Gas oy i ee poston: > hi lg BE opgetninas ts myoccM nse71s9 ofT (9% ser o$f8).dosatebad eas ver er pit): anord Lied to yrot2sno ods to teas .oiyte eupasaswoh qqu odd to dtgnel 902% ent soubor alddi0o sbia as sttsa s9uol Jp ve nite «dala 79 i sy - Bowed nos & ofded most (26 ot04 ae "ee ar . faired of? Yo shie miedstgoe eid no $edt ayaoied Oaid- 86 12 0 Gop. The tympanum above this was then usually ornamented. To /*! she most beautiful and best known Romanesaue doorways of this -kind belongs that on the southern side of the Parish Church of Andernach. (Pig. 196 58), The German Museum at Nuremberg poss- /22esses one of the richest doorways from the latest time of the Romanesaue style, that of the Monastery of Heilbronn (Pig. 19752). the lintel is there made in the form of a trefoil arch, whose lower. parts es side corbéls reduce the free length of the upp- er slab. 2 Note 88. From Dehito & von Bezold. Note 59. From Essenwein’s drawing. Still richer treatments of the jambs are exhibited by the: 6 Gothic doorways of the former Benedictine Church at Trebitsch (Fis. 198 58) and of the Cathedral at Libeck wags 199 98), poth stand beneath protecting porches. The Jtalian Romanesaue doorways quite strongly emphasize the lintel and extend it above the small columns or pilasters of doorway jambs in remembrance of the antioue (Figs. 200 58), This accenting of the lintel encroached on southern France, which ornamented the lintel richly with sculptures; such may be seen on the two magnificent doorways of S. Gilles and of 8. Prophi- me at Arles (Fig. 201). 79. Projecting Porches on columns. The Italians loved to protect their doorways by porches on slender columns. These columns were set on lions or griffins, almost without exception. These animals commonly have men in their claws. They belong to the most obvious characteristics of Jtialian mediaeval art,and they appear as rude as pictures- cuee The Cathedral at Trient exhibits two such doorways; they were erected by the successors of the first cathedral apchitect, Adam of Arognie; for the inscription outside of the doorway is as follows:-- “In the year of the Lord 1212 on the last day - - - under i the presidency of the venerable Trient Bishop Fredéric, Count. of Wangen, and in accordance with his direction, the building of this church commenced, and it was erected by master Adam of Arognio, in the diocese of Como. He built the outer aisle bin- self, bis sons thereupon his assistants as architects, the ad- ditions to this church internally and externally - - - The bu- ee ae eee ee ee ees an ee ee, wi . er hi Pee : | ‘ V. sleeelisaanel sshteoned at eles ana eke istasc 1580 905 wort: hats. atdt Yo sed nuufeo kutitased A. ; peas a ur of - 80S ar? ed sevrg ak snobcol ws ae Merron ) otternod mont 9.08 dwg | ce . -setgigisos yd sottatooed 999" serstqgivoa taedaty edt ,bofieq sinvos pretties eas 00 ~) 9te8 sofors bas eaunfoo {Lleme. :ayswicob ant déiw beaidmes Ca batd e dove to syewi00h savifisa ed? .asisgtt agiw.seeed _ « ~gem eds no suodt ors . 2075 eisataieiebh ylaisatxouggs dot - pedB (ORL snods) ast1sd0 to Lerbedse0 add to sbsost atod a "go yatot at aumgloo edd to attsds odd isdiw Oneid seaghit ett e586 bsanstqnoo bas betsgnol{s ow iwdguotm sta yesdt doide xP enw BA otri of eeenigtdsist douse wode aeaat sas se esator yi ie 301 Jou asob S90 s943 ,nottvoaxe dns BHtiebos aneLieoxe- es a ,~eetbod edt to sotuseiamoe teabivosq sus aldieeconar es ots -mon bas nom bexseupa dotdn ,aotdes? & oF TE astudiadis tu 5 ‘tuods ts vbat? oafe ea0. .antdtolo foe aeaog dove otnk ao - Antiteo edt at aestwkt? betehkoolo-usol asitata ois omsa ods eettelfewsetd Yo bas anod agen Tiobafedasisedn? to aaatt¢aiad - © @ oa% mo) syswtoob ytstoguesuco eit eeivediid .edgoio0 reac @ aoe etaeokV .f ao fue aegisod to fatkedgs0 ant to sabia ddaoe Ep: begotg anariaees Shin oheaeety atasd batniw dertt tA. etotsalos istced tt & ,aaosig oasat ak i mT i ay Se BY te i war, : : SAC a ; fi: 4. Pe wy 87 burial place of his family is beneath. Pray for them.” A beautiful column base of this kind from the Cathedral ‘ at Modena is given by Fig. '202. Note 60, From Dartein. ‘80. Decoration by Sculptures. ‘In the early Gothic period, the richest sculptures were combined with the doorways; small columns and arches were — , beset with figures. The earliest doorways of such @ kind, with approximately determinate dates, are those on the wes- tern facade of the Catbedral of Chartres (about 1140). The figures blend with the shafts of Bhe columns in form, on w which they are wrought; so elongated and compressed are the forms. Yet the faces show such faithfulness to life as well | as excellent modeling and execution, that one does not regs- ard as impossible the peculiar compression of the bodies, but attributes it to a fashion, which squeezed men and wom- en into such poses and clothing. One also finds at about the seme time similar long-clongated figures in the ceiling paintings of Schwarzrheindorf near Bonn and of Brauweiler near Cologne. Likewise the contemporary doorways on the s south side of the Cathedral of Bourses and on 8S Vicente 2 Avila (Pig. 208 58) exhibit the same forms. /22 The statues later developed into conpletely wrought and unconstrained fasures, whose finest examples adorn the west- ern facade of the Cathedral of Rheims, but these will be a described later in treating of the sculpture of those periods. /24 pfter the middle of the 13 th century, the figures are se- parated from the shafts of the columns and are placed on the jambs between the columns. They previously stood on corbels on the shafts of the columns, but they were now supported by samll piers and projections. Such may be seen on Erwin’s splendid doorways on the western facade of the Cathedral of Strasburg Minster (about 1280). (compare the plate adjoining page 198 in the prededing Heft of this “Handbuch.”). Rich canopies cover these statues. In the hollows above them a are usually placed small seated figures, that in their over- hanging poses ere not happy, eccording to modern design. At first winged busts of angels were frequently employed in these places, a far better solution. The figures in the ae td 4m 7 Vg A ke 7. a 5 eT Cem abe ery fs me Riis mn ee Be en ag dit bra ssi PERN ac de - eggs: as taut pb Ln mn Sa008W heap bens iceanchie eon ae . rr déiw soatq: ano ak duo stew asus a8 - ono8 bas soxewted ts ‘$uo uloséteqse s1ew asiseit iiems ofF ee oy Ww Pests. 7 -atodons nouk yd soalq at bexrt | ie Pid 8k EMG 8 aoe " ,aanasqeay® £8 . ‘ga sit to Susacstueel to setses oft af ossantsota ylieuod ease ds Sf sat to ofbbiw edd a9¢te audt .teact cA -agesqmys ak betvooxs oton angtash bas esebt bsitiau bas tasty . vast benordtas teddies een bitow edt to twotved eat .a0elq aids «gt etatfegnsve agot sat yd bebnvowrse .osbut e*hlaow ods as dae aseek bLid6 edd dtiw sanobs* vit 10 ,s08ue efdbim ons } ‘~£9 od¢ ao alegas yd beqgrdetow .saoudd 8 no atte mosod 19d Dig ede To vine ata edt no agea ad yam vid? .dt tel bos s09 . «ovo aftad .cexsrsdd to Latbs bt neddase eeatuaede sat to ayawtoob atedtgoa sdv to eno al «802 eatvib tod yd siwsW Yo sottsmot0o eit besasasigqe1 si i) baooes oft ai talegas gutysra owt gated stol bus tdair ts .. ~tqg edt aft bod to tedtoM edd to diseb add awoda at muasqayt - er mort efe exotistasesiget tod .eeldeogs Sf ait to eoneao od% to bas “dorsdd” adt Yo aantsta eddy déiw bas .OOS! tacde PD abaat eay to alveeq ody wrot yods .wedd woled “ssgoasays* is 9 ~,aeeueserd howstqives etudesteS oda to sottedneuss i ~~ tuoda) gtad1e¥% se dowd e‘ddeqsetl® .2 to yawrood sa? a tPsucings bis Lotivdsed s omit totsl 8 at sdneaetq [Lita (ORG! “eb B£idd ode iviw eatobsl ont .msasgeyd avi Yo yrotawa bo e@feaae owt ed botevem .ofbbin od% mi Batdaeve 2g baanstis - @a8ot déiw beLLt? @b bavorgdoed edt pwtsl Bas sigis odd ao ah «tedvo oadv ado aeveol sniv bus Tied exo ao — otak masquys odd sibivibdwa OF Ssonewa0o asa neat betnsastget yilswes at doide at .194%0 dose avods exoieivid Shean «Teiwdo to saqidelive bas etti ede to vote siodw ond <6d ylisumienos seqart olisii ead postiqtsina ets anotetvrd | BN feeb etitas off ,yiisatd, .isteosta seef fxs relisme enon eldssispoosy ¢yieotsse to basd acol s to betaianon ylisqoig Mi |“ dotdw bas , ysased easf to aeraatt elstil Yo agotdssaseo1gst = fe sotserabtdnoo yak ebettyoen dégnaf edgy af bevtso sxen os goa ylottine esw wousquys odd to aoiagemtS bas wrot oft vg hl dere enema ssequgit sasds tot bot * senctel hy ,ahanagedh tk 93nedo on sppopyinateni otsi ‘ . oan ' fey, wes &} Ly Ja f 88 arches were first wrought on the voussoirs, just as the,.sta- tues were cut in one piece witn the shafts of the columns. The small figures were separétely cut afterwards and were fixed ‘in place by iron anchors. | 81. Tympanums. Equally unfortunate ‘is the course of development of the tympanum. At first, thus after the middle of the 12 th cen- tury, great and unified ideas and designs were executed “in this place. The Saviour of the world was either enthroned as the world’s judge, surrounded by the four evangelists ‘in the middle space, or the Madonna with the @hilcd Jesus on h her bosom sits on a throne, worshipped by angels on the :ri- ght and left. This may be seen on the doorways of the ‘Gath- edral of Chartres, Paris etc. Tn one of the southern doorways of the Strasburg Minster is represented the coronation of Maria by her divine Son, at right and left being two praying angels? in the second tympanum is shown the death of the Mother of God ‘in the pr- esence of the 12 apostles. Both representations date from about 1200, and with the statues of the “Church” and of the “Synagogue” below them, they form the pearls of the rich or- nementetion of the Strasburs sculptured treasures. The doorway of S. Elisepeth’s Church at Marburg (about 1 1280) still presents in a later time a beautiful and unifi- ed mastery of its tympanum. The Madonna with the Caild “is arranged as standing “in the middle, revered by two angels on the right and left; the background is filled with roses on one half and vine leaves on the other. : Then men commenced to subdivide the tympanum into separate divisions above each other, in which is usually represented the whole story of the life and sufferings of Christ. These @ivisions are multiplied; the littie figures continually be- come smaller and less graceful. Finally, the entire design properly consisted of a long band of scarcely recognizable representations of little fisures of less beauty, and which were carved in the length reovired. ‘Any consideration of the form and dimension of the tympanum was entirely neglec- ted for these figures. Fven the great architects of the 1 late Gothic prought no change in these bad conditions. 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Perforated Tympanun. Tt occurs exceptionally, that the tympanums were perfora- ted. This is shown by the principal doorway of the western facade of Rheims Cathedral, whose tympanums lighted the in- /2¢ terior through & rose window ‘(see the preceding Refit of th- IAD Gg “handbook”, page 197). A similar arrangement is found at hentschau in Austria (pig. 204 %1), Note 61. From Wiener Bauhttte ete. b. Leaves of Doors. 88. Bronze,feaves of Doors. Fhe oldest leaves of doors that have been preserved are of bronze. Men loved from ancient times to lavish the grea- test splendor on bronze leaves of doors, There hang today in the Minster of Aix-La-Chapelle those, which charlemagne had cast about 800; they are subdivided into panels, and the separate enclosing mouldings are ornamented by antique rows of leaves? they have no sculptures. On the contrary, the doors that S. Bernward caused to be cast about 1015 for S. Michael’s at Hildesheim, and which were transferred by bis successor to the Cathedral, are en- tirely covered by representations from Holy Scripture, fron the creation of Eve until the enepenenee of the Resurrected One before Maria Magdelene (Pig. 206 62), Phe modeling nat- urally leaves much to be desired; but the casting is very well done. The inscription on the leaves runs as follows:- Note 62. From Cune’s drawing. /36 “In the year 1015 of the incarnation of the Lord, Bishop Bernwarda of blessed memory had these cast door leaves hung on the front of the Temple of the Angel in memory of himself? How Little progress the art of modeling made during the Romanesoue period in Germany and Italy may be seen on an eastern doorway of the Cathedral at Pisa from the beginning of the 12 th century, that still presents such awkward rep- Kesenbabions. | » ‘Another’ node of ornamenting bronze doors is found on the /3; deors of &. Marco at Venice; the so-called art of damascen- ins or inlaying. In the bronze surface are incised the out- lines of the figures and in these sunken lines are bedded silver wires; faces, hands and feet are represented by sil- ee ‘ a Bae" bant hey bia! a ee Bt? re oe Ves \ aaaiuerh onttdanseaned: edt dotdw at: .2otelq aevite oxida - beatsset need ton eved of etseqqa ots ata sbavaiaas. 918 ry ee — eBonitassyd odd yd Sesoshowtai afteks asw bas ceoW oad ak het evn gna bas yasmreo ,yisdl ak ysudneo dt Sf oft as Taxk4 |) sttomts bas enogsen 102 anineoesmsd to sxe, aidd beattonxa at00b edt sort 8 BOS NOS .e2k8 ak nevig aleasq owt sak -a90 dé St odd to gatsnihed odd mort s38b beebakt oorsl .2 ‘to _.«%o eg0 a0 basot al acisgisoant gatwoliot eds sonke . vis -sgoexe ed o¢ dtow aids borebso oaiLoW sh coed” --:as00b ans _ Yo doando edd Yo tossqs0c1g ase oatioM 65.09) aids das ,“ba emis ae | ov eSihl a cots .2 ~ & w9b lwo segnstiatssaa sid oA AAtsonsd moth .83 stot ve piueeiog Kd oowk .2 now saqnagnieiqual seb sonSAlesnord ; -888t .onnet¥ “bas alf{oro2 tdgu03% isin avood to esvsed mebooW .A9 edtowsoell ellie i900 to baid hebasexs yYlebin dteom bas bgooes saT _* ebte Lantetxe edd ao ts[t o18 youd? .boow to aegodds ans _ tedsezos bestsct ois adasiq lsoivisY .tedisen sit oF baaog bus geostg istnosfiod to susrt 6 ao belisn seda bas ylsaolo eostuses [anistxe edd aeaT .abient edt go setl dotdw .atnasa ~ Mert tiquoiw yldott.s yd betevos elistenes ai t00b sav to sebard. eds mout evista toddio daddy ,duowten bus itow Llowe to sostaga oat of hodositis Breer aft to 1006 sdt to =~ ee «1008 sat + do heygtot sts pele Ne * Pree Qs ~ J 90 entire silver plates, in which the corresponding drawings are engraved. This art appears to have not been retained in the West end was again introduced by the Byzantines. First in the 15 th century in Italy, Germany and France was practised this art of damascening for weapons and armor. The two panels given ‘in Figs. 207, 208 63, from the doors of S. Marco ‘indeed date from the beginnings of the 12 th cen- tury, since the following inscription is found on one of the doors:-- “Leo da Molino ordered this work to be execut- ed”, and this beo da Molino was procurator of the church of S. Marco in 1112. Note 68. From Camestna, A. Die Darstellungen auf der B Bronzethtren des Haupteinganges von S, Marco in Venedig. Vienna. 1860. Deke 4 84. Wooden Leaves of Doors with Wrought Scrolls and Network. | The second and most widely extended kind of door leaves are those of wood. They are flat on the external side ex- posed to the weather. Vertical planks are fitted together closely and then nailed on a frame of horizontal pieces and struts, which lies on the inside. Then the external surface . of the door is generally covered by a richly wrought iron | scroll work and network, that either starts from the hinges of the door or is independently attached to the surface of the oar... -' - fhese door fastenings are wrought, 1-€, are forged on t the anvil from slowing iron by the smith’s hammer and then welded together. Por example, if a leaf is to be made, th- is is is then usualiy forged frog a bar of marketable iron, thus generally of rectangular cross section. By this forg- ing the leaf becomes thin and even flatter toward the edges, while the bar or stem senerally retains the highrrectansul- ar section. Thereby result body, light and shade in the smith’s work, and one can at once see, whether the leaf is wrought or is cut out of a plate. These leaves, scholls and flowers (Fis. 209) were then welded on the great scroll or the fastening, and indeed so that from the great bar smaller stems curve out to receive those welded leaves. The holes for the nails were punched while hot} the iron was dented (otk of eae aa ii m - sf ; ae + | «oe | conn amiot edt iis etsanrsiio sadt bas ,ydereds bailews to mY nen wevererere bis Hatidwoh YX .atow a*dstwe to otrarios ia beonborg) oo nodé siaim aeendott to sexed ‘otkt edd at beoalg od Taum nowt edt axtow dowe ui soute- -« igQuode ytenth«o odd ei te TE LHontWd ei Ft yeltneuoe1? view | shee ylno aew ¢1- .fs00 Ls1entm to ertt @ yd betisna nor ~bewe nt aysong [lite efi? .isoorsdo yd aoxe sibbia odd ab eee tot berreterqg ai) soneds mort noik svoletsds bas a9 mort tdauotw ai ada -ROe 8908 .a .B FOV LouG~el+tolfotT wonh 38 atot ~nowt dows to gonsbacds tsexk 5 ¢Yel asd yautnso dt Sf od? -gow oat Yo saods sis butd atdt to adiow teerasia ed? .oton befisoxens ode mrot yedt :atyed ¢s ows sivoK Yo esbsost arse S8ore ward egemtt [is to diow e‘ivimwa Io sta ods to xsmtfo £Pe.asrd .edegak ta atntdieM .2 movt Yxow novk odd awoda “8 gre wnt bie .ans2 to L{srbedted sd¢ mort eaoo °F ere bys drow nowt: od? ek yuetase dv bf sdt motF oiwanwsT wout ef ,9akF tetel douwm yrev 2 moxd (58 ATS .ef8) dosndsad mort 88 GIS .4f9 ak tow nore sid asieb .O0SE aesta vino beebak: gosevis teit .scoeut ofnsaye? odd gi bnuot ed oF et Aotdw -eodoustd bas ewete to wottsdiut tuo~haiosd yfan eat eyolune 08 ts foqsi9 s9eqqu ot wott wow aott sis .yrstiaoo oat 29 diy donenapaapisherd yvitetasm ofigo 8 awote (f or Srs .af4) xeana -9O8 “4.8 ~0Y .oud-ol= ae ake _ | ato08 Yo esveel aslimte bavol e186 ofdtod 92 Cracow in Figs. 220, 221 71, Note 71. From Bssenwein, FE. Bie mittlealterlichen Kunst- denkmale der Stadt Erakau. Nuremburg. W. d. Tnternal doors were also frequently covered by linen or parchment, coated and painted. Such are found on the door from Frisach in Pig. 222 72, S. Nienlas is drawn in simple black outlines on the parchment. This door dates from the second half of the 18 th century and the escuttheon from t the 15 th. Note 72, From Mitth. der central-Commission ete. 86. Artistic Joinery and Wood Carving. Besides this mode of decoration of doors by wrought iron work, there was developed from the beginning the treatment of doors by artistic joinery and wood carving. This has ‘b been preserved from the Romanesque period in the most layi- shly executed doors, thus in’S. Maria - im - Capitol at 6o- logne (Fig. 228 73). their design ‘is just as noble as fini- shed; the rounds and interwoven bands are skilfully applied, and the knobs project freely into the air; the sculptures are naturally less successful. These, doors date from the end of the 12 Bh century. To the same time must belong the door of S. Hedal’s ghurch ‘in Valders(Néeway), with its with its luxuriant scrollwork (Pig. 224); it exhibits the inter- laced animals known from the Irish manuscripts and transla- ted to wood. Therefore this kind of ornamentation appears to have not belonged to the Irish alone, but to have been common to Germans and Trish. Hote 78. Prom ‘Aus’ m Heerth, RB. Kunstdenkméler des chrtet- Lichen ittelalters in den Rhetntanden. Div. 1. Vols. 1 - 3. Letpzig. 1856 - 1880. The door from S. Anastasia at Verona (Fig. 225 72) exhib- its the internal doubling, wrought ‘into a uniform and beau- tifully designed pattern by means of cut-outs and rosettes. A particular treatment of such doublings peculiar to the T _ Pyrol.is presented by the door in Figs. 226, 227 70. this solution is just as beautiful as reminiscent (of Germany). The richest sort of such doubling is shown by the door of /3¢S. hovenz in Nuremberg (Fig. 228 69), In all divisions of Gothic are found similar leaves of goors. be _~ ¥; + » i, ae | — _ I Nek) (ae , ire va fei ys We ? - c - i ite re stints quien 8 ee @Ss PRR, an gt utev eects od yaa coveel Jes1g odd af nod ¥) fisses aan nottaes’s eisail yieV .9Qseuaq set eto0b Lisme war | .ullsettadttss boeassaxe ton ab si YO ovoteds bisa | ) gradsis@ te LaubedtsD edt mort t09b edd pylisatd | dorde Fo9M9QASTIS Sagtettib stiun & etacaesg (f8 ogg ear st ;bokseuse yilsotsaisxs tir doette sectse1y odd aved ; aoe att to ‘owe Qatdosl ,steds dowd afdouwsd sit ao bayot Le «Rois . , _ eatetoond baa alley sood .T8 ; senetoeks 40 aliug 10ob ovad yLuowmoo yrevw ate0h Lsvasibe™ | gilsuen o1s aituow atedt ai agata taoxg déiw adsed “anotd $e bas exnord dtod, to sbem 1s yedT .ovedd rot beyolgqme’ | | ombansad qiew attdidze yoser{e s1s evpasnsmod = .aoxi sdQuouw® | —- doadetigiA’ woxt Ligq toob sd? .abeed dove to aedquaza Lut oivartetsstsde neat Letievsed ase et °° res wait ak aayis ‘ebds:ffnq astastamoY odg awode S38 .3f% .botzeq tsit to h* dw ay -tidtes2 Ie dowsdS aosie7 eds ao at Lisqg 100d xn Seon) ei. 3 eamobarW .o.. eawobarW asktaraad qitsi .38 * of tasitaoco at ,ewobaiw bed 009 Yo sacoH msivaind? ont | © eid nedw bedderk: gitvasbivs asw dotde .olames guoltéas aid | | ‘goa eat to tdatioue katéeiseasq edt tabau ;benere asw too} sett bewoteucos oais oxen nem bas .beorttva-eidt .yda wrod wath eyd to. toob edd aniusqo yd rdatd tiabs oF ahatilews ona ett botudtisis besbat ei sins of se1stdteq sit abies da) aan -"swioeb siguad odd to Sdgied ssluotéisg p Dates fed {is sedousdo asigeiwd) yireaad sade .yusituco sda 10 -gomtS seeds vont®. .sgtsl yiev stew swobaiw seeat bas ,awob a8 .vie ntedtnes edt tobau Settwost ayawfs ton stew anos be * a ee to. eedowdo otdso9 hos supasaemo% revel odt yd awods s3a8lg Saotsqassidines dviw beff{it ed toa bisves yedt ,dtuoa _ easoecs: fo sgasl 08 o19W-avobaiw seeds tadd aousaes sno TT «eked . bait? stem yeda déide adiw-agsla baisiotieg aad to ot aaibrooos eetghs9071g sidtarifetak yrew s aase son Lliwy: ats ee ee teamQ .aids | © | q48 018 adele besetotteq saoat .(>* sae os SSS .2gid) ~o wobaiw Jasgisl od? -againego Eieme ab ylao ososlg yl a and wet 98 .aEH) dsonsmest penn Ss bes bszols orem agat OSes - ‘ 44 ‘ ; 7 5 7 kt ieee Shin 4 = oy . % 4 x : ~~ te yt Pr ae er bated 1 ae 93 Fis. 229 70 jilustrates a very skilful solution, showing how “in the great leaves may be inserted the very necessary small doors for passage. Very little attention was usually paid thereto, or it is not expressed artistically. Finally, the door from the Cathedral at Salzburg (Pig. 2 230 72) presents a quite different arrangement, which may have the greatest effect if artistically managed; it is fo found on the Capuchin Ghurch there, lacking two wet tles. 87. Door Pulls and Knockers. Mediaeval doors very commonly have door pulls or eacaien Lions’? heads with great rings in their mouths are usually 3 femployed for these. They are made of both bronze and of ° wrought ron. Romanesque art already exhibits very beauti- ‘ ful examples of such heads. The door pull from Alpirsbach given in Fig. 231 69 is less beautiful than characteristic of that period. Fig. 282 shows the Pomeranian pull; this Goor puli is on the Palace Church at Stettin. c. Windows. 88. Early Christian Windows. The Christian House of God had windows, in contrast to t the antique temple, which was evidently lighted when the door was opened; under the penetrating sunlight of the sou- thern sky, this sufficed, and men were also accustomed “in the Gwellings to admit light by opening the door or by draw- ing aside the portiere. To this is indeed attributed the particular height of the temple doorway. On the contrary, the Farly Christian churches all had win- dows, and these windows were very large. Since these dimen- sions were not always required under the southern sky, as shown by the later Romanesque and Gothic churches of the s south, they could not be filled with semitransparent slass. Tf one assumes that these windows were so large on account of the perforated slahs-with whith they were filled, this /a¢will not seem a wery intelligible procedure. ‘According to | 2’ this, great openings were made in order to close them again. (Figs. 283 to 255 749. These perforated slabs are apparent- ly placed only “in smal] openings. The largest window open- ‘ings were closed by a wooden framework (Fig. 236 74). @his i é | aren Yo apboaniladt puiovel ak seaald ak Jelasstvet Pe) at i” (NSS 868) webaiw qu-pelicu 8 aati eogttel eobatw ite ee sotw gog teatt yidsdoxq stew agoiersi weboow ensad eeselq dords atatedd Hhbagot siew tedsd .xx0d xo (etusigeage ji hus sted beytesetqg ased ovsd. yeds ee .aesik namo to at sorsiq: =oer djsor 100 of asiisfea o7s seeidt 3(tisquod) eYOnmetsqaders oag eaontords -bionei sow & of4e8 wend . be ot at , Bab .¢ .8Qah! MOStetdo s4h*{ oh svuek sowk . 08 gt ok eawoball supasasaaod .88 ise qieviatew againeqe wobaiw edt .yusateoo att a9 ak ylteqo1q yeu on0 bas .boitsq supequemod odd ni badsing soteestqui> Isugsostidors sucseusmof esid @ sonbosg ov add “ eppesasmoh avel odd ak Sext4 .dscivosz ots awoduiw Liame Stew oceds :abtel eaoced nisks agatnedo wobuitw sdv b£5 okey done: eAtonsuset seboow Sao1se 8 yd bebtvibdue wlatsdiso asds pastes ab bovteaerg ased asd ‘on 888 .2i%) wobaiw asboow s ar -S0Dasd-resisid ws emag »88 etok os% .8% gto eds at 90x1% tad ovsdet 6 ni’ de don aaw aasit asboow aid? admat boeyslga ew basleee od¢ taesetges Joa ob agastt aseboow dova ssd7 ebeq tets{ otew eomest seed? . .aselo ai tootte Ledasaunom - gotesetqxe sasidon edd betuoyni: nodd otddo® ed? .aork to -gvsd gomsitt aeaboow edd olidW .¢soosat snosa edd tmnt 40% -s3% Sn0te bhetsteRsexe add .seisqeoxs Jeoisinw taonis beyssoh een t1’ .asiqudueo 10} Seasbas aad ofnto8 stsi oad to yisa0 -of odd bas soaseatened otal edt nodw ,btawdosd qave sseih 8 taom edd ti obs bas yIsoeI? nsbhooW heovbortalt aises ov0a endaeo as0% . .eaotdasio tiedd Yo oivetaesgoaiseio asosoiganos 7 -aiw ashoow svieaedxo szodd Sigiai o8 oF peotitus evsd aeit © sett Sada ,sateq Lito 0 egntds00 saed ods to sdiqe at tewob ‘ia -*-dasd° bas beyige omooed eved gasig edt atin ared dasa = esem boiteg asizaivorsi, odd conte enobuiw dowto sed? : -2at aeutt bad bas/asdousdo 1009" .ataemgood yo awode at bes |); iy sates bedaderse to aevisameds believe beab | ¥ 7 ee ores crm nemmenet oe brayet) at pet” 94 may be seen today in the Church S. Sophie at Constantinople, and there have also been found during the last restorations ‘in S. Apollinare in Classe in Ravenna the remains of such a window lattice within a walled-up window (Pig. 237). Init these wooden lattices were probably first set mica (lapis .specularis) or horn. Later were fonndd therein thick plates of Roman glass, as they have been preserved here and bhere; (Pompezti); these are similar to our rough glass plates “in thickness and transparency. Note 74. From Dehio & von Bezold. Note 75. From Revue de l* Art chretien. 1992. p. 446 82. Romanesaue Windows. On the contrary, the window openings were very much @ims ‘inished ‘in the Romanesaue period, and one may properly state, that to produce a true Romanesaue architectural ‘impression small windews are reouired. First in the late Romanesque age did the window openings again become large; these were then certainly subdivided by @ strong wooden framework. Such a wooden window (Fig. 2328 78) has been preserved in Notre Dame at Chateau-bandon. 7© Note 76. See Note 75. This wooden frame was not set in a rebate but free in the splayed jambs. That such wooden frames do not represent the climax of m monumental effect is clear. These frames were later made of iron. The Gothic thén invented the noblest expression for them; the stone tracery. While the wooden frames have decayed almost without exception, the exaggerated stone tra- cery of the late Gothic has endured for centuries. It was a great step backward, when the late Renaissance and the ‘Ro- coco again introduced wooden tracery and made it the most conspicuous characteristic of their creations. Four centu- ries have sufficed to so injure those extensive wooden win- dowsi ‘in spite of the pest coatings of oil paint, that the sash bars with the glass have become curved and bent. ‘That church windows since the Merovingian period were gl- \40 ze is shown by documents. Poor churches and bad times “in- egages availed themselves of stretched cloth, as such is sta- “ted in regard to- Tegernsee, yet these mere akaeyeiens. ‘Nua- Re -_ oy a ia ere wel i: ie: ; > s s) ou 4 ps Di \ a! Ae , Pa ! 7 ¢ 4. ie i) é by ae he +e meer Pam - 6 wr “@suond Lsvoasy odd o@ giicass etetiaa to segseasg asotsmull + osawobatw doredo to Raise, dasotods sds baw aasig to o2o ig narod bas eqooa. obs ie asbbtdzel ai s1sd aloowg seeds Rated i «Ste8 ta9e9cq ade Yo saa Ce: penbdes eIsH avdotaes eupeensmo# to againego wobarw od? eadmst feysigg bad glvaom yont bas .g038 ta bedots-bavor Ile aevecton .beysaiga iis is toa 10 efasti Sud atew allio eat po daait aysiga wobaiw sdf .aodotsto eupsensmo9 asmis3 af oS ae eyistaeo 45 St iodd int otal: ytev Sext0 Wor : eewobaiW ofdto3 .09 cena goad bas .teliss stew enobaiw oid otdeo9 odd af a , awobadw: ows oeedy agd® .igddo ose abiaed aiieg af boo ais gatbivih odd bas 918 badatog somgoo s yd beteved oes eae elotio sa yiisak .1ewo1rses shew yilsabs13- weds aew 35% eete dose ali .dows betaiog aommoe sdé ttsened hetaroTseg slarbedts3 sdf .botaevat yiiasisags ase ytesets wobatw eas al.tso bedusm dtaq odf woda sertrsdh bas aoad .ageaeto’S to ~toee1g sodd ct amted# to istbedis9 eax to aleqsde aiode ond - - hater serte): yre0s1s ber6b bus boqoleveds yilet tettt saz bev } (NSSi), eever? ts doqwd® aevastdetd ods Jedd omsa ond ef sé seeeagog (SSSI) gaudist’ nt dowdn aSagedasi{9 .2 bas | sedmeb Ons asoriig¥ wooaurk .f8 re batytev vitseta acottoere e2oto evad enotiisa wobatw ga? ~. | 4 evcoss & ttef bas sugta 947 sO Sa Jaum sexta .seennory ak | | setoode aaalp ods eovteoet tadt seca dt 101 evsder 20 -ste ody wi0% ta07t edt go toLirt e dita sesstaue aniteia on? -o1°6 boosiq ylissese3 ai obie taoxt sdz oO .setkise teoiq 990009 978 etosdea aaslh saz sont” .aavloo isbasla a to bas if ot .pe OVLOL tev0: dosa od Jounso bas ered bsel xd bet ~starb tse7s0t8 eds. .gnrdaed mort aise $a ot dabio ar: .s9ts )\) .&% S&.8 tev0 t8 neist ed oF Joa ax anctiiem avented 900 aesuted seitey angiilow assented eoasdeib ysefo 9dd stotot9nF -Lisa ou? dose nesuved .ofito3 doass¥ al .ét 89.8 bas 89.0 odd teat o8 .190 aott [sortiev 6 Seyolqme yiletesey at anot + pyeuenemg vi Ee aca af asoitisn asensed sogasatp 3 ve Se hw be v0) bavi e | » basigad i, oo tads, .38%-08 anblses! edd betseqey yilases si weet eas 20 oosaempee elowtene. ek ausioo: {isne sdd 10 teif{it taoxt sas Landing Premennienereerese adotilem edd .ancbatn sebiw 10% 2%) oie om bv bets: TS ee 95 Numerous passages of writers testify to the general knowle- dge of glass and the thorough slazing of church windows.To bring these proofs here ‘is forbidden by the seope and purp- ose of the present Heft. The window openings of Romanesque churches were almost a all round-arched at top, and they mostly had splayed jambs. The silis were but little or not at all splayed, not even in German Romanesque churches. The window splays first oc- curred very late in the 12 th century. ; 90. Gothic Windows. Tn the Gothic the windows were taller, and they were pla- ced in pairs beside each other. ‘Then these two windows were covered by a common pointed arch, and the dividing pi- (43 er was then gradually made narrower. Pinally a circle was perforated beneath the common pointed arch. ‘In such wise the window tracery was apparently invented. ‘The Cathedrals of Soissons, Laon and Chartres show the path marked outsiIn the choir chapels of the Cathedral of Rheims is then preser- yed the first fully developed and dated tracery (after 1211); it is the same that the Liebfraven Church at Treves (1227) and S. Elisabeth’s ohurch “in Marburg (1235) possess. 91. Window Mulilions and Jambs. ~ The window mullions have cross sections greatly varying in richness. First must be on the right and left a groove or rebate for the glass, that receives the glass sheets. Two plain surfaces with a fillet on the front form the sin- plest muliion. ‘On the front side is generally placed a ro- und or a slender column. Since the glass sheets are connec- ted by lead bars and cannot be much over 10.76 sa. ft. ‘in area, ‘in order to be safe from bending, the greatest dista- nce between mullions is not to be taken at over 3.28 ft. Therefore the clear distance between muilions varies between 1.97 and 3.28 ft. In French Gothic, between each two mull- ‘ions ‘is generally employed a vertical ‘iron bar, so that the distance between mullions ‘is greater than in Germany and “in ‘England. On the jamb is usually repeated the mullion so far, that the front fillet or the small column is entirely retained. 46 For wider windows, the mullions are not él] made of equal a . ae uP ye hy da ih A at a i ee 4 if % id v4 : j 4 » a ( - ‘ meray cer P (f i ray i . ie 7, : , Be (iced dhecaneni sti pithecen: 18 enotiina’ 49htw emoa peaeaae: ea ,B o7ew vod? .admst sdt no 23. esbie sted? 3s Beno towortsH **\ et eget bitty far eee Sua “Slo” bewtet yvyilaray : 4 a eae ae -yreosaf o£ ess: enti: tb nentebis is. bechestal eit to yaeouts wobaiw onf we yteostt ofds09 yl1s9 dosa Yo atisteb eis avtdiaxe [aS o¢ -0nG~ai~talioiV® to basd.tedasH sds yd betsesoiqges .ewobalw elasie s ittw Bevowrztanoo ei wobatw rhode sd¢ to yussetti od? (888 seeds) elate elbdbiw od? at: wobaku odd Yo saad .notilsa ‘gnotifom eaxzel ed® -anotiion {{eas base satel to atetaaoo . seforbdoods: déin tedseRos ean, betatog ¢aa%g owed add wiot yasdots betatoq aateolose Isnteini: gs672 ods bas asdt svods ~tibreds erodW § .yifentesai bas yilsaistze bavor 5s aved yodt + gone at etiaw anotiiva ows odd ,#negasd O18 agdore Sasist ttosevebkesd euattwoo enckiisa ows edt of wobfaa ytov CLGO Mr4 geno obin sit afoot, eted son ob agofifsa wortea dP jasdso at-assoqqseib aida pentemer bnvo1 sheds Sadé of eilaotétey seots srotettib edE .aoriinem isqieniag ead Yo asetsder sii Ising beatot, eta enotiiga bus agago ods nod node anocitosa _ eaodote ated yieost? eidd to evasq statsqem od? .ee “gee a RE qh. B LOW Loudeotepediosy mont ft tot a:bheteotte neds ab olais seievensit edd: to wobatw eat JA dnedatenco 8 atanotiluw bie dae ates odd to aottoasy edt eousignoo oals wokiisa sbie od3 To bawot oad Jsas of .vew od oagls daua atesde asalz odd gout .atvaaq Isokdday odd ak - _~bivib ets eakatseqe teelo saedt ,awiol eidséiuge ai begasuis @ 9d satwodti dame enatneqa isotdqev sa? .eusd aore ed 63 . bellse-ca oft ,ated eao10 yd Srey does sa0de ta bebivibdus bas {Las edt goalg at gest of axuee oxls yd esd m1ioce . .ea0riivs t9ba9le tazit eno teum mesa ~.Yteosts dova agtuebh of esttash eno I semoiiion Lis to eanth exsago edt ak dotede iabdisebunite tom siy ,geusetROTG CfdfoD add t9df¢0t sa? ~dtase at bemtotaases oxedt ore ewtot atl .yaseBsd sdz 290 ed yse katbLind edt to e755 sds Sand os sysw oidaxingooes .. _ ytetxose edd moat gises1d od? .ydetedd Ifow yaev beatw1es9b a need ved teun doide .°* Sa .gttoat eagofod ts no9799 .2 Yo (ead gnous Aaimisdo teom eds oF agacled .O88f igods bheaktesb ase oat eemeemenneeete Yo adtowtesasa boitey. yleasatxe Bei cdl —- a Pwd —— — = By if he 4 96 width; some wider mullions are arranged, which repeat the narrower ones at their sides as on the jambs. They were u usually termed “old” and “young” jambs. 92. Tracery. The window tracery of the Fathedral at Amiens ‘in Figs. 2329 to 241 exhibits the detalis of such early Gothic tracery w windows, represented by the master hand of Viollet-le-Duc. The trecery of the choir window is constructed with @ single mullion, that of the window in the middle aisle (about 1235) consists of large and small mullions. The large mullions form the two great pointeé arches together with theccircle above them end the sreat internal enclosing pointed arches; they have a round externally and internally. Where the dif- ferent arches are tangent, the two mullions unite “in one; yonly very seldom do the two mullions continue beside ‘each other. The narrow mullions do not here join the wide ones vertically so that their round remains; this disappears ‘in the rebates of the principal mullion. The different cross sections show how the cusps and mullions are joined togeth- er. The separate parts of this tracery form arches. Hote 77. From Viollet-le-Duc. Vol. 6. p. 824 - 328, At the window of the transverse @isle is then effected t the junction of the main and side mullions in a& consistent way, so that the round of the sice mullion also continues ‘in the vertical parts. Since the slass sheets must also be ‘Rawr €j arranged in suitable forms, these clear openings are divid- ed by iron bars. fhe vertical openings must likewise be s subdivided at about each yard by cross bars, the so-called storm bars. They also serve to keep in place the tell and slender muilions. Tf one desires to design such tracery, then must one first sketch in the centre lines of all mullions. The further the Gothic progresses, the more slender beco- mes the tracery. Its forms sre there transformed "in easily recognizable ways, so thet the date of the building may be determined very well thereby. The tracery from the sacristy of 8. Gereon at Cologne ‘in Fis. 242 78 which must .have been designed about 1280, belongs to the most charming among the extremely varied masterworks of that creative age. The eas- ’ Me Re ey eee Oy ae eee ee i ot Ae y yaad Lt ’ a Ppa Siiciven | a a8: % etnias eto ‘ead Io awobniw at9dase ak egasdo edd sttdtdxe (8° sae Lord ;O881 taods): snuosesoted ab oonet® at beeqwooo es dove ,am tot odd to dneadsors odd te .aadteosa suoreItth segdt .otdz09 catd ede to ouit ods wee Riad aysels doidw Yo isisew edt .deyolqms ote enoilion sget srs eqavo od? .notiiva Isqtoaiaq edd gatatol yd a8eqgs ogame evad azad enota ed? .anotifva telisas eat yd boa pea -anotiion edd davotdd easa ond gtedw ,aiLeweb ez 2 O80 sttSAucd semeih most . BN etok | ae Min JARB 64°68 VOY JouG-ef-tedioi¥ mont 6a ett . -gitaoiit (Ss62-609f) isew3 mort wobatw tesel yltdaile ad? , gone (88 bdo .ard) qasmteg ak egs tedd to amok sad eos *(edated Isegoloo Yo. af bas aaotaivib xfe ac at wobatw edd . ={gm oibbinm yaotta 8 betsouttanoo 480. aeanasdol dossidors sad — se antsdde ydeteds oH .dwet edd etasqet wedy ,sorl 4; -ecotiisa edd To dasmsausq1s ivliewog Jud , 1 sah Ee ete, sanaet¥ ¢8 soiqes? .2 to evan oa2 to awobaiw od? i; we (98 gage 3k bas 862 398q aninietbs ssslq ent 9a eset > betid es ytooess od ote .vedto dose to Jasiasqsbar basde to déisew s betacts et yieteds ‘teevostiwe {is atevoo yisosad e838 eoiyte toavo: on af es eaiieatde to bas nottadnemsat0 awobaté oueds to sao. to asiq Savosg ods avis SY an¢ bas Gas a “eee ab 8 ts ILbe gathaogsesit0es edd To uotsavele edt bas | -ofsoe sQANI SeRHaE ondemegiia morh .96 atoll (Bang (Pae .agtF)edasmetennoG ds Leqsd9 edd Io yusoeit odT -$ Y antetisg Levo bas dbetaios edd oF mottieasad edd awode aisati edd emit atdat al .ocdto3d oval edd .vaiudass ad GL ent gwollod ylto tberseqqsats. ylesicas: yeasts edt at anauitoo $8eat siGdaedO wort wobutw edt .anoiilym asbas{e eds atet ts abaste suds, bus O¢at wort ossd (8° Gbee HEE) dasudatesé LS i ii + gatwolfol edt dviw ofdtoo 3 no betasasiget al doedidors odd Bi ~siqmoo ,nodeletel! east .1 oved. ata®*)--:ngsened gorégisoeni’ e‘gaitd) a9t%8 bewtso°oo dosbakt ard? .stéo evorg déiw bos aN eu qfed) bo® .isey dd OF sad af bas azesy bexbasd SI dévid ,), ites : 2 eco wee of .aoeh .e@lehas to enorgst edd bas ae Wee na ee D swobath g20h .8@. ie © wobatw Ee ha eee & beqoleveb espe olbbimw oa? es +a ‘ wie 2 ; ,dotisdo sdt to toitedat sit al .é¢asmqoleveb sig To bas sdv \.' 97 eastern windows of the transverse aisle of S. Nazaire at © Carcassonne (about 1320; Fig. 248 7%) exhibit the change ‘in the treatment of the forms, such as occvreed ‘in France ‘in the time of the high Gothic. Three different sections of mullions are employed, the weaker of which always half dis- appear by joining the principal mullion. The cusps are fere= med by the smaller muilions. The stone bars have special. dowells, where the pass through the mullions. Note 78. From Wiener Bauhttte ete. . Wote 79. From Viollet-le-Duc. Vol. @. p. 385. The slightly later window from Zwetl (1848-1348) illustra- tes the forms of that age in germany (Pig. 244 78), Since the window is in six divisions and is of colossal height, the architect Johannes has constructed a strong middie mul- lion, that repeats the jamb. He thereby obtains an unusual but powerful arrangement of the mullions. The windows of the nave of S. Stephen at Vienna (after 4. 1859; see the plate adjoining page 156 and Pig. 245 80) stand independent of cach other. Here the tracery as blind tracery covers all surfaces’? thereby is created a wealth of ornamentation and of chiseling as in ne other style. Pigs. 245 ana 246 7© give the ground plan of one of these windows and the elevation of the corresponding sill at a sreeter s scale. Hote 80, From 'dligemeine Bauzeitung. The tracery of the Chapel at Donnersmark (Figs. 247, 24878) shows the transition to the pointed and oval patterns of t the 15 th century, the late Gothic. In this time the little columns in the tracery entirely Gisappeared; only hollows form the slender mullions. The window from Oberh@lz in Si Steiermark( (Pig: 2380 7&) date from 1420 and thus stands at /5/ the end of the development. In the ‘interior of the church, tae architect is represented on a corble with the following ‘inecription beneath:-- “This have I, Hans Jersleben, comple- ted with pious care. This indeed occurred after Christ’s birth 18 hundred years and in the 80 th year. God help us all and the lesions of angels. Amen. So may it be.” 93. Rose Window. The middle ages developed a particular kind of window, % :, bs " i ih . 1) } a A ‘ — oi at david .wobntw lesin 10 e207 ent j »oSbetetetasa .betaevar asw yseosas aodf .Liotesadssp edt to Oh¢ .2F4) awobatw ieedn ods at hbesaeasi oTew sansa Yo adsle wtanemip isaaoloo of hoasosoat yilesbers enobatw. e201 aed? @ ak oved? . .wedt bevel yilstosaae oidso9 doses¥ sdf .aa0 w iskbet s dove agesacg vou bd ssdt .isibedsso a ylsousoR eueG eato4 aud? .obsoet atetsew esi to slbbia ond ak wobatw ‘at Ttemsid .st GL6 Yo wobatw ss01 # aed yosevis eiied ss BGs8) awobatw osot oved siceanays oat Sabsost aseteow arr | asel aaw ¢coansis adgvoe sad to Josdidorw sak .itstomsib tt _ wa besbat ai wobaiw 920% awond taed odT | (88S!) eefiei® ob | | etelqvedis ece:{S8Sl sedts) guadaeitS ts t9sant sat ao abate a — ardd Yo ¢ieH agntbeoetg sdf af 39f ekxeqg Suinkotdsa | -bioxet now 5 sited mond .18 siok ~aism1e8 .2 to seeded eds ac Leqsd9 oad to wobatw seer od? -. Bb.88 Io 1etemeib & aad (8 faS .Bt@ sOkSL z9sits) oysd-no bexseqgs neds gadd , ytiwsiicosg s edididxe ybaeils si p6dt eds yelouts ssety 6 ylos9:m von ei SL = .enkeqmadd at aomaco gad? .benesco oasis 91s 9128008 Ysisofoas ods to alsibaaga as0ot bas sfloato eds wolsd barstoy19& 90d Bivode alethaaga edd a ar eetweiit jo§ .dstasgae28 od bivow betseto Lita wobatw)> \ jbansqo etew eletbasqa t9qq9 Sod eakequsnd Yo anorzet amoa. -agink sis mort Saebaeqebat od tuum yrecesd wobaiw aids asad dots sbie sit no boteot dala isdnoattod A .tiots shite Isa eftit Yo ewohutw svam odd te9qq8 ovis aud? .execsid sid bas «8 ew 2 to esods bas oysd-co-atemis9 .2 to offeqsdd .2 ; . sasyort GR Lg 8 OV .oud-ol-teddosT mont 289 etot ebteeaten esote Ye witowten Isaaclos dove te gotdvoexs ont -ttib yisxittas fis to tart ee9idigerttio gssihk hetneasi¢ govt wobutw eget dose to tina tswol' od% nf sos ssotol taste ... etotsieds Jase Ratdédtooenode ed? .tisd s9e9qg0 odd wt seodt _-—s—s gaged wobaiw dowd od? .9ts0 ta9dse9§ ods ddiw Dsdasi1S od " touaso sao sud yetodsns to Azowdem Lstiewog ¢ mtot besbas 6 bad etodons osods suigv al .tr ov aniddy¢ieve Jautisa >: bas Quivent tteds yd itowenote sdv no tostis asoiuapat y bougiasd Syobat et atsats? .2 to wobain oecy on! .aarl Bi _ wafetto to enix ods sonts Witifdewb ait “ot yidesovel ad x. * mroti edd toot swetel yed? .aketaeqo isigerto Lisme betiss00 ©): 98 the rose or wheel window. First in the Romanesoue period /52, occurred small circular openings. They later took the form of the gquatrefoil. When tracery was ‘invented, perforated slabs of stone were inserted in the wheel windows (Fig. 2491), Bhese rose windows gradually increased to colossal dimensi-~ ons. The French Gothic especially loved them. There-is s scarcely a cathedral, that did not possess such a radial w window in the middie of its western facade. Thus Notre Dame at Paris already has a rose window of 31.5 ft. diameter ‘in. its western facade; the transepts have rose windows 48.56 ft. diameter. The architect of the scuth transept was Jean de Cheiles (1268). The best known rose window is indeed Er- win2s on the Minster at Strasburg (after 1277}3:see the plate — adjoining page 198 in the preceding Heft of this “Handbuch”). )pep Note 81. From Dehto & von Bezold. isi Phe rose window of the Chapel in the Chateau of S. Germain- en-baye (after 1240: Big. 251 ©*) has a diameter of 83.46 ft.; it already exhibits a peculiarity , that then appeared common “in Champagne. It is not merely a great circle}; the four spandrels of the enclosing sauare are also opened. That the spandrels should be ferforated below the circle and a /Sfwindow sill created would be suggested. But likewise ins some regions of Champagne the upper spandrels were opened; then this window tracery must be independent from the inter- nal: side arch. A horizontal slab rested on the side arch and the tracery. Thus also appear the nave windows of this S. Ghapelle of S. Germain-en-Laye and those of S. Urbain at Troyes. Note 82. From Viollet-le-Due. Vol. 8. p. B7% The execution of such colossal networks of stone naturally presented great difficulties. First of ail, entirely @iff- erent forces act in the lower half of each rose window from those in the upper half. The stonecuttins must therefore be arranged with the greatest care. The iron window bars ‘indeed form a powerful network of anchors: but one cannot /5% entrust everything to it. In time these anchors had a very ‘injurious effect on the stonework by their rusting and swéi= ling. The rose window of S. Germain is indeed designed very favorably for its durability, since the ring of circles ‘in- ‘et. | ee | ie. yeu teed sit ak afstded odd auottite bas estqooretai: _ eds evaed oF engoioo eitait sax fia scot ,basd tendo odd eStabigoiqgs otinp aseqqs toa e905 sxtneo add Haawos alatiqeo ge yoddA tedaatat2oR to dqseaaxt 94% sort wobaiw ss07 oAT _ —leveb etizovat y19v yileuen odd adididxe (S38 .2%%) aobaod | tite ed? .oonetetasotio edt Stawod otd¢n0e0 sas mott ta9mqa .. bepsatai:nedons hetaiog vs betosttes af alsiber eds to gatnet Byte snedd needed sae senit) fokasausss2 aoxt awobaiw sact I[lsewe owt od? = aN edt Yo eaotteotkatmusio seo ods to ond wode (8° pas a ~ium s to ansem yd betourteanes yiao ete sasct .ofdto’ agra eff ,adela enote betsiotieq yino ylisex ,aatdoee aaore sort | seeedtole® bas aoitiad at awobaiw ea0t dows to vastiase sat i sbait povencte Istagasat0 ¢e0u add at oted ylatatseo dud a9 a eS8GLLESD 2b q “ - e@efliad ofdfio9 yixsa bas espasnsmo8 «5° jie yitse ont mort bevisse1q asad yfsotmeoa oved sollia? > ' ,@snoTd Yo vitetto meds obsm svei oF aiseqqs dis aspsenamo4 ¥ # mont olisgsi}-si-xid ts toseni¥ sat at szoat yo anode Be i etiwob betien setal oiew yaet somed seaksusiusid to sais ond dowd exosensaok oft mort 83 gag eBh4 ak sliiae wobuiw on? gupazensn0# aninteass wat edd to sao 2k (sbaoxtS) abexa te = 2HS3q es0%L TASco%W a 2aitow (BB) BB ae 08 LG 2B LPOV LouG-sl-sebloa¥ most 188 93.08 sdgso1w uot fod aiamet won 9268 ofdtoB-ylsss sav wort aovE y<\ to .aived ss)0eq atasl .2 ak eniaass ofdimad? .ealline soar: _ 3(88eas-pas 838: .2ntt at seods esouborqet oudéal-salloiY dotdw - tirdidxe dvod .yzsta00 di Bl sit Yo bao odd wort stab yedt 98 to atefagoo siitta on0 .aotdourtenos to eebom tagaetird seitegzos obfed bas tedt¢o dose sbiaed tee aiforoe biloe ststsq al .ytiiidersuS saseo euels eyed. ailotoe edt audt cebasd yd Fe -tir¢a ofliay ond ose onols yeds dedi on .2x8d AOT AS & .3f9) eaors¥ at regrise? sit to dmof eis ao alLiaa ed? _ « st¢a0m taxit odd of a6liwie re998H-8 ar heeogmos at (5 9&8 o Issnemsato ststs¥ee odt oltde .ataed .2 mort ofitik beao es! pare hetsatgiao 31 .2basd yd s9dTegod bfed erow eltotertsup : _ eldsem ods to eviagloxe .o¢T 88.8 af tdytod ete :088F tuo ; -9aad -f 2aoad2 so bavevia at diow Llores edd .olitag buoosa sad» \ 29 ‘intercepts and stiffens the radials in the best way. On ‘ the other band, for all the littie columns to have their capitals toward the centre does not appear quite appropriate. fhe rose window from the transept of Westminster Abbey ait London (Fis. 252) exhibits the usually very favorite devel— opment from the centre toward the circumference. The stif- fening of the radials is effected by pointed arches ‘inserted between theme The two small :rose windows from Strassengel (Figs. 258, 254 78) show two of the most charmingreations of the German high Gothic. These are only constructed by means of a mul- lion cross sectisn, really only perforated stone slabs, like the earliest of such rose windows in Chartres and Gelnhaus- en, but certainly here in the most ornamental stonecutting. ad. Grilles. 94. Romanesauve and Barly Gothic Grilles. Grilles have scarcely been preserved from the early times. Romanesque art appears to have made them chiefly of bronze, as shown by those in the Minster at Aix-la-Chapelle from t the time of Charlemagne; hence they were later melted down. Tne window grille in Fig. 255 &8 from the Romanesoue Church at Brede (Gironde) is one of the few remaining Romanesoue works ‘in wrought ‘iron. Fote 88. From Viollet-le-Buc. Vol. 6. p. 60, 61, 64, 68. /% Even from the early Gothic age now remain but few wrought /“\jron grilles. ‘Thus the remains “in S. Denis near Paris, of which Viollet-lebDuc reproduces those ‘in Figs. 256 and 257°3); they date from the end of the 12 th century. Both exhibit different modes of construction. One grille consists of se- parate solid scrolls set beside each other and held together by bands; thus the scrolls here alone cause durability. In /¥9 the second grille, the scroll work is riveted on strong ‘i- ron bars, so that they alone make the grille stiff. ‘The grille on the Tomb of the Scabiser in Verona (Fig. 2 258 ©4) is composed ‘in @.manner similar to the first menti- oned grille from S. Denis, while the sefarate ornamental ‘o ‘quatrefoils were held together by bands. It originated ab- cut 1880; its height ‘is 8.538 ft., exclusive of the marble base. oor «pte Ratvormnsd-less apt 40b .4S33KR mont . 22 -enobdar§ (eeo8 Iie 5AQodT ieee « Oss ers tant bas y1d eyswie ,boirteq ofdtoa daid ont c RET “VIsosIs ‘to anoLestiat isitéused wel 009 beoshorg . to. oiquaxs ae ai aixeI seen eined .2 to senisagsM odsva0td e _ akdsoa stal odf .At0n sort sdagotm Yo noitsmotassas odd °) | $780 jToqas sag aga? .t1s ett Yo etootq Lulsoars ateh saxit _wbe eas eee) Lle8 ta dowdd dettsd ysiO ond at afitar e Bo 4 s20a S bas agiesb eupaetutoty déod 8 abtotts (esely aaratot a ~ti8q ehnesol olgmia odT .notk Sdguouw ai dstow das Iniline “3 efbbim eaidne odd Saitaub etfsovet 6 eaw Lousy oad Yo a19 _ wltpertoo e ei ti goata ,b008 ayawie ai sootte aéi dan .20a aa _ 8 ated etateqes edt .atow betieaat yd ylomsn , betonisenoo XG obsm aud ki bstevia aeds bas tedtekos bedainit soa ots s9tiaoot fis to toslren eds dtinw gia a‘dtimedool arebom adt ~tisitvoeg {ia to noitorhsataoo 8 bas qideasmitow Yo esnom ; tit beaesq ai ated to astiea ono Jud -,{sitetem sit to ait my , aefod sasas yh .i9dto odd af Son Hedoung azelod dgvords bas as0siq saeit 7s benebiw o16 ated eds sod oitaw oben " . © .pbede bas stdarl to tostts auteselq s slodw oft oF eveR Bi “m8.A%0 soloo {utigused isd? dtiw mseiy (Lita selling seat 4 wwii | | snoktastas 60g 1990 asd (BF oa¢ eaf8) siiiah Igkitosed asdtons soY o, iit ab ${8N dose to sete etisae ad? dorado akav ak bsvt9 x cs dada bexit & eved eovied odd (diowllotoe saxt yd bel «8d euoside as ya stew dtow sock Sagso0an ofddoD otal sat .aL avsiazovet taar9 ~s019 a*gohatd eds bebsvotins dotde ,atowolt asoxo dasay odd qilomzabfed ab efosnsedst s¢mt0t odd mort at *© peg .ord 408 eitow agowt ddagotw to betourtanoo yileritas ase dordw a 100 84, From Hitth. der Central-Commission ete. TheQSichLaseri#indows. The high Gothic period, always dry and inartistic, at most produced too few beautiful imitations of tracery. Fig. 259° fromcsthe Magazines of S. Denis near Paris is an example of /60the transformation of wrought ‘iron work. The late Gothic first left graceful proofs of its art. ‘Thus the upper part of a grille in the City Parish Church at Halil (see the ad~ joining plate) affords a both picturesoue design and a most skilful art work ‘in wrought iron. The simple lozenge patt- ern of the panel was a favorite during the entire middle a- ges, and its effect is always good, since it is correctly constructed, namely by inserted work. The separate bars a are not finished together and then riveted,;# thus made by the modern locksmith’s art with the neglect of all reauire- ments of workmanship and a contrediction of all peculiari- ties of the material,- but one series of bars is passed th through holes punched hot ‘in the other. By these holes made while hot, the bars are widened at these places and give to the whole a pleasing effect of light and shade. T : These grilles still gleam with their beautiful color ornan- 2 entation. /é/ Yet another beautiful grille (Fig. 260 78) has been pres- erved in this church. The entire area of each half is fil- led by free scrollwork; the halves have a fixed frame, .held . by an oblique bar. | Great favorites in the late Gothic wrought iron work were | the sreat cross flowers, which surrounded the bishop’s croz- ‘ier. Fig. 261 84 is from the former tabernacle ‘in Feldkirch, which was entirely constructed of wrought ‘iron work. - £08 " saateiirss aaaid .8 re¢qadd a Jlhag | -2ee{8 - cA atatie taae —fueD ar botteq nawod sd¢ aout obam zan reaatth ; ~astgatedd qd berespiios otes seedt Tevetsdw .yasmte9 Sas yl “gs {sy a6 sodoasdo to awobatw of? .avitasitivie bas yt eiteact edt Ben ald? .dsiweaeid boacis s19w eaatifewd to -7$9 odd yd otiqas neaof eid Yo moteavai- ads tests doin 10 q “bat easeod eat .gaaly to seu sit at beowbowak “qsde .anas 7. yoda: tod :aesly yd bseolo awobatw détw betatsuoos stew bss ” sien volumed ateds yoenee ico ak e@wobatw beaesaeog yisoteoa 4 Sad .