. Art in France. e capitals, the colour of which was restored atthis period. Thus the two chronological extremes of Christian artwere juxtaposed. When we glance from the elegant correctness ofthe modern to the awkward and heavy application of the primitive,we see that the expressive power of art is far from increasing inproportion to skill. Flandrin lacked nothing that is essential tothe religious painter, not even the faith of Fra Angelico; but hisart seems a very fragile calligraphy upon this old Romanesquemasonry (Fig. 721). The pupils of David, and later those of Ingres, had at first sough
. Art in France. e capitals, the colour of which was restored atthis period. Thus the two chronological extremes of Christian artwere juxtaposed. When we glance from the elegant correctness ofthe modern to the awkward and heavy application of the primitive,we see that the expressive power of art is far from increasing inproportion to skill. Flandrin lacked nothing that is essential tothe religious painter, not even the faith of Fra Angelico; but hisart seems a very fragile calligraphy upon this old Romanesquemasonry (Fig. 721). The pupils of David, and later those of Ingres, had at first soughtonly the phantoms that wander among the ruins during their so-journ in Italy. It re-quired an unpretentiouspainter like HubertRobert to take pleasurein the picturesqueness ofactual men and things,or a poet of light likeClaude Lorrain to forgetthe mementoes of theantique. Nevertheless,more than one of thestudents of the FrenchAcademy in Rome, andsometimes even the Di-rector himself, felt the (Tlic Louvre, Paris.). FIC. 727.—LEOPOLD ROBERT. AKRI\ AL(^F HARVESTERS IN THE PONTINE MARSHES. 346 THE ROMANTIC PERIOD
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