. Art in France. more regular alignment, and the high squarefagades with their symxmetrical windows. Very soon private housesbegan to show pilasters, capitals, and cornices. But at first, archi-tects were content with the quiet and unostentatious cheerfulnessobtained by the picturesque combination of red brick, white stone,and blue slate. It was suitable to a society which, constrained torecuperate financially, and rejoicing in its recovered tranquillity, wascontent to put off its artistic pretensions to the future. This style was not so Netherlandishand Huguenot as issometimes supposed. Itsam
. Art in France. more regular alignment, and the high squarefagades with their symxmetrical windows. Very soon private housesbegan to show pilasters, capitals, and cornices. But at first, archi-tects were content with the quiet and unostentatious cheerfulnessobtained by the picturesque combination of red brick, white stone,and blue slate. It was suitable to a society which, constrained torecuperate financially, and rejoicing in its recovered tranquillity, wascontent to put off its artistic pretensions to the future. This style was not so Netherlandishand Huguenot as issometimes supposed. Itsamenity had already foundfavour in the days whenLouis XI inhabited hisPlessis at Tours. Butin the seventeenth century,Vitruvius and Serlio wereso widely read that Frencharchitecture could not longabstain from the adoptionof the classic was considered avulgar material. We mayjudge of the favourite effects in this medium from the remainsof the Place Dauphine (Fig. 375), the Place Royale (376), and 179 n2. FIG. 374.—THE LONG GALLERY OF THE LOU\RE,FROM AN BY ISRAEL SILVESTRE. (Bibliotheque Xationale, Print Room.) ART IN FRANCE
Size: 1964px × 1272px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