@i6079 odd dviw 28 weds astW .ewobutw tuodtin gitetdo a ga tesqo yd ylno Setdgtl vicedorwg sew Siqued sat to totteszar: na _ + @staemegaciis Lectetbsieg atid eotatasoo 49be1 al .2i00b add | ‘ @ height of about 6.56 ft., but no window openings were in ) them; on the contrary, ‘in some places melted slass iay at the foot of the wall, the remains of windows placed on high. Under the rule of the Germans, these windows wese brought lower and placed next the street, so that they first became among the Germans in all countries, what they are today. Likewise after the appearance of the Barly Christian style of architecture, the churches received windows. Phe glass was made in continually heated furnaces during the middle ages and brought into commerce in large blocks. Hrabanus Maurus writes thereon as follows in his work “De Universo” at about 830:-- “Book 17. Chapter 10. On Glass. It is called glass because on account of its transparency the light may pass through it. For ‘in other metals is con- cealed something contained therein; but in slass is a sap or substance, apparent externally as it is internally, and since it is always also inclosed, iit stands open. -------- Scon, as the intellectual striving causes, men were not sat- isfied with glass alone, but they practised this art with other mixtures. It is smelted with Light and dry wood; af- il ai Lie. ae 2 ni vilasattaos ai bas ,betateqes ak saqqoo eit tetts = sbooubona « ots aloold bas o10 sii dtult obem at +i 20080 atow eds at edoold seeds woxkt batiom af Ff abuawieds i pe. . e@atata? yd 40 gaiwold yd beqeda asitte even yase ai besoloo ove bus sevite eArl tugver 6loo at bus sextdqqes see1% be ddatosya oth obsm et te a tom ef gaiddon ogik .senoda agoloesq toivo bas xyno exit Las ab ‘ealey Teatser8 edt toY .sidt agde atozita 10% eldadinva , te eat stun lauan aad tk 1 ile 9a sae. 28 atoteqedt | uN Atog: «ents anol s tot shaw need asd aasl9 .tevita Sas Sioa , Be: i e at basa anne Fant toe edt (aiteq3 fas inaP at das yletT ai ie. on “.etattom af Sngowe - bonepas geent of evedt blogz bas adlooid brice ossage2g pues new deat ais moat beoubsb eatwenicl ai tI .«ysdeubat oa at On aaa once ei3 taba aasly betoloo O88 suods hageeaseq yeseris ) > Smid ots at 053 tuods cals sud .boyelgme aulidqood? saad \29 oge *ontevind 60° aid. ai a0aeqsd evasdath sot jaisod edd to * ow (888 beth) ofltve? to ss0biel .2 to “sentgixO™ azow add he ts ~o1a ilyt ef ydotes? .allitaidd gakd oiaso9 add 1ad00 ado Ba & tedéagt oe sted? e263 to otasosiuasm bountsaoo edt how S ~088 to gnisets oi¢ o¢ Raitsie1 asyseasq too1q to isdaua teeth a “at90 astudavoo sdt (is at awobatw downs to es iiew a8 asia .betoolseva need st0toseted ovse dords .8G 4A QOOL bas 008 aoe “avto edt to avftezyaoze7qst asosn0779 ylottdne n& sictesedd bas i} 3 «booubo1q aved a6% a9as avods to nortsstir é y Loree e. | ; eRattaces gasid lo akain0 «Ve sencebive asttis¥ .ytesvoorib dusieas ytev 6 ef Saidateq eaald s¢qitoesbh bosses add nl .vrsdneo a7 @ ods gor? eszixe ybsorls ak bekb odw ,19¢eq8U to-qoderé ,1egbud .2 to sted ong to mot > a%-aita9b sdgte bevtecos memow Satid s wou .betate et st ,208 : edd ab Sasoh ed of ef “etid® 2ia%). .oniviee satvib aniaoya foe peeve aon ay fees: .d38 oflot ittied ts epee {syod = ths »€53 p93 sects yd q ieavg eee) deta vis cect “8% muiaSieqe8 88% .8S stot ‘Wane odd 998 blgos ete fads .gliniyo) dso beiag taxit sae soH® ©<' a | napenntvegsey gakuen add a8) soqueteds javayst gatasus sae phi yahobake..adz. dasouds odode yliscbs1y saytl add das ; ie - ea ee ae a i . ” Ds oOo 102 after the copper is separated, and in continually fired fur- naces it is made fluid like ore and blocks are produced. Af- terwards it is melted from these blocks in the workshops and either shaped by plowing or by turning. Otherwise it is wrought Like silver and also colored in many ways, so that it is made like pyacinth and green sapphires and in colors like onyx and other precious stones. Also nothing is more suiteble for mirrors than this. Yet the greatest value is | in the pure glass, that approximates most nearly to crystal. Therefore as may be wished, it has supplanted the metals of ~sold and silver. Glass has been made for a long time, both ‘iin Italy and in Gaul and Spain; the softest mnise sand “is ground in morters.” Thus men possessed constantly fired furnaces for making glass, prepared solid blocks and sold these to these engaged ‘in the industry. It is likewise deduced from this, that men already possessed about 880 colored glass under the same nam- es, that Theophilus employed. But also about 520 in the time of the Goths; for Hrabanus depends in his “De Universo” apon the work “Origines” of S. Isidore of Seville (died 636), who wrote under the Gothic king Chintilla. Thereby is fully pro- -yed the continued manufacture of glass. There are further a sreat number of proof passages relating to the glazing of sec- ular as well as of church windows in all the countries betw- een 600 and 1000 A. Da, which have heretofore been overlooked, ana therefore an entirely erroneous representation of the civ- ‘lization of those ages has been produced. ‘97. Origin of Glass Paintings. Glass painting is @ very ancient discovery. Written evidence already exists from the 9 th century. In the second descript- ion of the life of S. Ludger, bishop of Mtinster, who died in 809, it is stated, how a blind woman received sight during the evening divine service. (This “Life” is to be found in the Royal Library at Berlin, folio 28b, and it was composed short- ly after 864 ©), Note 85. See Repertorium fir Kunstwissenschaft. 1880. p.461. 6 Por she first cried out joyfully, that she could see the burning lights; thereupon as the morning dawn already appeared and the light gradually shone through the windows, she conmen- oh MN ob dwt et pial, Ge sa iG Bie oA AS ae Se ee a IY a Me ee Baht Oh bide f a aN ele a ey Mose | ha at seecntt edt sostt o8 baoneamoo 9 eat nicat Ar bosoroan oan , [TL sorbeged tovbise sk IT | » MD, -+remod 3a otovetaga? ab sins¥ .2 AON sens ate8 pram eveyet: MOR .Mtotowe see Be otol oo OO i eho? CROt Cephe Qu hee ve ii | vabedean esky dete enobuin sit botaxoosb 94 304” ff an btere: | * “,gatsaisg -.(88e-88¢) piadeuninduaateniia to afies aedord ,amionA word ee fo ee | SB isabedsso aid batasmento yidort od deds a, ‘pea fost .Indtd foutoug murtotdotaitstaeseid as2 1 tS stot i! “=o : , -B8BLi.emisdh 688 .a . 88 astaqndd he ‘rote samo Sinubadéon teds ,ewobarw yd bertssl ed deka” {.' ae cess a an) ce died gatssoa dtiw Saflbacossy ebam od bas .aeia “ga gotta 20 acgaga atensactvid ingined 1.2 to aosiaoidd edf a 88 ~:;f00L asey eat Juods MBIOISU OCLs o0T MoH sdis matygelisiqe .yiodoh*d sez .33 stoh Diaane oer i. sBEVE .ednot .282 .@ Vt MUVOSGETOS TONHSSH | teri? beveiba eda conte + - - .sicsdsest nigziv ylod odt® eostRaib: eds yd bedsinuq text? saw sha .teixdS to Adist edd of 908 no bebseded ed of heoustnes s9t5L een bas .soeiag odd Bo > -obsm: wohaiw bests 8 88 yydied stv to nokeeetnde a8 To THue =bovsed niewode sss ao Litas abi boe eemid saefons at ane ok eae : *.onttnisa Int ~ 3B idanneiths efid nstiw hbenimiessbh ed o¢ ton heebni ef JT eS ee Eats 1 totiiaw 7.5 | oor: q89y ont Jods most beviesssg ceed asd soenisgeT wos? Gdk* totsel ent Yorvestew odT)iadasas to sessef antwollot sag \ SBroer Ligue S8e: nos? Yisiessom oft ssvo bhebivetq .taeds0d to bas: at xShoF .cedsh B® vet ess 108 ss08 a sae hear sGSlLe.aaed B onnes¥ 6880 cq koe d 28° J s08 Bs: li stgheviodth ek odw .blontA tan0d ydditow teow ods of” ‘godd& ost pentiiv biotiaea aid: to emst edd yd awond Bi b cousptitb ate ot hestimmoo nevdtesd ead Yo taevaod eds bas EE eee . ebaod edd ab nottevisa: bas seys%a baswod sadt .Snondostsés Ivtdsist teom odd Yo noiselos sat » omits 8 gn0Lfoe sot voy yd bontesniem nesd svsd:ewo. bus ifs odd yom eeotyie2 Isom bas atods{ evoisay yo yfsnt hatnOtossetnco:yiod vin to deeupes edd se .ho® anizaog cacao one geceoonle tiv ylenoioets seom ye 4); a ee r re oe ‘ie i sf 103 , : commenced to trace the figures in them with her finger.” It is said of Benedict III, who restered in 856 the Church §S. Maria in Trastavere at Rome:-- 86 Vote 86. See Kuratori. Rerum Italticarum Seriptores. Vol. 3 p. 857. milan, 1728, “Rut he decorated the windows with glass colors and mosaic paintings.” From Rheims, Richer tells of archbishop “Adalbert (968-969), that he richly ornamented his cathedral. &7 } Note 8%. See Richertcshistoriarum quatuor libri. Book 3, . , Ghapter 28. p. 262. Rheims, 1855. /69 Which he lighted by windows, that contained different sto- 4 ries, and he made resounding with roaring bells.” fhe Chronicon of S. Benigni Divionensis states of Dijon at about. the year 1001:- es Note 88. See D*dchery. Spicilegtum sive Collectio veterum aliquot scréptorum. IT. p. 383. Paris, 1723, fhe holy virsin Paschasia, - - + since she adhered firmly to the faith of Christ, she was first punished by the disgrace 4 of the prison, and was later sentenced to be beheaded on acc- i ount of her confession of the Deity, as a glass window, made in ancient times and remainins until our ase, shows in beauti- ful paintins.” Tt is indeed not to be determined when this chronicle was written. m From Tegernsee has been preserved from about the year 1000 the followins letter of thankse(The writer of the letter, “Abb- ot Gozbert, presided over the monastery from'983 until: 100189 Note 89. See Pez & Htber. Codex diplomaticoshistorico. Vol. 6. Part 2. ‘p. 128. Vienna & Graz. 1729. “fo the most worthy Count “Arnold, who is everywhere made known by the fame of his manifold virtues, the ‘Abbot Gozbert and the Convent of the brethren committed to him, diligence in prayer and salvation in the Lord. Fhe relation of the most faithful attachment, that toward us and ours have been maintained by you for so long a time, untir- ‘ingly by various labors and great services, may the all recon- pensins God, at the request of his holy confessor Quirin, rep- Gg ay most Sraciously with hundredfold multiplied by hundreds, b ah rm . We Ty jvhipes aie , eat iis Ng te ruay, i re # i | area he } ink yStS uthadeinns e# ietzen ylasysen sav suoted. “gies noiéereaev dose déin sosiq wo betevele dead odw oa im tot .etedsetes0? ase to esmid edd wott ex os owoad a6 } og Sived dovado ago to ewodaiw eat see ot sqod eovlezauo gent? an es etengdixot yids al .eddofo fio dtinw begolo noad -pobites ‘ano to dnemevaq end noqu ssoda nua bovisd-neblog ede | sbedney. toe out bas ,egnitatea Yo masiy borolon sid gauodid otis: exsen doitw ,eteviesdo Lie to etased eis bedssvensa ayot alton ass bemovasoosne eit Yo yteksav ond yd heboveodes vedios - \eetw doue ni-hentobs sosiq aiid ose nom sa anol es exotersdT “pat .tdbia bas yeb et0ys1q omefoe aettiqw ed Sliw owen yds nt yeten hesedmenes ed [fiw eovissies ynd ils dsso%oued ydsieds yd-en oF dnse bas taemdorsg no nottiqw vino od vomen skens i » Suodt deed oF Jnomerbhut _ynd oF Ji oyedi of -Iegneerem ons | Qdsen dads 10% bhenierd od of S1e YORT I9hveKW ,enoereD anuOY ci Tité 20: sadaow ai du 60% tomod ati sedd doisae yam gi dedd oe ed si yam mons ni Qnidosl ef Sniniemoe vadd inemss ee yee * “IsinigseiD’ .caemevotgai tot voy od med minder oF - sypeanregs? $8 oxod dadd .astiel eins moxi bees ased aad I, | Be casatins ines: Sanoo ed Jads- bos .beieveoeih eew ontdnisa susl» ? iedmksqrees{S heaisxs oisw yedd isditedu of es .“ayod® ent amg iy — aesy: .sx05 eas oF Andberosod aiotans deizg tou oh dvod su@ ase: dowd eesniezst odd yino .s9dtem YIBROsENO 5S BBN Qnidateg 4 -svobnin exsie sone tieati sot souboug of 1000 ood ySeuoivers _ ~ertiae eniames sem Savoy edd suimsxe Qt een sunoo edt azer90d¥ my | Shut) | oy eamoede ogi ‘* 8 B1sey ot noewtsd awoad esau baidareg easis eroteiedd JedT et: dguedt nove ,zokeeusq. too1g aaeds yo wxeda af OOO! bas 008 VISHeTg Head tom evsd obs todd Io sevioened#jegnidaisg aeeld “tinebayds evom emooesd sehseasq Joo1g e6¢ COOL seey sds todta upsenant ead To» ytéusdo edd nf enobasw ens bsebnt eosdreq isoqe itn of 0001 asey edd suods omid ods mogd teh aunceagsA betel: . .eidd Yo saedtat odd: dordu ie ntuad ows bovtesetq: need ovis eved exsedT mjoneb ons -dni¢ated, sesld bas atoloo agsib sii .eeais to mea ef eno-bns estsbh tuodtiw eloseausietag sxe exoed dio pB1eH”) cet .exood ond caeds Yo. reblo ed? .cyudoetnos. of Yo ereloaoe eT *-eus80? edt to edtA" bas exoiod et no dood + ea lalate eis otdw to .edsaq eotat 4 a 4 sth ; , iy D4 Li : 104 before the heavenly hosts. We rightfully pray to God for thee, who hast elevated our place with such veneration, as is neith- er known to us from the times of our forefathers, nor might we ourselves hope to see. The windows of our church havie so far been closed with old cloths. In thy fortunate ase has first the sgolden-baired sun shone upon the pavement of our basilica through the colored Sieam of paintings, and the most varied joys penetrated the hearts of ail observers, which were alto- sether astounded by the variety of the unaccustomed art work. Therefore as long as men see this place adorned in such wise, in thy name will be written solemn prayers day and night. “And thereby henceforth ail thy relatives will be remembered here, if their names be only written on parchment and sent to us by the messenger. We leave it to thy judsement to test those youns persons, whether they are to be trained for that work, that it may enrich thee in honor and us in works. (Of if I remark, that something is lacking in them, may it be permitted to return them to you for improvement. ‘Greetings!” Tt has been read from this letter, that here at Tesgernsee glass painting was discovered, and that the count was to exam- ine the “boys”, as to whether they were trained sglass painters. But both do not exist therein. Accordins to the text, slass paintings was a customary matter, only the Tesernsee Church was previously too poor to produce for itseif such slass windows. Wherein the count was to examine the youns men remains entire- ly obscure. That therefore glass paintins was known between the’ years’8 800 and 1000 is shown by these proof passages, even thoush feu. Glass paintingsitkhemselves of that age have not been preserved. After the year 1000 the proof passages become more abundant; perhaps indeed the windows °in the chantry of the Cathedral at Augsburg date from the time about the year 1000. We will‘ speak further of this. There have also been preserved two books, in which the makins of glass, the glass colors and glass painting are described. Both books are unfortunately without dates and one is driven to conjecture. ‘The older of these two books is;- “Heraclius’ Book on the Colors and ‘Arts of the Romans.” It consists of th three parts, of which the two first even originated before the ee ee ee ee ee Os a a ee Fe ee eS — = phe sal il oa jes een oF baba bine einnd edd eltds .OOOr te89% Pe ee - »¥tweaso dg BL ons nepote: to setae sTaetid cn tte? 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Bah oo | =zonsereus 10 esese S* pLencd” broduRud’ cece Bee seoy ont aT q ‘potianel eds yd Sovow sit mort elomed: odd SLigd ooddeusd ‘qodeig® ‘oe ar it * biediebs eze1gae end to OW .eetotait08! .ntsotsda) se tsomeed. of memunok 962. -t2 sok ha . QBRT sseuonad LAE 2 18 yehrel® wre 918 siete Io asopia ent baa eowpetd ois geatt tA 3 ( © edd ishdiwe .mosavo tesel edd most trowettib: yleriine ott eetwodtl ef 3D) syasdned as SP eds Yo dedd aon sesel ts et at ofsqisoeat eds of eredtel edd to eg ant of brsge1 Aviu omse puoi dose oT .daiatemes ewoboiw evit Lftse ors orsaT @ 8) abaste\obiw wt Ve.D bus datd .#t 08.8 suods at pa00b ould niet time eauoH: tetasG,qasael .zeco .eto “tye AS ‘a eae BPS SOR 105 year 1000, while the third part appears to have been within t the 138 th century. The seccnd book} “Theophilus, priest. List of Various Arts,” is ascribed to the 12 th century. The proof by the character of the handwriting is however not entirely trustworthy. That the author was a German appears to result from the word “huso” for “hausen”(houses). ‘Ilg 20assumes Theophilus to have been a monk Rosgerus of the Benedictine Monastery of Helmerskansen on the Diemel about 2200, but this entirely lacks all foundation. 90. See Theophilus Presbyter. Schedula diversarum ‘Artium, Rdited by Ilg. Vienna. (1874. 98. Harliest Glass Paintings. As the earliest remaining slass paintings are regarded those in the Cathedral at Augsburg; they are in the southern walls of the Romanesque clearsiory. Since according to all probabil- ity this middle aisle yet belongs to the building of about the year 1000, and the windows appear just as ancient as peculiar, jin any case nowise similar to the later windows, men have en- deavored to concur in the general opinion, that these windows : likewise date from the building period between 994 and 1006. /¢gftvis particularly stated in gga; 91... “The Cathedral of ‘Augsb- ars fell of itself.” Bishop hiutolf, who was then in attend- ance on the empress widow of Otto IIT, S. Adelneid, received t the statement;- “The western wall of thy mother church has falien by divine decree.” “91. See Monumenta @ermaniae historia. ‘Scriptores. Vol. 3. p. 124. In ‘Annales ‘Augustani. Hanover. 1839, In the year 995 these ‘Augsburg Annals 22 state of the same; - “Bishop hiutébajbuilt the temple from the ground by the aid o of the empress ‘Adelheid.” Hote 98. See Monumenta @ermatice historia. Seriptores. Vol. 8. P. 124. Hanover. 18389. At first the figures and the pieces of glass are very large, entirely different from the later custom. Further the clothing is at least not that of the 13 th century. Tt is likewise the same with regard to the age of the letters in the inscriptions. There are still five windows remaining. In each window, which is about’ 8.20 ft. wish and 1.97 ft. wide, stands a single fig- ure, Moses, Jonahy,Daniel, Hosea and Bavid. ‘Blue does not pre- Ser whe | ood emdase at st ong to hae eat ai a8 .sdenimobexg ae wengei end cool sax enchain ceonf .teloiv bus neetk .wol hanneennte as .oiseom tacxwsqensss 2 Io so Lien éastagens217 & to J iabeas: most efssages eeuwait odd sud .akobatw resel es to oi¢er 4 wobaiw assis edd ai seungit hedalosi ss basde bas ebavotbioad Sadia Meelis ni gnfese{qny Jou eww yedd ervolesedt -Beaioege )ffese os binoo eud? yind .ioitedut- ent netash toa ob yond "ali de mo eet0te0 mk besslz need eved ewobnin espesdam 0 8 te etebabe edd: to antamer sid exe sha ak mond oF yo08 To aniblivd es wort honiener eved dotdw .eizs9 tseq ein | odd BE tedqedd .nolvertetnimbA to yoo# ods al .OSIL tuods to | sis Yo asitee bas1y ede of 14” --:awollot es eatiaw msilich winom ‘ $ a8 heonemnoo teri? Jedd mort .swobnéw wom odd to anoivantiot | ~+ @adé of cazels to send eds atin doawsdo eit to dae avesess six 8h fotudo eit Yo gourds end te YeROoH isqioniag eas t0¥v0 | heoegwanesia betsudefes siz yd woled bus svoce hesaisq bed sved Me *.enottven tao1etisbh to atetsam yaso. to = enon yiev: 076 bas benkieob ylinelisoxe sie swobaiw oAT , -—pqensid to sootts aad oven yodt etoLos eiv af es gnktwetb ak % -q8,e0d tof tovechxe to yddxow deo wis odd ,alisw ofseom inet - SROgOIG nso Siidaleq aeeid doftdw .ewobniw beroloo to SOABIBOE a tlomd notte loves “geotk™ end To omis oat ts beyomss oven you? 4 ofgam eft nisgemt Joy foidu .eexod ak bevosqg bas esosig ni as | © sto eseeig Yo eaodiiin of3 astJegod aniol, atsks sad doen fs e368 foifw gnome ,bevisesig need ovea skatad wet & inf seeds Riis -eeeie eiliaeive to efsasq wet s ; ‘ eawobarW eilieniad .ee eae. peail dsefd agin $atdatsq s bootersbsn et silisetsg 44 fk Dtaasth.nenle etiam ais? .eesl2 otinn go seloo 3nitnraeq eeelb | O82 of tedsf owoo of .aeetk wobatw cne1sqenead yo son yiier. peiliseiaz seeds 102 bayowgiosd od? ead isveaibem to anitan * | seembi dosid mind Yto- geiodésd 8 yd beooubosa yiisaene’ ef add 018 eined .2 se -enobuiw cvedds oF relimtes bas eas exti 10 ~ + von tV 1890 sdvotdnegilield to yietesnoM asiowdsald eds Yo eno jf yifenégixe o19N bas teseiolo edt ai hesseent won s4s doidw te hebavoly new adwowiaekiiies .ysose1esio ont at bavot od -tee eno. yi ‘Shdidee ewobsin: eaodt .inie8 ent blogoed yd Geir ae of aypoetin: Aonalan: bets lost: eticg avin elliseiak af noidst 8 beebal eo ast Retina nnnt entails {fs ebsdiot ensiovsrarQ ' i 106 predominate, as in the end of the 12 th century, but red; yel- low, green and violet. These windows make less the impression of a transparent wall or of a transparent mosaic, as character- istic of the later windows, but the fisures separate from their backgrounds and stand as isolated figures in the clear window openings. Therefore they are not unpleasing in effect; but t — they do not darken the-interior. Only thus could the small Ro- manesaue windows have been glazed in colors. Next to them in age are the remains of the windows at. a. De- nis near Paris, which have remained from the building of Suger of about 1140. In the Book of ‘Administration, Chapter 34, the monk William writes as follows:-- “Aliso the grand series of ali- ternations of the new windows, from that first conmenced at t the eastern end of the church with the tree of Jesse to that over the principal doorway at the entrance of the church, we have had painted above and below by the celebrated artist hands of many masters of different nations.” The windows are excellently designed and are very masterly in drawing as in the colors, they have the effect of transpa- rent mosaic walls, the aim most worthy of endeavor for the ap- pearance of colored windows, which glass painting can propose. They were removed at the time of the “great” revolution, brok- en in pieces and packed in boxes, which yet retain the nagic wand, that again joins together the millions of pieces of glass. But a few things have been preserved, among which are a few panels of srisaiile glass. 99. Grisailie Windows. By srisaille is understood a painting with black lines, the glass painting color on white glass. This white glass is nat- urally not our transparent window glass. We come later to the making of mediaeval glass. The background for these grisailles is generally produced by a hathcing of thin black Lines. Of Like age and similar to these windows at S. Denis are th- ose of the Cistercian Monastery of Heiligenkreutz near Vienna, which are now inserted in the cloister and were originally to be found in the clearstory. Heiligenkreutz was founded ‘in 1135 by Leopold the Saint. These windows exhibit only ornamen- tation in srisaille with ouite isolated colored pieces? the C Cistercians forbade all representations of figures. Indeed a ee ae a ee LS Pee ae = VTE ve akon ee EE a a ELE a ee ee ee ne ee eS a og Alt i Stil aa td endl , A. | | fi a ae VOL | xy no ‘binode ewohatw ont sand .S82f ai bestosh sexgedo Leteded o¢\ ¢ $3 .epi® .edniseteq bus ered seoro svontiw .evidw od a tel mort ewobaiw euedta 30 engtzeh {uttdused seom ext sonboxqes : ae at ” a ae ee epdoomlaeged : .ot® Sidtndachiass sie Seb .$230 most? .8@ stot dhiadJeatineuct dd GL bas SI sax Yo gni¢ntesd aesiP .00fL © | 8 basignd ot gnintenes abnidaisg eusle Jeeiluse edt eqeda09 » most eteb besbai doid« .yisdisins? Yo ticks eis ni egods sis Fe -) BBIivsetta evds .ecee to matLLil .soesidois edz to emit ots. | ‘Sevseaerq exe yasdace dy St eds Yo dae ons nott .vcassH at | 28 ) BIvON ot eelqnsxe Ivtitosed buvot 918 aud? .yusdneo as St —aei9 te IstbedtsO odt ak .emiedh te kwoh 12 ot .etyed ts one@ _ -S8emq foidw .assived ss Isibedisp sis ait yilekoeaze sud .eenxd Vonpunanees inttonsed vaom ess Io eetote eldiveusdxenk siivp ada i, « .teee8 won) sods as .sf bavois eaeq sods us .sagid ond danteds | e908t odd tiod .acelk to ebaid iis nexh vodt dliw eetw eins at | . tevetedw to .ashtod edd .geek .abasd .Raidvoio edd. es {low es tie Yo. 2 veo eetofea elqqs od. deesieeb yous | -easld edd anidsuD oO .82 asdqedd =baela. e1sdnyieve efitsas .fod ceti auidstuo 8 sism soavexsd'? bao teserds odd Je ewole ti ned dae odd da aetotad Jud .x9 Fae: omega ods fas .guo siiw soit tent .2ealk odd no ti biod Riceais st8eggs noos iitw decid sad artice dtiw vow ah: pai neat .busd yvev ed sealh sas ti auG 1 it sted cavoids edosio. tt aedW .novk edd deobiod vods sxedw + a sae: end one notipeds d¢iv teddws) eesq mens .er obivib sliw | ‘= -'~'08 esd ,o99 of ote eftaq: (is tedte ge8 .absooord i a a i teersgetq vous mafeen .2eaie oat ere sons dotdu “ . ie Hine thi Kap ah ves keer «tennsa aniwoifot oud i bata? en | ‘oa> Pac ‘ae fais qebae dvod se beviwo at bas guol sébsesdbasd as' ei doidw’ s@0eiq et rot dose .sf3 modt ovsm baa etdd aviw adseq {fe ssi syttiw 10109 es Siat .Jedvesod bisl ow nesd sved yond aséts 109 the game on a table with ruler and dividers by means of lead or tin. ‘And when thou wilt have a border thereon, then draw it in width around, as thou desirest, and of the form that th- ou wilt. On this draw the figures as thou wilt, first with 4 lead or tin, then with red or black color, while thou makest all lines most carefully, since when thou paintest the slass, thou must apply the shades and lights as on the table. Then work out the various garments, indicate each color in its place, and on everything else, that thou wilt paint, markecolors by one letter. Thereupon take a leaden vessel and cast rubbed chalk and water into the same. Make thyseif two or three bru- shes of hair, especially from the tail of the “marder”, of the “grisius”, of the unicorn, of the cat, or of the mane of the ass. Then take a piece of glass of any kind, that must be lar- ger in each direction than the place on which it shall be laid, hold it then on the area of that space, and so that thoneseest the Line on the table through the slass, then draw with the c chalk on the slass according te the external outline, but only this. When the Sliass is too dark, so that thou canst not see the bine through it, then take white glass, draw on it, and when it is dry, lay the dark glass over the white, raise it up 4 against the light, and thus pass around it, as thou new seest. Tn this wise wilt thou draw all kinds of glass, both the faces as well as the clothing, hands, feet, the border, or wherever thou desirest to apply colors. Chapter 18. On Cutting the Glass. Thereupon make a cutting iron hot, that is everywhere dik er, but thicker at the end. When it glows at the thicker end, hold ‘it on the glass, that thou wilt cut, and the beginning of the break will soon appear. But if the glass be very hard, then make it wet with saliva, where thou holdest the iron. When it cracks through where thou wilt divide it, then pass further with the iron and the cut p - proceeds. But after all parts are so cut, take an - - - iron, iy2which isan handbreadth long and is curved at both ends; equai- ige all parts with this and make them fit, each for its place. ‘After they have been so laid together, take the color, with which thou shouldst paint the glass, which thou preparest in the followins manner. oe ae ay ee ee ee ee a roe ha @. a ) sbosats fia EF: St eeiisutalessas beni setqend efbsi nor elsif » at tit asd yxeqaoe notsed atds oxs9 ned? lg “eeu i baitay tiade mods Hokie ,etifiqase asioes) to bas eesis om oe | ‘ ; = ; : x4 ‘ eh ot a Ni le i) , oe We ‘ i) @ 5 ay AS ' (lee i 4 P| OM 114 Fnen take off the thread, moisten it again with color and fix it on the other marks, lay the other piece of wood thereon and prees thereon. When the color thus appears on both parts, then cut out for the lead with the knife as wide and deep as thou wilt have it, yet so that the hole does not extend to the end, but with an opening at the top, where the pouring is done. The- reupon bind the wood strips together by winding a thong around them from bottom to top, and holding the wood, pour the lead therein. Then thou loosest the thong and takest out the lead. fhen thou bindest and castest so long as until the burning co- mes to the end of the hole. Then canst thou afterwards easily cast as often and as much as thou wilt. When the leads appear to be sufficient, then thou cuttest a piece of wood, two fing- ers broad and as thick as the iead is wide inside. Divide this ‘in the middle so that it -is whole on one side and on the other ‘is cut in, where the lead is laid in. When this is laid in, trim with the knife on both sides, straighten it, and scer- ape it off, as it appears (best) to thee. Chapter 27. On the assembling and setting of the Window. After all this has occurred, take pure tin and mix therewith the fifth part of lead, and cast in the aforesaid “iron or wood as many bars, as thou wilt, with which thou shalt fasten thy work. ‘Also have ready forty nails of the length of one finger, shat are thin and round at one end, souare at the other end and curved, so that a hole appears in the middle. Thereupon take the painted and burned glass and lay it in the proper arrange- ment on the other part of the table, where there is no drawins. Then take the bead of a fisure and enclose it with lead. hay it-cin°its place carefully and drive three nails around it with the hammer, which is suitable for such a purpose. Join there- to the breast, the arms, and the remaining clothing. ‘And what- ever part thou ever fixest, secure it outside by nails, so that ‘it may not be displaced. Then have a fastening ‘iron, that is long and thin, but thick and round at the end. This round end ‘is drawn out to a point, filed and then covwred with tin. ‘fhen 4% is placed in the fire. Meanwhile take the tin bars, that thou hast cast, and well wax on both their sides and carry it over the lead on the surface, where it ‘is to be joined. Then take the hot iron, place the tin where two pieces of lead come f i oy a ; ty hd My Os eal id ‘ de ; A ¥ oa 218: neds besuoee aad 958 eemwRtt ond ooaW .redsex00 venapend sedd a6 ,10f00 dose 101 asosqe odd yenasD Smee ond Tpeatevte tu2 .edteq mi wobaiw eds s8eitex0s seestuq vos aund pareeree: wodt aedé ,ebie sno'no bereblos bas etefawoo ef woburw \etenasm omée edd ai exeduyieve tk measet fas tobioe o¢ 1ev0 at el a0) boost e186 fotiw ,eenode asotoerg end nO .BS aetqsdd Sealer +H -ee6le bedaisa said “pea ttood TO s9BeOT9 MO snvohake %o ebniiaiag edd go Yi dud eosig thin pois ,eseig besaisq eft so 4nidsolio to astaeass10>n0 _elgmsxet0%. .2bsei duodsiw bas er0loo reside to asnove exoioesg Bodd-yodH .ewollot es daob nodt aeat .eblesews bas sdtntosyd. J saottetneeesqen eas 0 yfomex ,sovetq tieds ni eozeoio Jsodse aBendolo ois no woled Rinemsate sid 16 ,xood edd 40 .ednise To 81s neds .goisq blog 10 blob io sbss yatdateq oft ak eas teas is a teed voit sont .ewobniw of eesiz wodisy iselo to ebaw yous | edd entmseteb aeds .d58 e‘ddimebloy edd os Anshaooos »bodatec saeelo Yo avid edaf seenots odd bda iin odd, oyedw esosia | bas; otters: asosiq edo es yoss ss .aidaiosyd to mick ai evida is bisteme ne seis eee noqueseds bas ,eeeie seo1s to abisiens gd deen s0l00 Asidé modt bowors wsexb ,eeosia aisds ni oesad joeeesla to asoeiq ows noawsed taut Snieson dead o8 tod ,deurd ere <85%6q Ienso ols Avin SOMuaet odd ak weds oxud nen? apie 4 fat ab *, ito Lisi sevea {fiw yeds sands ,sredbe oe Elin | reed - bebsoeig edd sew ewobsiw bedateg edy to autism oak 8 eibbia ois ni eidad nehoow & ae en0b caw sidT .medd antag pibbim ods ni dads .Yootg wea A .eulidgogal oF anibiosos 20% dd Sni¢geoxs, .ysbos as obese od denm enpiesh boos es Jaut seks «yeas eideirsmet se ml .kaidosl o1ow elionsq, bast bas s9gaq | betavooos een anténieq conte yidsdo1d .ebsm ed seom aaniwesh {estem shaxt & sk yxeisa00 Sat nO GOLsONTeENOD Roibliod .“ta6” MORSE 10 nORsMEMoTs ,I9THEGISO sOdsotm .“IedeaR” YIOVe HoinN Rn. «) @69Df 398 bas sghelwoax sev0ee Yo sgsem yd betourdenoo + Sas ,waab dom bivoo “atetasm? egsat, .eevioewens sot Some eBRakwath dpoddin edatbitad edd sos - " ’ 4 ty ak ty 4 et, ACHEE Laine sees (ae Mel ane ca asin odoure tne \apatoner: ; bextt Ilew dest sodd nedW® .adsniosys ows nested ebnate evew — tedt ,etudoedidows at ee gaidaisg easiy af betdvod gon ab tr — sibbtm ods ai oicivvoq need eved yifsyudse geum ti > ons nad) este Liu3 al pengieed oon ewobniw. odg mony adh a "\ hie | i: 115 together, and stroke with the iron so long until they adhere together. When the figures are thus secured, then arrange in the same manner the spaces for each color, as thou wilt. ‘And thus thou puttest together the window in parts. But when the window is complete and soldered on one side, then thou turnest it over to solder and fasten it everywhere in the same manner. Chapter 28. On the precious stones, which are placed on t the painted sliass. But if on the paintings of windows, on crosses or books, or on ornaments of clothing on the painted slass, thou wilt place precious stones of other colors and without leads, for example hyacinths and emeralds, then thou dost as follows. Whey thou makest crosses in their places, namely on the representations of saints, or the book, or the ornaments below on the clothes, that are in the painting made of gold or gold paint, then are they made of clear yellow glass in windows. When thou hast p painted according to the goldsmith’s art, then determine the places where thou wilt add the stones. Take bits of clear sap- phire in form of hyacinths, as many as the places require, and emeralds of green glass, and thereupon see that an emerald al- ways stands between two hyacinths. When thou hast well fixed these in their places, draw around them thick color with the brush, but so that nothing runs between two pieces of siass. Tren burn them in the furnace with the other parts, ong they will so adhere, that they will never fall off.” The making of the painted windows was thus preceded by des- isning them. This was done on a wooden table in the middle a- ges, according to Theophilus. ‘A new proof, that in the middle ages just as sood designs must be made as today, excepting that paper and lead pencils were lackins. In a remarkabi¢e manner, itis not Goubted in glass paintins as in architecture, that drawings must be made. Probably since painting was accounted “art”, building construction on the contrary is a trade matter, which every “master”, whether carpenter, stonemason or mason’,, constructed by means of secret knowledge and art ideas ,actins for themselves. These Tmasters” could not draw, and therefore ‘it must naturally have been possible in the middle ages to er- 1S] ect the buildings without drawings. When the windows were designed in full size, then the colors betosde: sends a sid bas Wikeratiens ten omg: fon; blyoo yisneisaas sem .ecorenemth ni botimns o bertupen qitetio, s19n atuemteh eit ao: vebiced spotela snore ehntaofoe etid evotaomien to eagle to wsoota Lise femtct sites afisg betoloo yltusistiib edt to senifsuo ont iP sassik to seoeig etsuscer oad tedtevos bien dobdn .ebsel } moivtoqorg. ei figid ylovitetss soke eibbim sav ni otew ebsel + ,oaeiq edt atin Sedeinct eisw yods .2bsef tell snene1q sas i a ton eae sesia: Iayesibes etid sonkg. .awevh won 91s vert olf $ Yo eeeatoris wssetg Biss ends ,os9bem oad nets neyens stom “eeats eg: to sesnhevens teiset2 eid? .ytacecosn. aaw abseil ods -enoasea teido ore ehsef edd 3o eannxioray elderebrenos ott brs dg oat eawobdiw blo eds to sousxssaas istitused sxom odd sot a b bus aenctea auncoetiye ime of eedanbxetqgs visesa stom 228 ti : ,eetela snodea sasusqansw Pe ¥ by | 88619 bexoieg ..S0r.. pleienasess @ nowt bevesade now .esidtdze esela: beroles eat bas t0Los Yo dvgeb edd o¢ brisket nt oonetseqqgs duesettibh yisv 7 Sasa onG-ol-teiloi¥ .evoloo aniniotbs sav so noitakber ead Yo . eis tot cidd of nokdnedss beliso esd yaw yluevesm Lenen eid ast atvexoioo Lis ésdt oa. es of glass in the 18 th century were men satisfied with the ‘simpler lines, which were the order of the day in Germany. V Viollet-le-Duc gives excellent heads from the 12 th century, ‘indeed as they are actually painted, and likewise as they app- ear when seen from below. Figs. 270 and a71, 100 are from the grand northern rose wind- ow of Notre Dame at Paris of about 1280; Figs. 272 and 27g 400 are from S. Remi at Rheims, indeed probably from the choir th- ere. Phe leads entirely disappear by the effect of the light and theibroad shadow areas become misty and translucent. ‘It therefore requires great experience, how everything must be ex- aggerated in design, in order to produce the intended effect afterwards. Viollet-le-Duc illustrates this very ‘instructive- ly by two heads. (Piss. 274 to 276 101). ‘A head represented with particular care from the 12 th century is given by Violl- et-le-Duc in Fig. 277 102 * the hair is here separated by light strokes scraped out with the hand@le of the brush. ‘Bis. 278 102 is from the Cathedral of Bourges and reproduces the head of J e eee Saati [2 a . eae el A Re ag i 9 ae oan oat jue ani iad oe ’ - Th. a, | ‘, ~.t ‘ i a a x A . " 4 ‘ if it ' > ". her: we tdo iy; 5 a) ® Fa ey * AM x ie ‘Y 4 wit vi $i ti ¥] ihe ee ty; : oa is ta fe a? se 7 i pars ¥ 7 ; Pr ty Pi yt i. A i nw Foe Bs »* j a é ae ee ad ee iss Mees ete rere ar eet | ia ; 2 spuoda a vent bebans yixeqorq & osat eloiw oud eeubdue ti C4 i: ow 0 ees eemkt ak bespeszetqat ylno et cost ¥ s, ise nos % RED) URE BER Le’ 0! LO) voud~ei-setlory’ 00% esol be gen 08) .q suns BAT TOT stot I a oon yRLD) Bb LATE 4g) Lemee oft 80% atot $8 ens to! 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Vs pee 1 aa te mn ole abies sc oaaabih apaaiedl wees: etd ss son. ere: on wiatiiteuat , # Sainesb bessieggexe odd Lis bus wins vieve stigezol to gai /gnteesq siptd oA? pocastaib & ta s0eTts tot bobnedat Ifs ome doadw: °°! gag of a8e 22314 at-ewobaiw ond eusiT) spots swobsiw edz ceded etebrod fexseins atedt eonte .atisend mort — stkono Ssnigiczo aig mowt emso ewobniw saois sade bomsees ef Ti i caitene soit mf semmo0D Jon .estuuolone seodd edudiadis — _ {awobaiv notdiaasis ewok to agarneyo snose oad To esqsHe edd \%\ cevebiod begsamins egedt wos osatsenili (O08 astta) mre so + etsvele yous ~batd yseve to eovnyit sot sshi0d yqqed-yrev 6 {\' asameloo yd esaseolons ssitovst tetsl ead eioted beosla 120 Jacob from Fis. 279 102 | as his sons bring him the bloody cloth- ing of Joseph: every line and all the exasserated drawing are intended for effect at a distance, The light passing through it subdues the whole inte a properly shaded face, although this face is only represented ‘in lines. Note 100. Viollet-le-Duc. Vol. 9. p. 419, 421, 422. Note 101. Phe same. pb. 426. Note 102. The same. p. 415, 416, 412. Similar early glass paintings from the beginning of the 13 th century and shown in Piss. 280 and 281 103 | which represent the flight into Egypt (fhe ground is blue, the border red and the panels are white; diameter 2.07 ft%.j. Here likewise belongs Fis. 283 103. also Fis. 282 103 | that shows S. Mauritius ‘in ar- mor; they are to be found in the Germanic Museum ‘in Nuremberg and came from the collection of Gount G8tzendorf-Grabowski at Posen. The same further conteains other masterworks of that pe- riod. Thus the windows in Figs. 284 to 288 198, whieh are all from Austria, since their animated borders recall the windows in the choir at Heilisenkreutz near Vienna.(Fiss. 289, 290); it is assumed that these windows came from the original choir. In regard to the curved outlines, one is at first inclined to attribute these enclosures, not common in other countries, to /9/the shapes of the stone openings of some transition windows; but the windows in Figs. 291 and 292 103 | that are also to be found in the Germanic #useum and date from a somewhat Later /9ibime (after 1300), illustrate how these animated borders encr- coach on the white band; the windows were thus set in openings enclosed by straight lines. The windows in the choir at’ Heili- sgenkreutz may therefore well have been executed at the time of the dedication of the new choir (1295). These enclosures are /)3 a very happy border for fisures of every kind; they elevate t these materially and contribute quite strongly to the clearness of the representations, they are by far to be preferred and p placed before the later favorite enclosures by columnar archi- tecture and canopies. From Heilisenkreutz came also the two surface pabterns in Figs. 293 and 294. Here aiso belongs Fis. 295 103 | apparently from Altenburg near Cologne. . Yote 108. From Essenwein’s drawings. Beautiful examples of canopy architecture are presented by : 2 oats stor atid ee + Ma Pe ee ee ee ee Oe a ee ce 5 Sat RATED Che Pe TY EE EP A ee, ee ee Te a be ana ™ ote nee Sa hae ae Pee i Cees iis Ee ae Hae yee ont: Yo Lf wong moat ot aes aes faxbeasall enpol00, th ie ' Heatas! iad hich oes Wd ry ee ‘a ed geste $0: ots0 bagoleveb ods: Yc robaiw Leeeoloo 8, sous. won 1 & 79384@ dasosibs odd yd awone ef olody 8 28 Betsqn00 ham .onz0f0% vs Iatbeddaa ond to oleis olbbia ets mort 008 ab eins ~.3% ST.8 ef enotiiom onode sas neended datbhin — a” ) one siem sonnmso on .ebsei ni soe sete anal, & 40% nage & A ab meas oes a0: 900 If ST Otan0e B.OL reds sepisl asot . é “pas Jeiast yous vady .Josi edd tnivoelgen ,modd Jeg bus. 0) 7a18d govt yd bebivibdss ed stolevedt gaum asoiu asefo ea? aercnts s#T 08.8 oF NG.E ;oo0itTiva sven ofan aotaivid dose ena 9odt ut aobst yitoortd ai dotdw, .exta teqetq 8 ai avbin. - gn0te odd asented sonssaibh 1a9f0 odd Qolt.agatblind asaisd sass ow §niws1) odd nt ated ond of Sefaosga besbut a9 = .adod i nout: Ietnozized ed? .sfbdia o47 ak ewoo SdQtm guvRtt odt 3 ous wasoelg stedé? af anoiilum odd biod tadv ,aiad mote .sdt ) tedéaut ats awobatw aaslk sacds agit iiaags: .«fT B.S teed hel aie » se4ed baiw edd .2iad Quvor afdt borsaloe ows yd bona i ‘1000s hegdsiis e168 e3sd wiova adit .gisosat t9qaqu ent al. pavers x e@t0T ath ot »£ adit ylao Seite tuaosiba sdt esa) slate saxolod gat aol "i “$eataouso dot bas aeusgi® yd Sefquooo at wobatw edt to tasq 7 we beebat .olitsaiss to oOntd s nt odsoa al disa 194aqu odd, fos qitdgisd sxe gos0t bas adasd boosltedni .sbiss ataites yy) .totvay etinktar yd boduivpattard exe aniedseg egeds | -bedaiog aeot. edt ylno. pot SOR «2i4 af wobuiw tiedo sad al bets edt ,eeld exes modt yd Seeofons slogio sds baa avtiows dead abso! eit yino teadd oa .sdidw at seer odd 2604 9128 auago ee ae istiisg sit saab iy sash mo visa .2 Yo dowsdS afi meal gidadoss OT etot, ae riba im : .(asdosd sansa) i 1 iaivaneh s*njoutese’ most .8Ot eto Pio) Oho code aodeesiamon-lowines seb LSSTh most = .8OL eto% nal " oe) obo th ud gatwatd a mod 80 eto%. pra. R35 40698 most =. BOL es 0% whe inate: mise ulin £0! gag -bf% ak wobaiw tiodo eat ~ Ds t ageuo edt bas .woilsy batolos agntoslisial ody vlao i aro —sedtaw ab axetiag dott add to taox add hot 214 "oil ; sh Padded qoaxe motolan, ec neti ag 39 ae MP. hi Ria eae i 8, fe ret sm . 7 che , oy certain bands, interlaced bands and roses are brightly colored; Le ae 2s ae 221 Cologne Gathedral; Fig. 296 is from the wall of the northern transept. _ : How such a colossal window of the developed Gothic cathedral compares as a whole is shown by the adjacent plate; a window from the middle aisle of the ~athedral at Cologne. The clear width between the stone mullions is 3.77 ft.; this is too great &@ span for a glass area set in leads. One cannot make such a- G reas larger thay 10.76 square ft., if one can take them in hand and set them, neslectins the fact, that they resist the wind. 4 The clear width must therefore be subdivided by iron bars; one soch division would have sufficed; 1.97 to 2.80 ft. ain clear width is @ proper size, which is directly teen in the later German buildings.for the clear distance between the stone mull- ions. Men indeed resorted to two pars in the drawing, so that the figure might come in the widdle. The horizontal iron bers, the storm bers, that hold the mnullions ‘in their places, are a- bout 2.95 ft. apart; then these glass windows are further stif- fened by two scldered thin round bars, the wind bars. In the upper tracery, the storm bers are arranged according to ‘its form. Tn the Cologne aisle (see the adjacent plate) only the lower part of the window is occupied by figures and rich canopies? the upper part is made in a kind of grisaille, indeed so that these patterns are distinguished by infinite variety. In the choir window in Fis. 298 10E | chly the four pointed arches and the circle enclosed by them are blue, the inserted cusps are red; the rest is white, so that only the leads pro- Guce the pattern. i Hote 104. Probably from the Church of S. Maria am Wasen ¢ (near heoben). Note 105. From Essenwein’s drawing. Note 106, From Mitt. der central-commission ete. ‘Note 107. From a drawing by Kiein. Note 108. From Sehmitz. Tae choir window in Fis. 299 10€ exhibits in a similar way only the interlacings colored yellow, and the cusps ‘inserted bherein are red; the rest of the rich pattern is white. Fis. 300 108 -is Similarly colored, exeeptcthat the inserted cusps i 4 | gor eee et, 108 apts) nobaiw tton9 deiwol.A but behold nothing of the beauty of design of the tracery, nor the clustered pier between with its graceful capitals. Bub at that time, artists at least were entrusted with the problems for the House of God; in spite of the then quite defective gi- ass and the lacking study of mediaeval procedures, these wind- OWS are true masterpieces, just as charming by the sgace and perfection of their drawing as by the excellent choice of the- ir harmonious colors. But how opposed, on the contrary, is the effect of nearly all modern windows with the dingy and in- harmonious colors, the misdrawn figures of saints and their stupid faces, which the masters of the prevailing trade sell ee el a | | ) oe iy yes casa Paneer pa aioaee oat ot oe if of se99 yI9v eom0e dotdw ,besbsi aasiy oaem nom ysboT tied oft fas ,abutd ond e715 otedt tud jpegs albbia edt to edd ek fstresam toiueini es? .aee0 woblea et ono fh iandiero roxess bas a6pego iedise1 at dotiw ,eesly feadaddeo y usd t2qs99 ¢199 19q OS ot Oh ab t: toy :yoastl liad ais abies ‘uldsteteng at @f audt bas .a2asls oupitas sasusqauetd sivod assis ovotens bas isvbenies tf .gortitaqaoo brbioe at sot edt Saatieinls sige beet Tonrse 3do node .4908q Hedaya wo Ae Oe o2e8hg oupidgas edd davoids givasinevace dud (19. “#3 esusl2 wo bas easel to sbuih wel 80% Loh. 8 bexwwoog ytotaso dz SI ods to Raraniged ods asthe ‘fo bas asaesly wou. to rvrisvonelb eds mout anzdntsa asels — Rok .dqeore patiaties dey SL bas df SI edt al. .atoies yntdateg ‘betieom asw.tievati bor odT .bs10l00 tise esw sasfe odd bes ~ vmbda, how od¢ twatal qaaemiotds Laups to eesia oacow ag igsety wolley edt to word tom bth aow calwedid .otasd ylouvwxe sow ‘easlgswolloy trorsaenstt widt ;avice sevite ya beouborg ,easla . 2° gage eat totiton yinissieo ,s8asdo extiae as bonys0 i teas etisati Rabsateg sael> oad » bs nom ibhads dz §f oid Yo Yled Sexukt edt moak yosoria 3 n yodd tedv of ,2odo1sdo dt oft tdant stom soubotg of betquet ‘s8Ju9297q01 batofoo dviw agot sat ot avobutw ead balirt a9gaol 7 bollit tod .89ts ofbbim sag to t18q ss40f edd yiao tad ,anotd oat no afdd ose satwodil ow .oilieeitk ddiw wsbateast sat ail ceetesa ‘as AP edt gort [exbeddsd augolod to awobnin ov edge atid ddiw moaktsquoe ai derseqge aaiaoloo avoteagd ona st eneer adv tol aeaod tetdagri tdkvoa nom ,olifacire ‘Vie oe -200kds gat sayei os eibaskat 9ten sdofieaq seeds t8ut .sto@tsisa78. 9 sesnT o¢ai ewobakw gid Yo 1iworg odF yd HPosd ano wo bavouy | Seomla exteiq gattroqgue sit dotaw asented soa tras Iseaok f 9785 teat jewobatw azols [easoloo .hberssqysatd. yievit fied aaentasd atesfem aco to soosiise seely eat yo dolisaos 1619 axem OF YOR YISVS al CGLts dom Teds basa Todde sat GO-%y-/ | nate a272qq98 em doidn due seatios® wom bed dose suatateg’ pif bas ase18 nen peeree rasa sas sis aw sort sqeces ton, oe a ee a . .°. ) .88aO7 | tor 6 iy es chiral ei arimun to sean we aa ase ae ‘aR Ba hs dull ee Bie te wis be ati RRL ‘wih fa ler Nye ier ye. . : LP att ane hs ‘ ee . i) 124 to the clergy for heavy money. Today men make glass indeed, which comes very near to that of the middle ases} but there are two kinds, and the better one is seldom used. The inferior material is the so-celled cathedral glass, which is rather opaque and therefore has lit- tle brilliancy; yet it is 40 to 20 per cent cheaper thar the . transparent antioue glass, and thus it is preferably employed ain sordid competition. If cathedral and antique glass be laid on printed paper, then one cannot read print through the form- er, but conveniently through the antique glass. AGT 108. New Kinds of Glass and New Glass. | With the beginning of the 18 th century occurred a change “in Slass painting from the discover of new glasses and of new painting colors. In the 12 th and 18 th centuries, except for red, the glass wes self colored. The red itself was melted on sreenish white slass of eaual thickness; later the red skin was extremely thine Likewise men did not know of the yellow glass, produced by silver salts; this transparent yellow glass caused an entire change, certainly not for the advantage of the glass painting itself. ‘Already from the first half of the 18 th century, men had at- tempted to produce more light in the churches, so that they no longer filled the windows to the tops with colored representa- tions, but only the lower part of the middle area, but filled the remainder with srisaille. We likewise see this on the na- vé windows of Cologne Cathedral frog the 14 th century. Since the luscious coloring appeared in comparison with this light Sriseille, men sought lighter tones for the colored represent- ations. Purthermore, that these periods were friendly to light is p proved on one hand by the growth of the windows into these co- lossal surfaces, between which the supporting piers almost en- tirely disappeared, colossal glass windows, that ere scarcely equalied by the glass surfaces of ovr modern buBiness buildings; Hae the other band, that men tried “in every way to make glass » painting, which had now declined and which men apparently could not escape from, lighter by the great grisaille areas and ligh- ter tones. That men regarded the lightness of churches as an advantage, ees i Tae Rue an | 0! 8 alack: sera at Ea heliiiea ‘ab n9Vv4 Avene oder 58 ‘ ean ¢ are) ‘gn0799 3s s?oatsilots to @oastetgoo edz : Bo seta 3 estas avin tlind 3d oluoda torsdo oid to aveq adv 43 to okson rhs od¢ ag botste qleaoxqxe wedt to ows asdd .su0 sud sgt ebea od ydetedd Oluow dotde odd teas oaks $lgaie ads ie to totgiuoe oefs .tetesa ,r9¥tvosaes2 .¢o089 aviaotad® $ to arom eit to tevaem bas ,saolso1sa to ytio a4¢ to sutsta we) W sospes dupa ai ab eabotsok .ssbumted moet a82 .@OE er0k eo3 .yaaod omteliiad .dorwcds gts to Frossidors sdt bad Eb biatvs bas [ytktused ot0oa si Satisw .sdacL Fa974 bas awob dossd #8 yan [evesibem 19q07q adt ai b99007q bluown ano aud? q 919W atasmsig9ado wobaitw mreboe ads tt ,8xsd{sadooW bas rf Aes efOIgd9 sdv oc Oodtimbea sdew tdoil bas be gxo1qqs yllsuattnoo ersinisy 2esla ,ywwease dz Abt edgy of gatenteg sgosgo yd ylao baatséts noitwosxe adt o¢ t9%G5R bs e To swobatw basatsg edt of beiiqqs ylao at taow Js dobdw bus ‘@ved yen agatifewh to awobatw batuisg odd wor¥ .su00m yatvil - b9a890 vilsudst2 agatbitud dowd -348 afd? bagoleved aesd FO .gatdateqg aaelg to amoldo1y T9%8912 dv savdd dtiw bas ont og bsd aeaaelo teqgs siz to ytitagaoxzg oft ,eaeitags : ) aod? 958% wom 349W a2si4 Osiaslt to abatd dberusvy feom dP suid Sas wolloy yd aser8 .suid eslg ao bes yd taloiv batsaiyt hi ed ¢Sa e¥atdasit vedvo sat 10 3a0 Tlo Qukbatia x2 .eredw go ditiw dedateq eatweoiii aeM .asootte [etosqa bas wa deogb0sq \ ¢ aouboi bigow oda dait ,iso19 odd tobusxelé dviw berszew fied notvibaoo 8 dove ai asa aain beteutetar od¢ Shor ylie . soaea aisasa odd oft agaoled vSse1ls gatentey atat .antd ons it od -yautaso ds SI sav Yo gatantgead sds sort aetsb bas AY " = ; ant ae! f af - : ’ Oe Ly : he ; : ' 7 ¥ > . : a 4 : a ce Lh rw AM RS heat 8 fe irik vy “4 4 % \ } ° is a | EeAstonsete ed bluow dotoio odt* 29! ~~: 6:02 feyrd toyesa ode mao ““.te¢dgcl dove soabraqaoo BL .bishoy -pse 36 188 .q .t .i07 .ansasi ob ous oad tunth 4 807% 9d blwow stedy .siaia sao dfin beyatiaos Sie Tk bad*® gedt ede iiemias guibit 8 38 evtee of Isdqozolidg evoust | St sgatdnisg aasl3 at aoold buoose 8 ovissqas oats mm St0soes dots yio mf Frogqgce wea Onwot Yattatsy aasig Isat ~ 8 soo 492699 Ofezom easig odd audd yosidw x0 atoloo fomsae fiw ,usoau4 otaemred ods wort Yeid edd xd awode at yutdaieg’ °h “1h bossuts tat odv-to yrota [avestben animasdo odd ataoaatqos (nt Batstem Latitueed sfv -:(9¢5lq tagostbs add ave) eltorer bal 125 even in sunny Spain, is also proved by the documents. When the conference of architects at Cerone (1417) was asked, “wheth- = tr the nave of the church should be built with three aisles or but one, then two of them expressly stated as the advantage of the single aisle, that the church would thereby be made lighter. “Antonius Ganet, stonecutter, master, elso sculptar of the “a stetve of the city of Barcelona, and master of the works of t the seeyot Urgel, said:-- 102 “the church would be without | comparison much lighter.”” Vote 109. See Gean Bermudez. Noticias de la ‘Arquitectos y frquitectura de Hspana, Vol. 1. p. 261 et 8eq. Madrid. 