History of mediæval art . :- !,; ??• ??? : .... I. Fig. 377-—Monuments in the Choir of the Princes, Church of St. Elisabeth, Marburg. GOTHIC SCULPTURE. THE conditions and ideals which, towards the close of the Mid-dle Ages, superseded those of the Romanic epoch, found theirgrandest exponent in architecture. Not, however, their most static and abstract requirements of architectural design per-mitted only a symbolical expression of the most characteristic sen-timents of the time. They could give but a faint idea of the moreindependent religious conceptions of the individual, — of the
History of mediæval art . :- !,; ??• ??? : .... I. Fig. 377-—Monuments in the Choir of the Princes, Church of St. Elisabeth, Marburg. GOTHIC SCULPTURE. THE conditions and ideals which, towards the close of the Mid-dle Ages, superseded those of the Romanic epoch, found theirgrandest exponent in architecture. Not, however, their most static and abstract requirements of architectural design per-mitted only a symbolical expression of the most characteristic sen-timents of the time. They could give but a faint idea of the moreindependent religious conceptions of the individual, — of the re-moval of higher culture from the cell of the monk to the forum ofevery-day life,—of the more intimate sympathy of man with nature,—and of all the other changes of far-reaching importance. It is,indeed, possible to perceive in the architecture of the period thatan immense change had been wrought in social relations; but thenature of this change cannot thus be judged. Sculpture and painting, dealing as they do with the representa-tion of
Size: 2206px × 1133px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
