. Art in France. FIO. 334. —SCRFEN FROM ,IN THE CLl NY Ml SElM, PARIS. ttjLaS^.. ^m ^^^3 li- fl ■B^fKT /^^i ^ ■jQ ^^ ^^ssy \x ^ kings, and the royal insigniaadded little to the miserableprestige of the stone in the sixteenth century,the king is not even repre-sented in the rigidity ofdeath; he is seen kneehngupon a beautiful sculpturedstructure, surrounded by fineallegorical figures; for thesinister pleurants no longerattend Louis XII, Francis Iand Henry II. The tombof Francis 1, constructed byPhilibert Dclorme (), is a triumphal arch,and the base, sculptured by P
. Art in France. FIO. 334. —SCRFEN FROM ,IN THE CLl NY Ml SElM, PARIS. ttjLaS^.. ^m ^^^3 li- fl ■B^fKT /^^i ^ ■jQ ^^ ^^ssy \x ^ kings, and the royal insigniaadded little to the miserableprestige of the stone in the sixteenth century,the king is not even repre-sented in the rigidity ofdeath; he is seen kneehngupon a beautiful sculpturedstructure, surrounded by fineallegorical figures; for thesinister pleurants no longerattend Louis XII, Francis Iand Henry II. The tombof Francis 1, constructed byPhilibert Dclorme (), is a triumphal arch,and the base, sculptured by Pierre Bontemps, records the exploits of the king. In the tomb ofHenry II, the great figures cast bv Germain Pilon are not there to 162 3;S.—THE INTO ON THECHOIR-Sl-REEN IN AMIENS fATHEnRAI,. GOTHIC STYLE TO CLASSICAL ART. 336. THE CHAPEL OF THE CHATEAU DAMBOISE. {Plwlo. Neurdein.) lament the dead, but to recall hisvirtues and his glory. The idea isas pagan as the architecture, and asthe divine bodies of the figures. Inspite of the sculptured corpses that liebeneath the arcades, these tombs areno expression of the humble Gothicphilosophy; the man is not stretchedout upon the slab, resigned and sub-missive ; he has not accepted death;his tomb is no temporary restmg-placein which he awaits his resurrection;it is a triumphal monument whichcommemorates and amplifies an illus-trious life, and assures him of the im-mortality of glory after his brief exist-ence on earth. Setting aside Cellini, goldsmith andmetal-worker, the artists Italy sent to France were chiefly painters,and yet it was above all the French sculptors who most readilyassimilated Florentine plastic art. There is no common measure as between the amiable masters ofMoulins or the graceful miniaturistsof the school of Bourdichon, andthe superb dra
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