1829, And the architect of the church, Guillermo Bossy, stated:-' “And if it continued with one aisle, there would be great win- dows and great light, making it more beautiful end notable.” Thus one wwould proceed in the proper mediaeval way at baach and Wechselburg, if the modern window obscurements were remov- ed and light were admitted to the church. Tn the 14 th century, glass painters continually approximat- ed nearer to the execution attained only by opaoue painting, and which at most is only applied to the painted windows of 1 living rooms. From the painted windows of Qwellings may have peen developed this art. Church buildings gradually ceased and with these the greater problems of glass painting. On the contrary, the prosperity of the upper classes hed sc increased, that sless painting found new support in city architecture. — The most varied kinds of flashed glass were now mede. Thos or- isinated viclet by red on plae blue, green by yellow and blue on white. By Srinding off one or the other flashings may be produced new and special effects. Wen likewise painted with 294 enamel colors on whiter thus the gless mosaic ceased. Such @ A0Q’painting is shown by the disk from the Germanic Museum, which- ia) vepresents the charming nediseval story of the infatuated Ar- 06% isteotle (see the adjacent plate);- the beautiful Phyllis had wagered with Alexander the Creat, that she would reduce the famous philosopher to serve as 6 riding animal; she then actu- elly rode the infatuated wise man in such a condition before the king. This painting already belongs te the Renaissance a and dates from the beginning of the 16 th century. About this time appeared a second bloom in glass painting, of which the jal era oo a pains baton: sahdbleaens ts Seabed” aorisesss suit. seas: on aoe ‘eotanes oisne fae if hae hie (cae «Saf f ofa ak the in SP VRS) 9 ta PP EAL Ne ‘ prceee a) eae Ch Ae Ow , ou ae | 4 SBA ye AAR Madi pe ae oe us wie Ma leolie ut hy, f eee paren) a i ae q WAN, a i ies Lest: ee AY odo ; a CS bh) . ty. ut ca pbira 5 a Me yay ee PRT t, es te Poy, wy / wit r igo a > ‘ay ’ it ¢ P se ne "7 ¢ Ae Dy ym " ae ide i a & ey “4h . | => ‘ ’ L ‘4 ; AS nie mi ; m t po f, 5 ‘ ams * ive ye? is ee SJ sh ; d i ‘ cur.” a q ‘f j 7 my ipl ear MAS Tet £4 i’ Oe : 7 ‘om T ; tae 4 5 « Fae Sur » ta ek v4 ¥ i“ ne V4 é Lae) eal a a , ) ; » we ; ‘ $ ioe y ‘ Pt F . } i Aust ‘ a -* te ip) \ +4 bi, . ‘ 1 4 7 f ° : wens . " it hae a te! Sh hemien! eS ianiw 7 area ith a nk ee’. iA ah yA a eee) ati pwd Bind us q ee ce Soe Tr, | ae iNest » ee “M bavi és eanatenaatipttal tray, wes Ache 2 #eee MM bite sh at | OR lary Rie ee A ty vitae | aie wlth il ab ip eo A a Mg oc) ce nes eh GR RR tae sci ie ore RR a WIA has Ona ra | om rae a RR HR oiwdiny Pewee ba. tet ie ee Peele tg, SO lt the we. coches | ca VNR ren Sen, te GER iin esi site lai \ | yg ARRRHARE S01) so Boe oo sy op. | 7 ‘oe . = te ne tga prea t stone: a ‘honriagee : > 2 watt predcs ruler hana eee cr bet eran Ve. iy ah Abe pe ; _ vy * M “ , Xe. I : AV 4 .. j aa Mi ) tom — aa ia Th hie he » Ny Pas, -~ 7 Daa) Mn 1) hee windows of the northern side aisle of Cologne splendid examples} yet we yee soe eB a out Godse vave ov/dbe Shares be ee pee there pe ‘etiey tier, oso seul pie 126 xm Wig Ee. Aw Cee 5 } + hh Pee CES WEW atate? em the \ | ‘ga saaber of SBE, a So oe pir poh: wedded be: ae Le + g 29S, FHS YRER PAPA SE, fe teoice de.2@ SPs i i & & 7 mn a Bs : ¥ fe 2h +. } t z e iA } cae 4 ‘ * he a n ” vt eh min ThA te ko ot SY . aha +) ty r, aS ote RET ke cB § ain it a WA os i : th =) x“ bunt ey: ‘ 3 7h ‘ in if Bia) a: Te F ae 2 ae & Bar re 5 en, Z Bh we ep a 7 yn # 4 5 4 RE iat aa} a € > % Cogsrdy tee: ba Ny ne Eve Bail hy Dive ee ee Py i Ny a Oo ae é Py Fi * oh Cas ¥ FY % : } Vv T's t fa rest gt i | i a " ry cpp) CoObeth Of BRL Debs Bee eee BC BALO OHasede pea ae. Daas ew By) Tee CRU, Belts Rae OR a: , ; a sa! es Mate Sky MG XE, alee le wry Le at Sa Fe age GE MEM oe a ER UTS Cie DiS RoR? Bk Snes: = = = = Rng ig = sé iw Cis Tee The Gie ee hee the kia, PWaR. ‘SV bang and dutwe free Khe begix fige sopearesiia eeoged slacwsucevble eukensagih ab eal 2OUSEh MI RGoe Sbeenresenwe C2 Bet Ath iar Ss tial eit es Ce eee OF) Ge Ga bt Re Ler. eeaebebe of oi ase Pe ee ee ie See Se ernene ne pL eR. wiote of ehe inf ag 196 Wee piciiw enipaly: Boe shen 4 Ce ee ee ees eae Pe ie Cie m@ ais i prea BOs, *£- a - be ree ae om ae pe & = fave 3 perm beantifal spas Ph Ba Pee ‘s diay 1h) Plies ee eta may cy Ae See ee A a ‘ (ALOE ORs OPO i {ee peRnves wie Cae: 001 C4 ee erated by a iw Ppter clatpet 2280. Gee ef eta, Ben Li vewiss Peinter ‘tok: Rigi kde Gorannio MameUNaE pinbelge Bike beset tml: Pay) tae 1 ORES bet she wowdd: VEsROm wi Be mie a wut 2 eonds ison el rekiy bebengs to the Fenehs : eins ‘of hie Te th CORTRRYe (4 Cred tates a av" | | | sit i eh sy ‘oe \eget3ate® vor | ot totake Vdialepes atea aedotuda Levestbell Ee ‘t ylguotta etew allew bas adivev sad .60s008 deebon dttt . ee bebbs sen dvisew tefeaxg dtin pentose Sit .fettiareq ausem Ti sedt 92 ad3 ab bermo8 woteqms odd dotwagaoses Osd OlontA ea = atd fidiw soiwh nodd oxls caw a4 One ,sollenosds wid] azote {252 Io Quteqe odd at bonreden of eonedw .eigonts 1 to pane od? af bevieotsq sd tdate agottosl {looser saitaasyS etelguos vinisla stew sgaiinieg ed?’ .dowsdo vids to asia {te dpuods ,debuetxe tovel ecw dogudo edd aot jdteoh aid wnkeq weauol om at aote10g aids Ons .b0r19q sgosgnsmo ods )ptweter wesete att oF dosvdo ats evey Sioaxk qodatd ie ek as | m sks Hh 4 5 wie ; ie ‘ ‘et a v 4 UF iss ty ae Aen Lg hl i} . he tia 8 Bet) we tat | a] Ke a Qe =. ee 127 | 4 209 Chapter 9. Mural Painting. . a. Painting of Interiors. 107. Paintings. | Wediaeval churches were entirely painted in their intérioss. With wodest means, the vaults and walls were strongly tinted; with sreater wealth was added the ornamentation by pictured representations, so that if means permitted, the entire inter- ior, vaults, walls and piers were te be covered with represen- tations, chiefly from the Holy Scriptures or the legends of t the saints. Farly ~hristian art, with its interiors entirely furnished with mosaics, evidently became the instructor there- in, and the merovingian period had faithfully transmitted this richness of coloring. This is proved by the numerous passages in writings, which describe the splendor of color in the chur- ches in the Frankish empire. Remains heve not been preserved; indeed scarcely any buildings of the time before the year 1000 have been saved for us. 108. Church at Schwarzrheindorf. The 12 th century first transmitted its paintings, and these are in such extent, that the art of mural painting clearly ap- pears therefrom. Two of the best preserved ané completely pa- inteé interiors are the double chapel at Schwargrheindorf near Bonn and the chapter ball of Brauweiler near Cologne. We shall @ place them at the head of our discussion. The Church of Schw- 4q arcrheindorf was erected by Arnold von Wied, afterwards archb- ishop of Cologne, and he dedicated it on May 8, 1151. When he died in 1156, he was busied on the lower church. An inseript- ion from that period on the east wall and behind the alter in the lower church stetes?e- 110 (See original text). 110. See sus’m Weerth. Wandmalereien des christlichen Mit- telalters in den Rheinlandén. p. 9. heipzig. 1879. Arnold had accompanied the emperor Sonrad in the crusades as 4 bis chancellor, and he was also then twice with him in Consten- tinople, whence he returned in the spring of 1159; therefore 4q Byzantine recollections might be perceived in the form of the plan of this church. The paintings were plainly completed at his death; for the church was later extended, though still in the Romanesove period, and this portion is no longer painted. 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D-* Yo! foetts edt sqs00g Odw .oa0ds yluO .yElsterso eliszsd aat Biss a8. 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Lsotidta 10 asets9 exs yeas 1% 128 i/o abbess of Fssen and Gerresheim, and who founded a convent there 2// after his death} the enlargement of it was undertaken before 11738. The most prominent impression is that the entire bedéke ground is made in a full blue, so that the pictured represent- 3 ations, which are vividly colored yellow, green and red, appear a as if placed on a blue vault; the enclosing borders are green, yellow and red. By this blue as the principal color is produ- ced the most dignified impression of a richness of color, that can be attained in the painting of the interiors. Since the vaults were also and principally covered by iinet ed representations, then resulted there the unpleasant discord in appearance between the more or less horizontal position of the vault surfaces and the upright positions of the figures. fois problem was solved with difficulty or not et all, and it indeed finelly brought the architects and painters of the Bar- oeco and Rococo periods to treat the ceilings and vaults as open spaces, wherein were magically produced erchitectural views and figures by means of masterly prespective treatment. But since these perspectives could only be drawn from one point, they appear more or less distorted from ang other point of view. Tree observer is unpleasantly affected, who desires to examine the details carefully. Only those, who accept the effect of the whole in lights, colors and sades, without too close an examination of the details, can enjoy the effect of the interior. : Tt is similar for the RBomanesave and Gothic representstiions. Tae bent and borizontal forms appear badiy, and it is bést not to follow these beaten paths. One either employs angels alone, or the representations must be placed within small“nedallions”, for which the point of ‘view is fixed, and which otherwise app- pigene in the general impression of the interior merely as color- "ed spaces. On steeply inclined vaults, moreover, the lower portions of the compartments provide sufficient vértical surf- aces for placing standing figures there. Fis. 816 111 exhibits in plan the vaults of the lower church; it represents the vision of Fzekiel of the third destruction of Jerusalem and its restoration. In Pigs. 817 and 318 1il,, 21) shown two portraits of emperors from the well niches there; as the inscriptions are destroyed, it cannot be decided, whether they are German or Biblical princess Fis. 819 114 exhibits the re */ 2e Saeed =< Aa ay 1 wy, ie sua edt ydoredo 4 Lig Te cts datddone, beebat asa 5 bas datas F gadery den aid 3 280 Stoo awomd eyed agaitaisg od? = .kiwebad sofate étd aa os s aevieamedd atoloo ear Sif dtase¥ o*tagh of Sakbi0900A pen ost aatbal wabrgbivey e2lod .stdoo tdanwd baa wollog mma wo 4a edHosldqust baa antisasstig | be sé eee -AtSo08 wtsuk movd LLLL stot wie ees e cet Bb .q .iSse08 m*suk 082 .20t etok | teltewse3d ts [{[ef stevqgedi9 .8OL ea setke Wobaisdiaiewios te aguisuisy sasdd atiW L ened g:abtoloo bas olyde at asliowess9 ga iisd yetqado $ figerg ors atebrod edt bus .suld qeed ebagotgiosd add sms gotte1ese6 to show sit otextaulit ‘M tse bas 0%8 .agih bot . a Hk avididxe faxil odd jatiusy 94% to esaemtisqnos edt To =sommi edt t9vo qiodoiw 2‘iue? buoose edt yavedsoosl astul bas ae snaian edt wort egattutsg ovis tl gee bas oss wagti .sevk wh os ide to methods datasae1qey ak SSS af at jaadd ¢ \4 32 ysws aiatise ond allug od 23 .iwoive? edd ef isttal eds we ee. es seois to ounaind to sfsb etintieb 4 .acogsth ods *4) J qeates | | «bentatetet od *\, = anisunl te Isahedts9 .Ort ¥ A - elidrasoq Lis to [lout at sottéstnemanto sypeansn08 4 02 Ss dotudo toqqe od¢ af .oditoamvorro o¢ Oisd et bas aso y10d towol od as ,basd beositetai deftkagib 6 ,Trobaiedusts i oy 2899 odd oc Soteselg at ,anoivstasaszqey dexatotq sit lo “v fopwow tusivexel 6 at etolienus7a at soslq aatbnogeeri0o eds _ ts Usibedts? sdéi ab sk1099 .2 to ukodo sd? «.sevaesl Isaidtey | i ‘atdt to uoftosise extiue as aticidxe (91! aes wget) gisdnsd petonee tdodes) nottadaemsnio supssaaa0d Latroast eael 10 stom . = “Vitaoth etnisunessa mond .21% stot + © saotgar9 To sotistueeetges » PEL. 40 ecinaiedl seeds to agtasd edd tebtanoo won ay ted xi me Vs saGhtataezeiqst tieds te sbom add bas aliaw bas oe tasee1g991 eget edd to aotvieoo vias odt ataslgen ono TT pe (af Detuoexe egunifaieg sesas ats neds .etivey sas ao aaot mottstessb Isatatat edt to saoquug edt sot tease soaxz09 83 gzsbom to temuam edd ai onob ton exe yo -atotiotak i yateess eatltuo beroloo es betsett qlovem oxs tad .agat. faces ng fins ovitosqaneg {atuss ;gatbsde slvetl . 74 ft ) aa eC as aad as aoe 12° cecoration of Bhe apse in the upper church; the enthroned Christ, at his feet being a bishop and a nun, indeed archbishop Arnold i and his sister Hadewig. The paintings have brown outlines. A : According to Aus’m Weerth, 112 the colors themselves are white, q yellow and burnt ochre, bole, veridsgris, Indian red, cobalt, 4 ultramarine and lampblack. Note 111. From Aus*m Weerth. Note 112. See Aus’m Weerth. p, 18, 109. Ghapter Hall at Brauweiler. With these paintings at Schwarzrheindorf agree those in the chapter ball at Brauweiler in style and coloring; here likewise are the backgrounds deep blue, and the borders are sreen and red. Figs. 320 and 3821 111 illustrate the mode of decoration of the compartments of the vaults; the first exhibits Gideon and Judas Maccabeus, the second Saul’s victory over the Ammon- ites. Figs. 822 and 323 111 sive paintings from the side are— thes; in Fig. 822 is represented the dream of Nebuchadnezzar, in the latter is the Saviour, @s he pulls two saints away from the dragons. A definite date of origin of these paintings must be determined. -110. @athedral at Bamberg. Romanesque ornamentation is full of ali possible reminiscen- ces and is beard to circumscribe. In the upper church at Schw- — arzrheindorf, a dignified interlaced band, as the lower border of the pictured representations, is pleasing te the eye. In the corresponding place in Brauweiler is a luxurient row of v vertical leaves. The choir of § George in the Cathedral at Bamberg (Fig. 324 116) exhibits an entire selection of this more or less fanciful Romanesque ornementation (about 1200). Note 118. From Essenwein’s drawing. 111. Representation of Figures. Bet us now consider the design of these paintings on vaults and walls and the mode of their representation. If one neglects the ugly position of the figure representat- ions on the vaults, then are these paintings executed in the Ag) Correct manner for the purpose of the internal decoration of interiors. 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Si | -ouls omsa eysole, Levonison 9as Sausataiost FasrsttLo 2 sede pe vi ay é ite ey ihe ti a 4 Be ONT Ai bi ne +. ; ye ep Deeeeey. | wtidois eds jehaituteq evisaseyue 10 tasaaltedbai waet so stom dogs bestea yltase o@ 9d toitedal sav To qoizazeigai sas {itw a. 3%A .Ratsateq dowwdo ataboa wotl 9942 baaiwast esd rorts- “ER Cie 130 from nature are wanting. Such a method of painting is just as appropriate as effective. When seen at night, this authentic procedure materially exceis our modern figure representations, which disappear in the general tone of the interior. First the individual picture produces no separate effect by itself and reouires no indivicual consideration for itself; it merely contributes to the seneral impression as a colored spot in its location. Yet out modern painting with its half tones, its aerial perspective, its lights and shades, is not calcula- ted to arrange itself, not at all to subordinate itself. Bui its broken cobors cannot make tbemselves senerally noticeable together with the full tones of an internal painting. There- 222 fore if an interior is now to be decorated by paintings, itis the final mistaken result, that the interior was created for the paintings and not as @ painted interior. In a word, the painter forces himself into the foreground with a series of m more or less indifferent or sugsestive paintings; the archit- ect is set aside,and his creation destroyed; for no unified in- ternal effect of the interior is obtained. Fven the bodily im- pression of the interior is ruined by these paintings, since | it is torn apart by them and is not united. for a principal effect of the coloring must consist in treating the interior for general effect by the combination of its larger parts. F For example, if the vaults are mainly blue, the upper part of the walls are yellowish sreen and the lower portion red, then will the impression of the interior be so easily seized upon by the eye and so embraced, that an interior without colors in 233, ¢omparison with a colored interior would appear, just as death would against life itself. What a cold stone hall is the Cath- edral at Qologne. And yet one must be thankful, that its int- erior has remained free from modern church painting. Art has entirely vanished from the aisies of the church. The clergy is in the hands of art workers of the most questionable kind; they lack the conception, thet art is practised by artists, not by artizans, that art reauires @ training for decades, and that actually or commonly only a pretended piety neither takes the place of training nor of knowledge, not to speak of both at the same time. 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And yet the mediaeval clergy had not learned Greek! In any case the modern abandonment of the House of God by art speaks strongly against the senerel culture in modern education, entirely aside from the other conditions. 112. Cathedral at Gurk. 4 Yet we will follow further the development of internal paint- ing. In the nun’s choir of the Cathedral at Gurk have been p . preserved the remains of very beautifully drawn ceiling and w wall paintings of the carly Gothic age, and which are reprodu- ced in Figs. 325 to 382 114 sfter the drawings of Klein. The two vaults are adorned by the earthly and the heavenly para- dises (Pigs. 325 and 327); on the transverse arch between them is represented Jacob’s ladder (Fis. 828); the remaining span- drels are adorned by cherubs in the heavenly Jerusalem (Pig. 826), and in paradise by the prophets referring to the Madon- nae The chief figure on the walls is therefore devoted to the enthroned Mother of God with the Child (Fis. 329). On the steps of the throne are represented the lions of Solomon -- the lion of the tribe of Judah --, by their sides being female figures perscnifying the virtuse. | 114. From Mitt. der Central-Commission ete, The spandrels beneath are occupied by two bishops, indeed the givers of the paintings. One is an Otto Flectus, who does not wear the bishop’s insisnia; the other is designated as Die- tericus. The former was chosen in 1214 and soon died. There were two bishops named Dietrich; one labored from 1154 to 1179, and Dietrich II from 1254 to 1279. Asainst the latter bishop as giver, the lack of all tracery seems to object, even if the painting during the period remained behind in reference to ar- Chitectural ornaments. On the opposite wall is represented the deified Christ (Fig. 880). Above is God the Father, prophets at right and left, with apostles seated at their feet. In the four side arches of the longer, side are represented the three holy kings (Fis. 821) and the entry of Ghrist into Jerusalem on Palm Sunday. (Fig. 882). Beneath these paintings extends ea proud band of beautiful bust pictures, showings holy bishops and women. 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Pe SD 132 background of the spandrels in the vauits, like the represent- ations in the side arches and the bust pictures are kept in full blue? everything else is shown in natural coloring with simple outlines. 112. Cshapel at Piswes. Allieé to these paintings are those in the Cnapel at Piswes in the vicinity of @urk (Fis. 298 114). Here also is paradise represented on the vault; trees and figures exhibit the same treatment. The fourth compartment is occupied by the enthro- ned Maria with the Child and two holy princesses, similar to the representation on the wall at Gurk. The Jacob’s Ladder is here painted on the ribs of the cross valut. The pictures on the walls are only preserved in their upper parts and exhibit the birth and the adoration of the wise men from the Fest. 125° 114. Church S. Maria Lyskirchen at Gologne etc. Of the same age ere the paintings on the vaults of the mad- dievaisle of S. Maria Lyskirchen in Cologne (Fig. 334). They are adapted to the vaults just as masterfully, es they are beautifully drawn and excellent in colors. Tn the choir of S. Severin at cologne have been preserved t the remains of disnified figures in the compartments of the v vaults there. ; A very prominént centre of ecclesiastical internal painting was at Soest about 1200. In S. Patroclus there, and especial- ly in S. Maria zur Féhe are to be found nobly arranged and splendidly colored representations. In Saxony at Kénisslutter, Fildesheim and Geslar, but first of all in the Cathedral et Brunswick, are preserved excellent internal paintings of the time shortly before 1200. The paint- ings in the choir alone at K6nigslutter have been preserved 4 and finely restored. In the dome of the apse is enthroned (i Christ within an almond shaped border, on the right and left being the symbols of the evangelists and the two princes of t the aposties; on the cross vault of the lonsitudinal choir is represented a walled circle with saints standing in its tow- ers. In S&S. Micheel at Hildesheim shines the famous Barbaros- sa ceiling (indeed of 1186). Tn Geslar the two churches Neuwerk and on the Frankenbers c contain very masterly representations. In the semicircular i i“ t ae rhe es be iy i ese rare ne Se ae Ce tee as \ odd ot Nemoadbas ats hébaeeh bonvel to sage eaaam- afdoi! ¢lexténa as at beviconpo ,bLFa9 edt bus t ylanosea: & goosbotq niegs buvotgdosd ould edt setwottl Yoav soLtewverS ons: trobaisdtwiswio? +3 23: .pakaoloo 2 26 | ‘at sdben ylevotyerq ot20 abaso b3atgioosb edt bas aoisd ne ) “soda bro a9 tes & beanseite 2f sottod oft G4 .Yatiom t97 - aexagtt elaate bedatsq ors anobatw ad? nsewssd §©.atoteque Yo pomer staonrey to batt via? .adfol octtabaatossedo yrev dora a ‘081 fed dowdg jiedusides4 ods to cioretselo edt ab Havok ateg | astorode avedqeig to eeissrk sie'taqeg o15 staat .awobatu sat )Sdtixe dotdw .sntdéolo at 2biot lutions} asin .¢iao asafisue- ot wort ooo satwaikl yods tad ynoitquonvo astiveeq ssi 8 Tt eltom ftomd9 tovemrot xslimte sis bedseTto dent .Oaed Suse odd iy, aces eaif dtiw sommpo ab gutdgon oved! gifmetsags yods Tk asys »bo9' to s907OM on - raisq slatted atf beauretes asd doiwsgutt ts [sibsd7s) oA? > wxe: buss A .tasederd tidvoe ots af tous Yo aottaqooxs oat atiw om eyo ods gardiads gietetbomat notessrqgat odt osls ova tolaas ** bebagot asw (s1osu7ed oat sould adctenkwobsrg sas to tads et “se mh awod dented Fi jaond sas yao ya BUILT vo SVED at P meutesis betos1s seed evsd sauna av insv detatsq gaivarxe od? = eved Sisow Yoo" sat vino tod ([etootts9 9dt Tom satwesito tot *=dore favor sdf ano kt Fon Of aslosv aeett sxoteredT .beatud | os ylfoneswsgqs stew ekattatsg sis soutG .gureaor edd to se Be s.ads eouca even odf ‘Yo wetg & 10 sottaqiroeat a& O18 608d a0 ‘ “© tno oets team agntéateg tious sis (S12 anew anedot .teearsg Liew wen etdt dasodvis .a8if totts avdat .oats e@ids mott eh aa bart sdz evcbsd: derlusv yvbserle aeod evsd PAse.q * ded bawe® BIAS Yo F182 Quibsoera ett e82 Leib stot Ph eed (P£) sce .ptdp sdieo xs020 acseusdaetW to gusva0d oat af | beebnt fedt (ttote e*a0n ott Yo agnitatsq eit beytexerg need “2 ¥ ~(@08L-808I)) aotsogrzancs eit Io emttd odd wart ofed yltetdo . ‘e1e4 YIIHOO UT GL vis ai Sevotqat oats s1ew year Ik aove Pte o18 atigey edt nt boyolgms eotwath bo sotsatavaetges ode y O18 dotdw \aaorifsbem as botseqd et¢ casd? este Isasofoo: 3 de .eifosoe fo Auowien 5 at tonusa Jestqysd sd7 ai Oetudtat a9umoo ae9d watiosy ody to atavwdusqmop ods avo sbastye > don suse sit dttw alisw od to softesnemsato odd et old pets: ores e seine zie ots alisw ag Salforoa “a4 Bas t ine es P| Wits ay ¥ om ti] \. aN? ey be : ‘oey ik +4 \ i" 133 apse of Church Neuwerk are enthroned in the midst the Madonna and the Child, conceived in an entirely noble manner. Here likewise the blue background again produces a stronsly reliey- ed coloring, as et Schwergrheinderf and Brauweiler. The gold- en helos and the decorated bands were previously made in plas- ter relief. At the bottom is arranged a series of portraits of emperors. Between the windows are peinted single figures with very charectéristic foids. This kind of garments is a- gain found in the ciearstory of the Frankenbergs church between the windows. There are separete fisures of prophets sketched in cutline only, with fencifvl folds in clothing, which exhib- it a quite peculiar conception; but they likewise come from ¥ the same hand, that created the similar forms.of Church Neuwerk, even if they apparently bave nothing in common with the enthro- ned Mother of ‘God. | The Cateedral at Erunswick has retained its complete painting with the exception of that in the south transept. A grand ex- | ample! Here also the impression immediately striking the eye is that of tee predomineting bine. The Cathedral was founded in 1172 or 1178 by Henry the Lion; it burned down in 1195. 7. The existing painted vaults must heve been erected afterwards; for otherwise not tee cathedral but only the reof would have oburned. Therefore these vaults do not Tit on the round arch- es of the crossing. Since the paintings were apparently by o cne hand, and an inscription on @ pier of the nave nemes the painter, Johann Wale 116 the Choir psintings must also only ‘date from this time, thus after 1195, although this may well have been already vaulted bedore the fire. Fote 115. See the preceding Heft of this *Handbuch.” p.74. In the Convent of Wienhausen near Celle (Fis. 385 116) bas been preserved the paintings of the nun’s choir, that indeed chiefly date from the time of the construction (1307-1809), even if they were also improved in the 15 th century. Here the representation of fisures empioyed in the vaults are of c ii, colossal size. These are treated as medallions, which are dis- “*" spibuted in the happiest manner in a@ network of scrolis, that extends over the compartments of the vavlis. Less commendae- ble is the ornamentation of the walls with the same web of scrolls’? the walls are thus scarcely or not at all separated : tee.’ (ht rae Mra ie kt OOP Pr. jd ei yr? We Lt wd pet i teciains a etl shetin nde yiaiet1e9 ielesi pac mort 4 go bagotaioad Aosld 2 bevisoer aaa wobuiw sdt dat 8 woda aiiusy edt elidw .a3522 af Satf{ags ous alloroa % ¢ wo avottetneroscet aigkit edt setwontd -Omuotk awowa 'y.4 Pemrenh ianse tieit10g Itse%y 1swol ods of besotseeet ad) Divode \** x 9 oad bas ,Gebfovs od Oluow Snidsolrsvo to noteastg oe 4 ‘a0 Bean.» mo 4 -Sb9a583 eved olyow sostts iaereneg ods ‘f voompoeriagaeaeanbie stintdessd 64 .saiod moxt Bt stot ea O10) OMNESSE Yo QAtUOXd o worl, CSU Vs dNee Le 4o¥ @kmkibeo 969 cd) awoda af snemeynssts iselo bas Is ti¢uesd A tonite e-oas (S14 ge8 .5 10) n9989. 1890 ansdek 22 to agaiiateg e1s@edotsdo caeds aonis | (Et VES -2tt) 19368 isea Liquad ta | eae Yo aorytaog odd antelgxs eids .atlusy feagsd yd bowevoo , ‘er aaaata edd to tnemtsers of al .atetdeguave edt bus elisaas a -somouling asftist] axyseqgs xebt0d ‘out i iA ki pes Seer on: bd +Ontwowh s*ntshh mont Lt atol edit a9a) iupusoten® mt saioes issn afew .2. to +iotin en® > 4 ig ldeioages i:, Lat ab sotsaod arr. ) eltad eas fo antenoe eat boardotde elstl al Aliens. “wil. sf » bi 134 from the vaults. Certeinly the upper part of thewall contain- ins the window has received a black background on Which the scrolls are applied in green, while the vavlts show a reddish- Lae brown ground. bikewise the figure representations on the walis 227 snovld be restricted to the lower great portrait band; the in- pression of overloading would be avoided, and the clearness of the seneral effect would have gained. Fote 116. From Bohme, Rk. Gesehiehte der deutschen Baukunst. Vol. 8&8. Berlin. 1887: from a drawing of Bssenwein. A-beseutiful and clear arrangement is shown by the osslubna p paintings of S. Johann near Bbzen (Fis. 3326 117) and S. Martin at Campil near Bogen (Pigs. 887 117), Since these churches are covered by tunnel vaults, this explains the position of the angels and the evangelists. In the treatment of tbe forms of the border appears Ttelian influence. Note 117. From EKlein’s drawing. The choir of S. Marein near Seckav in Steiermark (see the a- jacent plate) then presents e mode of painting, especially a a3sfaverite in the high and late Gothic churches. The strong ber- AS! mony oi the color series of blue, soid, red and green disappear- ed, in its place appearing the modest series of white, yellow, green and viclet. The ground is here white, mostly with spots of pea yellow; the ribs are alternately yellow and violet; the flowers ere violet, yellow and green. These splendid flowers are especially a very favorite ornamentation of the late Geth- ic vaults. As inscribed in ‘the choir, the existing paintings date from 1462. An entirely similar color bermony is exhibited by the Srand net vavits of & Jacob at Liege. The walls are likewise chief- ly in yellowisb-white in this color treatment, but on the con- trary, the verticel and horizcontel mouldings are vividly col- ored blue and green. Finally mey yet be given the painting of a wooden ceiling of this late age. Fig. 388 shows @ rather condensed portion of the ceiling from the Church at Isingen in Wuhtemberg. Fach three boards, whose joints are covered by battens, form a lar- ser panel, which is enclosed by wider boards. 115. Mosaics in Italy. Tn Itely, which had the mosaics of the Barly Christian peri- svivet s igcotit bezesq otegom to t41a ads padgie at botteg Ms 48 to stodo ad¢ yo betaseetq eat ofquexs ylsetesm A avoto saizd® ,oataes sds 74 (BLE ese .geq), eaod ag a10i3 ot jebie feisee Je teystq ai ts02 alagus to aqoost *aedsom aid 180.8 bas VI aslodog# aqo§. .eatexit sailasnd ows wallod nsds tested Bsouitg offéteogs odd o18 Stel ods so aeas dons Lsath ho alot gatos tdelke o6d ao jiviagA tovaboasty .2 atitw foe? bas oat jeesbad to yootak 12 bus teifLoanay? eda adol .tattqad odd -x9 dotdw .drowllowoe basta & yd botevoo at sostasa aactahenet -(s098 asmof Lutitesed te0u ods to antot edd at ylortiaa ebaot seiwodil Ow .£¢iatoP doosl tatateg edd ya ai agtesd afdea erat cagenote avod .sotitesd aetsis] eat to sdota «todo sas boituosxs -SQSI bas 88Sf avsewsed bsrentagizo Mt etade eb nedtitend of4 .L 2.9 .D .asenut mond 800 otod i * -RB3L .dotnut .emod atada q ichpoudinegee atdg lehéeos to bast Levearag adt .efssT al | susttusaso dg Sf bas de SE .at ft sad ak tuamqofeveh iuslvotdaeg | y -theteondaos at .ivsueo) sdt wyliust vatexe asao9 2 to omsa ant? | om dos® .adiow fetsosta Satds to taem to nobiwoexs oat tte | 7% 907 eeorgque Dus avosiisa ilsw odo isvoo.¢oa of adtow ofea | ~as Lis abdtiw olvasga yods .ytsitsaoo 245 wo ‘wmtok Letetaetido atteda botetus edt to eotalt sus at weve .aliered Lsxatoatido © mort aelgusxre ovivaetqzes dae Luliitused qileago¥ .anmefoo to _ ~ofost 2 to tevetolo edd yd Oetididxe sus yrudaeo as Sb one Pi: he -ote(BEE cases One. 12913) sued at aflet-ods~-svodsen bes bar: -bundoddtod move Lert atot uast to gaitaited {iew 90% .vissuso dt St add Yo bao dt asen ail To Suentse1t fetnemsato edt uott tlsetr astt of booaeamos tus) te90rf bas entituo bs10105 asaa0f on ass saedT sacag oa sotborget doftda .sbsda bos saat! dtiw sautiateg betzoloe stud tateq at beriso90 ydeteds sousvba teats 3 sedt “tilser odt oe en bewu(ai asw atottaget edt to fostis sav tads tu8 stselo et Ratmeely sLofteda® tegaol on sigu sa947 Fadt oOssbat ,gdoteds a Shdow sedt bas ,agaitaieg dtiw atottegat sud ,ar0odos at ‘ne qoak eae = etugigiuee bus Raitekeq: ,¢4usviea 90d smaced on Ua » 18 Isvascboa ee piihatas di latubbuncboehi abtdt Yo gufaaiged sd¢ asi. ROSE asewte®. sdeToonno0 yldufosarbhar otsoL3 to otkea ssp oe. aad af eS80oge1t oad Ostateq. od Me * < a Sree ihe ; ake ae ive 2 ee 135 period in sight, the art of mosaic passed through e revival. A masterly example is presented by the choir of 8. Maria Mag- Siore in Rome (Fig. 329 118). At the centre, Christ crowns his mover; troops of angels soer in prayer at eather side; % then follow two kneeling figures, Bope Niciclias IV and a car- dinel Jaccb; then on the left are the apostolic princes Peter and Paul with S. Franciscof Assizij on the right being John the Baptist, John the Evangelist and S$. Antony of Padua. The remaining surface is covered by @ grand scrollwork, which ex- tends entirely in the forms of the most beautiful Roman art. This noble design is by the painter Jacob Torriti, who likewise executed the choir niche of the Lateran Basilica. Both mosaics originated between 1288 end 12938. Note 118. From Bunsen, C. 6. J. Bie Basiliken des christli-~ chen Roms. Yunteh. 1842. In Italy, the primeval land of mosaic, this experiencéd a p particular development in the 11 th, 12 th and 18 th centuries. The name of a Roman artist femily, the Cosmati, is connected With the execution of most of thise sraceful works. Such mo- sa@ic works de not cover the wall surfaces end suppress the ar- chitecturel forms: on the contrary, they nestle within all ar- chitectural details, even in the flutes cf the twisted shafts of columns. Faualiy beautiful and expressive examples from the 18 th century are exhibited by the cloister of S. Paelo- without-the-Walls in Rome (Figs. 840 to 342 148), | Note 119. From Gatlhabdaud. With the end of the 18 th century, the wall paintings of Italy commenced to free itself from the ornemental treatment of fig- ures. These are no longer colored outline and linear drawings, but colored paintings with light and shade, which reproduce t the reality. That a great advance thereby occurred in painting is clear. Eut thet the effect of the interiors was injured t thereby, indeed that these were no longer interiors gleaming in colors, but interiors with paintings, and that architecture became the servant, painting and sculpture the masters, is pro- ved by the course of Italian mediaeval art. With the beginning of this independence of painting is the 934,name of Eiotto indissolubly connected. Between 1904 and 1306 he painted the frescoes in the Arena Chapel at Padua} in 1884 if i Beenll st | LRAGR YS ‘,SNBL J hod- KAGE ge SN mi.) 7 b Mas nobbled baie adit to Asem out te peosta 284 oi eine eisabioed at besae19 od ats9y seoat) ngewred. ,Lexbe im pith. » 7) “£ bf z b %,% i ' if ‘ ‘4 vf PR os . Fis ' Hf a Le, ' H AN Bora 5 ty , an y iv. f a ; ie "3 a vi 2 = iar f 0 vy! ry ry 7 he es < ie i i 4 "te d i pe aceieand stvevon beagived yilulitivsed s sine ts Lexbedtag «(*S1 gap «Qt%) anctebnsa S5em at er pe atom chddieecct 919w s0ne78 nh etooit dele dog? . «Bf enodtenti sdguot yltese tad dguos edt jaeatl dearomk yd be | | 40 obteen ba10Loo dviw bellii cis auctatent edt yo1eds oviten | =80: bio ost to alogsdo bas aiodo sad to esooltY eat .bsel dtig 968) -2ntd) tenacsa aidd ab dbssousses00 sxew 18m) .2 to Lexbeds. | #)) word) 19 esottgitoedt ens b09 basotadesd sat. :(5*" 098 oF. a elbbie 243 moxt otsb ylterdo your .ber baxofes, s18 gotugit ots Ml jomiongeaet edd teds wods anottaizosni 9a? eYIsTaso. dv Sl sas to i --:@t defa 240 vo audd zbetsuob stow adele a ee a dele etds evsy. Bbabpebis -& to Afo® to aoa ,awkoiga™ . 1% = ‘ *.a6900gd:..c Io 26 ete 88t .q .S3a8t OCTETS Ssionak mont .BRL stok ep _ 83LrT yefld to ato0L3 «SSL on ot: bess otow -edefla onote tgo doidw ar 2ecttawoo aaods aT WwW bral stew 2toolt edt ,enoigox doiid ni ylistosgae bas .exs0 _ katted .bexsla to baseigas 9790 sacaT .aaits ysfo haaisd dviw a0tsaon eiti btsf stew fas Lisua sxsw seeds boiusgq yluse ade uf s@atetieg dots af eevisemeds oto bas aetel oxew aolis. ogisd ; oth atq ood oved aired aseq aiaed .2 to doxndd yodd& ade af peeenotbentemvanecs (@att t90ds8) 19398 to eats odd. woxt hov »eslit yeto [hema yreV .osasvooetd aisgs ond-ol-reLios¥ 9); ids yodd pbem bas as078 it6b .wolley .adoeld astw barsoo Diy 1 10, {sapaylog .egaesol ,c1su0a remo gasiitis teon ede *” edt ome -30fseom agen seogmos yeds tral B om ee | , nied 4 | | ‘Tee, aa mi? be | ee cau 4 , > t ‘4 i t ; x es } ‘ ,” 2 yo” a ig 142 represented in Fis. 266 126 are really the denial of a floor: they are sc ungaie}, itbatconessearctly dares to set foot there- on. The fliocor represented here was formerly on the sacristy of Gclogne Cathedral and was constrveted of black, white and red marble. On the contrary, Fig. 367 127 from the old Cathe- 6ral at Cologne is very intelligently designed. Hote 126. From the drawing +e the office of the architect of the eathedral. Kote 127. From Schneider*s drawing. 122. Other Floors of Siabs. On account of the cost of marbic, the floors in sandstone regions were laid with sandstone slabs; but men understood bow io produce richer ones there also. Thus may be found in the Gathedral at Mentz a beavtifully designed rosette constructed in red sandstone (Fis. 368 1°7), Such slab floors in France were frequently more richly treat- ed by incised lines; the tough but easily wrought limestone,is native there; the incisions are filled with colered mastic or with lead. The floors of the choir and chapels of the old Ca- thedral of S. Omer were constructed in this manner (Figs. 369 te 390 128). the background end the inscriptions are brown, the fisures are cofored red; they chiefly date from the middle of the 128 th century. The inscriptions show thet the different slabs were donated; thus on one slab isi-- “Rsidius, son of Pulk of S. Aldegunde gave this slab in bon- or of S. Audomar.” Note 128. From Annales archaeologigques. 1852, p. 187 ete. 128. Floors of Clay Tiles. Tr those countries in which cut stone slabs were hard to pro- cure, end especially in brick regions, the floors were laid w with burned clay tiles. These are ungliazed or slazed. During the early period these were small and were laid like moseics. Large tiles were later and were themselves in rich patterns. In the Abbey Church eof S. Denis near Paris have been preser- ved from the time of Suger (about 1144) clay tilesfloors, that Ag Viollet-le-Buc again discovered. Very small clay tiles were 249 eoated with black, yellow, dark green and red; they exhibit — the most Gifferent forms; sauare, lozenge, polygonal or circu- lari they compose charming mosaics. The floor of the chapel =~. 9 & Ay » xe i nell so Pi i ; :. MV = i oe " : - r ‘ '’ 7 ri ue ve ‘op “ ; if a. a « r vs ; sf '. 7 »? | Wey ae i ; d #) oe , Ar ¢ etasm saow sdt axe (25! pes 59S .2gtt) esdquosd .2 to 3.8 to sabia ved YaeM 62 Yo Leqedd ous mort esfit doaid erie at esdquou9 .2 moxt oa0as to 19sewald s20Fee4R edt O55 oa. euse od¢ To gelts yelo besely to eiomdt efqmse .aat geist <295e9%@ af aebisd te913 943 to avees git at bayot sd arcana yous :(93f ses. +9f9) Lleznetis to y1otasaow ode goxt ened? Seaalgrsm stida yd beaolous o1¢ 2bavo1 Liswa edt Ybor bas Whales | eeuataeo dt $2 9d¢ to bas oat wort otsb ashis . aoe tee ane ABR 6G 6B L1GV LouG-sl-to5foiF most .O8t setae. © qustuse ‘dd SP. 9d¢ Qabi9b .ogd-oletslloiY oF anib10008 alah stedasb ods yiisreasg bas etoolt af asteuimoderqg yosld datusery . gadoo bet .wolisyg .ae01) .19td4rl detso1s sie allen edt ,ouot a ‘edd ai. yast¢a00 oft ad) iatoloo Seatetedq sas ote atidwi bas . yetofoo gaoise Oas wiab af sisa 2%8 gtoolt ad¢ yviwtaso a St i fais aeostTises isgtoutaa gd soliquoso yltasunerd dosid oa but S .30Lt? veld dSeterooe@ gt . saielinie’ otal hondbobsas: ase 21903 .gugdaso adv SI odd Att | S96aaol oa o194 etoolt ed? .aottostianoo to hodten sagtethte edg bomt0t dordw ,2eltt yslo ilese yiev assaaqse to bseogaes | asvisemeds orem dotaw .geliz ysio tox1si ebsm aon tod .asetteg } ¢ino asd? .ayslo bexofoo yléaeisilid ai aaxedtag yd bots10988 )) en dove ofitde .bosely crew aloqsio ostiaty sas to aso0lk ads | aelts ysis bus ysio banisd at betelco yletem sien aioolt ba - adele onosabasa atin bossaratis vileves 4 =x 9 (ast 8@5 .8i%) nesd re090 ovid-ise-s1tetd .2 to s00Lt oak ektda to ao lamsxe igttdused taom Sas Jaetlase ont to sao avidta _ *Seaigizo aved jaqm tt yaalit beeslg dsiw moivoursenoo to abou ‘ _dosid at 10 tosid: no wolley at at agtesd od? .008f dguods bs h ~@ edd dotdw no ,.yslo bet to gaisd beabar asltt vis .woliey ao 4 beage1g yiqesb ai mgtesb say dotdw ofat .dbtal at dues dosid Sestak Tasisgaas3s a — eas ;wolloy sdart attw balist bas ae . «3107 asblok & 9d o¢ ets. yaemried aL askitaveo foied ak ¢leslsotvisd 948 teat .Sevapeerq Ilew ylovitsisqaoo .g200lt slit yasm edt. al .smismet dove at doit at dosdud aud? .bes8ly xi ‘ow ,2aiit ysl dosld ba 621 Yo beretades seaz ,(23% ees ods » 7atoLo9. sasiloans to bas baaiete anit .beanud Sted sten ea oh bh iy . ba e F i a i iit Si, , eA Re ae een fy eh ore wrovauens nae (FE S@8 108 seat) oveas yret ate —_ a4 )t00lt Istaemeato ytevy « 2sw gistasnol axud gdt to esos 142 of S. Mary there (Figs. 991, 292 12°) and that of the Chapel of S. Gucuphas (Pigs. 32928, 294 12%) sre the most masterly; the black tiles from tne Chape] of 8. Mary have sides of 8.54 ins., and the greatest diameter of those from Si Gucuphas is 4.72 ins. Simple flwors of slazed clay tiles of the same kind may be found in the Museum of the Great Garden in Bresden, taken from the Monastery of Altenzell (Fis. 9396 129), they are black and red: the small rounds are enclosed by white margins. These tiles date from the end of the 12 th century. Rote 129. From Viollet-le-Buc. Vol. 2. p. 261, 262, 264,269. While according to Viclletrle-Duc, Gurins the 12 th century sreenish black predominates in floors and generally the darker tone, the walls are treated lighter. Green, yellow, red ochre and white are the preferred colors. On the contrary in the 13 th century the floors are made in dark and strong colors; indeed black freouently occupies the principal surfaces there. 124. Becorated Clay Tiles. With the 12 th century, there was introduced into France 4 different method of construction. The floors were no longer composed of separate very small clay tiles, which formed the pattern, but men made larger clay tiles, which were themselves decorated by patterns in differently colored clays. Then only the floors of less visited chapels were glazed, while much us- ea floors were merely colored in burned clay and clay tiles usually alternated with sandstone slabs. Tne floor of S. Pierre-sur-Dive near Caen (Fig. 398 129) €x- bibits one of the earliest and most beavtifuli examples of this mode of construction with glazed tiles, it must have originat- eg about 1200. The design is in yellow on black or in black on yellow, the tiles indeed being ef red clay, on which the ib black earth is laid, into which the design is deeply pressed and filled with light yellow; the glazing is transparent with a soiden tone. J Particularly in brick countries in Germany are to be found many tile floors, comparatively well preserved, thet are most- ly sglazed. Thus Lubeck is rich in such remains. In the refec- tory of the Burs Monastery was @ very ornamental floor (Fig. age 180) | that consisted of red and black clay tiles, that were hard burned, fine grained and of ex@ellent colors; the A: " a > 7 ) ERTS oe | wt ss, ; F sw « - desks | | | i” eon Tine oh em ) sh idle adbiadeoe eu9y .tdiw: toot nofgnia A “ taser Yo stateaod sits ylood#d ts sattedrs9 .2 to doraad) oa sot (08! ron 00) sapt%) a9its slo bosely box. one’ deals de , (gen taibex4 tg dowd. Yietasdol asioieserd beyowsaed bg 1. s lo anbemet beyteerstqg a9ed syed. simedo¥ at RTS T ABAD (t : | qaRineb {uititueed ytev iud alquie to asits yalo bersig avog sane: tae) daieid) ate seodT .msns sousorger 1°! gon o¢ gon | e18 viiesaortrod bodoted yistaria oeons .tsloty vi bet edt sia ylfsottiev bedotsd 2eao textes sat bas ,aokd meet ~ .98@ sotesiamod fortns) t9b .523% mond LISt atot i ss PAS a he we > yetas \Sididx«es: geds bas Oreini coals otew soliy yalo doe? pense noms i e941 oft das agits to eteoo. Pash ches | . -Rabteod terasl2 sas _ =a9/ oals en seheetl to. iciahd & 3038 siobtw adv at .yiisar® ' boa soak: ¢d dsJasusaio Stew sesad Sus .atoolt doawdo 10% dSsqolq Pi eeiofoo ai beilit etewdoidw ,angtasd — . * a ks \ Pic 7: + ae ig 1 BR i ¥ ai * 144 95% small ones have areas of .bout 10.85 square inches and the lar- ger of 21.70 souare inches; the white is formed by white morter. Nete 180. From Wilde, 4. Denkmtler bildender Kunst in Libeck. — BReft 2. bLtbeck. 1847. | A simpler floor with a very good effect is to be found in t the Church of S. Gatnerine at Libeck; this consists of greeni- sh black and red glazed clay tiles (Figs. 400, 401 180), From ayy the destroyed Cistercian Monastery Church et Fradist near Mtin- Ls Sebengretz in Bohemie have been preserved remains of floors, glazed clay tiles of simple but very beautiful design; Figs. 402 to 405 134 reproduce them. Those in blakk Bere are actual- ~ ly violet, those slightly batched horizontally are greenish blue, and the darker ones batched vertically are the red sround. Note 181. From Hitt. der Gentral Gommission ete. Such clay tiles were also inlaid and then exhibit ornaments, coats of arms and the like. 125. Plaster Coating. Finally, in the middle ages a layer cf plaster was also en- ployed for church floors, and these were ofnamented by incised designs, which were filled in colors. } ' f * j a re ere ee hie: wo. ron iS i a P 5 79 f a ae wy el | % ‘il i diy Oi ial Pe ce Ve | eee | Ap oay eg es ) pptttatoanan2 It setqed an). 35, sat nk Mii EAS: stameiant ecmpddaer: selbbtw odd syed dueuecto to atesod add ai vetwodid edt ylemsa ,aotseloe (sxstea bas ofdsavaset Saom ods on “ abies: Jasitduoo teet8 ods atsoqqs cals e194 .Moesstt sisd i bottec /aagbom odd aviw\ aes slbdiu sat bas dasd, eng edt uo e099 | +8 0%: amrot sabe odd oF sonotedbs sig sxadf -s2nto ods a0 oa TL axeos9 sat .gukbae sgot¢iw avcitse1o wen o4ed ,21ee¢ base add to motsssta9eact0 vas Tot Suutaa betebavia ybseale bed) esate gag sus .s10toutdaat afedt weds erzoted bas .agatblind wie - efeovon: eas siest? odd tot hbediswes Saemsaxo Legqtoaiag sat tod _ -visemeds paoet, tovem yods bas .iaomsaso “destlasoisaevaco” bs p. Pelee 43 torts tol désq atid? abieswo a: | =t0) 1tedt sol ame2 edd at aiost sdv To yiivivos ofsetire sd? ; —g3) 90s tot as bosbat .am10t Lexvsoodfdors attend 10% as Inamen | ea0dw .emrot betqobs bas bettimanss? .algues gas 10t ~ydoxtr | =adoi bas eovisemads of mwonday s1aw atyito bas Améasem ,oo1gd8 - seifsost toveod® .ydused ofaesio osai bemtotensis yedd .esao Stenkhixo olqued astoax) oid isitedw ,etuqarh gatine tevem ons: +“) otew eofudon eds todveds .nottosiasadco saoéa 10 asbhoow 8 wort (eer Jodtedw tow sd¢ Yo 219fts1 stestons eas Jom stew tO ts adqyigtes oct ydw .eatg asboow Iasioue edt to. gqotb stew 98 ovdw Ons .omsa ifsdd déiw sons5tosos at aavrg8 9920s aved soa +228 ousa tiedy 2s .2antuego sds aventad basée bib esqotea odd Sabi ed tounso of y.0%9 ,gevisameds eyatdego okt 919" tu0 arte a ig dade woud sou Sr6 adnoittons 247 Sads .oeeds autateonos sdyod | to ears odd at yoserlA .beton05 tis aisdd to amok Lissobd edt omsa. “one ,eutvexTtV: uf Bofeeucesd omsa odd sbait ano ,aurangeA eat to ofobra odd gatvioe to ytitidieacqai bas yiniscisoag ) -do aiset3 sdt asdtT .amt0ot (sigdosscru918 setos79 to soasottra mort .anottssiLivto eldtasog {{s sort staemanto west bsaked | eds we ts astaolgds§-asebisdD foe ,asitaro® .asssnsort oad sowolt bus sovsel ted¢o wot s to bas tesf agdtusss ona Yo bre @ vilantyizo: .asuemsnto saeds erusen oF tatsea tddvord yods es agen tus besd vat sud :oa0t8a to slitid yrev gaukyant rene eusosd etds {mods yd Sebasoel> Jom 2su wiol base -Settas theas webas yico Jusasat0 “dsstlegotsasvac0” otai d tususaro steeta gluo aso eno. tsa% ,aotacionoo, sd wok yas ans ys ogee witas as ei ai guisitenoisas ‘tego a=, eT has, ei a ha a rs, r a ) rl \ lyf z ay *s ap 4 | 145 Abb Chapter 11. Ornamentation. 126. €recian Ornament. Likewise in the domain of ornament have the middle ages fou- na the most reasonable and natural solution, namely that of na- ture itseif. Here aise appears the sreat contrast between Cr- eece on the one hand and the middle ases with the modern period on the cther. There the adherence to the same forms for a thou- sand years, here new creations without ending. The Greeks like- wise hed elready plundered nature for the ornamentation of th- €ir buildings, and before them their instructors, the Psyptians; but the principal crnament remained for the Greeks the sowcal- ed “conventionalized” ornament, and they never found themsely- es outside this path of error. The artistic activity of the Greeks is the same for their or- nament as for their architectural forms, indeed as for the en- tirety - for the temple. Transmitted and adopted forms, whose source, meanimg and origin were unknown te themselves and obs- cure, they transformec into classic beauty. Whoever recalls the never ending dispute, whether the Grecian temple originated from a wooden or stene construction, whetber the mutules were or were not the ancient rafters of the reoft, whether the sutt- ace were Grops or the ancient wooden pins, why the triglyphs did not have three srrmcves in accordence with their name, and why the metopes did stand between the openings, as their name ass- erts, but were the openings themselves, etce; he cannot be in doubt concerning these, that the ancients did not knew what %t the detail forms of their art denoted. Already in the time of Augustus, one finds the sawe discussion in Vitruvius, the same uncertainty and impossibliity of solving the riddle of the sig- nificance of Grecian architectural forms. Then the €reeks eb- tained their ornaments from ail possible civilizations, from the Mycengean, Egyptian, and Chaldean-Babylonien art. By the aid of the acanthus leaf end cf a few other leaves and flowers, they brought nearer to nature these ornaments, orisinaily »e>+— tréying very little of nature; but the hard anf unyielding | ground form was not discarded by them; this became transformed into “conventionalized” ornament only under their artist hands. Now the conclusion, that one can only ereaite ornament by conv- éntionaliging it is an entire error, the great error, that to- ; f , d ale > Sve i iis ‘ae ol iv i ee 7 UA, f . Std dBi A Tes a a ane Migt! t) + f a5 #x : v7 .elesl ab fd? .taomsaz0 asivatsdd ylis% of asmof worl sotésmrotesens | aii edtod odd Yo hoiueq odd wort Saemsate usisaiidd ylis® + a Sito ods ofai absadwodods isbus beazoteasit aew (038 daa 03h fe suozensaod odd mb OQ0L 1597 odd setts 99a 94 dotdw doom baaeqg 013 sbusd batiaiq bxs 10m dvoslyedal ..yissi s8qqu to i natist? doveteeqas saiwieds0 sottetrsdosisdo ylueie — 8 daeacileraiag bas sataselgas ylort 9 sgatoLing < A | as 4 date he | ey SY i" ae eae < ih ) if Ass) pa Be De ine) a ing a open , 146 today restrdains all new creation. Where the Greeks and Romans dic not employ forms transmitted to them, on the friezes of their temples, on their cups and v vessels, they accepted nature as it was and therewith decorat- ed surfaces and vessels. The icef and berrées «cf the ivy, the _vine and grapes, the bop, the bean, ell fruits are to be seen there. Are they conventionalized? Not in the least. We meet. with the most charming imitation and observation of nature. It is self-evident that these are not plaster casts of natural -planis. The artist’s hand shaped them, arranged and extended them at the proper places and adapted them to the material. If one desires to designate this as “conventionalization,” then would it be right. But this is the sole justifiable convent- ipnalization of natural forms; this elione has a permenent res- pit. The artistically trained eye and not capricious distort- ion creates from nature “conventionalized” ornament for a siv- en place. We shall again find this solely justifiable *conventioneliz- ation” in Gothic foliese. 279 The erroneous conception, that one must “conventionalize” in- pels the architect to draw or model ne face without a srimace, no flowerwwitsout unusvel distortion, no leaf or stem without constreint or violence. But neither the Creegs, nor the Romans, nor the Renaissance architects proceeded thus, as scon as they had frred themselves from te@aditional ornament; but everywhere a justifiable and well founded course of thought leads to that “csonventiconalization”, which we understand or misunderstand today. Before all else, the Gothic architects did not proceed THUS. 127. Fomanescue Ornament. Phe origin of Romanesoue ornament is most certainly sought in Italy. We there have today in Ravenna before our eyes the transformation from Roman to Barly Christian ornement. This Farly Christian ornament from the period of the Goths (between 450 and 550) was transformed under the Lombards inte the orna- ment, which we see efter the yeer 1000 in the Romanesoue art of upper Italy. Interlaced work and plaited bands are partic- ularly characteristic. Otherwise appears on Italian Romanesoue buildings a truly unpleasing and unintelligent abundance of an- stators: ails fo asissaryemd seLfotsaoons ott ‘to ea9dd to. teasaot odd of betudkasts od nao nue 1 8 wes? at Hsiqsaco, yisdase ad BI ott at glad» axe Retsataiito stow dvivscods base ,suemeate euois q (0arr patina pat? te [sidodve9 edt aca? 10d soa'tseq ai \ geva .etettaso suortas {vtituesead yluas glldnnetah ase baf.totos elretasm dviw .retasia yo “Sodariledme* aetal stew = 38 gadonaas agoresga eis at bait ow ob 08 .«gdieasedxe ebasd bag betas aeno blo yilset sbieed uisttase suotsas eis soogd ) trods to asey odd Saixtt ivodtin .cyew suoiwev at daRgnstio _ soEsec0s 89 NG oat qowans oF Sides guted ydelsdd bus ara at ay . feattesisd to ylast os puoded: teat uaenne8 to aucitiog: saodt yino at yilsavteh “a: Ta «Ye taomqoloveb eds wollot 900 aso .stioms aswd iaetone sar | aotenty odd, .etow af Tebssid ods co 1999 6B «Snomseate supis } “ aetoteiate eds Ons doatod ta coitio9 sid .sileqadd-alextA ge vm i.oa7 ao daeusato ,.gsw ofdavon s at tH .nottsmtolad sisi | a al axe ggedd ;OO00L seey sdt 49/%3 2eaaso qisuréns sz2onls ekat ‘a beta hotsotbeb) wisdasbitd ss Lesioit .9 acd? .otaiq yisvitae eM 22 AODOL apzed).H-no-g10durd tactowsd) yretesao adt - seftensard te sqyso edt .