GOTHIC AKT. 72 GOTHIC JURISPRUDENCE. Xuremberg contain fine examples of the wood- carving of that school. The chief artists were Michael Wohlgemuth (q.v.) and Veit Stoss (q.v.). who transplanted the art to Cracow, Po- land. His latest and best work, however, falls in the Renaissance period. ^i ^ v ^i t^ ,« in- ^i Italy. The school of Pisa was the first to *!'? patronage ot the Emperor Charles 1 ., the achieve the revival of sculpture in Italj-. in the In Germany the buildings of the transitional stj'le attorded more opportunity for mural paint- ings. On the Rhine a school arose at Cologne, in the fourteenth century, the m^'stic and sentimen- tal inclinations of which show French inlluenee. A Bohemian school flourished near Prague under person of Niccola Pisano (c". 1200-1278). Though belonging to the Gothic epoch, his sculptures owe all their inspiration to the antique, forming a sort of Proto-Renaissance. (See Rexaiss. ce Abt.) His son CJiovanni (c. 1250-c. 1320), how- ever, accepted the dramatic and naturalistic ele- ments of Gothic art. and under Andrea Pisano, who was chierty active in Florence. Gothic sculp- ture reached its highest development between 1310 and 1335. (For these three masters see Andrea, and Pisano.) Its chief monuments in chief characteristic of which was a harsh realism. Midway between the two were the Franconian School, with a centre at Nuremberg, and the Swa- bian, the beginnings of which both fall in the fourteenth century. In the fifteenth centuiy the increasing study of nature and the breakup of mediaeval ideals led to the Renaissance of Gierman painting. See Painting. The few surviving examples of the paintings of the French and Flemish schools resemble those of the Lower Rhine. But in Italy the large wall spaces of Gothic architecture afforded ample Tuseanv arc the sculptures of the facade of the opportunity for painting. From c. 12.50 Italy Cathedral of Orvieto, the marble reliefs on the fakes the lead in painting, and m the latter Campanile, and the bronze doors of the Baptist- twelfth and thirteenth centuries schools of fresco ery of Florence. The style was further developed painting of great importance arose, of which the by the Florentine Andrea Orcagna (c. 1320-08) most important was the Florentine. Being of (qv.). whose masterpiece is the tabernacle of dominant importance for the development of Orsanmichele. Tlie most important school out, painting, these schools are more properly treated side of Florence was that of Siena, whence the under Painting^ under the names of separate art was transplanted to Xaples and Lombardy, with Verona as a centre. In Lombardy the school developed a series of sepulchral monuments of great magnificence and originality, the most im- portant of which are those of the Scaliger family. The Roman school of sculpture, which came to an end e. 1300. was not properly Gothic, but found all its inspiration in antiquity. (See Co.sm.ti.) In like manner, the admirable South Italian School, which developed in the early thirteenth century under the patronage of the Emperor Frederic II., foimd its inspiration in Greek originals. (See RojtANESQUE Art.) As else- where, marble and stone were the chief materials used, though bronze casting was brought to high perfection by Andrea Pisano. Italian sculptors lacked the imagination of the French, their sub- jects being the traditional ones of the Old and New Testaments. PAINTING AND ALLIED ABTS. The breaking up of the wall surfaces in Gothic art left little opportunity for painting. There was, however, an increased opportunity for glass- painting, which, during this epoch, attained its highest development. The windows of the great French cathedrals were treated so as to form cycles of Biblical stories and Christian legends, showing the substance of the Christian doctrine. Most of these cycles liave perished, but remains survive in the chief cathedrals. The most per- fect thirteenth century example is the Cathedral of Chartres. with its one hundred and forty-six windows: the glasses of the Sainte Chapelle in Paris have been so perfectly restored as to give schools, like Florentine School. Siexese SciiooL, etc.; and, in detail, in the articles upon prominent artists, like Cimabue, Giotto, Or- cagna. etc. Mural decorations in private houses were com- mon. The style was the same as in churches, but the subjects represented were chivalric, the same that were sung by trouv6re and Minne- siinger. Similar in subject and style were the tapestries (q.v.), and other textile products of the period. There was a very high <levelopment of miniature painting (q.v.), especially in France and Italy. Consult the authorities re- ferred to in the articles on Painting, and Minia- ture Painting. Bibliography. For French sculpture consult : Adams, Recueil dc sculiitiircs gothir]ues (Paris. 1850) ; Baudot. La sculpture fr'in^ai.ie au mojien (iqe et a la Renaissance (Paris, 1884) : Emeric- liavid. Bistoire de la sculpture francaise (Paris. 1S53) ; Frothingham, Jr., in American Journal of ArclKFolopfi. 1885. For Germany, see Bode. (,t- schichtc iter deutschen Plastik (Berlin. 1880) ; Liibke. Geschichte der Plastik (Leipzig, 1880). For Italy, Bode, Die italienische Plastik (Berlin. 1891); Perkins, Tuscan Sculpture (London, 1864) : Italian Sculpture (ib.. 1868) ; Handbook of Italian Sculpture (New York, 1883). GOTHIC JURISPRUDENCE. The law of the Goths, as well as the Roman law codified and administered by them. The Goths had orig- inally the same law as the other Germanic races, it being administered on the whole by the family, and only very grave criminal offenses being dealt with by the State. What makes Gothic juris- an excellent idea of the best period. Good English prudence especially interesting is the adoption examples are to be found in the cathedrals of Salisbury. Lincoln, and York. In the fourteenth century came a decisive change with the intro- duction of architectural forms into glass-paint- insr. which had heretofore been in patterns more like tapestry. In France glasses of that descrip- tion are most frequent in the cathedrals of the south, and in private houses: but the finest ex- amples are in Gernianv. especially in the Cathe- drals of Cologne and Strassburg. of the Roman law, and its codification. This is true of the Visigoths rather than the Ostrogoths, who merely used the Byzantine law as it existed in Italy upon their invasion. Side by side with this, their own law continued in force. In Spain, however, Alaric II.. King of the Visigoths, in 506 issued a codification of the Roman law. the Lcj' Fowana Wisifiothorum. better knoA^■^l as the Bre- rinrinin Alaricianttm. It was revised by King Edca (687-701). UntH the thirteenth century
