International studio . enth century, compiled by EtienneBoileau,+ who was Provost under St. Louis. In1371 another Provost of Paris, Hugues Aubriot,supplemented the statutes in regard to the wood-carvers. r We see in it that the huchiers wereobliged to follow minute restrictions as to thechoice of wood employed and as to the perfectionof the workmanship. It is due to the care takenin the choice of materials and the execution thatrelatively a great number of objects have comedown to us in spite of the changing taste, destruc-tions and revolutions during the centuries. The next article will deal
International studio . enth century, compiled by EtienneBoileau,+ who was Provost under St. Louis. In1371 another Provost of Paris, Hugues Aubriot,supplemented the statutes in regard to the wood-carvers. r We see in it that the huchiers wereobliged to follow minute restrictions as to thechoice of wood employed and as to the perfectionof the workmanship. It is due to the care takenin the choice of materials and the execution thatrelatively a great number of objects have comedown to us in spite of the changing taste, destruc-tions and revolutions during the centuries. The next article will deal with the Transitionstyle from the Gothic to the Renaissance period,giving also examples of objects of the first FrenchRenaissance. The last article will deal withRenaissance objects in their complete develop-ment. t Met man et Briere, op cit., pi, XIII. J Le livre des metiers dEtienne Boileau publie par et Francois Bonnardot, ( hampeaux, Le meuble, 1885, v. I, p. 86-87. A TriioupJi of Fresco Buono *s. THE CHVRCH OF S. GREGORY THE GREAT, BROOKLYN, N. Y. A rRIUMPH OF FRESCO BUONO—THE DECORATION OF THECHURCH OF S. GREGORY THEGREAT IX BROOKLYNBY C. MATLACK PRICE In the practice of new arts, and in the perfect-ing of many inventions, few of us pause tothink that perhaps we are in danger of losingsome old arts. In an age of marvellous mechan-ical processes for the reproduction of works ofart, the artist himself is in danger of becominglost—his voice that was so audible in the MiddleAges and the Renaissance now drowned by thewhirr of machinery. Among the arts which are in danger of becominglost, perhaps one of the most important is the artof fresco painting, called by the RenaissanceItalians fresco buono. In its practice the artistneeded not only to be a master-draughtsman anda fine wielder of colours and designer of great heroiccompositions—he had also to be a subtle artisanand a master-chemist in compounding the specialcolours needed for fresco painting. Fre
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