241
Критику этой оппозиции с точки зрения исследователя средневекового искусства маргиналий см. в Camille 1997:18; с точки зрения исследователя орнаментальных гротесков: Morel 1997.
242
Пинский 1961: 211–215.
243
Горбатов 1949: 221. См. Partridge 1956.
244
Shaftesbury 1995:137.
245
Shaftesbury 1993:165,298,348.
246
Sokol 1971.
247
Ruskin 1897, chapter III: «Grotesque Renaissance», p. 113–165.
248
«The noblest lessons may be taught in ornamentation, the most solemn truths compressed into it. The Book of Genesis, in all fullness of its incidents, in all depth of its meaning, is bound within the leaf borders of the gates of Ghiberti» (144–145).
249
«…art of the wayside, as opposed to that which is the business of men's lives» (133).
250
«it seems to me that the grotesque is, in almost all cases, composed of two elements, one ludicrous, the other fearful; that, as one or other of these elements prevails, the grotesque falls into two branches, sportive grotesque and terrible grotesque (…) there are hardly any examples which do not in some degree combine both elements; there are few grotesques so utterly playful as to be overcast with no shade of fearfulness, and few so fearful as absolutely exclude all ideas of jest» (127).
251
«…The master of the noble Grotesque knows the depth of all at which he seems to mock (…) but the workman of the ignoble Grotesque can feel and understand nothing, and mocks at all things with the laughter of the idiot and the cretin».
252
«The grotesque (elements of the architecture) are those which are not produced by the working of nature and of time, but exclusively by the fancy of man» (135).
253
«but although we cannot separate the grotesque itself into two branches, we may easily examine separately the two conditions of mind which it seems to combine; and consider successively what are kinds of jest; and what the kind of fearfulness (…) expressed in the various walks of art<…>» (127).
254
«It is a much more serious question than may be at first supposed; for a healthy manner of play is necessary in order to a healthy manner of work (…) state of feeling we have here to investigate, namely, that sportiveness which man possesses in common with many inferior creatures, but to which his higher faculties give nobler expression in the various manifestations of wit, humor and fancy (…)»