(@b0! bovsoibeb) emgolo9 vs Lottqs® —— hOde epob OOIL ssey edt astie ¢icO .ovs .sutésomse say mort ant. .eg0tblisd, svogsasmod ao o1S5a"ytsve tu090 Jaewsa10 Te0¢o ) eresggs a2 .girgtvo att wot gcives ai osttivest eroteteds 2a =< ms0 ods tiw devoemans Lis is sou ef saomsavo woo atas ted =d oud yd Sovol gitsexs ce ,2gatositetmi sua vind .wsieekv: ete edt .sJoW ds s9ots@ .4 ni taixs ybseris .gissl to tas ote oy Bivdancaea ss doosh| .2 so tcemsato to aiyts aviaiuqes bas bates’ ds tqyto 9dt a6 dove ,ofotedds Ostlis agnkoirad wo ba8 eisvsiy odw ,eastiast sas ov 2n0lsd of mage ytsatace ede ao C eds ak awode ae ,@oafosHoD 28 eakidgngos tas0e(bs ofat Be Taree OBS) aq OTL .79d) “.koodbawl® gius to wed Q afsas0 ons ‘lo Seid .yuoxs? nt J18 ovtveroosd Favilase ehh prudsb3sl ts dowad aowsstder) ods to .guderLooud ys dorsdd gn se ,ed¢ Yo bas ,nedelatoms8 33 dowau® ygetaato¥ eas to _ p arscqgs Sati ga (S501 49318) misdeeddel as Lesdaid .2 tor 8. aisn were aleg ieeaerey asenien aptosot 7 a a se. 147 animals, reproductions of entire myths and stories, .that speak of the uncontrolled imaginetion of the artist. Particular be- auty can be attributed to the fewest of these decorations. Only in the 12 th century ccourred in Italy a revival of an- ticue ornament, and therewith were orisinated examples of more perfect form. Thus the Cathedral at Pisa (about 1150) posses- ses internally truly beautiful antioue capitals, even if they were later “embellished” by plaster, with masterly scrolled bands externally. So do we find in the numerous churches at Lucca the antioue capitals beside really old ones tried and changed in various ways, without fixing the year of their ori- gin and thereby being able to answer the enticing ouestion:- Italy or Palestine? Naturelly in only those portions of Germany, that belong to the ancient Reman empire, can one follow the development of an- tigue ornament. S. Peter on the Citadel in Metz, the Minster at Aix-la-Chapelle, the Portice at Lorsch and the miniatures yield information. But in a notable wey, ornament on the builid- ings almost entirely ceases after the year 1000; these are left entirely plain. Thus S. Michael at Hildesheim (dedicated 1022), the Monastery Churtheat Limburg-on-H.(Besun 1040), S. Marie-in- Capitol at Cologne (dedicated 1049), the crypt at Brauweiler from the samectime, etc. Only after the year 1100 does the ri- chest ornament occur everywhere on Romanesove buildings. One és therefore justified in asking for its origin. It appears that this new ornament is not al ali connected with the Carlo- vingian. Only the interlacings, so greatly loved by the Lomb- ard art of Italy, Already exist in 8. Peter at Metz. The wild and repulsive style of ornament on S. Jacob at Regensburg (1200) and on bhildings allied thereto, such as the erypt at Preising, cn the contrary seem to belongs to the Italians, who traveied into adjacent countries as Comacines, as shown in the preceding Heft of this “Handbook.” (Art. 170, p. 220). The earliest decorative art in Saxony, that of the Castle C Ghurch at Quedlinburg, of the Liebfrawen Church at Magdeburg, of the Monasteyy Church at Hamersleben, and of the rebuilding of S. Michael at Bildesheim (after 1186) at first appears anite foreign. Antiaue rows of paim leaves, mixed with animals and osvother decorations, that wholly suggest the East, cannot at fi- \ se ie ips ati si iia r > a 7 of A Bt: ry ’ P ie Pa > "i; « i Si bsbaniiinete pds ved ;ife ts psatelqxe $d tart me jatdlted yxstogustaoo besbar bas sattasey@ we) davet oxs ‘si fo. ods (aieates SbeGiah 203 saiwakid nods soned. .tast 4h eaoiesion peag ait pm essoibui o¢ axseqqe saemousdq: teds capone tnetoas to sas a*ievasoboow baisevat woa § ..8 J -beFtwo00 vido eids soate 363 «sted most mwedd dviw adgaord © .Sfdsvisonoo teeqgs ovis. ifte aotvssatgus atdt ,eolagtaso aed ty hecteadotu. 0% ‘naletiqess “sstisosg base ugietT0? vletidas sal © a6eeulegtad) x8 dotond sud to tss2ioio say to bss wisdagolea .ftoktsasigxe atdt doom of 1999g8 Yisiduco aid ao (O8LL taode) ong «Qaesdeo dv SI oad ak yYuorse ak epas aifod 8qq0 844 no bagot oels eswotedtd .svitos otew asouce (isetted 280 weleottrsg ai aod? .ta9meato scottas to Isvivet s eacdd he meee gas notte .(08ff su0ds) asttg8 se lathbearad Bag / qidasbive sea etad toa cove Sedtasdasid ak entbliod seedne < PRE Fart - §2¥taenens? ouotsad to Ievived .88f | ~806u6n20 ns 2uemod sat to outs ois sort beltevesg souayd af ‘Zn byiistosqe? .esylans ofsbasd ci ssdd .ytosed olrrel to aotds Sat. S¥ieluqer bas stsfoesh s aien Ji 2906 Sa9w has atgoe edd at -9381T ar. aodw eivtikigasd od oF beonsanoo saxtt a] .aebessug q atsus o10x afsbom sept¥ns .sorsvord bas yoaugtOd af ae sonss4 1s araaoe ads 26 suty em4a ody Se OSoevaged ards Jud .bdeTqods z paeioos Otro tweds: eaas .2908956008 9d aout bedsisges eae (esrr-oatrpelned .2 to sbsost Jeo eds bas siodo od? | edited: odd to even eds base (Ost! tuods) zeadasdd to sbsust saan B kee eis sascerq (1C° BEB) eicls is 19898) .2 rane oJ to ferbe ’ ‘sted .comerd atentyea ai solquexe latidused Jeom bas taedo ). feu 2iton GIS To Raives egew sat Tl. .s1s0 Ons loos -diciiesctsty as aagaa qisve to seidre yieve oF sodT ,9au ‘” ma . " he A . iL. J * ’ even, Pe Sr te ‘if. ‘ | ad a P| a - Ott ° Oe | el iskoviae -tamtod saoitas. id sida dosed! Latesbsq = ;an10t euoitas Yo donso: 94fdn9 Sat Tod y need. toy. toa esd di, oais sted cud .afidag bus saevsidet © if yeds ss stetfase beaoold sonsasisnoe’ atds tedteaw ,baata se Oare tgods)°s0ae79 aisdicos to tady asdt t976{ +0 a eet. .ysusaeo da S&lveds to. ehsosd teiad eidd aati asostidois - qtasaaato sapttas lwtigueed s20m ods to gatloasa grag weirs Re ods at gniblicdes tiedt at boyolams aiega atebshurs. sat dotaw se 2 «' if ip f hts rr \ >. ) = ane 14¢ development of the anticue forms; the Cathedrals of hangres a and of Autun are splendid examples. Thus the revival of anti- qué ornament in the 12 th century does not appear to have ori- Sinated in Burgundy. Tn Provence the best known and most prominent examples of this tendency are the west facades of & Trophime and of §.Gii- les et Arles. Here is not merely again revived the ornament, but the entire canon of antiove forms;- pedestal, columns, en- tablature and gable. But here also it has not. yet been deter- mined, whether this Renaissance bloomed earlier, at the same time, or later than thet cf northern France (about 1140). ss Pinelly, we Tikewise find in the Holy Land on the Holy Sep- vichre this handling of the most beautiful antique ornament, but apparently just as little Roman as in Lucca and Pisa, or in bangres and Autun. It there looks so “Byzantine”, that the mouldings of the side facade of the Church of the Holy Sepul- chre are even held to be mouldings of the time of Justinian, ,>ywhich the.crusaders again employed in their rebuilding in the 12 th century. Yet this is erroneous; these mouldings fit wi with all their returns so excelilentiy into the subcivisions of the ornaments of their separate members, that they covule have only been prepared for this external facade. 129. Treatment of Antioue Ornement. Tn fact the key of the very wysterious riddle appears to lie in the Holy Land, since it occurs, that after centuries of pu- erile endeaversto hold fast and to stumble after the antique, oer that even after centuries of interruption, that antique or- nament is suddenly handled with a mastery and with an entirely unexpetted perception et different points of the known world, which is unintelligible to every artist. The artist knows, t that the seeing of entioue forms is of no use at ali, if the training is wanting. Yet the artists of the preceding centu- ries had antioue models before their eyes, just as much as the architects during this brief decade of the 12 th century. Yes, the earlier architects nad seen antiave ornaments in greater numbers and better preservation; for each century allows innun- erable ruins to disappear, if they are unused and not under roof and care. If the mere secing of.art works were of any u use, then to every artist of every time, it must be possible See ye ee ‘Seely a Oar wb tas lecmaceti olooeit s) Yo slot oif) .taatoas edt sdetiot of ae aOR bas: eede otustd wolls ytotard 51800. ai200 odt | Be ane daa suptias oat ot aieas itleenia “detoveb") sa dorda | 984 gg0led aids of soft at s0900 Soa 2e0b ti bet9tes@ 90n0 _ ~sebae edt to agivasa sdf os seads so4 .kaiateait bas alnodsa ve qind: “Tbe1s0000: syed Saiaisad atdt Sige9 otedk [nem to ‘atov og # yeaieae1 Inetons tad guidtou esx saad? .oned ylohedd ai og - a8: thtosxe balobom atsey Sasasods = 19¢%s ode .giaisis sis0 ) geom- ons bortasdams sted evsd of .odvatsel bad- etofasone sabes | *\jehdetomut cat ylemea 318 asiootd to avtteitssosisdo asotvdo a visevigas sotesdbs as .amiol emse sas oF soagredbs ' bad atsoy kbeasaat stot tus to sottostq sucitas sds: 190T4 /tstdqo8 «8 to 10isedaieds oF slausd tsanglod euotvas sd¥mout ee eneteteos besetosacce base Sadattade qilsiaisg ad? aor? > )e)bas tdgit 9d? oF sono Basow dokiw .drowliogos agouattaoo gas _ 98908) Detaiog $i% to gafteveo atotiag sdt of eMtel 9aF oF .20n0 | gaeve: {tesf alsq qievG .b9t61090b 2d oF sostimea oat tod audd “tetis tof .aio0t wea efdstaedas ae asvicvoes gleosirb aciasdzas ) -ehaia dose resis, asie929 tart? asw dorau .gutvaseyd .ased atad ) © leasds ot test biad eddqsagrsdous as taut tus af Sogsvbs ytd4a a at woa b9uattao00 sieet3 aaf .2issy basewodst 8 gatscm awrel my ks erdt.tis. Isotaaslo to botieq edt at es elsosse (“anitcuseyd” : *omusdo ashog evil of begaisaoo sisduyteve dis asiay3-asioes3 )yebsa@eto setit.ods to etzoqs2 ods yd bevoyg, et aids «eign aad | af Qaktatxe assiveiidd Sasol exsdsegyo end totam od gaLbrocCs vt | eas 10% Heatswer saest .svitio. [ie af aysdaga ds918 | Sreerttesbat tts bas ed1s iis si etosoutteat steds ebasd dard motdsetetasa wea tievas to ‘eteitow tus bas aseigrs odd oxo bas y) ldaebive. eisbseuz0 edt bua, viod od% to elgosq suegons 902 “« qxo/@¢0? .Jcemsato evotias to isvived gqnads xisad bonuses! | stotvaeso. ak gato} edd to daensee1s asmorruoa yloiitas edt aut ha or uagensny edd eff tou bas to8t at a6ioe13 247-958 yad? i flee pect, /edesB.odd al otadaqreve.sttel aiu1 aseod sag ne: we ¢atebsavi09 ony to seve edt atoted boote taal ic oxedy sae -Litte ew .basd yiod ead dexe9 ' 9% beaoagdo vlorisas @f FE goate .sqomd atetass to ay of oid, HERS , Std an a99° 3 ‘aes $d% Bettaooo eliquvids sasit .yldtigaoteg bsaasdo qispssou | mottebus ,amsloo usiteiadd ¢irsi dt to Letiaao ¥o0ld sag od Is Zb0 150 +o imitete the ancient. The role of a Niccolo Pisano, that +t the works on art bistory ellow him. to play, énd according to whith he “devoted” himself egain to the antique and also at once mastered it, does not cccur in life. To this belong bBhe sehocls and training. But these are the results of the endee- vers of men! Where could this training have occurredt Only in the Holy Land. There was nothing but ancient remains; there were artists, who after a thousand years modeled exactly as teeir ancestors bad learned. We have here emphasized the most obvious characteristics of Grecian art, namely the immuteble adherence to the same forms, an adhesion entirely unintelligi- ble to us of western Europe, since it is entirely opposed to our nature. After the antioue practice of art for @ thousand years had -Searcely changed perceptibly, there abruptly occurred the leap from the antioue ¢olumnar temple to the interior of S. Sophia! From the painfully cherished and consecrated Corinthian capit- al to the block capitel «f the Barly Christian column, and from the continuous scrollwork, which wourd once to the right and once to the left, to the uniform covering of the pointed acan- thus for the surface to be decorated. Every palm leaf, every anthemion directly receives. an undeniably new form. But after this leap, Byzantium, which was first Grecian,after such a mi- ghty advance in art just as unchangeaply held fast to these forms during a thousand years. The €reeks continued now in “Byzantine”, exactly as in tbe pericd of classical art.This Grecien-Syrien art everywhere continueé to live under Mohamme- dan rule; this is proved by the reports of the first crusade, according to which the cruseders founc Christians existing in sreat numbers in all cities. These remained for. the untrained Arab hands their instructors in all arts and art industries a and were the artists and art workers of their new masters.From the anctent people of the Holy pand the crusaders evidently learned their abrupt revivel of antioue ornament. This expla- ins the entirely non-roman treatment of the forms in question. They see the Grecian in fect and not like the remains, which the Roman rule left everywhere in the Fast. Wheat stood before the eyes of the crusaders, when they cono- uered the Holy Land, we still see there today preserved in pa oe baie gE Pp a a ae ai (4o%e stons noe otaye od .9b LW .ouQOY ©. SBL atot 4 © 32 : 4“ ae wtRar caentt a (etebeaoxe oat 169d vaatt ap tod oa sisnenodih SHoo nos Pea tadttou 982 RSL etek ey Sor ay as awa sa om ovel pike ous te set suadeok ba t18q v pea sbisow beautiuo add tol agaidiiud seeds be1sv05 § yoda wou bas ,omoa Fs. aovisensas 968m yeas eaotget tsdu keto.odt to av) gubbliad edt asin eovisameds: batguooo sone po nen ¥ « OB1 swobacd - +S 830% efott bi) noone: 34 nas. yads .8194N6b geod shal gilsaft bsd yeds 13956" idetdw) sont sidootta’ 1se0q aislo sasixsxul yssv s ovat bs eq ouoe dase akeae yods 9394 word .ecdtakG to Istiaso sat -od? .vebusitise of atebse1 . atsiusl® to tavo9 edt dtiw tasdo9 8 (edt ife belird ~Ratmoo ifedy te breed enestiio sag aboot: xtous {{e words bas) .medt bsasstiage anol ybsstis bad one. m is ud -awond oais aawidotdw .yiio aids tu% .ytto aay te: t90 sabiooteah norl tasteth (? g96T) 000,af at (atoois® ae oman 12 aad betetis6oa ne Suv To-asors10g Sad ,etos seeuT oT TA We “.bafifsost oven aadatyorg evaorrey eas t00 oa ‘bagmaok oisd of betasiwae 1990 bea sidoottad, 197 ta” ‘ : Dakehusts to qaw edd to dgo 02 oF —~.Sfa¢G oF bedorsem your ts to esitio asesis? edt to tav0008 ao yiterdo bas ,reRnud edy gieiveindd ods .yssuu0o ead lo asltaso yam bas 51284: bas belfeqsoo oren yods tauy .enims} is072 8 dose Ud beThaiy s19n ‘heoed Qu¢ al .aneosaee edt to eeeqn00 Bakdtoe etd ao best oF Reelin odw ,ausivetidd edy ot Seasgqed sf SSOL Srod edd Yo Yo yasm@ ems To soxot yd asisd bed bas teW Bat bauaidaeo > bsttis10t ylanowe qiey 8 suoted fsdt_ .aalseso bas aottto plas 9.02 most taster eerl nedsautsl r-',emsa yd esdotd (old 2, ’ y Waid aaivivo wotte beth od (note & yd based ade no sid eew bolod [sd B90" ~rabrow sees) eviuds dossoqen yied ef wedw .ongoW ods at baoasvbs ee ous eotvbs entyid yd! aoquetef = * sou fA eb mttsoad Jerusahem lies distant from it 9 haits -- yery many of them found death. Among these, Ancelin de Ri- boldi was bit on the head by a stone; he died after recéivins the wound, when he ondy repeated thrice these words:- “God help mes” Hereupon by divine advice the army of Cod advanced into SS Rey if to afetou : spite seats bak «609 to on6a Lot ae Sten woth ised? y my ‘ } : ; te Vs hii Racire ~ ae nq By ‘ae of bs car 1 PD | gar ad O14 ~ttedred ese debeol.bae isbasnaoo tivds pageddasca oan eee molsagzel: to doisizted sise 19361 saw od ,e2ig to go. bas aid ddiw esiwediivagifedsd 623 oOaomedod déiw gaeaqaco | a “08 gmso bas bete1sqg98 toda aeat .cotbhted 2 to Seomys? tagod. taivd® ods yd OOK sey edt ai const eay dotdw ,wsisenish * i _ . seode sity? ayveidiom Jo eckelliv ott Lie ert eeasatgod odd 1523 the interior of Syria and was strengthened anew by the bounti- ful hand of God. And since citizens and officials of that re- Sicn sent deputies with many sifts, that they were ready to s surrender their cities and camps, they took hosteses from them and laid cities and castles under tribute. After many, who had abandoned them in time of affliction, bad returned to them near Tyre, they finally passed to Aerlin and besieged it, and since they suffered from the want of provisions and of drinking wat- er, they daily by common agreement waiked around the city bare- foot and preying.” 134 Kote 184. See Muratori. Rerum italicarum Seriptores. Milan. 1728, III. p. 858 et seq. tn :- Vitee Fontif.: Roman. Card. de 4ragonia et altorum, “Tn the year of the incarnation of the Lord and while Pope Urban II stood at the head of the Roman church, the people of Pisa set ovt in 120 ships to free Jerusalem from the hands of the heathens; their commander and leader was Daibert, Archbish- op of Pisa, who was later made Patriarch of Jerusalem and rem- ained there. Bui on the march they conovered Leucate and Cesalonia, very orave Cities, and robbed them, since they had always obstruct- eG the way to Jerusalem. But in this manner. the army of Bisa took tae very werlike city of Maida and besieged Laudicia in company with Bohemornd and Cibellium likewise with him and with Count Raymoné of S&S. Fsicion. Then they separated and came to Jerusalem, which was taken in the year 1100 by the Christians. The Pisans remained there for a time, rebuilt the helpless ci- ty and returned to their native land.” Just in the triangle between Antioch, Apamea and Edessa on the Euphrates lie all the villages of northern Syria, whose buildings Be Vosue describes to us:- Moudjeleia, Serdjilla, H Hass, Babouda, Roueiha, Bana, Baquoza, Kokanya, Behio, Qualb- Louze, Tourmanin and Kalat Seman. The crusacers had at once m made thenselves at home in these villages, fortified the cit- ies, dvuilLt churches and drew countless piisrims to them. If then Dehio maintains in regard to these villases located in the desert, that at most they once came from scattered crusa- ders, these assertions cannot bé maintained. The architects and eculptors of the crusaders chiefly came from Pisa and tig ie ay | aah Vale : ass e icekiases suobive-tee, at BE: bog: ane | on. and i ienskacniadbliedtaa: edt to atextow dae bar \adoosidors (| AOSLL suods) satoigge? yloH edt to donudO- ens ta see wat a8! toh Sekesdous nt boyoique nteks dnsmenso “suttas _ateteon sac. agus bas (,26imsi99 x9t e1edd FAgvOTN reed vigsa nisdd od erie} nsices3: beotsrdo, vinen ees TaRoord | 188 .Lenetesooo: eds darestenoco iuoddinw bentsiaxs. ef andT en egqsertb btaqes sied¢ os [low ee . desk ond mi. exe? sows to at. m8 pind seovstad on) bad tast eat ni nesd nevsm bad 1eve0dH — od odd fitan: etedd bas.919d teat ,henisique.di. ei sein dave _ustines) wsoed eysuis sicdd .vauineo ad Sf ous To gaia alerbedssg ods ah €8 .yYnswIsd.of seve ,emn0t.istasino bus " ogexeda betrgani etew etoetinows esedd ;waudebae fas esxtgs ay fps}. est ots of Ey Gare oes easeiot Isiste to eonetesqgk .O8f | ebet tot isaudsa» .ytutoso id Sf eds Yo edhbim eds asd h adnemsate asiisess [fe susiqque od eoags4 ab beoasmmoo qisg” “ esdegeas «dneasn10 Yo noksIseto woo Setiaige seom sad meked wo Fe ptedd tedd .sobt Lesetan sios yas oxsds al .besas990 t98Vvs stan) Peazaseo ano eteno Yo efamins ba8 sasilod itin saissiooeb ed dh 309 Teotassnes tO} n990 Fi oad bovomey ust aod. .38¥, “to Bros et odw .deidusa sds to. moboe13 Leusinigs.oxtins O46 of, re (af Tovecat +990080) TeBNE eit e808 base &2f aistesm ,da8 eid ‘ oh er eds dain 68084. BeeolySia fo 1OdsTLOL H& Bea HDeoseids yisa beh Ose sine basouob ae Boot bengices soo eto Sena oitsgoaues i oi oe ee gino d%e gésinzooe% asyeseds :eaneiied: ads, lage ¥ i vee. sore bedoonpeoetbh bas siditiifesiukes lo exvesesd oidey sanod JdRiw eitas Lhe Feds ,noidqsou00 dt a0 avis. ile ss teven testo $d Tiesti yam botasg susbom efy save Teds ,Setwiedio Set Ratbvooos tod (eeotaqan iniioast adin Fon ebeooots Th 34 -Tiwenstt sid etetesm .sevgssg 25% oF Qaifnogeentoe brs soaset SG 1q odd mort 2eao wea sodsd 10 Goay emIOlemAIs ous awx0? G99 oF te ee +oun7sa Fo eiou igome 2iarod. eae to erubenorg, we sebiaence ep sed / yeas evel) staomsax0 10T seeifot iemwsea to seu ada ng dads ot yiqgs nea sas .280oe BuNsBONIEe ead ni bexilsaois eisseuas (Radddoa, bue sasloiv gnidson si oxsds :0% Tyebod | ie eee BO bre ai epeifot. sid sist .oiqwaxe * i asiek Lenawen ok a20d bosoqi Ha ed.tepncese: ore wigne i ne oer >i Wi ° a : Te ni j i ae ; « ys Ne aes ) ’ , ‘ 7 , 9 OLA us es . oY ere v4 i ee ba} % 4 beatee tis caste a | a ees \ "pel oa eo a Ma | a, hy er ae ait fe 154 france, and it is self-evident that they utilized the existing eé3architects and art workers of the native population. Thus we > A b4 see at the Church of the Holy Sepulchre (about 1150) the “Byz- antine” ornament asain employed in unchanged form, as it had been wrought there for centuries, and thus the western artists prousht the newly cbtained Grecian forms to their native land. Thus is explained without constraint the occasional appearance of such forms in the West, as well as their rapid disappearance. Whoever nad never been in the Fast had no interest in them. In such wise is it explained, that here and there until the begin- ning of the 18 th century, there always recur Grecian antique and oriental forms, even in Germany, as in the cathedrals of Spires and Masdeburg; these architects were inspired thereto in the Pasi. 180. Appearance of Natural Foliage. After the middle of the 12 th century, natural foliage abru- pitly commenced in France to supplant all earlier ornament. Th- en began tee most spirited new creation of ornament, that has ever occurred. Is there any more natural idea, than that of decorating with foliase and animals of one’s own country? ‘And yet, bow far removed has it been for centuries? But it belongs $o the entire spiritual freedom of the artist, who is lord of his art, masters it and secs its inner. nature. Whoever is me- rely trained as an imitator of previous races, with the evident assumption, that it is not assigned to us as descendants to e- oual the Hellenes; whoever recognizes art only as an inconcei- vable treasure of unintellisible and disconnected forms -- he never at ali hits on the conception, that all this misht be otherwise, that even the modern period may itself be creative, if it proceeds not with fanciful caprices, but accordins to reason and correspondins to the purpose, masters the transmit- ted forms and transforms them or takes new ones from the prod- ucts of nature. Let us consider the procedure of the early Gothic architects in the use of natural foliage for ornament. Have they conven- tionalized in the erroneous sense, that men apply to that word today? No; there is nothing violent and nothings unusual. ‘For example, take the foliage in Fig. 406 126. The leaves of the maple are arranged on the round boss in natural nesglisence. ah : si er set or es -ouoteyed sad ‘Yo wx0% sid od ‘Se auot oa Yo. e1sueo edt Soods yleniavsdo teow madd begat ens gsods tou ef tee sav to saomtscnd aad e1sdf = teh dol isubtvibat esi .stutas of noitiaoago ab qiteanye 10 eeniliug Sivsinevosisdo siT asda» dose of telimte ra svsoaeo 6 beeoqgo eysuls Jsomle af sdol oa¢ to sbie i= essen to nekdevieedo oivertiis bos Qntvol sgeowadd .Peitd epevesess son pi ai gol * .nortestisaotiagevaos” to Raliivon ae iguottexod etewokt bas esvsel sgueris. yico yan sno duos solgyse st es penne? meds Jssns0o Yee sok .6a05 eed sauvau Mi "ak ae , ote «8YO ‘Sidezidys sd7 oe Le elie, fhe ie {Plowed sow ‘A lobheG wont ABEL etot abar stootewo19 sds to esysel sit esouborgs4 S81 YOS .oL7 asd 6 soslq acm bivode qd¥ .Liouse s Yo setuco eas anode saod “ab eovsel hesast1s gileveu seiwortl ofngos et? Tasat belob PME uNeeNs0 oat «se¥nthigos teol satoes) odd Yo yvaaasm odd Bsr ‘BO® 6229) sovsel Isictso yo borey90sb sie Soinsoo aten ; $q edd ssha0 eta ylRnoite to bovinees ylisel o18 agate seodn stasis s10m. ag . pooasvbs obised isidaad oA? *.wollod gaitset eRSdas0 ed? sebsifot bebiviodvs bas tetemins oF bisg esa aok -\"beltoo si seinemelea ffene A .(°%! Od sath) eodegs of 108 | dhed¢ nt eaniiiewa yd eeveol selomia ead sqebs stasm ascst +Litg otseisss as yleousse et vids tag (CLs (OLB .ebsd) eeost to yssitey seddoas -- saudsoixso 8 ded .etndsm to sobtart beter (te.2 be * .cordssiisasiiasvaco? axe ee < eedtoW ‘eiosqiuos Yo morgeosxd: .PSt- | ott tot sestgiaoe Yo eiron Saent to wottgosxs odd al 1 deT0N edd gutepso stores shew eved asm ,dae Jevesiben to ifs aegs elpbim ond gaiwh seid bevekled yedT satdio «pres z aka. ns: onl wom bebssootg yoad dad .agat GisoIG/ sds odotdn asin jouoitas ead to eiiorwe evosnttuoo sdt go goadaa? 600 som bigode qaW Vediuass jsete flowe byoshorg evsd — eben eens olbbia ads tf neve .sdiatd bas ewoeeoid yolaqus “8% geve newdoastd isusoelissat onc ;lisverg amgol slseids bos a 7 s — ak yeisaica 10 gem to avibod sid 10 sgsifet Yo 1edéedw yoo © test boow 10 enote ni bsisooxs stew \Bagos 9dt ni so toil og ot Suds joys olteidis hontsxs sds yd bevisedo ors ts — ease \betsgias 101 oidtodyeisi sis to Hoon sid -~ stebin ond sia 135 They are not a cast from any bunch of leaves with no relation to the form of the keystone. No, the hand of the artist has arranged them most charmingly about the centre of the round disk. There the treatment of the leaf is not about an axis of symmetry in opposition to nature; its individual lobes are not similar to each icther. The characteristic outlines of the le- af are observed by the trained artistic eye; that to a convex Side of the lobe is almost always opposed a concave one. In obrief, the most loving and artistic observation of nature -But nothings of *conventionalization.” Yet it is not thereby stated, that one may only arrange leaves and flowers together, only as nature bas done. Men may connect them together as it may ple- ase the artistic ¢yé. Fote 186. From Dehio & von Bezold. Fis. 407 136 reproduces the leaves of the crowsfoot; it is bent alons the course of a scroll. Why should men place a ban. on the continuous scrolls of the antiaue, with which the Greeks have produced such sreat results? Why should not one further employ blossoms and fruits, even if the middle ages rarely mo- deled them? The Gothic likewise usually arranged icaves in the manner of the Grecian leaf mouldings. The cavettos of the main cornice are decorated by natural leaves (Fis. 408 136 | whose tips are lazily recurved or strongly rise under the pro- jecting hollow. The farther Gothic advanced,. the more attent- ion was paid to animated and subdivided foliage. The cabbase and thistle forms prevail; the intellectual Frenchmen even re- sort to rushes (Fig. 409 bee Ri. A small salamander is coiled Lesin the midst. -- This need of the late Gothic for animated sur- faces must adapt the simpler leaves by swellings in their sur- faces (Fiss. 410, 411); yet this is scarcely an artistic util- ization of nature, but a caricature -- another variety of mod- ern *conventionalization.” 131. Execution of Sculptors’ Works. In the execution of these works of sculpture for the revival of mediaeval ari, men have made errors causing the worst res- wlts. They believed that during the middie ages all sculpsur- es, whether of foliage or the bodies of men or animals, in re- lief or in the round, were executed in stone or wood after draw- ings. And they proceeded now likewise. That this opinion was La rh a a aa a) WA Lay Oe cy a4 ; as ere ar’ Oe Ce ee ee ne a ee @ f } ty uf By a on : ¢ AS eo 4 J a iy y ih i es ‘ 4 i i” on tre | 7 a ss rs uF o y cP Pe a 4 ' ¢ a. MT a : i 7 B'2) ae i 7 4 Lit , a mg g | , ’ wl ” deal ai Bosak’ + poi \ de j ‘ : ) -) — pal ° rm hoe gio. eeeoatsg Bids 103 obem ston dene sarees Piston ods io etudea edd yd berinvoey et sede beobut bad - were eonsiq 8 m0 dom bas oeege ni enotsesqueouges 916 ‘icamail | | tduseotqer bas’ oaiwisseb ot ewxot olqaia a0t sicigaog heobat gems 40 ows to bike sav yd snelg ong no Sogge wt cusde viedd wicwelggton. eemds yd noitadusesiaes ,2nidsolo bas: sau i bavoqmoo soue mgiesd oF tua .cidicedant ylextsas esmoved CES ea eds af blot: dose ,isei soas eqsia ot ,ylankbsaoos _ enceqanis -- ti egnsdo of bae Leb0n oF ,908% aad Io d28@ yI9 Padenines isivneses teom. edt of Rooisd elanitas baz now to eotot “vit emuedo taus gnibligd odd of buot yout Sadt .dxon d18. eid - S800 eit of boevia viexisas og 66h Ydneod Snii0Har eye edd _ ocnnaeae gvods sook tisemiad to bluow .yauéaeo senq, sus Yo a ‘*s it ~—eobt eid posinatend sos yléneupegaoD jeosqa ni noitss1o 8 ei sisdqise’ » ‘epysnis at fone asim, .eosqe ai tsoS0 ylno wae adton tia “df Yo Rabie endo adolf dose ,gefo obieala anitbhos xsw dtoe al eidieaoq ann besreas ylaafisiay od ysa antatoflo ens To Alo? anes bas | -te0 dotis ioc .fioneq yievs eioom iady 4nitivorsebon [14 beg gd Ltot tuontin beaxet ois. .2evisess ysnged bow esidtaxs ony 8 edt: ya. pales ae oe anibiely edd nk died obdeiers ona yet eYineed ai beniaxd t entas id eeelaiabaah ded ¢ino(sekesebabeaen mie. Shion “4 p edt ot goaqe -ogns woitsieass3 et% sotsuet gaed¢ .edatwerh ot Fob oF Ine¢sqweo son ovis ei 3h .erstgiwoe sds du0 (seide 0B ,bess15908 yloutvad ows 58 saend ye Od Qaticei si eats #208 ad soutseaog tootidors odd e90b elsseh es sant - .eeittiv vo ° i amaapectas ae menses ons: et dail! sebasd oHO alain lalal sidieroqnt ae dosa et .geeeeiq Ji Litas -« enotsssiorq eerdt samedte seven oved S£ Safeivbs seodd yiniadvoo sear .Paingidhesd — j ato Intitused oft teddpanoiocsco ei oda ,tetdvs sat th) dod {ntidused | bas skstiot: us nottednowanso ent qiletoeqae bas ait gdo Atow yiisortossg bas sae de Si0m Os 28b%0 o£ enger tao. 7 peeeepense to asefdis edd ei Tevis0 boom kaw eaodse ond jassis 8 Mets teoks edd de Baste dos ceod tleewtd divas evisenrol. edt) | e190 2 ten ode ar whtbitodsodeetintestian 10) moe pavecsiiadans: fone 103 sonsbive: yrsdaompeob on! ei - acs sega ovedwyseve agoigulis nettirw wet ead ,ytets200 ens Rit qeeveel otil eotbod Sotdeancd yilsitusg 109 segottosfomg — 156 entirely incorrect lies in the nature of the matter; but there is no documentary evidence for such an inartistic opinion. On the contrary, the few written allusions everywhere speak of mo- dels, that were made for this purpose. 2 And indeed what is required by the nature of this work? Sculp—- tures are representations in space and not on a plane. It is indeed possible for simple forms to determine and represent +t their shape in space on one plane by the aid of two or three projections. For partially connedted bodies like leaves, fis- ures and clothing, representation by three projections already. becomes entirely impossibie. But to design such compound forms accordingly, to shape each leaf, each fold in the garments, ev- ery part of tee face, to model and te change it -- always in three projections -- until it pleases, is such an impossible beginning, that certainly those advising it have never attemp- ted it. The artist, who is conscious that the beautiful deta- ils and especially the ornamentation by foliage and beautiful forms of men and animals belons to the most essential parts of his art work, that they lend to the building that charm, which the eye ignoring beauty has so entirely missed in the course of the past century, would of himself iook about for a differ- ent means in order to more readily and practically work out his idea. Sculpture is a creation in space; consequently the designing of its art works can only occur in space, when such is always possible. In soft wax andiin.plastic clay, each lobe of a leaf and each fold of the clothins may be untiringly raised and sha- ped. All andercuttins that mocks every pencil, but which nat- are exhibits and beauty requires, are formed without toil by the artistic hand in the yieldins clay, as required by the eye trained in beauty. But if the architect has only represented leaves and animals in drawings, then remains the translation into space te the ar- tizan; the stone and wood carver is the artisan of that art. o€6The formative artist himself does not stand at the block to ¢ chisel out the sculpture. He is also not competent to do this; time is lacking to him; these are two entirely separated acti- vities. dust as little does the architect construct his design with -his own bands. But in the middie asés everythings was oth- on Ok error Bib tosginoe: ode wpa gon bth sostidors At lestexeazo t seaBemebaoe: eneis bas S160 Sonoda seeds tou “etnom™ ons Yisbom eitkinenaset edd \ebosd tieds bonsésgnvedse notderigent oniv -sgedd zanter andy bfod of noirtentten: afd bewolle sesswoenots ) ~cemedusels siqosg suitas sid sonie bia ,“oleatdo®. aieds svorb ae faoctess eeodt egot neds’ ,aniseq 3c gnieoate odd asiu hesodsl fidviwedmyd 918 ew Soiow shone .wae ods bisnos ylbnotqg selaie Bras too i -Jnenistaotes | ened ont ‘geekd98 ‘dae of eysei tou be 2e48 sfbbia say sad? q 7 ebbimeods ai aom sags ..02k) leties oink ontwexb ods td ‘noite! svorgeybsenis. ek egntweeb word seisiqivoe exam tos bybh wate of Sit d¢iw eiirow [evesiben oveis to soztisqmod sid yd ydéesmh bs Dhteckehoseete vino bas elebom tsodiiw bsivoexe ode .sads ,asekom ) \)?eddedtin esiveqesb to. dasmotusiis sesbiog eat eaedT .eeni | + -fioddin ebiot io saterdess yxb's syd tenitesorsdny seegnorte , 9 \ea0 sed -2ohbe webtigg [lita base avsostase besd baa ottaidae | - ebeteqmoo bas onG-ol-delfoiV to shuinssb yleosesa eds oniuexo © Y%sel .exstqicoe sisde. .psosborq Ssuuse steloeeb eis AtiwsyeRns © ivonso.en0 segntwste saeds 10sis boivooxs et teas .femtas 10 | ~d8bb sits chesilse ;sosiqiien 10 edcdicedue wen yseve Ho estes y relat fo ezonbisd bas @asov1b siz yd sand eloot 9y9 edt ,9008 Bes i seetntalyoe > . @ enoust 5s ai odw ,duscereas 2 taosulete 8 ‘ove beies soa0 b a #8018 8 To ebnatwe1b odd wests betiow bad gadadiow Qnidsuosnodea | ~O4 “Fekaiwsrb odd mottedaow yilaudos nedd woy bib* -voseow “lahatweib odd a9dte alobom sitiil sham aW lob gon biuow dade ) geod: yietsans102 bed ytilidiesogns e1ad to SOigi0ss9 sod auat . | 8 d8in Yo sasem yd teh «.tsizem sit. io dosd sds bakded’ bobsve a bad ,osodqivcs ai eteitys ton ,euseitie sdt ,yed? fssubsoo01g ‘i wW8.tOn oT9W S896 baA ‘lalebom eltsil ni ylicetdoo borsmaste ) gottsex0 eid? .eleoe beoubot « te “yllewesa* aod + ssie Lot 79008 aedn ,eomts s00g edt sort et{yest efsoe {isme s ylao ts “nig ives -8480m YISEs999N Ons JooaTiw beauborg ed oF ei aatdT Sy ® Iseaolfoo stivo dttw qo ddgied tse1g sts beoslg seein .2s7 7) dLiw sea vosike Ieagisa ts boledoe od evewls Saun ,esotensa ee eoiads 10 Sstnd gs betvosxs sd oF amtod to sostte eng sd heen per etd? ,sdobhedqg Soacso sekdis intlide Jeow oat ,este 5. ree Saree tee tn fag hone ap 2 nig aaa edt yeste Lentos atens tied ts otherwise! The architect did not draw; the sculptor did not model; the “monks” set these stones here and there yonder; di- vine inspiration sterngthened their hands; the journeyman stonecutter allowed his imagination to hold the reins; these | drove their “chisels”, and since the entire people elsewhere j labored with the singing of psalms, then rose those magical — a aisles proudly toward the sky, before which we are dumb with astonishment. That the middle ages did not leave to the artisan the trans- lation of the drawing into relief, i.e., that men in the midd- le ages did not make sculptures from drawings is already prov- ; ed eréby by the comparison of these mediaeval works with the | modern, that are executed without models and only after draw- ings. There the boldest arrangement of draperies with the strongest undercutting: here a dry restraint of folds with in- artistic and bard surfaces and still uslier edges. bet one e examine the masterly drawings of Viollet-le-Duc and compare therewith the desolate manual products, where sculpture, leaf or animal, that is executed after these drawings. One can | seize on every new substitute or new piece; already at a disi- ance, the sye feels hurt by the dryness and hardness of these sculptures. T once asked such a sculptor’s assistant, who in a famous s stonecuttins workshop had worked after the drawings of a great master: “did you then actually work from the drawings?” Wo, that would not do! We made jittéle models after the drawings!” _Pnus the precipice of bare impossibility had fortunately been evaded behind the back cf the master. But by means of what a procedure? They, the artisans, not artists in sculpture, had stammered cotfectly in little modeis! And these were not at full size - but “naturally” at a reduced scale. This creation at only a small scale results from the poor times, when some- thing is to be produced without the necessary means. Scuiptu- res, unless placed at a great height or with quite colossal di- mensions, must always be modeled at natural size. What will be the effect of forms to be executed at twice or thrice the size, the most skilful artist cannot predict. This would be just the same as if one desired to draw architectural details at half their actual size; the doubled size requires a more ea ee, 5 Oy iss Fee tee eh Re hal pee bail lt i A mala tliat ad at ; ; - 4) "P,P * ; ke ¥ ~ . 83r . , quthbabrapsetes ,sost .antok to saensserd) belistah x _eaoat fisos) of .e90st bas gatdsolo dtin cele ,sgsidol avin ; ) bus: ytessooem) 916 3sds .elisseb eds is nevi ed tonnes ~ ibd tix y OPary % .. epeno eptal of mow ou sens of tagioitive von yie1ssd sie sx9mve sig seY enassadanng bos afemins: ,obsilol ai yiosed ile dost oF obitod -bisowoww .elgusxe wa = .iisteb oi jis. yreve nobueds ot yiis -saoL00 to noidi0g wea edz oo teel 10 estete 6 mrt deso 8 das ee etse10 gon of aed Taueeum 8 ni Si oviossaq base Isxbeadsd é es ob yous ‘oantema of Ta0e9% Fon ob ysds -faogs. sibbia out al om yodt god .nsm agobom. sad bas iss! seoeng sdt ¢ isbom.ne sass D cpustinias entds tewol edt ao nevaeX oF 10 abas? seec sine 2 ov 7 Tea sdelé bens eibbim: eat sovsds soe yous dadw evsiiet ylivint : setite gud. .euxrssieq bas eseso sotiea siseto gon bh yodE «eras (/ Sthattai ofc sonek: .oxsien Oeizsy eyswie bas ivtaiuvoy teve 4) + P sddigeewwgit bosiaiqe ens sonea :egsilot Isvestbem io yseiasy | =t9v9 vieri0 ol .eoesy bos eeondcet} sidiseusduent vas erotexs ea¥osi usebom sdv dsdz .cisow. fayesibes ea7 ni gnidsy i tadd ,egosao179 235 aseisse sad sol esiot sesds ifs exvoetenodT ebom eidd!) dads ,xevnoo testo sid bas svsonos od suum tael ono 0M Bf eidd Seas dus .oidgvod ni 10990 Jon bE assess gortizi to | taguods Toyen asks sibbim say ,bosc eno ont oO sont Lavestbom : | # mort sienox eotpesesd yosu of .1edv0 edd ao feuded betos bas cre to esouse edd of moiex0t ote fokdw dud .eehe sibbia sad | “nag" igs t® yisve tcl Bioorg [evesibem nes anixd ysw ono tect é gnome Lisue yrev od 296 sibbiw edd Yo s@belwoad TT “.efyde p pace sissd tsisow iitie 68 00 yiseom si eind .“eoimene” «ict? r, ehasint® afead 8 86 si sey yods wi bait ysad as oqsden oisv asa .Jeiad vl q e ayswis yous bas ,eestuoss costa bas eeoqweg sad ee ,atettis ‘Sed sis of ebnoled ardt wud “.elyse L[eyosibem boos” ai dson _ edbbia edt ni osiwesis vi gaw Of lnseidas ead oF don bas ter leeks -Troment® bedatsd .S81 q vO A bs ah : = i i 5a i j & pottin sodqiuos sad io. TpeasaT0 eid awsab yino eved ow ast of “aeeg Riad nds sousse ow ,f0lésoimexe apo io saqooe eft ak ei vids Yooseel donm yteV¥ .bosaisa edd . to ‘tnomeaso. betaisg odd a08 -hesudgiuoe ead to mans rest De tad go} enoiszebges aslsoidieq ataogetg oid’ bie yg.k vat aks aT, . 158 | detailed treatment of forms, i.¢., greater detail. Thus it is with foliase, also with clothing and faces. To small faces cannot be given all the details, that are necessary and natural to large ones. Yet the errors are thereby not sufficient to cause the Modern Gothic to Lack all beauty in foliage, animals and men, especi- ally to abandon every art in detail. Fir example, whic weuld make a cast from a statue or leaf on the new pertion of Cologne Cathedral and preserve it in a museum? Men do not create as in the middle eges! they do not resort to nature; they do not take as models the green leaf and the modern man, but they go to & Béenis near Paris or to Xanten on the lower Khine and pa- infully imitate what they see there. The middle ages never did this. fhey did not create after casts and patterns, but after a¢) ever youthful and always varied nature. Hence the infinite variety of mediaeval foliage; hence the spirited figures; th- erefore the inexhaustible freshness and grace. In brief, ever- ything in the mediaeval works, that the modern lacks. Therefore all these rules for the artisan are erroneous, that one leaf must be concave and the other convex, that this mode of liffing areas did not occur in Gothic, and that this is no mediaeval face. On the one hand,. the middle ases never thought and acted thus! on the other, so many treasures remain from t the middle ages, but which are foreign to the makers of rules, that one may bring ten mediaeval proofs for every ffault”’ inn style.” If knowledge of the middle ages be very small among their “enenies”, this is mostly on a still weaker basis among their *friends.” In brief, men take nature as they find it; they use it as a artists, as the purpose and place requires, and they always w work in “good mediaeval style.” But this belongs to the art- ist and not to the artisan! So was it likewise in the middle ases! 269 132. Painted Ornament. So far we have only drawn the ornament of the sculptor with- in the scope of our examination; we cannot entirely pass over the painted. Very much lesscof this is naturally preserved than of the sculptured. But the painted ornament of early Go- thie presents particular sugsestions for creation, that one fase od? ids wea. sedstrebuy ‘2hoenta ated: Gasinetd tonsso ‘ynokdex0 Basking as Gtetan od seis0ce4 sad setweded oLdtod wel eds bsoee bus tdRil dsiw saseerges of Yess tom ae0b ak aud aes ot lasuten awarh ylieido wi ‘ens yedt. se ae ,sewolt ode bas, pei to sms0t odd ar nese sven or 68 taut. meh. 120 “ae on > ddiw qy bed fT ors ezonrliuo oxeds gues si $10 {srcdoestidorws. eas bevse1ts siew tented omee, oad aa ots ronan jor gnéwisdo ed? .sovettoe bont0bs sk dOLdw 17 cw. a@os popbhor ts acd $s dowd? yoda cut woxt cud-sesesloLV qaunos wrk Smee ys } Die eyitasiieoxe siat ewose (vet Sle .Bit). AW he x s8@ QGP MOV poud-sl-tellosW mond .SSi etok Boh Bad owborg ak saytsa od ileesi siwil som avob otadod so »rbu00 ois 348. Isgotsebsrs moat anisvo1 Ti (euotdsi00eb besnieg ait eud? -ehnidd nedtmte bas abnsd botiela ed¢ ,eliowss avowed - edd neewtes geoeqe emidno .bivdse is diedasti® .2 dowd oft ke dtiw gatvsok sebuad wovow iscitiev yd batqueao exs ewobmiw a ‘sot blett evicovst s ylisiosgcs exisust gasessaq issaeit0 est By 78) Has j -2nttateq farpm of esobi © - epetiose: ar etndeees ~etefoo Io noftsaxetie odd eaw dora wok ee stoloo soiyotae basici futlide .boiveq aids yd easidoxa eae meen y AGig vey Yo, gol tesierrt ae went: Gouneet.ad galt eds enaoasso1sg ts one 2 most A fo%6 asoro sag a0 xe bas bet motlinqay at BS THH 08 guitenisisis détw petakaq ef @ | “sot ed? .eeati dos{d yvaed vd beniliao sis doidw .awoud darth | Share et 9 svoo edT .sidoo wolisy ai s48 esfausiuesainis | .zosid visésaxed is @f 6 basot oid 59 hasd bedatws ead bet roloa eaeds sisikges. gonki otia .bes deinword b06 ,eatioo wot ‘idee baoooe eit to%liotertsnn sat jbor dsinwoud ef *b svoo sdf es stidw yd benkliso ,bex ietnwoxd bas 9190 nolésy 918 9 i 2 ‘Hos edt ,box diginwotd ei t syoo sd? sbusoyve xosld & a9 buaoxg ‘essoo wolley & no otidw yd bentivae ,seisuoe aotlimzey Re i selt eds oatwotii .o io sedd oF relimie ai o teh oa? oy Ifo1 od¢ ;be1 deinwoid ei ¥ svoo od? 8 dois Ianogetb x0 goisH08 SIs egele esd w svoo od? -b 38 dead o¢ abyogae hes ea? _ sthdaened anil otids 6 ad tw, bavora sidoo wollsy id 8 a0 otidw uk banildvo eliotersenp ‘gokliaroey eed a beyor Be ioeds o18, see caee i to wieteveb 78978 iat) a -bagosg | a. itv hed ivttsuseo seon ofa vd ‘aa ny a a sate | ded | Naa) ,, a chaeks h . a ' war 4 : 1 oe i f ‘am a's N ey ted VL ees _ L ne RL a, ait mt BY pres . i a . La ni Bc : ty 3 159 cannot overlook, who himself undertakes new things. The early Gothic likewise has recourse to nature in painted decoration: : but it does not seek to represent with light and shade the leaf and the flower, as they are; it chiefly draws natural forms m merely in outline, just as we have seen in the forms of mural paintings, where these outlines are filled up with color. In “J just the same manner were treated the architectural decorati- ons with which it adorned surfaces. The charming representat— ionsby Viollet-le-Duc from the Abbey Church at Fontifroide: (Fis. 412 137) shows this excellently. Note 187, From Viollet-le-Duc. Vol. 7. p. 97. Yet Gothic does not limit itself to nature ia producing its painted decorations; it retains from traditional art the cont- inuous scrolls, the plaited bands and similar things. Thus in the Church S. Fligabeth at Marburg, entire spaces between the Windows are occupied by vertical wovel bands. Weaving witha i its oriental patterns remains especially a favorite field for ideas in mural paintings. How rich was the alternation of colors, employed in such problems by this period, skilful in and enjoying color, may be learned from an_¢xaminatiop of Fis. 413. 138. Note 138. From Viollet-le-luc. Vol. 7, p. 100. On the cross arch A from 8S. Nazaire at parcassonne the flat bp is painted with alternating sauares in vermilion. red and red- dish brown, which are outlined by heavy black lines. The ren- ainingtriansles are in yellow ochre. The cove ¢ is prownish red; the twisted band on the round. d is alternately black, yel- low ochre, and brownish red. White lines separate these colors. The cove a’ is brownish red; the ouatrefoilSof the second flat € are yeblow ochre and brownish red, cutlined by white lines on a black ground. The cove f is brownish red, the roll g has vermilion sauares, outlined by white on a yellow ochre sround. fhe fiat b is similar to bhat of e, likewise the flat i of the diagonal arch B. The cove K is brownish red; the roll 1 corr- esponds to that at d. The cove m has slate gray squares on a yellow ochre sround,with a white line beneath. The pear-shaped round n bas vermilion ouatrefoils outlined in white on a black sround. By this sreat diversity of animated colors are brought into the most beautiful harmony. ih an iat Oh Betula A. dg Ba, CM Rana IRS, li re cs if be i oy! As We iy mr Se oO) a eel - : el a ’ he ee nA ay ng tian | .- Tit ree ar vik: 7 ‘i ar % ne 04 ; , : f' 8 ” a * Ton i ‘5 é } : } Php ‘2 5 ; f ; Ci . ee to ah “SP sesqedd Yai, 6A OU, hole / Wekwel | BSE iene alll daw otndaluce Iavesibem to ysotetd edt biw'sad to sobnisse1 otitne ent ee sogie etesy wet & ; eltslaotsteg eanedo s beiiyo.0 sed Bisse dasye7 al o& mee799aevs bus doae14 s0oti of staderd onGelevol 2 t éiewot istitoses teom oft 3eY .agnitwerdh Issvommt eid ak oe stan bisdesaee Bvotiols sis wort eomos wid yo boonbotq | rutot'sa? * ssonsaltar s#picas” sort iicemia eext seven aso ono | =bim ous %o tata gaol Sit tests ssdd .cenetaty eed gotntgo 36 “ef beatutes oaserd olooort ,O8c! snode visti wi One oaae off q heated b4i sokdw ,at0¥e4 eods vino znied ywased .epoisme sad P =a8 edt bas olocoil tad® «.edaeions sid soute déuse oF dosd eet > *< qhew .eon0seetsie® maiisdT eas to atctesone sod enen etait yee ey | Yorweldorg eit ekdt Yo tootq sus sham svat #16 ni bomisel wea got betseto weve 4a degmeo eas -taeddoG sir .eevil thede * _ & bedeavels sat ot odw .@totzeons Jeistse ssoeprte olooor’ ead on By tO dusge s bevisveiq ynsoevT Yo eyolisy aistavow hedsloet dae bre gods. olbbim odd to maissdues iserk ott Quiaud Jae enotine | tivséibes fo ytotzid eddy .fetad st .ofoootf oF sk batTimeasad | Tice 20 Woisvoonaoo she’ sud vedsb svitsaigemt bnsot sietqluce s2nrtdasw esa atoat 21ddqioos to e659609 sash +88. mi sistg ives to ea8Nod Satbeoesq 10 yraroamedaoo eat 0 hoote Beatas ow? .Sntddon wend {etcn22 ot oom .yasate§ bas soa edt MO. fesonedTIV900 oasis to sgbolucni Seergos & to yew oat at _ yfao to bas snofs vist? oF bntog Jo uotewo edz koied busd ano -ts0 Sud go jaottatsbienos to yaston sa adtow tas ett doibieses Ba ide teow of Sn0Y¢isvs hemotsanoos talus .ankniart odd Qnied os _ -e19 eit oc eonoistet at soY .asbse eclbbtm “tasb* and rotida xf Shak afeid 10% ow6 Satvib attw bsi{kt stow Ils easmoM bas. zie “se daa “sonSeatansh” exsoitols off .yatiserasanve attri “teentgives at devo .euptias odd Io [avivet & tod katddon 9 ob ibe. bain to Lindh de loue bas sgholwodd avidoateb eins avin * Sgioos ed? ‘.aidt Neds agoscorte siom ef Battidon soy bod on t to Lavivet 6 eekwon af ei sousacisael netisaT qyites ead to ‘ed? '.318 Isvesibom mort tnemgoloves extt sdé Bi Tod .eupitas One sittge bas Sense bemvess vvsd dvidw ,sdrowiedsss Sapiens : petit p beabund 's neh ad tuods ‘ylio Samo ifs exew envoeon | 160 R69 Chapter 12. Art of Sculpture. 188. Review. The history of mediaeval sculpture was just as “dark” until a few years since as the entire remainder of the middle ages. In recent years has occurred a change, particularly since Viol- let+le-Buc brought to light French and even German sculptors | in his immortal drawings. Yet the most beavtiful female figure preduced by him comes from the Sloricus Strasburs Minster. But one can never free himself from “antique influence.” The form- er opinion has vinished, that after the lons night of the mid- dle ages and in Italy about 1260, Niccolo Pisano returned to the anbiaue, beauty beings only thus reborn, which had turned its back to earth since the ancients. That Niecolo and the an- Gienits were the ancestors of the Italian Renaissance. Many men learned in art have made the preef of this the problem of their lives, like Dobbert. Hans Semper has even created for this Niccolo Etruscan artist ancestors, who in the elevated a and isolated mountain valleys of Tuscany preserved a spark of antioue art during the sreat barbarism of the middle ages and transmitted it to Niccolo. In brief, the history of mediaeval sculpture found imasSinative data; but the connection of the facts was wanting. 134. Gourse of Sculpture. Of the contemporary or preceding course of sculpture in Fra- nee and Germany, men in general knew nothings. Two things stood in the way of a correct knowledge of these occurrences: on the one hand being the custom of soins to Italy alone and of only regardins its art works as worthy of consideration; on the oth- er being the training, that accustomed everyone to most strons- ly abhor the fdark” middle ages. Yet in reference to the Gre- eks and Romans all were filled with divine awe for their sod- like superiority. The slorious “Renaissance” therefore must be nothing but a revival of the antigue, even in sculpture, with this defective knowledge and such a frame of mind. And yet nothing is more erroneoss than this. The sculpture of the carly Italian Renaissance is in nowise a revival of the antigue, but is the true development from mediaeval art. The antioue masterworks, which have assumed sense and spirit in our museums, were all found only about 1500, thus a hundred years ) Ny ree, io fi ar we eer A hia ‘ Tah i Be 3 wae i Rare te Ney Fake a a eg uy ise en ja ve e," Cork sai as ; co : Sata f , | gem oidog Lis tu@ .205 shtaact eng to Ba. kontged ade a0ste i : O0ar bas COME goentod eteialuos ppt ook escola 7 ue sot Yo soitstavesrqes edd viisiupisasq iiavesib "4 k, niin dadd, .gioseid asides eas bos nom gutvel odd ae 18 Ge ‘Yo asebi to elotio edd bas acibod supiias diin ddtn ob : ore 10. yes dova ua a2 to. faxbouts? edt) a bavol sd of ei exepad vs oetwodss =e ogis ab-munsoavt seodw ot .isiioq beugiash ylasiinke s eots i 10° ebasta oels steH «~ewollod edt 14 exotesous Ons elegans ya Ecates 8 niga ads gs (vevreaedo sdt yo o69e 28) sbbeutdeia oad (823. .3i9) qso beqste-nolem & adie Diidcdictoine ettateds etegad to lesbeddsd ons te Isdxoq, aial sit esistqiuog To ames Isox, 935. sieias oad bos goaugil tee sega ect asdw .d4sq dsor8 ai berotest boshbat siew yous glak es bass. 7 ~bsouhoudal ean elysa osoguss B69 woe St onest hal thanus efbbin add so bauot eudd ayea on 2h sp eibbim sit ta0d8.e%wooe mises 26 bas ,bLiow eas to s9dosed “ -eousx# Yo essiotgde sdaessIIid s20m 94s ag ymInep ay Sf ods ae ei Oi Ae sien odd songs seinen telioke yliosxs saonis i cecasnunaces bitddye iidtndadids .ataritytockaan” +. 8 ver i : vaaalah aa 1 wie a io bao bas agatd asthnivors¥ taetons, bits, as ak see ee a -e0R7005 fos cotsisd9 dvod oi onid emse ody Je deixe binoo gso “anal es tai1dD baocow bequoth sis Jsds .Baoddstasessges. Jo asi ; ‘gncoer fesaii edd ao, 2eléaogs sdt bos acbie edt 36 edeiismave — | eset teva edust edf a0 seutsde si? .sextasa9 oc ee sent dd x bsbawsoirse2 ~ateifegasve sit Yo exeidma eds déiin serzad hesouss . é “ “ . 7 165 %o see in them the ancient Merovingian kings and founders. 8B But indeed erronsously already, since they are represented with the halos of saints. One on the left side of the middie doorway wears on his head a melon-shaped cap; this is the badge of Jewish prophets and high priests. The evidence for this may be found on the western facade of S. Dannino near Paenza in Italy. Such @ melon-shaped cap appears on the outer statue on the right hand jamb at Bourges. bikewise here in tbe tympanum is represented the teachins Christi with the emblems of the four evarselisis at the sides and the apostles on the lintel benea- th, just as in Chartres. The statues on the jambs must there- fore have a like sisnification. In any case, the founders are excluded, since scarcely one of those with this melon-shaped cap could exist at the same time in both Chartres and Bourges. One will have to seek in these figures the predecessors of the Christ in teachiirs and his physical ancestors -- the Old Testa- ment @s &@ preparation for the New Covenant. Amons the kings and queens are to be seen Solomon, David, the Oueen of Sheba, and the like. 140. Cathedral at Angers cic. Likewise at Angers is to be found on the Cathedral of S. Mau- rice a@ similarly designed portal, in whose tympanum is also en- throned Christ with the emblems of the evangelists, surrounded by angels and ancestors in the hollows. Here also stands on the rightsside (as seen by the observer) at the outside a saint with a melon-shaped cap (Fis. 417). | This portal at the Cathedral of Angers exhibits numerous well set fisures and the angels are real gems of sculpture. Certa- inly they were indeed restored in sreat part, when the tastel- ess Barocco style was introduced. As we bave thus found on the middle portal of Chartres a se- ries of representations, that are srouped around Christ as the teacher of the world, and as asain occurs about the middle of the 12 th century on the most different churches of France with almost exactly Similar treatment, then the right side portal of the western facade of Chartres Cathedral presents in the en- = ah i] be throned Virgin, who holds the Child Jesus on her breast, a sec- ond odject, commonly repeated on the portals of that age. DL Ne ee” ae ay ee ee ; ‘ . ii 4 f gtr — OBE ow ons To Lesa0g badeuste ylseliore on? | vee geome ety -o to Iedt0q edt ~~ ataed at emsG os seltmie be et beshat st .