CHAP. I.] STYLE OF THE THIRTEENTH CENTURY. XIIIth century may perhaps be regarded as the finest epoch of mediæval art. In the XIVth century, the design is often less pure, more attention is given to detail than is paid to general effect, the draperies are somewhat tortured, the faces of satyrs and grotesque animals re-appear in the ornaments. To these general characteristics of monumental sculpture in France, Germany, England, and Flanders throughout the middle ages, we must add one observation, which is, that during all this period architecture was looked upon as the art par excellence, to which all others were kept subordinate. The architect, chief of the artists, not only regulated the plan of the work, but selected the subjects for execution; his alone were the ideas, to which painters and sculptors were to give a tangible form. In the sculptures of this period on a small scale, the artists were less shackled, and exhibit more originality. They are, nevertheless, influenced by the prevailing style of the day, and, even in their case, we observe the pre-eminence conceded to architecture, in their borrow ing from it continually the Fig. 5. Oliphant. XIVth cent. Coll. Soltykoff. decorations for their works. This general tendency, combined with the adoption of a contemporaneous costume, affords great help in determining the date of specimens of mobiliary sculpture. The wars of Charles VIII. and Louis XII. had been the means of making the French artists acquainted with the treasures of antiquity, and the fine style of the Italian sculptures belonging to the XIVth and XVth centuries. This they turned to account, and without entirely losing their originality, attained to more correctness and purity of form and closer imitation of nature. To this French school we are indebted for many very beautiful works. As a specimen of the sculptured ivory of the XIVth century, we give (Fig. 5) a large oliphant, or warder's horn, profusely decorated with foliage and spirited figures of men and animals. This kind of horn was much used from the first centuries of the middle ages, and whatever the substance of which it was made, was in general richly ornamented. It was borne by a page or squire, and often by the knight himself. The oliphant was used in war and in the chase; it also served in castles to give the alarm or to announce the arrival of a stranger of distinction. We find it mentioned in the old inventories. Thus we meet in that made in 1379 of the furniture and jewels of Charles V., "Ung cornet d' yvire bordé d'or, pendant à une courroye d'un tissu de soic, ferré de fleurs de lys et de daulphins d'or." * Mobiliary Not long after, the artists invited from Italy by Francis I., introduced into France the Italian style of the sculpture of the XVIth century, to which has been given the name XVIth century. of "Renaissance." The last traces of the former school of national art completely disappeared; the imagination of our sculptors of small objects was exercised exclusively on the mythological or poetical subjects of Greece, while all furniture and articles of domestic use were speedily covered with fantastic scrolls and arabesques-a style of ornament most admirably adapted to such a purpose, and brought back into fashion by Raffaelle and his pupils. We shall have occasion to return more than once to the character of the Italian school of the Renaissance, which lasted throughout the whole of the XVIth and, with some modifications, through a third part of the XVIIth century. * Ms. Bibl. roy., no. 8356, fol. 213. CHAP. I.] DIPTYCHS AND TRIPTYCHS. 11 § 2. SCULPTURE IN IVORY, IN WOOD, AND OTHER SOFT SUBSTANCES. The most numerous specimens that have reached us of mediæval small sculpture, consist of diptychs and triptychs of ivory. They Diptychs and triptychs of ivory. These diptychs are of very early date. were formed originally of two little tablets of wood or ivory folding one over the other like a book, the interior of which presented a surface of wax prepared for writing. Hence the names of dinтʊxa, and of pugillares, the former bestowed on them on account of their double fold,* the latter with reference to their small dimensions, which allowed of their being held in the hand or fist. These tablets were tied round with linen threads on which wax was melted, and impressed with a seal, and they thus served for conveying secret messages. The diptychs were soon employed for a more interesting purpose. From the time of the emperors, it was the custom for the consuls and superior magistrates to make presents of ivory diptychs, carved externally with sculptures in bas-relief. These they sent to their friends to preserve the remembrance of their elevation, as well as to the principal persons who had voted in their favour, and also to the governors of provinces. On these diptychs was generally represented the person of the consul arrayed in his official robes, with inscriptions setting forth his names, his titles, and the denomination of his ancestors; and frequently the games of the circus with which he had amused the people at the period of his elevation to office. These are known by the name of consulares, and although very interesting, must be passed over, belonging rather to the latter times of antiquity than to the middle ages. (Fig. 6.) At a later period when the Roman empire had adopted the Christian religion, the consuls sent diptychs to the principal bishops also, and these receiving them as a testimony of good-will and respect to the Church, placed these diptychs upon the altars, that the magistrate who gave them might be recommended to the prayers of the congregation at the * The word SITTUxa derives its etymology from dis, twice, and Tтvσσш, I fold; thus when leaves were added to those tablets, they took, according to the number of folds, the name of tρintuxa, nevtarтuxa, &c. (Gori, Thesaurus diptycorum. Florentiæ, 1759, t. i. p. 1.). |