. Art in France. FIG. 367.— MEDALLION. (Cluny Museum, Paris.) FIG. 3C8.—CATHERINE DE MEDALLION. (Cluny Museum, Paris) 75 ART IN FRANCE. sation were one day to bemore familiar to them thanthe links that bound themto Christianity; while thepseudo-antique art wasin process of was instruct-ing a public to the endthat it might understandits intentions. It was, nodoubt, an artificial cul-ture; it made distinctionsbetween popular andscientific art; it severedthe innumerable ties, which, in the Middle Ages, united a Christianpeople and its religious art. An
. Art in France. FIG. 367.— MEDALLION. (Cluny Museum, Paris.) FIG. 3C8.—CATHERINE DE MEDALLION. (Cluny Museum, Paris) 75 ART IN FRANCE. sation were one day to bemore familiar to them thanthe links that bound themto Christianity; while thepseudo-antique art wasin process of was instruct-ing a public to the endthat it might understandits intentions. It was, nodoubt, an artificial cul-ture; it made distinctionsbetween popular andscientific art; it severedthe innumerable ties, which, in the Middle Ages, united a Christianpeople and its religious art. And yet this classicism was never,in France, isolated by its aristocratic character. The most sincerepoets of classical art, Poussin, Lorrain, David, Prudhon and Ingreswere not very profound Humanists. Erudition plays no part in thepagan charm of their masterpieces; but an instinctive and profoundpredilection sometimes reveals to us the close kinship between theFrench genius and antique modes of thought and feeling. 309. — BALI, Al. Till; ilfOlKr OK III. ( The Louvre, Paris.)
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