The Birth of Western Painting (Routledge Revivals) : A History of Colour, Form and Iconography

First published in 1930, this book deals with Byzantine art, not as an isolated province, but as one intimately connected with the subsequent history of European painting. After a summary of the whole question in its relation to modern art, the second chapter opens with a novel analysis of the iconoclast controversy, and shows how it was only by this movement that Hellenistic naturalism was finally vanquished and the seed of interpretational art planted in Europe in its stead. The third chapter reveals how this seed was nourished by the Constantinopolitan Renascence, and how that event, combined with the increasing humanisation of religious emotion, culminated, not only in Duccio and Giotto, but in the equally important work of their contemporaries at Mistra and Mount Athos. A detailed account of these works is given and in the last part of the book, the mystery of El Greco is finally resolved. The book is based, not only on extensive research but on personal observation of nearly all the works mentioned, in Constantinople, Greece, Crete, Italy, and Spain. It is an important and exciting addition to the history of European Art and establishes, scientifically, theories which only existed in conjecture before its publication. The book includes 94 black and white plates. Cover 1 The Birth of Western Painting 2 Title Page 4 Copyright Page 5 Table of Contents 12 List of Illustrations 16 1. The Tradition of Interpretational Art 24 2. The Beginnings of Interpretation 48 I. An Examination of the Existing Monuments to show the Change Produced in Byzantine Art by the Iconoclast Controversy 48 II. The Ignominy Implicit in Representational Art 56 III. The Tradition of Idolatry and Defence of Religious Art 62 IV. The Tradition of Iconoclasm and the Censure of Art 72 V. The General Impulse to Religious Purism throughout the Near East and Its Effect in Constantinople 78 VI. The Eventual Reformation of Art 89 3. The Development of Interpretation 95 I. The Borrowing of Islamic Splendour and the Development of Colour 96 II. The Rise of Liturgical Symbolism and Official Iconography 100 III. The Popular Demand for "Human Interest" in Ceremony and in Art 106 IV. The Humanist Renascence in the Capital: Platonic Fashions 112 V. The Translation of the New Themes, Spirit, and Technique, to Italy, and the Emphasis on the Double Passion 120 4. The Monuments 133 I. The Macedonian School on Mount Athos 134 i. The Protaton 136 ii. The Church of Chilandari 138 iii. The Church of Vatopedi 139 iv. The Chapel of the Prodrome at Caryes 142 II. The Cycles of Mistra 148 i. The Metropolitan Church of St. Demetrius 154 ii. The Brontocheion 155 iii. The Peribleptos 158 iv. The Pantanassa 161 III. The Cretan School on Mount Athos 168 i. The Refectory of the Lavra 172 ii. The Church of the Lavra 173 iii. The Church of Xenophontos 174 iv. The Church and Refectory of Dionysiou 176 v. The Chapel of St. George at St. Paul's 177 vi. The Chapel of St. Nicolas at the Lavra 182 vii. The Church of Docheiariou 182 viii. The Refectory of Docheiariou 183 ix. The Refectory of Chilandari 184 x. The Church of St. Nicolas at Mistra 184 5. The Climax of Interpretation 185 I. Greco's Character: Cretan Culture and Society after the Fall of Constantinople 186 II. Greco's Character: Venice and Rome 196 III. Greco's Character: The Environment of Toledo and Evidence of Spanish Contemporaries; His Library 201 IV. Greco's Derivation from Byzantine Art: Iconography and Landscape 210 V. Greco's Derivation from Byzantine Art: Colour 221 VI. Greco's Derivation from Byzantine Art: Form and Light 228 VII. Greco's Hellenism 235 Bibliography 243 Index 250 Plates 1-94. 260