Искусства и ремесла Средневековья

Sculpture iп Stone

219

\Ve ,vill not enteг iнto а discussion of tl1e relative merits of Northern and Southerп a1·t; whether the great re­ vival гeally oгiginated in France or Italy; but tl1is is certain: Nicolo Pisano iived in the latteг half of the thirteenth century, ""·hile tl1e g1·cat sculptuгes of Notгe Dame, Paгis, and thosc of Chartгes, wеге executed lialf а centuгy eaгlier. But pгior to eitheг were tlie Byzantine апd Ro­ шaвesque sculptuгes in Italy and Southern Fгancr. Ош- attention шust fiгst Ье tuгned to tЬеш. Chaгles Eliot Nогtоп's definition of this \Voi·d Romanesque is as satisfactшy as any tЬat could Ье instaвced: " It very neaгly corresponds to the terш of Roшance as applied to language. It signifies the deгivation of tlie main ele­ ments, both in plan and coнstгнction, fгош tl1e ,voгks of tЬe late1· RomanEшpiгe. But Roшanesчнe aгchitectuгe" (and this applies equally to sculpturc) "was not, as it l1as been called, а corгupted iшitation of the Roшan aгchi­ tectшe, any mo1·e than the Proven<;al 01· the Italian lan­ guage was а corrupted imitation of the Latin. It was а new thing, the slowly matшed product of а long peгiod of many influences." All medireval ca1·ving was subordinate to arcЬitectнrr, therefore еvегу piece of carvi11g was designed with а vie\\' to being suitaЫe to арреа1· in some special place. · Tl1e most striking difference between medireval and lateг sculpture is that the latter is designed as а thing арагt, an object to Ье stood anywheгc to Ье admired fог its intrinsic merit, instead of being а functional com-