a. < ' * “ ‘ . : » * *% a ioe : mR peer, cael Be mea oe 4 : Shes & A ee we cami wi hi’ ial anennenemncaealliin.) aot Sepa Agee lttastit alas eof i inlalltaedihicais saiseeciasit? shite, PO er ne ae a ROR at ence hn &S. A i a as" de Scat Maclin i vite El me m “ EERE SE ESN OT LON ED a TS Sie cet EE ES SILI _ - = eye mw eerer sees sie: RSIS SS LETS SNE AT EE ESTE anes ran owe ar eeee wren a ae SRT SNS SSS ESE err eS SRE SS SSR italy tS an xe bret ny THE UNIVERSITY LIBRARY TIAA &. ARCHITECT UD, UBRARy hers Tes Bibs Ans OF eT Rte a 2 g.0 3 Med & J 2," inOksibe bobredxe bas bevergmt booed |) 0. 0) le ie anoiisusegiit ¢echoow €or) diy’ we (Aaa ls THAOTILTS ' { se ; ; aN ’ val + ee «2 BIQKER LipRAMY of cacniTeR luge UNIVERSE UF ILLINOIS | rs a ~ = 5 mm f sus 7 pork a atexare Baottilo: ey pearly yt te ve 1 ty ve Bah 5 esmroetidorA t¢ ‘noezetox9 gudts age Baty nga 46 Wieser kia s Oa a ie a hart vacedat ae MMM Ue i or dl An od i Pn, 7 fi sts .; | ‘ if of the REY ATSSANCE rat PRANCE : By TIUEELM LU.B KE Second improved and extended Edition With 163 woodcut illustrations STUTTGART - | 1885 Translated by Ws CLiftord Ricker. De Arche ‘Bneritus Professor of Architecture | | ONTVaRSTEY: OF ILLINOIS — | ie Urbana. Tl. ‘ 1921 sie (mo i ie ig send ‘ene of eostegt . Athy Ni , starch fost? est to dooniaed? ¢ en at Snosage Jnebkvs 7407 ee! stn. doost Sead aatifned Sivameteya. est moneds soun J..00n ” a, edd.o2 nists bra qyisti ot sonérstgneh edd oF hetovebh th2a6 aed fi mHaes0 ton eed Wiesi siting .eponat snoitefoseserges Leotsoters best ile askin gt .eigoe? adt to satan off next. tag coitas on be | 8 : , Re Dt os smozeexe woul ond .noktapigxe Heiticoly est eheitetkl (ea Siewhsthen {frie ¢ io tebin oft ck {eeontea stk wd Deaueo ase ie padcos Yd beleia Souhni O95 hedessetat doom ,blucy arkiest. + edat Sage yiteldo tact hHeonhorg cay nactoetidi«e: ga! ercler . © 7 J a, ¢ : Pn aa ; - p: Rede Oh Re ee Bs otal : ' rig’ F f el r 4 Py , *% 7 (ees te Sie oe a \ Serre eae ae wei ee me rie we ey {eq ent ro, ant A -VSegr i Sag ELE) sot Chee kkyh ie ate Sale wh TQ SR ee Sh ee cae 4 bis . re 1%, ; \ pe > * ce » = i. ots kv 1, Lane ce) ot 8 A em 7. eh ad is Pe te pie) haw 29 74 § 3c a cabo ov hd - fn a Yo <2 wwe At ot u we ee A WD wide a & be 6a fe a Sl paren has wh 8 Tt WA ey! Wd the a, Abe wae? os we 2 TA wee har weet \ wernet moerwrtamnd i dew a | 4H eer 2 “ntitat ties or Se 5g wwe wl «a id S34 grt eat Pee) GC Bae AS SP Gi ae lee we a4 er ol! he bie 75 Aes OF : j A ‘ - a) t - 7 ‘ Pt” vrs es we he el ng ht of Bm A ts ln And? whe: Bebore “ole 4 a” cS B82. + | vars ate Aud BEV ie ha Ose Sao ow Ge o>: ee td ¥ v ao @ a - lo Po Pir oie “ ein! & wee tat ood t as te ib “ aon we : i oor . Uisy A ra .*) wrt Ce eat eh Ye @ ea wa fh ‘ ae ine tes ui laf bed Shim. tose ie es ore hierph bus GOTO} ox at 5B. 20 PE pos fe | ol Brel patRy seve oft va ~prottoiataes eooliem tin Ssoyed ~ oe e 4 on ~ on : vot. nN oe “ >) i we ct | th Sum tee gant . br B 4 is tee i we Pe S5q O° “4 Nc al yah wy o — } ‘ e * i . & a ky he LAW 5 i ] * ‘ r . A ul tneeaes: in. Sena. poligrwoeeh pontd’., roLeatnotsagss Odd nt as (tas uitetad 24 Socoomg oF Setovrehae oven I .otenimobose (a ie eainodid: veldiescg ¥a Gisnovotatiee bre ylotessoce de. ylaen i) saa uno so 689 S290 10d gm ancifereuill tnodsin saci feet - | — noite yatenitz aise iastooesce to eekiea A .Sevtetie yiisl © aT. papas? td ‘mloatdy pon saz. os beweleqsy” seq deere ti oe .hebhs - ‘peed Fretogase Oved ,Weasthls Foehtiayk. "a 4 y+ ard oy Do q Vel Ne 2 Preface to the First Edition. For evident reasons in the treatment of the French Renaissa— nee, I must abandon the systematic handling, that Jacob Burck-’ hardt devoted to the Renaissance in Italy and return to the historical representation. France, unlike Italy has not creat- ed an entire art from the spirit of the people, in which all life finds its glorified expression, but from external impal- ses caused by its princes, in the midst of a still mediaeval fesling world, much interested and indeed misled by Sothic tra— ditions, an arlhitecturce was produced that chiefly came into use on secular buildings, indeed in the first line on the pal- aces of the king and of the nobles. Thereby the tendency of F French architecture becam onesided, and its expression infin- itely varied, so that it obtains both for the historian as well as for the practical architect « special value. Hvery— one will trace with intersct the sharply drawn line of the movement, in which from the play of indepéndent caprice and choice, there sradually developed simplicity, clarity and gra— ce, & new and entirely peculiar style. This will not be obs— erved without instruction, as 2a still actually creative period has understood by the senius of careful artists, how to impress the canons of antique forms end the influence of Italian art on an entirely original and national architecture. National in the only sense permissible in architecture, that it sives to the customs and views of the separate peoples in a definite ep— och a corresponding artistic stamp. For the forms and details are beyond all national restrictions, as the ever valid laws d conditions, the common property of mankind. That outside a time like our own, whose peculiar architectural problems lie in the domain of secular architecture, from the french Renais— sance buildings, that were created for allied needs and under Similar climatic conditions, many things can be lsarned, is self evident. In the representation, since description must necessarily redominate, I have endeavored to proceed as briefly and cle— arly,as accurately and perspicuously as possible. Likewise [I feel that without illustrations my purpose can be only part- ially attained. A series of characteristic illustrations, in sSreat part transferred to the wood blocks by Professor and Architect Baldinger, have therefore been. added. Some are ae. oy. oe add port . Sate erat ‘ya yo em of Setiices fasOooe Gi . Mm as nontn of =v? Fh eo ob g™ bs Cony Pal Bae » > oF ery nt en 80 oe ee vlineoot Ap het rs ” megeore 3 entirely new from photographs, others from the travel sketches kindly transmitted to me by my friend G. Lasius. The publishers as always have then taken my wishes into account with the most meritoriug Liberality. Further I refer to the numerous vaiuab— le publications of french architects and engravers, from Da Cercean till the most recent time, particularly to the new ed— ition of Du Cerceau’s well known principal work, recently und- ertaken by M. Distailleur. (A. Levy. Paris). Since my description is the first attempt of an independent and exhauative treatment of this subject, so will a fairly judging critic tertainly take this into consideration. It is to be hoped && will neither miss the conscientious study,nor the earnest endeavor for objective appreciation of the art worth of the works described. But for the present sensration of architects, I am of the opinion, they should lay to heart the thorough study of the Renaissance before all else, since we can learn just from. the creations of that epoch, how an architecture extending meyond mere eclecticism, with cntire freedom employs the sum of classical araditions of form, in order only to craate the best suited and most expressive clot— hing for the spiritual nature and the practical needs of our own time and our own peoples. RAD Pi) ie aa amo dood ide iy ize ‘Udexsbissoo. nsod Spey is + eit OR. bevel Wisse tie exc “Be tuo yort? , r we as sant "iS ce * OB ge aety vs oy Peeere ‘ ee ORAS J a3 40 if Ownage arb we 4 MOTT BVA SE mic rhoanws els Fe nSas sed \ rn ee em tele De yy pe & eiCoad od? ‘psel. nO: Broke ex ti hupet : eax gist Si onal ic as asthe 1G 5 43 ’ saatroqas ose eth GB AG DS Sneazetens= aas Tae dt lied le Ot iv ed e ws dee ete od OL sont od sso yoonted oldait a svoouib songtoz ted Ile pogansst ot eetil ayives ‘i’ hat hy ¥ a A Preface to the Second Edition. Since the appearance of the first edition of this book, our lnowledse of the French Renaissance has been considerably ext— ended. First we owe to the recently completed works of Palus—’ tre a considerable increase of later views. These results as well as those of my own local studies will make more valuable the new edition of this book, for a lons time entirely out of print, which was my principal aim. The structure that I const— ructed has experienced no internal transformation, but indeed 9 considerable external enrichment. A perception very pleasing tome, for I must derive from it the conviction, that I had rightly conceived all essentials and had fixed a permanent sSeneral view in the history of art. That the new edition can receive besides this enrichment of the text, also an import— ant increases in the illustrations by well chosen representa- tions of unpublished monuments, will considerably extend the values of the book. Likewise by wider studies was secured a sub- stantial enrichment; I Gall attention to the Sections on Jean Foucquet, On king Rene, and to the important illustrations in French books. But then was the rich and splendid domain of French indust— rial art, that here for the first time is treated in connecti- on with the architecture of the period. While here was requir— ed a restriction to French art, peculiar and prominent, this is to emphasize joinery and wood carvings, the important domain of French ceramics with the magnificent works of Palissy and the splendid creations of Oiron faience, and also of Limousine enamels, glass painting, and finally bookbinding. All these tendencies and endeavors of the French Renaissance art are so important to recommend for the study of our artists, architects and workers in the industrial arts, that for a long time too exclusively and without choice came.to a labored imi— tation of our German Renaissance, frequently with a dry and overloaded progress in modern production, that never goes be- yound the limit of the old original works. This tendency must not merely be to the Italian Renaissance, but also to the French, whose refinement and artistic harmony can be instruct—- ive to us in a high degree. For all that science discovers shall. come to the aid of the creative life, to transpose it ee pr! sett bsiteste videos!’ 04 vee lee rf hi ry re i i | i iae eonnt ‘iF ' Pic & A 1 ~~ we} 2. m Te | a — 7 i au f on Z i - \) Pek Mm) ‘ aA ny * \ } r ‘ ‘3 ‘ yh ' ‘ . Sh io Lhe ry 1 ; > , @ U Z ’ bs 4 * » ; ns ‘s oD 4 ; Oia i hoe ¢ Pee i pe ’ =. i he ¥ i ie oi _ is i ; NS “oo i " \w ° — ” . hi ey ee iT ee ¢ pide - fia he | et. 5 \ ie e “itsel into freshly palesting Lite, — ROL ORe YF Ba a June. 1885. 5 TE WN, Woe? 7 ‘te es eae. ‘be ans bitin indie’ of: iM Site Se ein ernie } i L n } : ‘ain is a ae i y obop ated nanks off I 4 a ah, one heres Da Sarl Friday. o Piaget ss She Re bi a oF fo . ‘a aS eine § ra wt, Se! SE.) ER, ae a sii | oc. RAGS Re pO te ee ae any eee’ Gin i Da my Ae oie hee A , ma ; tre j ¢ hk 2h ee oi! me ke - i ‘ ae fan ee se s » i . 5 Bas N 4 ei : q lt Ji - ; c : ‘ Pa. § Lee va het F LA . ‘ sy, Poe . ar nh 1 Re Cg f fo ene ds | YV3D Dar , ' r ’ 4 aa JSTOR Se FELL aes } “5 i ae ve 5 oat ane ‘nation bo¢ ee 5 } ) S00 prea 1. Pwr ny an 3 tke 4 gat : et F ‘ \ ; i‘ rl ¥ ~ . | - ; ; % - 7 ; 4 ai oot siey nad oatunes > foeoek Ree bi bY Bae ie Rea, OL ‘ poe Tae he eR. Peeks Ou aon Pati La ‘ VMGETLES Bae ’ Sha hy tor i ee. BAe ey Of PY Lo a Ge, Ce Oe Oe a) ee wi) Hates Sam Pewee le. wen oe Te hy ; . j a WA. Re eae OS EE: A? GSO OAE,, that ewe ag rg | f . teen Ae Che OLA rie eee ae CRBs Sh ie wenden ot | i egy oe ape tee tae ooh tee BR iS, dang hig. by Cai, ia dete cathe eens. 200) rote Ss aereany gah Sh: ing Be | (6 cw te a Sh Geen, “ ghd Rhes antencd tisoons it O43. OF. % he ERR EST Lat, ae a’ al ¢ , Pilate a fet} if ih i e A } 7 Lines | D 4 gt shelled tia afi ee Py, / ae Dafa 5 i, PAIR Py Pay i, hs a, ‘o Per T getgad? eeliede to ide aie ary ae of d4e4 Pte) Su fi cif LIK etn) “tab tpn edd. dae eonat?t beer n8s salad ond a qs ce ees as WO? thpos ‘ oe tea wg ws Ou naar pees yo. ‘ BD ao £: a fT “ae 7. i. hee Sew! Gat Fa | HLGTGa’ 4 - yt 0%, euole tages ect “ moh ea & “Be Gi 3.4 erm om 2 Net De Sh Mer Sia fs See ae a um ff ~~ oo i YS wet Gas ° a Lag Motu << 7 . a rar oe | ~ » dew Pa —_e" Hy tat FAS oivaokly nbd Gi tio a om om hy Dead een Vigo ww Wu wy a5 Yew yD ae eT a He mk Oe ebay BS mast: ie, iG od ae a: c 39 ackreonese7q° fimenmea ft STALL poms eMae tre ae ae BP bd: tee oP ee Sie BSEBHE a 6 Chapter I. Transformation of the French Spirit. 