Appreciation of sculpture; a handbook by Russell Sturgis ... . titute of comforts and ofthe commonest education, the feudal systemwith all its abuses remaining the one pro-tection against anarchy, and the monasticsystem with all its degradation affording theone shelter for learning and thought. Andyet as early as the ninth century there is amarked advance in the fine arts, the arts ofmere adornment giving place to those whichcombine thought of some importance andsome subtlety with the decorative principle. If our business were with historicalsequence as a principal subject, we shouldhave diffi

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Appreciation of sculpture; a handbook by Russell Sturgis ... . titute of comforts and ofthe commonest education, the feudal systemwith all its abuses remaining the one pro-tection against anarchy, and the monasticsystem with all its degradation affording theone shelter for learning and thought. Andyet as early as the ninth century there is amarked advance in the fine arts, the arts ofmere adornment giving place to those whichcombine thought of some importance andsome subtlety with the decorative principle. If our business were with historicalsequence as a principal subject, we shouldhave diffi Stock Photo
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Appreciation of sculpture; a handbook by Russell Sturgis ... . titute of comforts and ofthe commonest education, the feudal systemwith all its abuses remaining the one pro-tection against anarchy, and the monasticsystem with all its degradation affording theone shelter for learning and thought. Andyet as early as the ninth century there is amarked advance in the fine arts, the arts ofmere adornment giving place to those whichcombine thought of some importance andsome subtlety with the decorative principle. If our business were with historicalsequence as a principal subject, we shouldhave diffi
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Appreciation of sculpture; a handbook by Russell Sturgis ... . titute of comforts and ofthe commonest education, the feudal systemwith all its abuses remaining the one pro-tection against anarchy, and the monasticsystem with all its degradation affording theone shelter for learning and thought. Andyet as early as the ninth century there is amarked advance in the fine arts, the arts ofmere adornment giving place to those whichcombine thought of some importance andsome subtlety with the decorative principle. If our business were with historicalsequence as a principal subject, we shouldhave difficulty here in tracing the connec-tion between the decaying Roman spirit andthe growing modern energy. For our pur-pose of comparative study it is well to skipat once to the twelfth century and to lookat the sculpture of a great Romanesquechurch. The Romanesque church conceived bythe builders of the old Cathedral of Chartres(Eure-et-Loir), has wholly disappeared; butwhen, about 1130, the two towers of thewest front were built, the gable was ad-[74] SiJws^S; .. Plate XIX —< HARIRES CATHEURAl., \\ EST FKONJ . IAKT OF THE SOUTHJAMH OF IHE MIDDLE DOORWAY. The European Middle Ages vanced between them in such a way as tolengthen the nave by two bays. At thattime the statues which adorn the west por-tal of three doorways w^ere either whollynew, completed for this very rebuilding, orelse they were so recently completed thatthe enterprising and vigorous bishop andhis most able helpers, the master buildersof the work, were entirely content withthem, and w^ere proud to set them up intheir new place. There are over 700 stat-ues on that front, but we are concernedat present with two or three individ-uals among them, idealized portraits oftwo kings, a queen and a prelate. Thephotograph, Plate XIX, is taken from thesouthern jamb of the middle or royaldoorway—from the church itself. Thereare four of those statues in the splayedjamb of the doorway, each backed up by around, engaged column

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