. Art in France. S08.—VAllXiYEK. CATHEDRAL Of MARSEILLE? (Pholo. Acurddii.) 386 NATURALISM. IIG. 8og.—APSE OF NOTRE-DAME-DE-FOLRVIERES, LYONS. (Photo. Netifiein.) has recently been demolished to showGabriels pavilions again. Iron, in spiteof the extraordinary flexibility of itspowers, cannot oust the traditional ma-terials of the mason. Without doubtengineers raise vaults and arches whichappear prodigious when measured bythe scale of stone construction, but poweronly astonishes us in proportion to humanforce. When arms were replaced bymachines we no longer had any scale bvwhich to measure the
. Art in France. S08.—VAllXiYEK. CATHEDRAL Of MARSEILLE? (Pholo. Acurddii.) 386 NATURALISM. IIG. 8og.—APSE OF NOTRE-DAME-DE-FOLRVIERES, LYONS. (Photo. Netifiein.) has recently been demolished to showGabriels pavilions again. Iron, in spiteof the extraordinary flexibility of itspowers, cannot oust the traditional ma-terials of the mason. Without doubtengineers raise vaults and arches whichappear prodigious when measured bythe scale of stone construction, but poweronly astonishes us in proportion to humanforce. When arms were replaced bymachines we no longer had any scale bvwhich to measure the vastness shownus. Iron architecture, calculated scien-tifically on paper, and afterwards re-ahsed mechanically, is not susceptibleto chance, accident or success. Betweenconception and achievement, there is noplace in it for initiative, effort, or appli-cation. True, these metallic halls bearthe impress of human intelligence, but they show no trace of humanlabour. Astonished though we may be at the length of bars ofmetal, cast and welded, and hoisted mechanically into position, weturn
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
