Statute of Christ at good example of the richer style of drapery and nobler figures is given on Plate 22 (fig. I), which reproduces the beautiful statue of Christ at the Cathedral of Rheims; here grace and majesty are combined and the classic spirit of the sculptures of this church is illustrated. A comparison between this figure and the famous corre sponding statue of Christ at the Cathedral of Amiens, known as " he beau Christ d' Amiens," is instructive in regard to the difference in style between works of the same period in France. The statue at Amiens is simpler, more closely knit and concentrated, less massive, but more impressive.
Dezrlopment of Gothic gradual expansion of the new style is easily traceable. At Notre Dame, as already noticed, the earlier statues of the Porte Ste.-Anne are related to the Romanesque, but the main portal and the Porte de la Vierge (1215) show a far more developed and freer art. Between 123o and 1240 were executed most of the sculp tures of Chartres; then come those of Bourges, Amiens, and Rheims, all within a period of half a century. The sculptures at Bourges are more naturalistic and coarse and less artistic; those of Rheims combine relig ions fervor with richness of form and a classic beauty: their types begin to lack the simplicity of Notre Dame, and even of Chartres. The fullest development before the decadence is attained, shortly after the middle of the century, in the colored statues of the interior of the Sainte-Chapelle.
Spread of Gothic revival in sculpture soon spread from the Ile de France, its birthplace, on all sides, and swept before it many of the existing local distinctions, leading to a unification of art by the anni hilation of many of the provincial schools and the substitution of a more general ideal. Art passed from the hands of the monastic orders to those of lay corporations and individuals, and the ambition of single artists for personal fame first began to show itself. The new style spread first to other provinces of France, and then to other countries, especially to Germany and England. Italy was not so closely connected with this movement, and her revival will be described by itself.
Gothic Art in Germany Freiberg Germany there are traces of the revolution in sculpture earlier than in architecture, strange to say, and many statues quite Gothic in spirit are found attached to monu ments whose style is still Romanesque. This is the case with sonic sculp tures at Wechselburg, in Saxony, and especially with those of the Golden Portal of the Cathedral of Freiberg, in the Erzgebirge, which may have been executed toward the middle of the thirteenth century. Of the eight
almost life-size figures on the side-walls, four are reproduced on Plate 17 7); they arc placed in connection with an extremely rich architec tural decoration in the late Romanesque style. They stand alone on the capitals of engaged columns, and, as Reber remarks, " the proportions are harmonious, the heads and hands are of perfect beauty and significance, and the draperies almost faultless." In comparing this work with the French it seems somewhat less natural and chaste. The male figure in the foreground stands in a slightly affected attitude: but it is difficult to find fault with so fine a work. In the tympanum of the portal is a relief, given in Figure S (p1. 17). Here the Virgin sits enthroned, hearing the Child in her arms, while above, on either side, an angel hovers. On the right stands an archangel—probably Gabriel—while next to him is seated a man who is called by some the donor, but is more probably Joseph himself. On the left the three wise men approach on bended knees, bearing their offerings. In these massive and dignified figures we are reminded of Nicola Pisan°, but the broad and skilful treat ment of the drapery and the symmetry of the composition are qualities in which this sculpture surpasses the works of the Italian artist. Further progress toward attaining the Gothic ideal was made, for example, in the twelve statues in the Cathedral of Naumburg, dating from about 127o.
While all these sculptures are national in style, contemporary work in the Rhenish province was imitated from the French. Examples of this, executed in the latter half of the thirteenth century, are seen at the cathe drals of Freiburg and Strasburg.
Re al Strasburg Dcalh of the 171-gin.—ln Figure 2 (pl. 22) is reproduced the relief in the tympanum of the side-portal of Strasburg Cathedral; this relief was executed by a female sculptor, Savina, long thought to have been the daughter of Erwin of Steinbach, the architect of the cathedral. It represents the death of the Virgin. She is lying on a couch in a graceful attitude, and around her crowd the twelve apostles; one at her head and another at her feet are arranging the body. In the centre stands Christ, who bears in his arms the soul of the Virgin in the form of a little child with hands raised in prayer. Though the drapery is good, it is somewhat overworked, and the grief of some of the figures finds too exaggerated expression. We are leaving the natural and entering the affected stage of Gothic sculpture; this sentimentality and affectation are shown even more strongly in the figures of the wise and foolish virgins on the facade of the cathedral.