RUSSIAN ORNAMENT

Russian Ornament - Tartaric influence – which dates chiefly from 1237 to 1480, when the Tartars were in power – may be regarded beyond any doubt as the chief cause why the pure Byzantine style originally established in Russia came to be changed later on into the Ornament special to that country. There, as into every other country where they appeared, the Christians brought with them a new style of art, which developed itself afterwards in accordance with the national character of the people. 

The commencement of Russian Art may be said to date from the end of the 10^th century under the reign of  Vladimir the Great. In the latter part of the Middle Ages and towards the beginning of the Modern period, Italian artists were invited in great numbers into the country and were engaged in the costruction of numerous monumental buildings.

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EARLY CHRISTIAN ORNAMENT

Gradually, as the political supremacy of a country begins to decline, Art in that country begins also to decay. The decline of classic art was the natural consequence of the political weakness and final decay of the Western Roman Empire, as well as of the decisive victory which Christianity finally obtained over Heathenism. READ MORE.

SCANDINAVIAN ROMANESQUE ORNAMENT

In Norway, the Scandinavian Ornament stands in the most intimate relationship with the Celtic, a circumstance which is due to the fact that Christianity was first introduced into Norway by the Irish. In South Norway, where English influence had to give way before the German, stone architecture is predominant, READ MORE.

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SCANDINAVIAN ROMANESQUE ORNAMENT

Scandinavian Romanesque Ornament - In Norway, the Scandinavian Ornament stands in the most intimate relationship with the Celtic, a circumstance which is due to the fact that Christianity was first introduced into Norway by the Irish. In South Norway, where English influence had to give way before the German, stone architecture is predominant, one of the most beautiful examples of this style being be cathedral at Lund, a basilica founded in 1072, but not completed till 1145. Archbishop Eskill who consecrated it and presided over its completion came from Hildesheim and it is to his influence that the pronounced German character of the design may be attributed. The same is found in the large conventual church at Dalby, south of Lund, which was consecrated in 1163, the crypt however being of earlier date. Besides being found in South Norway, stone architecture of a most decidedly early Germanic style is also predominant in Sweden and Denmark.

In the north of Norway, however, and during the same period, a typical style of wooden a architecture was developed. This style in all probability had its origin in England, although at the present time, there is but one example of a wooden church throughout the whole country, namely, the wooden church at Greenstead, near London. The greatest and most powerful influence, however, to which the Romanesque – Scandinavian wooden style of architecture was subjected during its development was the influence exercised by Irish-Celtic Art. It must not be forgotten, at the same time, that the peculiar Norwegian parish churches appear to have had an independent development of their own, the richly decorated, ornamental doorway of these churches being very characteristic. Three period are note in the construction of these churches.

•      The archaic form, or the priod of Irish influence up to the year 1150 A. D.
•      The period distinguished by the Romanesque form, a style, which, in all probability was taken from the Anglo Saxons and Anglo Normans up to the year 1250 A. D.
•       The period of Gothic influence up to the decline of art. The Gothic coul never entirely supersede the influence of the Romanesque, a style which had already taken such deep root in the country.

There are three styles of doorways :

a.       The Sognin Type. This takes its name from a country  ditrict, and, is distinguished from the other styles of doorways by the delicacy and elegance of the tracery work, no different or distinct periods of development being apparent.

b.      The Thelmark Type. This type of doorway may beseen in the church of christianasand. The traceries are broad, very often rough and coarse, and in strong contrast to the foregoing style. The development and decadence of the Thelmark type of doorway can be much better observed an followed the Sognin type.

c.       The Figurative Portals. This style of doorway which belongs either to bible history or to mythology, is found only in South Norway. The artistic treatment of the figures is inferior that of the Ornament.

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RUSSIAN ORNAMENT

Tartaric influence – which dates chiefly from 1237 to 1480, when the Tartars were in power – may be

regarded beyond any doubt as the chief cause why the pure Byzantine style originally established in

Russia came to be changed later on into the Ornament special to that country. READ

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BYZANTINE ORNAMENT

Byzantine is the title given to that conglomerate style of art which was developed in the Eastern Roman

Empire from all the different styles which were in existence at that early period. The first impulse to the

development of a Byzantine style was given in the year 30 A. D., when Byzantine or Constantinople

became the seat of the royal residence of the emperor Constantine. READ MORE.

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