1. Italian Gampaigns of gharles VIII and of Lovis XII. Charles VIiI“had freed France from the English, Louis XI by the overthrow of the sreat vassaissand by favorins the citizen class strengthened the royal power and furthered the unity of the kingdom. Those were the conditions obtained under which France could enter into the new period. But to entirely break with the middle ases required a foreign infiuencse, from the country which already since the beSinnins of the 15 th centu— ry had decisively passed alons the new path, and in a magnif— icent reflection of the art and science of classic antiquity, even strove to transform the entire life. A heriditary claim led Charles VIIT and Louis XII with prancis I later beyond the Alps: but a deeper Sround was the surplus strength of the fre- shly blooming French nation, and was during the entire middle ages the desire impellinsg the Germanic races toward the South, which occasioned these numerous campaigns. The capricious jour— ney of Charies VIII undertaken without discretion and prepara— tion, makes rather the impression of an arrogant wantonness &t than of an earnest campaign. There is an unbroken series of f. festivals in which Charles became intoxicated with his knights. as youthful as himself. In Turin the princess of Piedmont in a . fabulously rich procession and surrounded by a multitude of young ladies began a series of festivities; in Asti the beaten L. Sforza sought to entrap the foolish and weak, casily impas— Sioned king by: fifty of the rarest and least coy beauties; in j s an entire chorus of supplicatins dames by which men sought to induce him to free the city from the Florentine yoke. The host of the French everywhere received by triumphal arches, scenic representations, historic paseants and magnificent pro— ssions. The climax was attained by this invasion of Naples, whose luxérious festival was a second Capua for the king and his men. Charles was particularly charmed by the beauty of the Villa Pogsio reale, that residence adorned with ali the charm of the early Renaissance, with its airy porticos, fountains, beds of roses, and the shady masses of the trees in.its park. Serlio gives in his book a description and representation of — this now vanished pleasure palace built by king Alfonso. In the middle, he says, Saszatrechbangular Couriiaiti atdesp basin > = hod, aotan iin 2 bel itt ean giasd nr besive sagek ne or. \ his 23 gtd? oho gots Baal) y ( Sorptdatiok oO» vacrnde te on ‘ ne Fd J ‘wane iPS gig et " wood" quae e a or of et ied Pee soos. soe aa ps oane6 abedtI0n “he a “Fo, /yosorac. te it dS: seal at “iy. @ OF awe om a : ADOD hg Sexe tot ae WG in ee a 7 Surrounded by ercades, down to which led flishts of steps. Here the king dined on fine days with selected ladies and cavaliers, and when he pleased, the basin was filled with water to a fixed mark, the men and women remainins together in an improvised bath. There were not wanting rich garments for clothing them asain, nor costly beds for those needing rest. “O delights of Italy,” adds the narrator in his inspiration; “how were our discards extinguished by itt re Thus a world of unexpected beauty displayed itself to the excitable Frenchmen. Instead of their mediaeval castles surr-— ounded by walls and mnat, protected by lofty and threatening towers and cronning battlements, they saw the princely and magnificent open palaces with their loSsias and arcades, their decoration by marble, paintings and sculptures, the villas wi- th wide porticos and masnificent sardens. At home all was gio- omy, defiant and warlike; here ail was gay, open and with fre— sh life. We know what weaith of masterpieces orisinated by two generations of architects, sculptors and painters, after Brun- ellesco, Ghiberti, Masoccio in Florence and other cities of I- taly, in churches, chapels and palaces. Hven now the abundance of these charming works has a fascination on us; how much must then such beanty have appeared to the unaccustomed northeners in the full charm of novelty. The massive ashlar masonry of & the Florentine palaces even finds mention by the dry chronic— ler, and palace Medici (Riccardo) then gleaming in sblendor and ewness, which was assigned to the king as a residence, appear— ed to him as entirely built of marble. But by preference were described the charms of villas, that in their free combination of architecture, gardens and parks always aroused astonishment anew. All this makes a deep impression upon Charles; we see B him in Florence and Rome diligently wandering about, particul— arly around the churches and to cbserve their remarkable things; we see him purchase art works and books, and himself invite a number of artists to France, to execute works there for him. , Yet stronger were the influences of Italy under Louis XII. More clearly are recognized the impressions of Italian art in the lists of the chroniclers. Thus Jean of Autun describes the beauty of the parks of Pavia, its magnificent sSroups of build— ings, of luxuriant meadows, brooks and fountains, ornamental Ps Og z ‘ed mid ot sega ‘gh edam-seds te 3-93 “to noftaiscrs) etemneos f cevéaned ‘aed eragics weoleke .1si * 7 type & BLE Ze IH G43 su Yo einen 1031 $ 2 Ta weve Lape. + cle Pe i ytes rae tes f er Bhs Dpehtn atin tates edt t rr wv eg pen Y u feantearea0 this abe wWatsoissa - nemet Po oe eh " hie wh ca Boeey ad SP hd bf =} te vO Wems ed oe - ‘eA aH? y r a veils aga Be cy hatenes arn eR ey yo dot By BA 5 ts ‘ke ‘e9alad are ene sige’ say . diveddcmsid. vay of te panihoaiy i ts hp Ww NA owes « 7) mac, eh): rs * 4 x wraytilidon ed? uc ang inc oth YA som ou? of beyloval 40 eROITE 8 gardens and pleasure houses, that make it appear to him to be a real Hiden. So he sives an accurate description of the cathe— dral at Genoa with its portal, aisles, columns of porphyry, chapel of John the Baptist with statues and a marble taberna- cie and its statues. Likewise the beautiful works of M. Givi- tale of Lucca deeply impressed the eyes of the royal histori- osrapher, although he does not give the name of the master. But also he does not forget the finger of the saint, with whi- ch he had pointed out the Lord, and that “supernaturally was | exempt from the power of fire.” The astonishment at Italy was also reflected later in Rabelais’ Pantasgruel, where Epistenon tells of a visit, that he made years pefore together with oth- ers desirous of learhing, in order to see certain learned men, rarities and antiquities. “We saw attentively the beautiful location and magnificence of Florence, the building of the ca— thedral, the noble temples and the proud palaces.” On the con— trary 2 monk of Amiens says:-“I know not what you make for a joke, the lion and African (so I think is called what men els— where name a tiger), to look at them there by the watchtower, like the ostriches and hedsehogs in the palace of P.Strozzi. My faith, I would rather see a fat goose on the spit. The por— phyry and marble there are beautiful, I do not blame them; but according to my taste far better are the butter cakes of Ani- ens. These antique statues are well made, I am willing to be-— lieve; but by S. Ferrecl of Abbeville, our little .maid at home is a thousand times more affectionate.” . Also Louis XII brought art works from Italy as well as art— ists, among the latter being first of all Fra Giocondéo, the: famous Venetian architect. Yet we should search in vain for any vestiges of his work. On the contrary we possess the hist— orical work of ©. Seysssl, that the king had taken into his service as historicsrapher.’ 2. Infiuence of the Italian campaisas on the nobility. The Prench nobles were still entirely involvéé in the mode of life and opinions of the middle ages. In the Italian can— paigns was recognized the last blaze of the knightly spirit and at the same time the first markskof the decadence, from the coming of the new civilization. Charles VITI Grew the mediaeval sword aS & romantic adventurer for the conquest of ‘ ah ; Tey arabes ead aera Bao : skesetont. 12 Kod te tag00 & e@us0 electors 8 eon eoibsl eldon fon etew f° Rag? ols wR napa geitiad9 & : , a to oi > ve a ng ~_ , F caw t tee Ke BP Ue 1 / tede wosniset! a od ‘Hey: juasihes ome bas qe sid. bemroteass: Er wise? hha bos ec (ven eat Rabssrogtove Bis AC ee ~ * . a ee oO Ge te ee +f re ae Voom Ve & yvesn ae HODouS sidd r ~ o> 2g katy YSe Yecere % ke , .. Fan ~~ ree snigvgecustin seac yrs mse SUAS enmn ‘ aw mine fe » eS g WAITHOT , abet 2 s “ae 2 THe “ ~ ao « “hy, hia ¢ géent e aly i iv : bis inom neh fos co bd oe Be SY h r. ~- Se Se a Seni eddie tS: a ha be! oga etie a co eC a a oe he r] » Se if = otra S * EYaITIE j rw i ” egt dz Cn i Viglis eae s a me 7 oe oe it~. im a 3 2 bon nou ya tf we oe 7 enough the Madonna is enthroned in a Gothic niche, so that in- deed was chosen a form of mystic pomp for the gucen of heaven. At the mectins of Mary and of Elisabeth is seen at the side an altar structure beneath a canopy supported by Composite colum— ns, whose entablature and mouldings follow the Ionic order. In the charming scene in which the Apostles were plessed at the besinning of their wanderings (Fis. 2), there asain a wall clo- ses the backsround with marbles paneling and is subdivided by fluted Corinthian pilasters, terminated by a magnificent -ant- ioue entablature end cornice with ox skulis and garlands of fruits. On the corntce ar pairs supporting sabaieian shields and swing iokous beseoheae But the fountain that occupies the middle and sprays-with its er those kneeling shows Gothic forms. ¢ vely appears the antique in the hishest splen- dor in the betrothal of Mary and Joseph, for a triply arched triumphal arch forms the background, imitated from Roman mod- eis even to the rich reliefs, the keystone adorned by sculpta— es, the soaring victoriss in the spandrels and coffers of the arched doorway. But remarkably this masterpiece of architecture that bears the inscription, temple of Solomon, is decorated by two Composite columns with twisted shafts, and in horizontal bands gitérnatelgdare covered by spiral flutes and scenes of 20) kinds in relief. Where the artist borrowed these aspects hat hers appear for the first time, and then reappear in Ra- shielth cartoons for tapestries, to finally be transferred in the greatest monumental dimensions to the colossal .canopy in S. Peter’s, we know not. But what characterizes the entire. Renaissance forms of Fouquet is the fact, that they do not come from the overloadad decorative schools of upper Italy, whencs the German masters of Nurembers and Augsburs derived their views, but from the more severe Blorentine conceptions. Brunellesco, Masaccio, Fra Anselico, are the models of our master; particularly the mural paintings of the latter are furnished with backgrounds of a similar kind, where the flag- ed Corinthian pilaster plays a sreat part, That Fouquet with his tendency toward antique forms remained alone for half a century we shall see later. Lok se 5. Book illustrations. U Mt | . i Ral eacitesteni£t doek i x ten tenpact to a idadgaac? edt oadc donk eoneeet ene ect to eoner . fetacmmaoe out et nh ejaies vers es 18% oR scoet. of S168 | ) on, eoxct lensseLfecet ses, entgani tusbhe ere ew m0) f a ‘ a - 4 * ee dance end ter nbs Sie sec3 * : + =ttnoo Beqyt orsscd (BAB. Befotio civic ni yl te. Qe eiyte Iegcites on te. engicgaao ef yc ote to tis ! edd te gontr ponedat. aaeoed tT et amseavt edd oats, br: P ee adtag a sahigghenae 0) 803 STA! ‘ me 6 aos de wm we ie tr ee gt « te bade . Co kalk y fol wu TE me rr 18 5. Book illustrations. Later than the remarkable creations of Fouquet, but yet ear- Lier than the monumental appearance of the Renaissance in Pra- nce are the works of printing, so far as they relate to the artistic treatment of books. We have not here to record that effluence of abundant imasination, that intsllectual force and manifold sift of imegination, whica Germany presents in this epoch. With us it was thse victory of the Reformation, that produced a popular literature of inconceivable richness, and thereby a joy in artistic treatment, which by the activity of masters like Burgkmaier, Holbein, Kranach and others experien-—— ced the greatest advancement. In France, where the Reformation #aS soon suppressed, literature much rather remained in the ~ possession of the hisher circles, and it was first the court, especially of Francis I, the “father of letters,” that aided this tendency. Only very slowly did it break a path for its- elf, and much longer than in Germany the Gothic types conti- nued in use in printing, sincs especially in civic circles did men adhere with greater tenacity to the national style of Goth- ic. Then by the connections with Itely, by the campaisns of Charles VIII and of Lonis XII, the influsnes of the art of the South made itself felt, but finally Francis I became interest— ed in the inspiration of the new arts, and also the typosraphy must leave the old worn tracks and enter new paths. This now first occurred in the manner, that the printers of books simply caused to be copied the ornaments, borders, vaga- ettes, ornamental letters and the like for the decoration of their products, so that until the twenties of the 16 th cent—- ury such borrowed ornamental work is found in French. books. Thepefore resulted also for fhéisuecécdins time a tolerably closes adherence to Italian forms, and rather to rétiefetaan to the picturesqus treatment of the Italian illustrations. Francis I in his enthusiasm for the sciences and arts, caused an upward flight by his introduction of French typography. He confirmed the fresdom from taxes conferred by his predecess- ors én printers and dealers in books, created the court print- ing establishment, and gave privileges against pirating, cared for the improvement of the typography, while he aided the und- ertakings of G. Tory, S. de Colinis, R. Btienne, C. Neobar and b bids ot per tomate | | pscte® edt Yo seeeront eds | sped .evenee od sett sei expetied' _ Meozece Bisoo sins tod rfatdoses Be) Bod shad ydgetbogys to snemgolevet aon editor beouEoug evenle yauitnes = beat Se? © Baldi. ty me Bi A on 43 Me \ ’ sit. “aebou te wr 2p F Wi! f “hh beetey Aaeiiion ve uty otOos Bee carinii Oth ah o8 . eas Bors. eit Bt ro OS sedans: ste 19 others. Certainly he allowed himself to forbid the printing of books in 1584, for fear of the increase of the Reformation, 2 and in 1550 the learned R. Estienne must flee to Geneva, bec- anse he adhered to the new teaching; but this could scarcely temporarily restrict the development of typosraphy, that un- til the end of the 16 th century always Be ababecte