File:History of art (1921) (14783119392).jpg

Identifier: historyofar02faur (find matches)
Title: History of art
Year: 1921 (1920s)
Authors: Faure, Elie, 1873-1937 Pach, Walter, 1883-1958
Subjects: Art
Publisher: New York and London : Harper & brothers
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ns in thelove that we have for you; we are afraid that we shallnever know fully what you desire to teach us. The potential force which is there must impose itselfdespite everything. Byzantium itself contributes lessthan is generally believed. Save at Ravenna, a colonyof the Greek empire, save at Venice, where the Orientlives, save in Sicily, a Greek country where the Byzan-tine elements mingle with the Arab and Norman ele-ments developing, in the Middle Ages, a voluptuous,cruel, paradoxical, and barbarous style that is impos-sible to define and difficult to recognize, Byzantiumdoes not furnish Italy with a single idea which, on beingtransplanted, can originate a new architectural order.Italy accepts the cupola only because it alreadycovers the Pantheon. In the middle of the thirteenthcentury, when the French image makers, the mastersof Occidental sculpture, are in demand everywhere,Nicola Pisano studies Roman sarcophagi to learn theworking of marble; he cuts, as if with a hatchet, his
Text Appearing After Image:
San Gimignano (xiii Centuryj. Palace of the Podesta. 384 MEDIAEVAL ART crowds of figures, glowing with life, rough and tensefrom brutal effort; and so he sets up the trenchantclaim of the primitive Latin genius as opposed to theclaims of the artists of the north. Italy does nor for-get, because she remains Italy. Too often people look upon the perpetuation ofcertain essential forms as the result of a traditional

Note About Images