. Art in France. tyle by ornamentalpomp; in France, decoration re-mained more sober; it was byhappy proportion that Frencharchitects sought to satisfy the re-ligious sentiment of their day, as inthe churches of Saint-Paul, Saint-Louis, the Sorbonne, the Val-de-Grace, Saint Louis des Invalides,and Saint Sulpice (Figs. 386-389).A similar transformation took place externally; the vault still had to be supported, but the flying buttresses, instead of describing a frank angle, were curved inwards as if to disguise their function, and thus lost something of their supporting power. The fagade became
. Art in France. tyle by ornamentalpomp; in France, decoration re-mained more sober; it was byhappy proportion that Frencharchitects sought to satisfy the re-ligious sentiment of their day, as inthe churches of Saint-Paul, Saint-Louis, the Sorbonne, the Val-de-Grace, Saint Louis des Invalides,and Saint Sulpice (Figs. 386-389).A similar transformation took place externally; the vault still had to be supported, but the flying buttresses, instead of describing a frank angle, were curved inwards as if to disguise their function, and thus lost something of their supporting power. The fagade became a kind of architectural exercise, where the same elements had always to be arranged; two or three antique orders surmounted by a triangular pediment. The angle formed by the upper storey and the lateral aisles was adorned by a console which affords a kind of transition. This type of fagade was not constituted all at once; the first architects who had to apply them to the latest Gothic churches show indecision and. FIG. 387.—CHURCH OF THE SORBONNE. 185 ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
