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Tables of Contents for Sculpture from Antiquity to the Middle Ages
Chapter/Section Title
Page #
Page Count
Greek Art
Philippe Bruneau
General Introduction
9
2
Background to the study of Greek sculpture
11
7
Statuary and relief
18
4
Art and craftsmanship
22
3
How statues were used
25
5
The Archaic Period
Small figures
30
2
Large statues
32
10
Architectural sculpture
42
10
The sculpture of the Acropolis, Athens
52
5
The Classical Period
``The invention of art'' and the question of lost originals
57
6
Five master sculptors
63
6
Themes and styles of Classical statuary: realism and idealism
69
4
Architectural sculpture
73
9
The freestanding relief
82
3
The art of the goldsmith
85
3
Greek sculpture outside Greece
88
7
The Hellenistic and Imperial Periods
Hellenistic sculpture
95
5
The sanctuary at Delphi
100
2
The development of the portrait
102
4
Sculpture in the home
106
2
The Imperial period
108
7
The Art of the Etruscans
Mario Torelli
The historical background to Etruscan art
115
2
The birth of figurative art: from the geometric style to Daedalic sculpture
117
3
The flowering of Ionian art of the Archaic period
120
6
The ``courtly'' austerity of the oligarchies
126
4
The late-Classical renaissance
130
6
The Etruscan Hellenistic style in the Italic koine
136
6
The process of Romanization
142
5
The Roman World
Xavier Barral i Altet
Introduction
147
3
The New Functions of Sculpture
Architecture and sculpture
150
4
Originals and copies
154
2
Public sculpture and official propaganda
156
4
Iconography
160
3
The house and its decoration
163
4
Roman Realism
The portrait and its development
167
5
Sarcophagi and funerary sculpture
172
3
The historical relief
175
2
Religion and politics
177
4
Working with the Raw Material
Patrons and sculptors
181
2
The capital
183
2
Materials and colour
185
2
Bronze
187
2
Silver and ceramics
189
4
The Development of Roman Sculpture
The Republican era
193
2
The Augustan myth
195
3
Imperial art under the Flavians and Antonines
198
6
Changes during the third century
204
3
Originality in the Provinces
Mare Nostrum
207
7
The Iberian peninsula
214
4
Gaul and Germany
218
6
The outlying regions
224
3
The Decline of Empire
Art under Constantine
227
3
The Christianized sarcophagus
230
3
Constantinople
233
4
Conclusion
237
2
Picture Credits
239
8
Preface
247
2
Georges Duby
From Late Antiquity to the Middle Ages
Xavier Barral i Altet
Introduction
249
2
Georges Duby
Christians and non-Christians: Late Antiquity
251
2
Interlaces and animal decoration
253
2
Monastic decorations in Merovingian Gual
255
3
Visigothic and Asturian Spain
258
2
Early medieval Italy
260
2
Carolingian art: ivories and goldsmithery
262
2
On the threshold of Romanesque art
264
2
Romanesque Art (1000-1200)
Xavier Barral i Altet
Introduction
266
3
Georges Duby
Formation of the Style
Ottonian sculpture
269
2
The elaboration of the Romanesque capital
271
2
The tower-porch of Saint-Benoit-sur-Loire
273
3
From Toulouse to Compostela: the efflorescence of sculpture
276
4
The prestige of Cluny
280
1
The Meaning of the Imagery
The tympanum and the social order
281
6
The Apocalypse and the vision of Matthew
287
2
The triumphal facade
289
5
The portals with arch mouldings of western France and the cycle of time
294
2
The historiated cloister
296
4
The embellishment of towns
300
2
The Varieties of Creation
Romanesque style and geography in France
302
6
The Pyrenean marble-cutters
308
2
Central and northern Italy: between Mediterranean and Adriatic
310
4
The Roman marble-cutters
314
1
Southern Italy and Sicily
315
3
The Christian Iberian peninsula face to face with Islam
318
2
The Germanic World and Central Europe
320
2
The insular phenomenon
