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By H.W. Janson, Anthony F. Janson.

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5). The relationship, so strikinu Once it has figures: a been pointed out to us. had escaped attention, lor not copy or represent the Raphael composition borrowed its main outlines w modem terms Manet did he mereh bile translating the figures into Had his contemporaries known ol this, the Luncheon would have seemed a rather less disreputable kind ol outing ould be to them, since now the hallowed shade ol Raphael 1 seen to hover nearby as a meant ist the initial to lease the ^ sort ol Perhaps the chaperon.

Cm. p. Includes bibliographical references and index. ISBN 0-13-388448-1 (Prentice-Hall : 0-13-388455-4 (Prentice-Hall 1. Art — History. pbk. : v. : pbk. : Janson, Anthony F I. J3 —ISBN 1). v. 2). II. Title. 1991 709— dc20 90-7405 CIP Copyright © 1991 Harry N. Abrams, Inc. Published in 1991 by Harry N. Abrams, Incorporated, New York A Times Mirror Company No All rights reserved. Y/SPADEM; bound in NY Japan Note on the Picture Captions Each illustration is placed as close as possible to its first discussion in the except text.

Still, ( although technically pottery were sometimes decorated by artists ol verv impressive talent. c Nevertheless, one of the attributes that distinguishes superior talent and medieval sculpture shall see The graphic out on the level of craft by imitating other works artist starts of from art we vases, as chain. If originality said of nine h ancient is however nine h more than decoration laden with meaning, even slender or ohsc in me thai content is fo] sometimes io ommunu ate mil uncannot be expressed otherwise or sculpture is worth a thousand words \i wavs Truly a painting il t enables us c dial IMIK'IU 1 //ox • jo no!

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