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ebook download Gardner's Art through the Ages: A Global History 15th Edition (eBook PDF) all chapter
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Contents
■ P r o b l e m s a n d S o l u t i o n s : Sumerian Votive
Statuary 35
■ Mat e r ia l s a n d T e c h n i q u e s : Mesopotamian
Seals 39
4 The Prehistoric Aegean 82
■ A r t a n d S o c i e t y: Enheduanna, Priestess and Poet 41 Framing the Era Greece in the Age of Heroes 83
■ T h e Pat r o n ’ s V o i c e : Gudea of Lagash 43 Ti m e l i n e 84
vi
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Greece before Homer 84
Cycladic Art 85 6 The Etruscans 162
Minoan Art 86 Fr ami n g t h e E ra The Painted Tombs
Mycenaean Art 93 of Tarquinia 163
Ti m e l i n e 164
■ A r t a n d S o c i e t y: Archaeology, Art History, and the Art
Market 85 Etruria and the Etruscans 164
■ A r t a n d S o c i e t y: The Theran Eruption and the
Chronology of Aegean Art 91 Early Etruscan Art 164
■ P r o b l e m s a n d S o l u t i o n s : Fortified Palaces for Later Etruscan Art 171
a Hostile World 94
■ R e l i g i o n a n d M y t h o l o g y: Etruscan Counterparts
■ A r c h i t e c t u r a l Ba s i c s : Corbeled Arches, Vaults, of Greco-Roman Gods and Heroes 165
and Domes 95
■ W r i t t e n S o u r c e s : Etruscan Artists in Rome 166
M a p 4 - 1 The prehistoric Aegean 84
■ A r t a n d S o c i e t y: The “Audacity” of Etruscan
THE B IG PICTURE 101 Women 167
■ P r o b l e m s a n d S o l u t i o n s : Houses of the Dead
in a City of the Dead 168
The Greeks and Their Gods 104 7 The Roman Empire 176
Geometric and Orientalizing Periods 106 Fr ami n g t h e E ra Roman Art as Historical
Archaic Period 109 Fiction 177
Ti m e l i n e 178
Early and High Classical Periods 123
Late Classical Period 142 Rome, Caput Mundi 178
Contents vii
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
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■ P r o b l e m s a n d S o l u t i o n s : The Ancient World’s ■ A r t a n d S o c i e t y: Icons and Iconoclasm 271
Largest Dome 211
■ A r t a n d S o c i e t y: Born to the Purple: Empress Zoe 275
■ W r i t t e n S o u r c e s : Hadrian and Apollodorus
M a p 9 - 1 The Byzantine Empire at the death of Justinian in 565 258
of Damascus 212
■ Mat e r ia l s a n d T e c h n i q u e s : Iaia of Cyzicus and the THE BIG PICTURE 283
Art of Encaustic Painting 217
■ P r o b l e m s a n d S o l u t i o n s : Tetrarchic Portraiture 224
M a p 7- 1 The Roman Empire at the death of Trajan in 117 ce 178 10 The Islamic World 284
THE BIG PICTURE 229 Fr a min g t h e E ra The Rise and Spread
of Islam 285
Ti m e l i n e 286
8 Late Antiquity 230 Early Islamic Art 286
F ram ing t he E ra Romans, Jews, Later Islamic Art 298
and Christians 231 ■ R e l i g i o n a n d M y t h o l o g y: Muhammad
Ti m e l i n e 232 and Islam 288
■ A r t a n d S o c i e t y: Medieval Books 316
Middle Byzantine Art 272
■ R e l i g i o n a n d M y t h o l o g y: The Four Evangelists 318
Late Byzantine Art 280 ■ P r o b l e m s a n d S o l u t i o n s : Beautifying God’s
■ W r i t t e n S o u r c e s : The Emperors of New Rome 261 Words 319
■ P r o b l e m s a n d S o l u t i o n s : Placing a Dome ■ A r t a n d S o c i e t y: Charlemagne’s Renovatio Imperii
over a Square 264 Romani 322
viii Contents
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
■ W r i t t e n S o u r c e s : Charlemagne’s Palatine Chapel ■ T h e Pat r o n ’ s V o i c e : Abbot Suger and the Rebuilding
at Aachen 325 of Saint-Denis 375
■ R e l i g i o n a n d M y t h o l o g y: Medieval Monasteries ■ A r c h i t e c t u r a l Ba s i c s : The Gothic Rib Vault 378
and Benedictine Rule 327
■ A r t a n d S o c i e t y: Paris, the New Center of Medieval
■ A r t a n d S o c i e t y: Theophanu, a Byzantine Princess Learning 380
at the Ottonian Court 334
■ P r o b l e m s a n d S o l u t i o n s : Building a High Gothic
M a p 1 1 - 1 The Carolingian Empire at the death of Charlemagne Cathedral 381
in 814 321
■ Mat e r ia l s a n d T e c h n i q u e s : Stained-Glass
Windows 384
THE B IG PICTURE 337
■ A r t a n d S o c i e t y: Gothic Book Production 394
M a p 1 3 - 1 Europe around 1200 374
12 Romanesque Europe 338 THE BIG P ICTURE 409
F ra m ing t h e Er a The Door to Salvation 339
Ti m e l i n e 340
Contents ix
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
■ A r c h i t e c t u r a l Ba s i c s : Hindu Temples 452
M a p 1 5 - 1 South and Southeast Asian sites before 1200 436 18 Native American Cultures
THE BIG PICTURE 459 before 1300 508
Fra min g t h e Er a War and Human Sacrifice
in Ancient Mexico 509
16 China and Korea to 1279 460 Ti m e l i n e 510
x Contents
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Preface
I take great pleasure in introducing the extensively revised and Italy; to such modernist masterpieces as the Notre-Dame-du-Haut
expanded 15th edition of Gardner’s Art through the Ages: A in Ronchamp, France, and the Guggenheim Museum in New York.
Global History, which, like the 14th edition, is a hybrid art history The 15th edition also features an expanded number of the highly
textbook—the first, and still the only, introductory survey of the acclaimed architectural drawings of John Burge. Together, these
history of art of its kind. This innovative new kind of “Gardner” exclusive photographs, videos, and drawings provide readers with a
retains all of the best features of traditional books on paper while visual feast unavailable anywhere else.
harnessing 21st-century technology to significantly increase the Once again, a scale accompanies the photograph of every
number of works examined—without substantially increasing painting, statue, or other artwork discussed—another unique feature
the size of the text or abbreviating the discussion of each work. of the Gardner text. The scales provide students with a quick and
When Helen Gardner published the first edition of Art through effective way to visualize how big or small a given artwork is and its
the Ages in 1926, she could not have imagined that nearly a century relative size compared with other objects in the same chapter and
later, instructors all over the world would still be using her textbook throughout the book—especially important given that the illus-
(available even in Mandarin Chinese) in their classrooms. Indeed, trated works vary in size from tiny to colossal.