works worthy of sSnunanblveel: It is and remains characteristic for the French illustration, that like the entire art of France it remains chiefly under the influence of the court. Thereby it acquires the tendency toward the refined elegance, and in this respect recalls the miniature paintings of the middle ases, that for the same reas- ons in France probably strove for the charm of form. It is fur- ther worthy of consideration, that oncy the printins establish-— ments of Paris and of Lyons obtained an independent importance in their typosraphical undertakings; but so splendid were also their products, so undeniably in these works did the prench manifest their refined taste, that still France did not pres-. ent the picture of inexhaustibly rich variety.as did Germany, though in its entire character much dryer, where in numerous sreater. and lesser cities prevailed a surprisingly active com-— petition in the typosraphical work. We also find the same ten- Among the French prints from the end of the 15 th century, the most numerous are the prayer books known under the name” of “Sours”, ever asain reprinted anew, whose bulkiness gives the clearest proof of the firm adherence to the traditions of the Church. The first prints of this kind, that of S. Vostre of the year 1486 and those of P. Pigouchet and A. Verard in the two secceédins years still bear in their types as well as in their ornaments an entirely Gothic character. No breath of the art style is to be traced, and the ornamentation treat in the late mediaeval form is executed by hand paintings, so shat these small books at the first Slance make the impression of manuscripts with niniatures. This character still prevails in the Hours that J. de Brie published in 1510. Likewise here is almost entirely the stamp of the middle ases, the Gothic script, painted initials and pictures, the latter showing thea- ct ce ont nf ‘egvfoestnd “7 it s fs ~ 4 og evn te ¥ AD ~ = OY 4. a) Ok “eogeettene® ¢3 ‘Stne 8 rot "ba qoabigies: oF oak terns 22 Tine j % ai fig ert: 20 themselves in the coarse-Srained style of the later period.of 15 th century. But already commences the Renaissance to pene- trate though timidly, for at the outpouring of the Holy Spirit the throne of the Madonna and the surrounding portico skhibit the indeed quite dry and littie understood forms of the new Style. In the nearly contemporary Hours of G. Hardouyn still prevails substantially the same condition; Gothic script and richly painted late mediaeval ornaments. But the larger pic- tures are enclosed in poorly understood Renaissance borders, where beside pilasters wreaths of flowers hans from the ent- . ablature, and this being drawn with remarkable insipidity and dryness. But laso elsewhere is striking the architectural in Renaissance forms, thus at the death of Maria and at the out- pouring of ths Holy Spirit at the throne of the Madonna; on &. the contrary are the separate sides everywhere enclosed by me- diasval foliage ornament. In another edition of the Hours, that bears the name of thé same publisher,now abruptly appears the antique soript and chanses at a stroke the entire appearance of the book. The size is much smaller that that first descri-. bedand also th ths oquite unimportant pictures show a smaller.sizs. But the border is exactly the same with the dry pilasters like Doric, entablature and wreathof flowers. Here is also recogni- zed the contest of the new and old times, the notable ferment— ation in both world phenomena, which they opposs to each other. Extremely remarkable are the particular discourses composed by P. Gringoire in 1528. In spite of the preceding time the little book still bears the predominant mediaeval character, and especially is printed in Gothic letters. On the contrary, 6 initials are antique, yet the ground is filled-by Gothic foliage. The pictures are dry with simple yst bold shading, many are well drawn and animated, yet in general of very var- worth. Thera is nowhere a suggestion of an ornamental. sn- osure. In the following year (1529) appearsd “Champflenry, in which is contained the art and science of the due and true proportion of the Attic lsiters, otherwise antiaue and common ly Roman letters proportioned according to the human body and face. At Paris by master G. Tory of Bourges, publisher and au- thor of the said book with Gourmont, also publisher.” Here we meet with the great endeavor of the Renaissance period to adv- O fi BT co? -ebaiot tip inad Am oe : . wy 7 he Hee uearoies evens? bial te By ~ el P Gi ss 4 (te ei ele 04 21 advance everywhere to the last grounds, to refer everything to scientific laws, opposed to an important attempt to draw the newly recovered antique script in the proportions of the Auman figure and face, obtainins fixed bases. The book is finely pre- pared, especially adorned by a charming leaf alphabet on a li- ght sround. Strikingly dry is tne title pass, trifling in draw- ing and engraving, but it bears an elegant printer’s mark, a narcissus blooming in an antique vase. The final visnette shows the same mark, but enclosed by an extremely beautiful garland of fruits only drawn in outline with the greatest elegance. In the preface where also is cited the well known friend of books, J. Groliscr, the author indulges in notes on the changes and the decay of the French language; “for the greatest part the French languase will be changed anf perverted.’ The language of this time is altered in a thousand ways from the language that was here about fifty years since. The author of the book. of chess said in his time ’neaut plus’ and we san.’non plus.’ He said *bien est voir”, and we say ’bien est vray?”. In this work there is found for the time the great reformer of French printing, G. Tory, who is a friend of the famous printer S. de Colines, also sometimes as a printer himself not merely in the antiques script, but also in the entirs orn- amental treatment, brought the spirit of the Renaissance into authority (d. 1533). His spirted vignettes, the sraceful flow- er alphabst (fis. 4), the head bands of the Title pase (fig. 3) introduce at a stroke the entire charm of the Renaissance into book ornamentation and sive for a lons time the prevail— ing stamp to French illustration. Besides him is principally Oroncs Pine to be named, who likewise starts from the Itelian Renaissance, but in certain forms follows old native traditi- ons, and first strikes a somewhat bolder tone (Fis. 5). Besi-. des these chief masters is alse to be named S. Bernard (the little Bernard), who after the end of the fortieth year supp- lisd for the printing of books at Lyons a multitude of ths most graceful works, richly ornamented alphabets, borders, visnettes and the like, but moreover he also drew precious Bible pictures, that in the smallest space, like the famous works of Holbein, indeed inspired the masters to develop the sreatest vivacity. French illustration attains its climax in | 0 we bo kee | Rees sp eg jo7q) nedd ddaq et WE -sodaes, f20re elds to kixenieds (| exessb: -gehocebset eeen td. sa bas .4V B90: es efoareerom | sotsessénlit doner? edt Yo’ a9 tostane | rts ‘ytatneo) d? bf ec? to egies f ha eds \esus neoutsd: «extol ys wk déin. ataeqgs. adcr edouciiao fe sont ea agi to iocioe edi: to coldetneaento oviteataa } ; Pte ds en mm tment neo bt et 3 g402 » wets J iy i ° r , on ae ‘Bs awoke Tete: autens F oT a - r ofotv Ohi COUse8 iE gedvedti Por: q¢e% ( sadpaeeat elodmeeds cv. cad wesoivera aced hig: edd ebedesas gi mateo S98 seteciad ©: Sto aeitent: wet xecos Be niaieee et wofiod:£ 4 serpseta feats a, et sittia end ina teh exoted ‘Bas Lr sli acne eit ay oe rp; “ saelse os lithe 22 the works of this great master. In his path then proceed the monosramists C. Be, P. V., and G L. These tendencies deternm- ine for a long time the character of the French illustration of books, until in the second half of the 16 th century the cartouche work appears with its dryer forms. Between them the ornamentation of the school of ponteainebleau influences by its Italian “grotesques”, that in Seneral is determinative for the French Renaissance. To the most graceful creations of French illustration belongs the Hecatomgraphie of G. Corrozet, that appeared by D. dJanot in Paris in 1543. The little book in Sedez is printed in beau- tiful antique script, the left sides being adorned by little ornamental pictures, mesks and littie 6rnaméntali pictures in the noblest styis of the carly Renaissance, the whole with a precious charm in its distribution of the space. The title pase contains a frontispiece, whose Composite pilaster shows border and foliase, and that is covered by a pretty little pediment. By the same publisher appeared a few years earlier (1539) the Theatre of good Machines by G. de la Perriers, likewise in Sedez, with antique script but cursive, the whole likewise very clesant, if not so ornamental as the book previously men- tioned. The title page is here more richly treated, the pilas- ters are Doric, bu. with projecting little baluster columns, whose shafts ars wound with vinss. The upper termination of ths earch is filled by volutes and foliage, and below is seen a pair of lovers in a sarden. Ths little historical pictures are at the left side, the explanatory verses at the risht. The former have all foun different bands as in ths before mention- ed book, while the latter has simpler enclosures and also shows four different patterns. In both works only certain initials are employed. To the most important products of the early time then belongs the Protomathesis of Orance Fine of the year 1532. The title pake exhibits a magnificent frontispiece, somewhat dry in draw- ing and boldly shaded, enclosed by Renaissance pilasters with foliage capitals anf sirens, with freely projecting candselabr+ as, little columns with ragged foliage and dolphins, fanciful crowning with scrolls, cupids anf salamanders, the last refer- : 7) Hi wh | iis aT sbowte Bs at oe gird a a oe san eer ete paiva ti sareonys ae ty eliozos grees: f Bi sosobe ek eb , 2 ae im -itinper fenepas iC’ .enaslcs vetes RR) eleisiak Bs. boyolque yiine eres tiv a6 Hosid “aatod edt at 0 sacar ots poise ao miss esn sts ane ge evoyorseotg .Beasage . tint ay digi” | | 1 wactens’ va taster a, ie at genic? eat at bosnetd a foros has abred he r ood ne wRit : sot abi baeies: " eryiee tenpe des’ teed YILV once @. ~brwork he Tob ; ver ff easogit @issil te We bed edt ob etdd? ee ays ane ee ee 2 ee ee pixetaeis enita 1S “$e 1 e y nat Hiveed) « “= we _. =. aaa Ru LB viteoo 1X hy diss fe ee BTN yo. | b te Fee es ~e aegis Mnime ds aid Rb snfoo end 203 sacle “iia ects nen odem eat 8, berks SI5% edd 31 Turk than of a Christian king. yeantime every sort of intrigue entered with the world of ladies,and if we assume that only a twentieth part of the tales are truce, the royal court in the time of prancis I, to employ an expression of the same writer, "nas sufficiently corrupt.” In any case in the plan of the roy- al chateaus, with the numerous anterooms, the many concealed stairs and isolated living rooms, we find the reflection of this court life pernsated by love intrigues is recognized. Jo less do ths talss of Marsgarek of Savoy, sister of the king, give a picture of the wanton tone t8en prevailing. | Under the influence of such ladies the rule was developed of the love of the kins for magnificence in the highest degree. He himself adhered to a rich dress with costly ornaments, as the portraits of the time show him to us: and it is character- istic, thas even in the subordénate matter of external appear- ance, in short clipped hair and well cared for full beard, the king followed the new time and the [talian fashion, while the citizens and the parlament in old sobriety long held to the earlier costumes, even the hair covering half the forehead and — with smooth chin, so that in this the people sharply differed from the court. It is characteristic, since P. Lescot was rej— acted as a canon of Notre Dams by the chapter on account of his beard, and an earnest consideration by the entire chapter was required to admit him with a beard, since he proved that he must wear it on account of his position at the court. - Noblest appear to us the love of splendor of the king in his artistic undertakings, opposed to the numerous chateaus built by him and their costly furnishings. The bsautiful hangings, that Brantome praises as masterpieces of Flemish art, gave van- ished with so many others, but mucno remains and will be consid- ered later. From B. Cellini’s autobricgkaphy, how manysided was the endeavor of the king to surround himself with luxury enno- bled artistically. Not merely the orders for costly furniture and services belong here, the golden salt dish, the silver va- ses and the like; not merely the colossal fountains intended for Fontainebleau, but even the stamps for the coins of his kingdom allowed the king to make new inventions by means of B. Gellini. But most astonishins are the 12 colossal silver statues of sods and goddesses, that were to be placed as.cand- a we _ pg ig bed oF Tsyor ‘er it brnowe 71 Sate oF og ¥, ger at r. ahs a ty Pal Ae week ; J 2 a 7: 3 We et aed eee deisel add ve neds. bas boomin sora ent 20 rica tadd boeed tated ob wr ome Bras Begescsc re RS Fa ae a 1 32 candlesticks around the royal table. What joy had the king in his artistic undertakings, we sss among other things in a rep- ort of the English ambassador Wallop of Nov. 17, 1540, to Hen- ry VIII. He tells how the king #asitold of the English royal residences at Windsor, Hampton Court and Richmond, and then made ths remark, that he had heard that especially on the ceil- ings was used very much sold, while he preferred costly woods for his ceilings and only permitted a little gold to be used; he held this to be both richer and more durable. The. king then led the ambassador through the chateau of ponteainsbleau, showed him the rooms with their magnificent furnitures, the sleeping chamber with its costly wall tapestries, whose material the ambassador must test by handling, ascending 2 bench by the aid of the king, but first of all the great gallery, where the no- ble carved wooden ceilins and the antique statues placed betw- een the windows was a sreat surprise. If finally we add there- to, that the flourishing condition of the nation, promoted by the intelligent administration of the king, who in spite of his expenditures left to his successor a full treasury and well arranged finances, favored this fresh aspiration, which the en- tire epoch allowed tc appear in an amiable light. 