(2) A masterly understanding of French landscape (see
fine instances of this understanding also in "Tr?sor des Histoires," now
in the British Museum, Cott., Aug. 5). (3) A complete freedom from
Gothic influence and from the domination of the school of Bruges. The
colours for which Fouquet seems to have a preference are, first, a clear
orange-vermilion, supported by golden brown and gold, clear blue and
green, lemon-yellow; and then, as a contrast, grey of various tones in
walls and buildings, soft landscape greens, and a?rial tints of distance
and sky. Perhaps the technical skill of Fouquet has never been
surpassed. It is so perfect that some have tried to explain it by
supposing that he was trained in a Flemish studio. His sons and pupils
continued his methods, and thus while Paris remains under the influence
of Flemish masters, Tours was carrying forward a quite different type of
traditions.
The Valerius Maximus (Harl. 4374) of the British Museum will give an
idea of the later Paris school. Its date is about the end of the
fifteenth century.
We ought not in this place to forget the influence brought into French
art through the marriage of the murdered Duke of Orleans with Valentina
of Milan, not only directly through books and artists, but by the
hereditary transmission of that love of art and beautiful things for
which Valentina and her family were well known.
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