Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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chair as Victor III., it was natural that the revival of art,which first appeared in the convent of the Benedictines, should alsoextend to Rome. The three large mosaics of the basilicas S. Cle-mente, S. Maria in Trastevere, and S. Maria Nuova, which maybe considered as late blossoms of the decaying art of Rome, showfewer Byzantine characteristics than do the works of Southern Ita« ITALY. 425 ly; still, this is readily explained by the existence in Rome of ear-lier Occidental models. The mosaics in St. Peter, St. Paul, S. MariaMaggiore, and SS. Cosma e Damiano must necessarily have been ofgood influence upon the debased Byzantine style of this late period.The same classic influences appear not only in the inlaid pavements,but also in the cosmatic and painted wall decorations, such, for in-stance, as those in the Capella del Martirologio in S. Paolo fuori leMura and in S. Silvestro at Rome, which display, together withgreat rudeness of execution and a retention of the typical Byzantine
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llllllfllitt^^ Fig. 261.—Temptation of St. Anthony. Wall Painting in S. Sepolcro, Barletta. forms, certain reminiscences of the early Christian paintings of theCatacombs. This late appearance of ancient forms is occasionallydue to a direct imitation of antiques; thus, in a Temptation of St.Anthony in S. Sepolcro at Barletta, dating to the twelfth century,a centaur is represented which, both in conception and in animal de-tails, would be inexplicable without the assumption that the designof classic reliefs had here been followed (Fig. 261). The mosaics of the twelfth century in Sicily were more simple,harmonious, and artistic, as well as superior in technical respects.After the age of Justinian Byzantine types continued to be em- 426 PAINTING OF THE ROMANIC EPOCH. ployed without interruption not only during the continuance of theEastern empire, but even after the Normans had wrested the su-premacy from the Arabs. The two latter races essentially changedthe architecture of the island,

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