. Art in France. m;. 702.— sPRiNi;.The Louvro, Paris.) 362 THE ROMANTIC PERIOD. FIG. 703.—CHARLES OF SHEEP. (French Embassy at Berlin.) not remain a limitedgenre. Inanimate objectshad only existed in re-lation to man; but land-scape was to encroacheven upon the prerogativeof man ; his personalitywas to be dissipated in themirage of light and thereflection of things. Thevocabulary of the pictu-resque continues to beenriched bv sensationshitherto unknown. Land-scape was to transform all paintmg, and to renovate our visual is less impressionable than paint
. Art in France. m;. 702.— sPRiNi;.The Louvro, Paris.) 362 THE ROMANTIC PERIOD. FIG. 703.—CHARLES OF SHEEP. (French Embassy at Berlin.) not remain a limitedgenre. Inanimate objectshad only existed in re-lation to man; but land-scape was to encroacheven upon the prerogativeof man ; his personalitywas to be dissipated in themirage of light and thereflection of things. Thevocabulary of the pictu-resque continues to beenriched bv sensationshitherto unknown. Land-scape was to transform all paintmg, and to renovate our visual is less impressionable than painting; technical andmaterial necessities impose a slow continuity on this art, even inperiods of violent revolution. At the close of the eighteenth cen-tury, sculptors had not felt the influences of idealism and of arch e-ology to the same degree as painters. Roman heroes had alreadylong taken the place of Bouchers shepherds, when Pajou andHoudon were still modelling their sparklmg and voluptuous sculpture could not continue to express sentiments which nolonger existed. Ho
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