Uat'dne/' i.j ART THROUGH the Ages Tenth Edition t I Ancient. Medieval, and Non-European Art Frontispiece: Nike of Samothrace. c. 190 b.c. Marble, approx.8'1 " high. Louvre, Paris. 6> Art THROUGH the Ages Tenth Edition I Ancient, Medieval, and Non-European Art Richard Tansey G. Fred Kleiner S. Harcolrt Brace College Publishers Fort Worth Philadelphia San Diego New York Orlando Austin San Antonio Toronto Montreal London Sydney Tokyo i President Carl N. Tyson Publisher Ted Buchholz Editor in Chief Christopher P. Klein Acquisitions Editor Barbara J. C. Rosenberg Developmental Editor Helen Triller Senior Project Editors Margaret Allyson, Mark Hobbs Senior Production Manager Kathleen Ferguson Art Director Xick Welch Picture Editors Peggy Cooper, Carrie Ward Senior Marketing Manager Patricia A. Murphree Electronic Page Layout Bill Maize, Duo Design Group Film Preparation. Printing, and Binding R. R. Donnelley & Sons, Willard, Ohio Timeline Layouts Marco Ruiz Map Preparation GeoSystems Cover Image: Young Woman with a Stylus (sometimes called Sappho), from Pompeii. 1st century a.d. Fresco, diameter ll'/s". Museo Nazionale Archeologico, Naples. Copyright © 1996, 1991, 1986, 1980, 1975, 1970, 1959 by Harcourt Brace & Company Copyright 1948, 1936, 1926 by Harcourt Brace & Company Copyright renewed 1987, 1976, 1964 by Harcourt Brace & Company Copyright renewed 1954 by Louise Gardner All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. Requests for permission to make copies of any pan of the work should be mailed to: Permissions Department, Harcourt Brace & Company. 6277 Sea HarborDrive. Orlando. Florida 32887-6777 Address for Editorial Correspondence: Harcourt Brace College Publishers. 301 Commerce Street, Suite 3700, Fort Worth. Texas 76102 Address for Orders: Harcourt Brace &Company, 6277 Sea Harbor Drive, Orlando. Florida 32887 1-800-782-4479 or 1-800-433-0001 (in Florida). Photograph credits and copyright acknowledgments precede the index and constitute a continuation of this copyright page. Printed in the United States of America ISBN: 0-15-501141-3 (hardbound) 0-15-501618-0 (paperbound. Vol. I) 0-15-501619-9 (paperbound. Vol. II: Library of Congress Catalog Card Number: 95-76264 (hardbound) 95-76263 (paperbound. Vol. I) 95-76259 (paperbound. Vol. II 5678901234 98765432 048 Preface Since its first edition, almost seventy years ago, Helen Gardner's Art through theAges (1926), carried on by a succession of authors, has established a firm tra- dition of excellence in its presentation of an to three generations of beginning students. Helen Gardner lived long enough to see the third edition in prepara- tion (1948). In 1958, Sumner Crosby and his colleagues in the History of Art Department at Yale University produced a fourth edition. The fifth through the ninth editions (1991> were prepared by Horst de la Croix and Richard G. Tansey of San Jose State University, the ninth with the collaboration of Diane Kirkpatrick of the University of Michigan. De la Croix's death in 1993 regrettably ended his long association with the Gardner project. His role as coauthor has been assumed by Fred S. Kleiner, Professor of An History and Archaeology at Boston University and Editor-in-Chief of the American Journalof Archaeology. Herbert Cole, of the University of California, Santa Barbara, has been kind enough to contribute the chapter on the an of Africa. The fundamental belief that guided Helen Gardner and her successors is that the history of an is essential to a liberal education. The study of an history, like its fellow humanistic studies, the history of literature and the history of music, has as its aim the opening of student perception and understanding to works of — high esthetic quality and expressive significance works that humankind has — produced throughout history and around the world, and that especially — now are cherished and conserved by the peoples of the world as representa- tive of their cultural identities. The awareness, comprehension, and informed experience of these works are what a survey like this would encourage and hope to achieve. The art experience can only be informed, expanded, and made selective in its judgments if it is at the same time a historical experience. This means understanding works of an within the contexts of their times and places of origin and the temporal sequences of their production. In sustaining this traditional view we are still convinced that an has its own — — history uithin, of course, the general history of humankind and that the dis- cipline of an history has discernible boundaries and distinctive objects to which it attends and with which it operates. We are respectful of the fact that for a long time there has been a corpus of paintings, sculptures, buildings, and other works of art that have been considered most characteristic of the cultures that produced them, most wonhy of consen'ation and study, and most definitive of the scope of an-historical interest. We do not reject the traditional list of "great" works or the very notion of a "canon." But we have also tried in our choice of monuments to reflect the increasingly wide range of interests of contemporary scholarship. We have included, for example, works produced for non-elite patrons alongside those of the emperors in the chapter on Roman art. The chapters on twentieth-century an cover the multitude of innovative art forms that reflect our contemporary world. We have also taken into consideration present trends of art-historical criti- cism that would seem to dissolve the traditional art-historical boundaries, merging