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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y, and of the Man born blind. The narrow ver-tical bands of ornament which separate the pictures exhibit a com- * F. X. Kraus, Die Wandgemalde in der S. Georgskirche zu Oberzell auf der Reiche-nau. Freiburg, 1884.—A. Springer, Die deutsche Kunst im 10. Jahrhundert. West-deutsche Zeitschrift fur Geschichte und Kunst. III. Trier, 1884. GERMANY. 401 bination of the Carolingian and Romanic styles, while the horizon-tal borders of frets drawn in perspective have a striking resemblanceto the patterns which occur in antique pavements,* in Etruscanwall paintings,f and in the Christian friezes of France and Italy,such as those of the Baptistery of Poitiers, St. Sernin in Toulouse,St. Victor at Fontvielle near Aries, and S. Maria la Libera at Foro-claudio. The spaces between the windows are occupied by singlefigures of the apostles. There is no proof that these paintingswere executed al fresco. The colors are bright and well chosen,being quite free from the brown and olive tints of the Byzan-
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Fig. 246.—The Awakening of Lazarus. Wall Painting at Oberzell. tines; neither do the forms or the composition betray the influenceof Byzantium. There are no traces of ceremonial rigidity and con-ventionalism, the action being full of life, and the draperies natural.Early Christian and particularly Carolingian reminiscences may berecognized, but the awkward laboriousness of those works has beenin great measure overcome. A certain technical skill is evident,together with a facile and careless execution. * Such, for instance, as that shown in Zahn, Pompeii, III. 16.f Compare Mon. d. Inst. d. C. A., VI.26 402 PAINTING OF THE ROMANIC EPOCH. The representation of the Last Judgment (Fig. 247) is but littlemore recent. Its similarity to the mosaics of the early Christianbasilicas is probably due to the subject, as well as to the smallernumber of figures. Unfortunately, the effect of the whole is im-paired by its bad state of preservation, especially by the flesh tintshaving become black thr

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