File:French architects and sculptors of the XVIIIth century (1900) (14578015749).jpg

Identifier: frencharchitects00dilk (find matches)
Title: French architects and sculptors of the XVIIIth century
Year: 1900 (1900s)
Authors: Dilke, Emilia Francis Strong, Lady, 1840-1904
Subjects: Architects Sculpture, French Sculptors
Publisher: London, G. Bell and sons
Contributing Library: Getty Research Institute
Digitizing Sponsor: Getty Research Institute

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amegift for ornamental design commends the lovely designs in the volume of Cheminees et details, which are remarkable for brilliant taste in the employment of coloured marbles, the effect of which is sharply stimulated by little touches of pure colour that suggest the reference to Pompeian models. But Bellanger, architecte et dessinateur des menus plaisirs du roi, 3 plunged headlong into the more graceless forms of the revolutionary movement. He became l'un des architectes des monuments publics, and we find him paying homage to the ruling fashion by planning a Theatre des Arts of imposing dimensions, in front of which a triumphal column should have been erected to Commerce, to the Sciences, to the Arts, and to Republican Virtues ! 4 1 1744-1818. 3 Admirable reproductions of this building, which, I am told, is about to be pulled down, are given by Pfnor in his volume, L'Architecture, etc., de l'Epoque Louis XVI. 3 Œuvres de Bellanger, t. I., Cab. des Estampes. 4 Ibid., t. IV., Cab. des Estampes. 32
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One hotel, built at this date, seems to me to exhibit that free Jacques-movement of the builders mind which is indispensable to the q£®j j beauty of his work. I speak of the beautiful Hotel Salm, and hisnow the Palais de la Legion d'Honneur. Indirectly, the homage of Succes-this admiration may be offered to the influence of the genius of sors*Gabriel, for Rousseau,1 who built the Hotel Salm Salm in 1786, was the pupil of Gabriel's assistant, Potain.2 I see no other example of domestic architecture at the close of the century to be compared with it. Under the direction of Boullee and Chevalier dozens of pretentious houses sprang up in Paris,3 of any one of which it might be said, as of the Hotel Brunoy, un tel édifice ne ressemble-t-ilvpas plutôt à un temple qu'à la demeure d'un particulier.4 Inlooking at buildings such as these we feel that all personal sentiment and taste and pleasure have been sacrificed to an imaginarytype of classic perfection having no relation to the life and hab

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