New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-04-06

Paris; La Libraire Illustree New-fork' D. W.
The discursive character of this beautiful pub
LEGATION. of which the first part has recently APP
peared on both sides OF the Atlantic. does not de-
prive it Of unity Carried far afied by the scope
of the enterprise, the distinguished writer's who
have placed themselves under NJ Hazards direc-
ton have nevertheless, tacit understanding in
common, which brings into close relation with
each other the monographs they have prepared on
some Of the great monuments of their country
1t is an understanding which persists in the same
force nowhere az il does in France. IL Is the
catholic appreciation Of artistic achievement.
which recognizes no hard and fast line dividing
the architect from the sculptor or painter, but
is quick TO respond to the spirit OF true art
wherever it may be found, and sees in o nations
buildings as priceless possessions as are commonly
seen in her statues and pictures. France has had
her vandals. No other country ever came so
close to the brink Of an irreparable crime against
art as the French came during the Commune,
when the Louvre threatened with dcstruc-
ton. But in the main the historic edilces Of
France are jealousy conserved, and. what is more,
enthusiastically appreciated and celebrated OF
the extent Of native enthusiasm for such cathe-
dras those of Rheims and NOtre-D Dame de
Paris, for such chateaux those of Versailles
and Pau. the advertisement" which opens this
volume gives an indication even more remarkable
than the papers which follow it, for it explains
how the latter came to be written To certain
Frenchmen, "honnetes gems. ami dcs beauX livres
ct DIES beauX-arts," it has seemed as though the
Partisan presses were leaving it too much to those
OF foreign cities to print works on the artistic
relics of France Instantly it was resolved to
form an association of small number of wealthy
amateurs. who would subscribe the funds necfs
sary to bring out some worthy volumes the
fine arts, and not look primarily for any return
upon their investment, but find their satisfaction
in the realization that they were assisting in the
maintenance OF the artistic supremacy of France.
The association was quickly founded, and took
the title Of the Societe de Fart Francais.' IL
was then necessary to choose subject for literary
and Topographic treatment, and at this point
the diettanti began to perceive that they had
an embarrassment of riches before them. NJ
Hazard barely touches upon the array OF monu-
ments which crowd upon the memory at the first
summons Of the latter And yet the few names
he cites are alone of almost incalculable impoit
Among the ecclesiastical structures NJ. Harvard
recalls those Of POitiers, Laon, ChartrcS, Paris,
Scissors, Rheims. Amiens Sens and Rouen. Turn
ing to civil and military architecture, he names
Carcassone. Perrefonds C1aumont Amboise and
Aigues-Alortes. In the list of chatcaux the names
of 13ois. Chenonccaux, Chambord and Azny-c-
Rideau followed by those of Fontaineblean
and Anet. Dianas splendid place. These daz-
cling examples are only small proportion of the
total lying ready to be utilized by the society.
To fix upon any one province out of the
question, and the association boldly decided TO
traverse the field wherever possible regarding
neither chronological nor typographical conditions.
The cooperation of some of the best writers on
aesthetics was secured and TO these experts has
been given the task of treating in brief but not
too BRIEF essays such relies of art as have been
alluded to, their work being strengthened by
such modes of illustration as the French are ac-
customed to employ when they desire to make
beautiful book. No limit TO the number of vol
umes to be issued is announced The series may
and could very agrecably go on for years. The
material will never be exhausted. and surely so
artistic a publication could not lack support.
1t is not alone their brevlty which recommends
these essays to readers who wish TO know some
thing about Rheims. for example, and yet do not
care to be smotherei with technical Informal
ton, as in the text books to which they can 90
if they want that sort of thing. II is their whole
character of vivacity and readableness. The fe
licity of the French in the short literary pOduc
ton has become traditional 1t is well illustrated
in essays like those OF which the present volume
is composed NJ. Gonse writes of the cathedral
Of Rheims, NJ. Guitirey of the chateau. and NJ.
Gile of the gardens of Versailles The Hotel
Carnavalet is treated by NJ. Cousin; the eXtraor-
dnarly beautiful church at Brou the church of
Arnold's poem, is described by NJ. Hazard him
self NJ. de Fourcaud finds his subject in the
majestic chateau at Pau; VI. Muntz traces the
history of the grim, forbdding pile which sur
vixes as @ memorial of the famous papal court
held at Avignon, and. finally, NJ Trarte tells
in u few pages what there L. to be told OF that
charming residence in the Bots, known rs Baga-
tellc" which belonged to granddaughter of
Louis XIV and Nine de Montcspin. early in the
last century, and is now occupied by the widow
of Sir Richard Wallace A great deal Of taste,
artistic feeling and OF lightly borne erudition
has gone to the making of all this text.
It is a little surprising to find Versailles, the
best known of all the monuments discussed. sub
hitting as we'll as it does TO the rule Of compres
sion which prevails throughout the book 1t
does so for reason which NJ. GuiiIrey points ou;
Enormous as il is-onc of the most colossal che
tcaux in Europe, in fact-it is yet stamped vita
the idiosyncracies Of one time and, In certain
sense, one man. 1t mattered very little that Man
sart the Mansart Of the dOms Of the 1nvalides.
may have had ideas of his own, or that lie lrur.
who was the decorative genius of the building,
was an individuality lie Notre, who did 50 much
10 bring the park and gardens to perfection, was
aao II they gave free play 10 their IDEAS it was
simply because their master happened to be in
sympathy with them 1t is not easy TO recall a
more happy combination Of circumstances than
that which brought these three men together under
Louis XIV. Tho Sun-king was vcritable Bernini
among nonarchs with just the sense of aristo-
cratic restraint imposed by his position, which was
necessary to keep his rocco instincts from lead
ing him artstically astray. 1t may be held that
for him to have been influenced by Bernini at all
was an error. but that misguided Italian was not
wholly vile, the colonnadc of st. Peters is
there to show, and similarly Versailles represents
an impulse for which it is impossible not to re-
gard Louis XIV with gratitude. The chateau
fairly groans under the domination of articiaty,
but the King and his satellites worked on grand
scale. and nothing can rob their production of
the grand air. The profuse decorations of lie Uun
inside and out, and of the men who elaborated
with him. are in style that not inircqucntly he