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and Cairo show ornamental forms which are either directly borrowed or closely imitated from, Byzantine art. For later periods and examples of Byzantine influence in Western Europe the Church of St. Mark at Venice and the Cathedral of Monreale near Palermo are the most renowned buildings, but many other Italian and French churches show survivals of this influence.

Matter of the Lecture.

Early Christian Rome. Baptisteries and Basilicas.--Tomb chapel of Sta. Costanza. Baptisteries of S. Stefano and S. John Lateran. Basilicas of Cæsar and Trajan. Christian Basilicas of St. Paul, S. Lorenzo, S. Saba, Sta. Maria Maggiore.

Monuments of Ravenna.--Tomb of Galla Placidia. Tomb and Palace of Theoderic the Ostro-Goth. Basilicas of S. Apollinare in Classe, S. Apollinare Nuovo and their Mosaics. Baptistery Church of S. Vitale, mosaics and architectural details. Early Christian sculptured sarcophagi.

Byzantine Architecture in its original home.--Sta. Sophia, Constantinople. Byzantine details and construction in Arab Mosques of Jerusalem and Cairo.

Byzantine-Romanesque Architecture and Art of Italy.--Church of St. Mark, Venice. Cathedral of Monreale, near Palermo. Bronze doors, pulpits, Easter candelabra, mosaic pavements and ecclesiastical vestments of Southern Italy. Cloisters of the Byzantine Romanesque. Cathedral and monuments of Pisa.

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REFERENCES FOR SPECIAL READING AND PAPERS.

Byzantine Architecture and Art.-For elementary epitome, GOODYEAR, History of Art," and GOODYEAR, "Roman and Mediæval Art." For advanced readers, REBER, "History of Medieval Art"; LÜBKE, “History of Art.”

Narrative and Political History.-MYERS, "General History" for period 400-1000, A. D.

Early Christian Archæology, Popular Account.—LANCIANI, “Pagan and Christian Rome."

Philosophy of Mediæral History. --BRYCE, "The Holy Roman Empire."

Philosophy of Mediæval Architecture.--RUSKIN, "Seven Lamps of Architecture."

LECTURE V.

Mediæval Architecture and Art.-Gothic Period.

Argument of the Lecture.

The cathedrals of medieval Europe represent not only the religious side of history, but also the secular greatness and secular prosperity of their period. These developed especially during and after the Crusades, and found a remarkable expression in the Gothic style. This style, as first developed in that part of France immediately about the city of Paris and belonging to the original domain of the French Monarchy, is an outcome of the power and greatness of the French Communes or Free Cities, as chartered and protected by the French kings. To the proper comprehension of the constructive character of the Gothic style a preliminary study of the vaulted Romanesque churches is essential.

Treatment of the Lecture.

The constructive development of the Basilica into the Romanesque vaulted Cathedral and of the Romanesque vaulted Cathedral into the Gothic Cathedral is shown by typical examples.

Matter of the Lecture.

Types of the Basilica repeated from the preceding lecture as contrasts with the vaulted Romanesque. The latter illustrated, for interiors, from Peterborough, Durham, Langres, Le Mans, S. Martin de Boscherville, Preuilly and Clermont-Ferrand-for exteriors, illustrated from Worms, Spire, Mainz, and Laach.

Masonry details, capitals, and carvings, from French and Italian examples of the Romanesque.

The element of picturesque variety in Medieval Art, from German, French and Italian examples of the Romanesque.

Traits of the Gothic Style, from Cologne Cathedral.

French derivation of the Gothic Style, from Notre Dame, Paris, and St. Ouen, Rouen.

The Pointed Arch principle in vaulting, from Milan, Melrose and Le

Mans.

Proportions and clustered piers, from Canterbury, Rouen and Beauvais. Windows, from St. Denis and the Sainte Chapelle, Paris.

Buttresses and Flying Buttresses, from Cologne, Amiens, Rh ims, and Notre Dame

Window tracery and surface tracery, from Milan and Rouen Cathedral. Portals and statuary, from Rheims and Chartres.

Gargoyles, from Notre Dame la Riche at Tours, Notre Dame and Louviers. Capitals, from Rheims. Nevers, and Strassbourg.

Frescoes and painted decoration, from St. Francis, Assisi, and Chapel of the Spaniards, Florence.

Italian Gothic Cathedrals, from Florence, Siena, and Orvieto.

English Gothic Cathedrals, from Westminster Abbey, Salisbury, Wells, and Lichfield.

REFERENCES FOR SPECIAL READING AND PAPERS.

Gothic Architecture. -For elementary epitome, GooDYEAR, "History of Art," and GOODYEAR, "Roman and Medieval Art." For advanced readers, REBER, "History of Medieval Art;" LÜBKE, "History of Art; " MOORE, "Gothic Architecture."

Narrative and Political History.-MYERS, "General History," for period 1000-1500, A. D.

Philosophy of Medieval History.--BRYCE. "The Holy Roman Empire." Philosophy of Medieval Architecture.-RUSKIN, "Seven Lamps of Architecture."

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From Goodyear's "History of Art." Barnes & Co., Publishers.

ROMANESQUE PIER CAPITALS, NORTHAMPTON.

LECTURE VI.

Italian Architecture and Art.-Renaissance Period.

Argument of the Lecture.

The Renaissance was essentially a phase of the history of civilization and of literature, although its manifestations are most easily and most obviously summarized in the arts of architecture, decoration, sculpture and painting. Broadly speaking, the Renaissance is the birth of modern history and modern civilization. This was attended by a flowering out of the arts of design in which the movement has left its visible record.

Treatment of the Lecture.

Italy preceded Northern Europe both in the material and intellectual refinements of modern life, and some suggestions of this precedence are obtainable from portraits of sixteenth century Italians. Other suggestions of Renaissance daily life are obtainable from the gardens, parks, palaces and villas, both those of Italy itself and of Northern Europe as derived from Italy. Still other suggestions are obtainable from furniture, utensils, metal-work and decorative carving. Thus we are led from the various material surroundings of modern comfort and refinement to the consideration of the peculiar artistic style which specifies the Renaissance and which still survives in a very large proportion of our own modern buildings and objects of decorative art. The forms and details of this Renaissance style are most strikingly illustrated by architecture, when it is desirable to accent the fact of nineteenth century survival, but all the arts of form in modern times are of Italian origin and the art of our painters and sculptors as well as of our architects is historically traceable to the same one original source of all modern civilization. Thus we are led to include some rapid consideration of these latter arts in our general sketch.

Matter of the Lecture.

Intellectual and material refinement of the Renaissance.-Italian portraits from the Pitti Gallery, Florence. History of modern velvets, silks and laces. Influence of Italian fashions of dress on the North of Europe. Landscape gardening, parks, palaces, villas and domestic dwellings. Civic decoration and civic architectural splendor. Fountains and public squares of Renaissance Rome. Renaissance furniture, table-ware, metalwork and decoration.

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