This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1906 edition. Excerpt: ... another's handiwork. In France, however, the art was worked more on a commercial scale and in a manufacturing spirit. We therefore see patterns repeated, and castings on different pieces from the same mould. This led also to a repetition of commonplace subjects which could be used anywhere, instead of being ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1906 edition. Excerpt: ... another's handiwork. In France, however, the art was worked more on a commercial scale and in a manufacturing spirit. We therefore see patterns repeated, and castings on different pieces from the same mould. This led also to a repetition of commonplace subjects which could be used anywhere, instead of being only adapted to some particular church. For the same reason, special inscriptions are often found upon German work, whereas French enamels are usually free from them. On the other hand, the French colouring was distinctly better than the German, who were apt to place crude yellows and greens in juxtaposition, like the colours of a West Indian parrot. The eleventh century in France witnessed an extraordinary outburst of intellectual activity. Universities were founded, and men from all parts of the world flocked to them, and artistic progress went hand in hand with literary and intellectual development. The new movement first made itself felt in architecture. In France there rose in all directions those cathedrals which are the aspiration of the devout, the delight of artists, and the despair of imitators. At Chartres, Rheims, Amiens, Sens, Paris, and numberless other towns, glorious fabrics were erected in the new Gothic style. Often consumed by fire, they were often rebuilt, being made to depend more and more on stone and less on wood. They were generally very dark, for hardly any of the congregation knew how to read or cared to learn. Hence, then, the art of the glass-painter came into vogue. The first aim of the church decorator of those days was to produce an effect of seeming value. The common people, seeing the windows gleam with the colours of the emerald and the ruby, believed that in some way precious stones had been used in the...
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Very Good. 4to. Connoisseurs Library series. xvi, 187, [1] p. illus., 4 col. pl. (incl. front. ) 48 pl. (incl. ports. ) 27 cm. Publisher's green cloth. Handsome gilt spine flourish. Good binding and cover. Clean, unmarked pages. Ships daily.
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PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Seller's Description:
PLEASE NOTE, WE DO NOT SHIP TO DENMARK. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Please note we cannot offer an expedited shipping service from the UK.
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Seller's Description:
Very good+ condition. Book. Quarto (4to). xvi, 188 pages of text including an index. Original hardcover green cloth binding with gilt decoration; spine ends slightly shelfworn and starting to fray; corners slightly bumped. Illustrated with a colored frontis. and sixty-one black & white plates. Previous owner's marks discreetly on front endpaper.
