Excerpt from Art in America, 1920, Vol. 8: An Illustrated Magazine Published Bi-Monthly We find, perhaps, closest analogies with a group of sculptures which may be dated early in the period initiated by the Virgin of the hotel-dieu. The Morgan statue may be compared, for example, with the Virgins of Brienne - la-vieille and saint-remy-sous-barbuise, with the Virgins, Nos. 265 and 266, in the Museum at Troyes, with the Virgin at Braux, and with the Saint Savina at saint-germain and the Saint Barbara at Villeloup. A number ...
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Excerpt from Art in America, 1920, Vol. 8: An Illustrated Magazine Published Bi-Monthly We find, perhaps, closest analogies with a group of sculptures which may be dated early in the period initiated by the Virgin of the hotel-dieu. The Morgan statue may be compared, for example, with the Virgins of Brienne - la-vieille and saint-remy-sous-barbuise, with the Virgins, Nos. 265 and 266, in the Museum at Troyes, with the Virgin at Braux, and with the Saint Savina at saint-germain and the Saint Barbara at Villeloup. A number of other statues might be instanced, but these are perhaps sufficient to Show not only the origin of the Morgan statue but its probable position in the chronological sequence of works produced by the school. Assuming that the simpler the treatment of drapery, the earlier the statue, the Morgan sculpture may be assigned to the early years of the first period or, approximately, to I 5 10 - 1 5 1 5. The Museum's statue represents a female saint in pilgrim's garb. The statue measures forty-eight inches and is carved from a soft limestone, which, it may be remarked, is a material much used by the sculptors at Troyes. The statue retains much of its polychrome decoration, which, although possibly not contemporary with the carving of the statue, is nevertheless not of recent date. It is finely done, does not obscure the carving of the stone, and even in its injured condition lends so much to the effectiveness of the statue that it helpsus to understand why Gothic sculpture was almost invariably painted. In the dim light of churches, polychromy served a useful as well as an ornamental purpose, since by emphasizing contours and areas it enabled forms to be recognized more readily. It was often the work of painters of high standing, and many existing documents Show us that the painter who colored a statue often received more for his work than the sculptor who carved it. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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