. Art in France. nd for these modern uses felt obliged to make antique buildings. The best buildings of the period are those of the two inseparables,Percier H 764 1838) and Fontaine (1762-1853); the triumphalarch of the Carrousel is a delicate work by refined designers. Inthe courtyard of the Louvre, which they were connecting with theTuileries, they amused themselves, as Philibert Delorme hadoccasionally done, by elaborating some litde piece of architecture,adjusting columns and entablatures, enframing delicate bas-reliefsbetween the strongly marked mouldings of the structure (Fig. 650).Fonta
. Art in France. nd for these modern uses felt obliged to make antique buildings. The best buildings of the period are those of the two inseparables,Percier H 764 1838) and Fontaine (1762-1853); the triumphalarch of the Carrousel is a delicate work by refined designers. Inthe courtyard of the Louvre, which they were connecting with theTuileries, they amused themselves, as Philibert Delorme hadoccasionally done, by elaborating some litde piece of architecture,adjusting columns and entablatures, enframing delicate bas-reliefsbetween the strongly marked mouldings of the structure (Fig. 650).Fontaine built the Chapelle Expiatoire over the graves of Louis .\VIand Marie-Antoinette for Louis XVIIl. This cloister, formed of achain of tombs, is a significant symbol of the Restoration. Bothwere monuments of regret, ex-votos to the past. Isolated in the veryheart of Paris, this Campo Santo turns away our thoughts from thepresent and confines them in the sad memories of the past (Fig. 647). 310 THE NEW CLASSICISM. FIG. 654.—BOSIO. THE NYMPH SALMACIS. (The Lou\Te, Paris.) The architects of the Empirewere more busily employed indesigning furniture than m build-ing. It was they who, followingin the wake of the archasologicaipainters, applied the austererigidity of the Pompeian styleto furniture. Even when theeighteenth century style was at itsapogee, there had been a gooddeal of criticism of rococo con-volutions ; that a line shouldtwist and turn so much on itsway from one point to anotherhad appeared unreasonable tothe contemporaries of Louis XV, and unseemly to those ofLouis XVI. The legs of tables and the backs of chairs werestraightened; and in the reign of Louis XV a style was evolved—-the so-called Louis XVI style—which combined elegance andsimplicity. After this came the Neo-Greeks, who attempted toreconstruct antique furniture; their adherents consented to be heavyin order to be majestic. Forms became massive and decisive, withpronounced angles. In a reception room t
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