8. Revolution in the literature. ¥ The influence of the classical authors on French literature makes itself notable in an increasing desgree during the reign of Prancis I. For these works to be proper, one, must conceive into what tasteless frivolities in rhymes and words French pos- try had previously fallen. The artificial and bad rhyming of single, double and evan triple leonine verses, the acrostics, the final rhymes repeated as echos, the poems with sonorous words begin with the same letter, in brief all these sports with form and meaning lost their importance. On the contrary arose such poets as Marot, indeed less fortunate in imitating Ovid and Propertius, naive and charmins, say and witty in his smaller poems, the tales, madriseals and spisrams. Likewise by Prancis I we still posses a number of poems full of true. inv- ention and natural expressions The literary activity of his sister has already been considered. Less attractive is St. Gelais,“the French Ovid,” whose stretched verses breathe that frisid nature, in which the French later found their classical amis} 4 ad Lat > . Lime Pare eldedseaer a’ =e s8m) 1a on fe the & ey igones¥. ead to. ek om tneudeots byte S AO dongs oh ese" ~nitoaM “cit! atnetona edd aa fers oat. 6pinesid .eticéen oldesevst toedtin DP mesco st2212 | : | “agetseteyo & Bae “Ries ob ezansd eet * to. . A: : a ehestacdele ‘jeab Gear id ~via “am bade ta etentne vidanoel!: . eoOtgxa Aboaes: q Li 4 Loca Sseous + “7, 7 . + %& » © ye a2 to Ss biagad : mes -C BncG 2, adLitecd ts Bis “cena e 6 Se. eg A Pte - a ; 33 style. It is remarkable with what zeal the poets of that time themselves sought to imitate the antique verss measures, when the made dactylic and spondaic verses, alcaic and sapphic odes. Unfortunate attempts, contrary to the spirit of the French lan- guage and yet with an influence on a smoother treatment of it. Other posts imitate in Latin the ancients like Macrin, “the modern Horace,” still without favorable results. bikewise the. court turned to the domain of the drama, and the circle conn- ected with it rejected the dry mediaeval farces and mysteries, to which the people still adhered with resret. Lazare de Baif translated the Blectra of Sophocles and the Hecuba of Kuripi- des, vette founding the French theatre. But the celebrated post of that time is the stiff and cold Ronsard, by whose in- sipid hymns and odes, watery sonnets and madrigals, however contemporaries were charmed to the highest desree. Brantone, who Sives him splendid praise, esteems the earnest and skil- ful sentences of his works, a proof how quickly the French passed to that hollow rhetorical pathos, that dominates the c character of their classical poetry. With other poets the poetry attains deeper merit. The Husue- not Du Bartas, the patriarch of Protestant postry, as termed by Ranke, gives uS in his “Week of Creation” a poem of religi- ous meaning, that he seizes with such warmth, that we must term him the precursor of Milton. But the intellecually animated character of the French nation is most sharply expressed in M. Montaisns, the Jedi te antirely free represantative of the mod- ern spirit. Besides oct acts the desp learnings of Scaliger, Maret and si a as well as of both Htiennes, those most lear- ned printers of books. Likewise jurisprudence and medicine were renewed by reference to the ancients, and even the matter of Ghurch Reformation wins ground everywhere in spite of the fan- atical persecutions of the Sorbonne. put since in the nation besides all these innovations , adherence to the ancients ever struck its roots, as proved by the continually repeated editi- ons of the mediaeval poems of Amadis of Gaul, Lancelot of ths Lake, Tristan, Huon of Bordeaux, Godfrey of Bouillon, Don Flo- res of Greece and others, that still in the seventies and eigh- ties of the cantury were repeatedly made, and issued by the printers of Paris and of Lyons. And nacarly just as long shall tooneoukela ad 1 Ont ‘eae boit: ‘ay Deny oy oe a + in svisoaid te i NOt sf vs: +e uF G's “Yromsim oA y ‘gd Pte! Lin’ BW die sete acl api oY spee fO Toe tre «Tt hid Ls 34 we find, that the reminiscences of Gothic architecture remain in forces. 9. Rabelais and the Abbey of the Thelémites. The most prominent representative of two views of the world, which makes this epoch so attractive as a transition epoch, is Master F. Rabelais. Irresular in form, fantastically complica- ted, as if it were entiredy spun from mediaeval poctry, in its Srotesque overloaded forms and stories surpassins the edventu- res of knightly romance in dry persiflase, he belonss by his biting satire, his bold humor, entirely to the modern spirit. How he scourges the ignorance and zealotism of the Papacy, the depravity of the monks, the arrogant pretensions of the learn- ed, how he tolds all follies of the time up before the mirror! His book is like a mediacval building, twisted anf full of mys- tery, overloaded by burlesque caricatures, bristling with ail sorts of points and excrescences, but attractive just on ace ount of this picturesque irregularity, indeed even fascinating, Since this entirs infinitely rich composition owes its execut- ion to the satirical mockery of a superior intellect. But to us he has a special importance by the description of that poetical abbey of the Thelémites, in which is completely expressed the architectural idsal of the spoch of Francis I. We sive the passage according to the translation of Regis. “The formof the building was hexagonal, so shaped that a thick ro- und tower came to stand at gach angie, averasins 60 paces in diameter, and all were alike in size and perimeter. On the side toward midnight ran ths river hoireon whose bank stood one of the towers. 312 paces was the distance from one tower to anoth- er: all were built to six stories, including the cellar in the ground. The first story was vaulted in oval form, the others being covered by Flanders gypsum in the form of a cloister va- ult. The roof of line slates with lead ridses full of little figures of animals and of men, well arranged and sildsd, as also the rain leaders that sprung from the walls between the window arches, painted diagonally with sold and azure down to the ground level, where they ran into larse pipes, that ran beneath the building and ended in the river. The building itself was a thousand times more masnificent than either Bonnivset, Ghambord or even Chantilly, for -there imac ws97 Odi ial sete ass sgpu #68 r bends Ora > eds owe Pe ok) he ae, am Whee opal agete esi | ealdneasse qisves f fortran rad asogdt 2OyS > au ow & of JHEBES > us pe eek Poe Ff evel 4 Ewa fit 35 were therein 9,332 apartments, each furnished with rear chamb- er, closet, oratory, wardrobe, and exit into a sreat hall. Bet- ween each tower in the middle of the wall of that building was a winding stairway broken through the house, its steps parily of porphyry, partly of Numidian stone, and partly serpentine. % every landing were two antique pl throush which came the daylight, and through it into the open room of like dimen- sions as the stairway, then rose farther to above the roof, Since it ended in a pavilion in the light. On all sides one went from this winding stairs into a great hail, and from this hall into the apartments and rooms. At the middle was a wonder- ful winding stairway, to which one passed from the exterior through an arch six fathoms wide, and of such dimensions and — proportions, that six riders with spears in rest could ride up it to the roof of the entire buildins. Between the towers Anatole and Mesembrine were beautiful spacious galleries pain- ted with real ancient deeds of heros, tales and descriptions of the earth.” “Tn the midst of the court was a noble fountain of beautiful alabaster stone; on it stood the threes Graces with cornucopias emitting water from their breasts, cars, mouths, syes and other openings of the body. The internal construction of the building ver the court stood on massive piers of chalcedony and porpahy- ry with beautiful antique arches, within which were beautiful lons and spacious salleries, ornamented by shields, with horns of stags, rhinoceros, unicorn, hippopotamus, elephant’s teeth and other curiosities. At the river side was a beautiful pleas- ure garden, and in its midstwas placed the pleasing labyrinth. In the middle between two other towers were placed the ball play and the great ball. Opposite the tower Kryere was. the fru- it orchard full or fruit trees set in quincunx form; behind & theses was the great enclosure, swarming with a11 kinds of wild animals. All chambers, halis and apartments were differently upholstered according to the season of the year, the floors all being covered by green cloth, the beds by embroidery.” Who does not see at once, that the peculiarities of the most famous chateaus of that time hover before the poet? The wind- ing stairs that lead to the roof and are connected with sreat halls, recall Chambord, the winding stairways on which one can ride up to the deck we find at Amboise; the Salleriss adorned ee unllee st no% 007" Aji 2, ule gash tins ont! yp sgh f, oni ipa eds SIBO0. ‘ont 7 oo folteroosh fae! sit ,amocs goiv i 918. Tetew 20% exoheel edd reve Sue t ae » ral ’ Sat sedge tedt to eseosado donc? Ils ais. B05 I daépvesd saen eonetve ylteoo sedte quexe eno nadd exon yd bevows es I dad egods Boe IITIV velfrsdin to DA, Ee a anid ent 5 b ee a wen edz | to Age “to eigaesc = ah rf a iiatess 2 ee > nan. woul, yarn — ‘aay J4 pods pe io. tan 00 O& oP ae oF Hol: LOD to bibeel al eigen enpivas ¢ ws ei adsey tp eam sat. to ssn AD 5 Ue iy ; | ; uy | 2) ' Ly 36 by historical paintings are taken from Fontainebleau. The oval vaults with the raised keystones, the antique arches with the arcades and the fountains in the court, the round towers and the distribution of the living rooms, the lead decoration of the ridges of the roof and even the leaders for water are mat srs that reappear on all Prench chateaus of that epoch. The porphyry, marble and other costly stonss were brought from the princely buildings of Italy, as proved by more than one example, but expressly by the buildings of qharles VIII and those of George of Amboise. A more complete idea of the French ruler’s chateau of the time could not be siven. 10. Francis I and the artists. As everywhere in life, so especially in art the king assumes the initiative. His mind being animated by ths ideas of the new tine, his cheerful perceptions and love of splendor must expr-— ess themselves in the most vivid manner in the direct promotion of the formative arts. Were there something romantic in hin, that had no influence on his artistic inclinations? He was so little enthusiastic for the architecture of the middle ages, that he caused the old Louvre to be torn down in order to ob- taia: space for the new building, in spite of the magnificent sallery and stairwaw from the tims of Charles V, which was therefore devoted to ruin. On the other hand the king was ent- irely filled with the nobility of Italian art. How many of the most famous masters he invited into his country, or if thig wascimpossible,yhe ordered art works from them. At the. apex stood Lionardo da Vinci, whom he esteemed not merely as.4@ sre— at artist, but also as a distinguished man, on account of his rsatility and deep knowledge. The collection of the Louvre ll contains some of the rare paintinss of the sreat master, that cams from the collection of Francis I, amons them the por- trait of Mona Lisa, for which the king paéd 12,000 livres, an axtraordinary sum for that time. Likewise he invited Andrea del Sarto, who foolishly lost his splendid position, since he mis- used the confidence of the king. For the decoration of his cha- teau of Fontainebleau he had Rosso of Florence and‘ Primaticeio cons. He sent the latter to Italy with a considerable sum, who brought no less than 125 antique works in marble as well as casts from Trajan’s column, of ths Laocoon, Venus, Ariadne, a (Ole ech te La ie ‘thers won dedt .6s sotiae nose’: aed%0 bas ito : canon et bad ete-at: sbeeldentednc® 3 snd to. dagoo ead nt boote gnol tr testa edt bas \(Yo-eman eas bevitsoes at . nox fsideantasact | Boyolgns o2Ow olooisas Pg | 5 ERE es pia Ppa ‘yea doldy to vss isdn i pieit@s neitie¢]I to wsdmas Ne ae yielish oa3 See woorlfsd -: saadonng cz rod wood bait oi (oa lae seen 4 ine wi BIAVODOS bois! @ eseocen tn sviveroosh y!cxsmleyote soos teven text) eotsoesg Se antteresit rit odd bas. erndoetidors 