A history of French architecture from the death of Mazarin till the death of Louis XV, 1661-1774 . by calculated audacity, cared little how hemade it. His instincts were essentially dramatic, and even melo-dramatic; the worst possible temperament for an architect. Perraultsays of him: en un mot, je suis persuade quen fait darchitecture ilnexcelloit guere que dans les decorations et les machines de theatre. -By training and natural endowment a sculptor, he had little respect forhis art, treating it as a vehicle for impressions which can only be con-veyed rightly by other arts. The modelling of
A history of French architecture from the death of Mazarin till the death of Louis XV, 1661-1774 . by calculated audacity, cared little how hemade it. His instincts were essentially dramatic, and even melo-dramatic; the worst possible temperament for an architect. Perraultsays of him: en un mot, je suis persuade quen fait darchitecture ilnexcelloit guere que dans les decorations et les machines de theatre. -By training and natural endowment a sculptor, he had little respect forhis art, treating it as a vehicle for impressions which can only be con-veyed rightly by other arts. The modelling of his drapery suggests thequick sweep of a painters brush full of colour. He himself said, Imake the marble supple as wax, and in my works I have united theresources of painting and sculpture. Bernini was the last man in theworld to criticize himself unfavourably, and Perrault maliciously recordshis remark that it was God who inspired his design for the the resources of painting and sculpture was one way of putting See Blondel, Arch. Franc, iv, 49, 50. - Memoires, p. 56. Il,. XIII.
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectarchitecture, bookyea
