Pennsylvania Museum BulletinNumber 60, January 1918 . s far greater knowledge of the art of theFar East than the writer of this paper can pretend to, states that it was calledChien Lung, but thinks it may be earlier. In this opinion I agree. S H. B. 8 BULLETIN OF THE PENNSYLVANIA MUSEUM FIVE FRAGMENTS OF GOTHIC STONE CARVING Mr. John D. Mcllhenny has added to the collection of Gothic wood-carvings,which he has lent to the Museum, some specimens in stone, which though not solarge and important as some of the wooden pieces, are yet of great interest. A pair of capitals for pilasters, in white li
Pennsylvania Museum BulletinNumber 60, January 1918 . s far greater knowledge of the art of theFar East than the writer of this paper can pretend to, states that it was calledChien Lung, but thinks it may be earlier. In this opinion I agree. S H. B. 8 BULLETIN OF THE PENNSYLVANIA MUSEUM FIVE FRAGMENTS OF GOTHIC STONE CARVING Mr. John D. Mcllhenny has added to the collection of Gothic wood-carvings,which he has lent to the Museum, some specimens in stone, which though not solarge and important as some of the wooden pieces, are yet of great interest. A pair of capitals for pilasters, in white limestone, bear all the marks ofbelonging to the middle of the Twelfth Century. The acanthoid type of leafage,with which they are ornamented, immediately suggests that found, in thesculptures of the sixth and succeeding centuries, throughout the nearer Eastand Egypt. Examples from the monastery of St. Jeremias at Sakkara may beseen in the Metropolitan Museum of Art, New York. It must not be forgotten that at this period, from 1125 to 1135, the Kingdom. Capital French XII Century of the Franks, as the Saracens called it, extended from Mesopotamia to Egyptand that all Syria was in the hands of the Christians. The abbey of St. Denis was built by Suger in 1137 to 1141 and the cathedralof Sens probably a very little later. The foliage of some of the capitals of thesetwo buildings bears a striking resemblance to that of our fragments and, as hasbeen noted by French archaeologists, shows this curious departure from thesequence of the Gothic tradition towards the debased classic forms which areso characteristic of what is known as Coptic art. When we consider the enormous numbers, for those days, who poured outof Europe into the East (300,000 went in the first crusade alone), it is easy tocomprehend the influence on life and the arts which they brought back withthem from lands where the civilization was so much higher than that they hadleft at home. There are, besides these, three corbel
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