History 2

Bomber Parade Headliners in Bomber Plane History by C. B. Colby

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By C. B. Colby

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17, 18) at Yuriev-Polski (1230-34). The sculptures on both are so curious in style that it is difficult to account for them, some seeming to reflect the influence of Western Europe, others of the East, and more especially of Georgia. Indeed, each of these elements could equally well have made itself felt in twelfth-century Vladimir, for groups of Romanesque craftsmen are 30 i8 The Cathedral of St George at Yuriev-Polski, 1230-34, is the last important church built in the Vladimir-SuzdaUan style.

Their ability to deal with which confronted them imbued them with the self-confidence that led them to speak of their city as 'Lord Novgorod the Great', and which enabled them to formulate their artistic views as well as to create what is often described as the the poHtical and economic difficulties Classical phase in medieval Russian architecture. With the return of economic prosperity in the fourteenth century numerous churches were built in Novgorod, in Pskov, and in the outlying territories by people belonging to many different walks of A detail from a fresco of the Lamentation in the church of the Mirozhsk Monastery, Pskov, 1156; it illustrates the rhythmical quaUty and profoundly emotional spirit of Pskovian painting 43 44 (/^/O in 1292 The Church of is the first St Nicholas, Lipna, Novgorod, built by Bishop Clement flat one of building in which the sloping roof replaced the Byzantine origin 45 {''ight) The Church of the Saviour, Ihina, Novgorod, 1372, dates from what is regarded as the Classical phase of Novgorodian architecture.

The strength of the bond linking Novgorod to Kiev and Byzantium is clearly to be seen in the oldest examples of Novgorodian icon painting that we know. Two of the earliest icons a St George and a St Nicholas are of twelfth-century date. The St George (///. 4g) was only discovered in 1939 when his outlines were noticed on the reverse of a panel of the Virgin Hodegetria which had been brought for cleaning to the Restoration Workshops in Moscow from the Cathedral of the Assumption. The panel would appear to be one of those painted for the church of the Yuriev Monastery at Novgorod at the command of Andrei Bogolyubski's son Yuri, Prince of Novgorod until 1174, which were transferred to Moscow at the order of Ivan the Terrible.

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