. Art in France. ecorated like shrines, these great nobles, furred like catsand variegated as popinjays, are faithful reproductions. But con-temporary architecture and sculpture evoke a civilisation very muchrougher. Illumination was not the sole kind of painting in use at the end ofthe fourteenth century. Certain artists were working in tempera onwooden panels. They hardly did more than amplify the little com-positions of the miniaturists. These illuminators on a large scale lack vigour; certain hap-pily inspired details showdelicacy of observation;but over-softness of colourand the abuse of
. Art in France. ecorated like shrines, these great nobles, furred like catsand variegated as popinjays, are faithful reproductions. But con-temporary architecture and sculpture evoke a civilisation very muchrougher. Illumination was not the sole kind of painting in use at the end ofthe fourteenth century. Certain artists were working in tempera onwooden panels. They hardly did more than amplify the little com-positions of the miniaturists. These illuminators on a large scale lack vigour; certain hap-pily inspired details showdelicacy of observation;but over-softness of colourand the abuse of gold im-pede the victorious prog-ress of Malouel, Belle-chose and Broederlam,all those Netherlandishartists who worked forthe Dukes of Burgundy(Figs. 242, 244). It was at this period, in the first quarter of the fourteenth century, that two events combined to change the destiny of French painting. The English invasion drove royalty, and most of the industries which ministered to its luxury, towards the South. 117. FIG. 238.—COFFER OF THE XVTH CENTrRY. (Cluny Museum, Paris.) ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