if she were alive today, she would not recognize the book that, even Also retained in this edition are the Quick-Review Captions
in its traditional form, long ago became—and remains—the world’s (brief synopses of the most significant aspects of each artwork or
most widely read introduction to the history of art and architecture. building illustrated) that students have found invaluable when pre-
I hope that instructors and students alike will agree that this new paring for examinations. These extended captions accompany not
edition lives up to the venerable Gardner tradition and even exceeds only every image in the printed book but also all the digital images
their high expectations. in the online supplement. Each chapter also again ends with the
The 15th edition follows the 14th in incorporating an innova- highly popular full-page feature called The Big Picture, which sets
tive new online component that includes, in addition to a host of forth in bullet-point format the most important characteristics of
other features (enumerated below), bonus essays and bonus images each period or artistic movement discussed in the chapter. Also
(with zoom capability) of more than 300 additional important retained from the 14th edition are the timeline summarizing the
works of all eras, from prehistory to the present and worldwide. major artistic and architectural developments during the era treated
The printed and online components of the hybrid 15th edition are (again in bullet-point format for easy review) and a chapter-opening
very closely integrated. For example, every one of the more than essay called Framing the Era, which discusses a characteristic paint-
300 bonus essays is cited in the text of the traditional book, and a ing, sculpture, or building and is illustrated by four photographs.
thumbnail image of each work, with abbreviated caption, is inset Another pedagogical tool not found in any other introduc-
into the text column where the work is mentioned. The integration tory art history textbook is the Before 1300 section that appears at
extends also to the maps, index, glossary, and chapter summaries, the beginning of the second volume of the paperbound version of
which seamlessly merge the printed and online information. the book and at the beginning of Book D of the backpack edition.
Because many students taking the second half of a survey course
will not have access to Volume I or to Books A, B, and C, I have pro-
Key Features of the 15th Edition vided a special (expanded) set of concise primers on architectural
In this new edition, in addition to revising the text of every chapter terminology and construction methods in the ancient and medi-
to incorporate the latest research and methodological developments, eval worlds, and on mythology and religion—information that is
I have added several important features while retaining the basic essential for understanding the history of art after 1300, both in the
format and scope of the previous edition. Once again, the hybrid West and the East. The subjects of these special boxes are Greco-
Gardner boasts roughly 1,700 photographs, plans, and drawings, Roman Temple Design and the Classical Orders; Arches and Vaults;
nearly all in color and reproduced according to the highest standards Basilican Churches; Central-Plan Churches; the Gods and Goddesses
of clarity and color fidelity. Included in this count are updated and of Mount Olympus; the Life of Jesus in Art; Early Christian Saints
revised maps along with hundreds of new images, among them a new and Their Attributes; Buddhism and Buddhist Iconography; and
series of superb photos taken by Jonathan Poore exclusively for Art Hinduism and Hindu Iconography.
through the Ages during three photographic campaigns in G ermany Boxed essays once again appear throughout the book as well.
and Rome in 2012–2014 (following similar forays into France and These essays fall under six broad categories, two of which are new
Tuscany in 2011–2013). The online component also includes custom to the 15th edition:
videos made at architectural sites. This extraordinary new archive Architectural Basics boxes provide students with a sound foun-
of visual material ranges from ancient temples in Rome; to medi- dation for the understanding of architecture. These discussions are
eval, Renaissance, and Baroque churches in France, Germany, and concise explanations, with drawings and diagrams, of the major
xi
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
aspects of design and construction. The information included is essen- Shannen Hill, University of Maryland; Angela K. Ho, George Mason
tial to an understanding of architectural technology and terminology. University; Julie Hochstrasser, The University of Iowa; Hiroko Johnson,
Materials and Techniques essays explain the various media that San Diego State University; Julie Johnson, The University of Texas at
artists employed from prehistoric to modern times. Because materi- San Antonio; Paul H.D. Kaplan, Purchase College, State University of
als and techniques often influence the character of artworks, these New York; Rob Leith, Buckingham Browne & Nichols School; Brenda
discussions contain essential information on why many monuments Longfellow, The University of Iowa; Susan McCombs, Michigan
appear as they do. State University; Jennifer Ann McLerran, Northern Arizona Univer-
Religion and Mythology boxes introduce students to the princi- sity; Patrick R. McNaughton, Indiana University Bloomington; Mary
pal elements of the world’s great religions, past and present, and to Miller, Yale University; Erin Morris, Estrella Mountain Community
the representation of religious and mythological themes in painting College; Nicolas Morrissey, The University of Georgia; Basil Mout-
and sculpture of all periods and places. These discussions of belief satsos, St. Petersburg College–Seminole; Johanna D. Movassat, San
systems and iconography give readers a richer understanding of Jose State University; Micheline Nilsen, Indiana University South
some of the greatest artworks ever created. Bend; Catherine Pagani, The University of Alabama; Allison Lee
Art and Society essays treat the historical, social, political, cul- Palmer, The University of Oklahoma; William H. Peck, University of
tural, and religious context of art and architecture. In some instances, Michigan–Dearborn; Lauren Peterson, University of Delaware; Holly
specific monuments are the basis for a discussion of broader themes. Pittman, University of Pennsylvania; Romita Ray, Syracuse Univer-
Written Sources present and discuss key historical documents sity; Wendy Wassyng Roworth, The University of Rhode Island;
illuminating important monuments of art and architecture through- Andrea Rusnock, Indiana University South Bend; Bridget Sandhoff,
out the world. The passages quoted permit voices from the past to University of Nebraska Omaha; James M. Saslow, Queens College,
speak directly to the reader, providing vivid and unique insights City University of New York; Anne Rudolph Stanton, University
into the creation of artworks in all media. of Missouri; Achim Timmermann, University of Michigan; David
In the Artists on Art boxes, artists and architects throughout Turley, Weber State University; Lee Ann Turner, Boise State University;
history discuss both their theories and individual works. Marjorie S. Venit, University of Maryland; Shirley Tokash Verrico,
New to the 15th edition are The Patron’s Voice boxed essays, Genesee Community College; Louis A. Waldman, The University of
which underscore the important roles played by the individuals Texas at Austin; Ying Wang, University of Wisconsin-Milwaukee;
and groups who paid for the artworks and buildings in determin- Gregory H. Williams, Boston University; and Benjamin C. Withers,
ing the character of those monuments. Also new are boxes designed University of Kentucky.
to make students think critically about the decisions that went into I am especially indebted to the following for creating the
the making of every painting, sculpture, and building from the instructor and student materials for the 15th edition: Ivy Cooper,
Old Stone Age to the present. Called Problems and Solutions, these Southern Illinois University Edwardsville; Patricia D. Cosper (retired),
essays address questions of how and why various forms developed; The University of Alabama at Birmingham; Anne McClanan, Port-
the problems that painters, sculptors, and architects confronted; land State University; Amy M. Morris, The University of Nebraska
and the solutions they used to resolve them. Omaha; Erika Schneider, Framingham State University; and Camille
Other noteworthy features retained from the 14th edition are Serchuk, Southern Connecticut State University. I also thank the
the extensive (updated) bibliography of books in English; a glossary more than 150 instructors and students who participated in surveys,
containing definitions of and page references for italicized terms intro- focus groups, design sprints, and advisory boards to help us better
duced in both the printed and online texts; and a complete museum understand readers’ needs in our print and digital products.
index, now housed online only, listing all illustrated artworks by their I am also happy to have this opportunity to express my gratitude
present location. The host of state-of-the-art online resources accom- to the extraordinary group of people at Cengage Learning involved
panying the 15th edition are enumerated on page xv). with the editing, production, and distribution of Art through the Ages.