(Srd .QL€) noisesneesso07 6 onse sud of beebat st teTow Sobio suo cade , bstoog voxrtue ehbt fink betosto .sste et muvsquys cidd sede bemmees er st Wet oyrendeng noosebdoth. Io 3300 sit ss sHad si0OK sshlo oft 0% ,, erent eew ti bas’ .awob M10% ean Tr exoted qliiois ebaciied aeccqagniele gus eetwiods0 § .anrblindes sda ar areas pectlt etnies bedsanois eds wod wode enact .2 to dessog veins to eebie ae? owed yinisyds@ , -bomtolensis ¢Lisubserg exau axetyvsid to euorsssint yd teveslqey need svedieogtsia tneions ilevtdassnceet meee sara weds to: ond Iqoox9 10% deol Siew bse whads bas S \gommjat . | 11sbom esinp or pup: 3 endian ivgoS at evpdgqivos .fet _ .beg700F ,kexsasd9 gs atodginuoe to Joodow taskt siay esdteod at. ¢ - sone7? avedtvee ,snwsMtue-enolss? bos stas® .2- .99tede darit edd 28 swevsqqa eh asd .nolaeexq: Po wa }) ee (Ben “9 ao! -.woeod e‘astisidh ota Saiaesq beveakd ead hedavaorgss ss } 166 The Similarly situated portal of the western facade of Notre Dame in Paris -- the portal of S. Anne -- exhibits the same representation (Pigs. 418). It indeed is so similar to the Ch- artres portal, that one misht refer it indeed to the same art— ist. It is assumed that this tympanum is that, erected in 1142 for the older Notre Dame at the cost of Archdeacon Etienne de Garionde,. shortly before it was torn down, and it was then ut- ilized asain in the rebuilding. Otherwise the statues at the Sides of tis portal of S. Anne show how the elongated saints of Charters were sradually transformed. . Certainly here in Pa- rissnearkyyall ancient statuesihave been replaced by imitations, and their heads were lost; for except two or three, they seem quite modern. 141. Sculpture in South France. Besides this figsst school of sculptors at Chartres, Bourges, Paris, Corbeil, S. Denis and Chalons-sur-Marne, southern France presents a second schicol, that wrousht at about the same time or about 1150. &. Trophime and S. Gilles at Arles are the chi- ef representatives. The statues on the small columns of the jambs were replaced by relief figures between the columns. In the tympanum of S&S. Trophime is also represented Christ as teacher, surrounded by the emblems of the evangelists. Hosts of angels are asain wrousht on the soffit of the arch. The a- posties are also not wantins on the lintel, that here in the Ttalian manner only extends above the jambs. On the left hand are represented tee blessed passing intc Abraham’s bosom, on the other side beings the damned. At the stoning of Stephen on the risht jamb of the doorway (Fis. 419), the two stone-throwins Jews again wear the melon caps, a proof that tne correct explanation of this article of chothing was given, and which one could not previously indicate. On the correspanding place on the other side is placed the sec- ond protecting saint, S. Trophimus. fhe sculptaresof the three portals at 8. Gilles are greatly injured; yet on closer examination they make a much sreater imn- pression, than is apparent at the first slance. The represent- ations on the lintels far surpass similar ones. It is very w wonderful @n what luxuriant anticue ornament this architect has rioted. The date of orisin cannot be fixed; yet it is lin- De Pie ON ta ee Gee ae a ee ee Oe eS ee Se ee os 1 a ae Ee ae ee eh eC ae ee pales BEET d tenocen ame homie ods Seid. Soe odd YS betiaki i. toe, gem vo) e SMe potwollot edd esdece nots gisoent ood va eceapacomaditia seqnotel: .% ,tonedotus _ sR8E et0t Jeph vie ead) A | - -BBBL .etsed GOTL 6q Vets | ‘plisd of” aezed av tbtg noasoid BILE brod edd Yo teey ond aTh “.taed Yo. ovsvo0. odd a0~e+. —Litgd to dsaow eds ut eiqued etas - fpoe) to avtice @ bayxt ed of e168 susolvof ts used ofs at — - ong souks \GOisasdss doewsss Isa ,eoiteogs aniiaseeiges eemed » wud’ (28 to déatiq oft 00 .daisas sdt Io ewen odd s88d node To Mf fons tet esorbal 63 Io Teds ao “:om obsm Saedslft9” -:ei as - deetedat So neve ote eved? “,om beleoonos sxedsLid Jedd ated i at begnss1s yltisq e10d e718 asiszogs sit sonte ,ynaw109 seid q ] i npiact suse cdc Hatt eW .tetivo dose isiw sduaeth bas oxkea 3 a “ecg ts 921089 .2 fo sioso sav To nssipe ead ao: betaseouges Shey 3 -Sivige ovo doin glatadreo ~ uel ‘wa ; eysieseY fue ceseio¥ ss elsdiod .Sal ’ ~isson: ietevsbe owd gods noonted aot’ reog sietbenretai ad oseatol to eisdxoq edd yd HoLquose as eoae1% atensgon bas sae wtteqebi edd ci cooeth Geendsuoe xi soll opxetolk .qeloseV bas Paaael sey. aha at eb yefexeY bas .son01sd bas nas? To som: g -19dd0 Hoge OF telimte yreV omB h, Seba Jeimdd heaodatas ef diod To smunsqays Seong one aT 918 ewollod edt déod mt yale ifs tevo antéenimobexa este wi a -09 Gfsae atedd ittw edwet edd i095 ., zeantqlvyog atiw belli tom - epottas redtien 1s) etiemento 04d eisvxeq, dsod a0 bus. .esanl A -orbtaa .emiot io saowssets ovoesne008 dousTt faves oat at son ‘eae wisaszaqge tad? .wsecus encitsatooeh Lavagay bas woo yl 5 q oe .930teq mort etioxrt bas eevsel .esowolt Tas “wok ens to eaoldas edt gd bebaycisse as det1a9 .ceearom al “ers woled ine zobie edd te. ;eiedus Iscaoloo. ond bas evetdegnsve 4 poo (S*1 ogs .3t8) esotssieved io arsble BS eds bestaszerge7 _ jyeedsogor sedawe yd Lesatl soz to aotdéscusmpato gat @i base wfigtbal osiup etesqge dotin ,lewine o8 bavaso ei bas dose Js $10 etesed biiw ody geve ;teitas teeth @ ek FooTidows arat — teivoio7ss & gnivtditixe .beyaer1s yibastR oss Yesasliq elbdiw i faided ehusa toned? avin estJoson oat “.suemtso1s to towog. pe reene nema peneercest ov Jeevedat Jestsein vhs 10% Se Se MRM ee) +) mmaBgEEs ena, go busd Text de bh » bee i v ‘est montieidaees et: Les100 ero? . a? |) (oe . o d Be Th , i; : a” iY ~ e ‘ vs ’ ie ‘ M4 , , ; 167 Limited by the fact that the church was restored in 1116. An inscription states the following; --143 Note 148, Qutcherat, J. Helanges d’archaeologie. By Lastey- . rie. p. 178. Paris. 1886. ;. “In the year of the Lord 1116, Brother. Fgidius. began “to build this temple in the month of April, .....on the octave of Lent.” In the Museum at Toulouse are to be fund a series of sculp- tures representing apostles, that attract attention, since two of them bear the name of the artist. On the plinth of S. Thon- as is:- *Gilabert made me;” on that of S. Andreas is:- “lncer- tain that Gilabert concealed me.” These are even of interest 2))for Germany, since the apostles are here partly arranged in 27€ pairs and dispute with each other. We find the same design r represented on the screen of the choir of S. George at Bambers, certainly with more spirit. 142. Portals at Moissac and Vezelay. An intermediate position between these two schools of north- ern and southern France is cccupied by the portais of Moissac and Vezgelay. Moissac lies in soutnwest France in the depart- ment of Tarn end Garonne, and Vezelay is in Burgundy; yet they are very similar to each other, 4 In tne Sreat tympanums of both is entrnoned Christ, indeed a in size predominating over all else; in both the hollows are not filled with sculptures, nor the jambs with their small co- lumns, and on both portals the ornaments are neither antioue nor in the nsual French Romanesaue treatment of forms. Entire- ly new and unusual decorations appear, that apparently repres- ent flowers, leaves and fruits from nature. } _ In Moissac, Christ is surrounded by the emblems of the four evangelists and twe colossal angels; at the sides and below are represented the 24 elders of Revelations (Figs. 420 14°), Quite 3 grand is the ornamentation of the lintel by sunken rosettes; | ‘ at each end is carved an animal, which appears ovuite Indian. This architect is a great artist; even the wild beasts on the middle pilaster are grandly arranged, exhibiting a particular power of treatment. The rosettes with flower bands behind them form the greatest interest to decorators; also tne freely app- lied fret band on the tympanum. This portal is earlier than its relatives in the south and ae ae es ye | of -< ~* 8 nw i _ 7 a ina al il De tee ee or, pee vee ee ; te ’ 3 TEA Ay 8 ae be c 4 - 1 H a ih i hs) 5 y : 4 : ; ‘i ne way a" 4 ' a id 7 oe a mA nme fat Bar . ie a a Lesbimdaiaemnescn ts aedeLolo oud ree acetal < iy i pee ent to asoitsinozesqget beteonn yisslt edit chetsobbeb moktgiroant as o¢ Snibrosss ofw .baetwG soddA . oe cane ey fove to costes otf ..8802 at dorsdo — Sistas omereys et ae | LL notsqisoent aoiwok 3 sil BS .q .RBSE) eronyhent INAS oh suued 802 .bdT eso OOLf sonia? Isazed eit Yo moidsoisoni eff Io 189% 947 nl? >» omit seas 36 er Rated [igeuoen4 ,1eseiolo sias Jligd 28K La te | * coma Rito. PS ile aidd Yo boensaivie ads OOLL as anak, (edt to scasqayt odd od aslimie yiesitas o1s sacdt pions 5 ees) £OOLE tuodsvemit edd mort ceded oale 2iay eudd :a0v0d ) sdoo.ed 88h .014 ak honottaem Joonv00b ong Yo saeeK8q as IE. |. gtetesn cat to nigitoe to ovsb ens r0t GEL os bexseter yldoot | odd nedt 19ce{ oss oeedt nods ,[srbodgad esadted® to aletaog | 2 rg -‘eomugit oad yd bematiaoo ei elu .oseetod va asisdg Luce @e sesed? batveloab fom .91s osesio’ 33 snoitseto si? .cevles eo eeiwedid. .wunsqmyd selimieve cuvod od yea (Sod) oallinod 6 otpatt ond ddsened sted Snoled agdud bas osngetsd .2x0 | lsat eo> “eidd sbem duedsicid” --:exseqqs avduh te tebsad aD, ..osle ysieseV han chdoce? ts snteiobsh 2 to Seta acs. 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In the cloister at Moissac, the piers are adorned by. flatiy treated representations of the ebevoehcapostles and of Abbot Durand, who according to an inscription dedicated the church in 1063. The surface of such a pier also bears the fol- lowing inscription: --144 ote 144, See Revue de Ll’ Art chretien. 1899. p. 28. “Tn the year of Bhe incarnation of the Fiernal Prince 1100 was bvilt this cloister, Ansouetil peins abbot at that time. Amen.” Tous in 1100 the sculptures of this cloister likewise oris- inated. These are entirely similar to the tympanum of the porch; thus this also dates from the time about 1100. If the passage of the document mentioned in Art. 136 be cor- rectly referred to 1145 for the date of origin of the western portals of Chartres Cathedral, then these are later than the sculptures at Moissac. This is confirmed by the figures then- selves. The creations at Moissac are not isolated there; at Souillac (Lot) may be found assimilar tympanum. Likewise Cah- ors, Carennac and Autun belongs here. Beneath the figure of Carist at Autun appears:-- “CGisleberit made this” --. Finally Vezelay also. In the tympanum of the portal of S. Madeleine at Vezelay is likewise represented Christ enthroned within the Mandorla, as the Itialians say -- in an almond shaped border; beside him sit the apostles, upon whom rays fall from his hands. "hese figures directly recall those at Moissac. Similar figures are represented on the imposts and the middle pilaster. In any case this tympanum exhibits high decorative skill, which is so entirely lacking to later creations with all their advance in the treatment of figures. This doorway must also belong to % the besinning of the 12 th century. Thus far northward reach- es the influence of the school of sovthern France. AD? 148. Becond Series of Sculptures before and after 1200. But while the school of northern France was further developed and matured into classical perfection, the school of southern France died, to become supplanted directly by the Gothic scul- piure of northern France. The war with the Albigenses evident- ly cut the thread of its life, and when the country began to 2¥e recover again from the devastations of the war, the new north- ON eee 86r ; 4 Siomnapeiae efte ano. thedt beouboutni eieina dodet#: axestron “(Sie sobdtod gatgofeveb edt Yo die eids a9ds4nt sebisaoo e107 Lena edd eediadge doidw .seisstciveos to asitee bnooes otf gebsoob ads Qoitd Setsatzixe dotdw teas et .ysiaeliote ateut B8doedidore od¢ oveg on’ .(80! a .88f .d3A)' *Xoodbash” sida / edt to ddatiydsl oad at buoot sd og yino 8m tedd ,noltqatoent _ bodtow quod of aset. .dedd ov Qnibyoook .isabeddso edd Jo soolt 2 $0: ted0us2 jboonemmoo cals ed. doicw .elsduoq eds ao eresy Bt | 8F To ewollod edt betgoexe bas. eisiiog eds bsanitaoo.ewisah a wobsiw 920%, odd betontan09. eaoestoe to bisares sliaw .eedots Reeand. MS oy Se rat losy evit bas = Lesastes ni webaiie shat no yossh s‘noetomed 2 = , Tet esok bas bes fs 6888 to BS vq . beat Oued gddésoto _ ~qivoe ylietesn odd to sdeisas fecioning ows eid yigoibigooa _ ~888 10, xd0080 bas quod si asol s1sn abacst geen odd ao eeasd | -gxe ribedesqes ybserls goinivo ead bewsktaco si qdsied? ems oe ‘oedidors ois sobs sibbin odd nk sedd .soddus edd yd beered ppreese? eisigivos to ane sid jexotaieoe omit suse oud 3s ten imran osnetod soesidors od® .bainigay atedd Yo soeq | aaah odes oF bedTinyeq ean, (bsswao OLS! mort) ofoivey 8 | bus B6I88 & petopieoh: T03”, .Raibliog eat to irate | 19m. yaswie9: nf eaiweitl bas “, 174 belong to the third school, that produced from about 1250 until the end of the century. Of the first series, nothing at all remains in Rheims. Only in the neighboring S. Yved at Braisne are preserved the remains of a coronation of Maria, that exact- ly corresponds to the Qhartres orsan-pips fisures of the west facade, but they are more sracefui in. pose, since the fisures in Braisne are seated and not standins. Therefore the garments are so much more natural and conceivvble, so that one sees that the Chartres models reproduce the prevailins preference for ve- ry Glose-fittins garments with the utmost possible slenderness of the figures. Maria is so skilfuily modeled, that one is n not only reconciled to this fashion, but finds it beautiful a and distinguished. Otherwise there are faces similar to those at Charires and the same ornamental carvins of the limestone in patterns and folds. The second series is represented by two portals on the Catb- edral, one on the west facade and one. on the north transept. Everythings else belumsgs to the third, the school sreatly pred- oOminatins over others. For the srandest masterworks of the Cathedral at Rheims, ev- en the artists may be determined. In the preceding Heft of this “Handbook” (Art. 186, p. 196), we gave tee architect’s inscription, that was.only to be found in tee labyrinth of tne floor of the cathedral. According to that, Jean le Loup worked 16 years on the portals, which he also commenced; Gaucher of Rheims continued the portais,and executed the hollows of the arches, while Bernard of Soissons constructed the rose window and five vaults. 147 ‘ Note 147. Se Bemaison’s Essay on this matter in Bulletin ar- chaebbogique. 1894. p. 8 et seq. Accordingly the two principal artists of the masterly sculp- tures on the west facade were Jean le Loup and Gaucher of Rae— ims. Thereby is confirmed the opinion already repeatedly exp- , ressed by the author, that in the middle ages the architects were at the same time sculptors; the art of sculpture formed a part of their training. The architect Lorenzo Maitani at Or- 2$>vieto (from 1310 onward) was permitted to take pupils at the cost of the building, “for designing fisures and preparing sto- nes,” and likewise in Germany men served a “master in art to POE | | sea to: egeitot Atowsnose. ai beuisas sd i , ” y . i r. ; : * , ‘ ‘ago cle ent ‘«. } ¥ Bast) teias% s9sr99 eygerd ts ieedidors ‘on "ae ay ext £8. ste 8 s bevieoet dose {855r) sescot08 bssaod .grndensdea Uiaba: Ince | Sostsa0o aiedé ot noisiobs sk eeqssalgoe 10 Taomysg aot aa Jo1n oved og biée ‘ed etossidows emied§ seeds bigow qaN a "Cc ead xo yinsiuottesq boa .eaiserog odd no atesy 8 bos 8f La stent -erote1sat Inoousd? eoxctuluoes edd betseno bed exendo tk poqmod ss obsisase Yo Isduog odd to istati eds so adusze ovis | ~-spevvdaluoe Jesdoia odd dtiw beaacbs silos .bsod edd Yo ndiveniseai odd moxd 88If asey odd al* Aa to letatl eds :iitcs to ebuslso end sexo ed mort ag ~tisbavot. evi most Iedaoqg eit bosoo1s yedesm a6 ofw .ausdsteM * .sa0 hevong. yldsseetnoons ai dosdidoxs Sas eew avosadisM aidd sea? =basH" sids jo tio gnibeostg os vee) hedeoup etusmyoob edy ya | 10% ,6n0I99 ts eatwextt eyolsisd? .(aSE .q .B6I .dHA “aloo ‘ed bivode ssqe .st Sv to givev [escolos s teddedw avtveeso aad T iadines posasisinud odd aedtsax bes iatheasso sid seve bexawt — 7 7 dood idors edd sn0ms beaoisuen at wiqiuos 8 .1a6008 qesb stem fe -~:dogs ‘Tfeentd efiso sa dese t te - oda to enteve eas Io sosqivos 10 tedtyosnoss .goaed esiaovas™ | ah * .egolgsore8 Yo usio . ‘east sisoll to siveolons aiodo sig ao beer sd ogis ysm axedT pens: ong .eeudTqinoe yd yiisatesxe hexiebs ei doidw ,sized sa a ~:[satgito edz seanof on besbat at doidw .noitait a eosae ed? x0% oms0 ead0M Yo gossm.yv6a asdel teséem ssw 31” wedge efd bas cottotakd wea sesds beoremmoo odw ,arsey 8S Yo oe S.8G8t aeey odd at mods boselymoo onw tellistgos of osdet Ny deta edd eda sousbive spt vidasnoest ow yletlT az fad. sesotqinos sit ero Be ery emieds to. écbabieak evotqinde sdv vebieavo wou as ged eds no sbsoat veou oat to isv10g 945 davkt at ened? .JIaxbs tae teeblo eas aisdaco ov axsougs Ji ‘mevieedo eat to tart a4 2 sideixeccsredy beebai ee eaod? .{subeiteso sig Yo aeass ® 1G at suose aeaxve oat 49 pnives i ak auast birdd edt atin oom? 2B od anob bai ie hehe , a ‘ ids Soa DAR Gt vee ra ‘oy a ao is aft A OST Sy JA I ¥ vel: peak te ese WG -aomsl 28 Yo dowd oid to wee eaw Ieda0q Ieato need eved yen bos acizee buooss oad er ;betnsaescer one TaeusyesT IO ead of. - 47S be trained in stonework, foliase or statuary.” The cathedral architect at Prasue, Peter Parler (1856-1378), like the one at Regensburg, Gonrad Roroczes (1459), each received a special p payment for sculptures in addition to their contract salary. Why would these Rheims architects be said to have wrought for 16 and 8 years on the portals, and particularly on the hollows, if others had created the sculptures thereon! Therefore there aiso stands on the lintel of the portal of Santiago at Compos- tella adorned with the richest sculptures:-- “Tn the year 1188 from the incarnation of the Lord, the 226 th from the era; the calends of April; the lintel of the prin- Cipal portal was set, of the Church of S. James. By master Mattheus, who as master erected this portal from its foundati- ons.” That this Matthaeus was the architect is incontestably proved by the documents quoted (see the preceding Heft of this “Hand- book,” Art. 188, p. 225). Therefore likewise at Gerona, for the question whether a colossal vault of 72 ft. span should be turned over the cathedral, and whether the buttresses commenced were deep enough, a sculptur is mentioned amons the architects, at least he calls himself sach:-- “Antonius Canet, stonecutter or sculptor of the statue of the city of Barcelona.” There may also be read on the choir enclosure of Notre Dame at Paris, which is adorned externally by seulptures, the insc- ription, which is indeed no longer the orisinal:- “Tt was mabier Jehan Ravy,'mason of Notre Dame for the space of 26 years, who commenced these new histories, and his nephew Jehan le Bontéiller, who compieted them in the year 1351.” And in Italy we frecuently find evidence that the architects were the sculptors. het us now consider the séulptors themselves of Rheims Cath- edrai. There is first the portal of the west facade on the right of the observer; it appears to contain the oldest scuip- tures of the cathedral. These are indeed characteristic of t the second series and may oave been commenced just after the laying of the corner stone in 1211. The precursors of Christ in the Old Testament are repeesented; Abel, Abraham, Moses, 4 down to S. Simeon with the Child Jesus in the temple. This is ee ee hes§ aa > ¢_pl Te his Lar abit ¥ as £\, a Yo HIOOb edd we bebssooue qltoortb al assis basse ‘Hefde Yo) Bomss, eds: 8 ogo © died eg a0 :anivieisee son ors teds pers ays ds a9 "sate eit bas setg elbbta ode 0 Ty ag rotlon 943 ni eesegrt betsoe odd wu8 .ivicavooue om (998 mua! et ke sane bas teso 3d ot Beviessbh dose :ediowiedesm sos tie ots paper, eved b Loon akad Cieal at yedd sueW .emosesm sad pe ‘ «sonte anol eh pee neds ‘tqsenerd adéaon ait ao “sewioob Invosibs sd? 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But the seated figures in the hollows are perfect masterworks; each deserves to be cast and exhibited in the museums. Were they in Italy, this would have been done lons since. The adjacent doorway on the north transept then contains the greatest treasure among the masterpieces in which Rheims Cath- edral is so rich, “the beautiful God” as the Rheims people say. fhe portal exhibits different hands. At the jambs stand yet statues of the second series of séuipture, which are very well modeled, yet without that grace, that forms such 2 strikins c characteristic of the creations about and after 1250. Their garments are crumpled in many Litike folds, an otherwise rare mode o a treatment, that we shall find again on two statues of facade, Maria and Flisabeth. This gracefuilness is ex- hibited in the highest degree by the figure of Christ, “bBhe — beautiful God,” on the middle pier (Fis. 422). At the same time it is the most excellent representation of Christ stands ing as a teacher, that has ever been designed and executed. Phis earnest head, full of disnity, should be cast and placed in every art sehook, in order to make an end of the dumb heads of Christ by the artisan. Not Thorwaldsen’s Christ, but this Rheims’ *peautiful God” should be offered in every show window. Tf the “beautiful God” of Rheims be a masterwork of ali the ages, then the accompanyins representations in the tympanums and the hollows will not be thrown into the shade. Unfortuna- tely space is wanting to reproduce and appreciate them. The lintel likewise is from the hand of the artist, who created 4 the *peautiful God;” this shows these the entirely similar head of Abraham. On the jamos of the west facade stand form after form of like perfection. The main portal is dedicated to the Mother of God. Her statue on the middle pier is not of particular value; but at the jambs stand real gems with scarcely an exception. There is first the annunciation. The archangel Gabriel presents an ‘entirely excellent study of the chothinsg with the clearest and Simplest treatment of the folds. Maria is less satisfactory; Los mde lis io dheatsext to ebom ont dvodiin » ons shived adusi edo lo teiaue edt wore sblot bef oa Sh tuode beravoso. wei days dead soidudidedse 6 .2en0 Lavesth r peaontc site Yo bagd eds no bsdosex08 onis 90 seid ti move daiad9 to emsbit blo edd ,eited ui silogsd® .6 east a0. seiwovid | ebfo.ett ted? .omit rot tedso doee ebtesd boots nod seonte “ai 98 yd Jom yinisdieo ,motsncivadse & berxwo0o esd “anisoon? 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Yo. godstddor. betatse atid of Aetoyeb sxe elsexog shia sdf : Seseaaa +8 at diel edt ts. bus {sttog Stel sit a0 -emtoad | abusde tsat lokas ed? .e Loans Owe YO Peinsqnooos (ceieort S emait aca to LOttge3I196 edt af .99879 eid ai .yew100b ear d. teopens eeiwedil s ek ceblot sas to dgousgnetis odd ot ee Lion ng ah a isa Bishi ivgmataa inYidooed?, odd aati lsonretees: bed ara OO DY RE ee ee a et 1.56 L159 & KIO the temple. Maria with the Child is represented with just as Phe male companion is a bean of the time, with his moustache 477 the face is even flat. Then follow the meeting of Maria and Blisabeth. These two statues are beautiful, but fall entirely without the mode of treatment of all elses the colossal crump- Led folds show the artist of the jambs beside the “beautiful God.” If one considers the faces, this Maria so completely ex- hibits the type as Rauch and Schadow with us represent it, that in these two statues can only be seen the imitation of two me- diaeval ones, a suostitution that must have occurred about 1800, even if there be also scratcaed on the head of Maria “13894 X 0.C.7 | Likewise on the &. Ghapelie in Paris, the old figure of Christ ; on the upper portal was replaced by an imitation a few years since; both stood beside each other for a time. Phat the old statue was not accurately imitated and Bhat the new one was f further much ruder, appeared at a slance. Also in the Rheims’ €mnecting” has occurred a substitution, certainly not by an in- adequate art worker of the present day. fhis is also not aff- ected by the fact that the corbels exhibit Gothic forms; these are likewise imitated. We reéakh to these two works at Bamb- ers. The entire left jamb.1s occupied by the presentation in little attractiveness as in the annunciation; the more unpeau- siful face and the same clothing, the latter being indeed bet- ter: on the other hand, S. Simeon is more perfect and his face is very successful; but the two companions are of inimitable perfection. Next the church doorway stands a youns weman with both graceful and spirited face and the most engasins pose. Re trained upwards after the fashion and his hair combed coquet- tishly on his brow (Fig. 428); he wears a small Jewish hat on his head. Beside him also stands a second companion, from his hat likewise a Jew, on whom Viollet-le-Duc confers distinction by a masterly representation in his Bictionnaire de l’Architec- ture Francaise etc. Indeed a masterwork! The side portals are devoted to the ssinted Archbishop of Rheims. On the left portal and at the left is S. Nicasimo (S. Nicaise) accompanied by two angels. The angel that stands next tne doorway, in bis grace, in the perfection of nis figure, as well as in the arrangement of the folds, is a likewise uneaual- led masterwork like the "beautiful God,” and it should exist his Wen ae | GEES Ta seodd MMe sud Aeantest ile ub ie pes ed) Leyns Saovee ed¥ ’oxebsco1? ods ut buyot ed oF sono Jon shiaes b septs oot tiews siiioidn sed won s bevisoss yivasbive ‘ pres ns etntlid redtom ett asiw (ist 2) evigrwod .2 ewoliod atqivoe ywitons to busd) old yd 016 seeds Ife rysseta? 28 Ligne iss etd’ Whlsicoges ‘bas gotetd eu? = .seitase videdoig eew odw .4o sdtibstaeee1g21 sus dest sdaia ods a0 -toelveq yiev 618° fiqua Yr aAvowietesm s si eutsie yrov# -einsnificad bas euqusk eiaorw -nevenq ods to totqipos ett to bash sit mort besbat ers Ils bas | =BEY efsne% S shasta eepisdud ets Yo shire tugrt ede 40° Voottay | sfotau ,beledon {iow yey et geds .“dovsd8* ans vitvasisqgs ,erg 7 A isn need esd Ji bas .tf svods axesf elyogier 2 vietsagt -_ hu § 083604 TOT T6itsew yd botutnt od oF “et dibhte bedixcesh ylevoiverg ods baste istiog ségrax ont GO Bbhtee evitvas os déin wedtdexos ..ofs Bazow ‘eudelligekateiases teeta: 8! 1p theses eat t180 —- fidms ntsdo 263 yd hedoatorg Lite at roms Lintat tdgimi ond "some nemo of tdgtod’ ss ebassa uid sbiesd :botisq ydise edd to gt ditke :Lisocefsee to: bait & gaissen bas bfeide. bngos stdin [en to LWA .(OSd) .ai4) bead eid: wo Somfed got: beddis Sbte tedéo ods m0). suet detit edd bo axaowxesenn exe aeudede - opi miveliosca bexestel iviw aowait oles boynerse |ts. vedas to es Yor atsRaicsania: eds to saoissoilinoeieqg yitton .abasd risus . \tlose ebraed begusias 918 Bk1Owistasm gEeds bak, .borteq teda Jocssaen yisdiniieb dim aoisseso a*sotqivos Ai .ebiswas 19UTO 1% vetessnutaives to seites beads edd oF guéenoled bas steb heat " Jenbibens: vA» -2fesF te ems sxtok to Jaseasis dévoe sad asdbsH2 j j Adxer 99%) ~+:noisgtnoest gntwollod ear bavet si: Istz0q eds, to | hetaessiget at nodgese 6B) to assed etaysiem oft to yrose od? ‘befebom ylaotesm Lis ote aowssit Jisme sd emunsgays ont ni F ow youserd oloooth Io. seons: neds intisueed saom ogla ete ysad a ) Getwol ont .omtd efds dgoue ss sonex¥ ai betbure svad team ,etiaoes ylbiviv bef egw noagetS dotdw svoted * .ifoageoo nein¥ ul ie 36 nee10e tioHo ed% Yo vielid vasi04gmetaos sat Vsw eer at - Junge ei aedqes? baéied 1sibice namof ous sgiwadid .guedne Bt) ne asuos ods bisa Wol awoda od gona ,teevedad asiver mi rnd #: Ge . eboibusa bas anoad asw.onsdaoo “a wiles ek ayasquys ntis to eowviaisoer sds ddiw xxetouseda00 » 5 —-s MRE) ot90T Fqesne1s: dd20M. ods a0 bod Yo reMTO¥ sds to ontate ). visiqusdnoo dd Cl etdse fo. bao. eds of .onagit base o .(S* ese RK: OS .2i%) Shedeeeh*b wed .2 mort wed 18 sar s200led 08 | seaynemre9 bas) sonst ai esutoigo? to aoitonits8 #@at Deeiheecde (kt: ode; Meudabbdarieveds-toes beth erutaqives soaex4 May’ bts’ asa1ed détwersiel ysutaec 6 woold wea util tua os .¥2 > ssmeee.oved) on a8: ,e0nes? sort sxsdqiaoe: est besgobs ynemred ao: asie betesio Yes) ,saod gninister sevts Sad ser9d3 dus wen | © \ifasbasqebst tod .etedeeqes son sie ped? seousbnogebat eriz By ea O18 edd .soY (8ktom yliedess teom od3 JteL yous bas ,eteivww cohbeaneganagd SvOdB Seiwetit, yuswIe2 2s: 99) beib ernie ivoe Yo wevind oad af yiao aédda03 oovel sus aids bos .ysusave at St »? miner" vim ss.culeae dastons ab ,sous7% oc ¢xem basi i is ¥ stisonredues: yiase nivwode os aaiddoa weve . i ee LT id i aus wbLo teaaol on beebat 938 ebasd bas deed. oft edd aas0i ot sons 1 odak yausaso s 109 belevyerd evostiacie ett i wc he 4 179 part the communion; a priest offers it to a knight (Fis. 425); the knight in. full armor is still protected by the chain mail of tae early pericd; beside him séands a knight in Roman armor with a round shield and wearing a kind of scale mail, with a ribbed iron heimet on bis head (Fis. 426). All of these three statues are masterworks od the first rank. On the other side of these are arranged male fisures with lettered scroils in t their hands, worthy personifications of the minnesingers of t that period. And these masterworks are arranged beside each 1.9) obner upwards. /A sculptor’ s creation with definitely ascerta- i a9 ined date and belongings to the third series of sculptures ‘is furbher the south transeot of Notre Dame at Paris. At the base of the portal is found the following inscription:-- (See text). fhe story of the martyr’s death of Ss Stephen -is represented in the tympanum. The smali figures are all masterly modeled; they are also more beautiful than those of Niccolo Pisano, who must bave studied in Prance at about this time. The Jewssh *Hisn council,” before which-Stephen was led vividly recalls in its way the contemporary Pilate of the choir screen at Nur- embers. likewise the Roman soldier behind Stephen is of part- icular interest, since he shows how well the Roman soldiers’ costume was known and studied. Contemporary with the sculptures of this tympanum is the s statue of the Mother of God on the north transept there (Pis. 429 142) | a grand figure. To the end of this 18 th century ale so belongs the S. Leu from S. Leu d’Esserent (Fis. 480 142), the head and hands are indeed no longer old. 149. Extinction of Sculpture in France and Germany. Frence sculpture died out about the end of the 18 th centu- ry, to put forth new bloom a century later with German aid. Germany adopted its sculpture from France, as we have seen. sts architects traveled cor 2@ century into France to learn the new art there; but after returning home, they created with en- tire independence. They were not repeaters, but independent artists, and they left the most masterly works. Yet the art of sculpture died out in Germany likewise about the end of the 13 th century, and this art lived further only in the border land next to France, in ancient Lothringia, that had little or even nothing to show in early masterworks. Modern Belgium and a ae A ha aoe = ee ge ee a ee ee ge NE LS ee ee JAAN we er a ee » eetadtqiver asaied eat yd Soiteq aids edigorsh deed i ep Sia Abn \ 6 BO Bae PD ae Bae oo | ? ‘ps ph ih ae BL ee Ue s us } . Fi FI wir ihe — - ~ i j wr a : - o% a 2 Oe eae : | SE a . } Ba ~ ‘- t 4 Les iy’ i ee OM: ; “is a¢ ae ’ eae | ha inl a | b ot EG 08° agers wort Satuie dent to chased gag fi dted£s od hobacqeert00 ylseen seus. (ts 2. .vistse: s To sonsbo0e1q @ atin dgaodt .babsaiag dk agdw .9008e9 yo coos aweth fiisgs aedt ean Loodog -1au “‘eveoy Besbaud edd lo eeanteih odd movt asvoosd Bey in pumesedtosag8 ae Sf bas dt Sf edt vciayh emtglueg .0é&f. » yeetutgiuce dogaz¥ edt od mises byswiosd eoasia won ew IT a ibebiene #8913 Sidneestq vered an (°°! pee lgte) tooreas sebia sit at beosiq ean tia | Sie onstt wort enoktesascergss awood low ads deiw niske seo | Pealede gnied cobte suf se proucset 2s sotgey s akdcin setadd “wb dmequee aevexd ods Yo soisos1e oid bas sae to sobtito ey (reetgeT sus tiqivq eidd Sot Aniusgqo sat ebiesG .agenxeblinw ond + —na@ ;teivad to: e2i¢auu%eso% bus 2iotvesons unond [low odd bosas ~L[leoxe. iexttas of sideind) .isisel bas wowole? .bived . iss -nWwote ef nasiee hoor edd wvods Gath .wotqigow add ‘to dsow vase | “Sas yesbis edd ts adol bas sits’ sin peeots isdqmind s qd be - i to wottoolieg Tessg ai eno hetiiouve sae aditdkaxs youd ‘a | -A0Lssine a ‘Pde decnust Ni Shesded.eptoed Lo oniesth 6 mond .O8Y atot ¥ _Baogaonoc tedd .weustgqives Jo asitse s ened ey sxolted 9am of ~100 edit ovorg cule 2inP soonsx4 to Loodos hncose end tyode o¢ - 98aeT to ebbsi{woud odd Gest: :e10d aevtg ove ons to seonvosr - ahoosidors assie? sit \saa®.-.2es6 1s9108 eas ewritgos siutalvoe tones t meus coin omod Figuesd bas soust7 oF sney Bobsosb 101 onan asHIs) Jo semgeo siicne odd yd awole ai eaotiteiuoos esaiesroan oud to Sakontged saz bus dt Sf edd Yo has sat ts ox s jiesiosl sid to encivosanoo ylimsl veolo sal .esises Fiphedliesxinen sa0 to aovs? si ossw ogsod. fsyox door sat asin iomeeag 2aw aC ‘oman Sas3 8 31a eat to eoistosig eno Ss Laat ss ? ‘com «tal ere we ya #) er sig ocean Pr) $ 7 ta aie spas. oiwenets de fecbsdsed .2ep | un 9 nos ooo aig sab outs on ab ST 8 Pieetetee’: eit abaairess tin eke bas re aa AAP AVN Beat h Behn) " seer ui kylie ibe .e0ment To euteuaud otlid9 to Beate Rntvetze o03 Wus atds to. wolsssattuoo edd adidiaxs AsSTOR*} ® - 182 152. Church at Weehselburs. Fhus Dedo the Fat, who Lies buried in the Church at Wechsel- burs near Rochlitz, died in 1190 after his wife had already preceded him in death in 1189; he founded the yonastery of Zschillin-Wechselours. Nothing was more probable than for his children together with the grateful monestic community to place a Srave stone for bim. The monastery deteriorated after a few decades} the children were dead; who would afterwards have a desire to erect a monument to the former owner? The ornament thereon shows forms that are well suited to the end of the 12 th century. The tomb accordingly dates from the time about (1190. It does not alone exist in Wechselburg. A richer rood | .ayvecreen exhibits the continuation of this art; the existing pul- pit was placed in the midst thereof (Fis. 4381 150), We here meet again with the well known representations from Prance; the Christ within a vesica as teacher; at the sides being the sa- orifice of Abraham and the erection of the brazen serpent in the wilderness. Beside the opening for this pulpit are repres- ented the. well known ancestors and forerunners of Christ; Dan- iel, David, Solomon and Isaiah. Christ is an entirely excell- ent work of the sculptor. High abovv the rood screen is crown- ed by a triumphal cross, with Maria and John at the sides, and that exhibits the crucified one in great perfection of repres- erie 4 a es ee ste Soa aaa Sen Me Aha te, Ss See el ee oe ae es a ee Ses TIE Se a eee ee ca hae oe ae eee ee a ae ee SS eee ree eae = a , oe OS a NE ee ek eC ae entation. Note 150. From a drawing of George Behrens in Brunswiek. We see before us here a series of sculptures, that correspond to about the second school of France. This also. proves the cor- rectness of the date Siven here; just the knowledge of Frence sculpture confirms the German dates. That the German architects for decades went to France and brought home with them French acquisitions is shown by the entire course of German architect- ure at the end of the 12 th and the besinnins of tne 18 th cen- turics. The close family connections of the Weehselburs counts with the French royal house were in favor of the contemporane- ous practice of the art. a grand daughter of Dedo was the wife of Philip Augustus of France. 158. Gathedral at Brunswick. Tt is the same for the second tomb, that of Henry the bhion and bis wife Matilda in the Cathedral at Brunswick. 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Ae; otieers AE gw “3: . ehisdieti se Isvvo¥ nebic® bet ¥ Osi pexets ect yaoms ave odd edii enole genida svi 2i qove “neblog ett to comsgigow end ni enoineqmeo.vidvow aed [live ‘ie: mnsqivs edd al .entsdnvom st188 on af aiediet® ts Ist100 > )Pnser Vel cteds+no seoesb Lind ony Hdtw sivey bsnotitne ef ebtttd-serds ylod edd Qated sasin 5x7 ad \aqeaok .2 bas ieeas 88 Botdoolieq bos eeenivteos7> ati ak JeAt jacisesie yievol | -atsdleedool Sav no Fatwdd Henorvdtas say of berLic ylesols yrev “Viemmmennd bas avoseeons: sus brete nisks-edash ear tA .ttoLug @etvgsd edz aaot efdaisteimay edt eb #YOL edt 00 .seiudd to q | =agon on sdol sbived ' .qued sid dviw bivea@ Sofed sogrx sot ao i es ebieed bas .deres@ bas sdsi8 Yo seeud ear .monoloS betnees. =tdso. suid 218 youd jymgdeH Das dowd) eg% .bebieidofek eus- div ei edd. \RatHtolo sas to ebJo? fsott eat .eeosig ten 98 Hoftde ,zcost ode ‘ns esawait sit to notsost Me 183 lion died in 1195, while his wife had already preceded him in 1189. He was also the founder of this church and of its end- ownent. Why should not his children and the foundation chapt- er have erected the great grave stone for him? His later suc- cessors were not in cendition to do so; they did not even er- | ect a similarly imposing monument to bis son, who was the Ger- a man emperor Otto IV! Here continued the French family connect- ions, even with an English intermediary, for Otto IV was prop- erly Otto of Poitou. The painter who executed the great paint—- ings in the Cathedral was evidently a Frenchman; dohannes Gal- licus, or John Wale. : Boes the tomo indeed appear French? I may doubt this. The extremely rica folds of tne clothing are unknown in France; t the faces above do not look French. It is an extremely indep- endent German creation, even if French training should not be denied. Yet the form and the foliage of the corbels at their {eet are those of the early Cistercian monastery. These corb- els decidedly oppose its origin about 1250, but entirely acc- ord with the time about 1200. hikewise the model, that Henry the Bion holds in his hand, does not show the early Gothic structure of the towers, but the later opened trefoil window beside the transept. To mention the grand and masterly detai- is of the tomb, space is wanting; Fis. 482 151 must speak for itself. 154. Golden Portal at Freioers. Rven if it shines alone like the sun among the stars, it still has worthy companions in the sculptures of the golden portal at Freiberg in the Hartz mountains. In the tykpanum is enthroned Maria with tne Child Jesus; on their left is an angel and S. Joseph, on the right being the holy three kings, a lovely creation, that in its sracefulness and perfection is gggwery Closely allied to the enthroned Christ on the Wechseloers 300 pulpit. “At the jambs again stard the ancestors and forerunners of Christ. On the left is the unmistakable John the Baptist, on the right being David with the harp. Beside John are repr- esented Solomon, the Queen of Sheba and Daniel, and beside Da- vid ate Melchisidec, the Church and Nahum; they are true cabi- net pieces. The rich folds of the clothings, the artistic per- fection of the figures and the faces, which are truly native, tevelo Ba ROE veal {Lite se0n8: odf a8 [lew es imsx® .conert.at yrev0qesinoe scons evods 183 enotssor0 Mtpelseq yileiosgad .s96% bas ebsod Lu toxevoue ylasiveisisg ay. dgvnk/ eelteogs edt to bus goso betverivess gas Yo eekbod out _ | audit moses] buoyed ytovosieites ors alenios ons aev® .eaolfod Fy poets To eveogat eao a0 enogeaxbd ods bas Beotl sas yirelyoteieg | ebs9d 36038 add tovdetig ef Joelio anidauverh sice sa? .asdors et (Pe ¥, SE! enenemdicedse $a909% odd -- Das eoursdés sat evoda aneunsbsat: NM OSTHSH AH SiAoidosed LM Apso oe? AL sok a het ct \) *,R8Bh .nidtst caaeinusatios Lik os send cs, ati bas isticq doass® odd eedetint vievivas Istvoq eidd sted? -figivo dsdu avin sey bak .sidsivednoont ei esruRtt Yo eeizes x -enmatoo a0 sdgsowm Fon O18 asedsie ad? lhougived Ti ai yids am -Ied cert bhoste yest feamuloo rebisl neended vonae Jou ae bas -eentisuo iedd gi nokteirsaes Jvousiw .getoin ofgas ott s40 "- geiiase. doum ont yen oldsiog s nit Llaogt aseasoyt sitas seen? 38 Oe0ds ,oNnOde yosetis es das .scvolvol se enortnioe nxsddgoe ud begsisose sis soandgiaor avin Jeoasd ewollod ot? .exgited SteTeqee aya besroqase soa ei auasgqauyd S87 One .einvow bebigon -vobvévides bos soobaegebat ca to Anids sarin odw sod .Lecard if ~as0sberg on ged Jews ,detgoq eias to onifieveh ond at taoncols edt ddim betniseposay eno yind fx0eax00ve & yfeousoe ons 2108 bigoo eleatioa denet4 ewstogmetgos has gnineoerq to yedmuda teg1k / ste SHoeenenoe nawiad eviten s oc of stutadives Yo dts sios dica af Sse oud ak Leduoq teblo bne isitwis B Oekd becbat [iede of edd neve. -footos dowets ood awote seiworttt eiad sud (gredasd | weblth at Leedot .8 ak oxeoioas 1i0do eat uo aiisow intisussd / 02.00 donase tdhsieisdish ts doiwnad nessvtderd ed¢ at bas misde | -ofpnoeted?. .erodasons evitsa to esizes Taeioitive 6 es Hsb16g F 046, bedgeexe o1s setdesiq ai isilet vol nb eedots daiid s002SaaR i" e098 eat bos agodesa qlon .aiaity ond §edesdq aiveoleos sare yitwods Seis ect wort ation Jnvbucgqehas e8 ed8b yeu tent esis _ bawod ak Sdsdevedist ge isvdeors2 edt ab eetwadid .O00sf-0srt Tiel ciasidentinihadaomase od aslimie. ysev) .eeoss Isdqauiss 6 00S excited yierode Pessnivtio oved teym Tk eodt eae Lenpe Wide ery: Ss tie qisesn women cals eias) tod poems: [Oe GON Phe 5. ‘eRtwdebeet de: Leaboniad - er dt to somespee wsisue ao agisinoo gysdebasl de iexboased oaf. . Eve ) gota eneteepam to. dus edd to. re ‘ ie” % ~ * ir im \ fort tf ©, ee 184 as well as the great skill with the chisel also elevate these creations far above those contemporary in France. #xamine éhe particularly successful heads and feet. Especially perfect are the bodies of the resurrected ones and ci the apostles in the hollows. Even the animals are satisfactory beyond custom; thus particularly the lions and the dragons on the imposts of the arches. The sole disturbins effect is that of the Sreat heads above the statues and -- the recent suostituéioens. 152 Note 152. See Hasak, Hw. Geschichte der deutschen Bildhauer- hunst im XIII Jahrhundert. Berlin. #899. fhat this portal entirely imitates the French portal and its series of figures is incontestable. And yet with what orisin- ality is it designed! The statues are not wrought on columns and are not stuck between larger columns; they stand free bef- ore the angle niches, without restriction in their outlines. These angle recesses recall in a notable way the much earlier southern solutions at Toulouse, and as already shown, those ait Berrara. The hollows beset with sculptures are separated by moulded rounds, and the tympanum is not supported by a separate lintel. But who might think of an independent and native dev- elopment in the detailing of this portal, that has no predeces- sors and scarcely a successor? Only one unacquainted with the Sreat number of preceding and contemporary French portals could hold this art of sculpture to be a native German Romanesque art. We shall indeed find a similar and oider portal in the West in Bambers; but this likewise shows the French school. ven the beautiful works on the choir enclosure in S. Michael in Hilde- sheim and in toe biebfrauen Church at Ralberstadt cannot be. re- garded as a sufficient series of native ancestors. Thereon Ro- manesoue. blind arches in low relief in plaster are executed at larse scale in plaster, the Virgin, holy bishops and the apos- tles, that may date as independent works from the time about 1180-1200. Likewise in the Cathedral at Haiberstadt is found a triumphal eross, very similar to that,at Wechselburs and of equal age, thus it must have originated shortly before 1200. But this also names nearly all predecessors. 155. Gathedral at Masdeours. Tne Cathedral at Magdeburs contains an entire sequence of the development of the art of sculpture. During excavations rece- - ghewia tae von ae hewsgivoa a dadnctabnaiat edo: genpsa yatnarked oad Revadtow dose deotizee 363 e9iduses “asses ‘to esiise Ss ebassa. wiedo odd ot @vo0s igih .yaudneo as dotdw to eexds .etsic beredesio add ao tdQpomw eo ah ostatvasa ous mdob’ bas asidiuvsh .2 sasessge1 yout revit : a ork sedst cs mods brege1 oF Houtlont at eao consid sexet eat Bri yeds daar .ewote diebde edt: to mot eat tod) slexbedsso bio 9u% (ed te08 etotersdy bas OOSf sioted doom son betsnivizo sved yom ie oo tied? .(808f) gniblivd eat to saemsousmm@en 94d of anol ee _ 9/0 qwenbad bas teted duel ,tevicedo edd lo vied eat no enot ii | yRoveeitee frooe2? add os an0ied yitaebkys ¥Iev7 .yIsItaOS aft cadena edd yo besbhat sue yeds ercissenis bas .@tetalzes doused Fj “ed boxtt letbsdted g1iudebeasW to «xsodo eas to stebh edt 10% sow . vue. ot ef yiodsivdass eat to yiove sewol ong ai .todves Sag a betootivess sis ivostaeq evinh .mousquys s sdais eas a0 bavot 6B to gengd edt od deygm teded tsdu9m04 meagisbnasi sig bas geno. + ot iptntis? y19v .fiem nisdo to ssoo aankt ovken 8 .cuitiaesk | oo ymewe. isubotite9 od yebke dixon sds 00 .(88! cen weet) otek 7 cguineb Low oat .2owdqinoa yd beaxobs lestoqetttses as etidinxs a + btrens ot y{no ancladvotveiseque ci .tdate gavit FA «fer10q | dF Yo sigdoedioors odd) fas aunsonyd e‘aseitts ois pyistagoond | etdeninsxe tez0lo 90) .entd dads worl stab dorcg anitossora | - Of. ,enigiiv metioot edd bas seiw oat tang ,eoee tevewod sao eas owt - enmploa Ifsma ao td2y01K si" ~BOmse edd ss baste _ 90-0% modd ewods atid yeledioo tsef ao baste bas - sous ILlive . - Yo tedt cetwoitl eigatddols doit ied wdoow yaudaso dt et a to neds Qutoniaed eth Yo asdts1 boobnk bus Wissaeo de Sl ods ent (to stodqivos edt doidiw nt ,eblot suoesissorg off .bue ati - abuodes2i00 bas gutdetoosés stigo at .yigabiyo008 betoin boi1ed ‘Stoisieds 119 vom bisowsn9 .xoiweans18 ge dwof sav Yo gadé of "Soeteuinad -anebism bagog fo xo0lt aniwiedo e2idd Seas eRntbioeb at - o6is Isxbedéso edd ,stomzsosint O38 bas OSSr asented bess a Sant ,agotieid' to ecsla isidoduqese exnowd ond eatssaco ten sisi teiixes, ed? . sen0idqizcent ttedt geod eves yiedsa - a1se ety to 10% od¢ \movd Auttaciedat ei gE OGLE svods aaoled * wm ol 3rr1 odd moti bas isioititis aweqgs Jedd .goderd and Yo Toc au mort gods 8 ewsrb visaersqgs bas dest eid ts adie onw einen) emia He ance ed¢ Yo v98080 sad natte a, eebive oxis ous yodT sekseesq eooiaid sad fo dead dost ino ; > 20} 185 recently undertaken a sculptured slab was found, that entirely resembles the carliest French works of the besinnins of the 12 th century. High above in the choir stands a series of statu- es wrought on the clustered piers, three of which appear prim- itive; they represent $. Mauritius and John the Baptist. At the first sSlance, one is inclined to.resgard them as taken from the old cathedral; but the form of the shield shows, that they may have orisinated not much bdefore 1200 and therefore must be- Long to the commencement of the building (1208). Their compan- ions on the left of the observer, Paul, Peter and Andrew, on the contrary, very evidently belons to the second series of French sculpture, and therefore they are indeed by the second architect, that of the bishop’s passage. They are also evide-— nee for the date of the choir of Masdeburs Cathedral fixed by the autsor. In the lower story of the ambulatory is to be | found on the right a tympanum, guite perfect; the resurrected ones and the Magdalene. Somewhat later must be the bust of §&. Mauritius, a negre insa coat of whain mail, very faithful to life (Fis. 423 153). On the north side, the Cathedral even exhibits an entire portal adorned by sculptures, the solden portal. At first sight, it appears to belongs only to the 14 thecentury; the artisan’s tympanum and the architecture of the protectins porch date from that time. (On closer examination, one however sees, that the wise and the foolish virgins, who stand at the jambs, were wrousht on small columns - two are still such - and stand on leaf corpels; this shows them to be 23 th century work. Their rich clothins is likewise that of the 13 th century, and indeed rather of its beginnings ‘than of its end. fhe picturesaue folds, in which the sculptors of the period riocted accordingly, is quite astonishins and corresponds to that of the Tomb at Brunswick. One would not err therefore in deciding, that this charming flock of youns maidens. orisin- ated between 1280 and 1250. Furthermore, the. cathedrai aiso contains two bronze sepulchral slabs of bishops, that unfortu- nately have btost their inscriptions. The earlier plate must belong about 1150; it is interesting from the form of the ears of the bishop, that appear artificial, and from the littie man, whe sits at his feet and apparently draws 2 thorn from his foot, after the manner of the anticue thorn-puller. This tomb plate ad ha ial ‘ah ne a \ ata e8t st to aot: ifsmay ode of tslinta ehovesne ts e859; (0s af 6s ive bs sg19d089 ta Letbetsed .vér a Deri aresnas és Ratbcdesn: sof .biswiteos ate? wom eu ted sed qiteido ssa¢ .sas@gisoe to Fis sit io edtow sesisoixzg ier ont’ besand eon Letbgited sd? .custasw eviessoous ows oF anok ..: | snddeitst oe boesorg0%q ovad oF exseqas eatblindss edd bua Pert SaswiisibedssS odv SSSi al .ditsd suew etewos ods ads: .COSE ‘Ciaabiew sus m0: 10¢1e¢ak sad ui Onuot ed oF StH WOK .bosBDibeb wOT dgident solteous Yo amsot end s21099 68 lo atodo sad to ere ped): tdgvoww.yisnsilooxs)exs sud .ofsdowe yrew vocl send tert “TkOns yeonsa4 nx bext900% Se Feut .etiaq nt sduaeth yea? .f aed ot RaGled yo? .ecottseqe saenimors yimsiiseea stiyn ors ebeod . bas foofoa faooes edd O¢ Geri? sav wovt nokttensss eat su00s = uakbidboake eas dviw doom ah .OOk! Suods beTentbito eyad you a 3 sesetsion ods a0. §.10btetdxe: e1d a0 elesieq ows no basd ato ~) muasqays 23i al .qotem to isti00 beliso-oe eas ebasse ews -misdtino yeusel bitd eis avin 509 to aeutoM sas benoisaas et . _ Soreqwe oid yisaereqgs .eoled usin: soesp fas Qatxk s sus saert sed89) eas. Yo erobagot ois .efrssingy esaeitems oa% bas dotanied - f0 fietpdm s lo Lebom edd ebfod ocis gntd ont orotesen# .Lsab gi ¢atsea & as io ustoqe sari} esw caosqmé od sont8 ava atd ‘dw at .tetiase sips wien Svsd ijew Jonuso asasqmys ons COST , sabia A ae (oo at eOled adv sisew sue dcoidy fe pete edme, oct .sbie ntedticn ead no Ietrog:‘*egoniza saé 90 Brebisods ede n6 shmate doiaw Yo eno .esudste (lene asiw soaed Bs “ig To omoe yesedoouq ods To sects a0. esiteogs edd. .sodd¢ous to Shwe fedaoq- ed? .totqdwes seit edd o¢ anoked cals eaivatt ose eres 36: emoe sods bas ,esQnsio ewe herstise xsd vow -tasqnys elt as ilew es \beoslasa need evan evenqorg Hike coichl “a seh aaammaada ereds ef bison out to snemept ae A? i <$i¥ % oa ie = ) a, +7 re f Ete Me: wae ve a mw i 187 on the feast of Maria. There were many years but the one ain.” He was very probably the builder, Bishop Dietrich of Isenburs, who Laid the corner stone of the Cathedral in 1225 and died in 1226. This monument to him was evidently erected by his suce- essor. he fixed date (after 1226) proves the correctness of all other merely estimated dates. These Germans far surpassed their French instructors in indi- viduality and perfection. But while the French have made the creations of their sculptors available for study by casts in the Trocadero, this has never been GonecaneGermany. 