By ed. by Howard Staunton
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Example text
His head and bod y are not Hat, graphicalLy demarked areas, but bulging masSe� bouncing space off every contour. His sh i dd is not placed by his body ; it is wrapped around him. His hand does not rest on top ofthe s\vord in a symbolic gesture of holding ; il i'i a c tua lly grasping the s\·\lord. lfth through the fourteenth centuries, chesspieces achieved this fuller plasticity. 'ipiece or as a full , cale sculpture, did not become the image of a completely independent individual until the Renaissance.
Schematic abstraction of this gene ral type became widespread in the thirteenth and fourteenrh centuries. During the fifteenth and sixteenth cen t uries this stylc blended with (he pa rall e l traditions of naturalism (Fig, 33 ) a nd quasi-abstraction (Fig. 34) to form the basic characteristics of modern s tanda rd design. 1 1\' A� f • � � Aoove : HC. B : \ ' Burgundian : K, H, Kt: C, P. Late t4th- early 1 5 th century. Rock crystal and smoky topaz with silver gilt selting. usee de Cluny: Park Below: FIG.
Castle (Guard ) . 12th century. Hartshorn, P Ia in. high. National lvluseum, Copenhagen. Below left : FlO. 27 Danish Q1'- German: Bishop. 13th century. Walrus bone, 2 1/4 in. high. National Museum, Copenhagen. The eyes originally were jewels. Below right : FIG. 28 German : Knight. 14th century. Ivory or hartshorn, 31Y;" in. high. Germanisches I'\ationalrlluseum" Nuremberg. FIG. 29 School of the Maitre aux Boqueteux. Allegory of Chess with personified ehesspieces. Illumination from Jacobus de Cessolis, Jeu des iehees moralist, translated from ' the Latin by Jean de Vignay, Northern France, ca.