Some of them I have now worked with on various projects for nearly
two decades and feel privileged to count among my friends. The suc-
Acknowledgments cess of the Gardner series in all of its various permutations depends
A work as extensive as a global history of art could not be undertaken in no small part on the expertise and unflagging commitment
or completed without the counsel of experts in all areas of world of these dedicated professionals, especially Sharon Adams Poore,
art. As with previous editions, Cengage Learning has enlisted more product manager (as well as videographer extraordinaire); Rachel
than a hundred art historians to review every chapter of Art through Harbour, content developer; Lianne Ames, senior content project
the Ages in order to ensure that the text lives up to the Gardner manager; Chad Kirchner, media developer; Erika Hayden, associ-
reputation for accuracy as well as readability. I take great plea- ate content developer; Elizabeth Newell, associate media developer;
sure in acknowledging here the important contributions to the Rachael Bailey, senior product assistant; Cate Barr, senior art direc-
15th edition made by the following: Patricia Albers, San Jose State tor; Jillian Borden, marketing manager; and the incomparable group
University; Kirk Ambrose, University of Colorado Boulder; Jenny of local sales representatives who have passed on to me the welcome
Kirsten Ataoguz, Indiana University–Purdue University Fort advice offered by the hundreds of instructors they speak to daily dur-
Wayne; Paul Bahn, Hull; Denise Amy Baxter, University of North ing their visits to college campuses throughout North America.
Texas; Nicole Bensoussan, University of Michigan-Dearborn; I am also deeply grateful to the following out-of-house contrib-
Amy R. Bloch, University at Albany, State University of New York; utors to the 15th edition: the incomparable quarterback of the entire
Susan H. Caldwell, The University of Oklahoma; David C. Cateforis, production process, Joan Keyes, Dovetail Publishing Services; Helen
The University of Kansas; Thomas B. F. Cummins, Harvard University; Triller-Yambert, developmental editor; Michele Jones, copy editor;
Joyce De Vries, Auburn University; Verena Drake, Hotchkiss School; Susan Gall, proofreader; Mark Fox, Design is Play, cover designer;
Jerome Feldman, Hawai’i Pacific University; Maria Gindhart, Georgia Frances Baca, text designer; PreMediaGlobal, photo researchers; Cenveo
State University; Annabeth Headrick, University of Denver; Publisher Services; Jay and John Crowley, Jay’s Publishing Services;
xii Preface
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Mary Ann Lidrbauch, art log preparer; and, of course, Jonathan Poore the Perfect Statue,” and “Hippodamos’s Plan for the Ideal City.”
and John Burge, for their superb photos and architectural drawings. New Materials and Techniques box “White-Ground Painting.”
I also owe thanks to two individuals not currently associated with New photographs of the Achilles and Ajax vases by Exekias and
this book but who loomed large in my life for many years: Clark Baxter, the Lysippides and Andokides Painters; the Temple of Aphaia
who retired in 2013 at the end of a long and distinguished career, at Aegina; the Parthenon and two sections of its Ionic frieze;
from whom I learned much about textbook publishing and whose Mnesikles’s Propylaia; the Erechtheion and a detail of its caryatid
continuing friendship I value highly; and former coauthor and long- porch; the restored Athena Nike temple; the Phiale Painter’s krater
time friend and colleague, Christin J. Mamiya of the University of with Hermes and Dionysos; Gnosis’s stag hunt mosaic; the the-
Nebraska–Lincoln, with whom I have had innumerable conversations ater at Epidauros; the tholos at Delphi; the choragic monument of
not only about Art through the Ages but the history of art in general. Lyskikrates; and the Barberini Faun.
Her thinking continues to influence my own, especially with regard
6: The Etruscans. New Framing the Era essay “The Painted Tombs
to the later chapters on the history of Western art. I conclude this long
of Tarquinia.” New Problems and Solutions box “Houses of the
(but no doubt incomplete) list of acknowledgments with an expres-
Dead for a City of the Dead.” New section on Etruscan city plan-
sion of gratitude to my colleagues at Boston University and to the
ning. New photographs of the Tarquinian Tomb of the Triclinium
thousands of students and the scores of teaching fellows in my art
and the Tomb of the Leopards, including four new details, as well as
history courses since I began teaching in 1975, especially my research
of the Tomb of the Reliefs at Cerveteri. New plan of Marzabotto and
assistant, Angelica Bradley. From them I have learned much that has
new drawing of arch construction.
helped determine the form and content of Art through the Ages and
made it a much better book than it otherwise might have been. 7: The Roman Empire. New Framing the Era essay “Roman Art as
Fred S. Kleiner Historical Fiction.” New Patron’s Voice box “The Res Gestae of Augus-
tus.” New Written Sources box “Vitruvius’s Ten Books on Architecture.”
New Problems and Solutions boxes “The Spiral Frieze of the Column
Chapter-by-Chapter Changes of Trajan,” “The Ancient World’s Largest Dome,” and “Tetrarchic
in the 15th Edition Portraiture.” New photographs of details of the apotheosis of Antoni-
nus and Faustina; the Temple of Vesta at Tivoli; cubiculum 15 of the
The 15th edition is extensively revised and expanded, as detailed below.
Villa of Agrippa Postumus at Boscotrecase; the Ara Pacis and its
Each chapter contains a revised Big Picture feature, and all maps in the
Tellus panel; the Maison Carrée at Nîmes; the Arch of Titus (general
text are new to this edition. Instructors will find a very helpful figure
view and three reliefs); the Column of Trajan (general view and four
number transition guide in the online instructor companion site.
details of the frieze); the exterior and interior of the Markets of Trajan;
Introduction: What Is Art History? Added 18th-century Benin the Pantheon; the Baths of Neptune at Ostia; the Arch of Constantine
Altar to the Hand and details of Claude Lorrain’s Embarkation of the (general view and detail of the Hadrianic tondi and Constantinian
Queen of Sheba. frieze); the colossal portrait head of Constantine; the Basilica Nova
1: Art in the Stone Age. New Problems and Solutions boxes “How in Rome; and the interior and exterior of the Aula Palatina at Trier.
to Represent an Animal” and “Painting in the Dark.” New bonus essay 8: Late Antiquity. Major reorganization of the chapter in order to
on Göbekli Tepe. New photographs of the Paleolithic Hohlenstein- treat the material in chronological order and merge the previously
Stadel statuette and of Neolithic Jericho, Göbekli Tepe, and Stone- separate discussions of Dura Europos, funerary art, architecture and
henge, as well as a new drawing of post-and-lintel construction. architectural decoration, and luxury arts. New two-page Religion
2: Ancient Mesopotamia and Persia. New Framing the Era essay and Mythology box “Early Christian Saints and Their Attributes”
“Pictorial Narration in Ancient Sumer.” New Problems and Solu- and new Problems and Solutions boxes “What Should a Church
tions boxes “Sumerian Votive Statuary” and “How Many Legs Does a Look Like?” and “Picturing the Spiritual World.” New photographs
Lamassu Have?” New Patron’s Voice box “Gudea of Lagash.” New pho- of the exterior and interior of Santa Costanza and Santa Sabina, the
tographs of the Warka Vase (including three new details), Akkadian Abraham and Lot mosaic in Santa Maria Maggiore, and the Crucifixion
ruler portrait, Lion Gate at Hattusa, Khorsabad lamassu, Ashurbani- panel of Santa Sabina’s wood doors.
