. Art in France. grace-ful ease, just as do those of thedecorative painters at Fontaine-bleau. But the pupil has more youthful freshness than the Italian masters he imitates; his chisel strengthens and sharpens the contours of the decadent painter; he brings all the probity of a Primitive to bear upon his transposition into marble of the somewhat languid grace of the last disciples of Correggio. In the Fontaine des Innocents, he has confined the forms of Undines in the narrow spaces between the pilasters, and on their limbs, suppler than sea-weed, he has thrown draperies as fluid as the waters
. Art in France. grace-ful ease, just as do those of thedecorative painters at Fontaine-bleau. But the pupil has more youthful freshness than the Italian masters he imitates; his chisel strengthens and sharpens the contours of the decadent painter; he brings all the probity of a Primitive to bear upon his transposition into marble of the somewhat languid grace of the last disciples of Correggio. In the Fontaine des Innocents, he has confined the forms of Undines in the narrow spaces between the pilasters, and on their limbs, suppler than sea-weed, he has thrown draperies as fluid as the waters that flow from their urns (Figs. 349, 351).In the less exclusively classical work of Germain Filon (born in 1 535), the unlettered and naivelv naturalistic art of the hf- tcenlh century imagier,^ survives. On the tomb of Birague (Fig. 354) and on that of Henry II, he has placed vigorous portraits; but these exaci efligies are of bronze after the manner taught by Cellini, and the sculptor, although he has frankly. (J.—CIIUIK SlKKKN I\ TlIKCUARTKES. \IHhl>KAl 164 GOTHIC STYLE TO CLASSICAL ART
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
