Part 3 (1/2)

Next to the influence of the church came that of the court; but in a way it was reat influence at court, and, although painting was used to serve the luxury of sovereigns and nobles, it was also true that these high personages often employed artists to decorate chapels and to paint altar-pieces for churches at their expense, for during the Ro on panels At first these panel-pictures were placed on the front of the altar where draperies had formerly been used: later they were raised above the altar, and also put in various parts of the church The painting of the Romanesque period was merely a decline, and there can be little more said of it than is told by that one word

[Illustration: FIG 21--KING DAVID _Fro dates from this time The very earliest specimens of which we know are from the eleventh century Before that tiether bits of colored glass, and arranging them in simple, set and ornamental patterns Such mosaics date from the earliest days of Christianity, and were in use as soon as glass was used for s Fros we know that soo as AD 989; but nothing now remains frolass-painting originated in France or Germany Some French authors ascribe its invention to Germany, while some Gerlass-painting of the eleventh century have been found in both these countries; but it is probable that five s in the Cathedral of Augsburg date from 1065, and are a little older than any others of which we know This picture of David is from one of them, and is probably as old as any paintedin existence

[Illustration: FIG 22--WINDOW _Frolass-painting in France is probably a single fragment in the Cathedral of Le Mans This cathedral was completed in 1093, but was badly burned in 1136, so that but a single piece of its s remains; this has been inserted in a ne in the choir, and is thus preserved

With the beginning of the twelfth century, glass-painting became more frequent in Europe, and near the end of this century it was introduced into England, together with the Gothic style of architecture Very soon a highly decorative effect was given to glass-painting, and the designs upon many ere very much like those used in the lass in the Cathedral of St Denis, near Paris, is very important It dates from about 1140-1151, and was executed under the care of the faer He employed both French and Gerth of the walls with painted s St Denis was the first French cathedral in the full Gothic style of architecture

The present s in St Denis can scarcely be said to be the original ones, as the cathedral has suffered much from revolutions; but some of them have been restored as nearly as possible, and our illustration (Fig

22) will give you a good idea of what its ere

The stripes which run across the ground in thisare red and blue, and the leaf border is in a light tone of color There are nine ns upon them, and the six lower ones have pictures of sacred subjects The one given here is an Annunciation, in which the Abbot Suger kneels at the feet of the Virgin Mary His figure interferes with the border of the medallion in a very unusual lass-painting re in France is that of the west front of the Cathedral of Chartres It dates froun; there are three s, and their color is far superior to the glass of a later period, which is in the saland dates from about 1180

Some of the s in Canterbury Cathedral correspond to those in the Cathedral of St Denis

In the Strasbourg Cathedral there are solass of the Roh they were23 is fro Henry I

This is an unusually fine example of the style of the period before the ularity of the drapery and the dignified air of the whole figure is very impressive

An entirely different sort of colored as used in the churches and edifices which belonged to the Cistercian order of monks The rule of this order was severe, and while they wished to soften the light within their churches, they believed it to be wrong to use anything which denoted pomp or splendor in the decoration of the house of God For these reasons they invented what is called the _grisaille_ glass: it is painted in regular patterns in gray tones of color Sometireen and broith occasional touches of bright color; but this is used very sparingly Sorisaille_ s are seen in France; but the finest are in Gerenkreuz: they date from the first half of the thirteenth century

THE FINAL, OR GOTHIC PERIOD

The Gothic order of architecture, which was perfected during this period, had a decided influence upon the painting and sculpture of the time; but this influence was not felt until Gothic architecture had reached a high point in its develop country of the world, and Paris came to be the most important of all cities: it was the centre from which went forth edicts as to the customs of society, the laws of dress and conduct, and even of the art of love From France came the codes of chivalry, and the crusades, which spread to other lands, originated there Thus, for the time, Paris overshadowed Rome and the older centres of art, industry, and science, with a world-wide influence

[Illustration: FIG 23--FIGURE OF HENRY I IN WEST WINDOW OF STRASBOURG CATHEDRAL]

Although the painting of this period had largely the same characteristics as that of the Roer under the control of the clergy Before this time, too, painters had frequently been skilled in other arts; now it became the custom for them to be painters only, and besides this they were divided into certain classes of painters, and were then associated with other craftsed in the trade which was connected with their art That is, the glass-painters painted glass only, and were associated with the glass-blowers; those who decorated shi+elds, with the shi+eld or scutcheon makers, and so on; while the painters, pure and si, and a little later at panel-painting also Frorew up brotherhoods which supported their members in all difficulties, and stood by each other like friends Each brotherhood had its altar in some church; they had their funerals and festivals in corew up the uilds becahts and duties, and even judicial authority as to such ed to their special trades

All this led toartists than had ever existed before: it caht to, paint a picture as he wished, and was not governed by any priestly law Religious subjects were still painted ious edifices was the chief employment of the artists; but they worked with ht and spirit The painters studied e was very slow, it is still true that a certain softness of effect, an easy flow of drapery, and a new grace of pose did appear, and about AD 1350 a new idea of the uses and ai influenced artists everywhere

[Illustration: FIG 24--BIRTH OF THE VIRGIN _From the Grandes Heures of the Duc de Berri_]

About that time they attempted to represent distances, and to create different planes in their works; to reproduce such things as they represented far more exactly than they had done before, and to put the places and objects; in a word, they see and to its infinite possibilities

During this Gothic period some of the most exquisite manuscripts were made in France and Germany, and they are now the choicest treasures of their kind in various European collections

Fig 24, of the birth of the Virgin Mary, is from one of the most splendid books of the time which was painted for the Duke de Berry and called the Great Book of the Hours The wealth of ornament in the border is a characteristic of the French miniatures of the ti 25, of the Annunciation

The influence of the Gothic order of architecture upon glass-painting was very pronounced Under this order the s became much more important than they had been, and it was not unusual to see a series of s painted in such pictures as illustrated the whole teaching of the doctrines of the church It was at this tiious edifices Soift of a person or a family, and the portraits of the donors were painted in the lower part of the , and usually in a kneeling posture; at other tiuilds, and it is very odd to see craftsmen of various sorts at work in a cathedral : such pictures exist at Chartres, Bourges, Amiens, and other places

[Illustration: FIG 25--THE ANNUNCIATION _Froue_]

About AD 1300 it began to be the custom to represent architectural effects upon colored s Our cut is frosfelden, and will show exactly what I26)

This style of decoration was not as effective as the earlier ones had been, and, indeed, fro became less satisfactory than before, fro, and so lost a part of the individuality which had belonged to it