. Art in France. FIG. 387.—CHURCH OF THE SORBONNE. 185 ART IN FRANCE. FIG. 388. — I HAPKI. <ll- UIK ; DES QUATRE-NATIONS (PALAIS OE , PARIS). fantasy. At Saint Etienne duMont (Fig. 311), the architect isstill very far from the chillysimplicity of the classical stone is gay with decorativeamenities, like a piece of Renais-sance furniture. Pierre Biardsrood-screen is of a period whenarchitects were still pre-occupiedwith dainty details. But SaintGervais is correctly cold andbare; Salomon de Brosse adaptedhis columns and entablatures withsome elegance to the pro

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. Art in France. FIG. 387.—CHURCH OF THE SORBONNE. 185 ART IN FRANCE. FIG. 388. — I HAPKI. <ll- UIK ; DES QUATRE-NATIONS (PALAIS OE , PARIS). fantasy. At Saint Etienne duMont (Fig. 311), the architect isstill very far from the chillysimplicity of the classical stone is gay with decorativeamenities, like a piece of Renais-sance furniture. Pierre Biardsrood-screen is of a period whenarchitects were still pre-occupiedwith dainty details. But SaintGervais is correctly cold andbare; Salomon de Brosse adaptedhis columns and entablatures withsome elegance to the project-ing cornices; this 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, theSor

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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart