father of the bride gives the party and, as in funerals, the extent of the hare is the index of his prominence. To be the favored guest at the wedding of a banker’s daughter is to sit down to many a dinner party before an array of eight different wine glasses. Or a dismal scene might be shown in the same church setting; black plumed horses, heavy hangings of black and white about the doors, church bells that magically become piercing and mournful. Or again, the gay picture of a family baptism, with the proud grandparents clustered about a tiny object on a white satin cushion, while the godparents throw Candied almonds to a scampering flock of gamins. The high and low ebb of village life in France and Spain is best revealed to the inquisitive bystander who parks near the village church, that much seems clear.
war memorials in France. The idea of erecting a library, an auditorium or any memorial of a utilitarian character does not appeal to them. It does not agree with their conception of the fitness of things.
A decidedly modern influence is noted in a large percentage of these post-war efforts. Some of the monuments seem to have been the brain children of the ultra-modern designer of Spin
elly’s boudoir suite. Some have a mass, a heaviness, a lack of scale and disregard for accepted profile that is, paradoxically enough, almost Teutonic. The modelling may be bad, the repetition of the poi lu, the chanticleer, the mournful female figure may be tiresome. But the old fire is
Contemporaneous ecclesiastical architecture in France is rather embarrassing to discuss, especially if one is a bit pro-French. An interesting exhibit of very recent developments in design, however, is found in the monuments to the dead of the war, which are being dedicated in ever increasing numbers. Hamlets that cannot afford a new coat of paint for the town hall, have raised enough funds to commemorate the heroism of their “enfants morts pour la Patrie.” What the larger cities will do remains to be seen. Their more ambitious programs are slower in taking definite shape. One fact seems certain regarding
there. Whatever may be their shortcomings, the designers have revealed by this recent work that they are intensely earnest, that they are continually reaching out, groping for a vital and genuine and individualistic means of expressing themselves. Cold archaeology has no place and will not be accepted in expressing a thought so close to their hearts. Nor has it any particular relation to the turmoil just passed. Shining clearly through these memorials is the very finest spirit of a mournful, a noble and a victorious France. Such a fact bespeaks a rather fine architecture.
EGL1SE ST. LAZARE, AVALLON
war memorials in France. The idea of erecting a library, an auditorium or any memorial of a utilitarian character does not appeal to them. It does not agree with their conception of the fitness of things.
A decidedly modern influence is noted in a large percentage of these post-war efforts. Some of the monuments seem to have been the brain children of the ultra-modern designer of Spin
elly’s boudoir suite. Some have a mass, a heaviness, a lack of scale and disregard for accepted profile that is, paradoxically enough, almost Teutonic. The modelling may be bad, the repetition of the poi lu, the chanticleer, the mournful female figure may be tiresome. But the old fire is
Contemporaneous ecclesiastical architecture in France is rather embarrassing to discuss, especially if one is a bit pro-French. An interesting exhibit of very recent developments in design, however, is found in the monuments to the dead of the war, which are being dedicated in ever increasing numbers. Hamlets that cannot afford a new coat of paint for the town hall, have raised enough funds to commemorate the heroism of their “enfants morts pour la Patrie.” What the larger cities will do remains to be seen. Their more ambitious programs are slower in taking definite shape. One fact seems certain regarding
there. Whatever may be their shortcomings, the designers have revealed by this recent work that they are intensely earnest, that they are continually reaching out, groping for a vital and genuine and individualistic means of expressing themselves. Cold archaeology has no place and will not be accepted in expressing a thought so close to their hearts. Nor has it any particular relation to the turmoil just passed. Shining clearly through these memorials is the very finest spirit of a mournful, a noble and a victorious France. Such a fact bespeaks a rather fine architecture.
EGL1SE ST. LAZARE, AVALLON