History of art . San Gimignano (xiii Centuryj. Palace of the Podesta. 384 MEDIAEVAL ART crowds of figures, glowing with life, rough and tensefrom brutal effort; and so he sets up the trenchantclaim of the primitive Latin genius as opposed to theclaims of the artists of the north. Italy does nor for-get, because she remains Italy. Too often people look upon the perpetuation ofcertain essential forms as the result of a traditional. VoLTERRA (xiii to XV Century). Fortress. desire transmitted by the schools, when in reality theforms are only an expression of the desires of a raceand of the indicat
History of art . San Gimignano (xiii Centuryj. Palace of the Podesta. 384 MEDIAEVAL ART crowds of figures, glowing with life, rough and tensefrom brutal effort; and so he sets up the trenchantclaim of the primitive Latin genius as opposed to theclaims of the artists of the north. Italy does nor for-get, because she remains Italy. Too often people look upon the perpetuation ofcertain essential forms as the result of a traditional. VoLTERRA (xiii to XV Century). Fortress. desire transmitted by the schools, when in reality theforms are only an expression of the desires of a raceand of the indications of its soil. In all the Mediter-ranean countries, where palm trees, pines, and yewtrees detached their smooth trunks against a hardsky, the column which reappears on the front of thechurches and which is used from the top to the bottomof the towers of Romanesque Italy was a naturalexpression that could not disappear. Antiquity andthe new Italy are in accord in these lines of galleriesbordered by arcades which spread their carved traceryover the round baptisteries, the bare façades of the THE MISSION OF FRANCIS OF ASSISI 385 temples, and the square campaniles. The basilica hascalled to its aid the trees whose clearly marked foliageallows the transparence and the limpidity of the worldto shine through their overhanging branches, and it is
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Keywords: ., boo, bookcentury1900, bookdecade1920, booksubjectart, bookyear1921
