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in English, in which any information at all—and still less, illustrations—are to be found on many details which are here discussed.

My indebtedness is great to such writers as Bode, in the case of German art, Fabriczy, Fogolari, and D'Achiardi for Italy, Molinier for France, Destrde for the Netherlands, and Habich for the German medallion carvers. Were it not for limitations of space, I should no doubt have availed myself still more largely of the learning and research of these writers.

A word must be said in excuse of imperfections in the quality of some of the illustrations which may not be thought, in every case, entirely satisfactory. The photographing of the objects themselves, in museums, has often been attended with considerable difficulty, from their position in obscure corners, and from the practice of placing under glass. Others have had to be copied from poor photographs in books, or obtained from abroad, and, in the case of some important pieces, it has not been found possible to procure any photographs at all. In some instances, also, there has been the unsurmountable difficulty of adequately rendering the colouring of the sculpture.

But in the matter of the illustrations, generally, my warmest thanks are due to several friends for their very kind and disinterested assistance. Amongst them I must especially mention Mr. George C. Druce, Mr. Francis Bond, Mr. F. L. S. Houghton, M.A., Dom Bede Camm, the Rev. J. W. Banke, Mr. E. W. Smith, Mr. A. G. Thompson, Mrs. George Wilson, Mr. Frederick Evans, Mr. F. H. Crossley, Mr. Aymer Vallance, and Mr. Herbert Read, of the Woodcarving Works, Exeter, who has so ably restored many of the Devonshire chancel screens. To all these I am indebted for valuable aid by the loan of collections of photographs of English carved work, such as screens, misericords, and bench-ends, and, where I have been able to avail myself of it, by leave to reproduce from them. In addition, my publishers desire recognition of permission from the respective publishers or owners to make use of their copyright photographs for plates:— Messrs. Alinari, Florence; Amslerand Ruthardt, Berlin; F. Bromhead, Clifton, Bristol; Carl Ebner, Stuttgart; M. Frankenstein, Vienna; A. Giraudon, Paris; Neue Photographische Gesellschaft, Steglitz-Berlin; Neurdein Freres, Paris; G. Schwartz, Berlin; Karl Teufel, Munich; W. Zink, Gotha.

A. M.

April igii.

LIST OF PLATES

Statue. The Sheik el Beled. Frontispiece

TO FACE PAGE

1. Church Doorway. Scandinavian. Twelfth

century, 20

11. Panels with angels. Savoyard. Sixteenth

century, 48

1n. 1. Retable at Dijon. 2. Carved Letters:

M. and F. of Margaret of Austria, . . 50

1v. Altarp1ece in Victoria and Albert Museum.

Flemish. Fifteenth century, ... 70

v. Retable Of Claude De V1lla. Flemish.

Fifteenth century, 72

v1. Retable in Marienkirche, Liibeck.

Flemish. Early sixteenth century, . . 88

v11. Altarp1ece at Cracow. German. By Veit

Stoss. Fifteenth century, . . .102

V111. Hang1ng Rosary Wreath. By Veit Stoss.

Sixteenth century, 104

1x. Group. St. Anne and St. Joachim. Victoria and Albert Museum. Suabian School. Early sixteenth century, 114

x. Retable at Rothenburg. By Riemen

schneider. Fifteenth century, . . 116

x1. Shr1ne by Riemenschneider. Reliefs by

Veit Stoss, 118

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