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Paris - The Louvre
PARIS, which spread rapidly southward at first, was somewhat slower in its north-ward development. Nevertheless, by the time of Philippe Auguste, the Town (La Ville) — the commercial portion north of the river—more than equalled the learned district on the southern side.
Paris - Louvre - Salle Des Primitifs And Salle Duchatel
THE collections in the Louvre have no such necessary organic connection with Paris itself as Notre Dame and the Sainte Chapelle, or even those in the rooms at Cluny. They may, therefore, be examined by the visitor at any period of his visit that he chooses.
Paris - Louvre - Salon Carre
AFTER having traversed these two rooms the spectator will probably be able to attack the Salon Carré, which contains what are considered by the authorities as the gems of the collection, irrespective of period or country (a very regrettable jumble).
Paris - Louvre - Long Gallery
NOW proceed into the Long Gallery, which contains in its first compartment works of the high Renaissance masters, transitional from the conventionality of the fifteenth, to the freedom of the sixteenth, and the theatrical tendency of the seventeenth centuries.
Paris - Louvre - The German, English, And French Schools
AFTER having completed his examination of the Long Gallery, the visitor may next proceed to the five small rooms, —Ix., x., xl., xII., and xIII. on Baedeker's map, — devoted to the German, English and early French schools.
Paris - Further Hints On The Paintings In The Louvre
THE reader must not suppose that these brief notes give anything like an adequate idea of the way in which pictures in such a gallery as the Louvre ought to be studied.
The Madonnas In The Louvre
PAY a special visit to the Louvre one day in order to make a detailed study of Madonnas. Before doing so, however, read and digest the following general statement of principles on the subject: People who have not thrown themselves, or thought themselves, or read themselves into the mental attitude of early art, often complain that Italian picture galleries, and museums like Cluny, are too full of merely sacred subjects.
How To Study The Paintings In The Louvre
ANY other subjects for similar comparative treatment may be found in the Louvre. Pick out for yourself a special theme, such as, for example, the Adoration of the Magi, the Nativity, the Presentation in the Temple, or the Agony in the Garden, and try to follow it out through various examples.
Paris - Louvre - Classical Sculpture
THE sculpture at the Louvre falls into three main divisions, each of which is housed in a separate part of the building. The classical sculpture is approached by the same door as the paintings, and occupies the basement floor of Jean Goujon's part of the Old Louvre, with the wing beneath the Galerie d'Apollon.
Paris - Louvre - Renaissance Sculpture
THIS collection, one of the most important and interesting among the treasures of the Louvre, occupies a somewhat unobtrusive suite of rooms on the ground floor, and is therefore too little visited by most passing tourists.
Paris - Louvre - Modern Sculpture And The Smaller Collections
THE collection of modern sculpture is entered by a separate door in the Cour du Louvre, marked E on Baedeker's plan. It takes up the development of French plastic art at the point where the last collection leaves off. It is, however, of vastly inferior interest, and should only be visited by those who have time to spare from more important subjects.
Paris - The Modern City
PARIS, north of the river, —which is for most purposes the practical Paris of business and pleasure, and of the ordinary tourist at the present day, — has grown by slow degrees from small beginnings. The various rings of its growth are roughly marked on the Map of Historical Paris.
Paris - The Great Boulevards
A SECOND, and doubtless to the reader by this time more familiar walk, round theGreat Boulevards, will suffice to give a hasty conception of the Paris of Louis XIV. and his immediate successors.
Paris - The Faubourg St. Germain.
THE town on the North Side, we saw, was early surrounded by a suburban belt of gardens and monasteries. A similar zone encircled the old University on the South Bank. The wall of Philippe Auguste, you will remember, bent abruptly southward in order to enclose the abbey of Ste. Geneviève ; but an almost more important monastic establishment was left outside it a little to the west.
Paris - St. Denis
ABOUT six miles north of the original Paris stands the great Basilica of St. Denis, —the only church in Paris, and I think in France, called by that ancient name, which carries us back at once to the days of the Roman Empire, and in itself bears evidence to the antiquity of the spot as a place of worship.
