History of mediæval art . with paintings. The treat-ment of these works is verysimple, being little more thanan outline filled in with localcolors, and entirely withoutmodelling; but the compo-sition and the forms alreadydisplay an entire emancipa-tion from Byzantine conven-tionality. The action is easyand expressive, and the formsare not without a certaincharm, approaching the slen-der proportions of the Goth-ic. These characteristics arestill more apparent in someremains of mural paintings inthe Chapter-house of St. Tro-phime in Aries {Fig. 265),which are to be ascribed tothe end of the twel
History of mediæval art . with paintings. The treat-ment of these works is verysimple, being little more thanan outline filled in with localcolors, and entirely withoutmodelling; but the compo-sition and the forms alreadydisplay an entire emancipa-tion from Byzantine conven-tionality. The action is easyand expressive, and the formsare not without a certaincharm, approaching the slen-der proportions of the Goth-ic. These characteristics arestill more apparent in someremains of mural paintings inthe Chapter-house of St. Tro-phime in Aries {Fig. 265),which are to be ascribed tothe end of the twelfth orthe beginning of the thirteenth century. These show great beautyof design and expression, and some attempt at modelling in thedraperies, approaching, more closely, in technical respects, our stand-ards in the art of painting than could the earlier works executedin simple outlines and flat tints. The glass painting of the period, even when compared withthese better productions, must be pronounced superior. As has al-. Fig. 265. -Wall Painting from the Chapter-houseof St. Trophime in Aries. FRANCE. 433 ready been said, the painting of figures upon glass seems to havebeen first practised in Rheims, and Theophilus,—a German monkwho probably wrote in the twelfth century,—asserted the French atthat time to be the cleverest masters in this art. Still, the before-mentioned windows in the Cathedral of Augsburg are fully fiftyyears older than the most ancient specimen of French paintingupon glass known. This is a fragment representing the Ascension,which, taken from the Romanic Cathedral of Le Mans, built towardsthe close of the eleventh century, has been placed among the Gothicwindows of the Chapel of the Virgin in the same town. In contrastto the Byzantine stiffness of the single figures in Augsburg, the groupof the apostles at Le Mans displays a forcible though somewhat ex-aggerated action, which, combined with the successful blending ofcolors to a decorative effect similar
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros
