RELATIONS OF MODERN ARCHITECTURE 629 



the pointed arch as the characteristic of the Gothic style, which, for 

 this reason, he christened "ogival." He would by this classification 

 have brought into Gothic architecture practically all the Romanesque 

 buildings of Burgundy and Provence and half of those of the Isle 

 de France; all those of the North, of Central France, and of the 

 Southwest. 



Felix de Verneilh made another blunder; having no knowledge 

 of the destruction of Saint Front de Perigueux in 1120 by a fire, of 

 which a complete account appears in the chronicles of the bishops, 

 he thought that he saw in the famous present church with its domes 

 the edifice of 1040. He believed it to have been derived from Saint 

 Mark's at Venice, which was also attributed to the tenth century, 

 and he saw in it the prototype of the domed churches of Perigord; 

 whereas, as a matter of fact, many of these latter are much more 

 ancient, and none of them come down farther than the year 1100. 



R6voil, in studying the art of Provence, believed that he could 

 assign definite dates to very ancient foundations through certain 

 epigraphic characteristics and certain architectural forms imitated 

 from the antique. He believed in an unbroken persistence of these 

 influences in Provence, whereas there was only a renaissance of it in 

 the twelfth century, as is shown, on the one hand, by the late date 

 of the buildings that approach nearest to Roman art, Saint Gilles 

 and Saint Trophime of Aries; and, on the other hand, the crudeness 

 of those relics that are known to be connected with the Merovingian 

 or Carolingian periods, as, for instance, the crypts of Saint Victor of 

 Marseilles, of Montmajour and of Digne. 



From 1880 until the present time the schism between the disciples 

 of Viollet-le-Duc and those of Quicherat has become more clearly 

 defined. This is due to the divergent paths along which their masters 

 led and which they followed. The pupils of Quicherat lived in the 

 speculative domain of history; those of Viollet-le-Duc in the prac- 

 tical domain of art. Without relinquishing the study of the evolution 

 of the medieval styles, the architects of the school of Viollet-le-Duc 

 have more and more come to neglect historical researches in order 

 to give their attention to the architectural forms, both in the inter- 

 ests of restoration and of original construction. With regard to 

 restoration. M. Lucien Magne has come to the point of announcing 

 as a principle that all attempts to imitate closely the ancient form 

 should be abandoned, and that the monuments of the past should 

 rather be completed in a modern style that will be harmonious with 

 the ancient parts of the building. This principle he has applied very 

 happily in the church of Bougival. 



This whole point of view has met with much opposition in Belgium 

 from the pupils of Baron Bethune. a rival of Viollet-le-Duc, and by 

 the professors of 1'Ecole Saint Luc. especially the architect Cloquet. 



