Le Nord : revue internationale des Pays de Nord - 01.06.1944, Blaðsíða 231

ECCLESIASTICAL ART IN SWEDEN
201
although, of course, less thorough and shorter than SVERIGES
KYRKOR. Special attention should be called to a series of
popular cheap descriptions of churches in Södermanland edited
with great energy and a practical sense, in pamphlets of 16 pages
published occasionally, and gradually collected in minor volumes
at popular prices. The leader is Mr. I. Schnell in Nyköping chief
antiquarian of the province, who has taken the initiative. Similar
series are now prepared for other parts of Sweden. Committees
are made in collaboration with SVERIGES KYRKOR, for in-
stance in the archbishop’s diocese, where the publishing is recently
started. Through these provisional descriptions we also hope to
increase the interest of the public in future more complete in-
vestigations of the type of SVERIGES KYRKOR. Also to the
research worker himself such an advance guard new contre with
the problems of a monument is of great value.
A supplement of a heavier character is constituted by the
works on individual groups of works of art, e. g. Emil Ekhoff,
Svenska stavkyrkor, Stockholm 1914—18, discussing the staff-
church of the Royal Academy of Letters in part belongs here,
as the runic stones marked with crosses are a kind of Christian
epitaphs. Gotland’s fonts, particularly the incredibly richly sculp-
tured ones of the i2th century, are for the first time pictured
and arranged in groups in J. Roosval, Die Steinmeister Gottlands,
Stockholm 1918. Sweden’s wealthy medieval mural paintings
were already reproduced in 1862 in the still indispensable col-
lection of coloured pictures in folio drawn and published by
N. M. Mandelgren under the title of Monuments Scandinaves
du Moyen Áge. In our time this remarkable pioneer work, which
renders Romanesque paintings, was continued in Andreas Lind-
blom’s La Peinture Gothique en Suede et en Norvege, Stockholm
1916, which treats the i3th and the i4th century, Henrik Cornell
and Sigurd 'Wallin, Uppsvenska malarskolor, Stockholm 1933,
which is dedicated to the ijth century, and the treatment of
the Scanian material by Otto and Monica Rydbeck, Medeltida
kalkmalningar i Skanes kyrkor, Lund 1904, by the former, and
Valvslagning och kalkmalningar i skanska kyrkor, Lund 1943,
by the latter.
Medieval sculpture has been eagerly discussed in papers and
articles, above all by C. R. af Ugglas, whose most important
work, Gotlands medeltida traskulptur till och med höggotikens
inhrott from 1915, is still of fundamental importance. The part
Le Nord, 1944, 3-4 14