. Art in France. FONTAINEBLEAU. first, that of Georges dAmboise (Fig. 341), has a rich ornamentof arabesques and pilasters, a floriated decoration in the manner ofMichelozzo, such as the men of the early Renaissance were in thehabit of applying to Gothic buildings. The tomb of the Marquisde Breze (Fig. 346), a slightly later work with its portico ofcolumns surmounted by Caryatides, is a monument in the classicalmanner, in spite of its equestrian statue and its realistic recumbentfigure. At Caen, Pierre Sohier (Fig. 304) was the author of anexquisite combination in which exuberant forms borrowe

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. Art in France. FONTAINEBLEAU. first, that of Georges dAmboise (Fig. 341), has a rich ornamentof arabesques and pilasters, a floriated decoration in the manner ofMichelozzo, such as the men of the early Renaissance were in thehabit of applying to Gothic buildings. The tomb of the Marquisde Breze (Fig. 346), a slightly later work with its portico ofcolumns surmounted by Caryatides, is a monument in the classicalmanner, in spite of its equestrian statue and its realistic recumbentfigure. At Caen, Pierre Sohier (Fig. 304) was the author of anexquisite combination in which exuberant forms borrowed fromItalian motives replace the restless lines of the Flamboyant Style. At the close of theMiddle Ages, Brittany hadshown a great artistic vi-tahty;parishioners crownedtheir churches with airyspires, nobles and citi-zens built solid the sixteenth«century,at the period when Franceabandoned mediaeval formsof sculpture and archi-tecture, Brittany held alooffrom the common move-ment. The peninsula. -THE LOUVRE. WITH LESCOT S WING ONTHE LEFT. 141 ART IN FRANCE

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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart