. Art in France. fig. 217.—saint fortfnade. church of sainte-fortunade (correze). did the same. Their sepulchral effigiesshow them recumbent, their hands foldedin prayer, their feet resting on heraldicbeasts such as dogs or lions. In the Saint Louis, busts werenot, as yet, portraits; the costumes onlyseem to have been accurately rendered;the round, inexpressive faces, modelledwith very little character, are lifeless,in spite of a vague indication of a a long time the sculptors of gisants(recumbent figures)had been content tolay the same figuresthey had been inthe habit of ere

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. Art in France. fig. 217.—saint fortfnade. church of sainte-fortunade (correze). did the same. Their sepulchral effigiesshow them recumbent, their hands foldedin prayer, their feet resting on heraldicbeasts such as dogs or lions. In the Saint Louis, busts werenot, as yet, portraits; the costumes onlyseem to have been accurately rendered;the round, inexpressive faces, modelledwith very little character, are lifeless,in spite of a vague indication of a a long time the sculptors of gisants(recumbent figures)had been content tolay the same figuresthey had been inthe habit of erectingagainst pillars in ca-thedral porches flatupon a marble slab. They made no change in the design of thedraperies; the fluted parallel folds were stillretained, as if the weight, continuing to beexercised in the length of the body, had be-come horizontalwith the Saint Denis,Philip VI. andCharles V. sleepthus, wrapped ina sheaf of rigidfolds like the flut-.

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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart