. Art in France. s of the north on the way to Italy, was alsoto be permeated by the classical spirit. Lyons was the city ofgreat fairs, a metropolis of French commerce; since the time ofLouis XII, it was the centre whence the king watched the affairs cfItaly. Aix, where King Renes Flemings had worked, readilyaccepted the Italian forms; on the doors of his cathedral, Gothicornament is superposed on the Italian arabesques. Avignon stillreceived the artists of the north, but they now worked in the Italianmanner. In the middle of the centurv, when there was a great dearth of painters in thekingdom
. Art in France. s of the north on the way to Italy, was alsoto be permeated by the classical spirit. Lyons was the city ofgreat fairs, a metropolis of French commerce; since the time ofLouis XII, it was the centre whence the king watched the affairs cfItaly. Aix, where King Renes Flemings had worked, readilyaccepted the Italian forms; on the doors of his cathedral, Gothicornament is superposed on the Italian arabesques. Avignon stillreceived the artists of the north, but they now worked in the Italianmanner. In the middle of the centurv, when there was a great dearth of painters in thekingdom, a Champenois,Simon of Chalons, estab-lished in Provence, in-troduced figures copiedfrom Michelangelo andRaphael in his religiouscompositions with someskill (Fig. 363). When she lost herDukes, Burgundy alsolost her artistic person-ality; but Dijon still en-joyed its admirable situa-tion on the highway to Italy. This city also had its Renaissance,marked by a robust exuberance of style and a certain heaviness. 137. FIG. 280.—CHATEAU DE SAINT-GERMAIN. ART IN FRANCE
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