pal hunting lions, and the triumph of Shapur I over Valerian. 9: Byzantium. New Problems and Solutions box “Placing a Dome
3: Egypt from Narmer to Cleopatra. New Framing the Era essay over a Square.” Discussion of Vienna Genesis and Rossano Gos-
“Life after Death in Ancient Egypt” and new Problems and Solu- pels transferred from Chapter 8. New photographs of the exterior
tions boxes “Building the Pyramids of Gizeh,” “How to Portray a and interior of Hagia Sophia, the choir and apse of San Vitale, the
God-King,” and “Illuminating Buildings before Lightbulbs.” New Katholikon at Hosios Loukas, and St. Catherine in Thessaloniki.
photographs of the palette of King Narmer, stepped pyramid of 10: The Islamic World. New Art and Society box “Major Muslim
King Djoser, Great Sphinx, tomb of Khnumhotep II, temple com- Dynasties.” New Written Sources box “A Venetian Visitor to the Alham-
plex and hypostyle hall at Karnak, portrait of Tiye with sun disk bra.” New photographs of the exterior and interior of the Dome of the
crown, and temple of Horus at Edfu. Rock in Jerusalem, the mosaics of the Great Mosque of Damascus, the
4: The Prehistoric Aegean. New Problems and Solutions box “For- Great Mosque at Kairouan, the exterior and interior of the Mosque of
tified Palaces for a Hostile World.” New Architectural Basics box Selim II at Edirne, and the Imam Mosque at Isfahan. Expanded discus-
“Corbeled Arches, Vaults, and Domes.” New photographs of the Lion sion and new photographs of the Friday Mosque at Isfahan, with new
Gate, the exterior and interior of the Treasury of Atreus, and Grave photographs and a new bonus essay on the 14th-century mihrab.
Circle A at Mycenae. New restored view of the palace at Knossos.
11: Early Medieval Europe. New Framing the Era essay “The
5: Ancient Greece. New Problems and Solutions boxes “The Psalms of David in Ninth-Century France.” New Materials and Tech-
Invention of Red-Figure Painting,” “Polykleitos’s Prescription for niques box “Cloisonné.” New Art and Society box “Early Medieval
Preface xiii
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
Ship Burials.” New Problems and Solutions box “Beautifying God’s Vishnu Temple at Deogarh and its Ananda panel; the Vishvanatha
Words.” New Written Sources box “Charlemagne’s Palatine Chapel Temple at Khajuraho and its mithuna reliefs; and the Bayon temple
at Aachen.” New bonus essay on Saint Pantaleon at Cologne. New and towers at Angkor.
photographs of the Palatine Chapel at Aachen, abbey church at
Corvey, Saint Cyriakus at Gernrode, Saint Michael’s at Hildesheim, 16: China and Korea to 1279. New Framing the Era essay “The First
and Bernward’s bronze column. Emperor’s Army in the Afterlife.” New Patron’s Voice box “Emperor
Huizong’s Auspicious Cranes.” New in-text discussions of Prince Liu
12: Romanesque Europe. New Framing the Era essay “The Door Sheng’s incense burner and the Sui altarpiece in Boston. Addition of
to Salvation.” New Problems and Solutions box “The Romanesque Li Chang’s A Solitary Temple amid Clearing Peaks. New photographs
Revival of Stone Sculpture.” New Patron’s Voice box “Terrifying of the terracotta soldiers and bronze horses of the Lintong army of
the Faithful at Autun.” New photographs of the tympanum and the First Emperor of Qin; the Han house model in Kansas City; the
trumeau of the south portal and of a historiated capital in the cloister murals in the tomb of Yongtai; Fan Kuan’s Travelers among Moun-
of Saint-Pierre at Moissac, the exterior and interior of Speyer tains and Streams; and the Buddhist cave temple at Seokguram.
Cathedral, and the facade of San Miniato al Monte in Florence. New
bonus essays, with new photographs, on the Krak des Chevaliers in 17: Japan before 1333. New discussion with a new photograph of a
Syria and the Leaning Tower of Pisa. Middle Jomon flame-style vessel and a new bonus essay and bonus
image of the Horyuji pagoda. New photograph of the Yakushiji
13: Gothic Europe. New Framing the Era essay “‘Modern Architec-
triad. New in-text discussion of Fujiwara no Sadanobu’s album leaf
ture’ in the Gothic Age.” New Problems and Solutions box “Building
and a new Written Sources box “Woman Writers and Calligraphers
a High Gothic Cathedral.” New Art and Society box “Gothic Book
at the Heian Imperial Court.”
Production.” New photographs of the rose window of Reims Cathe-
dral; Saint Theodore of the Chartres south transept; the interior of 18: Native American Cultures before 1300. New Framing the Era
Salisbury Cathedral; the Death of the Virgin tympanum of Stras- essay “War and Human Sacrifice in Ancient Mexico.” New Mate-
bourg Cathedral; the Naumburg Master’s Crucifixion and Ekkehard rials and Techniques box “Mural Painting at Teotihuacán.” New
and Uta; the Bamberg Rider; and the exterior and interior of Saint Art and Society box “Nasca Lines.” Reorganized discussion of late
Elizabeth at Marburg. Maya and Classic Veracruz periods. Revised and extended discussion
14: Late Medieval Italy. Expanded discussions of Nicola and of Palenque with the addition of the sarcophagus lid of Lord Pakal.
Giovanni Pisano, Pietro Cavallini, and Orvieto Cathedral. Addition New general view and details of the watercolor copy of the Lord
of Pisa Cathedral pulpit. New photographs of Giovanni Pisano’s Chan Muwan mural at Bonampak, and new photograph of the
Nativity, Pietro Cavallini’s Last Judgment, Giotto’s Entry into Jerusa- Sipán ear ornament.
lem, and the Doge’s Palace in Venice.
19: Africa before 1800. New Framing the Era essay “The Royal Arts
15: South and Southeast Asia before 1200. Expanded chapter of Benin.” New Problems and Solutions box “King Lalibela’s New
with new in-text discussions of Ashoka’s pillar at Lauriya Nandan- Jerusalem in Ethiopia.” Added a 16th-century brass plaque por-
garh and the Kailasanatha Temple at Ellora. New Framing the Era traying a Benin king on horseback, a painted animal plaque from
essay “The Great Stupa at Sanchi.” New Patron’s Voice box “Ashoka’s the Apollo 11 Cave in Namibia, and a Kuba ndop portrait of King
Sponsorship of Buddhism.” New photographs of the Great Stupa at Shyaam aMbul aNgoong. New photograph of the Tassili n’Ajjer rock
Sanchi and its toranas; bodhisattva Padmapani in Ajanta cave 1; the painting depicting a woman with a horned headdress.
xiv Preface
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Resources
xv
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## Caption here
I-1b Why is the small boat in the foreground much larger than the
## Caption here
sailing ship in the distance? What devices did Western artists develop
to produce the illusion of deep space in a two-dimensional painting?
1 ft.
Claude Lorrain, Embarkation of the Queen of Sheba, 1648. Oil on canvas, 1 ft.
I-1 4' 10" × 6' 4". National Gallery, London.
