House and Garden 
Ailr- \ii.i 
FIGURE 10 
glory of self, the devout religious superstition and 
earnestness of the Gothic period, the learning and the 
attendant desire for knowledge of the Renaissance, 
its conflict with religion, and its desire for freedom, 
and arrive at that period in France when the kings 
dreamt of glory and expansion, and the love of 
France became manifest in the worship of its kings. 
Who can dispute but that it was this feeling which 
gave Lamour and Herve the impulse to conceive the 
feeling and magnificence so royally expressed in the 
screens round the forecourt of the Palace of Stan¬ 
islaus at Nancy ? Who can doubt but that this 
courtly impulse was the origin of Guibal and Cyflle’s 
suggestion of Neptune and Amphitrite paying 
homage to Stanislaus Or at Versailles who can 
look from the Fountain of Neptune and see through 
the bosquets in the distance the Palais, and not 
realize the amazing magnitude of the conception of 
the elder Adam and Girardon, the truly overwhelm¬ 
ing grandeur of the sea-god with his court eager, as 
it were, for the expression of his supreme will Who 
can doubt but that the sculptor of those lead figures 
expressed the all-pervading thought of the glory and 
magnificence of France personified in the monarch 
in that Palais, or by the personification of those 
figures on the upper terrace of all the rivers of France 
and their fruitfulness as not impelled by the desire 
to express that the rivers of France came to pay 
homage to the source of all their glory 
From the worship and adoration of patriotism in 
the person of their kings in the days of freedom and 
democracy it was a small stride to deify the republic, 
its progress and triumph, both in the abstract, as in 
the masterpiece of Dalou and in the personage of her 
most distinguished sons. Who can deny but that 
it is the glory of France that the metal worker wishes 
FIGURE II 
264 
