. Art in France. 2S4.—THE OVAL COIRT AT FONTAlNEBLEAf. ARr IN FRANCE. FIG. 285.—HOkSli-SHUi; SlAllUASK Al FONT A who showed himself callable of adapting Itahan forms to Christiansentiment. A hirge number of religious sculptures are to him, for the most part inmarble. The tomb ofSamt Mihiel is by anartist who has preservedthe powerful emotion ofthe Middle Ages, butwho knows how tobalance a composition inthe classical manner, andto give elegance or violenceto his attitudes. TheMagdalen bends to kissthe Saviours feet with asinuous suppleness, an in-chnation of the neck whichr
. Art in France. 2S4.—THE OVAL COIRT AT FONTAlNEBLEAf. ARr IN FRANCE. FIG. 285.—HOkSli-SHUi; SlAllUASK Al FONT A who showed himself callable of adapting Itahan forms to Christiansentiment. A hirge number of religious sculptures are to him, for the most part inmarble. The tomb ofSamt Mihiel is by anartist who has preservedthe powerful emotion ofthe Middle Ages, butwho knows how tobalance a composition inthe classical manner, andto give elegance or violenceto his attitudes. TheMagdalen bends to kissthe Saviours feet with asinuous suppleness, an in-chnation of the neck whichreveals a technical mastery that verges on mannerism. At Bar-le-Duc there is a skeleton due to this same art, which elevates theancient motives by the elegance and nobility of the new skeleton, on which some fragments of flesh are still hanging, ismediaeval in its inspiration; but it was carved by a learned anato-mist, who has given this figure of a Gothic charnel-house the nobleattitude of an antique orator (Figs. 331-333). Like all the provinces in whi
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