Cption here
##
I-1c Why does the large port building at the right edge
of this painting seem normal to the eye when the top and
bottom of the structure are not parallel horizontal lines,
as they are in a real building?
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
#
I N TRO DUCT ION
FRAMING THE ERA
Title Here
What Is Art History?
What is art history? Except when referring to the modern academic discipline, people do not often jux-
A head here
tapose the words art and history. They tend to think of history as the record and interpretation of past
Text
human here.
events, particularly social and political events. In contrast, most think of art, quite correctly, as
part of the present—as something people can see and touch. Of course, people cannot see or touch his-
tory’s vanished human events, but a visible, tangible artwork is a kind of persisting event. One or more
artists made it at a certain time and in a specific place, even if no one now knows who, when, where, or
why. Although created in the past, an artwork continues to exist in the present, long surviving its times.
The first painters and sculptors died 30,000 years ago, but their works remain, some of them exhibited
in glass cases in museums built only a few years ago.
Modern museum visitors can admire these objects from the remote past and countless others pro-
duced over the millennia—whether a large painting on canvas by a 17th-century French artist (fig. I-1),
a wood portrait from an ancient Egyptian tomb (fig. I-14), an illustrated book by a medieval German
monk (fig. I-8), or an 18th-century bronze altar glorifying an African king (fig. I-15)—without any
knowledge of the circumstances leading to the creation of those works. The beauty or sheer size of an
object can impress people, the artist’s virtuosity in the handling of ordinary or costly materials can
dazzle them, or the subject depicted can move them emotionally. Viewers can react to what they see,
interpret the work in the light of their own experience, and judge it a success or a failure. These are all
valid responses to a work of art. But the enjoyment and appreciation of artworks in museum settings are
relatively recent phenomena, as is the creation of artworks solely for museum-going audiences to view.
Today, it is common for artists to work in private studios and to create paintings, sculptures, and
other objects to be offered for sale by commercial art galleries. This is what American artist Clyfford
Still (1904–1980) did when he created his series of paintings (fig. I-2) of pure color titled simply with
the year of their creation. Usually, someone the artist has never met will purchase the artwork and dis-
play it in a setting that the artist has never seen. This practice is not a new phenomenon in the history
of art—an ancient potter decorating a vase for sale at a village market stall probably did not know who
would buy the pot or where it would be housed—but it is not at all typical. In fact, it is exceptional.
Throughout history, most artists created paintings, sculptures, and other objects for specific patrons
and settings and to fulfill a specific purpose, even if today no one knows the original contexts of those
artworks. Museum visitors can appreciate the visual and tactile qualities of these objects, but they can-
not understand why they were made or why they appear as they do without knowing the circumstances
of their creation. Art appreciation does not require knowledge of the historical context of an artwork
(or a building). Art history does.
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ART HISTORY IN THE 21ST CENTURY
Art historians study the visual and tangible objects that humans
make and the structures that they build. Scholars traditionally have
classified these works as architecture, sculpture, the pictorial arts
(painting, drawing, printmaking, and photography), and the craft
arts, or arts of design. The craft arts comprise utilitarian objects,
such as ceramics, metalwork, textiles, jewelry, and similar acces-
sories of ordinary living—but the fact that these objects were used
does not mean that they are not works of art. In fact, in some times
and places, these so-called minor arts were the most prestigious art-
works of all. Artists of every age have blurred the boundaries among
these categories, but this is especially true today, when multimedia
works abound.
Beginning with the earliest Greco-Roman art critics, scholars
have studied objects that their makers consciously manufactured
as “art” and to which the artists assigned formal titles. But today’s
art historians also study a multitude of objects that their creators
and owners almost certainly did not consider to be “works of art.”
Few ancient Romans, for example, would have regarded a coin
bearing their emperor’s portrait as anything but money. Today, an
1 ft. art museum may exhibit that coin in a locked case in a climate-
controlled room, and scholars may subject it to the same kind of
art historical analysis as a portrait by an acclaimed Renaissance or
modern sculptor or painter.
The range of objects that art historians study is constantly
expanding and now includes, for example, computer-generated
I-2 Clyfford Still, 1948-C, 1948. Oil on canvas, 6' 8 78 " × 5' 8 34 ". images, whereas in the past almost anything produced using a
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, machine would not have been regarded as art. Most people still con-
Washington, D.C. (purchased with funds of Joseph H. Hirshhorn, sider the performing arts—music, drama, and dance—as outside art
1992). history’s realm because these arts are fleeting, impermanent media.
Clyfford Still painted this abstract composition without knowing who would But during the past few decades, even this distinction between “fine
purchase it or where it would be displayed, but throughout history, most artists art” and “performance art” has become blurred. Art historians, how-
created works for specific patrons and settings. ever, generally ask the same kinds of questions about what they study,
whether they employ a restrictive or expansive definition of art.
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example, official records may note when church officials commis- display any stylistic unity at all. How would someone define the
sioned a new altarpiece—and how much they paid to which artist. artistic style of the second decade of the new millennium in North
Internal evidence can play a significant role in dating an art- America? Far too many crosscurrents exist in contemporary art for
work. A painter might have depicted an identifiable person or a anyone to describe a period style of the early 21st century—even in
kind of hairstyle, clothing, or furniture fashionable only at a certain a single city such as New York.
time. If so, the art historian can assign a more accurate date to that Regional style is the term that art historians use to describe
painting. variations in style tied to geography. Like an object’s date, its
Stylistic evidence is also very important. The analysis of style— provenance, or place of origin, can significantly determine its char-
an artist’s distinctive manner of producing an object—is the art acter. Very often two artworks from the same place made centuries
historian’s special sphere. Unfortunately, because it is a subjective apart are more similar than contemporaneous works from two
assessment, an artwork’s style is by far the most unreliable chrono- different regions. To cite one example, usually only an expert can
logical criterion. Still, art historians find stylistic evidence a very distinguish between an Egyptian statue carved in 2500 bce and one
useful tool for establishing chronology. made in 500 bce. But no one would mistake an Egyptian statue of
500 bce for one of the same date made in Greece or Mexico.
WHAT IS ITS STYLE? Defining artistic style is one of the key ele- Considerable variations in a given area’s style are possible, how-
ments of art historical inquiry, although the analysis of artworks ever, even during a single historical period. In late medieval Europe,
solely in terms of style no longer dominates the field the way it once French architecture differed significantly from Italian architecture.
did. Art historians speak of several different kinds of artistic styles. The interiors of Beauvais Cathedral (fig. I-3) and the church of
Period style refers to the characteristic artistic manner of a spe- Santa Croce (Holy Cross, fig. I-4) in Florence typify the architec-
cific era or span of years, usually within a distinct culture, such as tural styles of France and Italy, respectively, at the end of the 13th
“Archaic Greek” or “High Renaissance.” But many periods do not century. The rebuilding of the east end of Beauvais Cathedral began
in 1284. Construction commenced on Santa Croce only 10 years
later. Both structures employ the pointed arch characteristic of this
era, yet the two churches differ strikingly. The French church has
towering stone ceilings and large expanses of colored-glass win-
dows, whereas the Italian building has a low timber roof and small,
I-3 Choir of Beauvais Cathedral (looking east), Beauvais, France, I-4 Interior of Santa Croce (looking east), Florence, Italy, begun
rebuilt after 1284. 1294.
