History of mediæval art . many Swiss codices dating tothe eleventh and twelfth centuries. The general revival of art, commencing under the Hohenstau-fens, about the middle of the twelfth century, manifested itself alsoin this branch. The advance was best exemplified in the illus-trated manuscript of Herrad von Landsperg, Abbess of Hohenburgin Alsace, which was burned during the bombardment of Strasburgin 1870. This compendium, completed after 1175, and intended forinstruction in nunneries, contained a variety of religious, profane, GERMANY. 421 allegorical, historical, and even genre represent
History of mediæval art . many Swiss codices dating tothe eleventh and twelfth centuries. The general revival of art, commencing under the Hohenstau-fens, about the middle of the twelfth century, manifested itself alsoin this branch. The advance was best exemplified in the illus-trated manuscript of Herrad von Landsperg, Abbess of Hohenburgin Alsace, which was burned during the bombardment of Strasburgin 1870. This compendium, completed after 1175, and intended forinstruction in nunneries, contained a variety of religious, profane, GERMANY. 421 allegorical, historical, and even genre representations. These, to-gether with considerable feeling for beauty of form, sometimes ex-hibited great freedom and originality of design, which, notwith-standing the incorrectness of drawing and want of skill in coloring,were of great promise {Fig. 259). In view of the progress evidentin these works it could not fail to be recognized in which directionthe greatest success was to be attained; hence it resulted, at least -Itfeka. Fig. 259.—Miniature from the Hortus Deliciarum of Herrad von Landsperg. in the illuminations of Southern Germany, that outline drawinggained the ascendency. Such illustrations were naturally of veryunequal merit. For example, the pen-drawings in black and redfrom Zwiefalten, on the Suabian Alp, now in the Library of Stutt-gart, whether slightly colored (Cod. 56-58) or untinted (Cod. 415),are full of life, although plainly the work of untrained hands. Stillmore spirited are the drawings in the Liet von der Maget, by 422 PAINTING OF THE ROMANIC EPOCH. Werinher of Tegernsee {Fig. 260), and in the Eneidt of Heinrichvon Veldecgk, both of which are in the Library of Berlin. The ac-tion is especially forcible in the representations of profane subjects,and although the gestures, drawn directly from nature, are some-times exaggerated and contorted, they are not the less striking ineffect or the less comprehensible. That the execution was also lia-ble to become hast
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