. Art in France. of which, smallerthan the rest, formed a gallery,gave a rectangular quadrilateral. To ornament the flat fagades,architects applied the principles of Roman construction as theywere beginning to know them from Vitruvius, from antique ruins,and from Italian buildings: these consisted in arranging on thefagade, in such a manner as to enframe the windows, columns orpilasters supporting entablatures orpediments; in superposing as manyorders as there were storeys in thebuilding; the Tuscan or Doric orderfor the ground-floor, the Ionic orderfor the first storey, and compositecolumns o
. Art in France. of which, smallerthan the rest, formed a gallery,gave a rectangular quadrilateral. To ornament the flat fagades,architects applied the principles of Roman construction as theywere beginning to know them from Vitruvius, from antique ruins,and from Italian buildings: these consisted in arranging on thefagade, in such a manner as to enframe the windows, columns orpilasters supporting entablatures orpediments; in superposing as manyorders as there were storeys in thebuilding; the Tuscan or Doric orderfor the ground-floor, the Ionic orderfor the first storey, and compositecolumns or Caryatides for thesecond. Between the columns, ifspace permitted, niches were hol-lowed for the reception of general ornamentation wasrepeated indefinitely all along afagade; the monotony was relievedonly by projecting pavilions, withhigher roofs. Thenceforth, archi-tecture was reduced to drawing, anda knowledge of proportions. Thedecorative elements of Frenchpalaces admitted of little change, 152. FIG. 312.—FAfADE OF THE CATHEDRALOF TOCL. (Photo. Monuments Histori^ues.) GOTHIC STYLE TO CLASSICAL ART
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
