Искусства и ремесла Средневековья

220 A11:s and Crafts in tЬе �-Iiddle Ages

ponent iп а general scheme fог beautifying а given building. The use of tЬе iпterlace in all primitive arts is very interesting. It undouЬtedly began in an unconscious imitation of local aгchitecture. Foi· instance, in the Bгitisl1 Isles, tl1e buildiпg in eai·Iiest times \vas with \vattles: practically " r al]s of baskct work. William of Malmsbury says that Glastonbury was "а mean stп1ctuгe of \vattle ,vork," ,vhilc of the Monasteгy of Iona, it is гelated that in 563, Columba "sent forth his monks to gathe1· twigs to bнild his hospice." British baskets were famoнs even so fa1· away as Romc. So the first idea of omameнt ,vas to сору the interlacing forms. The same idea \\ 1 as \Yorked out synchгonously in metal work, and in illuminated books. Carving in stone, wood, and ivory, sho,v thc same influence. Debased Roman sculptuгal fшms were used in Italy duгing the foшth and fiftl1 centнries. Tl1en Justiniaв intгoduced the Byzantinc \Vhich ,vas grafted upon the Roman, pгodнcing а characteгistic and fascinating though baгbaric comЬination. This ,vas the Romanesque, ог Romano-Byzantine, in tЪе North of Italy generally being recognized as tl1c I.,ombaгd style. The sculptures of this period, from the fifth to the thirteenth century, are Ьlunt and heavy, Ьнt full of quaint expression due to the elemental and imшatнre conditions of the art. :Маnу of the old Byzantiпe caгvings are to Ье � een in Italy. The Lomba1·ds, ,vhen invading Northel'n Italy,