. Art in France. must always have one and the same object,which is to aid in the increase of riches. The conflicting move-ments which agitated superficial France must not be allowed to hidethat deep current, the slow pressure of which nothing can day, a rather larger number of men achieve a little ease, or inother words, a relative prosperitv and an average intellectual cul-ture. This was the great social event of the nineteenth modern art was to manifest this indefinite enfranchisement ofthe middle classes after its fashion. We should be less contemptuous of nineteent
. Art in France. must always have one and the same object,which is to aid in the increase of riches. The conflicting move-ments which agitated superficial France must not be allowed to hidethat deep current, the slow pressure of which nothing can day, a rather larger number of men achieve a little ease, or inother words, a relative prosperitv and an average intellectual cul-ture. This was the great social event of the nineteenth modern art was to manifest this indefinite enfranchisement ofthe middle classes after its fashion. We should be less contemptuous of nineteenth century architectureif we studied it in its collective conceptions and not in its individualbuildings. It is true thatthe past century inventedno type of church, cha-teau, or palace, nor evenof town house or it realised a newconception of the Louis XIV, andmore especially underLouis XV, architects hadalready designed decora-tive schemes which hadembraced much morethan the fagadeof asingle. 1>1 BW. iiil Kl UK WW Kl 1)1 l: DKSBKAIX-.\RTS, PARIS. 378 NATURALISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
