Искусства и ремесла Средневековья

Inlay апd l\fosaic

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obse1·vc duc limitatioпs. Tl1e idcal was to rcp1·oduce exactly iп mosaic such pictшes as were pгepared Ьу Titian, Pordenone, Raphacl, and other гealistic paiпte1·s. Geoгges Sand, iп he1· charшing пovel, "Les Maitгes Mosa1stes," gives one the atшosphere of the workshops in Venice iп this late1· pe1·iod. Tintorctto and Zuccato, the aged painteг, аге discнssing the dшaЬility of mo­ saic: - " Since it resists so well," says Zuccato, " lюw сошеs it that the Seignoгy is гepai1·ing all the domes of St. Mark's, \vhicl1 to-day аге as bare as my skull? " То wЬich Tintoretto шakes answer: " Because at the time \vl1en they \vеге decorated with mosaics, Gгeek artists were scarce in Venice. They came fгоm а dis­ taпce, and remaincd but а shoгt time: their appгentices wеге hastily t1·ained, апсl cxccuted tlie works eпtгusted to tЬem \vitlюнt kno\viпg tl1eiг business, апd witlюut bciпg аЫе to givc theш thc necessa1·y solidity. Now tliat this art lias Ьееп cultivated in Venice, сепtшу after century, we havc become as skilfнl as even the Greeks were." The two sons of Zuccato, \vho are en­ gaged in this wшk, confidc to cacl1 othe1· thciг t1·ials апd difficulties in the uncleгtakiпg: like aгtists of all ages, they canпot easily conviпce thei1· patrons tliat tl1ey coшprehend tlieir агt bettc1· than theiг cmployers ! Fшncesco complains of tlie Procшator, \vlю is com­ шissioned to examinc tl1e work: " Не is not an ai·tist. Не sces in mosaic only an application of particles шогс or less brilliant. Peгfection of tone, beauty of design, ingenuity of compositioп, ai·e nothing to him.... Did