Appreciation of sculpture; a handbook by Russell Sturgis ... . tors in France, inFlanders, in those countries of the UpperRhine where the Dukes of Burgundy heldsway, and notably in Germany. This isthe art whose disappearance one regrets sosincerely, and has such frequent occasion toregret. The sculpture of the North died inits young development, swept away by theinvading spirit of the classical Renaissancecoming over the mountains from had been, since the beginning of thecentury, the marked disposition in Italy tostudy the works of Greco-Roman antiquityas the only true art of form,
Appreciation of sculpture; a handbook by Russell Sturgis ... . tors in France, inFlanders, in those countries of the UpperRhine where the Dukes of Burgundy heldsway, and notably in Germany. This isthe art whose disappearance one regrets sosincerely, and has such frequent occasion toregret. The sculpture of the North died inits young development, swept away by theinvading spirit of the classical Renaissancecoming over the mountains from had been, since the beginning of thecentury, the marked disposition in Italy tostudy the works of Greco-Roman antiquityas the only true art of form, but this proc-ess of thought and this labor was littleknown to the people of the North, whowent on with their own natural evolutionin fine art, influenced on the one side byFlemish and on the other side by ancientnational traditions, and occasionally but onlyoccasionally, invasions from Italy bringingwith them rather an earlier (or semi-mediaeval) influence than that of classicalrevival. So in France we have of theyears between 1450 and 1500 such sculp-[84]. The European Middle Ages tures as those of the Abbey of Solesmes, ofthe famous Church of Saint Riquier nearAbbeville in the far north of France, andin the Cathedral of Abbeville itself, and insuch statues as those couched upon thetombs of the princes who lie at rest in theChurch of Brou in the far southeast ofFrance. Plate XXII shows a group of the sculp-tures of the Abbey of Solesmes, showing whatFrench sculpture was seeking during thelast quarter of the fifteenth century. Thefigure on the right is a celebrated piece ofrealism, the Joseph of Arimathea who holdsthe foot of the shroud in the group repre-senting the burial of Christ; the figureseated and with clasped hands at his left isthe lamenting Magdalen and the femalefigures beyond are two of the women whoattend the Mother of Christ—the right-hand figure of the two holding a box ofointment. The author of these pieces can-not be absolutely identified. There can belitt
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