157. Cathedral at Bambers. Let us now turn southward. The Cathedral at Bambers contains truly priceless works of the art of sculpture, that chiefly be- / Long to two successive masters. The Cathedral was burned in 1181,and the rebuildins appears to have progressed so far about 1200, that the towers were built. In 1237 the Cathedral was dedicated. Now are to be found in the interior on the enclos- ure of the choir of Se George the forms of apostles in high re- lief, that look very archaic, but are excellently wrought (Fis. 424). They dispute in pairs, just as occurred in France; their heads are ouite peculiarly prominent creations. They belong to about the transition from the first to the second school and way have originated about 1200. We meet with the same sculpt- or’s hand on two portals on the exterior. On the northeast t tower stands the so-called portal of mercy. In its tympanum is enthroned the Mother of God with the Child Jesus; on the r right are a king and oueen with halos, apparently the emperor Heinrich and the empress Kuniswnde, the founders of the Cathe- dral. Therefore the king also holds the model of a church on his arm. Since the empress was first spoken of as a& saint in 1202, the tympanum cannot well have originated earlier, in wh which she wears the halo. On the princes’ portal on the northern side, the jamos are beset with small statues, one of which stands on the shoulders of another, the apostles on those of the prophets; some of th- ese figures also belongs to the first sculptor. The portal la- ter suffered some changes, and thus some of these apostles and i prophets have been replaced, as well as the tympanum. Fhe ju- dsgement of the world is there reproduced in. the usual French 4 ural Kr i, ee ae Ng oe sae an iy ~ a get r moe iedaliekintdeee al .s0b¢esagee1ge1 Yo seas TAN te. Saleeahidh:oni besbskoxe, onasaleeuss katsonvoes:.ons, : o _ 709; eixse iiene. uo, buste Lediog cias Yo eobie asod tA .usdo gdp 30: bas. SS sep .929)Sdoa0n2” ous to eeutese ons anawtoo; ; : smr08 ots Yo ameg deohieq ess vod? (PSI sen 19:9) *euackenye” - edaemseg at ebfot basiy .eo2Rtt boiliayte yesusqivoe io t25 ns edididxe, eixow dowenh Jeod edt giao es douse .poost landiztigqa bas doidw ak *,eunogemye” sit To espsit ots ek Jesredad isiosga 10 B Snciah 9a98i) odd To gomgussgqge odd ginetosasw oldadintot o¢iw iawore Aool oF AKOOGS B9YO OT aove ;bedoetis wi onidtolse ods. - fesiog oat ao hoyoh oaie ef sosainoe haooes akat .shebasd eas | © gad Mstw bonxobs steit.ons admsi oc? . .sewos tessasace out ai |. . EseH «82 to sbiu po mo: ovl hus nsbd to). g9¢09 .2 to vowsrd | tom.ob yodt tod sebis sedto edd oo nodges? bas ehaukiav3 gota | ~ “seubopsaqe” 9d% bus “doxsdd* 203 to sotéeetaeg odd oF ntesss. taetng o¢.018 svgqigos buoves ocd Yo snortesto seadg Lia seal Le rics wh awode ek sincesieaen dgods) ocatod qfxes to saotdsero ' PnRHeae -29L90089 963. baw skeilot iy outa nec) 2 Sided ant Kip ook Yo Aqosgosodo, ga wont REL saok | tesesm.euce buede toy Ieubodss ens lo sokseeni sud ni cod? | sted? ..1ebio saiit ysoy_.ed¢ to busd a'aoetgduos eiad to eddow \ Midedsetif base (8s -Rk9) sina’ to anitsem™ odd -yLlsiocagse si . bedtodo, seoldos odd .as, yedydie od of blew exetoveres exon of | Yo adisteb) add-doss, ng: i{ace1 youd .b2ededs, e10ted 24 .aesndit ‘—98,10%Gigon cdf . -swiede g@ sbsost sean, odd lo eontesa salinie ot18\ eid bonisel sist bas emisdd ai bedaow yidasbive FOOSLMG § 4 | _ pesoted bus .ts679 08-ei) se10Rt oleaed edd) to yeretince sa® ' f feat ,9000 Js ek noitgngeus ons tadd ,ebyek Yo eozt oad Lis “SNR #& 10dqinos. ods jo [obom ede ese senow omsa odz —9d¢,.ddod yd owodes ai sost eidd oredued. nx sone .arscmag exis 19d asidsouss “eeboReny2” edd bua .sete yd. bos “doryad” dopia.eso- slisieb ak edatxe coat sidd améeef ab edidw .neseia 5 a wtil s. losito sav obfeg oc aoivanc(yend sat Simreg of betquesd od ¥ amteda nt Seivies bed seisvis Savoy eds sede yemuess of bas oid a ow, vasase® oF .tectom bos asiete rod .sitw anwoy. ein. neiss das : mailto betacesiget) sbisnisd is een ieddow odd et]9dw Ywid othe i phadtrentinaténny; edesoiiqueat ative vileot edd soseH .déads 780 58 oeodt Jads ,Foe~do bison sek ght0rdue. esost ond eesdt h onenbinae Sait sod satouborq Lavestbem iie ta sou 21a. eal < ae chs & a ae Nites f heh P ao ae Po a | fi 7 305° Cao <=> [F 188 manner of representation. In particular, Abraham’?s bosom and the trumpetins angels are exhibited on the imposts of the ar- ches. At both sides of this portal stand on small early Gothic columns the statues of the “Church” (Fig. 425 154) and of the “Synagosue”(Fis. 436 154), Pbhey are perfect gems of the Gern- an art of sculpture; dignified figures, grand folds in garments and spiritual faces, such @s only the best French works exhibit. Of special interest is the fisure of the “Synasosue,” in which with inimitable mastership the appearance of the figure through the clothing is effected; even the eyes appear to look through the bandage. This second sculptor is aiso found on the portal in the southeast tower. The jambs are there adorned with the fisures of &. Peter, of Adam and Eve on one side of Ss. Hein- rich, Kunigunde and Stephen on the other side; but they deo not attain to the perfection of the *Church” and the “Synagogue.” That all these creations of the second sculptur are the purest creations of early Gothic (about 12380-1240) is shown by all the foliage and the canopies. Wote 154. From a photognaph by Haaf in Bamberg. Then in the interior of the Cathedral yet stand some master- works of this sculptor’s band of the very first order. There is especially the “meeting of Maria (Fig. 587) and Flisabeth”, who were heretofore held to pe sibyls, as the noblest cbhothed figures. As before stated, they recall in each the details of similar statues of the west facade at Rheims. The sculptor ar- Lehitect evidently worked in Rheims and there learned bis art. The similarity of the female figures is so sreat, and before all the face of Maria, that the assumption is at once, that i the same women was the model of the sculptor at Rheims and at Bamberg. Since in Bamberg this face is shown by both the “Church” and by Maria, and the “Synagogue”, resembles her like a sister, while in Raeims this face exists in detail, one might be tempted to permit the imagination to guide the chisel a lit- tle and to assume, that the young artist had married in Rheims and taken nis young wife, her. sister and mother, to Germany w with him, where the mother was afterwards represented as Flis- abeth. Hence the really ouite inexplicable similarity, that these two faces exhibit, Men would cbhject, that those at Rhe- ims are not at all mediaeval products, but imitations. Cert- r r ; in i ee: ' : ay yes Bat 3 Fg) are —_- s S 5 pee oo oie oad ee eg Se ee ee ee oe ee ee ee a he a, ee ee eee eee eee ee ee ee ae oe a ae “a n ‘ j : ¢ ' a Wark 7 pl . re n Vr { Ab: 7 : cn oF, ¥ a j H | } a Me a, exe ne Tae if aa if i ne : ‘ae ‘hte a) | . ips: auls.elideiaeteinte dads: (enobessteran6! (yinistse0 2. nt ioe GA .teok avec bsd Lltde avoncbem ods ti neve ,eldieeog pie olay Yo bsed sus no syods hast of exsterd ne | etutisedoe ret one todviom sas yas ml “.0 0 X agSz eit hats’ ihn "os «OBL mont @edeb | x Sakon irae t00; to Suen ods eaeez0g OF rBSqQGs Seiwextt eW sath eg ead onets txetdot eg to taemp00h aniwollot edT — ea Bei weg 38 povrezesg need esi pun (O8eh: brood edt to: sotvecisost eng to 1887 edt nL” prods: to qotet@ eberR athod yd .dasovo8 em .acitotoni badas 5 : ay ‘10; betso0L sted -& To wedeatW ond at wtle ott badesosenoo - tonod: at .thodo: ods buswod has nsu02 ods prewos obia Taare aad - site migsiy esoitoia saom ond to bas teiaid eusek brod an0 to ° sgetitesd bevol wo détw asddon0! av Yo women oid osls sac? gam Intitist s es dtod odw .Joocidors edd \aiwexoW. daduad ni ‘edioond: bus yenoa boyedque asd soiviea 2@'bo0d to 1svol & es’ bas Soromanons to dnenqivpo bas acissiosrsceo ,anibliod sat 10% eebds < f , Sswiveds .oosiq eidd ab bevieso1g sewetot od yee .tavis bree ; ‘etalk Bucig .b10) odd bod ak soy most srippes bas neinowhs Aes - ior ceed to mabe oN eds movies Jewitt evad en sotw oF ,dokd yr a eh ae o“sesee) TOVIOT exrcessoone yas [ls wort bos ['O. =: - “,e0rtto fsodasg qo to 189y¢ dé VS eds ni aeves” >. .AST HER To seuidowkh SI0FR nolriovo® loyoh sds al Bat ate¥ to tostidors sas ean niwsi0n sic io wetesm etay seas eon? | +l -mtetye0.as besqooos ed tasm SSSI s1e8y odd mi Isnhodteo eat _ ebdsins oft yo anode et spit su0e 10 nove ybseria esw oo ssa? / Tet oved sw eonte “.deiudd ai asito10d beyoted® to sotdsiloaqgs » «/ ete sekwoitl aan. tostidoye ens isdd .awode visnsisitiog sess -\ (edt ddod ylinebive siwsx0% of 902 oF eved eudt sw .xotaluoe Iiew as -fsibedsso ead Yo noiduod oidvod yLise sag Yo xodeed19 ee ot ate a a -eotsdqivos ofasod ylise ylsetusm oad Yo es eee ania s obf6 si sicdd ,botsta ybsetis os witeai® eskwodtt xiiusbive ~woidesai edd ni Iedyoe Isseoioo s ao beosla | sfovst0s od soitoubsh: aibeoesg sad ti .aiwatoW to hued sag wort 18 oatod. eid doe "Seong onote” aidt, .avivigom betavele ead 108 © 0F To okeiLo? odd eh aotseainsxe Zotsisem {e¥ .beledou LLow al, (ab anode es. aids ;#atdaensat. toolisoxe ng eew ninsioW .fLedteo ne to ameoo sis Yo siede ods no woled: tsef aaiwisio sad yd cade eT Pa rey AR os SEX si Lae os N . * .eugobsays* end oo 7 as ria i my ine . ae vip: ‘ ‘ i mad, ,) > : 9 5 : f i © « appellation of “beloved brother in Christ.” Since we have fur- —- edge for the building, consecration and equipment of the afore- placed on a colossal corbel in the interior; evidently likewise from the hand of Wortwin, if the preceding deduction be correct. 189 Certainly, but imitations, that men sought to make as exact as possible, even if the medzaevai skill had been lost. A Belsi- an prefers to read above on the head of the statue of Maria #4394 KX 0 0.” In any case neither the statue nor its substitute dates from 1394. , We likewise appear to possess the name of our Bambers artist. The following document of Bishop Fekbert fran the year 1229 has been preserved. 155 “In the year of the incarnation of the Lord 1229, and in the third indiction, we Fekbert, by God’s grade Bishop of Bambers, consecrated the altar in the Minster of S. Peter, located on the right side toward the south and toward the choir, in honor of our Lord Jesus Ghrist and of the most Sloricus Virgin Maria . That also the memory of us together with our loved brother in Christ Wortwin, the architect, who both as a faithful man and as a lover of God’s service has employed money and knowl- said altar, may be forewsr preserved in this place, that we ask, admonish and require from you in God the Lord, pious Hein- rich, to whom we have first siven the prebend of this altar, and from all thy successors forever 1.2.27. “Given in the 27 th year of our pastoral office.” Note 155. In the Royal Bavarian State Archives at Hunieh, Thus that this master of the wortwin was the architect of the cathedral in the year 1229 must be accepted as certain. That ne was already such for some time is shown by the amiable ther suffitiently shown, that the architect was likewise the sculptor, we thus have to see in Wortwin evidently both the creator of the early Gothic portion of the cathedral, as well as of the masterly early Gothic sculptures. Finally, as already stated, there is also a kins on horseback For the elevated position, this “stone guest” and his horse are well modeled. Weil meriting examination is the foliage of the corbel. Wortwin was an excellent ornamentist; this is shown also by the charming leaf below on the shaft of the column of the “Synasosue.” ee oer , | ptt WV _— PAE eee ts eisthsdtsd. .3dD. | be ae. , redmwa: selimie Ssekteca0o prudswsl te ferbedsed sd. tot .0dGr assy offs rOs%s betsnibiao beebat taeda eisow t18 jettveid coieid to toemvc0d & bevissesq seed sad )asey taut ) ae ) dutdsist sig To moisasos1 snd cogusxas teaddaet sd hoidw Bs - gntyeng eas ‘Otek .gatbhlivd edd Yo noitelgaoo ais tot esls vid ie --eptodo nxeteon ofago3d yirse cas ‘havows .neacsd .boodredgord i foxdw gnome ,obvgodetd edd Yo etsbovot ond Yo vevaede ond basta a ~ougo .siU eNw eff bas givedio’ evsrsisl ~:31isg ows oels eas eS iN “hpdbagleges stiw afd meal ageateh sdubacre ke gibes pated ufte ; f) Maetrinsexete doit ens ee seivisst sian ens: iscU vatidndnalae if, te sera rt siemet end egiweitd .isteeooove ylisisoidisg stigo beskieseh ylantarsiio es tasbasqeiik #6 dash eas aiedo anol ady focsebdde 3 Yo stegit edd yd bont0t ei xamelo ai? .enottssso Ute. visti af stedwyma boote tit! -.bysed dooda® ebfon tadd ere ai 7f pho eat00b sieds beaego eves bivow eauseom “Geatbo 8 ai beazoqxe need asd jl .viiisool end ai deerdq Lis od a 608d eeeises vd coivegnt ile mort bevostorgag ciedaiise \akodo asetaow ekdd eseoioss isdsé .ness9e hoor sas 00 ,Tegque faafliods :tetidO To suaiietive sav to prose eds beduses® 7 EO Yo fnv0N sud ao Isyexted of5 .r9ovlie lo essery yFataT ous ' Snkdsnooe ede jeteltd stoled seiaiD ,x6de9 .2 bas biam odd .esv 4 ‘fads. ifs yitsem seB' sted c# .eeors sit Yo oatyveed oft bas ~QiT otsatbiodse .gn0TTa onset ofooorM wk ybsts suoituse ewode y «3 {isa betsaiae sstw sewiqiues sas Yo anillit Teseofo ons .ease «ads .sied ees oF .botenew sie sect newod-nsiies!I oad. vino | Lise Ter a ; +1989 a0 bedas ed ak. eacds ets Berudqisos pundanen odd. Yo etosesooge edt odmesl ts seods oF béedsler of o1¢ yodT saseetel ts Iexbedta® pag Brio yous. :bued Ouse eit 10% shtoeb-deomde sitia sao sant a eee eeeenemmnononect: & 290382 SHO eonsvbs on JusRexq Lig k teqme sas heesig ete Tiodo siz at. .rew0g eed: 8 sou oat ove mend streoqgo .eeviw.ows era te 200 130 158. Cathedrals at Naumburg and Meissen. The Cathedral at Naumburg containssa similar number of proud art works, that indeed originated after the year 1249. From that year has been preserved a document of Bishop Dietrich, in which he further arranges the reception of the faithful, who givv elms for the completion of the building, into the praying brotherhood. Within, around the early Gothic western choir stand the statues of the founders of the bishopric, amons which are also two pairs:- Margrave Eckhardt and his wife Uta, eppo- site being probably Margrave Hermann and his wife Regelgndis. fne first pair is particularly masterly, and especially the ¥W Margravine Uta; the gentle features and the rich clothing are quite particularly successful. hikewise the female figures’ of the long choir are just as independent as charmingly designed creations. The climax is formed by the figure of a subdeacon, that holds a@nbook board. If it stood anywhere in Italy, all muscums would nave opened their doors tic it; it is here not at ail prized in the locality. Ji nas been exposed in a corner unprotected from all injuries by useless hands. On the rood sereen, that encloses this western choir, is rep- resented the story of the sufferings of Christ; the last supper, the thirty pieces of silver, the betrayal on the Mount of Oli- ves, the maid and & Peter, Christ before Pilate, the scourgins and the bearins of the cross. We here see nearly all, that shows antique study in Niccolo Pisano; strong, subordinate fis- ures, the closest filling of the sculptures with animated men; only the Italian-Roman faces are wantins. We see here, that the peculiar art of design attributed to Niccolo was a contem- - porary mediaeval knowledge, here as in France on bhe choir en- closure of Notre Dame in Paris. | The paintins of tne Naumburs Seuletures is very well preser- ved, so that the entire splendor of color can again be repres- ented on paper. Fhe successors of the Naumburs sculptures are those in the Cathedral at Meissen. They are so related to those at Naumburg, that one might almost decide for the same hand; they certainly present no advance bus rather a decadence toward spiritless p power. In the choir are placed the emperor Otto the Great and one of his two wives, opposite them are the Bishop &. 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Os ’ . fad \ dtd: Saibaba’ sitcctibvrind ‘oh sia sin:bots 2 os - ate sastatqines qo Peatebs axa hotdw .aistiog serdt ati | :* la jieduat) eds ag evatacons eds yluo jsiweh oF batsotbeb at eao odd al «wosed steiuoitasq on to yout To ano sqsoxe ted ,bL0 $agoasb ode bio satweitl et dotdx .momsqayt at to tsa t8Wod * Tbas .nottootseg ietosqas: att yd taentmotg at, eao10 sit mont - ssp00d $s olocotf-to: adzow yistogmeraos ade wod .wowt sou of a * aadto ads 8] esa wae Stew e20ds todd Ty90xs sr ba ilooxe sie Regi tiys: | | tefruts yigatdiatea ata esgedt band ~ etatwt® to ameg Te tial edd atetnom alstiog abies eat fad Nba datioot sd% Hetasee1ges ors isttog dvtod sdf nd ota at sdage adt oathlod ano sit yitealiwoktrmq dotiw gn0me .antouty usted aort Soutot ove GHA «(OOS .yit) bavieonoo. ylgatrTaotarut on dotdw sot .acedtem asmte9 Lotttueed te astasa 8 Trdidxs bos “292992 995 fati0oy agedtvoes edt nO «.sonet ak bauot ars alsboa edt qala yaar 28 ,astuytt elemel Senwote as eoutatyv edt. botae qievo1s saci? .( fk .ar%) ss902 odd Adtw tos? ates ta asoiv -31 totei doow od7 dvéiw betvequoo ti yiletosqes .anortseto sidog ‘a0 @baste otuait ivtitesed taom bas sagbaeve od? -nlvow net le eit wot? bao0sc odt asi wevisedo sds to rdaty say ts amst sat )* edt ae atde wo1b yosetks ovl-9l-tolfory Ghd .ac8) sbretgo: ~ edt Lsoxe neatod sit soattse1s states 2id ai tasaiwoig taon dgom siff .Asate) toof amiedG to azous davodsis .aqemow doust® -xim) oa fon neds suse seantvyotq suod? .sonseF dtion ak asotsia 84 Tsebit oid ase usmx9d yloseve sat sdogesad avedstvos avin bs «ys? -"s6o? To asivized efissid sd¢ ton .ytessd aiiinth itive vitss ed? to xemtio eis of babaenes oved ow gud? cme at betseqqs seluqut wen s itvau dneesed oF wou. :oustaqiyoa ~aisaed ylsse osiiso-oe sdf ai xsmifo sa0de .19def yrutnso 8 yf “4 «> 90 exeutio baogse att bas i138. Leyesioow yicrs @ .g0n8s «RtNdfoUt Jaoveteoth Sf _ -=aengxe to sodusa a s [ftte ataseerg teteary giudiert anf | Sasa odd $8 Sotsatgttoheebar tsdd ,envdaduoe at anofise1s svite stek out Yo avitootweg. add dosi ted) sRtuvdaart2. to seods es sabe ‘ dtiw etic asea ed ysm {atvog att Yo tetq sipbia aas xO) .tor etit. asiteem adt .sobtetonunss cdf) 91a adast edt ao .oltdd oat | sbtodua, eLtséno peegoReay? ods bas dowd? edt agai ylod sands dB. : sagdstw. oals bas atiost taodtew sscugrt stent Pat sadeseotiontmintiey ats agasqays eds af snottatavasscey ma,’ 194 . Let us now examine the west facade. As in France, it exhib- its three portals, which are adorned by sculptures. The middle one is dedicated to Maria; only the ancestors on the jambs are old, but except one or two, of no particular beauty. In the lower part of the tympanum, which is likewise old, the descent from the cross is prominent by its especial perfection, and T do not know, bow the contemporary works of Niccolo at Lucca excelled it, except that those were in Italy. On the ether h hand these are strikinsly similar. But tre side portals contain the grestest gems of Erwin’s art. On the north portal are represented the foclish and wise virgins, among which particulariy the one helding the apple is interestingly conceived (Fig. 440). Alli ere formed from nature end exhibit a series of beautiful German maidens, for which no models ere found in France. On the sovihern portal are repres- ented the virtues as crowned female figures, as they slay the vices at their feet with the spear (Fis. 441). These are very noble creations, especially if compared with the much later It- allan works. The Srandest and most beavtiful figure stands on the jamb at the risht of the observer as the second from the ovtside (Fig. 442); Viollet-le-Duc elready drew this as the most prominent in his entg£re treatise. The German excel the French women, although those of Rheims look German, like most statues in north France. Those provinces were then not so mix- ed with southern French; the stately Cermen wes the ideal of beauty, not the little Parisien of today. Thus we have escended to the climax of the early mediaeval sculpture: now to descend until @ new impulse appeared in Ttae- ly a century later, whose climax is the so-called early Renais- sance, @ truly mediaeval art and its second climax. 162. Minster et Freibers. ; The Freiburg Minster presents still a Sreat number of expres- sive creations in sculpture, that indeed originated at the same time as those of Strasburg, but lack the perfection of the lat- ter. On the middle pier of the portal may be seen Marie with ~ the Child, on the jambs are The annunciation, the meeting, the three holy kings, the Church and the Synesosue; chiefly subord- inate figures without faults and also without excellencies. The representations in the tympanum ere guite unenjeyable. Only at (a i: [i ae JO a Aan. ee A 7 wa: *.. be es a’ -@ : . gs) re ire ‘ oy need iy att) OS Tea | cee 7 - 2 a 4 ry. Yi } . | A 1 we f bus aidagdoda ‘edit doin Sirol asmow edd Qiosd atd ny aftod aaceam ‘eit nk basta vom ob roitetat -Sd3 ab qin? .wrsdo Lato - atog Sd¢ to notife@ sdf Yo dosd edt 10. s19te8m. batintae s& to ¢listttused ® ,bIifad edt dtiw stt24 batasassges actwairi et Ls ) batt o%. .se0q Beotot cass edt tididxe ,stol bas Gigia ods | Spree “syusdas5 a SP odd ak yoosale senna? easit davifw eevisa | ‘emt mobiga sts otad es titiga ove atiw peycoexs eouutaluoca issue of .sesnifuh atefqnoorlo yvistaso tens ni Sasol ad oF 198¥ _ Tontebt0d aietesw edf go egies tx won@ toa bi .si Ova easq ao hs Aa -anoaaold etazaqes aft avtot tuq dotdw .gaem1e9 es . ' wrtstgive? to P44 datwold ASL ‘Wedonenntee syoasyte@ toedoud edt to istiase sat .aottd al 2 eset. Wott befsedo doidwntatzvo azimet? to axvtqivoae to Loonog ‘dO clo yrssasmo¥ astesdezs9 ods io ataowugon ¢soty edt ELS oF ay. _ 9d to Lataiog ‘ado mond eestggit of? boebat bose sst0ent Lomas (ope .gf4) bfied adt gtiedd eisf to amzot gatysia sat .gistasno¥ @efObiw odd a0 09 Yo tedsoU sdt ddiw aettexos tin eta bas -oott silivis¥ 06 ash) .(@ss .act) xistavoal-asa0M sat bas asig - agbteed ,atetesm adv etow avie" sb asv agefoot4 bas setul? aval h 78093 eis modw Rd0ms aaetons taito 8 Bas afastabeas datusl4 Og uy eabpon ot e30msa ttoneTd ) tgq basot sd of yltasd Oh sb ‘siuet KY Goesd QuPbaoqseii65 *“semetoded oe8 .tal sto¥ TOBE SABE og Leds ead S4N eee betuoax9 savdnlliedte’ noxt sevenyaed sxda4 ,a2aga909 al | ets ede bas .toeggnt of Jaow totsl2 tedy .SOdI oF O8SF mort =dn89 9b aes6 boiles yyquvoa 2b assl yd dsfoots. bed ITV eofesdd : - pavelgmeo eals ested: sq1199 Yo adol sav odd to dao? sat yet Sioeemnagrh bas asadY to ausaleaaod Lost qtoilided saneted gtk basi 2 bottaed sae gard .Oadf uteasdt eaddivis datuslt 1 ‘te ‘bs Th pao yenayanyebydand: afi to aoitalgmon sdsv 10% atodgiuee pee ipa ARAB! oTON owe yaQatNOLT 242” S6f .rayetao lt au ae -y of 918. Llait rewod-eds ideihehinie |. Dias bi ididoass to udrrow 91s tad yaoteTglsoa of. _ edeteds “petaaeotgat Uitwabive ats efas. ‘go7t dev. qo to etuoe Lis dtinw Lived. Sad. Q10da8872 te 28,998 i iaapecemanss o@ etal ,eaog odt o58 ated of .o%0Rit «tebaote =fhsreWor itin deteets. ybsetls: -- ebta.ag0 os 182 dusd gid a0 no aadto dosage btewet agast tiedd bastxe Onw ,alezaa ows edt oa 9320q alton eeoeds to enol eaaigiiv geiw Sas datioot ¢\ . Nye " im 4 * 6 ok hat | | : ar oe - Rees vi 8 ~— ; . : ay thee iy f i> F beds 4 195 ) the sides of the tower bali are to be found a sreat number of - sculptures, that are worthy of examination (Pigs. 448): the se- ven free arts are evidently represented thereby. We further see, as at Steasburg, the devil with all sorts of \reptiles and boils on bis back, the woman World with the sheepskin, and the , foolish and wisg virgins. None of these works possesses espe- cial charm. Only in the interior do we stand ‘in the presence & spirited master. On the back of the mullion of the port-— slender figure. We here see the pose, later so exaggerated -- cone hip bent far to one side -- already treated with power.Al- so the two angels, who extend their lamps towardseach other on the right and left, exhibit the same forced pose. We find our- selves with these figures already in the 14 th century. But sculptures executed with such spirit as here ere seldom or ne- ver to be found in that century 6fecomplete dullness. We might pass over it, did not a new art erise on the western border ‘of Germany, which pvt forth its separate blossoms. 168. Flemish Art of Sculpture. In Dijon, the capital of the Duchy of Burgundy, existed as school of sculpture of Flemish origin, which cheated from 1885 to 1411 the great monuments of the Carthusian Monastery of Ch- ampmol there; and indeed the figures from the portal of the Monastery, the praying forms of Buke Philip the Bold (Fig. 444) and his wife, together with the Mother of God on the middle p pier and the Moses-Fountain (Fis. 445). Jan de Marville, Nico- iaus Sluter and Nicolaus van de Werve were the masters, besides 20 Flemish assistants end 6 other workmen, among whom are appa- rentiy to be found byt 4 French names. 157 Hote 157, See Dehaisnes’ corresponding Essay in Revue de f’ Art Ghretien. p. 449... :1892. In Bourges, Andre Beauneveu from Valenciennes executed works irom 1890 to 1402, that Sluter went to inspect, and the king Charles VII had erected by Jean de Roupy, celled Jean de Camb-— ray, the Tomb of the Duke John of Berry. There alse completed it, Etienne Fobillet, Paul Mosselmann cf Ypres and several oth- er Flemish ertists. When in 1458, king Rene desired competent sculptors for the completion of his tomb in Angers, he called Flemings:- 158 «gne Plemings, who were engased in that (the “th ig te a a le ac sod oved on 28 .xob~—~) .y1709. to atu etal oft to (dmot ° i ti 4 62) Syasdossi@ emeddvat-s1s tsd7 asmhiow Teed oG7 918 yods — BA ceo ho saemuipae ‘8b at iwtsed .etowe¥ of ob yoosd 881 stok bf vogh Le 6) NRE cebsod US) .q (ened S04 wd cuatso | ae it BP edd fo efbdie ads Suods Js aesot ak aadh -@ eebteod .bovrso od oF stow Iatbedzeo sit af alist atoidto Og sdguord e1sw Suowwall bas aismioazso¥ Lus9 ,aovoH to aerY gilend ‘, -edtefies .iotsd 0d eel(r9 bsbbs et9" dotaw oF ,zetaY mort seteSasiredtoA sedd0 dtiw qiewtaA to mtugeumed One .antmolt | wk wsattestod edt asad betucexs 534 b009 adv giirad eied oa? . er _— sant t9tate etd 10t dwos 8 OGbt bas OBS! agowred ai1s4 | -aetcoisY sh sagsilind yd brot edhe: tered .2 at aétenes bed sigd 24% yomtt omsa sdf Ta0dh tetdaesh Gus stiw aid ,ols¥ 9b sigol tot dmof 1u9d0oi1 Jey 4 sil ~t00ex9 bed of Got at bas ,eloganed wnt avacied sb esuno8l yd - yd eoaa1@ to ellisiott etiw aft tot dmog Saa19 5 2egua% ts bo aout paetety tsdto Istavee bas ost aembet ~sisdesd 96 a0Lled «398099 sages brotts ataousoob ea¢ doftiw ai .sukt eidt ak o32 ow aga? @ 608 ‘yoasgi09 biewod gactbast 2asa199 wol to tustive Suotde 5 } ‘(out omse odo fon 74 asf eoteds edtow das beissto ofn .eoas19 aqgsdisq ys¥ Toovseb t9agef at Yi asve .oofteg ofs09 yisse odd cals eved Stud ,consa af bontsel elevem fon saved sasmis9 odg _giotom fi. a6a 10 Yaaetiroucs tusbasqebat at s19a3 dexX10" gaol sotesvai aids Osovderq Tsdt ise ‘eassy berdued sidsteaia sat 2° Feonst! bats lucogeh bas bestvequsq otat etaidis daimgi¥ Yo P to bas absed ods to taombasis Jedd Tididxe advow daimeld sasc? ss has, tere tdoerd(A dtiw ntsks batt astsl ow dotdn watdsolo edd —{tow sd¢ af avon sisteetqed yisaastence no .ay usy sSonsi0WeF ) 9d? .tetosiaio to aertstases1gs? sat Gas saoq adv to tuo aot #6922 ateono0o wa00l om szedT m soasiettib sioa odT | .ataise / nee tasesolgas odt ab ton 2s asve .aisveds ebya odd SayoLame - «#8: tem besa ws2z t9dtied asks elobia odd. odidw .zsbod: To. 1g ’ gaut¢qittoS yiol isdtiemieoata .dova. taeeerges bivoo 109 saxsl | “gos” edt tea? .1oteteds ytiacticcqo bebt0tts abasgel add s00 boaoqqe ylanoiwsa at aniddefo sdt dvssned betatogave vbod edt to yietsiea edt etedwyteve yosTididxs sxotetsued aelqasxs iis yd le -aatatofo-eds ahvord?d dektigkib aseqgqs eetbod 4 pasty sustaisoe at atl dsucvizige 3d¢ to settistagaaigey sd? etd? .gnatiss{ adé. to Sivem ont bas aotsasval oat et Bucduisa atsdts ot t1s isvesibem most Sedoas1d elieubstg solvssasso1ges q*eonuszaienst yluso“vasties! eis ak xamtio yisetase tacoma ati ' Yo, msottoiqobd eiat .oupttas edt io ievetsdw gafdayas Fou at tf tomrot odd at avtgooo, yilatosqes bas gvarzt Iuoa sdt>te alil sad { 948 doitdw ,sbasgel odd, bus esagdqiiz08 yok sat mort etostdo: soteteds Soyolaae oads siaseeisaed sd? .euotdas ton oatwatrd > -ofty aff to. 2ofbod bas aeaost sdf tonasm Isvesibem yloat odd at | -ablesoitas ott tot eone4 .osoitas edd Yo vsaodt ton Snes .ysint | ited, ,exmbeoorg: Sayorq slgare odd yiao aaismet atsay soaeglt eat babisge7. aousasiensd. yiuss osflseroe add to sitetase seads. q _ tse1 of bas 2ghefwoms to auotiseb a6. s% besylsas bus supttas: “hoo eeaeheags oaaaml sort etsete das bee001q: neds oF. - a ere eT ag eS ae ae 5. Ooty a batioesd> odf aatsst oom j 1 5 ba a ayer ae ey ¥ J + § 4 ‘ a Ge ; Mi: fy “ ae a hte A) oe 7S cy changed in its objects and mode of execution, is still the art of sculoture of tee Gothic. It is remarkeble within what a nar-_ row horizon end with what unjustifiable limitations the “Gothic” is restricted. Men proceed likewise with Christianity. They believe thet sensually bappy beathendom represented the body; thereby it created its beauty, and that this is true art. The ascetic Christienity fled from the worid anf represented only the spiritualoccurrences, entirely without regard to the body; therefore in mediaevel art are the bodies so unnatural and so bad. Can one meke @ Sreater mistake? In the entire art of s sculpture of the middle ages treated so far, we have found the ‘representation of spiritual occurrences gust as little, as is the case in the antioue. Here as there is the representation of commonly known things; amons the Creeks are depicted the m myths of sceds and heroes; in this period of the middle ages are representations fra Foly Seripture and the legends of the saints. The sole difference consists in this, that the Greeks employed the nude therein, even if not in the unpleasant man- ner of today, while the middle ages neither saw naked men at large nor could represent such, since neither Holy Scripture nor the legends afforded opportunity therefor. That the “seul” of the body evaporated beneath the clothing is strongly opposed by all examples heretofore exhibited; everywhere the stately bodies appear dignified throush the clothings. The representation of the spiritual life in sculpture end painting is the invention and the merit of the Itelians. This representation gradually branched from mediaeval art to attain its most masterly climax in the Ttalian "early Renaissance”; it is not anybhing whatever cf tke antique. This depiction of the life efctne soul first and especially occurs in the former ebjects from the Roly feriptures and the legends, which are 1 likewise not anticue. The Renaissence aiso employed therefor in the truly mediszeval manner the faces and bodies of its vic- inity, and not those of the antioue. Hence for the antioue in- fluence there remains only the single proved procedure, that these masters of the so-called early Renaissance regarded the antigue and analyzed it as desirous cf knowledge and to iearn, to then preceed and create from thearrown breasts, withovt imi- tating the Greeks. nr) ice) ak in) AT 4 le ig or a Jatibd [, ae ” * ike ON a ay | ‘ f > ioe | 5 ie eal ie ah " ser ; g ak wie athe .yast199 at ar ‘odd af o1stqin0? asm153 | ncrestienbeamans “toned nth ai watnos rr sige of wey Pee ee tte ok! ee) Ay ) . .gaearye9 Sftavbbrados ‘to tuo esaesq iahekbbas ditade esbeaee av Bro ed® | ‘atesd sdz nev% .d28 Ssdt to motinem sdt ylyorsoe ef oxedt a0 99 yd agsdt9eq ste" dotdn istbedts) 999019 Yo guitoliw add af / ‘9a? * .taeataorg Ylasisortisa fou 948 (18¢r-sasr) 918d tad edfecbas eleisedseo ods nt. addatax bas eqodacd to adwos Bitte edd Yo tisd baoosa od? -edtow tus qsteq ylousa Is 928 aiote ~gmI59 af sautgigoe af ataitis akegs ewode tartt yussaso at Sb *~@t0n003 aasitgas: edt to adsfe svs1k siz cae Lis to tarfzd «ya sadsv bas .tosteuell-teneiW $s .olssbex7d s01egss edf To otiw gad =fvs 919% doitde ,scaest¥ ta asdasts .2 ab tlogmid sovegus saz To “CBSt mt beth aastqms od? .bnsd amea odt yd beowborg yitash yp EE s(dxot Lanrgtro 992) ~:awolflot es anuy sobtqtroanr edd ee 2938 Aolsasinnot apes non «A 2 495 13558 99% =. 83Y at 08 ze § 2 SOT BOL 20188 saz Yo pune fesdora oat at befots asd tatrtas oA? ¥\: | =—tSmsaqto ns relvotsisq at at to1sque edt to dsig svete add tata x feted °ausiosit eswtotacis atl = .dnst taxi? eds to dtow ist ~) 88a ab saaetl GF Beilso to190m9 9047 godW Joos tdOTeORS -oteduot 8 tOstango%-tesetW Ts Savolt 3d of elasatot sew staat edt to ts9y sds al® SelL sot ratroant gatwoliot odd aviv oa ~asm oitziére ot bathwteds .tans> .2 to ysb adv mo Sar brod _ ~ba19 totegms s4¢ tol saotadmos ont tuo odw (dors suelo rot #8 Qgatoiiad seta Sdt1ot aitow to tesaeu ean tads bas site “.lootsd? meeivio s bas Qivdasits fedt to domatd s en st0ted vvsd doabat ow .dored aneloofl al betiqgque yiesass @ rot Hed. dotdw .stetqluca ‘to [oodssa datasld 06 sie botse10 setwatth et .avsitis dtiw sonstd bas ybauga09 ios ; sOTRHi at soustenod to Letheitssd vat to a1t0ad ) stem ¢lisisaey etétyines to s0st Tedd yd bsbue00ua aan 94 ~—asmeti asmlf{it? ,asos2 tieV (i Yistd wsbA to eansa ois yd anon ‘to notesloaoo odd eatol saat bas ,tetosrV yared bas «shbiendos © ad otnt teva beeeeq yosotls t9doatVet9te9 .orarvod asa1ed + 0d 02 918 t9s28@ efdt to adiow 9dT | .90ae¢atsnad ots lo emtot i oo egkiat atom medt moqs tes09 ot sidieeoqat af t% Tedd .ayo19:M ' g9alq aeviy etouttas: taomis bsd sagiqiges to txs ara? ay, | ssaveb gaiveso oo bus AXiadosd off .dgarvteo stigns Na aoe cv Ar i aslt ba .. ‘ jot Pa oi 198 164, German Sculpture in the 15 th Century. Then back to the further course of the later sculpture in CG Germany. Tre 14 th century almost entirely passes out of considerati- on; there is scarcely the mention of the art. Even the busts in the triforivum of Prague Cathedral, which were perhaps by Pe- ter Parler (1856-1881) are not particularly prominent. The stiff tombs of bishops and knights in the cathedrals and min- sters are all merely petty art works. The second half of the 15 th century first shows again artists in sculpture in Germa- ny- First of ell are the grave slabs of the empress Leonore, the wife of the Smperor Frederic, at Wiener-Neustadt, end that of the empercr himself in 8. Stephen et Vienna, which were evi- aentiy produced by the same hand. The empress died in 1467; the inseription runs as follows:- (See crisinal text). 159 Fote 159, See Witt. der Kk. &. Zentral Kommission ete. p. 7 108, 164, 3/) The artist bas rioted in the richest treatment of the garme- nts; the grave slab of the emperor is in particular an ornamen- tal work of the first rank. Jts creator was Nicolaus Lereh, ancarchitect, whom the emperer caliec to Vienna in 1467. There was formerly to be found at Wiener-Neustadt a tombsto- née with the following inseripticn;-15° “In the year of the Lord 1498 on the day efi B Janet, there died the artistic mas- ter Nicolaus Lerch, who cut the tombstone for the emperor Pred- eric and thet was master of works for the Sreat building et Stresbure and @ citizen thereof.” In Nicolaus Lerch, we indeed havv before us a branch of that Flemish school of sculpture, which hac for a century supplied Burgundy and France with artists. He likewise created the de doors of the Cathedral cf Constance in 1470. He was succeeded by that race of sculptors generally made known by the names of Adam Krafft, Veit Stoss, Tillman Riemen- schneider end Peter Vischer, and that forms the conclusion of German Gothic. Peter Vischer already passed over into the forms of the Renaissance. The works of this master ere so nu- merous, that it is impossible to enter upon them more fully here. This art of sculpture had almost entirely given place to wood carving. The technik and more of wood carving detern- kt ated ‘ihe al ata alae ome? Ue ie jie | Poe. Be ; eer - asvostom (448. abas to ib deveocaeh siidge odd beaimiedod “doue’ of ato t1s sdf coaqg begaste os af omit: teat to mekaivar i caine 190 10% soktosasis etttil taseeng yeas tedd ,goakeb 4 etaresd i] i j rs oan Tn ry a 74 ‘ ia ., ry i eg’ eg Ae sid ike 5 pars ak otustqives | oe sgetneteess as. st bas dt ff edd at astesdqdue’ yew ’ fsvesiben off dotdw at basi yino sat .yissl oF won emoo off aetietl! .dtesbd: esatsme1q s. 9ih bus atendeta son Sid sayrqisoa #8 tod vacate avod dasdel eds besbut ai singaiuoe Leyesibos Nd@tteteoq 8 batded stel tod .utwsed Lesos ylorem son oF woug S-anpeome einabR? bo $18) 0%, to atsaob won edt bei9spH00 fads rox ? -B8UTOL wou Dstsa19e YdS4 at, to cabttecupessian: amgart on yustawo as Sl sat aroites ¥ sdf eroted dosd of aedd Saga on .yistl ar bavot s18 somes -[og oft no aaottsdaseoqqex ad¢ 11. as9a20q ow atadw. .000f see -v2 $47 asiiW¥ ts otg01dm4 .2 To 18d fs dgid edt Yo Qurmeszaa asd at etotqiuoe to Lootios Snentmoic & to antwoaaotd dt to sousbs -Azow [atom soeeuoget -org Matiebenives ag iw: pee emose atidtdxs yisinase dt SI sdP = + donett dois od¢ at tomegs ylatstiso tadd .stebd ar bextt yltsq to Sshsost taew ods to Isftog nism edt fark? ak axoa? § .ofyta a ~aupeqeet ere vilgiitesed sis 19 .sisii9% ts Lstbsassd ods 7 ~:solvqitoant edd ai 8 sein oad asrissa39) ‘sot saista sied antmen algosa: iis ys | “.atdt Oevise odw ,aelodory seisas -rakt dorog Saitosto1g att Yo taot? ods co bad *“.¢lisd sottoveb to aavod 2fat% ean 3Slf assy eds al”. i wigd@etogmedaos nertsato berstalves & eved stan ow gtotetsat -Wredd! sat sidmsaey tivasol § .as1s18d9 fo sbhsost seen. snd. dviw _ =a etivo ors astetqigos sdf .s0k%%009 bas estéa509 To F1a sdt -sequyt on? .sauof@oT bas aclrA to esaodt. oF beriis yideistaia ~biviv ,1ogsi6 odd Stim dsdmoo af 9k1099 68 atnessxqed sadt . ag “figort .2 to ted Wvow has daomeQussie .taomsato ui: elisoes yl , gdd\ mbdsiw atosjotg sates sis to heed edt aeva .29lth ts omit 9908 obtattis d¢od dtiw eeitid ts tetxad fo) bsed eat adr r9br09 q =isnogstb TAQUORN! OYE admst sit sO eexektt ea {live daa aod stato Laot ts, meeuW edt at Tr9d8149 to seodt oil yisosxe .xi eo i ot smepnaians aaniteciates 28 boyolqae o1s aeisd acon? tf ae ie * Paes fr = # ie so eae OS a ae ee aiisoas sistostidoms ade efroW .og Sas .esY Tesietalsoe 297 cz 199 determined the entire appearance of this art; moreover the Phil- istinism of that time is so stamped vpon the art works to such &é degree, that they present little attraction for our art of design. ec. Sculpture in Italy. ete 165. Sculptures in the 11 th and 12 th Genturies. We come now to Italy, the only land in which the mediaeval sculpture did not stagnate and die a premature death. Italian médiaeyal sculpture is indeed the latest born sister{ but it srew to not merely equal beauty, bui left behind a posterity, thet conquered the new doméin of the art cf seulptvure end the- reby created new forms. Before the 12 th century no figure representations of imper- tance are found in Italy. One must then so beck before the y year 1000, where we possess in the representations on the gol- den eevering of the high altar of 8. Ambrogio at Milan the ey- idence of tre blossoming of a prominent school of seculpters in repovussee metal work. | The 12 th century exhibits some portals with sculptures, pro- perly fixed in date, that certainly ere not in the rich French style. There is first the main portal of the west facade of the Cathedral at Ferrara. On the beautifully wrought tympanum is the inscription:- Way all people comings here praise for centuries the wise 4 artist Nichelas, who carved this.” | And on the front of the protecting porch is:- “In the year 1185 was this house of devotion built.” Therefore we here have a sculptured creation contemporary w witr the west facade of Chartres, Does it resemble the Chart- 3/¢ res sculptures? Yes, and no. While the architecture recalls the art of Chartres and Bourges, the sculptures ere ouite un- mnistakably allied to those of Arles. and Tevulouse. The tympan- um, That represents &. George in combat with the dragon, vivid- iy recalls in ornament, argangement and work thet of &. Proph- ime at Arles. Even the head of the saint projects within the border like the bead of Christ at Arles with both artistic free- dom and skill. The figures on the jambs ere wrought diagenal- ly, exactly like those of Gilabert in the Museum at Toulouse. Their bales are employed as terminatiscns to the niches just 1 7 Tea See areas BE te easy: ee Cate eupebie. ba Oya + aaso ine $4 sa049 ir: », as a alstiog tefteta owt metansts salads: sotqivea aid? » tengebe denaaeenanuae saaore¥ mplbew: int 42 ao One Lerdedts9 f ‘ -:0s0% shane 06 (gekat: nédedabece’ oda Shaboase fatars sete oat oT? | weyeo #1 \s% -sefaddas0 10T ered atiwoa slgoeg add to satay . ee BPatee as | i Past | ~ -roae® .2 ac bad: jeer eiis-ow fitw gabas pb ean ofw .asfodosk daisy seiw sit. _ wysed ots svi — tedt .biod s0% tahad® o¢ ystq bas saistq 9 a by ec smobgard cykaw. -dtvon eae: fev hail shiediiallens tiev agewls ote ausilisst— oak. ~pdadw s46, tists of aomsa tieds dosiis of betetieed eratise ate sosiq of n0se01 «tadted douw 644 beebat sonaa¥ azaasioa To sa0daF mo adeiieti edt asdt agotisois I[s2aoloo saodd a0 gousa sledt ,oom0. based toa af — gaiddya& .edtow ystteq saadt Mf | e@istiog ond oaods . | ost sa Lsibsdis3 aaa go. faool satwodtdoat: [atxoq xusliaca A! ae ) samo oo , aade: hatin to tedauaes agaacacog wala te Ievdadss9 oA? ‘wife@iodd? msd¢ xetal aaoksieds o15 bas abigwiedts-dedteseat oven a edt wi nottstosanqoo ali® mort ets6 ylao use yodT .YLoeth Lerbs " ~a0 [sitoqg dtuoe sdt tobee@evirs ogebuat O8t atevisG 9G ;43If 3as9¢ .ttow Ifodes ivtidusad grew dtiw istiog aidf) .@98t aesq aad yl son. Stoieted?s si .sogeataotq sitrii lo eeutbta va Ssutobe tad ai mo mottati9ent seodm yaleditW sotqises.adt of bertstes teanol Tied antbsoetg adv ak svBR ow ,. S90! irs9q sdd To abaost Jasna adt ~s9%9/0d cf od taomde ((95S .¢ .1VL .d44) “dooddasi™ etd to teow edt at bedvueegar gafdliod isilise as. to aatauet adv to 10d -o.onvdtiw tesa Oleow gods dsav . 2602 oa: sts: sae toy :absoat so¢qivea aif .ylatl asdt 19dd0 yitaaeo yas at sottstabiedoo wi9yv bas seskinegy @8 eaatde sgors) O46 assi194, Yo aslodork emeedh: -. Loni | ; "ied To yde ads ai asta viise ! i oSteassedi eG ak .Od% stot _ vaaod .2 at es wihttite gresaisasa add bas. Istbedis3 edz a0 _ aemsines To: aiow edovesca agiw t9e@ agd? aw .soisd wed sat | Shedd to bse sdé ite tagugoleved avigastgerg, sds Sidlixe sede adtow, eas to toseego edd asu imaiedad attabones § .qisdaso dé ena pate ce sot bettovoy af od c15dw .smme9 ta i ach bs moattaaoseb 8. onvot od oF Btpsarsd eceevetnnent tans r ; Hh es Al Be wer 200 like those at Toulouse. This sculptor Nicnoles created two similer pertels on the Cathedral and on S&S “Zeno at Verona. On the Cathedral may be read:- *To the wise artist Nicholas, who sculptured this, be the praise of the pecple comings here for centuries.” And on &. Zeno:- | “The wise artist Nicholas, who carved this, will we all praise end pray to Christ the Lord, that he may give the heay- -enly kingdom.” The Italians are elways very euphoniovs and vain; the north- ern artists hesiteted to attach their names to their art works. Those of northern France indeed had much better reasen te place their names on those colossal creations than the Italians on these petty works. Anytbing especially new is not found on _ these two portals. A similar portal is likewise found on the Gathedral at Piac- enza. 3 The Cathedral at Modena possesses a number of portals, that were inserted afterwards and are therefore later than the Gath- edral itself. They can only date from the consecration in the yeer 1184; De Dartein 160 indeed gives for the south portel on- ly the year 1209. This portal with very beautiful sckoll work, but edorned by statues of little prominence, is therefore no longer referred to the sculptor Wilhelm, whose inscription on the west facede of the year 1099, we save in the preceding Heft of this “Handbook” (Art. 171, p- 286); at most he is the crea- tor of the remains of an earlier building inserted in the west fecede; yet these are so rude, that they would meet with no c consideration in any conntry other than Italy. The sculptor Nicholas of Ferrare ana Veroné shines as a solitary and very carly star in the sky of Jtaly. ¥ote 160, In De Dartein, On the Cathedral and the Baptistery at Parma, as in S. Bonn- ina néar Parmé, we then meet with numerous works of sculpture, that exhibit the progressive development at the end of the 12 th century. Denedetto Antelami was the creator of the works at Parma, where be is vouched for from 1178 onward. In the Cathedral at Parme is to be found @ descent from the cross, s i 7 Py i" , A - 7" if é 4 % h if P " - - “he . ; i, u qi is ; % ; \, ; a 8 7 arsed 3, Rie ser 0 Steware 200 dnd nie nese taal 292) sane dueerbiede Gatnoflot 09: 98 | viseclemighaaeets: aottsaimoteb’ book sat fat Sv ebb RYE | i - aBadaoo add ao tkatesslqas bas ttita ab aottstasasiqsa 9tid - “*lodee betqartetat busty odt tod ,taeLfeoxs at so9meas9 oda ee ~vvv0ds wollod sd to atwomsato siil bad eas e6 low es ATow ., , YEstogassao9 sdf moO Satwodti ylinsesela adge sds asdiate eraP “gaqx0 sit bas elasioq 9dt mo ,sa9b0M to Latbedtad dz ao adtow ie ~edd! fotdw mort ,aslloeoo tewolTt ody 918 yletste oni ones - Santer eds wort Jaooueb @idd satwiedsO .ditgob fool aoom bus aga s0¢ texatt eared: ebta sno a0 Wortieoquoo Leuas edt atidtaxs ott tdRia odt ao .aemow!’ sStds bas adol .atasM aads .“dorsd9” ph ahaa aso ofw .21sibfoe’ edt bas atstaso asmod odd * o0302e0¢8* -J8iadd To odow aeesfmeoe sds «ot . 98889 38 gretaitgs9 sds 16 beaszas oFsebousd bmtt sw aert al ; sbebrosb od ot yleotses ai tostidots odd oals asw od a9dted¥ *““Etqtaoant saiwollot add bavot ak yawtooh edt to fedail oat 9 fas ete ¥: .(#xed Ieataito.992) \4-ine | Yo sottetobs sds borasagtget ai avasqmeyt Hodors-bagor edt at -eewHOOD neblog sat aovgs. gitoexs taomis .waatdglod sands ont i ' ed fo tove? at somed@ttib Iseaoloo 8 tedw sod -oigdte74 7% | =t4 tombs’ sase out -t00d8 dion ard baouboug odw (astasm asm7ed _ .aetteogs oft to etaad bod ofw ,etedqotq att betess-918 banaue geitdasdd ts 25 aqso beqsde-qolen edd isew atoteascas aeedt L114 “Bas-asb10G ai sartqed edt awotie at fetaitt oat ad 20174) bas -fmte ettuo at [sttog shia edt io suasquys oat. .5ntbseded ads - ) eds to stb, odt eg tanTdd 2: sldbiw odd ab phoaatgod ylasi ‘bvs tdzix odd oo; yebawow ads Quiwode .saseqd bexrsd ddiw Bit0n _ =d3 seae4 -noixttiouio Yo etaeuslgnt ads dviwvaslgne os stot : eviews ods 218 bagorks .coisstasz29tqs¢ doastt isgas edd tuo a ~a8 qd" bagb sas to Qutaedecws oat at fotarl eas ao bas agiteogs *woaktequoo at aidd (fe af sliqesq wok .adaqautt aatwold aloa l@n0ts$e19 asm199 bas donsyd yrsrogassa0o dtiw Shaan {avesibem ott etididze Lsttoq i6et! ods to agasgayt sdt % HMeawia figtles oF tebIo at co1d Ss bodwlgo asd) oan ,asm eis Yo = ‘diééaned ovvt oy ) eon oe £00). vovidesd’s wort yenod déiwy.s Rl Ottw) yeh bas: ad3ee ottdw 90068 AO8Ed ano .asasod owt att er of beasdsosds t & bas sot ods. ‘YO avoot sad henace = wasnaen 18 Sbtaed ‘Miler ofsoda eoms i is spiaed mtd wollswa . wine i ; i +) eee, Ah RE RR eevee AOE SIE ay bit ¢ 201 that once formed a part of the pulpit (Fis. 446); it bears the followins inscription:-- (See original text). 3/9 Aside from the good determination of the date (1178), the .en- tire representation is stiff end unpleasins; on the contrary the ornament is excelient, both the grand interrupted scroll work, @s well as the bud like ornements of the hollow abovvy This strikes the eyes pleasantly likewise on the contemporary works on the Cathedral of Modena, on the portals and the crypt there. Also stately are the flower cowollas, from which the sun and moon look forth. Otherwise this descent from the cross exhibits the usval composition, on one side beings first the “Shurch”, then Marie, dJchn and three women, on the right the “Synasosve,” the Roman captain and the soldiers, who cast lots for the seamless robe of Christi. Tn 1195 we find Benedette engaged on the Baptistery at Pisa. Whether he was also the architect is scarcely to be decided. On the lintel of the doorway is found the following inseripti- ont-- (See original text). Tn the round-arched tympanum is represented the aderation of the three holy kings, almost exactly ss on the goiden doorway at Freiburs. But what a colossal difference in favor of the German master, who produced his work about the same time! Ar- ound are seated the prophets, who hold busts of the apostles. All these ancestors wear the melon-shaped caps as at Chartres end Aries. On the lintel is shown the baptism in Jordan and the beheading. The tympanum of the side portal is quite sini- larly designed; in the middle is Christ as the judge of the world with bared breast, showing the wounds; on the right and lefi ere angles with the implements of crucifixion. Hence ab- cut the usual French representation. Around are the twelve apostles and on the lintel is the awakening of the dead by @n- gels blowing trumpets. How puerile is all this in comperison with contemporary French and Cerman creations! The tympanum of the rear portal exhibits the mediaeval story of the man, who has cilmbed a tree in order to delight himself 320with honey from a beehive. All at once he perceivvd beneath him two beasts, one black and one white, night and day, who ¢ sSnewed the roots of the tree, and a dragon that threatened to swallow him @s soon as the tree should fall; beside are repres- - i. 1 ade ’ ; y : ete: ree | saa agnrd eetad yLod etd to moitsdaeastas4 gat ddsoned bedtroe | ‘he acral at sfodw eas tay os sdf .so0u] ds OBE ak: auaivbhid ebaste sania valimte » a0 , biswos yiao tedd .sagnfe o¢ ef aistuigva to fas aft ai yoived _ -=tode. ,2u000 misas aivomamos ob yisduse sxon sus. to slobie oad 7 nae ai taot Isw2zisqed yietssea sit .omserd olooory etoted yi : ~soorvgrsoagt aartwollol sav a4890¢ said +s vtetaivqes -ie ebtvd ,soslg sdf Jo tosoos .doosl sebin .BBSE .d sA I” “.avaw 2idd Bbadwoexe ome. to iiievee tt tad senottscussetqen: Sivkxii tididxe Jos. geob besbar sea? ~luq ods Satgooxs odw .totqloo2 adt asmiotersb yinterte0 saom aateoces 28 ist of sstotadd ¢s onssas4 ut ogmelodisa .3 to tig - \@ 80.00 beebat ei agawgit ods ai soasybs as. psdeost snort odz tom, e006 olocoiM Yo gidetetesu edd of mottianaxs 8 sud za998;" ud begoiqnus amtok Jo eettee sat tsdt asse ylexea on .taixe wort ¢sdwemoe yisv yods gsdt bas Sebastxe tsdwemoa 3% oLoooth > nregh qeqqs esac #9809 boshdat obte2 satwredrO .doaetl ods Lag tere / s0ms@e%oLoo0rd OR | sana pomp Pn Sstettenictiniia ek areiwgteys gon LLts3 oF mtd vote eit0w eid tadw. sasoad oiooorh taud.,ttsaaV yd bet ~auad% ods ‘mort sbtas yfortias .oupstas odd to sotietiak yo od _ sedgoorss SsepiTns as ao havol aishe o1ew otad? .a1osasone aso “ Raeeetanetcedtsmaiehewents ne xiigeod satveratel to. es8 - the ’ y - 7 - % ' Rae og 09! alae “ae ne a ¥ yee Pee 5 a ae 4 5 | i‘ - ee? 2. v= - natural. 168. Master Guemons. In the 12 th century Tuscan “art” does not once show eanally able comredes of Nicholas of Ferrara. On & Andrea at Pistoja master Guamons and his brother Andreas have indeed proudly in- scribed beneath the representation of the holy three kings on the lintel of the principal portal; yet the whole is truly wr- etched; - *Tnis work was made by gcod master Guamons and his brother . Aderat.” 32% And on the underside is: -161 (See original text). Note 161. See Sehnearschow, S. Wartin of Lueca and the Beg- innings of Tuscan Sculpture in the Middle Ages. p. 37. Breslau. 1890, On the lintel of the doorway of S&S. Giovanni Fuorcivitas, he asain calls himseif:- “Good master Cuamons made this work.” 169. Eiduinus end Bisareili. On a Similar plane stands Biduinus in 1180 at Lucca. fhe ac- tivity in the art of sculpture is so slight, that only toward the middle of the next century do some works esain occur, short- ly before Niccolo Pisano. The stately baptismal font in the Baptistery at Pisa bears the foliowing inscription:- “Tn A. D. 1246, under Jacob, rector of the place, Gnido Bi- sgarelli of Como executed this work.” That indeed does not exhibit figure representations; but it most certeinly determines the sculptor, who executed the pul- pit of &. Bartolomeo in Pantano at Pistoja. So far as concerns the front facade, an advance in the figures is indeed to be s Soxseen; but a transition to the mastership of Niccolo does not exist. One merely sees that the series of forms employed by Niccolo ads somewhat extended and that they vary somewhat from the Prench. Otherwise Guide indeed comes from upper ltaly. 170. Niccolo Paisano. Still not everywhere is satisfactory the decision first ste- ted by Vasari, that Niccolo became what his works show him to be by imitation of the antigue, entirely aside from the Ftrus- can ancestors. There were again found cn an antique sarcophe- sus of Margravine Beatrix certain figures; but the Christian Viger ieee ee ae, 80s =% x9, Divaitss oda igo Tigsotd of seat ,a@sebk ‘Ro series : ; ae watoassoeboag 40 igbom fuodsiw artewet wtaretaso dove iti BASE YO taomN00b & ao RateSd, .oTOTSVEds eLicesolaysd ons awosD mtd botata “.stisck to txdetd sloot! assesm” e6 aid bomen teas gesd syed teve sxed? «tras anstisil aiesdieee to saehute s od oF -sbagot 6. ae ite nemutou-detA-sattassyG to eagtxiw avotieteya & syed o¢ Ll oissbetl soteqme to atovasine egpitas edd ToT mois ED ofreberd to aatoo Sfog od? .cistylaoa to Loodoa & batsoro. -m9% Oot ai SI .bonatiaen enols sis olleved ai estadyqivo bas | to stating ait eae <19005a omse odd ai bablot aafievoo ads udin bas notttaog ‘'. stivosq on taoasxg tiqing atit ao anottstasesies4 Yotatsmes ott to anottseto ods Al Sfdsirsnox taom bovbat et atd® .aets - sod asaud.eas to giés2eq bas mortaatot to teweq fis Agtw solos sat Snoa reeitqzge istooqes aauco1s eaoksssio ard te seaam.yb “d ofgse edt .yiéatn0o edt 40 .soetsds tsyatl OF oye sas etiv etiep 8 awone ti :baxitt Sys edt 2blod fash yatbses edt dteendd #oatd) .bitow [embastedt to tacntsoqt sds ak esetass tetlsoad Me 518 aseiod sit — medeidie§ ts sfidste edd at qoede add seta mer -lutegsooue ylxsivotsaeg Hetete att eofdasess east? se [sxb9d¢a9 sda at ttafsq od? “ge atstagoY od? - .y¥lotsiqaos teonis yrodattaea asetd odt Ady | oasis tE yt18q aft wo staid sit asldmseor aatwaxil siacted Lo epndlegrsaeety sig yino tmsdt eiti eolgns off ts asutst2 anode doce to teb%0d ren 8 ot eihediactes 918 bas s1eds gatdoal eT£STHGOT “ eststqigoa odt porineye asdivosa tedvaet tases ¢ilsard “/-edte9 odt nO Sbs0st daow odt to yswroob sbre tefl edgy evods eds O48 asiow bayot sid al .o@ yitest bas .soogd at Ler ‘'sas botaoss3sq91 at Lednti edt no bas,esoro sdt mott ta90esb aaoxe sdt aott das0295 sa? esairtd setady ylon edt to aoivatobs to re aise sds a0 Jads o¢ nolidwooxs af talimie yfloxisas Bt ‘ -3b608T tasw grcdasits say "99 94% Bas fool bstemins sis sved ofoookA to eexustaqigoe [14 tetdo ows sasdt .set%ugvalvos sousasisaash§ sdf to 9409 Lnteaod *g agpis5 bas doast¥ add of Snitaaw sts dokdw .eotsatastosisito eid to todvst adt at OfoootH ist of al .atatod eat to aretate aemied bas dousid odd to vitused odd vatdmoo of * ,gonseatsash” viieteesnoce tart asm adneuatasts wea egeat tiv esistalivos ) | e90ns@aisned yixss edt to etetasm sit yd snob <8 31% bas onsetd kamsyotd moa eid .atastatees bad oLosort “atid tedtawt goleveb ffasq sit bus aoe Sdé bib wok omfaiia “ylussfo stom 189948 gatdte1eve biG Tt4s bareloo ziisnosied 08 - das e*oloooi af agea sno doidw auton atedd ak ylbsbiosd bas ook tsaw aaw 10 Teupitas ats to tiett s bas wottertat as es Sq teds at sedrant bstyis. euntéas ea% mort dood eisnexsaqqs ofo Tageoien batt {live ase been #s eno TT Life ts tof fanottse1s a noid af Bbds lofoooih elisosa gadd jonlstiaged e1% nt y | / rl tat , ae, i ey ot UEP om F) 206. the pulpit of Guide of Como at Pistoja, Maria lies in the same position end with the coverins folded in the same manner. The remaining representations on this pulpit present no peculiari- ties. This is indeed most remarkable’in the creations of Nic- colo; with all power of formation and mastery of the..buman bo- dy,nonee of his creations e@rouse especial surprise; none in- vite the eye to linger thereon. On the contrary, the eagle b beneath the reading desk holds the eye fixed; it shows @ quite peculiar mastery in the treatment of thetanimal world. biker wise the sheep in the stable eat Bethlehem and the horses are particularly successful. The pulpit in the Cathedral at Siena resembles its sister j24in the Pisan Baptistery almost completely. -- The Fountain at Perugia likewise resembles the puipit on its part; it also shows statues at the angles like them; only the panels are lacking there and are transferred to a second border of the fountain. Finally Vasari further ascribes to Niccolo the sculptures above the left side doorwéey of the west facade on the Cathe- dral in Lucca, end justly sco. In the round arches are the descent from the cross,and on the lintel is represented the adcration of the holy three kings. The descent from the cross is entirely similar in execution to thet on the main portal of the Strasburg west facade. All seulptures of Niccclo have the animated look and the pur- poseful pose of the Renaissance sculptures, these two chief characteristics, which are wanting to the French and German s sisters of the Gothic. In so far Niccolo is the father of the “Renaissance.” To combine the beauty of the French and German sculptures with these new attainments was first successfully done by the masters of the early Renaissance. . Niccolo had assistants, his son Giovanni Pisano and Bea ‘Gu- glielmo. Now did the son and the pupil develop further this so personally colored art? Did everything appear more clearly and decidedly in their works, which one sees in Niccolo’s art as an imitation and a fruit of the antioue?. Or was what Nice- olo apparently took from the antiave carried further in their creations? Not at all. If one at need can still find anything in Fra Guslielmo, that recalls Niccolo, this is then denied e- ree las a Sil be eg A ala | pe A $08 | ae en 02. pores ation odt at LLiw tagd add dtiw aave i wisow od? stedtad adv. to itquq 947 ,.ouserd serbaA to isoga ton WEE, aids ag2oqqo. eno og teat oa ,“obdto9? yivat 189048 mid to 7 q odd. ai ats : = :ytkdesGivibai a8 ,9oasvbs as tidtixe yout toy ‘i hide _atagutsows edt, ,anteq ond Buf quors bagoass2 bas angagtatoig a ud tas. ,10taseigxs odat eseesooig letaem add to gatgaiad ode eid yd 26 [low 2g. ,e930Rit oft to tasmegnstts bas Inemevom aad aaaiworr0d voting on eblodsd 910 .eso8t odt to tas@yoleweb ¥dideubivibas fevest6om asifsil ted ~oLoooil. gout etlaget on _ a8 add énougofeyve6 ofasg710 ak Tleess most eecubotg ae aid? | ~aisio® gisse astist? baifso-oa odd to t4s8 add bas olietsaeg te 4 , 9engesiscea ylise siz io ytused to isebt odt getweiid .esnea g -ai yidauorods aac at ytused.to [sstt ati .aupisas sav Joan ai eonke .asosi ai sa getskit at efgooq asiter!t sat oc Lenbivrd _ «wasiteizdd mrt easo moktqaoxs Juodtin coals asebi to sfLosto oat - ¢ bas abtquo bedsa wot odd aedd .oupitas sdv mout toa baw ys tom 200 ,a0msaft eseds ebavotz0a Jedd .Saowsato oupicas edt eat to tatdb0sb.s tas Ieobivibar yisitdns gids sxsm od aoftive | ~asee reas odw gvorg bigode Jaqsusato supitns sdd IL .supitas bas yladI at OOIt af ybserls asg9d sonsaaisaed ods asdt fos sialqxs, esugtoesidor ai giasqoxa ysa 9c0 wod. jg@ .begseo. tevan ~igas eiftas ad¢ esqobs yilut doidw “,scasezisnsa” as dis tedd Asvestbea to asoqc0akaine: Ife Yartosiex .em10% to aeaso awa Yt. cals ogo ysw mods ,=- oldtezog od ysm akdd a8 ust 02 ~~ F218 ~gisasi 28.006 tuods to omtyisoa to t1s dsdt otsagsesd sari “08 907 .as0bf to aeftee eupitas edt besqobs aisgs doidw. .eoase evotdas 947 ty. 2008t add bas agiggii suptias sat ,ysibsa egors ee papaidstsobus sus? 94d Ho Fasd dove ,a@hod -omlot [au arty. .f¥f nek SSiehang 2 to. ontsde ods Veal af. bedeooxs omleiiec? s18 ak astivtoicut fussyotd .