the humane studies in a kind of conglomerate that much resembles cultural anthropology. Works of an become value-free, cultural anifacts to be interpreted according to anthropological structures: sociopolitical, psychosocial, racial, ethnic, gender, and material, thought of as determined by the power and privilege enjoyed by dominant patronages. Postmodern "critical theory" would V! Preface redefine the history of art, its styles, periods, and canons, in terms of contem- porary ideological agendas that, for a survey of the subject, cannot help but be tendentious. There is much to be learned from these new approaches to art his- tory, and we have ourselves profited from them. But we feel that, although art is certainly illustrative of culture, and the construction of its cultural context is most valuable in the interpretation of it, art has in fact a cross-cultural inde- pendence that makes a history of art possible at all and renders its meanings intelligible and its peculiar values accessible to all interested minds. It is to the — — cultivation of this interest in art in general art from all times and places that a survey of the history of art is dedicated. The first task, we believe, is to present characteristic works in historical order. To bring theory about the data in before the data are presented would be, its seems to us, premature and confusing. We prefer to fix the attention of beginning students on a wide range of art-historical data, familiarizing them with the stylistic features that identify the data visually, and that differentiate one work or group of works from others within the framework of historical time. Once the distinguishing features have been mastered, special theories about their causes can be debated, although perhaps more effectively in inter- mediate and advanced undergraduate courses in art history than in the intro- ductory survey courses for which this book has been designed. The text has been thoroughly revised and in large part rewritten. We have endeavored to update it in accordance with contemporary art-historical and archeological scholarship. Specialists have reviewed each chapter, and the text has benefited. Some previous chapters have been broken down into smaller chapters in response to reviewers' suggestions and to our own feeling that they require greater emphasis: there are now separate chapters for Etruscan and Roman; for Early Christian, Byzantine, and Islamic; and for African art. And the art of Korea is a new addition to our survey of Asian art. The sequence of the chapters dealing with the Renaissance in Italy and in Northern Europe has been altered according to new interpretations of the relationship of those areas in the Renaissance. To this end, Northern art of the fifteenth and sixteenth centuries has been placed in separate chapters. The material in Part V, The Modern World, has been entirely reorganized to chronicle the many styles that characterized the art of the nineteenth century and to trace the development in the twenti- eth century of Modernism and its sequel, Postmodernism. Readers of earlier editions of Gardner's classic book will note other important changes. A great effort has been made to enhance the quality of the pho- tographs in the volume by utilizing the latest technology and a finer grade of paper. New maps and timelines open each chapter, and more works in North American collections have been included to encourage the careful study of originals. A comprehensive package of teaching and study aids also accompanies the tenth edition of Art through the Ages. The pronunciation guide to artists' names, included at the end of the book, has been expanded and refined. The Study Guide by Kathleen Cohen contains chapter-by-chapter drills on the identifica- tion of geographical locations, time periods, styles, terms, iconography, major art movements, and specific philosophical, religious, and historical movements as they relate to particular works of art examined in the textbook. Self-quizzes and discussion questions enable students to evaluate their grasp of the materi- al. Lilla Sweatt and Timothy Adams are the authors of the Instructor's Manual, which includes sample lecture topics for each chapter, a testbank of questions in formats ranging from matching to essay, studio projects, and lists of resources. A computerized testbank, consisting of questions from the Instructor's Manual, has been created for textbook users. Preface vii A work as e rensive as a history of world art could not be undertaken or completed without the counsel and active participation of experts in fields other than our own. In some cases, this took the form of preparation of portions of chapters; in others, of reviews of work in progress or already prepared. For such contributions to previous editions, we offer our sincere thanks to Jame^ Ackerman, Harvard University; Majorie P. Balge, Mount Holyoke College Colleen Bercsi, California State University, Northridge; Jacques Bordaz, University of Pennsylvania; Louise Alpers Bordaz, Columbia University; James Cahill, University of California, Berkeley; Miles L. Chappell, College of William and Mary; George Corbin, Lehman College, City University of New York; Gerald Eknoian, DeAnza College; Mary S. Ellett, Randolph-Macon Woman's College; Roger K. Elliott, Central Virginia Community College; Mary R Francey, University of Utah; Ian Fraser, Herron School of Art, Indiana University-Purdue University; Stockton Garver, Wichita State University; Judith Paetow George, Miami University; Oleg Grabar, Institute for Advanced Study, Princeton; Hamilton