The style of an object or building often varies from region to region. This In contrast to Beauvais Cathedral (fig. I-3), this contemporaneous Florentine
cathedral has towering stone vaults and large stained-glass windows typical church conforms to the quite different regional style of Italy. The building has
of 13th-century French architecture. a low timber roof and small windows.
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1 ft.
O’Keeffe’s paintings feature close-up views of petals and leaves in which the
organic forms become powerful abstract compositions. This approach to paint-
ing typifies the artist’s distinctive personal style.
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I-7 Gislebertus, weighing of souls, detail of Last Judgment
(fig. 12-15), west tympanum of Saint-Lazare, Autun, France,
ca. 1120–1135.
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artist’s personal style. Although signing (and dating) works is quite
common (but by no means universal) today, in the history of art,
countless works exist whose artists remain unknown. Because per-
sonal style can play a major role in determining the character of
an artwork, art historians often try to attribute anonymous works
to known artists. Sometimes they assemble a group of works all
thought to be by the same person, even though none of the objects in
the group is the known work of an artist with a recorded name. Art
historians thus reconstruct the careers of artists such as “the Achil-
les Painter,” the anonymous ancient Greek artist whose masterwork
is a depiction of the hero Achilles. Scholars base their attributions
on internal evidence, such as the distinctive way an artist draws or
carves drapery folds, earlobes, or flowers. It requires a keen, highly
trained eye and long experience to become a connoisseur, an expert
in assigning artworks to “the hand” of one artist rather than another.
Attribution is subjective, of course, and ever open to doubt. For
example, scholars continue to debate attributions to the famous
17th-century Dutch painter Rembrandt van Rijn.
Sometimes a group of artists works in the same style at the same
time and place. Art historians designate such a group as a school.
“School” does not mean an educational institution or art academy.
The term connotes only shared chronology, style, and geography.
Art historians speak, for example, of the Dutch school of the 17th
century and, within it, of subschools such as those of the cities of
Haarlem, Utrecht, and Leyden.
WHO PAID FOR IT? The interest that many art historians show in
1 in. attribution reflects their conviction that the identity of an artwork’s
maker is the major reason the object looks the way it does. For them,
personal style is of paramount importance. But in many times and
places, artists had little to say about what form their work would
I-9 Albrecht Dürer, The Four Horsemen of the Apocalypse, ca. 1498. take. They toiled in obscurity, doing the bidding of their patrons,
Woodcut, 1' 3 14 " × 11". Metropolitan Museum of Art, New York (gift of those who paid them to make individual works or employed them
Junius S. Morgan, 1919). on a continuing basis. The role of patrons in dictating the content
Personifications are abstract ideas codified in human form. Here, Albrecht and shaping the form of artworks is also an important subject of art
Dürer represented Death, Famine, War, and Pestilence as four men on charging historical inquiry, more so today than at any time in the past.
horses, each one carrying an identifying attribute. In the art of portraiture, to name only one category of painting
and sculpture, the patron has often played a dominant role in decid-
ing how the artist represented the subject, whether that person was
of the Apocalypse (fig. I-9) by German artist Albrecht Dürer the patron or another individual, such as a spouse, son, or mother.
(1471–1528). The late-15th-century print is a terrifying depiction of Many Egyptian pharaohs and some Roman emperors, for example,
the fateful day at the end of time when, according to the Bible’s last insisted that artists depict them with unlined faces and perfect
book, Death, Famine, War, and Pestilence will annihilate the human youthful bodies no matter how old they were when portrayed. In
race. Dürer personified Death as an emaciated old man with a pitch- these cases, the state employed the sculptors and painters, and the
fork. Famine swings the scales for weighing human souls (compare artists had no choice but to portray their patrons in the officially
fig. I-7). War wields a sword, and Pestilence draws a bow. approved manner. This is why Augustus, who lived to age 76, looks
Even without considering style and without knowing a work’s so young in his portraits (fig. I-10). Although Roman emperor for
maker, informed viewers can determine much about the work’s more than 40 years, Augustus demanded that artists always repre-
period and provenance by iconographical and subject analysis sent him as a young, godlike head of state.
alone. In The Passion of Sacco and Vanzetti (fig. I-6), for example, All modes of artistic production reveal the impact of patronage.
the two coffins, the trio headed by an academic, and the robed judge Learned monks provided the themes for the sculptural decoration of
in the background are all pictorial clues revealing the painting’s sub- medieval church portals (fig. I-7). Renaissance princes and popes
ject. The work’s date must be after the trial and execution, probably dictated the subject, size, and materials of artworks destined for
while the event was still newsworthy. And because the two men’s display in buildings also constructed according to their specifica-
deaths caused the greatest outrage in the United States, the painter– tions. An art historian could make a very long list of commissioned
social critic was probably an American. works, and it would indicate that patrons have had diverse tastes
and needs throughout history and consequently have demanded
WHO MADE IT? If Ben Shahn had not signed his painting of Sacco different kinds of art. Whenever a patron contracts with an art-
and Vanzetti, an art historian could still assign, or attribute (make ist or architect to paint, sculpt, or build in a prescribed manner,
an attribution of), the work to him based on knowledge of the personal style often becomes a very minor factor in the ultimate
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Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
their color, texture, and other qualities. Composition refers to how
an artist composes (organizes) forms in an artwork, either by placing
shapes on a flat surface or by arranging forms in space.
Copyright 2016 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
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Another random document with
no related content on Scribd:
– Köszönöm a jóságát – susogta a leány.
Jósika megfogta kezét:
– Édes szép galambom – mondta szerelmes melegséggel.
– Hagyjon, báró úr, kérem, hagyjon – könyörgött Franciska és
sírásra készen vette elő kis kendőjét.
– Mi baja, egyetlenem? – kérdezte Jósika és átölelte a leányt. Ő
már elhatározta, hogy gyönyörűen összebujva teszik meg ezt az utat
és íme, most Franciska kibontakozott karjából.
– Az apámra gondolok – mondta komoly hangon.
– Pedig most nem szabad rá gondolnia, Franciska. Most
gondoljon a bálra, gondoljon szerelmünkre, gondoljon a jövőre, a
fényes, ragyogó jövőre – biztatta Jósika, de valójában maga sem
volt tisztában azzal, hogy milyen is lesz az a jövendő.
Tizenhét éves kora óta háborúban volt mindig, huszonegy
esztendős fejével sejtelme sem volt egy komoly, mély érzelemről.
Csak kalandokat ismert, heves, gyors, muló szerelmeket, melyeket a
folyton leselkedő halál tesz édesebbé és melyekből a változékony
hadi élet eleve kizárja a hűséget. A leány azé, aki meghódítja, és
övé addig, míg lehet, míg a sors tovább nem viszi katonáját új
harcokba, új veszélybe. Hány leányt ölelt ő már; hánynak igért örök
hűséget, hány után repedt meg a szíve? Ki tudja azt! Franciska egy
a sok közül, ebben a percben a legédesebb, az egyetlen, az övé és
bolond ember, ki a pillanat örömein túl is gondolkozik.
