. Art in France. ingenious deco-ration was, however, too narrowfor the body of the building,which protrudes on either side(Fig. 386). In this architecture, imaginative effort is confined to the dome;this was the problem to which all constructors, after the creation ofSanta Maria dei Fiori at Florence, and St. Peters at Rome,had aspired to devote their talents. All the principal Parisianchurches of the seventeenth century have a cupola, Val-de-Grace, theSorbonne, the Invalides, the Chapelof the College des Quatre-Nations;they dominate the city, and likethe Gothic towers and spires,indicate the

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. Art in France. ingenious deco-ration was, however, too narrowfor the body of the building,which protrudes on either side(Fig. 386). In this architecture, imaginative effort is confined to the dome;this was the problem to which all constructors, after the creation ofSanta Maria dei Fiori at Florence, and St. Peters at Rome,had aspired to devote their talents. All the principal Parisianchurches of the seventeenth century have a cupola, Val-de-Grace, theSorbonne, the Invalides, the Chapelof the College des Quatre-Nations;they dominate the city, and likethe Gothic towers and spires,indicate the church of God fromafar. But when French architectsborrowed the Italian cupolas, theymodified them a little; thev re-tained the national taste for ahigh timber roof, and were thusenabled to give additional heightto the exterior silhouette oftheir spherical vaults. Their littlecupolas, ornamented with sculptureand decked with metal, swellproudlv heavenwards, withoutpressing heavily upon their pointsof support. 186. no. jSv>. I III Kill or \ AL-UE-GRAtE. THE EVOLUTION OF CLASSICAL ART

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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart