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RODEZ

what more reserved, since the ornaments were mostly of wootl, or, after the fashion of wood-carving, less robust and naturalistic and less exuberant in the mixture of natural with artificial forms of all kinds (e. g. plant motives, stalactitic representations, gro- tesques, masks, implements of various professions, badges, paintings, precious stones). As elements of the beautiful France retained, to a greater extent than Germany, the unity of the whole scheme of decoration and the symmetry of its parts.

This style needs not only decorators, goldsmiths, and other technicians, but also painters. The French painters of this period reflect most truly the moral depression dating from the time of Louis XIV, even the most celebrated among them confining them- selves to social portraits of high society and de- picting "gallant festivals", with their informal, frivolous, theatrically or modishly garbed society.

Rococo Decoratio.n from a Chateau near Paris

The "beautiful sensuality" is effected by masterly technique, especially in the colouring, and to a great extent by quite immoral licences or mythological nudities as in loo.se or indelicate romances. As for Watteau (1684-1721), the very titles of his works— e. g. Conversation, Breakfast in the Open Air, Rural Pleasures, Italian or French Comedians, Embark- raent for the Island of Cythera — indicate the spirit and tendency of his art. Add thereto the figures in fashionable costume slim in head, throat, and feet, in unaffected pos(% represented amid enchanting, rural scenery, painted in tlu; finest colours, and we have a pictun; of the high society of the period which beheUl Louis XV and tlie Pompadour. Fran(^ois Boucher (1703-70) is llie most celebrated painter of ripe Rococo. For the church Rococo may be, generally speaking, compared with worldly church music. Its lack of simplicity, earnestness, and repose is evident, while its obtrusive artificiality, unnaturalness, and triv- iality have a distracting effect. Its softness and pettiness likewise do not become the house of God. However, shorn of its most grievous outgrowths, it may have been less distracting during its proper epoch, since it then harmonized with the spirit of the age. A development of Baroque, it will be found a congruous decoration for Baroque churches. In general it makes a vast difference whether the style is used with moderation in the finer and more in- genious form of the French masters, or is carried to extremes with the consistency of the German. The French artists seem ever to have regarded the beauty of the whole composition as the chief object, while the German laid most stress on the bold vigour of the lines; thus, the lack of symmetry was never so exaggerated in the works of the former. In the church Rococo may at times have the charm of prettincss and may please by its ingenious technic, provided the objects be small and subordinate a credence table with cruets and plate, a vase, a choir desk, lamps, key and lock, railings or balustrade, do not too boldly challenge the eye, and fulfil all the

requirements of mere beauty of form. Rococo is indeed really empty, solely a pleasing play of the fancy. In the sacristy (for presses etc.) and ante- chambers it is more suitable than in the church it- self — at least so far as its employment in conspicuous places is concerned.

The Rococo style accords very ill with the solemn office of the monstrance, the tabernacle, and the altar, and even of the pulpit. The naturalism of certain Belgian pulpits, in spite or perhaps on account of their artistic character, has the same effect as have outspoken Rococo creations. The purpose of the confessional and the baptistery would also seem to demand more earnest forms. In the ca.se of the larger objects, the sculpture of Rococo forms either seems petty, or, if this pettiness be avoided, resem- bles Baroque. The phantasies of this style agree ill with the lofty and broad walls of the church. How- ever, everything must be decided according to the object and circumstances; the stalls in the cathedral of Mainz elicit not only our approval but also our admiration, while the celebrated privileged altar of Vierzcluiheiligen repels us both by its forms and its plastic decoration. There are certain Rococo chalices (hke that at the monastery of Einsiedeln) which are, as one might say, decked out in choice f(stiv(> array; there are others, which are more or less niissliapen owing to their bulging curves or figures. ('iKuidcliers and lamps may also be disfigured by ol)trusive shellwork or want of all symmetry, or may amid great decorativeness be kept within reasonable limits. The material and technic are also of consequence in Rococo. Woven materials, wood-carvings, and works in plaster of Paris are evidently less obtrusive than works in other materials, when they employ the sportive Rococo. Iron (es- pecially in railings) and bronze lose their coldness and hardness, when animated by the Rococo style; in the case of the latter, gilding may be used with ad- vantage. Gilding and painting belong to the regular means through which this style, under certain cir- cumstances, enchants the eye and fancy. All things considered, we may say of the Rococo style — as has not unreasonably been said of the Baroque and of the Renaissance — that it is very apt to introduce a worldly spirit into the church, even if we overlook the figural accessories, which are frequently in no way conducive to sentiments of devotion, and are incompatible with the sobriety and greatness of the architecture and with the seriousness of sacred func- tions.

Ornements Louis XV et du style Rocaille, reproduits d'apris les originaux (Paris, 1890) ; Recueil des ceuvres de G. M. Oppenord (Paris, 1888) ; Recueil des ceuvres de J. A. Meissonier (Paris, 183;) ; GuRLiTT, Das Barock- u. Rokokoornament Deutschlands (Berlin, 1885-9); DoHME, Barock- u. Roknko-Architeklur; Jessen, Das OTiiament des Rokoko (Leipzig, 1894).

G. GlETMANN.

Rodez, Diocese of (Ruthen^), was united to the Diocese of Cahors by the Concordat of 1802, and again became an episcopal see by the Concordat of 1817 and Bull of 1822, having jurisdiction over: (1) the ancient Diocese of Rodez with the exception of the deanery of Saint Antonin, incorporated with the Diocese of Montauban; (2) the ancient Diocese of Vabres; (3) a few scattered comnumcs of the Diocese of Cahors. The Diocese of Rodez corre- sponds exactly to the Department of Avcyron (for- merly Rouergue). It was suffragan of Bourges until 1676, then of Albi, and has again been suffragan of Albi since 1822. Modern tradition attributes to St. Martial the foundation of the church of Rodez and the sanctuary of the Blessed Virgin at Ceignac, for according to Cardinal Bourret, the church of Rodez honoured St. Martial as early as the sixth cen- tury (see Limoges). There were bishops of Rodez before 675, as Sidonius Apollinaris mentions that the