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penny and many are struggling on a shoestring to continue to offer a first-rate programme; no one can take their survival for granted.

At its best, art represents the highest form of human achievement; at its worst, it is tame, unchallenging and hollow. To engage or not to engage? Now, more than ever, the choice is ours.

(Abridged from: “Upstream. Proficiency. Workbook.” by V. Evans-J. Dooley)

5. How do you understand the idea expressed in the last paragraph of the text? What do you think of it?

What is the main idea of the whole text? Do you agree with it?

IV. On Your Own.

Brainstorming.

1.Do you agree with the idea that children and young people are not interested much in art and painting today?

2.Work in small groups of 5 or 6. Brainstorm in writing your ideas on the question below. On a piece of paper write down two ideas (each in one column) about what could be done to stimulate children’s interest in art and painting. Then pass over your papers to each other in a group clock-wise. On another paper you get write down two more NEW ideas. Then have another round and so on.

When you get your original paper, reflect on all the ideas and choose the most sensible ones. Discuss the best ideas together in a group and rank them in order of their significance.

What could be done to stimulate children’s interest in art?

1.Name

2.

3.

4.

5.

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MODULE 2.

THE HISTORY OF ENGLISH PAINTING FROM THE EARLY AND

MIDDLE AGES TO THE GOLDEN PERIOD

UNIT 1.

BRITISH ART AND PAINTING IN EARLY AND MIDDLE AGES

I. Lead-in

1. Look at the pieces of art in these pictures. Do you know what style they belong to?

2. Look at these pictures. Which of them could you refer to the Gothic style? Why? Try to define the most essential features of the Gothic style. Match the pictures to the styles in the table below. Find the information referring to other styles which are represented in the pictures and define in brief their features too.

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1.Rubens P.P. The kidnapping A. Barocco

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1.http://dic.academic.ru/pictures/wiki/files/50/200px-Ganyrubn.jpg

2.http://smallbay.ru/images3/batoni_02_small.jpg

3.http://smallbay.ru/images4/lautrec1_small.jpg

4.http://www.imagiva.com/miniaturist-french/psalter-of-st-louis.jpg

5.http://www.oilpaintings-art.com/artist_b/D/1499/DJL1499_12.jpg

6.https://upload.wikimedia.org/wikipedia/commons/thumb/9/9f/Basilika_Vierzehnheilig en_005.JPG/800px-Basilika_Vierzehnheiligen_005.JPG

7.https://upload.wikimedia.org/wikipedia/commons/thumb/5/57/Spain.Barcelona.Casa.

Mila.jpg/

8.https://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Reims_Kathedrale.jpg/8 00px-Reims_Kathedrale.jpg

9.http://www.istopoli.com/cruise/images/items/123980019151_lrg.jpg

10.http://www.internationaltravellermag.com/wp- content/uploads/2013/12/shutterstock_111662966-630x305.jpg

II.Language Focus.

1. Transcribe the following words if necessary, give their Russian equivalents and group them according to the following categories:

Names of historical leaders and public people

Names of artists

Geographical names, historic places

Biblical subjects/scenes, Bible characters, and names of the Saints

Names of holy books

Works of art description: 1) objects; 2) colour scheme; 3) techniques; 4) impressions

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Other lexis

Conquest, protestants, St. Augustine, Christianity, archbishop, Northumbria, the Ruthven and Bewcastle Crosses, Lindisfarne Gospels, Saint Cuthbert, a labyrinth of spirals and zigzags, Persian, the Evangelists, Byzantine, Charlemagne, Carolingian, Bede, the Utrecht Psalter, Athelstan, St. Aethelwold, gable, a trefoil arch, Jordan, Father Tiber, bas-relief, vermilion, the Guthlac Roll, mural, Gloucestershire, chapel, the Holy Sepulchre, the Deposition of Christ, the Entombment, the Entry into Jerusalem, the Raising of Lazarus, Descent into Hell, Christ appearing to Mary Magdalene, Nicodemus, Joseph of Arimathea, the Saviour, curve, Louis, illuminators, a scribe, Apocalypse, St. Albans, Windsor, Eleanor of Castile, epoch, caricature, minuteness, Alphonso, Grayfriars, a thrush, a kingfisher, harp, super-refinement, Goliath, subdued, crimson. citron-yellow, vigour, the Ormesby Psalter, the Gorleston Psalter, the Tree of Jesse, the bier, the trumpet, decorum; ceremonious, aspergillum, a thurible, true fawn colour, surplices, the Psalter of Peterborough Abbey, profusely illustrated, Whitefriars, the Angel drives Adam and Eve from Paradise, sedilia, Sebert, Ethelbert, Piers Plowman, court jesters, gesso, the gospel of salvation, scenes of the Passion, the Wilton Diptych, Bohemian, Masaccio, Van Eycks, St. John the Baptist, Martyr, the Fair Maid of Kent, Plantagenet, completely substantial, enrichment, ermine collar, mauve, Flanders, Lord Lee of Fareham, the Crucifixion, patrons, 'The three living and the three dead kings', 'Doom', 'Last Judgment', the Tudors, Eton.