3 37 and other famous antiques, that wers all cast in bronze and p placed in Fontainebleau. He also had the horse of M. Aurelius cast, and the plaster cast lons stood in the court of the cha- teau of fontainebleau, from which this received the name of “sourt of the white horse”. Under Primaticcio were employed a number of Italian artists in Fontainebleau, of which may be n named N. d. Abbate, who decorated the ballroom and the sallery of Francis I by mural paintings. The king knew how to purchase several excellent works of Raphasl, amond them the sreat S. Mi- ates and the Madonna of francis I, which as we know from doc- uments, was sent to the king in the year 1518 as a sift from the duke of Urbino. The king had himself painted by Titian, p probably from a medal; it is a magnificent profile portrait to be seen in the Louvre. Most clearly does B. Cellini describe ntercourse of the king with his artists. He gave them th- sir own dwelling as a workshop, by repeated visits took account of their progress, encouraged then by appreciation and praise and paid them with princely munificence. So he gave Primaticcio the abbsy of S. Martin at Troyes» he had also destined an abbey for Cellini. It is characteristic that among this host of artists to which still others were added, no architect is named. In the survey of the buildings we shall see, that chiefly French architects erected the kins’s chateaus. On the contrary no artists were in Prence to whom could have bcen entrusted the internal deco- ration of the buildings in the style of the new time by stuccos, sculptubes and paintings. We indeed found already in the second half of the 15 th century the distinguished painter of niniata— res, J. Fouquet, in whose pictures already appear echos of the Renaissance, architectural backgrounds with antique buildings; indeed in the 16 th century the two Clouets, father and Son, were highly esteemed and much employed at the French court; we also learn from the building accounts of paillon to know numer- ous other native masters, to whom was confided the ornamentat- ion of the apartments; but those more important masters are evidently only skilled in works at small scale, particularly portraits, and these latter doubtless belong to @ rather manu- al practices, that never rose above merely decorative painting of architecture and the Sildins and painting of sculpturas, en- “eo ae al ie i ate ysyadag i, sien sas tated ecioottes ; aig one : sei =n80 ote ylletosc a My om oad aT eng og G: ont ts tient mnie oh on edd =633 dain 9 siodt oe a \ cas th emt at 7 ls @ * a4 c * ow oe pow 4 IGVSuCE FH: me be LOR ‘ on te mh godd- ak oh dos 38 entirely in the style of thes middle ases. Thus we likewise find in Gaillon an Italian, A. d. Solario, employed for the painti- ngs of higher rank, and for the same part of the equipment with paintings and stuccos, we see everywhere and especially at Cha- teau Madrid and at Fontaniebleau, Italian artists are brought in. First in the year 1541, it is stated that Serli was called for the rebuildins of the Louvre, who was busy at S$. Germain and for @ longer time at Fontainebleau; but we cannot provs. any vestiges of his creations. The love of the king for building, after so many destructions of many of the finest works of the French Renaissance, is rath- er known by the drawings of du Cerceau, who states the evidence for ths king: “Ths kins Francis I was marvellously devoted to the buildings.” Brantome speaks with still sreater surprise of the magnificence of his buildings and their rich furnishings, that make the greater impression, if then are compared with the dryness of the ornamentation, that was not unusual in tke royal chateaus in the time of Gharles VIII. Finally if we add thereto, that in the year 1536 by Genoese manufactors was laid the foun- dation of the silk industry of Lyons, and that at the sams time the art of printin;: books rose higher, which in intellectual as well as in material relations was of Sreat importance, we have now briefly alluded to the artistic endeavors of this ac- tive epoch. Since the Renaissance in France proceeded from the princes, so the architecturs there also bears the stamp of their wishes and minds. For they not merely advanced beyond their people in comprehending generally the new ideas; also in details, plan and execution of the buildings, their views and customs of life must be determinative. This fixes the peculiar character of the French Renaissance. In Italy the new art proceeded from the peo- ple, was created by srsat masters with an ;inspired study of the antique, and represents the entire life of the nation in an ideal expression, It was introduced in France by the sover— eign will of the princes. But however many [talian artists were called into the country, still until the last time of the life of Prancis I the Renaissance is entirely orisinal and French. We are able to point out no work, that could be attributed to Italian architects, and it is then that the Italians had to i ras at os é & i ¥ oer e, _. BSoW at 1% fed | a : * Sick ¢ % na rT al jw BA eo OS PMR Bo ee Y yay he ty a Dm | ’ s : 389 adapt themselves to the French mode, even to the denial of th- eir own. This may cartainly have occurred. fat least B. Cellini tells how he made the model for a portal of the chateau of Fon- teaineblean, whereby he tried to alter the cxisting arrangement as little as possible. He says,“it was after their Brench style, éraat and somewhat dwarfed, its proportions little more than square, above that being a semicircle, depressed like the han- die of a basket.” Likewise we find in Serlio’s Book Vi a number of fireplaces, chimney caps, sketches for facades with high roofs, which as hse himself states are suited to the French sty- le by the crossbars in the windows, winding stairs, mansards and the form of the chimney caps. In any case therefore the influence of the national customs, opinions and requirements was so strong, that sven the proudest Italian artists. must sub- mit to them, without being ables to change themselves in essen- Sial matters. With the exception of the internal decoration of which we haves already spoken, and for which the [talians were preferably called, we must assume that the buildings ofthis entire epoch were designed and executed by French masters. Al- so proofs are not wanting that French architects had quite ear- ly made themselves acquainted with the architectural style. In the accounts of chateau Gaillon appears a master P. Delorme, of whom it is said, that he understood how to “do the antigue and after the French fashion”. Indeed these ctever artists were yet capable superintendents of works after the mediaeval manner, who did not feel themselves to be men of high rank Like the arrogant Italians. This is not merely shown by their execu- ted work, but also the fact, that no historian has preserved their names, and that only recent researches have succeeded in obtaining these from the yellowed documents of their activities. Lhikewise there was not lacking among contemporaries a strong consciousness of artistic activity, and Charles de S$. Marthe says in his advice to poets, certainly not without poetic ex- adseratioa:- o% “what has Italy or Germany, Greece, Scotland, England or $pain, Yore than France? Is not this the property of all? Have they more means for the arts? $6 much that #e8cmust yield to then, That we shall soon surpass then.” | 43 atel seodt rot" reds Per a. ast abe sinege a oe 40 But their works best testify for those plain old Prench mas- ters, and we shall now consider them li. Foandations of the Brench Pametadhuas. Ti the Italian Renaissance took up the problem of creating & clear and artistic expression of their entire life, private and public, secular and religious, the like cannot be said of the French architecture of this epoch. It serves almost exclu— Sively secular interests, and is principally created for the Splendid aaah of elevated life. The cities, citizens and people generally, still lons and firmly adhered to the tra- ditions of the older art, and the new architectural style first penstrated amons them in a perceptible manner in the time of Henry II. But nominally all church architecture continues unch- anged until the middle of the 16 th century in the Gothic style, that indsed soon adopts some antique details, but in form of plan and construction remains faithful to mediaeval traditions. It is otherwise with the architecture of the chateau. This indeed proceeds from the sround form of the feudal castle of the Gothic period, retains in plan and arransement as in the general appearance the mediasval form, yet a substantially new sense. That form henceforth becomes a mask, which conceals an entirely changed interior. Already since the beginnins of the 15 th century, men had found the old castles uncomfortable, T The massivs towers, the narrow courts, the little openings. for light, the entire character calculated merely for defense was oppressive and heavy in a cheerful time, whose tendency was devoted to say enjoyment. Moreover the fortifications became antenable by the introduction of heavy cannon and by the supr- emacy of the royal power. But the appearance of the fendal cas- tle was desirably retained still, since traditional advantases wers intimately connscted therewith. Furthermore many customs of sia that had found thsir expression in the cartles, wers inherited in the new tims, that men could not sive them up. the refore the numerous concealed passases and stairs, the lofty roofs with a forest of chimneys, the attic story with windows adorned by gables, the independent roofs of the s¢parate parts of the buildings, and before all the Sreat round towers, and finally the moats with walls and drawbridges. The mediaeval tradition so predominates in Chambord, that even the keep is tbbis. ‘ett nk begolevsb «. tan tives por Aegean se .etipod owt bed onats ita co aang wae heqnory 272 | onod Yo Panes) ner Maes BSE eos eg bas adoeesitdad ng bua rr | ddiw. enobain de0%h) oviccs: . Wy weabat gil wa _ es $92q.. enoe | “bpntboner Tae to. Weiv e0: ia bas geste? akan” Led G) govezeg 44 in the plan of the building. In the general design it remains in the arrangement, as it was developed in the middle ages; each independent chateau had two courts, an external one (low- er court) about which are grouped the stables ard farm buildi- ngs, and an inner ons (court of honor) surrounded by the living apartments of the nobles and the rooms for service. A moat as well as walls with towers completely enclose the entire plan as in the feudal period. A clear example is presented by the chateau of Bury given in Fis. 18. Over a drawbridsge A flanked by two towers, oné passes into the main court F, around which is the residence. At H is a long gallery, the show part of the Prench chateaus of that epoch. A double flight of steps deads down into the master’s sarden &, enclosed by a wall with towers, having a small chapel at G. A vegetable garden D with fruit t trees, trellises and a devecot K in the form of a tower inclo- ses it. Before this lis the lower court © with its separate entrance at B, that likewise forms a drawbridge in the mediae— val manner. But all these forms have a new meaning. The towers formerly servings only for defense with few openings, battlements and machicolations, become living rooms, receivs sreat windows with views of the landscape. Generally whers mon formerly withdrew into them, now the extsrior of the living rooms preferably pro- jects in order to becomes pleasant by the view of surrounding nature. For not merely the stream flowing by, forest and meadow and a series of hills invite to the view; likewise art contrib- ates to beautifying the vicinity by gardens, flower beds, ador- ned by terraces, perdgolas and fountains, which then surround the seat of the noble, and a stately park forms the transmbion to forest and field. While formerly the castle isolated itself morosely from the outside, it now opens as sayly inviting. Thus is formed every detail in the mediaeval basis in the cow sense. The entrance formerly consisted in a sreat sateway with @ little side doorway for persons on foot, now becomes a masnificent lofty portal with an antique enclosure. Instead of the crowning battlements is indeed seen an open gallery of va- ricd design, beneath it an arched frieze with shells in the panels, 23 reminiscence of the Romanesque crowning cornice (Fis. 14). The windows of the roof story (dormers) retain their gothéc qs fatnesa: cy eee ieee ws er em ie ree! yay OO are F fest siete telal betelens + i pveig: pa karevib! beta gt owe ft rer te gs iia noiteiss offi sac x te | | BB (yLiztne dd - " mt yom on pall “ pegoiaecos Bees 52 . “dest fevestbe sia eigen ont 38: As fo efihia- ees mot ete atic ent ‘eeatodre “i . atate biox, ed A re oa * = 1° Ta a oe FN Te { ' 1 % ae NA Ad : : ry . ; be , 1 ay i. 42 , elevation with piers, flying buttresses and ornamental caps, 4 but the forms are sporbively translated into antique elements. (Pigs.114, 15). Further views of the animated diversity preva- iliag in these favorsetse forms are given by the illustrations ?n 21 (Blois), 32 (chenonceaux), 33 (Bury), 36 (Chantilly), 38 (Azay-le-Rideau). The windows generally still retain for a long time the stone cross bars, of the Gothic period, and also in their enclosure appears the fine srooves and tracery of the iddle ages. In the Seneral plan may be also asually restricted by the irresularitn of the older parks, that were utiliged as 2t 3. Germain, Gaillon, Fontainebleau and many other places. Tt is seen from thiu, how little this time allowed to prevail % Symmetrical plan as an indispensable basal rsquirsment. But where they could add freely, men strove as much as possible for a regular form of plan, that in details was stili not so strictly connected. Particularly all the stairways by which an element of picturesaue arrangement and great charm was freely introduced in the buildi ings. They were not included in the ar- rangement of the interior in Italy, but in the mediaeval fash- ion were placed in a round nr polygonal tower at the angle of the principal court, or that projected from the middle of a court facade. These stairways are always winding, sometimes being ramps without steps and ascending as at Amboise. The French language at that time did not know the word stair (es- calier), but always employed the word screw (vis). The. pkinci- pal flight often became a grand piece of magnificence of cons= traction and ornament, as at Chambord, where it is built with double flights, so that those ascending and descending need not mest. This is also s tradition of the middle ases. The upper termination then vaahale forms a pavilion or an open lantern. In other examples, as in Gaillon and Blois (Fis. 29) the stair- way consists of a system of piers and arches, opened by airy perforations at the sides. Hith this strivins for sgayer masnificence is connected the broader plan of the courts, that further frequently cantain ar- cades in the lower (fis. 16) as well as in the upper stories, yet as a rule only extending on one or two, scarcely ever on the sides. The separate wings of the building always have but one room in width, and the rooms lie in a single series beside / " \ i ” y y aid } : 2 tea) PM pee, eee Rad . eo'to a iil atee% ya Bert hooey ae dean? .ibndo fons “eit to sheik find ‘edt doe’. hi va 8. 