322
2
The Wealth of Techniques
Signature and work of the Romanesque sculptor
324
2
Woodcarving
326
8
Bronze
334
2
Goldwork
336
2
The Last Burst of Vitality
Provence and Antiquity
338
2
Antelami or the new manners
340
2
Southern eclecticism in the 1200s
342
2
The sculpture of the Crusades
344
2
The Expansion of Gothic (1150-1280)
Xavier Barral i Altet
Introduction
346
3
Georges Duby
Sculpture and Architecture
The cathedral in the town
349
1
The column statue: an expression of the new style
350
2
Saint-Denis, Chartres, Paris: origins of the Gothic sculpture
352
5
The tympanum of Senlis and the new Marian cult
357
4
Sculpture in northern France around 1200
361
2
Amiens cathedral
363
2
Reims cathedral
365
2
Fresh inspiration in Paris
367
1
History, religion, politics: the arcades of kings
368
2
English Gothic
Rejection of the great sculptured portal
370
1
The screen facade
371
1
Sculpture as interior decoration: Westminster
372
2
Diffusion of Gothic in the Empire
A late assimilation of Gothic
374
1
Strasbourg cathedral
375
3
Bamberg cathedral
378
2
Other forms of creation
380
2
The Originality of Southern Gothic
The Portico de la Gloria in Santiago de Compostela
382
1
Burgos and Leon: north-south currents
383
2
The Mediterranean facade and Cistercian art
385
2
The Italy of Frederick II
387
1
Nicola Pisano
388
3
Giovanni Pisano
391
2
Arnolfo di Cambio
393
1
The Evolution of the Sculptor's Craft
394
147
Court Art (1280-1400)
Xavier Barral i Altet
Introduction
398
4
Georges Duby
Sculpture and the Courtly Spirit
Donors and patrons in a century of crises
402
2
The return to marble and alabaster
404
2
The reality of the body
406
2
The decor of private life
408
2
Sculpture and Politics
The princely and royal tomb effigies
410
2
The ostentation of the tomb
412
3
The vanity of the portrait
415
3
Public sculpture
418
3
Sculpture and New Devotions
The individual cult statue
421
4
The chapel as sculpture
425
2
Sculpturing gold
427
3
An original imagery: the stalls
430
2
Paris and the New Northern Modernity
The flowering of the early 1300s
432
2
The triumph of narrative: the choir screen of Notre-Dame
434
2
The artistic policy of Charles V
436
2
Jean de Liege and England
438
3
Andre Beauneveu
441
2
Princely refinement
443
2
The Southern Crossroads
Avignon and the patronage of the popes
445
3
The originality of Languedoc
448
2
Tradition and innovation south of the Pyrenees
450
1
The Catalan masters
451
3
The Quickening of Italian Art
The radiance of Tuscany: Tino di Camaino
454
2
The facade of Orvieto cathedral
456
2
Andrea Pisano
458
2
Orcagna and Nino Pisano
460
2
Northern Italy
462
2
Towards International Gothic
The world of the Parlers
464
2
Prague
466
3
Cologne
469
2
Glow and Afterglow of Gothic (1400-1530)
Sophie Cuillot de Suduiraut
Introduction
471
4
Georges Duby
International Gothic Style
The Beautiful Madonnas
475
1
The evolution of iconography
476
3
Materials and techniques
479
1
The Master of the Rimini Altarpiece
480
1
Diversity of functions
481
2
Funerary art
483
4
Claus Sluter
487
3
The Conditions of Creation
Altarpieces
490
6
The sculptors
496
6
Worship and liturgy
502
3
``The bitter taste of life''
505
2
Late Gothic
The Germanic World and the Netherlands
507
1
Nicholas of Leyden
507
2
The ``leaning bust'' theme
509
2
Tyrol and Austria
511
3
Franconia
514
1
Veit Stoss
514
3
Tilman Riemenschneider
517
1
Swabia
518
2
Netherlands, western and northern Germany
520
2
France
522
1
The heritage of Claus Sluter
522
1
The ``easing up''
523
1
Loire valley
524
2
Southwestern France
526
1
Champagne and Picardy
527
1
England
528
3
Spain and Portugal
531
5
Between Gothic and Baroque
536
3
The Destruction of images
539
2
Conclusion
541
3
Georges Duby
Picture Credits
544