Hazlehurst, Vanderbilt University; Howard Hibbard, late of Columbia University; Philancy N. Holder, Austin Peay State University; John Howett, M Emory University; Joseph M. Hutchinson, Texas A & University; Joel Isaacson, University of Michigan; R. Steven Janke, State University of New York at Buffalo; M. Barry Katz, Virginia Commonwealth University; Herbert L. Kessler, Johns Hopkins University; Robert A. Koch, Princeton University; Avra Liakos, Northern Illinois University; Elizabeth Lipsmeyer, Old Dominion University; William L. MacDonald, formerly of Smith College; A. Dean McKenzie, University of Oregon; Mary Jo McNamara, Wayne State University; Kathleen Maxwell, Santa Clara University; Milan Mihal, Vanderbilt University; Diane Degasis Moran, Sweet Briar College; Harry Murutes, University of Akron; Kristi Nelson, University of Cincinnati; Jane S. Peters, University of Kentucky; Edith Porada, late of Columbia University; Bruce Radde, San Jose State University; Gervais Reed, University of Washington; Raphael X. Reichert, California State University at Fresno; Richard Rubenfeld, Eastern Michigan University; Grace Seiberling, University of Rochester; Peter Selz, University of California, Berkeley; David Simon, Colby College; Pamela H. Simpson, Washington and Lee University; David M. Sokol, University of Illinois at Chicago; Lilla Sweatt, San Diego State University; Marcia E. Vetrocq, University of New Orleans; Richard Vinograd, Stanford University; Joanna Williams, University of California, Berkeley; and the Art History Department, Herron School of Art, Indiana University-Purdue University at Indianapolis. For contributions to the tenth edition in the form of extended critiques of work in progress or already prepared, we wish to thank Priscilla Seabury Albright; Barbara W. Blackmun, San Diego Mesa College; Jack W. Burnham, formerly of the University of Maryland, College Park; Janet Black, College of San Mateo; Martha B. Caldwell, James Madison University; Michael Camille, University of Chicago; David Cast, Bryn Mawr College; Mark Cheetham, University of Western Ontario; Madeline L. Cohen, Community College of Philadelphia; Michael A. Coronel, University of Northern Colorado; Patricia Crane Coronel, Colorado State University; Howard Crane, Ohio State University; Anne Glenn Crowe, Virginia Commonwealth University; Tracey Cullen, Archaeological Institute of America; Walter Denny, University of Massachusetts, Amherst; Lloyd C. Engelbrecht, University of Cincinnati; Benjamin R. Foster, Yale University; Karen Polinger Foster, Connecticut College; Mark D. Fullerton, Ohio State University; Sandra C. Haynes, Pasadena City College; M. F. Hearn, University of Pittsburgh; Robert C. Hobbs, Virginia Commonwealth University; Carol Ivory, Washington State University; Christopher M. S. Johns, University of Virginia; Sandra J. Jordan, University of Preface Montevallo; Kumja Paik Kim. Asian An Museum of San Francisco; Martha Kingsbury, University of Washington; Eugene Kleinbauer, Indiana University, Bloomington; Karen Koehler, Skidmore College; Laetitia La Follette, University of Massachusetts, Amherst; Jody Lamb, Ohio University; Joanne Mannell, Montana State University; Virginia Hagelstein Marquardt, Marist College; Linda F. McGreevey, Old Dominion University; Laura Meixner, Cornell University; Man Miller, Yale University; Roben Poor, University of Minnesota; Donald Preziosi, University of California, Los Angeles; Monica Rothschild-Boros, University of California, Inine; Charles Sable, Marquette University; Ellen C. Schwartz, Eastern Michigan University; Laurie Taylor-Mitchell, Incarnate Word College; Roben Wojtowicz, Old Dominion University. Innumerable other instructors and students have also sent us helpful reactions, comments, and suggestions for ways to improve the book. We are grateful for their interest and their insights. We should like to acknowledge the assistance given us in innumerable ways by an and slide librarian Luraine Collins Tansey, especially for bibliographical research and for her skillful management of communications and logistics. Dr. Joel Tansey was also of assistance in compiling the bibliography. In addition, we owe a debt of gratitude to Ivy Doak, who compiled the pronunciation guide. Among those at Harcourt Brace who have contributed their efforts to the management of an enormously detailed manuscript and have done so with consummate skill, infinite patience, and good humor are our acquisitions edi- tors, Janet Wilhite and Barbara Rosenberg; Barbara's editorial assistant, Diane Drexler; our developmental editor, Helen Triller; our project editors, Margaret Allyson and the late Mark Hobbs; our photo editors, Peggy Cooper and Carrie Ward; our designer, Nick Welch; and our production manager, Kathleen Ferguson. We are also grateful to the marketing staff, Pat Murphree, Toni Hawkins, Patti Holland, Laura Lashley, and Mark Hatley, for their dedication to making the book successful. Recognition and thanks are also due to copy editors Joan Harlan and J. R. Peacock; proofreaders Tom Torrans, Susan Petty, and Pete Gooch; consultant Jerry Edmonson; keyboarder Norman Haskell; compositor Bill Maize; and indexer Linda Webster. We are especially grateful to the editors at Harcourt Brace for deciding in 1992 to reach out from coast to coast and from generation to generation to bring us together for this project. Our collaboration has already resulted in a lasting friendship and, we hope, a worthy successor to the inspired text that Helen Gardner penned so many years ago. Richard G. Tansey Fred S. Kleiner