8 do edt seyaniiate ‘BHotess rte wne i] te gue eraito bos, estou’ 2d ,biobex re : PRIA 5 ON Ai a, oe O Jecemsr VET aos i) iat ae ‘setts! yea sheds Baia iehsco, 58 - ‘den eae gon Bas! Wiorsben-ca:t eel « nile: : be! eseva S42 ever eet 22 1 yoigaaot Bows | n stuone fe ett - erode tat to selgtontzg © Md | H e0cke: ege1g: esi oe boxed ed: ‘idauoe 43 each other. Thereby was required a sreater number of corridors and separate stairs, and in fact the buildings of this epoch are characterized by their numerous stairways. The chateaus of Francis I, like Chambord, Madrid, La Muette and others are mostly divided into a more or less great number of independent lodgings, each consisting of a living room, sleeping cabinet, wardrobe and privy, externally with its own entrance and sepa- rate stairs. For the common society is then in seach story arr- anged ¢ bards hall, or even several halls with a central plan f possible. The piece of magnificence of the more important gth, strikingly similar in proportions to the halls of nt Assyrian palaces, indeed being a remiscence of the at assembly halls of mediaeval castles. However the latter were always in several aisles, and thereby with their numerous vaults on slinder columns and the high arched windows adorned by painted Slass, made an impression entirely different from these galleries with their cellings gleaming in sold and colors, their paintings and extremely rich stucco decorations, The ce- ilings of the rooms mostly consisted of a rich wooden coffered construction (fig. 17); however splendid stucco ceilings were soon introduced for the state rooms by the Italian artists. $. Still the French Renaissance does not have the aversion of the Ttalian for the cross vault; it rather likes to employ it for staircases, halls, chapels and where required elsewhere, indesd with the mediasval section of ribs, corbels, keystones, even free pendants. But the form of the arch is no longer Gothic, t is mostly a depressed arch like the style of a basket handle, as employed already in the latest Gothic epoch. (Fig. 18). The regular round arch gradually opens its way. Thus also in the general desisn, the high roofs with their windows and chimneys, towers and winding stairs are retained by the very picturesque design of the middle ages. To the an- tique belongs only the slight covering by certain forms of de- tails, the enclosure of windows end portals, the subdivision of the surfaces of walls by pilasters or half columns, ths treatment of the cornices and other members by the elements of antiaue architecture. But while in Italy the principles of this world of form are sought, to be fixed in clear proportions, t } } it 4 By, Jose rs emehang ‘2 ei ebostxe ,beyolqme 08 , evede | wiphatn ebiecd yicetleses pot sbaesol a ee ite gifeven cele ‘ -s0qu, edd yilenensd re , nexe wis? I seggxr to Pin deentes etd sade a. ewode gait fe YR ) Bite tadse beseves. F ekrod te Seca Tealesaent he aes ee teon edt titiv re’: q vc ¥ pri eek Wd ee RA ‘ 7 ae ar ‘ * pum Ke a fi use ae ‘St he _— 44 there here prevails no definite arrangement,and pilasters of of the most varied dimensions are employed, extended without limit and stunted like dwarfs, carelessly beside each other. As a rule the pilasters are paneled with the logengs forms at the middle and ends liked in upper Italy, also usually orn- anented by its leaf and arabesque ornament. Gensrally the spor- tive and ornament-lovins early Renaissance of upper Italy exer- ted far more influence ion French architecture than the earnest and massive architectural style of Tuscany. That shows itself particularly in the lavisk abundance owhich covered other parts of the architecture on French buildings of the epoch of Louis XII and of Francis I, particularly the friezes with ornamentsa Thess often have a refinemsat in drawing, a charm of invention, a delicacy of execution, that appears to rank with the most b beautifal that Venice and Florence produced in decorative works. An object of preference by architects of this splendid period was the capitals of pilasters and half columns, which they dis- tribute on their facades. They assume 2 free form Like the Cor- inthian of the well known idea of ths capital of the Italian sarly Renaissance, which consists of a row of acanthus leaves, from which volutes, dolphins or other forms of figures project to support the abacus. But French art is even more full of in- adination, more varied in its inventions, and partly on account of mediaeval opinions and endless divessity of the same ground motive is more deeply imbedded in the race, partly since they feel less restricted to the motives of the antiques. We give in Pig. 19 as svidence a capital from Fontainebleau with. which can be comparsd the capital in Fig. 71. fhe interiors of these masnificent buildings receive an art- istic treatment, in which likewise the middle ages at first strongly appsar. Vaults and wooden ceilings slecam in sold and agare, and it is astonishing, for example to see from the acc— ounts of Gaillon what extensive use was made of gilding. Also the works of sculpture, after the Italian model now executed in marble and richly silded. No less shinins in the little win- dow panes are the works of glass painters in pictures, arms, mottos and emblems of manifold kinds, and we find these not only in the still half Gothic Gaillon, but even yet in Font- sinebleau enters the decidedly new tendency. What then concerns Eag 2 our ‘ontt > 2S r | aes Ene Reicks fats J Hover isstaco BvD et UH fon * rite es SSigmexrS 82 B oes Senwonece de : as. Pipa! ‘eelquex? Dag J Tiaue moist SOocx: a : vo aleqgado 406 4 ibgvose inde a eds tad fig nit ei catesns " comieulbaag +tascoed mebLox on "e049 fenh x i or ae ie . fh ie fe j nae 3 $uo ae thts 9 \ldd-veti soe yensntesd ya? ‘See dhekigqae sesad: ‘al oe eR a Sas. to medtupdtas aM ae epi zo ve ‘ ‘ : 4 " G 5 nr ps " .e oe id Ge Recaaters . “an SAY rar Let to 8 A5 the form of the ceilings, these show thus in staircases, vest- ibules, corridors and chapels for a long time the Gothic rib- bed vaults, often with splendid carved, painted and silded pen- dent keystones, as in the staircase of chateau Nantouillet, in the church at Tillieres, and in many other examples (Fis. 18). Ths living rooms, chambers, halls and galleries on the contrary receive wooden ceilings with splendid cofferins and slesgant re- lisfs, such as are surprising in the chateaus of Ghenoncsux and of Beauregard, also first of all in Fontainebleau. Hxamples of such ceilings of marked refinement and taste and execution are given in Pig. 17. Likewise on the portaly, grilles of chapels, and finally on the panelings of walls is employed the striking- ly skilful wood carving derived from the middle ages, but the style of these works shows throughout instead of the late Goth- ic the noble and harmonious art style of the Renaissance. Pin- ally there came from Italy the inlaid work (intarsia), examples of which with unsurpassable charm are preserved, as in the chat- eau Ancy-le-Franc, or there are found splendid solden decorat— - ions in the most beautiful patterns, such as chateau Anst pos— sessed. On the walls prevails in the first period until about the m middle of the 16 th century the wood carving, but pesides it is extensively used the decoration by sculptured tapestries, such as the adjacent Flanders ard especially Arras supplied in excellent works. Brantome speaks with enthusiasm of the no- ble hangings, that adorned the chateaus of Francis I. In Gail- lon were no less than 20 tapestry workers and embroiderers bus- ied with the furnishings of the chateau. Genoa, Milan, Florence and Tours furnished the magnificent materials, the srsen, blue, cramoisy red velvets, white damasks, sreen taffetas, which were embroidered with arms, monograms and emblems in colors, gold and silver. Not merely the walls, but also the furniture, -arm- chairs, beds, canopies, curtains, exhibited throughout such costly fabrics. @specially magnificent were the fireplaces, t that were entirely constructed in the style of the Renaissance, flanked by pilasters or columns, the frieze with arabesques, above it being a panel with a painting or a work in relief, all sxecuted in marble (Fis. 20). Finally if we add thereto, that the floors in halls, chapels, galleries and even in the courts we : | f Lae ute PATI ty PL) wel F beh) a so: date W902 ,eeite: Svs boetevco ‘asew Baldor at oad bas oldettas ‘boteleanenne itime edd ta4d. .exetesa arise ‘ane \acniecanbhia edto Sue volliay ) ‘3p. eoxege pele huia Sockeenss esnoments ig aie ven oy Tonk ag , wa cts porate mF UA age de *% i ‘ Sgt \ ntsaapaeas gees. wot, nt e eat bekiog: x vd | puexaiese eth rea ave” Sad. stor Tie hne-a simoico yd SY value s Ost Brien: peer set 46 of the nobles were covered by slazed tiles, for which came Fler- @entine masters, that the smiths furnished artistic and splend- idly executed gilded grilles and other works, that the ridges of the roofs and the apexes of the numsrous towers shone with likewiss gilded leaden ornaments, sometimes also sleamed with shining fayence tiles, particularly in Normandy, we have.a pic- ture of the artistic furnishins of these buildings affecting all their parts. Tt is true that joyous time knows no strict law of composit- ion nor any classical development of forms. But however little classical are the details, yet this architecture has such inde- pendent value as the faithful reflection of the customs and o Opinions of their time, as the expression of the events in the lives of the princes and their circles, whose character we have described above. One must not seek here purity of style, and just as Little a correct treatment and use of the antique; bat an original charm, picturesque grace, the expression of say en- joyment of life in naive blending and piquant elaboration of heterogenous forms, will be appropriate to this amiable archi- tecture in 2 high degree. . About the end of the reign of Francis T, and thus about the middle of the century, the antique commences to exert a strons- er influence. Men strove for a greater regularity of plan, as for example may be recognized in the chateau Ancy-le-France. (Plan in Pig. 97). The remains of mediaeval tradition disappear, the numerous projecting additions, angle towers and stair tew- ars are suppressed, the stairs are more included in the inter- ior, but are always simply arranged according to the kind in Florentine palaces, with a simple flisht covered by an inclined tunnel vault and with tolerably steep steps. Every stairway in the Louvre by which one ascends to the galleries of paintings is a striking example. But particularly the details are treated in the antique sense, the classical columnar orders are more siriebly observed, more purely imitated, more harmoniously man- aged (Pig. 20), the wall surfaces receive by colamna and pilas- ter orders a rich entablature,aiid:comnice, with a resular sub- division by niches. Likewise for this the Louvre presents the finest example in its court facades. But in spits of the apps—_ arance resembling the antique, the steep roofs and the high pa- —— y 7 fe i Vy | if Bi A : oa, P| 7 P ae i a) aD aneido favo! o9 ah 1d, d38u bontater tie ‘hapiiived roel a i? al deonen Boot tetsoad aepact oo Bos wodsye rotae lig torre ‘poten @ yd hee :% icicas: et sisdwyieve sie enpisas to P10: : bane sapeyot 2 add tistw tod .esoget, bas yd loilge! " iF; wes z = seado ex aa e or pase et a fee | G ao 2 » ine oe ec yirey ur , he i a 7 a2 gent om a” WToLsese wittere be elle ied ighiense: vi \ itkw be nidmos Bar er be A7 pavilions are rstained with their colossal chimney