. Art in France. f but a few important monumentssurvived from which to reconstruct the artistic history of the lastthree centuries—the Louvre, Versailles, the Place de la Concorde,the Bourse, and the Palais des Champs-Elysees—we might passfrom summit to summit, from Louis XIV to ! 900, without overstep-ping the boundaries of classical art, or encountering other formsthan those accepted since the time of the Greeks by Mediterraneanand Western civilisation. French society had undergone many cata-clysms, but at the end of thenineteenth century architectswere still erecting colonnades,just as Perr
. Art in France. f but a few important monumentssurvived from which to reconstruct the artistic history of the lastthree centuries—the Louvre, Versailles, the Place de la Concorde,the Bourse, and the Palais des Champs-Elysees—we might passfrom summit to summit, from Louis XIV to ! 900, without overstep-ping the boundaries of classical art, or encountering other formsthan those accepted since the time of the Greeks by Mediterraneanand Western civilisation. French society had undergone many cata-clysms, but at the end of thenineteenth century architectswere still erecting colonnades,just as Perrault, Mansart andGabriel had done. Classicaltaste has been made more flex-ible, enriched by the eclecticismnatural to a century of historiansand travellers. Decorative ele-ments are borrowed from allcountries and all ages; we areno longer astonished by a Hin-doo, an Arab, or an Egyptianmotive. In religious architecturemore especially, Gothic, Roman-esque and Byzantine imitationshave persisted. Religion, which. FIG. 802.—OARNIER. GRAND STAIRCASEIN THE OPERA HOUSE, PARIS. 383 ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