Paris - Conclusion
PARIS, outside the great boulevards, comprises by far the larger part of the existing city. Nevertheless, it contains comparatively few objects of historical or artistic importance, being almost entirely modern and merely residential.
Masters Of Art - The Afterglow Of Greece
NAPLES is not associated in the mind of the traveler with art. Her attractions are her picturesque squalor and the far famed natural beauty of her surroundings.
How Art Became Christian
IT is with varied emotions that the thoughtful traveler enters the Eternal City. There are visions of early struggles and civic virtue, of sudden empire and garish opulence, of dissoluteness fed by the loot of cities and the tribute of subject provinces.
Masters Of Art - The Bursting Of The Bonds
WE have seen that during the latter days of the thirteenth century the angel of the Renaissance troubled the quiet waters of mediæval art. The change was slight in outward effect, but in principle it was revolutionary, and marked the dawn of a new era, the full significance of which we were to learn later.
Masters Of Art - The First Of The Moderns
THE greatest of Cimabue's achievements remains to be recorded, namely his discovery of Giotto. Whether it be true, as we are told, that he found him, a shepherd boy, drawing a picture of a sheep upon a stone, and asked him to come to his studio, we do not know, but it is very like unto the truth.
Masters Of Art - The Larger Vision
ART paid its respects to Giotto by a century of imitation. It was a busy century, and the many votaries of art differed as much in temperament as at any time, but at first sight all these differences seem subordinated to a general sameness, which, once examined, proves to be only a resemblance to Giotto, a resemblance in color, in conception, in manner, in everything but genius.
Masters Of Art - The Protest Of Faith
FROM Cimabue to Masaccio we have traced the evolution of art consistently toward its chosen goal of realism. We have seen its abandonment of mosaic, its surrender of gold and decorative pattern, its relinquishment of symmetry and even of bright color, all in the interest of naturalness.
The Revolt Against The Church
THE protest of Fra Angelico was in vain. The movement which he fain would check was not the movement of an individual or a group. It was the movement of a world. Conditions far beyond the limits of art were undergoing a profound change.
Art - The New Paganism And The Old Faith
FILIPPO LIPPI died in 1469. There was a human generation left in this century which was still to be Florentine. After that, the little city no longer houses the art which she has produced. This generation belongs to two painters, the very antipodes in character, but each significant of the tendencies and limitations of the time — Botticelli and Ghirlandajo.
The Contribution Of Pisa
It is therefore appropriate that the revival of this art should have begun in Pisa. Niccolô Pisano (Nicholas of Pisa) is the acknowledged initiator of the movement. His work is most conveniently studied in his early masterpiece, the Pulpit of Pisa (B 379), an epoch-making work at which the tourist usually casts only a hasty glance on his way to do homage to that unfortunate tower which would be beautiful if only it did not lean.
Ghiberti, The Painter In Bronze
FOR more than half a century, Andrea's doors remained the pride and glory of the Florentines. It was long ere they gathered force for a renewed effort, and then their concern seems to have been to find a man who could worthily duplicate the work of Andrea.
The New Science
WHILE Ghiberti was accomplishing the impossible as a painter in bronze, another sculptor, destined to exert, a far greater influence upon Florentine sculpture, was working out the sculptor's problem in a more normal manner. Donatello can never be long dissociated in thought from Ghiberti.
Leonardo, The Magician Of The Renaissance
By the superstitious in his own day, Leonardo was accounted a magician, and to a more discriminating posterity his achievements still border on the magical.
Umbria And Her Artist
THE traveler from Rome to Florence has his choice of two routes. The one runs fairly directly through Orvieto and Chiusi, old Etruscan strongholds, passing Lake Trasimene on the right, then on into the valley of the Arno to Arezzo and Florence.
Raphael In Rome
WE have thus far known Raphael only in Umbria and in Florence. Born and bred in Umbria and deeply imbued with Umbrian tradition to which his nature was most congenial, his sojourn in Florence did not seriously modify his Umbrian character.
Art In The School Of Lorenzo And Savonarola
AGAIN our quest takes us to Florence, the goal of all inquiry in these later days of art. For long the drama was enacted wholly within her walls, and as later, the scene widens and we make our long excursions with Leonardo and Raphael to Milan, to Rome, to France.
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