caps, yet the dormer windows are no longer treated in a manner like.the Gothic, but are enclosed by a more strict pilaster system and are terminated by a sort of antique cap. fiverywhere is the en- deavor for greater simplicity and repose, but with the joyous freedom of the earlier spoch is lost much of the naive charm of this architectural style, and under the successors of Henry II already steals in a frosty insipidity. Cut at the same time occur ugly, capricious and sven Barocco forms, heavy members, broken cornices, shafts of columns with horizontal bands and fanciful ornaments, finally excrescences of every kind, so that the Barocco style appears here almost earlier than in Italy. This is particularly trus of the treatment of the interior, where the wooden paneling and hangings on the walls, as well as ths artistically carved wooden ceilings ars sradually supp- lanted by the stucco work introduced from Italy, combined with painting, indsed for the most part already restricted to over-— loaded pomp and mannerized forms. But on the whoke and especi- ally on the exterior, there always remains a certain solidity, power and grandeur, produced by important masters like Lescot, Bullant, de 1’?Orme, and French architecture retains till in the first decades of the 17 th century an undeniable stamp of ori- Sinality. ‘ 7 f Ng y A: | ae a by ee tetyado- Fig ws LIE ernbd Lfeviva® $f gh teidtananco ie bI0% ~ ue as Pa Damn: ed? ath RE Bg ian \* Dpediier sg iit : enol best ne /tnltoee | eats eor a he eae te Pe gesk sod wwe $ cea0:40 Reve Rope | a . seven eit To ze shi z roth rot nod ise ‘eid ft geninare eno edn rt a. Bacisnsyat ent Heigaen fon tese iad nis to elyte foustes Snok coax ‘ess yeds ROLioss3 ‘= So: op ak ‘bed goisasaraacs ates oF (eaiead Lesuton 2 a: a tot A Bet i ' . hia e . . doh a | f eeotoq: 7 BR dedn. ee ee a « a7 4 7 \ i a BS eo € ite 48 Chapter II. Transition Style under Sharles VIII and Lonis XII. 12. Revival of the church Gothic. It has already been stated, that the begets: communities and clergy opposed the Renaissance until the en “of the 16 th cen- tury. They continued steadfast in the traditions of the middle ases and erected their churches, city halls and houses in the Gothic style. Church architecture first retained the old system in the arrangement of plan and constructiou, and only in the sportive tendency of the decoration of the flamboyant style did it betray, that the aroused worldly pleasure, the secular sense of the realistic time carried its strons influence also into the religious Life: In order to sive a conception of the exuberance, with which occurs this Indian summer of Gothic in Prancs, it suffices to refer to the series of monuments enume-— rated at the proper place in Kusler’s History of Architecture. Works like S. Maclou at Rouen and the facade of the cathedral there (1485-1507), as well as the Paris church of S. Germain i’ Auxerrois, of S. Severin, S. Gervais, S. Medard, S. Merry, the latter first built after 1520, finally the tower of S. Ja— ques de la Boucherie (1508-1522), farther the excessively rich facade of the cathedral of Troyes and the other churches built in that ancient city in the same centurw, but first of all the masterpiece of Notre Dame at Brou (1506-1536), many other chu- rch buildings of this epoch sive a splendid idea of the revi- val of the Gothic. e's In this late mediaeval form first exhausted itself that fan— cifully decorative tendency, that was peculgar to this century, mostly in the North. As a rule men have treated as bad theses works of this flamboyant style and as “decadent art,”.regected as “Gothic pedantry”. Unjustly in truth, when one examines the wealth of creative power, the overflow of the inventions of ¢g Senius shown therein. These works certainly must not be measu- red by the scale of the strongly structural style of the early Gothic of the 13 th century. In construction they are much low- er than thoss, and before all their ornamentation has in its lively spirits released itself from the structural basis, and. untroubled by that carries in its own hand its varied interla-— cings as 9 loose sport. But what an unconquerabis pleasure and aso ie nolsee SP edi be’ %) fe Sean atts Boe donde 0d fc eneitataey betifed at Leteete gn fi abe ee oe %. netic cen tio.bux te on bis tev0 .eratoottdow of: ail dco? oC. anceteq gut penton vwirte?: rats Fae T mato iq notdsdacesiges di, Fe hes . © a Cs ine, Ob YAGLY obtensa vd. babtei2 r bah ie 7 £05 eran « mine ue aw we 6 ai & iw uF 8 ef nr ha 7 a awe > ‘ OF ae on 4 od% maGt baifiend .cat 2 SrLaney Be Mg. firooet 49 @ manifold expression of ornamental life, what an immeasurable series of variations on the same theme, and with what skill t the chisel is driven, indeed every material is bullied anf fl- attered! Doubtless this refinement like every other is not the highest in art, but there remains in it a good piece of the poetry of the stonecutter, and the fanciful senses of the. csnt- ury found its finest expression in it. Before all one thing is clear; this school loving ornamentation first came to excel all in decoration. It is to be repeated, that when first made acq- uainted with the forms of the Renaissance, it will not meditate for a moment also to embody in this means of expression the al- ready existing treasure of ornamental forms. We shall see that it so occurred. . . 18. Late Gothic secular architectures. Mors important for us are the private houses of this epoch, Since while they still freely adhere to Gothic forms, to cert- ain mediaeval peculiarities of plan, the joy in the life of the time appears in the more stately design and the richer execut— ion. One of the most beautiful examples is the well preserved house of Jacques Coeur at Bourges (1448-1453). Holding the in- termediate position between a feudal castle and e@ city mansion, it adjoins the city wall with its towers, which are taken into the sround plan. An irresular court separates the liviag rooms from the street. Three stair towers projecting into the court afford convenient admission to the different parts, and suggest the rich arrangement of anterooms, on which was already laid great stress in mediaeval castle architecture. Over the .broad gateway with its narrow side antrance for persons on foot lies the chapel, that has its own stairway. At both sides adjoin wide porticos openinto the court by arcades, intended forsthe | external business of the house. . ! The most complete representation of a prominent city dwelling of this time is afforded by mansion Cluny in Paris, built after 1485. Likewise here a court surrounded by a wall crowned by bat- tlements separates the dwelling from the street* an arrangement that in the most recent times has remained in use for important city residences in France. Also here the great portal is accon- panied by 2 little entrance for persons on foot, here just at the left is the room of the porter, which by its own windings YO. ‘ ( -) wi; a> A) if it a c n / i AL bea ae sale ih Rei ta aN ots ta 4a nai Pt Boe nace ty BBQ bebe 6 he Bae eriess : AE ce oe aes seg tis priate 8 tOVSE O88 Eten ented? ash BR Sat gtiv ha b le EEOOT i | Lae! ee ? ; ‘ “ Prien . % - ay ie . 8) est age as ris ahi wa bar" a ‘ Py ua Om 3 : Syke ny 7 BM Nee _ aasde togco! on. erst a tin betos ee Shu oe Sika BOO Bye / BROOT baky st ) "Newer | | ! sat dods we -rafbaoe macapid: exew-abinnst selae sot sovactne ae? ented vit a dtaeober asqxe. fitse gi 5 a oi foe ition peo: Bee cpurodsk: 1 {sakbre mers to esenc: inp rsloctisona re oJ es Bee arson: xi ri teilnosq setosisdo oldest! . woo edd dxén obie teonk edd *Benege yidots edt .eeeeotD: il oLBOV shdtdze eosgetag pobniy Me ea pect ag Poe a eee mee 50 } stairs and an arcaded passage is connected with the dwellings. 4 Likewise here are several windins stairs, that permit access to the different rooms and connect with the sarden. About the same time toward 1490 was built in Paris the mans— ion de la Tremoille (Fis. 21), which was tory down in the for- ties of the last century. With a splendidly rich equipment, it asain had the double entrance A into an irregular court, that separates the living rooms from the street, and is surrounded on two sides by open arcades. Several stairwayu no longer star- ting from the court, the principal stairway connected with a lisht of steps and a ramp, formed ths connection with the up-— per story. Over the passage B that led from the court to the garden, there projected on slender columns @ chapel for the house, an arrangement liked in the middle ases, that we shall often find. A smaller court O with a fountain was connected a. with the garden by arcades, and separatedithe livins rooms . from the kitchen and its accessories. A second entrance i ov— erlooked by the porter’s room and led from the garden izto a Side street. In the same stwle and now about the end of the 15 th and the besinnins of the 16 th centuriss were then built several count- ry seats of nobles, that plainly betray the endeavor for splen- did ornamentation, although this is still axprassed entirely in Gothic forms. Of such a kind is chateau Meillant in the.de- partment of Cher, built about 1500 by cardinal Amboise, whom we shall meet Later as a noble-minded promoter of art. He erec- ted this for his nephew Charles of Amboise, lord of Chaumont, while the latter was absent as sovernor of Milan. The structure exhibits the irregular plan and the arrangement of a medieval castle. It consists only of a lons wins broken at an oblique angie. Externally it is flanked by numerous towers of irregular form and at both ends rise sauare towers with machicolations and high roofs. The western one presents itself to be recogni- ged as the old keep by its imposiys mass of masonry. — While of this entirely in mediaeval style only served the purposes of a fortification, the habitable character peculiar ~ to modern times is expressed on the inner side next the court by the great windows with stone crosses, the richly opened Salleries, that like the window parapets exhibit vesica motives, 38 io) wt 7 ee 2% we se 7 ine edi | sno otge. yd Bbesefore sis na hisngy woled a0 ev wsecwo end “Bieide eds atin epee Sesnt ic awe bevolone Le MOTE stuementc aa 68% 20 nKROTO - Bakaweto oiddod s on ‘S8ets? bedos > ‘-ekeaeh 2 ba ' 1 i, ngage entetes s1 , Weil , donan per befal ‘ ~ an yest tones od | : 7 y ria, 51 and the tall dormer windows richly crowned by their gables. Tf The ascents to the livins rooms are placed in the three polys- onal towers, and besides them projects a little octagonal tower likes a bay window. The masterpisce of the entire design is the principal stairway, whose angles are enclosed by stron- Sly twisted columns, and whose surfaces from below upward are covered by blind tracery and the devices of the owner. Over the low portal are the supporters of the arms with the shield and mottos of Charles of Amboise arranged under three rather wonderful canopies. The tower ends in a terrace enclosed by a perforated balustrade decorated by the vesica ornament. From thence rises @ lantern beset by crockets as a crown of. the pow- erful entirety. Under the balugtrade extends a Gothic crowning cornice, that is externally enriched by a round-arched frieze and niches with shells. The latter is the only echo of Renais- sance forms found on the entire chateau. But it returns again to the little fountain treated as 2a Gothic pointed pier, which is found in the court. A little Gothic chapel is also detached from the chateau and complétes the design. Another work of this time is the chateau of Chaumont (Fig. 22). In a magnificent location high above the Loire, it yet retains its entirely mediaeval stamp and the emblems that Meil- lant also exhibits, to whos ’possessofp¢harles of Amboiseé,is also to be referred this buildinsg.for a great part. It consists of two wings, grouped in irregular form about a court, and fl- anked at both ends by massive round towers with machicolations and high roofs. The entrance through a round-arched satewag t lies in a high pavilion, that is enclosed between two massive round towers with machicolations and steep roofs. The court opens between the two wings of the building as a free terrace with a splendid view over the Loire. Ths interior exhibits in its halls, chambers and the great Sallery a magnificent treatment in the style of the Renaissance, so that here is received in full measure the habitable impres-— sion of the chateau of this timc. Worth sesing ars especially ‘several tapastrics of the 15 th century, that belons to the original furnishing of the chatcau. Likewise the great .cross- shaped chapel, built in rich flamboyant style and adorned by painted glass, merits consideration. The forms of the entire {[~ 0 ee eee le, pee aie i ise ee t od .porehact a ~L seeah eds steed cet fg¢od ‘edt to eslsus ry a taBol nr ef rm ne + wee ots Ba paaaes | {eden mon’ Ray © ae oe (de eas to atode L[atecr: ie , a ee al paethiiod Sile o ares ‘utio yistsie perth Eonct ted. Be om = | eh ewas eeets doidn aeye wrede. ote ati watts bd sacse 52 building still exhibit the Gothic style. Of a similar kind is the chatsau of Fougeres, built by PB. de Refuge, treasurer of fouis XI. Likewise here the entrance:-is flanked by two towers, and at the angles of the building proj- ect massive round towers and a square tower like a keep. The court is enclosed by arcades and ths main stairway 4s usual 1 lies in a richly ornamented polygonal staircase. Also the beautiful chateau of Martainville, loeated in the department of Lower Seine, exhibits in allied manner a still complete dependence on the mediaeval world of form, but in an arrangement of plan with the modern idea of the comfort of a freer habitation (Fis. 23). In an extensive court enclosed by farm buildings on two sides, and by walls with Littie round angle towers, rises the main building in the form of a recta- néle 70 ft. wide anf 48 f%. deep. At the four angles.project round towers, internally containing polygonal chambers, that are connected with the principal rooms as cabinets. Ths entra- nce lies at A in the middle of the facade under the choir of the chapel arranged in the upper story and projecting as .an oriel, a frequently repeated arrangement in France. A passage covered by a cross vault separates the great hali H from the two rooms D, SG, lying on the other side. At the end of the. corridor is placed the windins stairway B in 4 polygonal stair- case, which leads to the two upper stories. In the principal story a part of the corridor is ssparated by a cross wall as a chapel, and at each side of the passase are arranged. two chambers connected together. The exterior shows itself as a brick buildings full of character, in the upper stories adorned by lozenge panels and lily ornaments in darker bricks. Yet the rich Gathic gable caps of the dormer windows are executed in cut stone. All] this and the animated membering in-séneral, the four angle towers with their conical roofs, the tall stairway tower crowned by 2 belfry, and the ornamental choir of the ch- i particularly in the northeast provinces, that found direct mod- els in the city halls of adjacent Flanders. They mostly consist of 2 vaulted hall in the Sround story, over which rises the up- per stories, often crowned by a sreat belfry, in rich ornamen- | | By: yi ie Py notes: jnemenio etl * vy Pf 7 ee * S7740 + an » - - oe ty oe ee Be ae | anh bone ‘ae me St bee Oh te Ut Ot Diles ah bennoto peer to entese asin’ © -efbbte eft syvcda grieix y ephwedil . 