By Tamara T. Rice

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Further- producing these to forget the importance of decorative detail. on a rug, the design of which is so close to those on some twelfth- and thirteenth-century Konya carpets Placing his figures that appear that his it is tempting to assign it to the Seljuks of Anatolia, he turned attention to the drapery of the Virgin's robes. By handling the of her skirt schematically and those of her cloak rhythmically he achieved a forcefulness and variety of effects that are seldom to be met with in paintings of a similar date and character.

Thus the tendency to divide the outer face of the west wall into three vertical sections by means of stone or brick bands projecting some six inches from the surface, which had so far appeared only sporadically, was here extended to the south and north walls. The church was roofed by only three domes, but they too were to influence future architects, for by their to exceptionally rich in lovely churches. considerable originality, for it already asymmetric disposition they achieved a new effect, the picturesque quality of which later builders strove to attain.

Meanwhile, content in their seeming the Novgorodians devoted themselves throughout the security, fourteenth and most of the fifteenth century to refining the styles they had evolved. The embellished facade of the Theodore Stratelites (///. 46), built in Novgorod of their fully evolved architectural style. Church of in 1361, is St typical 61 Novgorodian painting did not importance attached to it as far lag behind back as its architecture. the twelfth century only attested to by such major decorative works as the is The not mural decora- of the churches of Nereditza and the Mirozhsk Monastery, but also by the quality and diversity of the illuminations with which they enriched their numerous manuscripts.

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A Concise History of Russian Art by Tamara T. Rice


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