Gyengéden kereste meg a leány kezét, kihúzta nagy, sötét
gallérja alól, megcsókolta forrón, sokszor és fülébe suttogta csábító
szavait:
– Ne gondoljon az édesapjára, szerelmem. Ne gondolj rá drága
galambom. Neked el kellett hagynod őt. Te egy szép, tarka pillangó
vagy, aki a fényt keresi és ő nem engedte, hogy meglásd a
világosságot. Gyönyörű rózsa vagy és ő elrejtve tartotta ezt a
pompás virágot, hogy ne érezze a nap forró sugarait. Mit szólna a
világ hozzá, ha Mozart bezárkózva, úgy verte volna a fortepianót,
hogy senki se hallja? Mi lenne, ha az írók nem engednék, hogy
olvassák, amit írtak, és az aktorok nem hagynák, hogy lássák őket
játszani? Az apád irígyen rejtette el műveit, az órákat és irígyen
rejtett el téged is. Azért a császár elvette legszebb óráját és én
elraboltam a pillangóját, elraboltalak téged, gyönyörű galambom.
Szeretsz, úgy-e, szeretsz?
– Nem tudom, – felelte Franciska – talán… majd…
– Szeretsz, szeretsz – ujjongott Jósika és ismét karjába akarta
kapni.
– Ne, ne, most ne, még ne – susogta a leány.
– Jó, hát türelmes leszek, de hidd el, édes madaram, minden
pillanatért kár. Az élet gonosz, az élet csúnya, néhány hangulatos
órát ad nekünk, egy pár önfeledt percet. Azokban a percekben
szemünkben a lelkünk és ajkunkon egész szívünk, azok szépek,
azokért érdemes küzdeni, lenni, meghalni. Most olyan perceket
élünk, Franciska. Az élet épen olyan vén uzsorás, mint a te apád,
angyalom, meg kell lopnunk, el kell rabolnunk legnagyobb kincsét, a
szerelmet, legszebb drágaköveit, a csókokat. Nálad is ritka
gyémántjait zárta el kis szívem, te őrzöd a legfényesebbeket, adj
nekem belőlük egyetlenem. Csókolj meg pillangóm, rózsám,
madaram.
Jósika beszélt mint egy csábító regényhős és Franciska
megmámorosodva hallgatta, szívta magába az édes mérget.
– Majd később, a bál után – rebegte.
– Később? Majd? Nem, nem, most – és hosszú csókban zárta le
ajkát a kis kapitány.
A szekér rohant, az este leszállt, sötét lett körülöttük, de
Franciska folyton azt a fényességet látta, mely a sötéten, az estén
túl várt reá.
– Már messze járnak – gondolta Hiláriusz, aztán odahagyta
csendes műhelyét, ahol kedvenc órájának ketyegése kísértett
szomorúan.
– Franciska! – szólt és leült karosszékébe az ebédlő sarkában.
– Franciska! – ismételte hangosabban egy idő mulva. Vágyott a
leánya után, hangját akarta hallani, csengő, élő szavát, hogy
elnyomja lelkében a tompa, halott ketyegést.
– Franciska! – kiáltott ki az udvarra.
– Franciska, gyere! – és megtelt türelmetlen hangjával az egész
ház.
Náni sietve jött kisírt szemmel:
– Nincs künn a kisasszony – jelentette.
– Hát hol van? – kérdezte ijedten Hiláriusz mester.
Bement a Franciska szobájába, gyertyát gyújtott és szétnézett.
Kitárta a szekrényt is, ismerte leányának minden darab ruháját,
apró szalagját, virágját. A nagy gallérja hiányzott és rózsaszín
csokros sötét kalapja nem lógott a fogason.
– Elment hazulról?
– Nem tudom – rebegte Náni.
Egy pillanatig tanácstalanul állt az órásmester, aztán mintha a
szobától várna feleletet, sorra világította meg Franciskájának kedves
bútorait. Az asztalt, a székeket, a pamlagot, az ágyat, a kis zongorát,
a himzőrámát, a fiókos szekrényt és rajta egy kis fehér papirlapot, a
papiron pedig néhány sor írást:
„Édes jó apám, elmegyek, el kell mennem. Elmegyek most, mert
most elvisznek, mert értem jönnek. Látni akarom a nagy világot, az
életet, mindent, amit te nem akartál megmutatni nekem. Bocsáss
meg jó apám. Hálás leányod Franciska.“
– Elment – nyögte Hiláriusz megkövülve a fájdalomtól.
– Ellopták tőlem – ordította aztán és kirohant a szobából, mintha
utána futhatna, mintha elérhetné.
A kapualjban hirtelen megállt, a nagy, fehér ládába ütközött,
melynek falán át hallani lehetett a Napoleon-óra ketyegését. Az óra
itt maradt, csak a leányát, csak Franciskáját vitte el tőle az a
göndörhajú, szép, fiatal betyár, az a hitvány gazember, az a… és
Franciskát, az ő büszke Franciskáját elcsábította az első hencegő
katona, az első szerelmes szó.
– Átkozott, átkozott! Átkozott a csábító és átkozott Franciska is.
Átkozott az egész világ!
Vad, tomboló fájdalmában lángokban szeretett volna látni
mindent és ekkor a fehér láda mélyéből egykedvű, pontos
ketyegéssel szólt hozzá kedvenc órája.
– Hallgass, hallgass – kiabálta Hiláriusz mester, felfordította a
ládát, vad erővel a falhoz csapta, ütötte, lökte, de a deszkák nem
engedtek. Fejszéért rohant, meglóbálta feje fölött a gyilkos
szerszámot és őrült csapásokkal törte össze élte kedvenc alkotását.
Csupaszon hevert előtte az óra bús szerkezete, összezúzva a barna
szekrény, az oroszlánkörmös állvány, a Napoleon-szobor.
– Hallgatsz, úgy-e, most már hallgatsz? – kiabálta
kétségbeesetten, egyet rúgva a kerekek rejtélyes halmazán. De
akkor, amint hozzáért, a szerkezet mélyéből előnyúlt a kis arany
kalapács, az óra még egyszer szólni kezdett és a kalapács koppant,
koppant egyszer, kétszer, sokszor a levegőben… nem, az ő lelkén, a
Napoleon feje helyett mestere szívére mérte apró, csengő ütéseit.
Müller Hiláriusz állt megdermedve, fájdalma tompa
kétségbeesésbe csendesült, összetörött a csapások alatt.
– Franciska, Franciska – nyögte zokogva és odaborult kedvenc
órájának romjaira.
VI. FEJEZET.
Pfisterer Kristóféknál.
Tíz óra felé távozott Ferenc császár a bálból, de Sándor cár még
ott maradt. Szenvedélyesen szerette a táncot és a nőket, a sok
szép, idegen, sohasem látott asszonyt, leányt, kiket kedve szerint
ölelhetett magához zeneszóra.
Nagyszerű hangulatban volt, az országház termeiben pompásan
lehetett keringőzni és a karzatokon a sok ember mind abban
gyönyörködött, hogy ő mint mulat.
– Mi még maradunk – mondta adjutánsának, Wolkonskinak, úgy
hogy mindenki hallhatta. – Európának összes nemzeteit ismerem, de
a magyarhoz egy sem hasonlítható.
Mintha simogató tavaszi szél vinné, úgy járt szájról-szájra a
merész kijelentés, Sándor cár meghódított magának minden szívet.
