The grotesque in church art
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The grotesque in church art

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Published by Gale Research Co. in Detroit .
Written in English


  • Grotesque,
  • Christian art and symbolism,
  • Church decoration and ornament

Book details:

Edition Notes

Statementby T. Tindall Wildridge. London, W. Andrews, 1899.
LC ClassificationsN8180 .W4 1969
The Physical Object
Paginationvii, 228 p.
Number of Pages228
ID Numbers
Open LibraryOL5621368M
LC Control Number68030633

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8 rows    Free kindle book and epub digitized and proofread by Project Gutenberg. . Internet Archive BookReader The grotesque in church art.   Book from Project Gutenberg: The Grotesque in Church Art. The designs of which this book treats have vast fields outside the English church works to which it has been thought good to limit it. Books and buildings undoubtedly mutually interchanged some forms of their ornaments, yet the temple was the earlier repository of man’s ideas expressed in art, and the proper home of the religious symbolism which forms so large a proportion of my : Library of Alexandria.

The Grotesque echoed some of the darker and stranger stories found in that previous read. As a whole it was very dark, Gothic, and, to me, ponderous. There are a few passages where action occurs quickly, but for most of the book the pace is languid/5. In architecture, a grotesque or chimera is a fantastic or mythical figure used for decorative purposes. Chimerae are often described as gargoyles, although the term gargoyle technically refers to figures carved specifically as terminations to spouts which convey water away from the sides of the Middle Ages, the term babewyn was used to refer to both gargoyles and chimerae.   Defining the grotesque in a concise and objective manner is notoriously difficult. When researching the term for his classic study On the Grotesque: Strategies of Contradiction in Art and Literature (), Geoffrey Galt Harpham observed that the grotesque is hard to pin down because it is defined as being in opposition to something rather than possessing any defining quality in and of itself. When Sherwood Anderson submitted his manuscript of Winesburg, Ohio to a publisher it had a different title; he had named it The Book of the gh the publisher changed the name of the book, he left the title of the Introduction the same, so Winesburg begins with a sketch that is not about Winesburg or George Willard, but about the concept of the grotesque.