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The explanation which I have tried to give of the exact manner in which mediæval art was influenced by the remains of antiquity, came like a flash during a rainy morning in the Pisan Campo Santo; the working out and testing of that explanation in its details was a matter of going from one church or gallery to the other, a reference or two to Vasari for some date or fact being the only necessary reading; and should any one at this moment ask me for substantiation of that theory, instead of opening books I would take that person to this Sienese Cathedral, and there bid him compare the griffins and arabesques, the delicate figure and foliage ornaments carved in wood and marble by the latter Middle Ages, with the griffins and arabesques, the boldly bossed horsemen, the exquisite fruit garlands of a certain antique altar stone which the builders of the church used as a base to a pillar, and which must have been a never-ceasing-object of study to every draughtsman and stoneworker in Siena.
"But we've these stoneworker folk to pay, and a deal of things ... write and ask if he wouldn't rather come back here and lend a hand." And Inger wrote, but Eleseus did not care about coming home again; no, no sense in making another journey all to no purpose; he would rather starve.
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