in the jambs of doorways, strictly in harmony with the construction—so much so, indeed, that they seem to be a necessary part of the composition. In no other style has the union, it may even be said the fusion, of the structural and ornamental elements been so perfect.
The conventional restraints of such sculpture in the twelfth century were severe; though still, as we have seen, it was not wanting in much expression of life. But the artists of the early thirteenth century were able to add more freedom to statues in the same positions without overstepping the bounds of architectural subordination. Before we pass on to the consideration of such works, however, we must examine a few other examples of the art of the twelfth century.
Besides the jambs and archivolts the tympanum and lintel presented, within easy view, admirably protected fields for the exercise of the sculptor's art,—fields where architectural restraints, though still imperative, were less narrow. Here was place for sculptured composition embracing many figures in free action, embodying some scriptural story or religious legend.
Among the earliest remaining examples of such compositions are those of the tympanums of the portals of the west front of St. Denis, and the tympanum of the south door of the west front of the Cathedral of Paris, which last formed part of the earlier works wrought under Maurice de Sully[1] which were destroyed to make room for the present façade. The preservation of this work, and its incorporation with the new edifice, speak well for the generous recognition of merit in the works of their predecessors, by the artists of the early thirteenth century. In these sculptures the qualities already noticed as characterising the early art of the Ile-de-France are conspicuous. A new spirit animates the old forms, and a corresponding increase of technical skill is manifest, though some of the older conventions of modelling and treatment are still naturally pronounced.
Of all the remaining works of this class which were executed in the twelfth century, those of the lintel of the Cathedral of Senlis are of surpassing beauty. They are
- ↑ See the Itinéraire Archéologique de Paris, par M. F. de Guilhermy, pp. 68, 69.
