. Art in France. 500. — HOI (Museum of Mrntpellier.) ART IN FRANCE. riU. 600.—HOCnON. DIANA (The Louvre, Paris.) they were enthroned over the chimneypiecesand doors of boudoirs, so statuary was adaptedto the drawing-room, and the heroes ofacademic sculpture became bibelots. Bou-chers pastorals were also transposed intobiscuit china; licence can only be brilliant insmall dimensions. The loves of Lubin andAnnette were multiplied by the potter as theyhad been by the engraver, until the day whenthe Sevres paste materialised the grave deitiesof revolutionary civism (Figs. 602, 603). In
. Art in France. 500. — HOI (Museum of Mrntpellier.) ART IN FRANCE. riU. 600.—HOCnON. DIANA (The Louvre, Paris.) they were enthroned over the chimneypiecesand doors of boudoirs, so statuary was adaptedto the drawing-room, and the heroes ofacademic sculpture became bibelots. Bou-chers pastorals were also transposed intobiscuit china; licence can only be brilliant insmall dimensions. The loves of Lubin andAnnette were multiplied by the potter as theyhad been by the engraver, until the day whenthe Sevres paste materialised the grave deitiesof revolutionary civism (Figs. 602, 603). In the works of the next generation Pajou,Clodion, J. J. Caffieri and Houdon, sculpturebecame more and more nervous, sensitiveand brilliant; yet it had retained none of thesomewhat pretentious mannerism of Slodtzand the Adams; it never attempted to besublime, but was content to produce daintynudities and sparkling faces. Pajou (1 730-1 809) gave his Tnarblethe meltirig softness of flesh; and Clodion (1738-1814), when hemodelled his nymphs and Cupids, handled the clay as Frago
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
