Искусства и ремесла Средневековья

Sculptнre in Stoпe

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with studies from life: and why should we suppose him to Ье the only one who worked in this way? Rheims Cathedral is the Месса of the student ot· medireval sculpture. The arI"ay of statues on the ex­ terior is amazing, and а walk around the great stгucture 1·eveals unexpected riches in corbels, gargoyles, and other gгotesques, hidden at all heights, each а veritaЫe vvшk of art, repaying the closest study, and inviting the enthusiast to undue extravagance at а shop in the vicinity, which advertises naively, that it is an "Artis­ tical Photograph Laboratory." On the door of St. Germain 1'Auxerrois in Paris, there is а portrait statнc of St. Genevieve, holding а lighted candle, ,vhile " the devil in little " sits on hег shoulder, exerting himself to Ыоw it out ! It is quite а droll conceit of the thiгteenth century. Of the leaf forшs in Gothic sculpture, three styles аге enough to gene1·alize about. ТЬе early work usually гepreseпted springlike leaves, clinging, half-developed, and buds. Later, а riюre luxuriant foliagewas attempted: the leaves and stalks ,vere t,visted, and the style vvas тоге like that actually seen in nature. Tl1en саше ап overЫown period, when the leaves were positively detached, and the style was lost. The foliage was no Ionger integral, but was applied. There is little of the personal element to Ье exploited in dealing with the sculptors in the Middle Ages. Until the days of the Renaissance individual artists were scarcely recognized; master masoпs employed " ;m-