. Art in France. HG. 7S0.— IKADIKR. SAPIHO. (The Louvre, Paris.) 370 THE ROMANTIC PERIOD. FIG. 781. JEHAN DU SEIGNEUR. ORLANDO FURIOSO. (The Louvre, Paris.) this wreckage of the churches; archaeological enthusiasm took the place of religious fervour. It is not surprising that the a:sthetic sentiment should resemble a kind of lay piety, since works of art are so often the disused accessories of men contributed very prominently to this re-.;onciliation in the name of beauty, between modern and medieeval France; Chateaubriand, who revealed the senti-mental power of the Gothic monument
. Art in France. HG. 7S0.— IKADIKR. SAPIHO. (The Louvre, Paris.) 370 THE ROMANTIC PERIOD. FIG. 781. JEHAN DU SEIGNEUR. ORLANDO FURIOSO. (The Louvre, Paris.) this wreckage of the churches; archaeological enthusiasm took the place of religious fervour. It is not surprising that the a:sthetic sentiment should resemble a kind of lay piety, since works of art are so often the disused accessories of men contributed very prominently to this re-.;onciliation in the name of beauty, between modern and medieeval France; Chateaubriand, who revealed the senti-mental power of the Gothic monuments to the Romanticists, and Lenoir, who during the revolutionary turmoil received into his Museum of French Monuments the ancient stones, tombs and statues which had been torn from their places and thrown into the gutter. The Genie du Christianisme and the relics accumulated in the Musle des Petits-Augustins kindled French imagination. The Middle Age revealed itself, richlycoloured, moving and mysteri-ous, as in the dim light of thecathedral; the purest Classicists,even Ingres himself,
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