2. Match the columns:

III. Reading and Speaking.

Part 1.

1. Discuss the questions below:

a) What time period is associated with the beginning of the development of Gothic style in Western art?

b) Do you think the term 'Gothic' is somewhat connected with the tribe of the Goths?

2. Read the following information of the term origin from Wikipedia and compare it with your suggestions:

The Term "Gothic"

The term "Gothic", when applied to architecture, has nothing to do with the historical Goths. It was a pejorative term that came to be used as early as the 1530s by Giorgio Vasari to describe culture that was considered rude and barbaric. At the time in which Vasari was writing, Italy had experienced a century of building in the Classical architectural vocabulary revived in the Renaissance and seen as the finite evidence of a new Golden Age of learning and refinement.

In English 17th-century usage, "Goth" was an equivalent of "vandal", a savage despoiler with a Germanic heritage and so came to be applied to the architectural styles of northern Europe from before the revival of classical types of architecture.

According to a 19th-century correspondent in the London Journal Notes and Queries:

"There can be no doubt that the term 'Gothic' as applied to pointed styles of ecclesiastical architecture was used at first contemptuously, and in derision, by those who were ambitious to imitate and revive the Grecian orders of architecture, after the revival of classical literature. Authorities such as Christopher Wren lent their aid in deprecating the old medieval style, which they termed Gothic, as synonymous with everything that was barbarous and rude".

3. Discuss the following:

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a)What events from the British history occur to you when you hear or read the following: the Celts, the Norman Conquest, King Alfred, Henry the III, Edward the Confessor, Richard the II, Henry the VIII, Elizabeth the I, the Tudors, the Stuarts, the Wars of the Roses, the Black Death, Protestants, Oliver Cromwell, Reformation, the Restoration of the English monarchy?

b)Do you consider that social changes influence the national art of the country? In what way?

c)What factors can contribute to the national art developing and flourishing?

Part II.

1. Read the text below about the development of art and painting in Britain in Early and Middle Ages and complete the tasks that follow.

Saxon and Norman painting

The earliest developments of painting in England are difficult to follow, since, of work certainly before the Norman Conquest, only illuminated manuscripts and no wall-paintings have survived. Moreover even between the eleventh and the sixteenth centuries the study of English art is interrupted by serious gaps, of which accident, neglect, destruction by Protestants, and the misplaced zeal of 'restorers' are among the causes.

The arts began in England when St. Augustine introduced Christianity in 597. In 674 Wilfred, Archbishop of York, had his church decorated 'with a great variety of figures and colours,' none of which unfortunately have survived. Meanwhile Northumbria was converted to Christianity and was becoming the centre of a culture, which had spread there from Ireland.

How far advanced that culture was, can be seen from three extant Northumbrian works of art, all of them of about 700 in date, the Ruthven and

Bewcastle Crosses and the Lindisfarne Gospels in the British Museum. These gospels were illuminated in honour of Saint Cuthbert, by a monk acquainted with the Irish tradition, working at the monastery on the island of Lindisfarne. For wealth of invention, intricate yet coherent, the pages of initial lettering and of cruciform designs have never been surpassed. Even the Gothic illuminators never equalled them in perfection of execution.

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https://upload.wikimedia.org/wikipedia/commons/6/6e/The_7th_C_Bewcastle_Cross_- _geograph.org.uk_-_1833413.jpg https://upload.wikimedia.org/wikipedia/commons/thumb/0/03/Lindisfarne_Gospels_folio_20 9v.jpg/220px-Lindisfarne_Gospels_folio_209v.jpg

Bewcastle cross - west face The Lindisfarne Gospels John the Evangelist

The only work with which they can be compared is the roughly contemporary Book of Kells (Dublin), which is entirely of Irish authorship. This equals the Lindisfarne Gospels technically, but not in purity of taste.

https://upload.wikimedia.org/wikipedia/commons/thumb/8/8e/KellsFol292rIncipJohn.jpg/250 px-KellsFol292rIncipJohn.jpg

The Book of Kells

The Lindisfarne illuminator must have greatly enjoyed making his way and never losing it among a labyrinth of spirals and zigzags with here and there an occasional beast or bird. He has repeated in ever fresh combinations a subtle scheme of colour, which includes a vivid green, a pure blue, an orange, a purplish crimson and an emphatic black. Such perfection, which is only

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