Искусства и ремесла Средневековья

Sculptнre in Stone

243

little spandrils in the chapter house at Salisbury, and at \Vestminster, familiar to all travellers. ТЬеу ai·e full of life, partly through the unanatomic contortions Ьу means of which they are made to express thcir emotions. Often one sees elbows bent the wrong way to emphasize the gesture of denuвciation, or а foot stcpping quite acгoss thc iвstep of its mate in oгder to sнggest speed of motion. Еагlу Gothic work iв Englaпd is usually bas-гelief; one does поt find the statue as early as in Fгance. Iп 1176 William of Sens went over to England, to \voгk on СаntегЬшу Cathedral, and afteг tЬat Frencl1 influence �·as felt in most of the best English work in that century. Before the уею· 1200 there ,vas little more thaв ornameвted spaces, enriched Ьу carving; after that time, figure sculpture began in earnest, and, in statues and in effigies, became а laгge part of the craftsmaвship of the thirteenth century. The transition ,vas gradual. Fiгst small separate hrads began to obtain, as eorbels, and were bracketed at the junctures of the arch-mouldings in the arcade ашl triforium of churches. Then on the capitals little figures began to emerge from the clusters of foliage. In many cases the figures аге ve1·y inferior to the faces, as if more time and study had been given to expгcss­ ing emotions than to displaying form. The grotesque became very geneгal. Satire and caricature had no other vehicle in tl1e Middle Ages than the carvings in and out of the buildings, for the cartoon had not yet become possiЫe, and painting offered but а limited