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280
GOTHIC ARCHITECTURE
CHAP.
cornices of Nevers exhibit), we may notice the delicate running ornaments (Fig. 184) in the archivolts of the Porte Rouge of the Cathedral of Paris.
FIG. 184.
There is thus a marked difference between the adapted naturalism which gave life to early Gothic ornament, and the imitative naturalism which marks the decline of Gothic art.
How, it may be asked, are we justified in ascribing to this early Gothic ornament such supreme merit? Why is it, if the influence of nature adds anything of value to art, that direct and complete imitation, so far as possible, is not good?
