. Art in France. ey stand; at LaTrinite, as at the Opera House, an open corridor enables fair wor-shippers to step from their carriages without wetting their Opera House (Figs. 801, 802), one of the most im-portant works of the nineteenth century, shows how decorativeeclecticism can adapt itself to modern needs. Gamier repeatedthe internal arrangement of the great theatre built by Louis atBordeaux; the fagade, with its galleries and colonnades, recallsthe architecture of the Venetian Renaissance, that of Sansovinoand Palladio; but a great number of details are borrowed fromGr
. Art in France. ey stand; at LaTrinite, as at the Opera House, an open corridor enables fair wor-shippers to step from their carriages without wetting their Opera House (Figs. 801, 802), one of the most im-portant works of the nineteenth century, shows how decorativeeclecticism can adapt itself to modern needs. Gamier repeatedthe internal arrangement of the great theatre built by Louis atBordeaux; the fagade, with its galleries and colonnades, recallsthe architecture of the Venetian Renaissance, that of Sansovinoand Palladio; but a great number of details are borrowed fromGreece, Asia, and Egypt. The exterior duly suggests the characterof the building and its internal design, with the galleries for thefoyer, the cupola overthe auditorium, and thehuge pediment, whichnot only completes thesilhouette, but indicatesthe division betweenstage and architect aimed ata richness of effect thatshould surpass the Ver-sailles of Mansart and LeBrun. He used poly-chrome marbles, and. UK(.\K. LE PALAIS lllE champs-£lys£es, paris. 384 NATURALISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
