. Art in France. sand the Portail de la Calende, which give monumental decorationsto the two extremities of the transept, the Lady Chapel which m-creases the depth of the apse, and finally the enormous spue whichsurmounts the lantern. The cathedrals left unfinished at theclose of the thirteenth century werenot, however, abandoned. But themaster-builder who resumed the work,concerned himself little with the inten-tions of the original architect. Henever identified himself with the initialdesign; his interest was confined tothe part on which he was working,facade, tower, spire, porch, or chapel.
. Art in France. sand the Portail de la Calende, which give monumental decorationsto the two extremities of the transept, the Lady Chapel which m-creases the depth of the apse, and finally the enormous spue whichsurmounts the lantern. The cathedrals left unfinished at theclose of the thirteenth century werenot, however, abandoned. But themaster-builder who resumed the work,concerned himself little with the inten-tions of the original architect. Henever identified himself with the initialdesign; his interest was confined tothe part on which he was working,facade, tower, spire, porch, or the construction of churches wasnot carried on throughout the cen-turies after the fashion of a theoremtaken up again at the point where itwas interrupted. Each epoch broughtits particular style; certain cathedralsrecord the whole history of Frencharchitecture. The facade of Toursenables us to follow the various styles ot France in their rapidsuccession. As it rises from the ground, its Gothic decoration 100. FDKHi i>t SAiNT-MArmr AT ROfEN. FEUDAL ART AND CIVIC ART gradually turns into Renaissance ornament;two towers, which set out to end in spires,terminate in round lanterns, in the Italianmanner. The facade of Angers begins asimilar evolution with Romanesque Cathedral of Rodez (Figs. 207. 208)continues the avatars of French architectureeven after the Renaissance. The buildingrises from the ground severe and massive, butas it ascends it blossoms into ornamental detail;at the second storey of the tower the solidwall begins to be pierced and carved, and theribs to ramify with an exuberance whichthe solid forms of a rigid geometry actual fagade superposes styles thatbring us to the middle of the seventeenthcentury. Neo-classical architects added afagade in the so-called Jesuits Style at thetop: two antique orders crowned by apediment; to complete the cathedral, a reduc-tion of the Val-de-Grace or the Sorbonnewas perched on the summit. The in
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