% to tigqiug edd OTSE at bas ,sangolod gino, mid o¢ boditoes 90 yiniss1e9 aso diow fargzt oa? .ajoverd j eih.aidd 20% atacxs soaebive og. 1u7iLidedotq Jastseys sat atiwy. . wPrenee. #9918 tud nat ad7 a0 Ho yathavot ss9t& Iididxe sisow ! ba wits flea. -108 aid bas ofoooih oF desaduoo at oh. ads, -onee@id taaswetS svt | a oe ‘oat yd basa sadto edd a0. .2fo00f4 to aoa ots .inasvos® a beagtesd od doidw dtiw .190g ous WtOtqs7. eds i xodte? ecu eel hail ii iis 1s seadT -@0tuail aid betygexs) Sue wy x | oat GL95 ? i | eee LS ey 207 even with the best will in the works of his son Giovanni, to not speak of Andrea Pisano, the pupil of the latter. The works of bim appear truly “Gothic”, so that no one opposes this. Bat yet they exhibit an advance, an individuelity:- this is the p picturesaue and reasoned grouping, the pains, the treatment, tne bringing cf the mental processes inte expression, just by the movement and arrangement ef the fisures, as well as by the development of the faces. One beholds no antioue borrowings, no results from Niccolo, but Italian mediaeval individuality. This art produces from itself in organic development the art of Bonatello and the art of the so-called Italian early Renais- sence. Likewise the ideal of beauty of the early Renaissance is not the antiaue. Its ideal of beauty is one thoroughly in- dividual to the Italian people in figures as in faces. Since the circle of ideas also without exception came fra Christian- ity and not from the antioue, then the few naked cupids and t the antiaue ornament, thet surrounds these fisures, does not suffice to make this entirely individual art a daughter of the antioue.e If the antiaue ornament should prove whe *Renaissan- ce” then the Renaissance began already in 1100 in Italy and never ceased. But how one may properly in architecture explain that art as “Renaissance,” which fully edopts the entire anti- gue canon of forms, rejecting ail reminiscences of mediaeval art -- so far as this may be possible --, then may one also f first designate that art of sculpture of ebout 1500 as Renais- sance, which again adopted the antiaue series of ideas, the an- tiove nudity, the antioue figures anc the faces «f the antiaue gods, ever bent on the same undertakings. 171. Fra Guglielmo. rit Fra Guglielmo executed in 1267 the shrine of S. Bominic in Bologna, and in 1270 the pulpit of S. Giovanni fuorcivitas in Pistoja. The first work can certainly be ascribed to him only comwith the greatest probability; no evidence exists for this.His works exhibit Sreat rounding off on the forms, but great repose, in contrast to Niccolo and his son. 172. Giovanni Pisano. Giovanni, the son of Niccolo, on the other band by far excels bis father in the rapidity and power, with which he Gesigned and executed his figures. These are also more attractive and Rig> 5 eh ry Gi ehe ae FOLEY ee aa Re ar ek core eae Ae 4a y AL ow 808 Fe Ladd asievo ibaa esodt' asd? ylanotta stoa age edz Sion ad todtagt ase ftadsvero- ‘sbeodatasy asd ohooh to anos avor agsdteq bas .(8°St) said ta otis? ovms9 sit Yo sostidows 2a bot ; od omtt 2tdd gatae@ .snet2 ts lstbodtaD ads to teat as outs | <6? snzobet) “ybsd 1896 100° to eoutst2 to todaga ta91% 8 boteero aes sos at bos (@S8 Bi) stovaid te siqivg sax fOSt ar qadsx0t Te Naess -3ai9 #8 [erbedts0 odt ai Stalag temtot adt ELBIT eofdusd £H otiostA .BYE - | ~beateteas1t asw anottesto etusaivos to sague0 oft déioTsomed - ~089 Eb otfoatA 2am oloook4 to Instaices zedtonA .somstoll of ~oona aif -9onet0f4 Yo fostido1s Lsrbsdés9 total asw odw .obd DEST tuods beouboig ,ofsord .towot sis to antbliud sdf ab s0aes omsei@ serbad bas ,eftneqqso ait to sesd sdt #s sister suoe ) evietattqsd entdmetolt add io Ietiog algate edd OSE at sattasiol@ sdf bas asetd adt avowred sonetestith Isuroatid 4 atd bas olosort oltd¥ .9yo edt of taarsqgs son0 te wi aloodoe } to todasn ts01g 8 dtiw gsostisa edt bersvoo ylesisag aliaua —tol% odt <292038dgoorss” euniins sat yd awode @s Japg .aom3it 7 $ AY, ha ety Yay y 7, ‘ |. addtom ans edti stom ws9qq8 es10talvoe sasds setwrsdsO .banotg sdt ffsos1 y{lsiosaas yods ronseld coasvotd to saods asdt axe alatiog [sibeitso sdz to eoxstourtedsa edt nt eteifex donor sd¢ exe yesi?T tleoreofoas tredg at nove ,gtutaso dv Sk sat Yo Pas ooesilena18 .offetaqeg .ttrodrd? to erogasosbe1g stardsaat e290NS0aiatast sdotias [is taol sved tad ,atddosd slise soud +9a2 bas Sntasiotug to movavo odd OSstseqqs emutt efit raods tT -10t sigiqivo2 to tis atdt asdt ,eotetqliwoe ovpitas rot aniae yd Savolt satvoo Isvestbem sic sort hbottaveS ton ase yleteuss Mordast s esx atastoas eds ditw &aivatlt bas garigo sai rt -om8 sdf .gtitasy asfiis#T to bas enamt99 to beatad eat Yo atod -s96 bDetsvizivo bus betbete yilavolsss stew etodins sitese ls saat betevooard fexrt ton atew yods oOas ,azoge slbbia sittas sat ant $vsh omit feds Yo aastfesT sit tod .atetnsend asifest yd atsas @8dd7 .gatrofoo talwottteq eds dtiw eerbuts sasds oF asvlyameds Yo yttiedeog ond ,atoazs0oua odt as asvisanats babishes yode | ¢lbasts of boots ofw jaasmot avortotoiv baw Georgy dasions aay | ae «mods betsgcidea bed bas aasiusdisd asuxed bated edt evode | a taomLs atototered bad dotdn ,aemsea asmte9 betosis1 stetsisds By — beifso ysat ‘Sgoa08 avstaew [fe at believerq ylevtesloxs ~iosd gogo as dsiw 293gnoateg wai & tad tidkdxe ateilar sattagds 208 hold the eye more strongly than those of his father. The ant- igue tone of Niccolo bas vanished. Giovanni was further bus- ied as architect of the Campo Santo at Pisa (1278), and perhaps ~ also as thet of the Cathedral at Siena. Durins this time he created a Sreat number of statues of “Our dear Lady” (Madonna ?): further in 1801 the pulpit at Pistoja (Fis. 442) and in 1802 - 1811 the former pulpit in the Cathedral at Pisa. 172. Arnolfo di Cambio. Henceforth the centre of sculpture creations was transferred to Fiorence. Another assistant of Niccolo was Arnolfo di Cam- bio, who was later cathedral architect of Florence. His succ- essor in the building of the tower, Ciotto, produced about 1834 some reliefs at the base of the campanile, and Andree Piseno in 1880 the single Bortal of the Florentine Baptistery. A principal difference between the Pisan and the Florentine schools is at once apparent to the eye. While Niccolo and his pupils entirely covered the surfaces with a great number of f figures, gust as shown by the antioue sarcophasuses, the Flor- =32¢entine reliefs exhibit but 4 few personages with an cpen back- ground. Otherwise these sculptures appear more like the north- ern than those of Giovanni Pisano; they especially recall the French reliefs in the substructures of the cathedral portels ef the 18 th century, even in their enclosures! They are the immediate predecessors ef Ghiberti, Bonatello, Bruneliesco and Luca della Robbia, but have lost all antione reminiscences. Tf about this time appeared the custom cf purchasing and se- eming for antiove sculptures, then this art of sculpture for- tunately was not diverted from the mediaeval course feund by it. The ogling and flirting with the ancients was a fashion, born of the hatred of Germens and of Italian vanity. The anc- ient classic authors were zealously studied and cultivated dur- ins the entire middle ages, and they were not first discovered asain by Italian humanists. But the Italians of thet time save themselves to these studies with the particular colorings, tthat ~ they regarded themselves as the suCCESSOrs, the posterity or the ancient proud and victorious Romens, who stood so grandly above the hated German barbarians and had subjusated them. Men therefore rejected German names, which had heretofore almest exclusively prevailed in all western Furope. They called them- anines soaxt ybsorle bed ode y*eiiro9 sal Th YL eughgtten! ee a ne ad ell ae badbenest ities, ‘ea eaetc j22..9a.4ta fae ceaate ad oe. is a wl 6 of BrORR Eset e Us sao oe , sa ob8E . “ asanted hos ghee baseit setba4 to 19ag99ous add ‘sagsox0 et tw slosazedst od% Sons701% ts sledoott .2 10, ar Q38t ona Opst ott ai 2rat <19v89d Dig siieM to ..otsgso9% bas Istaud sds atte $s0ds ybso1ls olida igtqiuo, astissT at awonk faisod gestt | a8 Bi _Sqgans3s dégoa odd mo befasaciqes qisetzem of aged ban rt Osst _ Sifdes sdJ anigsd bount taco. oais sotioubogg off .atudasis? at ie ‘tuodtin at bus ystiet smoa diiw qistaeo dt AL ads to tledddasl 8 disol sdguord ytesaso df Si won odt qin .masdo Isitosaes > batsonnoo stew tsaJ ~ssatqigvee si anottssto to abudition tare ytstaiiqsd sdf to atoob gafatsms1 sd¢ tot amoiiitsqa@oo adz dein oat as ooesiilonaa8 bas ivisdiad ssedt wea oh .soasi0l4 ta *s — =Ksabexa ts eat to aatze Loo a‘iciodrd) ted ,atatize {sqtoatyg e908 eviaaorgoxg odd od amepaesne spata ovia, ot borssqqsath yl ry Obfed . eraz to. notanstxe nad2ua? was Sidtot sisk atdy fo etimii sat statqadd 7 i ry, 4 ; ‘ . , ‘ . | i ie _ ia) PL Ly ‘one : Nl 4 Dis oe ee ; att ‘ bhai peal f Ap ae ee ea a Srey, oy Saas ae pis 209 themselves, Fueas, Hector, Tullius and Mucius; men sought tic . escape from the *barbaric architectural style of the ancient Goths”; the had elready freed themselves fre the hated German emperor and bis officials. . | fhe course.of, Florentine.sculpture bes been described 2 hou- dred times; therefore one may limit himself to a few lines. 174. Orcagna. Creasna, the successor of Andrea Pisano, created between 1349 and 1859 in Or §. Micchele at Florence the tabernacle wi with the burial and reception. of Maria in heaven. This is the first buriel known in Italian seulpture, while already about 1220 it had been so masterly represented on the south transept in Strasburs. The production also continued during the entire lastibalf of the 14 th century with some rarity and is without especial charm. Only the new 15 th century brought forth a sreat multitude of creations in sculpture, that were connceted with the competition for the remainins doors of the Baptistery 2t Florence. We saw there Ghiberti and Brunellesco as the principal artists, but Ghiberti’s coloring of tee art sradual- ly diséppeared to sive place @ntirely to the progressive Bona- tello. fhe limits of this Heft forbid any further extension of this Chapter. haat an ) vaduo, 8 aa Cia. he acai werd bas agaugsaqoorss ee | anaes 2933, olobim aig .aesnis as jatwioleasrs Ulsorsataas ate % beassoed od? .adwot odd af wiisudtvibat ati. pssaatgxe, es weds axsegqs psebat te bas .9u0teeve1g odd ao dsgaat Liut 13 febaithanss -lstasagaom, dtod eidt be0ub0rsak YisTtaso at. ‘tt adt abel eas 29, basot. et aeliate gaidde0% .modeyo assizgorggs bas parte: dt at glaslgorsisg bis .aaittoo aeboow ssitgyad. te: ee ‘ues ' .. » s#edas. sat 103 aags asoguad® ao gonad yen Os. awoda soa: ai sdoveeveis L[avasibem edd of aoidiaasxt Rey's: ny po otsoma 8 tey :admot agmod bas astos19 lo yovisa 8 gd hataixe ¢: : eis i oisust guia Loos, 8 ditin mvtaool af bayol aaw asgsdgooisa — é _vtogadoo edt Yo sao ak dads ,boi1sg asmod adv moat .biL att ao net eid ot modaso akdt Oadtimaasid uadd toaiM sigd adult gat, , eEsiteseog of esia aiti ai S9asegsd add jatvesl to "+00 .oag at otew asauggsdgootse. eaota gistaeo ds ft od ibgad af FYoL eved aasuol eds as doua .d¢f bas oLostqoos1 Yo yatvets ~sg7100. ade arf 29a0RBAgooIss ssedd ai (yas@ts3) af atedwya ous etistl af ylialvottieG....aedota at daoslg oats eaten yadd, :29 guise to aerhod edt tkaoged of sotaua atitovet 8 beatemes st -agdotuds to eyswiood 913 19v0 eseaugsdqootse dove at » smote afdt to ocl odd .yautaso ds If add to bag ods s9TtA xd beaiobs od of ataeggs gods toolt odd ai agduwa eugsdqoutsa go aids soa 9% .beaeg9e06 odd io stgkLi tdavotw ylividixe aad ta Isubedts9 odd af (0305 beib) sidew2 to tlobua to dmwod add gigas ody at a2caaedda add to adele evs1g edt 20 bas s1udsatol . To bao bas olbbim odd of Qaolod dotdw, .giedailbes? te darsdd -m9t sit boiusd aoea ad yom. tonaea adil al .yxgtaso dé Sf odd betsnigiue zdsla a agouw 10 000d 73 aiquot aay ak eabtol slg 7 O9St setts givaode ih | -admoT beaied svi ~getusid adf .admot beater od7 oeqoleveb stem sagdd aebizod _» <098f todts bus satoted yitioda baid od ,tiusivedacl ss ateas fom agit yiiscaa sagtoo odd jadmos deatsd dove bevieoe1 evsd ‘by T .doiwdo od to tasmeveg oat déesaed aad Suysdgooisa aad at asd ai yasmied lo admod yliss odd gaoms.oa0 yliedasa joa odd Md te Lsabedasd add Gi soliteM oliw atd bag word ods yrael to - P ve ay v ty } 7 bth ae ee > iy e ‘al 7 4 a le x he hed J a '? E i gS week 98 ON eae eee eT via (86d .229), sonenane “ae seemenyat stom voy 319m. acai beats1 evaat — its iF ¥ a ¥, ae hee Bult aad, a ) a) fe 4a A ws P thn Pees | ae a . vi ce ik ee oes EN eae he Abas a " - 2 &so 7S ey 210 Chapter 12. Tombs. 175. Stene Sarcophasuses and €ravestones. Artistically transforming as always, the middie ages has also expressed its individuality in the tombs. The deceased rests et full length on the Sravestone, and it indeed appears that the 11 th century introduced this both monumental, magnificent and appropriate custom. Something similar is found on the lids of Egyptian woeden coffins, and particularly in the reclining figures en Firuscan urns for the ashes. A transition to the mediaevel gravestone is net shown to have existed, by a survey of Grecian and Roman tombs; yet a sreait sarcophasus was found in Iconium with a reclining female figure on its lic, from the Roman period, thet is one of the connect- ing links. Asia Minor then transmitted this custom to the West, of leaving the deceased in life size to posterity. Until the 11 th century stone sarcophasuses were in use, con- sisting of receptacle and lid, such as the Romans have left in such numbers in Germany; in these sercophasuses lie the corps- es; they were also placed in niches. Particularly in Italy, it remained a favorite custom to Geposit the bodies of saints in such sarcophasuses over the doorways of churches. After the end of the 11 th century, the lic of this stone sarcophegus sunken in the floor then appears to be adorned by the skilfully wrought figure of the deceased. We see this on the tomb of Rudolf of Swabia (died 1080) in the Cathedral at Nerseburs and on the grave slabs of the abbesses in the Castle Church at Quedlinburg, which belons to the middle and end of the 12 th century. In like manner méy be seen burisd the ten- pie lords in the Temple at London, whose grave slabs originated shortly efter 1200. 4176. Raised Tombs. Besides these were developed the raised tombs. The Plantas- enets at Fontevrault, who died shortly before and after 1200, have received such raised tombs; the corpse usuelly lies not in the sarcophagus but beneath the pavement of the church. T The most mésterly one. among. the early tombs of Germany is that of Henry the Lion and his wife Matiide in the Cathedral at. Br Brunswick (Fig. 482). These raised tombs were yet more lavishly treated by canopies, ae r > i uabiie aie, re Nf 3 Oe + va se cay Po cd ‘) , a to ess add aus at baquisoa and? out batevoo teas es) qissesnom ssdt to 1wehayot edt dosed ob ,eattslad ¢aa09 is beatsa sit asd¢ tebdo at anmudoo xze dttw qqoaso edt (832 gs oa togtitesoo qilwtiids yaov at bas OOS! thode betsnrgtno Te gdmow rae efeiv yd tedse209 bled ylteou 916 eetqouso aadei sis sitaN be bas banilone aruudoo edt doe oted tos¢idews edt ,etodions old qino af tfeatt deot sdf .asdors sis to tagxdd sas boxogqs eodd, -too19| aan .botsta ylueatet aoksutioent ag as hosbat bas .saved 5; to atodds ows otew suedt sont? .ofxoboen? dodds os tshag 6a ‘ akd? dotdw-sebas ano edt of as fdv0b 8 aabsmer stedt .omen atdd gadt To todds buv09@ odd isbaw ylosdorq ybaTsaigito daot Soares @ ao geet aii staet evergised ont .SCS0 baa SSSt assented owen 878 Yeds souta.gatased oLhistod yltxsbtwa .efase ns no baw aore a9 63269996 odd to Set edT .hsed etd ts ebisida co betsaqex ‘ etd at ebiod satwottl avertgist off .306 8 no sa9m a9tal yilew etadiuo? aff as dogude oft to Lebom edt bana share Bee Con: “A008 most RAL stot dtiw snoie’ is asogtiabh ans to admot ed? onfe o7s awoad LioW 9 fasosths edt ao badagaeageT dmot beater odP .agigonss viedt «fGSt at batd odw ,@fa0% silob IT. antdasN to dedt ai staly istbedts0 ont at (OVS berb) te929 edd akmtasd to dnor od? me rab .3£4) eaaulod 8 HO Stugdoui1staisque 6 aiidfdxs woostd ta «footie euoraiica s das bthmelqe s dtod ast ti = senuh sedotides Iniettaem oiG 6A. Nisuneesi movd 1.86% sto 7” ‘ «+Leo=Qisdmeiuh ,wokgrh $6032 t2b slominad ¥ or ity #) ; Na ¥ “Lie ae oe 212 Dichter. 178. Materials of Tombs. We bave so far examined the form of the tombs, and it remains to classify them according to the materials and the art indus- tries by which they were produced. Tn general, the tembs ere chiseled from ashlars end richly painted. If marble covld be procured, it was preferred. @uite early, men also hed recourse to bronze. Thus the grave slabs ef two bishops ere of netal, which are preserved in the Cathe- éral at Masdeburs. The oldest is apparently of wrought copper and shows a little figure et the fect of the bishop, pulling a thorn out of its foot; the later slab is of cast bronze and is very beautifully modeled. Both show the bishop at fuil lengtp; they date from the 12 th century, the clder from indeed the f first half and the second from its close. But the oldest cast slab still preserved is apparently that elready mentioned es ‘that of the anti-king Rudolph of Swabia (died 1080) in the Ca- thedral of Merseburg; it is very confusedly modeled and evident- ly dates from about 1080. In France only the beginning of the 18 th century has left two bronze tombs of the Bishop Fvrard de Fouilloy (died 1228), and of Godefroy in the Cathedral of Amiens. Such tombs were even enameled in Frence. Before the *Creat” revolution, there was to be found at the left of the high alt- ar of the Cathedral et Beauvais the tomb cf Bishop Philip of Dreux (died 1217) ef copper, the figure in life size and the whole entirely snameled; for this purpose, the fisure was nat- urally made in separate pieces. 164 Note 164. From Viollet-le-Duc, Ff. Diet. Rais, du Wobitlier francais, ete. Vol. 2. pl. 47. Paris, ¥. D. Besides the tombs that exhibit the human fisure in the comp- — lete round, there are also in bronze those which show it in but balf relief, or only in very low relief. Thus at the close of the middle ages one of the most masterly slabs is that by Peter Vischer in R@mbild for Count Hermann VIII von Hennebers and his wife Flisabeth (died 1507), daughter cf Albert Achilles of Br- andenburs. (Fis. 452). Tn countries in which cut stone is hard to obtain and the c cost ef bronze forbad its use, grave slabs cf terre cotta are v : rie Pia. é es 7 ve oe ae eee ea ke PL | ' ‘a } 4 Mon, - - ae ane vy i ge , o en ee i gre as asda india hitiet Ho feta: 0 eb 26: Yodivwads nd bavok 19 bseogmoo sta adele ovetR 929d? .g4ndiebas19 ts -Isrbsdis? | attoktouborq edt bettimred yleotsca yelo eonte javceta Isuevee a | ogee? edt dtiw adwotvac000 boobhat siedt.sidale otftaai ae to |. -WEegawel ov to daot on .sttoo sared at bavor ottsua odd af, ; | gttet to od teem welestS ts doisdd stsoth sit at (OG8P beth) \| — 9d os amine at Lstiedsm odd stotstedw ,batolos at th settoo a Wan. ks . ebsaimieteb _ fee18 o1ax éonnies istsa hts edd hast yas ak .elisatt’ -bawalert2 .dosdad .dasoo oftisd odd ao yiistoagsa .zatriovet ‘godatt atedtr0g abbas .aslqasxs busiy atetuoo .ose otsdasd bas Guwore yie0e1d dota isare¥-—1ws-anoled9 bayots yitavoo add -Istitesesd ¢d bstevyeo sts abasosyiesd odd javaeeitt sit azseoloas bas bast9 dtiw awavh gis 2oqwail ody Sas ,antesreq bongtesb xh g38 adsia svaxg Sagatmoig Saou oF add dosded al .soetk avbt bas (ist betb) atedvs? swov Sisdomd sqodetd owt 94% To azadt eat Yo seods bas ,isibed7ad sit at (O88 botd) f0M aov uasded 4; BefS) aoa aid to bas (285. d9ib) aredsatdanetol s9etasmogaed issbedtso sat at setwaitd .aartedss) 2.4 dowd) sat af (Tet «bevertaas qileti¢ueed: 8 bovot of of at uiedesdLid vs tosatole odw .(@CGI Geib) sidwiognvats soy oF¢9 qodatd to wtsly gverz aradgy adlod sa pennies yotaqodard sav oF gxddgehioW ods bebba : *mt% ard ago sitaes a0 sede cthiewsiis we buitd aids to exote svat daslqura sa? \aftdé al .oa0ta tuo To dale « at o1wart sdé beeront 2k dotnw tostidors edt .teryredid to axotusvat® edd Hesooexs al raaa80 “~18%% ddioa ods af yen won af dotdu ,e@mteda ¢% eeisort .2 to eIsthadte9 sat to sini é PRO @howien Lae: Te Ra A SRR o , RE: ORY AC) in Ale MR {Say be eee’ fs om “ia 3 eel oS Yo. g é é é eh \ "4 i ' % 2 Of " baat 8 oy 2) RE WD, 218 found in low relief or in a kind of incised work; thus in the Gathedral at Branderburg. These grave slabs ere composed of several pieces, since clay scarcely permitted the production of an entire Sidbse.There indeed occur tombs with the figure 3goim the entire round in terra cotte. The tomb of Buke Renry IV 3$/ (died 1290) in the Kreviz Church at Breslau must be of terra cotta; it is colored, wherefore the material is hardly to be determined. . Live Finally, in many places the incised’ metal plates were sreat favorites, especially on the Baltic coast. bLubeck, Stralsund, Dantzic, etc. contain grand examples, and in northern France the country around Chalons-sur-Marne; rich tracery crowns and encloses the figures; the backgrounds are covered by beautiful- ly designed patterns, and the figures are drawn with grand and firm lines. In Lubeck the two most prominent srave slebs are those of the two bishops Burchard von Serkern (died 1817) and Johann von Mul (d@ied 1250) in the Cathedral, and those of the bursomaster Johannbineberg (died 1461) and of bis son (died 1474) in the Church S. Gatherine. Likewise in the cathedral cloister at Hildesheim is to be found @ beautifully engraved Srave plate of Bishop Otto von Braunschweig (died 1279), who added the Woldenbérg to the bishopric; therefore he holds this castle on his arm. fhe simplest grave stone of this kind is naturally that on which is incised the figure in a slab of cut stone. In this manner is executed the gravestone of bibersier, the architect of S. Nicaise at Rheims, which is now placed in the north tran- sept of the Cathedral. pil tt Re wi Clie miller Malai , ‘ eee oy - ¢ + ae - bis an ‘ “- yy we eS U ¥ y a bey we ee Pay ‘oom | ats | . mer Po: eaten eae gpa daxcaaysonl | Meee exe Ai aed GRAS 81iou > ween gut semesE a4) et p ; Iie oh ola he. aoe tet: 4 a seit ouatelneh ai exogied etn «ayetéent tieds to yiomem at sidss s. otivpet as¢ty boxose sdf © rate got .sa1ef odfioupkered? .rstie oft at eloet sind za0it Rao baacqaoo od bigots aiat -(eidst) “seaem” edt bemres ai Phat: ui i «wate. pol | ,onote sgisl slaate a Sele Rbeknnbaw: & pee sbeteroean0o ed gasm bus ai assis. yrovd)/ apie dt oni tontenh one gese0%o evil .wotvstoeesoo eids to apd ba Seiad Bed yo 10 -3agem SUS To. 20stase teq ae eda Licetihepen alll Li adibines bas. oidiarei oat Qattwh sont’ | * .esivetoweo odt of belt sotviea suivibd xatedt, dtiw, anstteiad bemese edd mioiseq of Ssifeqnoo o150s yew bas ,2dmoosseo add @ bas motaso 8 gasped cr .cityiiam ent to admot eat 48v0 eatin dog. avetia sLed¢ qui. tee arege olvoo ausitardaS say oedw .odos ~$ee 6. 30. ybod ead astis sds aidtiu so t#seasd soalq oF .giorl “ie ef deeoned sinev adii-tqz10 & at 9s0d od sdgiw aid? .4ge at bret esw tatsa sit to .{{s9 .2 to asiq eft vd awode os .teF ees0 atdd gedd ¢(dagad (8eqise ) istal edt to sauvourtedgsa ead * Ghiee as .(wobatw efgstl)}*slicrsesast* eds) pantaego ae asa edt), .kisdedegod ta. “ferbedied bio” ait atiastie edt yd auora - gentvie btosoiae at badteogeb 197s orew sutse odd to entemes ~o8 edt ati yilstoeges ebdt burt.of .astie sas svode tos bared »S webot bas détoteoned? .aboitsq ardto® yixse dus, suneensm i af bas ,sidst ofisr eds .sanom sit at Obegusays ak yeives Lisma —«- . fusuigoob s dtiw wedtexoes .¢mise s to fnemaatd s beosiaq et atad “®@ dgiw bssoio at Qaimego aiid :nOLvet0OeameD Bas oF Satealan -700 one: to’ es019 dott @ B8vieast dordw aaeepe to sostq Lleme » Bs eMOCTSIOCS $ to amtot odd. oe ttieds amosauo picturing se Mane oasds. ys ‘a 10 20. ses nyt {isme ao ssusm aarenyee wsdsis dofiw .sstis add » » Rieke tune Lo BE ke | | Sastouttsadua bilow $20.82 x ‘m Wally «Baawiod: eed gde{3 .98i ay ii iiie iene eileen eisdis tesaxt bas teebio sud fo end ab ¢edd af .ynswte® at, bevisse1g aged) aed) fede .saaom odd ats Sit most FE Tabvotd gord eit cine vlotweaugd ts Lerdoatsd oat _ =%@ agaotd to alstiqeo befsSom yllotitused .~CTif at dred plod | ‘Seaxtinptewo boasahena Yo ak Neen Hp oat (soe edd tasmaa " ‘ Pes dle a vers + Sint a ee ¢ Via li wotte ae Lai ye ) 4 ane At mt we ae a 5 lsd F 38 fs, 214 Chapter 14. Fouvipment. (Church Purniture). a Altars. 179. Purpose and Construction. The sacred rites reovire 4 table in memory of their hivbthes tion; this table is the altar. Therefore the large top slab is termed the “mensa” (table). This should be composed of a Single large stone. Every alter is and musi be consecrated. As a permanent to- ken of this consecration, five crosses are incised in the up- per suriace of the mensa. Since during the terrible and continuous persecutions, the Christians with their divine service fled to the cemeteries, the catacombs, and were there compelled to perform the sacred rites over the tombs of the martyrs, it became a custom and a rule, when the Christians covld again set up their altars pub- licly, to place beneath or within the altar the bedy of a mar- tyr. This might be done in a crypt-like vault beneath the al- tar, as shown by the plan of S. Gell, or the saint was laid in tbe substructure of the latar (stipes, trunk); then this base had an opening, the “fenestrella”(little window), as stili shown by the altar in the “old Cathedral” at Regensburg. The renains of the saint were later deposited in splendid shrines behind anf above the alter. We find this especially in the Ro- manesque and early Scthic periods. Thenceforth and today a small cavity is arranged in the mensa, the relic table, and in this is placed a fragment of @ saint, together with a document relating to the consecration; this opening is closed with a small piece of stone, which receives a fifth cross of the con- secration. By these gradually changing customs resulted the forms of t the eltar, which either showsthe mensaé.on small columns or on a solid substructure. 180. Slab er smail Columns. One of the oldest and finest altars with small eclumns bene- ath the mensa, that bas been preserved in Germany, is that in the Gathedral at Brunswick; Henry the bion brought it from the Holy band in 1172. Beautifully modeled capitals of bronze or- nament the columns; the top slab is cf a polished foreisn sye- nite. 1 i oe . 7 Ys! 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That the little columns were no longer of the time of Henry must be cle- ar; perhaps the arches were first made with them, indeed about the end of the 12 th century. These figures themselves are of guite excellent work, so that one is amazed by the high posit- ion of the sculpture of Germany abovt the year 1000, since the little that has been preserved from that time until about 1180 scarcely merits mention. One of the most beautiful altars of the classic time of S&S. Ludwig (1228-1270) is that in the chapel of the Virgin. in the 2vAbbey Church of S. Denis near Paris (Fig. 458 165), It was in- deed first restored by Viollet-le-Duc from the ruins, that re- mained from priceless art works after the great revolution. F Fortunately, drawings of a Jean Pertiercekisted, who had sket- ched in S. Denis just after the destruction. The reredos and the alter sleb are of lies stone, and the supports of lamps at the side are of Silded wrovght iron; ell is richly painted and gilded. Jt is uncertain, whether one should most wonder at, the mediaeval creation or the masterly drawing of Viollet-le- Buc, that is represented in Fig. 452. Bote 166. From Viollet-le-Duc. Vol... &. p. 42. A second example of these model works is the alter of §. Bas- tace at & Denis near Paris (Pigs. 454 166). the shrine of the saint is entirely separated from the reredos. Fote 166. From the seme, p. 86, fhe most splendid example of such a shrine for relics is pos- sessed by the high alter of the S. Chapelle in Paris (Fig. 4551°6); this was constructed by Louis the Saint for the preservation of the crown of thorns; hence the most elaborate style of the alter structure. The original altar, that apparently origine- ted between 1240 and 1250, exists no longer; the pletform be- bind it bas been restored from the remains; it must date from only the @nd of the 18 th century. The entire structure and the winding steirs are carved in wood and finished with rich painting and gilding. At this alter the holy sacrament is placed in the case, that at the middle before the lower pointed arch. The sacrament was apparently kept in such cases in the early period, which ‘ulor er aes oan: Lidvahiotes zi | baninette: come: sosai S ts yls® sedis eas ovods ang 42 em 110 onal saotoanodes istesqa begnsias: aqew .ytutaos cena Bs pues 6 e3tasf4 gatbiot .3Bf ESE = | eww at atthe: Bolssoros ait ofut seqoleveb acbe1e sit . bg 6 Fa | sabaaltedsom edt antbotout gam) sRetion ak 10 Sotateg: redsoun .acidssasaesxge terdo ant, fe @ bas botteeb medw benego od. bivoo Ted ,aRuiw ont yd bogovOo. eo ode ‘Yo adosd off .mortadaozesger efbotm eas bustze ot bavasa Bon gataolo 10 aatasqo yd sede on .betateg ylao lisse e710" azatw | mengad ed¢ to —— t9aaef 10 I9t39ug sat .9tG) Losewred® ts dorsd) asysatdsid aus at deviees7g ps ($8 betatxs. yitaabive aobeta7 edt 7163! af S9%etosaaoco. asw sk oe a3: edt 90: .f88f brod:eds to aay sd¢\ aE .gottexoaaa09 ade eem testis dgid atdT .ettsM niget¥: agottolg edt to aotsstony sot a acseu patemeereyyss taom odd to toned at borekonunden, nes Py id Biases es wee 217 ; generally took the form of the dove - the Holy Spirit - end hung above the alter. Only eat a later time, after the 13 th century, were arranged special tabernacles. More on this later. 334> (188. Folding altars. The reredos developed into the so-calied altars in Germany, including the Netherlands. The chief representation, whether painted or in relief, was covered by two wings, that could be opened when desired and s served to extend the middle representation. The backs of the wings were usually only painted, so that by opening or closing of the altar, the Sreater or lesser solemnity of the divine s service could be expressed. These folding alters were deyeloped to considerable dimensi- ‘ons. Especially in the Mark of Brandenburg and in the adjoin- ing lowlands, the communities between 1500 and 1520 bad such altars erected in infinite number, from the least to the great- est dimensions; they beve remained unbil our time. The back- grounds are mostly richly siided; damask patterns are freovent- ly engraved in the gilding. These are evidently all of woodw- ork, frequently coated with a mixture of chalk and glue and ip polished before it was painted or gilded; the more delicate. mo- deling is evidently only done with the spatula. ‘The figures are likewise richly gilded and strongly painted with biue, red and green; brown and indigo oceur later; white and black were mostly employed for the flesh and for outlines. fre coloringcof these altars is quite unsurpassed and ‘is priceless and true art in comparison with the products of mod- ‘ern workshops for secred things. When will. the clergy sive. to these abortions of the lest belf of the past century. their well (earned discharge? A more general neglect by. the educated clas- bales ‘in the knowledge and design relating to the formativyv vvts ort: inconceivable, than may be observed for fifty years past. A folding altar yet belongingito the high Gothic period is preserved in the Liebfraven Church at Oberwesel (Fig. 456 167), it was consecrated in 1881; the reredos evidently existed at this consecration. “In the year of the Lord 1881. On the ann- unciation of the glorious Virgin Maria. This high altar was consecrated in honor of the most ‘sloriocus Virgin Maria and her at ; ag ht i, mM 0 : ”, ; is i ae ’ ge ie ae “yt D VL, a] b 8 aysa’ = Bi" 7 a Ai - ‘ rd Spoon ae ~3 to aoteudiatard auotuedaym aids abaoqasti090 #2 oF Sashes afb py ea ‘aft kde 9A hentia et rere. © jasttogai: viisse Meh A934 mond .Tdt- etok | ~pnuyQonsts x98 Uk _ siietel.ssh tsdoBésint mont . 880 stork | “zed 202 mr swede ——" odd to aodere1 edt at yigo ylasitats — eae 5 t ' esaQ0l00 te Isaba hae at9etaceq Seoeneny ada. ,o0at tuods atadis gaiblol odd ad. parce - $80¢ at 16¢18 awoak Llow quev s aud? .degeane o1ew asorgiaoe gid Bake aSzeTged WoOBID TS dowsad Sigs gis ak asos2 aisV yd gb ons0e omse odP® (TED .8f9) aevasd af sive. to aoitqsoaa y; Aap a “ni isdis gaiblot iutiebrow eit at dotsexs be 2 ancte ShQee 24) ; ees sah il aobe1e8 Baxit bas 4269. .b8f poe mdtiw eobetor bextt bas datd. dt bogodeveb esiwedtl asa a20dT my on s (ae (98 GS. .269) t94ied wort istis shia. & .agatw earolet sa0. iereeunianie hte shes bas tasiasxel gaog od¢ to ead abdtol, mE hah US) Ws tay ee -§it39K m*BHk mont .SdL stol. gaivatana. hain & To a0ktetasacige? ads sf etslg tnsosibs. oA? . esobstet s to gutweth odd atasaciges reat yetedaso df St sat to ~9d bobivowg sis seudehe tot aedoin dotda ag .zegis aecde a 10% ¢.bas alsotiaev ad? siskait Teougos odd tobas as. diss rt mod piwow bas inteosta vilsioeges 348 soitssra ysis atdt to qisosit. gue GR sy: 5 (eo .. e¢RG0d evieaam) ons dogm shsa! od | eae -axssiA batgons®). .39f aeiideed A ENA sai vobete. betatus istiea to bata isioeda A. = 2 ae, 4 a - 7 -odto* oman odd add bomuses at oT. od igsyv az0%o 8 Juogqua bas 7 =e a 2 a he : . ; | ie oat ania donee ence ts canamaaie dhe sale: agtad sab un Ae rs om eCtddaso as 8 sat to - euakesox9 RL POMEND T9ATBT ods seatane O°F ‘28 bas si eagrd = * on ee ; ‘ Ma: a Be : | | oT eS a? , a | . “eo iM . ‘ e oe 7 a Ss aha e = i. , 5 -q90% ytiase) .gqouso 6 déiu ustis 94% 10 ,issis auiiodro edt . aedots yd Sevosasoo 926 doidw .1s¢ia.od¢ bagors basse ausuloo aaw dotdw .(d00% * agdto) tasasx9sa sds wort davired ef “unit hiouaenag ai Scomnage o2V05 S AL aang: 347. Gott hebaegese . a ts A geek / Shite diel seem, calliaaiee aut easly ebus atone: eis Yo sd¢a: dtuom edt o¢at sol at mr onttae sd? to agaletass teoa bag teeysd odd 2k ytutaso ds SM Tis NNSL .cwoG .FSE .4 018 FOk .ebaniaieds md na Cae “eee oad. wht tane a yw mete at .tredizadd to ots | ‘218 7 ny mother Anna. With the bigh eborr, 725, says a document, which is let inte the north side of the choir ender glass. The 14 th century is the dryest end most tasteless of the entire mid- @le ages{ to it corresponds this mysterious distribution of ‘e- oually important little figures, much too small. Note 167. From Beek... : Note 168, From Johrbtcher des Vereins von Al terthumefreund- en im Rhetniande. Heft '61. p. 184. Bonn. ‘1877. Similerly ugly is the reredes of the high altar in the Cath- ‘edral at Cologne. Cn the folding altars about 1500, the greatest painters sand sculptors were engaged. Thus.@ very weil known alter is. tbat by Veit Stoss in the Maria Church at Cracow representing tbe reception of Maria in heaven (Fig. 457).. The same scene ‘is treated in the wonderful folding alter of Creglingen-on-Tauber (Pig. 458). 184. High and fixed Reredos without Wings. Phere was likewise developed the high and fixed reredos with- out folding wings. A side altar from Kalkar ‘(Pis. 459 169) af. fords one of the most luxuriant and richest ‘examples. Fote 169. Prom Aua?m Weerth. The adjacent plate is the representation. of a wood engraving of the 15 th century, that represents the drewing of a reredos for @ high altar, in which niches for stetues are provided be- low as well as under the. topmost finial. The verticals and. t irecery of this airy creation are especially graceful and would be made much too massive today. 185. Canopied Altars. A special kind of altar existed since the primitive period, the ciborinm alter, or the altar with 4 canopy. Usvuaiby four columns. stand around the altar, which are connected ‘by arches and support a cross vavlt. It is assumed that the name '“cibo- riun” is derived from the sacrament (cibus = food), which was 339 suspended from.the vault in a dove. The word is “cimborio” in Spanish. Tne bigh altar in & Ambrogio at Milian, which bears the Pale d’ore of Angilbert, is covered by &@ canopy from the beginning of the 18 th century. Figs. 460 and 461 170 exhibit the réeiner tasteless creations a’) * ‘ .E rad " = FP : ee p aA t at 103. apm tome aaavloo anne iiichusess: asdots add soute: ‘bas ,saote “eee gett yd seddegot bled od agauls ¢iss — a ‘-aqg8 .yqonso 8 dowa boviseerg af sao1s9. to Iexbedgs9 edt al oe oy oe as aatted nom meee tavite niente atig betevoo ¢itasas vi ; t% pif pea 9 YIUTHeO ag Sf ; hy ae wa tsa -29losatads? bas aexyd .83f wa ww 7 5 gmbtetuo iii asw taometcse yiodt eit .etstis sasds Lila tA Maiesntces sit al .olosaredsy Isionge s ak dag as¢is odd Bre i mort elosaredet otdto9 yluse as bovteas1q Lites at gisdasbasrd ebobita yidott bas boow ut bsvaeo .ysutaeo dd SE ede to his ode -I9ge%g vitastottive tea ste aervivsr t3918 oasds Yioteausiois waedott o4a to sfosatedss sdz datoutsanoo otdte? atsl oa? bay - -emed d&id sate os ti hbettiwxeg 515 anode suo at xtow asiRslit qd aevig ote sefossteded dove to aviquexeg ow? .atiusy sit dte ’ sgt dowd bLeF) $30: bas (ivi gavel) asaq aseusdser19) S35 arg eae oa ac sacsel oat 2(S°! gxedizelyoV Rn CHP RA ty: me -At49aH W*suh sone .LTE stok. weise he ots EE Licks “Ob .$898 wants ,2tL stok ieisiaedation 20% slostqeost ods .¢aoaT Yo. longed sat aoake .. ~liso af Gas ts3is sd? mo bsosiq sd saya Tuemstose gyiod add to s0tt 8 ,auitoriaegxs adt bavighet 2 si avodd.. .afosatsdst 5 bo sd-aysets dgauu axed? jeomsisanoa edd sea od yea doftde ak soaqa aatis aa 347 407 suastg01g & aovig af ydered? .xitiogts «. oe “at ee sav worl gasustirb elsaicas Ree te - os (etobaqeutd .%38f. ae adr en Peer si afr sided. retla sid to tdatcod gat. oa¢.,.7% TO.f af .atottasfbaso to% sabel aat to svinbiins QI.8l at aistis tote aot 40 ae S@. at austis ste to’. ddgaas: 7 Sa 7 , ‘ a) 80+ Seaton 100.92" | aA v. 2 segs: ; athess agfodd . .d cer i goes. panto To. etteteved -.98f a ieee ina bas eienlioe soidsbagot od¢ .anonsa Igabedéss ad? £7 to awod-uteti29 ts gangd Qaigate to yis Sao syed seitinguaos - awot §aol bettuped yeast eRoqusg alas 104 «daca bas ysd odd -sageasq tanteRs beeolo axon tsat ~tadvo dose avtost afliste to ci Bis ang gat -™ asbte ody ts Sosbar bas ,etodetoega gatduutece bag teow odv te agedoe boot eds yd bas seungofona 5 std ouuore doa ee w6 b9gdq8 iapome ce ais Io a sat ‘ i ba -) ie - NS vi 4 ; ‘ \ ome tak! fn } Le he ee \ 2 Ps A ou J ty } Ta a era ." Rt Se > Ky , i fF er ~ LY tas 219 of the late Gothic in S. Steplien at Vienna; this is of cut stone, end since. the arches thrust, the four columns must ine- arly always be beld togetner by ties. In the Cathedral of Gerona is preserved such a canopy, .app- arently covered pith arena Silver yan 2 end dating from the ‘14 th century. 186. Pyxes and Tabernacles. At all these altars, the holy sacrament was placed outside the altar and in a special tabernacle. In the Cathedral et B Brandenburg ‘is still preserved an early €othic tabernacle from the end of the 18 th century, carved in wood and richly gilded. _, Unfortunately these great rerities are not sulficiently preser- “wed. The lete Gothic constructed the tabernacle of the richest filagree work in cut stone and permitted it te rise bigh bene- ath the vavltis. ‘Two examples of such tabernecles are given by Fig..4@2 (Grietbausen near Cleves 171) and 468 (Feld Church “in Vorlaribers 172), the latter is wrougbt in iren. ‘Kote 171, From sus*m Weerth. Pi. 6. Note 172. From ®itt. der Centrai-C commission ete. Since the Council of Trent, the receptacle for safekeeping of tbe holy sacrement must be placed on the alter and.is call- ed a tabernacle. Above it is reguired the expositorium, a free ‘space in which may be set the monstrence; there must always be @ ervucifix. Thereby is given a programme for.the high altar, -entirely different from the mediaeval one. 187. Dimensions. The height of the altar.teble is about 3.28 ft., the depth, exclusive of the ledge for candlesticks, is 1.97 ft., the length of side alters is 4.92 ft., or for bigh altars is 18.12 ft. or more. b. Choir Stalls. 188 Diversity of Choirs. he cathedral canons, the foundation clergy and the monastic communities bave the duty of singing hymns at certain hours of the day and night. For this purpose they reguired long rows of stalls facing each other, that were closed against passage and disturbing spectators, end indeed at the sides. by the choir enclosures and by the rood scheen at the west. The clergy of the bishop indeed at first sat around bis thr- ul > we ; ae) ees mas (hey 7 ae at we. s ) Ss - a e he Ge Fr 4 i pee! ; fe Ret : ~4 , 5 b es, bun ti } ee fy an | : Te ti we “> er ea" ape, 5 we : as i - ; rie tia A Yr ; mF Be he ri sea a Ta vid jaan of eonlpueiuiaie psner ut onowas paema td. cimnnaed eas Alisa abaoqaaz1os. yisno1sags Peer - sco oe os 6 te@hteote? se daebadse? ods: iady bas ‘suoa 1 Sldet civenesions at ‘ay yoved odd ut bensig 3t34 ateaata sat & % aid? ebasotqsa fotdw ~stodo edt to atca0Lous wor ed? .ataows lS | gytede tzode 9d aksq2 mI“. 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Teas: .doasio oat to loot add sveds data os bsesiq aaw ove Sefoot gas ovods behastxs sonke .tiods aad Sesagei awed i a i > dentbudcgaol oad aodw .onetacauoo bas: Lu tttosed. atom gan tT Ss etkitiado: aaa Qaivieos? 19% eotttve of as shusi, os sbhsa ase acodo 5 -a8m atay at osbo000Km ayewis saomis svsed daiiaad ad? .aiiare os of afeds coued :eedosudo yIstasnom ons alexdsdeso niet ai ten Pastis ods dtiw aast%og oot off .asdonteia anol elgarazrarua | e062) dzeq thodo Leubbuttguol atat asaals neds eeest ear “tot _=rb seus edd SHOLL Teor QatsaorD add To awobaiw od® .Qacaaoto. 28 {fow as siats. vateyageit odd bas .satis atts atoted yisosa . BD egttel ens of wego dassx9 s1tva9 1keds at urtedes. sven ont bassatedzen ads wort asdotsdo detika® e4% dagowds esaasg ono. «618 8 48 89 ays bemtedo sat .etqeanss tiedt sort as Liew as — —s wemegastIs ato .exetresur. isasoloo seeds YoL@s bas weey eon i “93 to bas Jossetedish to eiertoeddsd sag yd baviesetg ols ai eat aiid Peeneneney rinntet 4 dotatd odd es nas as ,giudeb fa -aloa tego1g) paeereen @entuon: sus: af sien ideende qosetis aA Praca bas ,2edagado beteaaods. enreerneree © Tod mene oe , i ; : r. , ve | aie : We) os es =4 Le are al Me e a) ' t < i a Ye ete mn ne & 220 throne in the apse, the tribune. fo sucha priwitivv arrange- ment apparently corresponds still. the seats ‘in S. Clenente at Rome and in.the Cathedral at Torcelic. fhe singers were placed in the nave; this is _ shown by 8. Clemente. The low enclosure of the choir which surrounds. this space bears the name of John VIIJ. In Spain the choir clergy still sit with the subdeacon and the singers in the nave. ‘The inserted “coro” (choir) disturbed the entire interior of these ‘churches, since it rose very bigh. In otber countries the ch- cir stalls were chiefly moved back before the :apse in the lon=- gitudinal choir. If this choir alone did not ‘suffice for the placing of many seats, it was extended to beneath the ‘crossing. In order to there obtein sufficient light for. the rows of stalls, 3/9. the open crowning tewer was erected above the crossing, end t — which is likewise. termed “ciborium” (cimborio ‘in Spain). and al- so lantern. Thus also says the Abbot Menco of Werum(1228:-17¢ Kote 178. See. Watthet veterts sevi Analecia. Kenconts Chron- ‘teon Abbatis IIlI in Werum., Vel. 2. pb. 182 et seq. “At first napely men bad te construct a ciborium ‘in. the form of a tower between two trensepts of the church, whose ceiling was placed so bigh above the roof of. the church, that. the \win- dows lighted. the choir, since @xtended above the roof.” ue was more beautiful mlb 6 agi when. she mane: whale: The iy yi lbduayeupuoeccded intel ner.in their cathedrals and monastery churches; hence. their so surprisingly long churches... Tae rood screen with the altar f for the laity then cleses this longitudinal choir next the 2,x@ressing. The windows of the crossing tower light the area di- rectly before this altar, and the transverse eisle as well as the nave remain in their entkre exten€é open to the laity. If one passes through the English churches from the westerncend as well es from their transepts, the charmed eye can at a sla- nee view and enjoy these colossal interiors. This arrangement is also preserved by the Cathedrals of Halberstadt and of .Mag- deburs, as well as the Church S. Johann ai seamivhsiatnnitior (Fig. 464). As already stated, this is tae noblest and most proper solu- tion; but it reouires extremely ebongeted churches, and the ie : Mai ad Sea tue, ; | hestionte: ulissa: ovsd. seedt notieanee — sk, 20 Yo oust odbise yosorle tava basiaad .ytsisdoa adv oO ‘ate ie atisex tsa%8— vilssevan dove Seaggaaog eved retespsed sas | sorat tant: + tasgono9 eds 10% doaset.tetde s bosaut agw aids Pema ‘evieuetxe Seom.0dt O93e010 ti ashe elbbiw odd Yo ytio «tid dguotodieieg Ee es) stot LASSE 221 means for these have ‘nearly always been wanting in Germany. On the contrary, England must already at the time of Willian the Conqueror have (possessed such unusvally great wealth - and this was indeed a chief reason for the conquest - that in each City of the middle ages it created the most extensive churches of the entire world. This proved by Lincoln, peterborough, Bly, York, Durham, Lichfield, Worcester, Canterbury, Wells and Sal- isberye. 489. Choir Stalis. The choir stalls generally consist of several :rows of seats rising above each other. The rearmost row is protected ‘by high backs, which terminate in canopies. This may be seen in the . choir stalis at Maulbronn, which are otherwise of little beav- ty (Fig. 485 174). Since the choir prayers required standing for @ long time, the seats are hinged, so that when turned sup, ‘they have a smaller seat on their upper edge, the misericotd@ia (compassion), to afford support to the older and weaker ‘broeth- ers while standing. Therefore back and arm -rests were also ar- ranged in the strongest and most appropriate manner for stand- ing. Note 174. From Paulus. These choir stalls are mostly decorated by the richest carved work; particularly the misericordias ere freguently. the places for scoffs and freaks. Scarcely any remain from. the Romanesque period. In. Ratzeburg remain to.us some fragments of such choir stalls from tbe end of the 12 th century. Wilars de :Honecourt drew two such series in bis. Sketch Book about 1240; one is ve- ry rich and especially beautiful. In Xanten on the lower Rhine ‘is to be found ‘in 'S. Victor a series of choir. stalls of like form (Figs. 466 to 468); these are the most beautiful early ‘6 Gothic choir stalls, that remain in Germany; the drawing does not reproduce the beauty of the mofleling. In France, thet at Notre Dame de le Roche seught.to excel it. Hote 178. From d4us’m Weerth. pl. 19. These scrolis of the sides of the great choir stalls are a far too seldom employed model for the most varied solutions of Gotbic civic architecture. ‘In the choir of Cologne cathedral remains both splendid and beautifully modeled choir stalls, which originated indeed sho @ pore to dakds iiew yes eao tads o@ ,.sakdd towel edt a0) Lew at sult tedsf ods to (iste algmte-& .loodoea daqud | sons 38) etvenmig¢tied gaz wort .SS! goa wate “a | cv otter: “5 S$3mA0R wont 8th atok — sednttvectetters se esd 0A .xteanessld mast UL etek vie bem .gptusmesu’ .sodovk shata 4a slominad. oe alias stds to aottes avotiovise szom baa dasdoit aay Yo 9a | es jase Sth atedtdxg) tl .easied to Levdedee9 edt to tad at onan bas Joti tebasxe{4 ,ateisu toardso ont yd botooens saw edt: fatqust ase to sotsivisque ais wshaw 8S8l~-S04! af ar iled 7 ome sacnF »tetateva enkotad asw (i0tqineoe) “asasar to 19v780" - howe. ‘haan bedouevas tei ak Seddt .dse to bedousdaans weragrianenti segue 1/88) 3.45, i. ' . — oBMTON reed a 0 Ae " .itetoed .0@f "sand? vxt009 ads pa vibidaiaiie ony oF Segaoled oads asgtoal off Beles gew tl, .es0te. t0-esc01d to ebem si9w goslg ai bextt 4 agakw bebustxs evr ao dood sd¢ atod tad? .agdob .2 to algse ong “OS eeergaaengery ts cannes rn} oao ai arcl aidg ak aietool siaee: sat - thay ae | eandad -Elaw aft of oir Ret nicer wheveninats need: 26d Q4dudegea to L[eroadds9 sad al, - seossbdua iotdtwoy A .taemtso1s Yitosasm geom ods tim snota- betetoosb asta 4 ao ateam Beas’ dadd .Ote0d dood sat asregana ofo edd jaseegced of Lfite ai aottatened toloo edd. segetlot yd- tqigoe ofdsod asmrea ylase to me: ard? .bet betoloo.ek aniad, —so9gag abaeve 18% oa ¢& Bas O3SE Seods. amev Sad mort assed sag aR : 8M -totteltiegw yieve oF heaogqze .ssa7090 6 ak bedoort. ay =neuasbs 1 KI9et ah sab ediotdoss® .W Ansel ees. .ett sso% Bey) Ane Se ea oy ) RUSE .asiset .Ssebawdadol LLik «sh tengh” aa | based od os st aud® .botasqes yidasupeqt ef ssbi omse od? tx ss gusetoed plas. glaiss100 bas islimte & tosseqeatited at. . * -aatesavos sd184 odd wh-ebistaesdotd 1890, trobated3 wort aya aoosehdua ‘s dtiw atevoel s dove aaiswen arade (eisttaeo saz ao < a t dnuseenens eau dies nasil Svb .af%) OOGL ¢eods onty sda aort. oS anangg sgt agetosl Ysedaush oad. oat okeh tunnet: ash | aeyauiaus? oO ,SedonoH mone =. BTL tok. Her wh at, 008 D canbe } .nebsoid we sateteusnutiet ik sadosh. ae, : Abe Oe aye. he are a EA ih no _ ane wannineiintiel idladooean 8 ithe .Soomence iawigubabe: pan: tected in a corner, exposed to every mutiletion. 222 ghortly before the consecration of the choir (1822; Pigs. 469 to 472 176). particularly the figures are also modeled ain the most animated mowement, with a mastery of the bunan form unus- ‘wal on the lower Rhine, so that ene may well think of the Stras- ‘burgh school. A simple stall of the later time ‘is presented ‘by Fig. 473: 177 | from the Heiligkreutg at avsnens Rote 176, From Schmitz. ; Bote 177. From Essenwein, A. Bie mittelaitertiehen. Kunst- Genkmate der Stadt Krakau. Huremburg. n.d. One of the richest and most marvellous series of. choir stalis is thet of the Cathedral of Amiens. It exhibits 116 seats and was executed by two cabinet makers, Alexander Heret and Arnanlit ‘Bullin, in 1508-1522 under the supervision of Jean Turpin; the fcarver of images” (sculptor) was Antoine Avernier. ‘These are entirely constrected of oak, that is still untouched iby wood WOEMSe i90. bectern. The lectern also belonged to the furniture of the choirsThose fixed in place were made of bronze or stone. [ti was generally the eagle of & John, that bore the book on its extended wings. The eagle lectern in. this form in the Minster at Aix-la-Chapel- Le is weli known. In the Cathedral at Navmburg has been preserved. a lectern of stone with the nost masterly treatment. A youthful subdeacon supports the book board, that itself rests on a stem decorated by foliage; the color decoration is still. to be seen; the clo- thing is colored red. This gem of carly German Gothic. sculpt- ure dates from the time about 1260 and it so far stands unpro- S278 Nete 178. See Hasak, ¥. Geschichte der deutschen Bildhawer- kunst tm XIII. Jahrhundert. Bertin. 1899. The game idea is freovently repeated. Thus is to. be found in Heiligenstadt a similar and. certainly ugly lectern. But from Ebersdorf near Lichtenwalde in the Hartz mountains yon the contrery, there remains such.a lectern with a subdeacon ‘from the time about 1500 (Fig. 474 472) thax almost eovalis t the Naumburg lectern. Kote 179. From Wanckel, O. Sammlungen des Ftnigliche Sachs- ‘tschen Altertumsvereins zu Dresden. Dresden. 1900. fezas ne af bagd a* sates aelinre 8. 