– Jaj de szép ember. Soha ilyen deli alkatú férfit még nem láttam.
Nézd azt a gyönyörű, göndör, szőke haját. Milyen piros az arca.
Hogy fénylik a szeme. De boldog lehet, aki vele táncol.
Orczy bárónővel táncolt a cár, átfonta derekát szorosan és
merészen udvarolva suttogott ezer szépet az asszony égő fülébe.
Legjobban tetszett neki ma este ez a telt, fehérnyakú, gyémántos,
hermelines, kényes cica. Kicsit le kellett hajolnia a pici bárónőhöz,
magas termetéhez nem igen illett az apró táncosnő, de őt annál
inkább meghódította. Csupa mosoly volt a cár, szépen formált, piros
ajka közül szinte vakítón villogtak elő feltünően erős, fehér fogai,
csak mélyen fekvő, szúrós, kék szemében fénylett valami vizsgálódó
keménység, az uralkodó gyanakodó tartózkodása. Szép ember volt,
de tompa, kalmük orra kicsit ázsiai jelleget adott arcának.
A táncoló párt egy sötét magyarruhás alak követte, közelférkőzve
hozzájuk és lesve minden szót a cár ajkáról. A titkos rendőrség
megbizottja volt, Majláth Miklós gróf, kitől fontos jelentéseket várt
Bécsben báró Hager Ferenc, a rendőrfőnök. Nagy viták folynak épen
a kongresszuson, vigyázni kell az uralkodók minden mosolyára.
A cár elengedte táncosnőjét, meghajolt előtte mélyen, aztán
franciául mondta:
– Nagyon sajnálom, Madame, hogy ez alkalommal nem
terhelhettük meg lelkiismeretünket, de remélem, még kipótoljuk, ha
legközelebb Bécsbe jön.
Majláth gróf mögöttük állt, arca derűs lett, milyen öröm, hogy ezt
meghallotta, a Geheimpolizei feje az ilyeneknek is örül, mert ezekkel
mulattatja a császárt, aki a finom, pikáns történeteket szereti.
– Na lássa, Franciska, ez a bál – mondta Jósika és a dobogó
szívű leánnyal belépett a terembe.
Színes ábránd volt az egész este, az eljövetel a Pfisterer-házból
és most ez a fényes terem, a keringőző párok, a sok-sok gyertya, a
gyémántok fényétől, illatszertől, virágillattól mámoros levegő.
Omló selymek, átlátszó fátyolszövetek, halavány csipkék, nehéz
bársonyok. A hölgyek ragyogó nyaka kivirágzott színes ruháikból és
szemük fénye ékszereiknek kék, sárga, piros, zöld, violaszín
ragyogásával egyetlen hatalmas égő virágcsokorba olvadt össze.
– Oh be gyönyörű – sóhajtotta Franciska és érezte, hogy most
életének minden pillanata egy-egy valóra vált álom, vagy talán
örökre eltűnő illuzió.
– Gyere, táncoljunk mi is, szép szívem.
Jósika átfonta a leány derekát. A kis kapitány jól táncolt, vitte,
repítette aranyhajú szerelmét és Franciska nem látott, nem hallott
semmit, elkábulva suhant, repült tova, behúnyt szemmel, boldogan.
– Na jó, na szép? – kérdezte a báró.
Erre felébredt Franciska és tágranyitotta szemét. Egy pillanatig
átadta volt magát a beteljesedés boldog mámorának, most már új
küzdelemre hívta az élet. Ez a budai bál nem jelenti vágyai végcélját,
neki még minden erejével, minden szenvedélyével kell alkudnia a
mai éjszakával… Hirtelen megállt és szétnézett:
– Ki az a szőke fiatalember? – kérdezte és a cárra mutatott, aki a
délszaki növényekkel díszített, bíborszőnyeges emelvény előtt állt.
– Sándor, az orosz császár őfelsége, biztosan boldog, hogy
kegyed figyelmére méltatja, gyönyörű angyalom – felelte Jósika.
– Az orosz cár, igazán? – Franciska izgatott lett. – Hiszen azt
mondta volt, hogy az udvar már eltávozott a bálról?
– A mi felséges urunk el is ment, a porosz király is, de ő, úgy
látszik, itt maradt. Beszélik, hogy Pétervárt is mindig reggelig táncol
a bálokon, Bécsben pedig inkognitóban elmegy a polgári
mulatságokra is. De mit bánjuk mi azt? Jöjjön Franciskám,
táncoljunk tovább. Az élet olyan szép, itt tarthatom a karomban, a
zene csak nekünk szól, az egész bál a mienk. Jöjjön, szívvirágom.
Franciska nem mozdult, a cárt nézte, rajta felejtette égő, sötét
tekintetét.
– Pillantson már rám is, angyalom – hízelgett Jósika, aztán
megragadta a leányt, hogy tovakeringőzzék vele, de a zene hirtelen
elhallgatott és Cziráki Antal Mózes gróf, Ludovika császárné híres
kedvence, a cár mellől az emelvényre lépett.
Moraj zúgott végig a közönségen. Mi lesz most? Az erkélyekről
kíváncsi arcok hajoltak előre, a hölgyek szíve dobogott, csend lett a
teremben és a nagy némaságban messzire csengtek a gróf szavai:
– Sándor cár őfelsége a nemzeti táncot szeretné látni.
A szomszéd teremből előjött a mostanáig mellőzött cigánybanda,
zsinóros, dolmányos, barnaarcú, legények foglalták el a cseh
muzsikusok helyét és húzni kezdték a híres Bihari egyik nótáját.
Keveset táncoltak akkoriban magyar táncot. No most ki járja el
úgy, hogy a cárnak tessék? Hol a fiatalság? Cziráki szétnézett a
teremben, ott volt körülötte a magyar mágnások, nemesség szine-
java, sorra intett nekik:
– Esterházy rajta! Siess Vince, táncosnét neked gyorsan!
Esterházy egy pillanatig keresett csak a hölgyek között, aztán
már ott táncolt a gyönyörű Rádai Ninával.
Az ifjúság kedvet kapott, a magyar zenére megmozdultak az alvó
szívek, mint valami régi, szép emlék, gyermekkori merész ábránd
magával ragadott mindenkit. Öt pár táncolt már a cár előtt és a terem
örvendve nézte őket. Más volt, lágyabb volt, mint a keringő,
tüzesebb a francia táncoknál, jobban illett a huszárruhás,
díszmagyaros ifjaknak. A leányok hajában libegtek a pártaszalagok,
kipirult az arcuk, mintha egyszerre kényesebbek lennének,
tüzesebbek, szebbek.
Jósika kézenfogta Franciskát:
– Jöjjön, Franciska, menjünk mi is. Minek nézzük, amint más
táncol? Én erdélyi fiú vagyok, jobban értem mindenkinél.
– De én? – kérdezte ijedten a leány.
– Te a legszebb vagy ma itt! – felelte nyugodtan Jósika és mintha
ez mindenre jogot adna, odavezette Franciskát a cár elé.
– Ni, ni, a kis Jósika – mondta Cziráki.
– Ki ez a fiatal hölgy? – kérdezte a cár.
– Az ifjú, felség, kivel táncol, báró Jósika Miklós. Fiatal gyerek, de
már kapitány, többször kitüntette magát a franciák elleni
hadjáratokban.