. Art in France. FlC. 227.—CLAlS MUSES AND DAVID. WELL OF THE PROPHETS, DIJON. 12 FEUDAL ART AND CIVIC ART. FIG. 228.—VANE OFTHE CHATEAU OF LUDE. The theologians of the twelfth and thirteenth centuries may havesuggested new episodes and ingenious symbols to the glass-painters;they did not insist that the workman shouldimitate living forms and natural colours. Thuswe find that the figures on glass retain theemaciated forms, the knotted and twisted linesof Romano-Byzantine design, long after thesehad been discarded in sculpture. It is nothere that we must look for the realistic effortwh
. Art in France. FlC. 227.—CLAlS MUSES AND DAVID. WELL OF THE PROPHETS, DIJON. 12 FEUDAL ART AND CIVIC ART. FIG. 228.—VANE OFTHE CHATEAU OF LUDE. The theologians of the twelfth and thirteenth centuries may havesuggested new episodes and ingenious symbols to the glass-painters;they did not insist that the workman shouldimitate living forms and natural colours. Thuswe find that the figures on glass retain theemaciated forms, the knotted and twisted linesof Romano-Byzantine design, long after thesehad been discarded in sculpture. It is nothere that we must look for the realistic effortwhich corresponds, in the chromatic arts, tothat which had revived the dry bones ofsculpture. In Italy, mural painting, encouragedrather than restricted by architecture, awoketo life at the beginning of the fourteenth cen-tury, in the work of Giotto. In the countriesof Gothic art, it was the pages of the illu-minated manuscripts which prepared theefflorescence of painting. Miniature painting had never ceased o bepractised by the monks of the Middle Ages;but in the thirteenth century a new style -^ganto develop,
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