00s ours Ouse ods more pasot: od: oF woo era déod ;tossdo omse sds souk axetooal a as. ~tevenss1esL4 edoatedose eu neenep adv to nortostiga eda ai | otsbaetdde ata (alielited Senin: aii e1e ¢uomise1s to eabom- doit seedy asbtas®.. -ss00W ustowssar9 odf moxt nvetool « asiatdxe, 93! ayy wate aust, e486 aaauioo batsoad ait (0082 tuods) simedod ai aaae0 to qua en eYtudueo dé Sf Saibae edd to sotagso stivovet 3 20s mMidastiamed~inss0d seb .8548 weed 05% gted - ot99%08 G004,. «IRL: ie as. iasione @ilsia 1ioda 8% aotde ni) sore: nd? -od¢ .fisw s-¢d abfa atedaew YO Sven ods. Ixaay beaoloae Baw be -tosi* most beyiveb af beebat (soastol) omsa sa .asen0a boot bas. eleqeckh eds baet stew ti sol sonata .(deeS Snirbeot) “metre akged ts bas .Sf of: ge baal axisés gacbutw-yiisvel .seitatae -“telisy L{eaa s bobtvorg . abaee’ edt 40% te¢is odd Ssoaiq aan a9et08 boot atdd stoted bas ¢dgis odd. tsa atoob ows aeaf .ytial sdt 10% sotvass satvih $a b903dq asw yautoob 6 tl .tolisdat siodo edd otal. dal stoL . eéteh bas Sa4Qia 200 ao, bodnsais stew aissiea ows ..autaso aazr ak: Devtesstg oced esd fads .aaestca. boor tesolo sds to sad -as% yuiav af si (f8f Sth .2i3) naotdive ts teas ab .gasms9d gdomd) anoudinsl oas-o0ntS SIL suods, Ostsuthive bas ayia. . to. aorvoste odt to. omit odd 3s iotdw ,dowgdo. yisiesnom s ean’ seetog boot. ods .ysiavmMOO BvoisuD & O3satsinoOO aestos boo® sdzt -tortive s2oloas: of t9b10. at even edd ak Siewt0t sek Booalg ai : As. Yoo : 0380898: tae ‘i -BULunt mond, LBL e308: ag9708 iaine odes abs lindets i kaeestiein ted ,setel dova tok 0 bse atsqred asewted): gigdisadoal ga dowsd9 yresascoW odd. at ~k¢sool [sabgito eth ak abasie Yogaol o@ ti tf save .(adiawend ‘$gods movl eotsh has Pepatatsos aviv yd awoad fen af tT. .a0 eOSEL nese bilo. saz ‘onal af gigdaseh ts konteaead odd. at »s90alq Lautatio, eth wk. «iodo ais7es9 ed%.st0tsd aseartoa. door boot otdtod qlee, ae abasta etedt. siodo axesesw. ad? asoted ene soeeee ytev avi diiw OSL tuods: amie gas Lo aoot|s erence . -) sRatdisy isgoe ed¢ mo: root 8. sien er 943 ub exteamet ageusdaies al ‘228 From the same time and a Similar ertist’s hand is an angel as a lectern from the same church; both are now ‘to ‘be ‘found in the collection of the kOnigliche Sachsische Altertumsver- ein at Dresden. Besides these rich modes of treatment ere also simpler ones. Thus Figs. 475 180 exhibits a lectern from the Cistercian Monas- tery of Ossag in Bohemia {about 1200); the knotted columns are a favorite caprice of the ending 12 th century. Fete 180. Prom Mitt. der Gentral-€:ommissi-on ete. 191. RKeod Screen. The area in which the choir ‘stalls. steocd, as previously stat- ed, was enclosed next the nave or western side by &@ wall, the reod screen. The name (lettner) indeed is derived from “lect- orium’{reading desk), since from it were read ‘the gospels and episties. Usually windings stairs lead up. to it, and at top is provided a smali gallery. Before this rood screen was placed the altar for the parish divine service for the laity. Then two decors at the right and left led into the choir interior. If a doorway was placed at the centre,.two altars were errenged on the right and Left. One of the cldest rood. scheens,. that has been preserved /in Germany, is that et Maulbronn (Pigs. 476 181), It is very mas- sive and originated about 1150. Since the Maulbronn Church i,£was a monastery church, which at the. time of the erection of the rood sereen contained a numerous community, the rood screen is pleced far forward in the nave in order to enclose suffici- ent space.. Hote 181. From Paulus. Not much later, but considerably richer is the rood screen ‘in the Monastery Church at Wechselburg (between Leipzig and C Chemnitz), even if it no longer stands in its original locati- one It is well known by its sculptures and dates from about 1190. In the Cathedral ai Naumburg is preserved the old Romanesoue ‘rood screen before.the eastern choir in its original place. Before the western choir there stands an early Gothic rood sereen of the time ebout 1270 with its very famous sculptures on the upper railing. Tn Gelnhausen remains in. the Parish Church a very beautiful . ‘ees ~ eat caus at wenotteg oe visvitsise 8 din s9et0a boo LU BAeks FRCS oes , OGSt suods bateqdigrso —e3etit 2:0, n90aa8' boon dota sdt to s#eb adit sk OBSt) tgonh Swat «Bivdia gf doxsad grated seeiiheerat: borteq otdsod dna: aig Yo! neetoa boot Igtieesed A stabi merits ag sro te dowd aottsbavo® add at bevao -490% mosh 830 aOR _sopaoreota owen re {itéa sats okdso9 atal odd word fads ak Sas AGREE Beniooyas va lavboatsd sad ak aoexee boos “ap vat 49905) o6 = a ath iamadaprnnl woiv oadg¢ ak ytosed teigortusa. 16 “hana rbstaiedish ¢a Lavbeddsd oa% we -20¢a070 L[eaguaia? Sen: 4 Ribena: eli ato astsacead qissd edt tavts wotego « aaw 1D. besolonus teds ,dows teexe sit atdviw agore. Iaagqawers teoaa a 20 {dows UIsdqustas ods Soiise) svsa edt geen sosge- ters oar -s4 yilevel .svsq. edd aaor90s Xukbsedxs wsad‘s ao ti Foote oF g8w tieetr: ased sa? .ttel Das Jazit odd ao dase adow ons ait _ sem gilavensd .asitaoqs edt to ateud 10 asutssa ed bata9msKT0 38908 atdd sed? .msediatdsy no bsoalq cals agsw asaso yrsgoti Ti,tesio wut elidsvivosos Buoasissciy Saom odd Yo ano ai sagwad .Viistenes es .wseT9s Hoow ode usiw mortegtamoa ak beurgoen sk - betasae%g Wuasatreeyare Lutsvebaow Saad. beowborg asw aout ae | hie , -istéedis9 fbsie198dLak ‘ , -91yaolont srodd Ser alanied at beyssi1s- Jom aew aiiste asodo od s0t gosae: oy IT xtoteisdus as yd bebagouss2 asw sed .atodo featburiguol bet ef yiieses aa .evenm ade odat 19 Gufes0to ets ofnt: datostotg “388% bas 20bfe sdd ds Heeoloca od coals Feum +k geds .oreae ; a‘) .~9%g20loa9 ahodo oat yO on0d eaw ara? hieshiogueetese e108 sobene supsenswod ead aotl bentaasy oyvaa saad? ~se0en asa ck omtd wetel ods af Sonta .s99%0R boom ond asds yi ai9ysig todo odt baedis oF sids o¢ oF atovetled sax sot ytse Y odd af. a8 Llew as ,dotwdo a*qodaid eds af soivica saivicb to none besolo. odd stotetved? .sedouvdoe yreteanom bas acissihugot -eLitth s vd beosigqet bas bevowsy. esau aseusa Lain esiempibcanten todo: ivttt0sed te0m. das awoml: Jeod sas uaEH © * yutedsebiih vs fesdotN .2 to sa0as acoied botreq auggsqsned ode aswol aheds at woda, ysis sage9e0 ,elosdismar yx9v 08 oFs aaodT 224 rood screen with a relatively spacious sellery; it must ‘have originated about 1250. About 1280 is the date of ‘the rich rood screen of S. Elisa- beth’?s Church ‘in Marburg. pols A beautiful rood screen of the high Gothic period is /pres- erved in the Foundation Church at Oberwesel(1381; Pig. 477182), Note 182, From Bock. From the late Gothic. time still remain ste: very picturesoue rood screen in the Cathedral at Masdeburg (1458) and in that at bébeck. 46 Of particular beauty is the view afforded by the ‘rood screen in the Cathedral at Halberstadt (1510). 192. Triumphal Crosses. ‘It was a custom after the Early Ghristian period to ‘suspend a@ great triumphal cross within the great arch, that ‘enclosed the altar space next the nave (called the triumphal areh), or to erect it on a beam extending across the nave. Usually Ma- rie and Jobn stand on the rigbt and left. The beam itself was ‘ornamented by statues or busts of the apostles. Generally re- liouary cases were also placed on this beam. That this arran- gement is one of the most picturesque conceivable is clear.If it occurred in combination with the rood screen, es generally, then was produced that wonderful representation presented ‘in Halberstadt Cathedral. 2198. Choir Enclosure. If the space for the choir stalls was noi arranged ‘in a wal- led lengitudinal choir, but was surrounded by an ambulatory projected into the crossing or into the nave, as usually in Spain, then it must alse be enclosed et the sides and rear. This was done by. the choir enclosure. These bave remained from the Romanesque period more freovent- ly than the rood screen, since in the later time it was neces- sary for the believers to be eble to attend the choir prayers or divine service in the bishop’s church, as well as in the f foundation and monastery churches. Therefore the closed rood screen was removed and replaced iby a grille. 0 With the best known and most beautiful choir enclosures of the Romanesoue period belong those of S. Michael at Hildeshein; these are so very remarkable, because they show in their lower ass ~od tetdeq: tisd at ssdeaiq at Ostyooxe sewytt Inistosea esteg 9" asottsiaesae7get tostisq ston Jud waltmcs .agigoaso dteon sid 30 estusolona stedo egoeeusHod setwedtt gat ak basot od of 8 mt bas Istbedts? oft al .sostatedish ta dotudd aeusttdetd eeneneee ts astoma™ .2 at .soitewsaxd af .esverl ts astddiew esoigedioas tiods suosensmoh ogis 216 st9dt «odo ~s9 wd yd beaaseeoq Live sis soxgaolone atono sidso9 yire® tag enzolo? ss isiubedesd-edd Yo caod? .k1udeate ds isvboat ~ish #6 isibedés9 odd afk sgods bas .OSSI tuods beisargiva oved ~a9 stodo ateaor efis9 $s ome sitoi al .O36! guods sbsdaxed peers 198 dokdw ,gousdqisos yd baretoosb yldors setwaolo. efOLTgGttoanc ms of Qarbrosxes . [ESI ar Ke 4 adams vilsiosqas, ets s91vecions afL0d0 ofdso9 syal gaowA -t¢geed thedt ito tuyooos ao aexsisdD to (sibedss) vat to saoas Aetrek. » -emorvstaossni0 Ssistvqgivoa Jasbagds bas fai i -1s9 nad Ons astteiisd .,adnod lsaatsasd eatiqigd 0D | -29an3el ; Ks Ree tcl S ARG 2 ., bn ‘avtqivt obSE 5 seu afi ased aad siglsq eds .609 to brow odd S4rvaainuworg 1049 megteratd yixaei edt al. .ydinetstariadd to yainatgod sat sonata emté odd wot? 19daun s bevaseerq 199d 9v8d sagsved To sedosude $e isidcdts9 ods. ai aud® ..(8S¢ batd) Iee1d att of1obo0dF Yo adios 2% at teeiisagdqodeid to (otqivg) odes ads at saneval- ne i" ie eS Po |) ae-% ee © Oe we aie "2 wa) ee , 227 represented by the pulpits at S. Paul near Bogen (Fis. 479) a and at Eggenburs (Pigs. 480, 481 185) , If the internal diame- ‘ter of the pulpit be not made too great, or at most 3.28 ft., then must one generally adopt the bexagonal plan. For the oc- tagcnal, the separate sides become so small, that the stairway cannot terminate at one side with a sufficient width. Fote 185. From Wiener Bauhbtte etc. The stairway is either free and pended into the pier of the church, gr it is built independent from that and supported by small columns and arches. ‘The height of the pulpit should :not be made too small. The height of the floor must be at least 6.56 ft.; otherwise it is difficult to understand the preacher. What richness was developed by the pulipits of the ‘late Goth- ic period is shown by the design for the pulpit in Strasburg ap Minster (see the adjacent plate); here the access to the stair- way is formed and closed by a special doorway, a procedure ‘fol- lowed by the German Renaissance in the noblest manner. °In ‘it- self, the Strasburg design belongs to the spiritiess art works, that aims to substitute the foolish exuberance of numerous too small and confused details for the lacking great idea and the artistic movement. fhe destruction of this late mediaeval art by the Renaissance was just as well deserved as a salvation f from the hands of incapable master workmen and Philistines. Pig. 482 exhibits a different arrangement. The pulpit is a projection from the wall like a balcony, to which one ascends by @ smali stairway in the wallj a litile oriel window affords Sspece and light. This charming creation is to be found in the refectory of S. Martin des Champs at Paris; it dates from the glorious time of the 13 th century. Fote.186,. From Viollet-le-Duc. Vol. 2. p. 4106. 196. Fonts. The administration of baptism according to the modern custom of only moistening the head appears to have come ‘into use in the course of the 12 th century. At least the baptistery chur- ches disappear at the beginning of the’18 th century and fonts are introduced everywhere. A deep bowl on one foot is its ba- sal form. Since. the baptismal water was consecrated only once during the year, it was kept in the font. It contained a met- al bowl, the baptismal shell; into this flowed the water ate ia “s = 4 a coum ed bos ast ns olodeiest samedi ueteavoe dose’ ae huabesee Dy ar ti bah dois om — seyoner: sgods) dedinale’ Ty “dosnds: eaom oda nosh: sqot ent |) ‘bas oatda eds ao batd adtiovst ysev 8 adiaeotqed (S8t gaa. Rid \' res Hb. bas. da Sf odd at eaose dyo to cbse eaw seas .otledadeoW ai Roce “-iev teos edt ddvgw aeitudaco ds Sf add to Tied sexit sad ‘gata oe re “2 sadt ,bavors oanias og seigas ati aaa uote oat. .zeRa8d0 bo mf = liesa eat qa berourtede, 9d ton tagia qaseio sat ; ui ps as m &. s as 2 1 | ie | ; Ps Dike Vie ot i a ee i, } a . is es js Se Si al fel ale a Ay cae | “ i Cie fe tie dit ¥, Ae u Behe ta . pagetio «:+¢w pd) cron otk oF aniaoo | Pn he JP pi ea Re a sADOR MONT .TAL otOk: abd. 2008 ods. noadeato: Liab. iuod edt agottsioe valqgeie at een antiswoo bas alsmias to boatot yldaesgert ef siogaue al asu. beebat dotdw ,eu1s9 ts yustaitasd sat at tuoi sas at dog? Aa 2 ve o{$86 1.929 ;08ff Tu0ds) tmsiotgA yd. betsoexe at: ae a ra : Brae: heed aut to on0 .eagotd at Jaso ydaoumoo cals oven ataod : a es) stodeobith: #6 igtbed3s) ods af ebaste daedois ous anand ee +f s, - 9 f3Sd. eQkd O08 i oA BS) 34): dayadsod ss donsad bloated ead wt snot oat. by 08) etal otat berietassx? wx0d oidveS qites. etisovet 949 swone —soaols beyoiqns yisoamoo coals ai miol sadeed toanr ed? soide ome taso agw dnot daswtz0Gseids .sottarsesat sad ov Sardzoo04 i Ne gh BOG bas dard .s2,98.8 ci Fi idooudaeaatW agsdol yd @5ar Rais Neil dey, 62, a eles | e@0d edd fs saseasith ai To geliga pebiiehdndksods ‘bRO ws sid LA LYtobad word 688% stot \ ‘ ite rat re yA Roe | -8BL .Aetsnsh .welot{sse#k eer yt Ms “ax | : areal’ 6 eeektediad | .T8t Boh 22, i se. dante sav af 908g. eae 9asSt0at OF ovIeR earteiise od? a7 ~aetisavgoo ynse aly »s@9soqtga. attatise aeatqo Irtigt oF ayaa ~da0m 915 18230 odt Has etegita odd evisoer isd? .setxelisa ons aos beates oats 91s O48 ,Homsdo ods to due ausdaenous 3s deoslg yt , 1; sjpee ea at beagsies seed asd “Isxob® to aotasdieads od? .axcoda aq egoaaasnod ¢lase. ods soule yasmtsd af bodatxe eoruis{isd . “ die: pp yowe 0: 490) @basdagad at Ele. de based goa axe yod? bor —- BaeMISdO A. .dooMN\ Lo RevowITausD 40 davigey Tedsis SOK YodT Yi eee eagcyd bedaesesd 2£ contin woboon 8 dove to olqasxe “tall eres 4 Vani ve BBL egy o209) gatqged é Gong Epa weer ti 60S saMtoot snaet¥ wove 8BE at0% ‘ «fives haa Ta Bide, de yon ‘* Ae ¢ Me ee ae i eo a8800 | Br. ciara a 98: sedtaoee osorls se hdaninat Mee = ‘ Yr. , > 2 . iia | tls: ae 2: SAT. a ¥ a ater > 228 each eccasion for its usé. The whole was generally covered by @ rich lid. The font from the Parish Ghurch et Andernach. (about 1200: | / Fig. 488° 187) represents @ very favorite kind on the Bhine in Westphalia, that was made of cut stone in the 12 th and du- ring the first half of the ’18 th centuries with the most vari- ed changes. fhe stem bas its ‘angles so turned eround, that t the clergy might not be obstructed by the small ‘capitals in ’c coming to it. Hote 187. From Bock. Tn simpler solutions the bowl stands alone on the foot. This support is frequently formed of animals and cowering figures. Sach is the font in the Baptistery at Parma, which indeed was executed by Antelami (about 1180; Pig. 484). Fonts were also commonly ‘cast in bronze. One of the best knewn and richest stands in the Cathedral at Hildesheim (about 1200; Fig. 485). The font fran the Reincld Church at Dortmund (Fig. age 188) shows. the favorite early Cothice form transferred into late Go- thic. The inner beaker form is also commonly employed alone. Aecording to the inscription, this. Dortmund font was cast in 1469 by Johann. Winnenbrook; it is 3.67 ft. bigh and 8675 ft. ‘in @Qiapeter at the top. Hote 188. Prom budorfyf, A. Dte Bau- und Kunstden#maler von Westfalen. Wtnster. 1894. 197. Galleries. 3 The galleries serve to increase the space in the church or ee nave to fulfil other definite purposes. -In many countries, the galleries, that receive the singers and the organ are most- ly placed at the western end of the church, and -are alse termed choirs. Phe appellation of *doxal” has been retained in Cologne. Galleries existed in Germany since the early Romanesoue per- icd. They are not found at all in England. ‘They were either vaulted or constructed of wood. A charming example of such a wooden gallery is presented ‘bytthe. Church at Pipping (Fig. 487 1&9, Nete 189. From Wiener Bauhtite ete. 198. Organs. Theophilus already describes the construction of the organ Meer: ae a 7 ay *O, lah i) 7 oe Pye 7 Ty 4 i es oy 7 D és § : cS me . ae Te die: die caudiemieel ie coca aoe. pom ecg {isms ak ylao sud .omit memengerapnenon gel ous. 10% as¥to us aaiate0n0D .awoliot — et gay ube Re: “Qwest + 9 CE Cexor mere ae ati at setonmh i ensbeane rossAmehId es2 .08h etok. +yann Solos.) . TORK Gaeuemed: 808 a oS sGEN02 14948 wqad 7 i 7 a - ses9t0ut aESQTO bib yautaeo dt Sf adt to bue sat bisKOs vind asa¥o!tsoaa edd beteataixe ead? bas. .yehod aowmoo eosia adsios ime _ydeorsse amtot ofdso3 at as2za0 a8a40 etetsisd?§ .esaso. : 882 ggp 0383 ai Bedasse 1g af Qakatsmes wat sat Yo sao toh H-OTOE Sa sens tutte ane: Shot? s9b stdotdoged 21 Sek etok | (Gites SRS a a in 4G OR mot aster 208i +9808 sootsres olied a@ evtqonpat BV ssek ahatie es: : te “7 ae 2) be ae aya wok cond SP Oe eeipgud: 66 cena 2 8OnG .B8b stok 5 os . ae i: a ? ho aan ena > we iva -80d3 {96089 2D: i ws "is a ae ; -» yg@adslobusDd bedenstd-qeves .eer: ahs anoves out to anoteadtat. 916 aioliasiiass Sedonsid-aevea sdf ae oeeb ai seas -aolsgaiol ae alqaet ed? at mutdalebaso. bedoasad es erewodfetess (SI (8S ,eubox®) -zeacll to dood bones vat at bedia -— gaedavatt 7oL03 ‘easq to dtow beaut Yo gus sit eobsa coals of” | o) obs otew emosgoid bag aque atk ,sedoneid ati .diete sagtaag ad «wid, e0bfa edd mort Rotok asdonsid xia stew s1eds bad tk to bie ogedto: eas ott agdonedd seads bus .sbie ono mort gadosssd 994 Ae sid: 9a0 aoqy, ztewolt bas aenco baowis sett oven ot9eR?. .edta Ratan, avewol bes eon90 baowls cords bis ~;m0es0id 8 bas quo s ,dos —s—i<“‘és dog xe aadt ymogeold s bas quo s ,doss1d steatesis 16 29 Pas i eves siti aeaoo i90t qual sat aoqg S04 . .agmsi sat od an 989% ONE aeeNted {ied 6 aaw saedt cu8 .goaeald s bas geo s%; a9 = sid-edt Yo owt agewted Lisd « bas. iyiisusam esdonsid edt to. ~ (ollsstae agdousid edd to ont osented {isd s bas rq ileusow ao. aiid eaow e190? sagas woul gu 9801 39dt agdoseid xie edé 403 > suey: foidiem ss0asiiqgs edt iis tyiies¢us wodt to? asaoaesd due en arotivaa os. vatoblod. bas ).atosooLtot a9vse 9699 cals of = blog Bay _ Hacbaa ;,08008 -9bae blog sonsa ta digien. ‘tausist s ;b103 940g to ee 9) efaottslansat a‘gotno8) “Lesnsguasant ads oe odd nO. peipereoit ivaseetoasor Sane TN atdg nt ak PD ty aa: City Re rs h et ee? 2 oe 229 | in his “Diversarum Schedula.” Organs were in use from. an early time, but only in small dimensions. In 1292 it was. stated as follows, concerning an organ for the Strasburg Minster. ‘(See original text).1% i Rote 190. See Ellenhardi Argentinensis ‘Annales in Honum. Germ. Hist. Seript. 17. p. 102. Hanowvr, 1861. Only toward the end of the 15 th century did organs increase 9 to the sizes common. today, and thus originated the great organ cases. Therefore organ cases in Gothic forms scarcely occur; one of the few remaining is. presented in Fig. 488 193, Note 191. -In Geschichte der Stadt Rom. Stuttgart. 1876. Vel. Pe pe aesy Hote 192. . Precopitus @e Beilo Persieo. Rome. 1509. Votes. 8 end 4, Bote 198. From a drawing by Cuypers.. da. Candelabra. 199. Seven-branched Candelabra. The seven-branched candlesticks are imitations of the seven- branched candelabrum in the Temple at Jerusalem; that is desc- ribed in the second book of Moses (Exodus, 37, 17) as follows:- “Ke also made the lamp of turned work of pure gold; its shank, vpright stalk, its branches, its cups and blossoms were made of it. And there were six branches going from. the sides,-. th- ree branches from one side, and three branches from the other side. There were three almond cones and flowers upon one bra- nch, &@ cup and a blosscom;— and three almond cones and flowers on an alternate branch, a cup and 4 blossom: thus six branches ‘rose up for the lamps. And upon the lamp four cones. like aln- cnds, a cup and a blossom. But there was a ball between. two of the branches mutually; and a bali between two of the branch- es mutually; and a bail between. two of. the branches mutually; for the six branches that rose up from them. There were balls and branches for them mutualiy; ali the appliances were of pure gold. He also made seven reflectors, and holders, and snuffers of pure gold; a talent weisht of pure gold made these, and all the instruments.” (Penton’s translation). We find this seven-armed candlestick represented on the Tri- umphal Arch of Titus, since Titus made a prize of the candle- stick at the destruction of Jerusalem and brought it to Rome. | oo. ee a . ea alu edd te betaixe (lita Yotsestbaso sax tadseaW oigaet ods yews ‘botatso ode .aisbas¥ wif bas otisane® ys (ada) q Yedtten ai ,somgees rer agtvo1oge19 ee ,eoratA otat alseaer rene were tdgis dotdws .5s3seee8q oft 10% .aldsdoig tou bovorg SSL) Coxet Isatgiso 098) ~:awollot a8 sau asiuee +808 sar ok a aun: he aod 496 atdbsioeses al .f8i atok siacirates LBkBk £409 fy snot * — ® .880¥ .ontsiet ofls8 of sutgsoond .88t stot : 8O8t s888GyuD Yt QNigedh & wos BSL otot a. to taslet eo ted bas .b3ea0 toa ei dotseolbaso sa? Sadoigm’ asad etow af exoezsoose aid bas ote mol beyea mae easy ao aoitetasaouget @ti outl ,tleati dotiaeloaso ad? ~"9vee tasblo aa? e9n8 slO5iw sat at dDetstini asw .agtr? to ‘ed of bamwees af .beatewey asc dotdw ,xoctealbaso bodagedd \ ast bayows :(9S> .8f%) aeazl ss todd agttshayod aay ai tent ¥ sb{tdts aasddA” --:aeisqiioss< od¢ bsoa od ys Lisd tewod _ asd tI *.tetsdd oF beBsso0ar00 dns shea od oF o bebgsmuco teb1o sds to tovig odd Sedge .fonvase avelosaed aged g1eteredd -989 sttine out ssdt bas .(Pf0!r-2ve) Il sbLidteW aacddA sav ese .odg tadt anode Hoisextwsxe sud .awis sedt mgtt sored Askieaib -teq daststiio yloritas owt ot gaoled dotses{baso our to swrot bagows .mose sad To aatnatged rowel oad dtiw soot gif .abos ~as yiev estdidxs ,ebaedxe golisaqiioeakt Zatogetot edy. {isd seodw errtas Six tad ;Q0Or seey ods tvods betentatyo bas euyo? saet9 vino bisoo dotdw .t4s beqoleveb yidert s etaseeaq S1sq tegay ». thea being ines eaf .O8Lf suods wakes aay ak beonsuaood syad | ob37Tasts vidos bas vyilotiide -1av3a tw ¥eruabd edt et aoidrogsiegay atad aa 93s 9esa sid YO ~ae8 dotdw AotwanssG g6 Ieibedts0 sue of Aokvenlbaso byionat¢d ASVikpowitesl(eI wort dinter era tots hetvosxe bei noid edd yt qsqqn sds bevisseic oded aad aivduenvedeols moigebauo§ odd af fo Yussd teerm To dstseslhaso Lowis-nevee onpuenswol 2 to 180 otsae [hase a*somoloS to sadd wort evetlib mio} air ve itscob bas emote itdated wrotiao s de baste Jon Ob agduel odd vonta -n86on ‘Bitewasdo \vrew yd bersr0096 es bus hessvolisy ers wdond 00st bos O8ft: weeuded beventsizo eved tegw ¢T .snemsoxo supe ~ottsQ add nk teie ei AoiteolOuso bodoasyd-nsvee seeysel ea bs ~t0 yltesesa ati yd bedadvbactetb asisivt ef #1 woe if Je Isat ‘ ‘ | 230 Whether the candlestick still existed at the taking of Bome ( (455) by Genseric and bis Vandals, who carried away the temple vessels into Africa, as Gresgorovivs 191 aspumes, is neither p proved nor probable. For the passage, which wight prove this, runs as follows:- (See original text). 192 , | Hote 191. In Geschiéhkte der Stadt Rom. Vol. 1. p. 208. Stutt- gart. 18768. Hote 192. FProcepius De Belio Persico. Vols. 8 and 4. Rome, 1609. Note 198. From a drawing by Cuypers. 3¢¢ The candlestick is not named, and that a talent of gold was saved from Nero and his successors is wore than improbable. The candlestick itself, like its representation on the Arch of Titus, was imitated in the middle ages. The oldest seven- Joy branched candlestick, which has remained, is assumed to be that in the Foundatian Church at Fssen (Fis. 489): around its lower ball may be reed the inscription:-- “Abbess Mathilde commended me to be made and consecrated to Christ.” It has taerefore been hertofore assumed, that the giver of the order was the Abbess Mathilde II (974-1011), and that the entire can- Glestick dates from thai time. But examination shows that the. forms of the candlestick belong to. two entirely different per- iods. The foot with the lower beginning of the stem, around whose ball the foregoing inscription extends, exhibits very an- cient forms and originated about the year 1000; but the entire 44, upper part presents @ richly developed art, which could only have commenced in the time about 1150. The knobs are very skilfuily end richly treated. Of the same age @s this uppelpportion is the beautiful seven- branched candlestick in the Cathedral at Brunswick, which Hen- ry the Lion nad executed after his return from Palestine(1173). In the Foundation Klosterneuburs has been preserved the upper part of a Romanesaue seven-armed candlestick of sreat beauty of details; its form differs from that of Solomon’s candlestick, Since the lights do not stand at a uniform height: stems and knobs are perforated and are decorated by very charming Roman- esque ornament. Tt must have originated between 1150 and 1200. The largest seéven-branched candlestick is that in the Cathe- dral at Milan. Jt is further distingvished by its masterly or- letniteot: oniest In 2iguses « viseivotiasea .etaemeazo i. 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OME we ) | ap Fonseadooes ylevtias xesd gad Si Jue Ny ee ee ee 7 fete, s = oko Bee. * + oy ai ie emits +45 ; ¢ 231 ornaments, vabticularly by beautiful fisure representations, which culminate in the adoration of the holy three kings. The relics of the holy three kings were indeed brought to Cologne by Rainald von Bassel after the destruction of Milan by Preder- ic Barbarossa; yet the veneration of them in Milan appears to have survived this less. For that the candlestick dates from before 1162 does not properly harmonize with the extremely rich forms; it must rather have been cast after than before 1200. Well known are also the seven-branched candlestick in S. Gan- solph at Bambers and in the Bustorf Church at Paderborn, as well as the fragments of two candlestick feet in the Cethedral at Prasue and in the Cathedral at Rheims, which perhaps bekon- sed to seven-armed candlesticks. 363 200. Altar Candlesticks. Besides these seven-branched candlesticks, that furnish the light necessary in the vicinity of the altar (Fig. 491 194) | there are mostly great fixed candlesticks. Of especially large dimensions is a second series of candlesticks of cast brass in S. Victor at Xanten (Fig. 490 194) | which extends across tas entire width of the choir; it is in three divisions. Fig. 490 contains the middle and left spaces, the’ latter being similar to the right; on the two bases is the following inscription: - “This candlestick was made at Maestricht in theyyear 1501.” Hote 194. From Aws’m Weerth. Vol. 1. Pl. 18. 201. Chandeliers. Finally the sreat circular chandeliers were show pieces of the internal equipment of the churches from early times. They particularly served for lighting the choir area. The best known are the great chandeliers in the Minster at Aix-la-Chap- elle and in the Gathedral at Hildesheim; they represent the heavenly Jerusalem; the city walls form the great wheel, the gates and towers are the Lanterns; on the battlements are arr- 64 anged the receptacles for the lights, and breat bar chains hold together the wheel. They are made of silver and gold and rich- Ly ornamented by filasgrees and niellos. fhe Sreat circular chandelier in the Cathedral at Hildesheim is 19.69 7t. in diameter; it was begun under S. Bernward and completed under his successor Hezilo, thus between 1020 and 1 1040. The smali wheel was given by Bishop Azebin (1044-1054), but it has been entirely reconstructed. 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WE een ae 6 Mt, ke ag rt Pee’ | 1 ote at NR ay Ae Rant bP ee tie ve Aw sx | mg mpi a ‘a eae Rak: thle ee Lhe ve: ees Aer piighs geet Awbsedty af * Dunes a FR Pip bis:. #5" So cheung Shits i ee by a A Ai) iF hohe) SU a a yin et yi dg es eat Syalene gan Me fessor dies in Soe vemoaelt +68 box } ad ve Se wt aie sane ud ah ee ‘ie Ee i #54 hs 7 P 4 ; - ¥ q LA aa! : A ee oS eee ae 1232 The great crown chandelier in the Minster at Aix-la-CGhapelle was donated by Frederic Barbarossa and his wife, probably about 1165. by, eQutsirxW 162 sexgedd } «cht yO), oe. e@ted@ed Yo eiark- .S08 sie gneve adi annie egRe eibbin eat bb Qnaeiaw ao oataustid nrbrxo odd odsdideevat bos oulwaxe oT .vbodiew seiinosg teou9 -99q sdv ds sacistat seiwoisisg yisv Yo ek Snktirw Levesibem to Bi ehoddem weg oc¢ss10 Fdbim nem seds bosd exo edd Ho .omis Fnoee i sii siesosisio aedeiaw e¢eddy Teds sehdo edd no .2svleamsas TOF -“sbod eg yd beaned need sy * et ae -semyot daesetieb eeray at yiteise aasooo bairsiaw sa? “Y on ciidinaes .e%stted at bee yiieb esw dotaw gorrisey od? oe nem ch ved ILin of .gesdiow Ylecolorss gew bas ednespoobh bas qset: avevostsdo aovéinw asebom tuo to seidom ead ai si wyitoes as Wagaaier ovis eas ak aseeiaw yiluteiso teom bas yiwola asn doidw saat é | =—ed eos ef totaw .gniviun Hood sds casoihoo tuetone ens. eal Brey eatedoststio hevaiza vot ete .20m03 ehnibiind mo enoigoqistcent edd To exetdsel edT .o eoutl ond bos esaot eM *FOLISEOEBM 6s \ is -3gb108 base AOS ea Me end ai esas olbbim o13 20i19b beyotane aniviaw oA? : sipo0b One efoetssoD .stetsel ai beitsg ointoS saz es ilew as ; soxoensS? “.dniditw bagoi” ies soo ew seiw yiteido er setae ‘ bawor bsiloo-oe ond oSuilgnidiaw Isvestiew sav bemictenaiys ead | . LY fom ei ti Ssds .otste OF mid oF Yiletudea BSHOD Tr stOteteAT ; nedtiaw viwele ai dud yaeve elbpia one at 26 eardiaw evtaxsd ; 4 & < emt0% 30% Safiset boattes 6 bne litie sivetéas dain asiw antview wod swoda nedocan62 to esgpone siT .taivetiel Istaemenio 18 28° a & a0 sidiesog suoosd tines ni AO£d ,e@norisets wen [es titgaed ‘, | of 88d senil .esoldsoeib eidigeliz spotsiw viesd [avesibew :" ae be -pakvian Bkad to vasmayofeyeb sad wode Geb ae: Lengoied ADH ASSToVUBNG Yor Hmontel fod YO tnemueod .Ses .954 f BTA. doet disG Yo ystd OHs Ao licaved of3 Yo taamused .88d 917 4 -BIBE.Gosthied 39 [dodaes sytood Jo fos{AO Yo tnemsooG .db .994 Ns Ascot anda Sm $4NOd solyoss stHoseslG Yo twomysod .aCk .9 54 4 | . «i qgite® gamed to arervO .b0S he | Siete abtkten payee 00 beqoleveb aodd sew gridiaw etdd word beet pacetiratss ewods Gh ire oT8H herring ystiad sug ex0ted: i Wir " 4, : MOET > Chapter 15. Writing. 202. Kinds of Letters. Likewise on writing did the middle ages impress its stamp and creat peculiar methods. To examine and investigate the origin of mediaeval writings is of very particular interest at the pr- esent time, on the one hand that men might create new methods tor themselves, on the other that these written characters ha- ve been banned by us today. jés” The writing occurs chiefly in three different forms:- a The writing which was daily used in letters, receipts and documents and was carelessly written. We will term it man- uscript; it is the mother of our modern written characters (cur- Sive writing). b. That which was slowly and most carefully written in the books, the ancient codices; the book writing, which is the ba- sis for printed characters. ec. The letters of the inscriptions on buildings, tombs, fonts and the like. 366 a Manuscript. 203. Round Script. The writing employed during the middle ages in the Romanesoue as well as the Gothic period in letters, contracts and docunhe ents, is chiefly what we now call “round writing.” S8nnecken has transformed the mediaeval writing into the so-called round writing with high artistic skill and a refined feeling for form. Therefore it comes naturally to him to state, that it is not cursive writing as in the middle ages, but is slowly written as an ornamental Letterins. The success of S8nnecken shows ‘how beautiful new creations, rich in results, become possible on a mediaeval basis without illegible distortions. Figs. 492 to 495 show the development of this writings. Fig. 492. BPocument ef Abbot Hermann of Brauweiter near Cologne. Fig. 498, Decument of the Souncil of the City of Delitsch.1518. Pig. 494. Decument of Offieial George RBendorf at Detitsch. 1818. Fig. 495. Decument of Blector’s Secular Court at Colcgne. 1585. 204. Origin of German Script.. From this writing was then developed our modern writing just before the thirty years’ war. Pigs. 495 shows this transforma- tion. Ve ales: tikes gaisiqw awe nied see ot won elsee eno aedz IT La de divesnom bio ed ot si Qnédsts Yd aneMIED Cas Yo TuBq Joo ide atin emge ons seddyud eb sl .ewosnomre af eidé. .oilowcee oti ot apoivoetdo tense } siliniaineoni 420° liane dawine bus elqosq 8 a6 gdseiteqxe 100 oggO .enem199 wh gasq Feodseu ond need aeve ead aeidisaiive “youd Suedw ,ecigivetivos sieid benisdes yloo etosaeone TaSLons ei¢.nsed son eet side veds ovedwytsv9 ‘.soegsm Teexh at belidee -g09 bas nomdousT® .abisinsg? easkissl esooed eyed yeas 889 -1eye sytea yod?t .19dded og e186 Yiisedeog axsbom saT eqeniert ‘gtodd nksten tonaso bus asesz io e1esiiieist as yiovew eredwy eidieroy aced [lisa esd aids eiftds ,ifs ge soitemA nk shangasd meetee ylibin fivede nem evoloisd? .eseibenad oges" sdv o¢ eid tedd os ,saawt9d ef? oF asiloosg gniisyteve neavone7de bas dnsderees es obsw hue boweyiqui oa od yam ysscleubdivibat gsmsee -ni yas asvest eloofos s9engtd ens ai doioiers oat idigeoq ee Sipode nen syoteted? .anemi0d ofc to notvsiosr odd oF Sasont . fenorten » haiqoieveb ai Bebesvoue aan gease® os gadd byorg ec : Bak. sag deeod aoudonet® Bo easiissl bloow wok .anivinw to obor Agefastnop sot sh oF Hiod yous hbivow ylavounsise wont bal ; tgit08 A008 “| ) | ~ -dgixod toed Yo aree10 260k > Indorse eit beqolaveb 28% haisiuw swiewso yesd odd asbiaes -qer yd neces od ysm oh .omks ylise am de ydiswstsn ,jqinoe Joo 8 90 nessiwe easy Fi ,zeaksaisg bas setnTainiw no eaordatooas' ‘g1ocgwe tan ooo oxotersi? sesh oaidiow Yarbnsde qeede yrs ao: betear tedd ,tieL engi ni beer daooee & dtLw basd IAgLT oF er si aro adé eeag tovnisq edt se duods - Teged si ps f «hbedsaee wed? saw vedid indica qissolo es etettel sid aakbwoto yO} ysraesoen on? -efed siedt beessivoai? ,etsoe oeimouooe oF tebyo uk sldtesog e eazeosn ets .xeddekot eaolo sent! Isesd ifena. beoyot bas Jd acd? aol eds To cossansotansad ony osvoette ylsasbive ys sd Sid amtol gsid ,beseatgrsonsqivos SiigoS asityoea odd esse Of .besevonsib od Jouaso \inlag Xood famre® wsebow io Yo ef heyovsebae: syed yusm ,dusmve9 niebos os sidayiev aeol si ods - Bids. 308) satgitO ett Yo eTIA909 ods asw SONETT Tedd evOTG o plow nstaeirad pdé to gofqoog oid 114 .bebgeooue. dey Jon es Wbraatyt GEL gen bas ace o3ei% =6.eege sibbim add ai th beyolon ‘ 4 oe | of y i pers , *. ; i Lay! A Re vi Yee oe x 7 | MA S| Ch ' é'»' Sh _ ‘ ae en, eae 234 Tf then one seeks now to make their own writins usly to ag great part of the Germans by statins it to be old monastic scrolls, this is erroneous. It is further the same with all cther objections to it. Our experience as a people and persistence ‘in our German pe- culiarities has even been the weakest part in Germans. ‘Our ancient ancestors only retained their peculiarities, where they settled in great masses. EFyerywhere that this has not been the case, they have become Italians, Spaniards, Frenchmen and Eng- lishmen. The modern posterity are no better. They serve ever- ywhere merely as fertilizers of races and cannot retain. their language in America at all, while this has still been possible to the French Canadians. Therefore men should hishly esteem and strengthen everythings peculiar to the Germans, so that the German individuality way be so impressed and made as resistant as possible. The training in the higher schools leaves any in- 34 Grease to the isolation of the Germans. Therefore men should ' be proud that a German has succeeded in developing a national mode of writing. How would Ttabians of Frenchmen boast of it! And bow strenuously would they bold to it for centuries! be. Book Script. 205. Origin of Book Script. Besides the hasty cursiwe writing was developed the careful book script, naturally at an early time. As may be seen by rep- resentations on miniatures and paintings, it was written on a very steep standing writins desk. Therefore one must support the right band with a second reed in the left, that rested ‘on the paper - about as the painter uses the mablstick; yet the writer wags then seated. Phe necessity for crowding the letters as closely together as pessible in order to economise space, increased their hei- ght and forced Bheir basal lines close together. Here necess- ity evidently effected the transformation of the form. Then where the peculiar Gothic scriptvorisinated, that forms the ba- sis of our modern German book print, cannot be discovered. To make it Less valuable to modern Germans, many have endeavored to prove that France was the country of its orisin. But this has not yet succeeded. All the peoples of the Christian world employed it in the middle ages. Figs. 496 and 497 195 present. leche: t Keene ae A eo 14 2a ep eqnege ietteneed ‘“ “tes annenaten oasone aX: autre" mos beouborqeh .8et etok- Snipes BPS. 4), 8OCT mobs 808.89) .¢ 48 . S07 ound Seeag wp y . -aistted Yo batt . .808 | a edd ,eretied xia sais salons to beeoqmos ei sqivoe dood eid? “ seeds obat ~:ebatd ows oft bebivib ateys sas doide fo sepisds _ alsesev) biow nodskaw ylsaeninoig 10 eonedace yiave siaed dedd ~eoummenmained ge Sade vino dsds .doue ofnt bos Aoakewcton - s(aisisiat Jenoivivid 10 esoLrsoee tasee1g Sad Ic 2 - «eieiginl beanies fas coonesae’ to afeidial - TOS ‘nn: ets foiw nedtiq eeiwedil even aeonsdaea to sisticas oat eved ole yods geome :avedsel ileme odg as Ank amse sad bat ee stow ea ea bet 6 70 enkl asian bem 4 | (eee «bid %& alanine eas ne 6 eanktoos aseval to eveddel isizinik oT sept al .ber ylieias ,axoico sagiid at feusd oft avin obs asad odd ddin obsm esotted soue Setaeesiges 998 ©S1 903 0% 88 =se0bs aout baw -u98 etd ck .visobud woth heowborqet .82% etok | () .BQRt .s9de08% JB 1G .baod-bawmt0d sesieth seb ve dhs ‘tebe eis wd SSRI Yo Joubod wo month osm BOG oF BEd .egis . i ’ Set oonud 2 Absa ropand AS BE ds Yo sq INosunow Snsmhotag w mONy BE BOB .Q3% PeaeS. oe SOR pedosiibsot tmp yrerdid Bis eod saa a pede | QR LVR Yo dud mosh Seoubowges .T8h stot aimee etuioy bevisee1 Jsco 19¢6918 ta aisddal jena sat wy ot?) saiwiedigo so bem .eclo betofoo bas aeq ond asitw Rey Ne ~jo iioves betates ylevobivxsi. sesadot4s t9dseq3 49} 10 (rer £0 _ - se ¢bsetia ot]ew todted off .2n0tvstiaesetqes S30g1) bne edasme a qonusm bibsodqa saom 949 si bolieq neigatveiss® ena of oan 4 | . soa isassys ni a& ,sge1us | avedsew a te sounseeut sennot Shi FXO’ B100d VaHond oad won| ob 202 O34 {eaer 9 4 Sas SES staek 30 Wosud onl sadliins dnd a8 ehh. Hy Quord mery. hesuborqed. |. 80i of Gt SCR .enudiesd .TO, SBE .q .8 StoF .ebmoiniedh seh mes {inde at a . ptaki08 asadaw’ base sxggostt = .9O0S “idan tanned ows af bemyol ous ateddel Lisme eat episingas diiuegentl iboiszev Jégisids gasniedst suc BE. 108s oe [porate oa) angels errr vagaid Snidooaac i tala? eee e AD CRS ee stodaisg (O88: ; he es er ' . Ptr we ets: ; A : % 7 ai '3 homme He Al ¥ b | ® & i. —. = a —. = 235 beautiful examples. Hote 195. Reproduced from Venturi, A. Storia dell’ arte Ttai- tana. Volt. 2 p. 498, 505. Witan. 1902. 206. Kind of Letters. 3 This book script is composed of large and small hetters, the larger of which are again divided into two kinds:- into those b pein begin. every sentence or prominently written word » (versals ree sense), and into such, that only stand at the beginning of the greater sections or divisions( initials). 207. ‘Initials of Sentences and Painted Initials. The initials of sentences were likewise written with the pen and the same ink as the small Letters; at most they also have a ved hair line or a red hook as an ornament ‘(see the middle of Pig. 499). The initial letters of larger sections are on the contrary made with the brush in bright colors, chiefly red. In Figs. 498 to 502 195 are represented such Letters made with the brush. Hote 196. Reproduced from tudorff, 4. Die Bau- und funstdenk- miler des Kreises Dortmund-Land. ‘pl. 82. Winster. 1895. Pigs. 498 to 502 are from a Gradual of 1426 in the Gathedral Chureh at Lunen, 198 : Pig. 568 is from a parchment manuscript of the 12 th century in the Castle Library at Nordkirchen. 197, Hote 197. Reproduced from Ludorff. Pl. 80. 268 The brush letters at greater cost received volute ornaments sof ‘drawn with the pen and colored blue, red or otherwise (Fig. 59g 197) or for greater richness luxuriously painted scroll or- naments and figure representations. The latter were already in use in the Garlovingian period in the most splendid manner in western Europe, as in Byzantium, Fig. 504 is from the bronze doors of the former hiebfrauen 198 Church at Mentz. H6te 198, Reproduced from Kraus, F. xX. Die christliche In- schriften der Rheinlande. Part 2. p. 106, 107. Freiburg. 1892. 208. Fracture and Swabian Script. The small letters are formed in two different. ways:- 1. In one retaining siraight vertical lines with ansular c connecting Lines; the proper Gothic script or fracture letters, of the painter. . oo or A; rag iG | Gabe We BES —- abbe seadigniatce. lo ebom taegedo siom & at 6S eer Wes age 3 ee bus elacsdsev 903 OF wonil Rottos + ioe bs | evetsed naidew8 bediso-o2 oat - “guosette * conieah dntetet: edt asetted to velyda asod 10% |. qteseolo bas solqmie sue Iqisce asrdaw? tovesot? .aaoivoerib abetlorss exom smoged seve Jqtios e1xsdesat esd To eect eLidw bes 06d! meented .beitataq Io noisasevnt ens to eats eid za" sadtvoe .beqoleved yiessfgmoo 198K sqttea to ebnid dgod ,OveE Si, wie PRRs achbeen tun ssettel Sesnisg baxit oat telaasas siedd ea’ te b. stomued © .G0S | enorse a ous sao geeus Io nowasy ets oF oongieted at - gd@ coset .eiocw agents etew yous vet .elisvetg aointoe sso -efood ceed? .syivos otteaton bas eflovee-oidesnom aciagsoigee “ese gaiiiso eeodw ,semyel yo offs bas enon s. asttitw oven cago aomd88 ak tenod nabsebicd ish sisoiaoesd ati al seid annem duo ves setiedecuon sit neve saad awone aaa. det | : eh Ea seeditos yal of ere Se AUN / Py oagatdatad Yo noisasval Ors BS ase lddiacentenes sad. iin sOmot etig ef anktniag to: sotsaevar of? Mebnnent 0$. 318 wor S40 fotiss5 eneored acne sibbia asmsod -nisg oom) aided at aeye eiiow fie serit $s efid¥ .sonert | ni sbiewtes Ie bus pisdT at nsbed asm ,etesies oiasod ab bes i guods besbul .eredsed at®sdieds jso goisd ofege oF coals sonaxd asdw bas ,soaseatsae® Ligteons ai ybsotis saw saiasyisve .OSbt oF bhensdcas - qissesea nom soustt ocak yisas atk obhsm dae eraa .ifow es exs$ted iets nd easmoR saoions eat Lsups seine ead qe-aood aooe sfeitsis e463 .setudawoo sonsaoh oad af ~9i: 358 of Sono ts omso feds asad bane ,aseseel sesny to sasaqo -yetestel anskoie fas iptiiosed odd ov bas noivoeiseq Yo sagt -syftat asared 48 1st oc|/ du9 «ysbot séedimt evedniag ifs deds a shesiszes: eswidabid *okavpd” bio edd .bebnedxs sksugnel bas ooa Y a9n0qg tsedse1x8 sid Yo yoq adv ,eobs sibbin aawi9d ent sotin i} .@nsa799- sag to shai Isedkic oud bas _ viiiwext boedt Ons oop oni $nt29 gente? olg:ot atuseh .Ife % sia to deveed Sad nodw.eyewis onk eds, heen ifive odw mapa omiee at es! iene ‘ni: a8: sitet ‘ + xabos. fan. ytsdaeo desi ons oat piowet a 236 2. Ina more elegant mode of writing that. adds curved ‘conn- ecting Lines to the verticals and slightly curves the latter: the so-called Swabian letters. For both styles of letters. the initials diverge in different directions. Thoseoof Swabian script are simpler and clearer, while these of the fracture script ever become more. scrolled. At the time of the invention of printing, between 1450 and 1470, both kinds of script were completely developed, so that their transfer into fixed printed letters occurred. 209. Penmen. In reference to. the penmen of these books, the truly errone- ous opinion prevails, that they were always monks. Hence the expression monastic scrolls and monastic script. These books were written by monks and also by laymen, whose calling was this. In bis Geschichte der bildenden Kunst in BObmen, Neuwi- T6h has shown that even the monasteries Save out commissions to Lay scribes. 219. Invention of Printing. fae invention of printing is the honor of the terminating German middle ages. Germans carried the new art to Ttaky and France. While at first all works, even in Latin, were prin- ted in Gothic letters, men began in Italy and afterwards in Prance also to. again bring out the.Latin letters. Indeed about 1480, everything was already in the full Renaissance, and when this art made its entry into France, men naturally hastened to equal the ancient Romans in their letters as well. In the Romance countries, the artists soon took up the devel- opment of these letters, and thus they came at once to the ‘he- ight of perfection and to the beautiful and elegant letters, that all printers imitate today. But so far as German influe- yp nee and language extended, the old “Gothic” print was retained, ) 3 which the German middle ages, the period of the sreatest power and the highest might of the Germans, in contrast to the anti- que and freed fromiit. 211. Return to the German Print. And always, when the hatred of the Germans flamed brightly in other nations, who still wsed the German letters, then were they the first to discard this €erman script. Thus did. the Czechs in the last century and today the Danes. But in England ee Ve A AS Pa) OP re a eves diy . ‘Yo-weivezooe bus edsidis isidasulial sehnedo s erp, wha gon Ome ‘a 7 “Yo sostte esoserstoig edt dain saneqelb toaued. st geredaisa i bear. Yo eonszels blog eds aziw noatisqmoo at dqiioe’ ! gadtad odd ¥ at aivow detiga8 gse1g boosboxg yoseris eved .atessed oanod . a) seis? yrudietasp etuecgade edt auad ysaiag “otdjod” bio .vad #{potdasq on bait saoiésayngiose) dadd. .eonebive ssalO .t#008 . a5 IT .saisg a0 ai basi iietd guibees ak, yiooritib _ -—eidis a0t te a ae agaas eansoitess bas asmdeil -is snisq awo visit Yo not@aioeiegs sad iiiw aead ,enoisses os ai sefosio.ebiw ak ¢led saud10 Tas 16% .yasuted ak esssioni os natesol ni bonceses 6h doit \suiev zegseaaog dans yino yosmres eit-no nwords noed dovemakd io sewoG edd dom bel. .zeinénuoo won odd nedt ,suétg aswicDiims Soizos ssess9 Yo tovst af soisos @ asma9d odd avi ongh 1 oa bestiide asad evad bigow eviqns «tg ites Sh sosccsaanantiebeatanh ® § isiiged ak anoitveiicant sete ‘hase ak batyooxe stew. sooidgiscanl gy odd déitnotodadgde aisgd ods to aladioso sad stew asad vert (P8igog: 205 .agtt) OOOr Fasy odd oF qu bevago00 saad Banoidart eeods ysndaeo ds Sf oddgml .bovox smsood “8% edd aiqusze sof -ot omsoed *W") bas “N*: ofS :9100 bus avom bobugor ers etodsel de aud? .yisdneo edt topbus ocd dsodA .“a" edd as Jiow as bas -g4ed edd ofot begasdg eww yous ,oidsod ydise to Sataniged snd bsebal> .iawont yelistensyors sedis. etedtel beitingib bas Istia -{unsq etodiel edd Jedd pisseash ossoed aofaigo sidsdisasd a3 : | Qniaob. belisveiq yout feuozensuoh 298 0f0d03 ylise, eas oF shi » ¢iad ,otnto8 agtd edg ai sted Sidau ofdsoo giuse eiitns. odd -ysds yinebboe ysds s1op OVEL sJuods asddHl edd Yo seoio 30d Je _ e2ak3) satsos- A00d adz}to avetvel {isus 94% To tove? ai beaot qd 0g onsosd:nedd etedsp4 Liswa oeoa?, .(P°%S8! gog vos (80% wieiat en to. batd yap bewoiis seQa0l on yeas saad , leotane | 3 | ebedooiet oxew- aigtoaua aeve das .als ss ment ehodesedqdo 950.2) .9 suns MOK} beseborge® BAL stok SQBE .grediest, .fOr Pot .o .8 s104 Shao indedh seb KOs Liade Aw .849G809 B44 Y HOG o Yo QAIHEIG OMS YO odd . 80s VQIT .ADKUdD B*igndode /2 od eng meedeobds2 Yo broward .2 do! RRS 4) 088s auode . PS seednt to: dnvbedted mont 1803 .gt4 Bali,’ ee = SMO INT to SeQeqsst ad yd fgnsgosoag B MONE ORT atok a ta: Past | wa | +O3® apusbitod m eis @ ».0082:duods Lktau ai bp a) “ie os . 237 and America is a change. Influential artists and societies of painters, who cannot dispense with the picturesoue effect of the German script in comparison with the cold elesance of the Roman letters, bave already produced great English works in the old “Gothic” print; thus the Ghaucer’s Ganterbury Tales by Scott. Clear evidence, that foreign nations find no particul- ar difficulty in reading their language in our print. If Eng- lishmen and Americans again employ the German print for artis- tic editions, then will the appreciation of their own print al- so increase in Germany. For unfortunately in wide circles in Germany only that possesses value, which is esteemed in foreign countries. Had not the power of Bismarck been. thrown on the scales in faver of German script and German print, then the new empire would have been utilized to dispense with the German $ script. @. Seript of Inscriptions on Buildings etc. 212. Inscriptions in Capital betters. Tuscriptions were executed in capitals until about 1370. P First then were the capitals. of the Latin alphabet with the va- riations, that occurred up to the year 1000 (Figs. 504, 5051298). for example the 72” became round. %In the 12 th century these letters were rounded more and more; the “M” and “N” became ro- und as well as the “A”. About the end of the century, thus at the beginning of early Gothic, they were changed into. the beau- tiful and dignified letters, that are generally known. Indeed the remarkable opinion became general, that the letters pecul- iar to the early Gothic are Romanesoue. They prevailed during the entire early Gothic until late in the high Gothic. Only 2 >)ab the close of the latter about 1370 were they suddenly aban- 1): @oned in favor ef the small letters of the book script (Pigs. 506, 507, 509 199, 200) , These small letters then became so ty- rannical, that they no longer allowed any kind of large ‘initi- als, and even numerals were rejected. Hote 198. Reproduced from Kraus, F. X. Die christtiiche Ins- chriften der Rheinlande. Part 2. p. 106, 107. Freiberg. 1892, Fig. 505. Back of the binding of a book of the goapeis, wh- ich S. Bernward of Hildesheim gave to S. Wichael’s Church. Pig. 606. From Gathedral at trient.?? , About 1250. °(P. 122). Hote 199. From a photograph by Unterveger at Trient. dole! UN Seed .-—w | «fe ie, Sie wr ih mae! Va aa , . ies ’ th . steno x8 totaasust te shiWidetste te etnis Kh Shy 988 bye ORR tedeebe ae 30 iseebapd 1o 1. to ptetuneditevsnt aout O48 Ve sconqotads © wONt “Aaddapn | htiaed: -* Disc manne $o SSSBKIN oft Yo Ahodo mont 1802 914 | i et ad btewepe Kou Aodnnds ore XO Stati dmot .80G .gi4 ; v- 499684 to loarhe Jasbedtad nf ynoret Xo SeneH sosools Yo staid deok O14 .934 i. .Noestew so 3 . eisvsed {sftoal .SiS | qyitese yrev oxs (efbioso P Piavod ylise eds Yo elstigqso sat ; gs asefo es veut, S98 mead Phin sbsa enokegiusent bas ,sldigel 1 “gis ediaovel yosm oa% Fo de ei gi .eiedvel asmch ddéiw seodd -fosq of .odugetatbh ofak rGifoe asw199 edd SaLaniad tO esorits; ~etev avin eudt. .aietiqss feguiig sented dviw anoisqisoasr eon edg 10 998" -:suo ys oF Fomad Seer a#o ybodon sonia bas ais yon stow afsersv oG@=*.sapgma nascf edd si 3s9d0 woo yIeTdAOD ‘ Beay od toven biwode 930 rows bas seoqung efav to beouborg Ieagoe o1xs doidw ,ti s0T s Udevtoe ets efetoay odd dy@ tL 30% at meds of s0oia9qQue 183 MS eeeoiselo af evedsel asmo sav oF By -s0%0% [einsusat0 «829 9d) {ise afk egoksarioent .bfS | ~s% ni mobles Isd os vt ‘bestont yléedw O18. enoitgisoanl Ifeme ody To soneimpoO9e Ped dviw eognedo eseirwodtl aid? toil ensoed toiles af anottais opid odf .anatigiicegt add at eroddel ent tg 10% .tenielq emoopd som bib yadd sud jnoGR09 stow TONS —tetlet at 10 beetoat ap itadte .etettel (iswe astw ancitaisos ofw .9eods sot tasmtod doe Tog & ei Jedd yytiliddaeili as oved | (22G OLS .Bt¥) pattgixosnt ot to gatasom ods erteob ‘ -gitoant edd ted¢ ,boiset4c Jousso si .eidt Lis to etige ol ; 9 ow ends bas ,dootte vy¥itstoosb yiagtd « sysd satwexit enolt = -osibow sist yea ae .nidhotd beteeda00 Yiiod edd oF wise ouv0 ~Isv ofdetits tigns .daiw isis borieg Tevedsia worl gtestel Isv 4 ; oeted t4. | semo8 to dsn¢ madd tedhid sdasie on “fisted shit al ynoune Yocoay oi sesiou§ Yo etold gaof .L1e .gh'h. ," iis . sMeseiel to loabe ebad od? 288 Fig. 507. Tomb Plate of Bishop Otto of Brunswick in dtoiat- er of @athedral at Hildesheim.?°° Hote 2060. Frem a photograph ef the Royad Messbildanstalt at Bertin. — Pig. 508. From choir of the Minster at Freiberg. Pig. 509. fomb Plate of Bishop Hetnrich von Bocholt ‘in @eth- édral at Litbece. Rig. 510. Tomb Plate of Blector Enngt.of Saxony in Cathedral at Meissen. 218. Uncial Letters. fhe capitals of the early Gothic (uncials) are very easily legible, and inscriptions made with them are just as clear as those with Roman letters. It is one of the many favorite art- ,)(ifices for bringing the German script into disrepute, to prod- uce inscriptions with German printed capitals, thus with vers- als, and since nobody can read them, to cry out:- “See on the contrary how clear is the Roman script.” The versals were not produced for this purpose and therefore should never be used for it. But the uncials are suitable for it, which are equal to the Roman letters in clearness and far superior te them in ornamental force. 214. Inscriptions in Small hetters. Tuscriptions are mostly incised; they are but seldom ‘in re- lief. Ffhis likewise chanses with the occurrence of the small lstters in the inscriptions. The inscriptions in relief became ‘ewer wore common; but they did not become plainer. For the in- scriptions with small. letters, whether incised or in relief, have an illegibility, that is a perfect torment for those, who desire the meaning of the inscription. (Figs. 510, 511). In spite of all this, it cannot be denied, that the inscrip- tions likewise have a highly decorativy effect, and thus wec come again to the hotly contested domain. Men may take mediae- val letters from whatever period they wish, their artistic val- ue stands higher than that of Roman lstters. Fig. 511. Tomb Plate of Quchess 4d?2:na of Saxony in the Cath- edral at Heissen.. | The End. Taye ee Pah Nae Gl eee Pas mt $ a a | ‘259 “- Pe Ie oe Sh ar oe eer 7 ie ty 4 RecN = My pM, wh ae é a fy PRIS ae, o& eee, 2 —_—* Taig ne 7 £ ; a eae, cae: fe C001 UNIVERSITY OF ILLINOIS-URBANA 720H19ER i HANDBOOK OF ARCHITECTURE, 2:4:4