6 oat wod tcorc eat evits ae of ok es) Sa ang beg & yi takeoos od ae | Fee taal ~~ seavi! Te, a *\. Oy a Pee ee ee sd & Somguempp oF one exol: neg $0) t2n00 edt ao ‘ebaveree, ats sie) shugo. ‘Geitoersetnt dedt .2eisoas yd vedic ; . rt 53 ornamentation of the late Gothic period. Besides the city halls already described at S. Quentin, Noyon and Saumur, we mention the city halls of Douay, Dreux and the particularly attractive one at Compsignse, that indeed possess¢s no vaulted hall, but is distinsuished by niches for statues crowned by canopies, by 2 sreat fiat arched niche for the equestrian statue of Louis XII, and especially by the sreat belfry risins above the middle of the facade. The building was began in 1499, and is likewise entiesly executed in the Gothic styls, again a proof how firn- ly and how longs the circles of citizens adkered to naneee tra- ditions in opposition to the Court. 14. Chateau of Amboise. When Charles VIII returned from Italy, he burned with zeal to cause such magnificence to be executed, that he had seen yonder in the splendid palaces and villas. By cardinal G. de Rovere, later Pope Julius II, he was sent a richly ornamented model of a palace, that G. da Sangallo had made for him. The artist must himself take it to Lyons, where the kins Sreeted . him with joy and richly rewarded him. But before all the king caused artists to come from Naples for the works, by which he thought to beautify the shateau of Amboise (1498).. According to the evidence of Comines, he undertook there such sreat buil- dings, “that for a hundred years no king had erected,” And ind-= eed both at the chateau as well as in the city. With what zeal the king carried on this affair is shown by the receipt of an N. Fegot, who acknowledges the receipt of 398 livres 5.sous Tournois for the transportation of several tapestries, books, paintings, marbles, porphyry stones and other articles, as well as for the maintenance of 22 workmens, whom the kins can- sed to come from his works from Naples.to Amboiss. The chateau of Amboase (fis. 24) is yet always an imposing building, that with its mighty towers and its elevated terrace rises to dominate the high bank of the foire. From the build= ings of Charles VIII, according to the statements of Comines, date the two great towers C and D, of about 40 ft. diameter, in which an inclined ramp 20 ft. wide allows ons to ascend.on . horseback to the top of the terrace and the court of the chat- san at the stme height. The inner court A is surrounded on two sides by arcades, that intersect at an acute angle of the irr- : my ca . b ni: snkw ‘dak te: ‘ads 8 sabte spode y762 lite eel: Tlenwedx wasn epee re | “ r 2 ~~ 7 bs s = ae ¥ ey nt a jen: EY oo stst"ts on bo aA wh be le Joa ma Sh he ie a ses cvs ec! Ad St eds te ote ta 54 irregular plan. Namerous windins stairs project internally and provide communications in these older parts of the buildings. A hall of considerable size still forms the most important part of the internam apartments. ixternally several round towers o occupy the angles of the chateau. A little cross shaped chapel B with polygonal choir is still planned and constructed in Go- thie likewise projecting from the outer wall. It appears to belons to the same time, but under the restoration by the duke of Orleans was asain rebuilt. 15. Chateau at Blois. An early death removed Charles VIII in the midst of his und- ertakings, and the buildings commenced in a great style renein- ed unfinished. But Louis XII in his long and fortunate reign (1498-1515), impressed by the nobility of Italian art, again undertook these endeavors, and sought to make them not merely art works, but laso to obtain artists for himself. He invited the Genoese Fra Giocondo, of whom Vasari states, that he built two beautiful bridses over the Seine, and elsewhere executed many works in Prance for the king. But in truth only one bridge, that of Notre Dame, is proved to have been built, by Fra Giocon- do, after the old bridge fell in Nov. 1499. First in the sutumn of 1512 the new stone bridge with its booths was safely comple- ted. Otherwise neither from the archives nor from the styte of the buildings of fouis XII, not in any manner is confirmed the activity of the artistic brother as stated by Vasari. Also the old court of accounts in palace of justice, judgins from the engravings of I. Sylvestre, can any conclusions be derived for the partbagipation of Fra Giocondo. ; But the love of art of the king set him to building the chat- au of Blois as the most magnificent monument. From the city of Blois rise two hills, of which the higher is crowned by the cathedral, the lower rising through the extended structures of the royal chateau. The history of the castle extends back into the Roman period, where at the end of the 6 th century it app- ears as a fort, was a feudal castle, first under the count of Blois, then under the duke of Orleans. In the year 1438 are mentioned important works thers, that however exclusively con- cerned the fortifications. Since ths middle of the 15 th cent- ury its character was changed like so many other chateaus of d 4 aq fsk ot ff E08 (Bae diTsen acsomnnaaed i Sebabhbier: qitontsg Sse sbiten yltece fur sosiqdtitd eid xc? id cetera ifs atin gabbiindss P Moutics neetedo add diis fodw sdt ho sen te qidosses )) ovents edz + begaiog bas: Bh eat t ce bos Rye einiod 5 A ths hg SITE we Bs hain ed fettentuses edd bewrc’ foo easisten?« ‘ oo of ee Sade i co geor rope ost. aivZ e eabh siotad te ncaa Ate lr —& P48 Baek ee 4 wed?” apa, adie Sointoo bak a ventob ed ae) nt ma t rote. sant: 2655 ae, ola ect to boi anh vi! ‘grub ray ny $08 ¢ ec 55 the middle ages, and from a warlike fortress of the feudal pe- riod it bacame a masnificent princely residences. Louis XII had an animated preference for his birthplace and mostly resided here, brought to an end this rebuilding with all the wealth. of his time, end as J. de Auton says, built the chateau entirely anew and with truly royal expenditure. The imposing building (Fig. 25) substantially exhibits diff- erent groups of buildings. The oldest portion at the risht of a person sntering forms the northeast ansle of the whole. It consists of the great hall H for thse mediaeval assembly of no- tables and bears the impress of the 13 th century, the tine of S. Louis. Stone tolumns sith early Gothic capitals and pointed - arches divide into two aisles the hall, 50 ft. wide and 90 ft. longs, each aisle havins & wooden ceiling in form of a pointed arch. This upper portion dates from the time of Louis XII. To the buildings of Bhis king then belongs the eastern wing B, that continues at the southern side & at a right angle and there re- ceives the chapel J. The buildins of Brancis I, to be described later, extends at an obtuse angle on the opposite northern side O and formerly with the western wing formed the termination. In place of the latter appeared later the tasteless building of Gaston de Orleans. We first have to do with the work of bo- ais XII. . ¢ principal facade B lies at the east and is 160 ft. longs, divided irregularly, its mass being constructed of bricks like the entire building of Louis, except the plinth, the enclosures of the windows and doorways, the rich crowning cornice with cor- nice and balustrade composed of vesica patterns, the dormer ¢ caps of the roof, and finally the angles and pilasters, that are made of cut stones. The windows of the ground, upper and a. attic sborics are on uncaqual axial distances, entirely arranged according to the internal requirements. Still is apparent an. endeavor for all possibls uniformity of distances. Thés stone crossbars, the little columns and the cavettos of the enclosu- res as well as the intersecting rounds, and finally the crown- ings resting on corbels still entirsly pelonm ti the Gothic style. The same is true of the balustrades of the two balconi- ss at the Last and next to the last windows, of the fanciful tracery of the main cornice, of the form of the vertical bands, A Ge st AR eee Rein a dy ete ph) uit p eas oat 3 noftuzono Bais adexooro ‘étin (2egts edi x0) seavob dealt edt 9 eredealig ners gs. 20 igang end arent “orem edd to emethe add iad. -209 Bra ebie sdbi« ess 2 ‘s Beoeto yilsoivtoanvenns ce. perett B ek doi ebhigad’ dows talvotiase died evO .too' encezsq sot dows howsoxg “bevssag ent bodebbed : Caine Melep-déte qdocco dott 2 asken coceztne met PP errr oe ee ms oa? hel ~ 3 } oi ~ ‘ter ae Se GF a a | : =| } wy a By oy ’ Tee Wy asa Boa Hoe SHnt < en Ny oe y ‘ew. entat wecenaahese a _eefo Ike eftdw “gale (3 jelatelt edt ‘ot elinste iy ‘odd apis ee edt cepmrae ode Set fre " ‘ ie a is’ 29 “ea ed is ‘diate 4 bps iP akoune t% aphag a af abo ease oe @inod to aatt aaz ) i vines edd w dedé ) pes? age picces% tc 3 edt oRotblius 58 and finally of the caps of the dormers, whose ogee pointed ar- ches are equipped with crockets and crossflowers and terminate in finiels. Only once at the first dormer (on Bhe right) occurs a Renaissance motive, that instead of a finial, pilasters crow- ned by dslphins are employed. In the panels beneath the arches of the dormers are frequently placed the arms of the first wife of Louis, Anne of Brittany, and the monograms of the royal pair. The portal is unsymmstrically placed at the right side and con- sists of a high semircular arch, beside which is a little door- way opens with a depressed arch for persons on foot. Over both are seen the emblems of Louis XII, the hedsehos with the crown, moreover above the main entrance under a rich canopy with gol- d@acliliesconzacbhuessround is the equestrian statue of the king in high relief. This belongs to the restorations, that have again restored the entire chateau under the masterly. suid- ance of Felix Duban. Ths inner facade next the court is formed by arcades B and. F in the ground story on the castern and southern sides, where: very depressed arches rest on piers, that alternately exhibit lozenge panels with lilies or a paneling or framework with ara- besques after the style of the Italian Renaissance. Thése are the sole decided eckos of the Italian style, while all elise, profiles of arches, cornices and balustrades to the finials of moe and dormers are still Gothic. The connection with the upper story with both angles at right and left of the entrance, is hehe by winding stairways * and G, of which that on the right shows itself by longer plan, richer ornamentation and a. direct ending at the great hall, as the principal stairway. © Especially beautiful are the richly ornamented eight ribs and. the vaulted termination. The upper story consists of a single sopies of rooms 26 ft. deep, the main hall beins 42 ft. long. In the southern wins lies the single-aisied chapel,J with an octagonal snd, rich star vaults and windows with vesicas, ent- irely the work of the flamboyan& Gothic, recently again rest- ored. There also dates from the time of Louis XII, its founda- tions even from the time of the sarly middle ages, the round tower L at the northwest angis of the chateau, that was later entirely included within the buildins of Francis I. We nothing of the architects of the building. The style speaks dt nO “ok : #0 oat, -bettevoce : a fe eee er i : , cA" " sonst egos tia PRIDE st Se aeligth 2G Bod eaicdas fentbrao, yd Solice Gacice mae ‘eetcdsé To * alte de Oo nore: > ot aunn vl Ca ba he Ww Ul és se feo ee) ad ba! GS Saige * Lind fo de oh t som nett 2 al; RG ; setae * ee , i oT pm ewer Me oiada. ot we. toe Gd ad 2 1 Se ee 4) J * pies by ay. against rather than for Fra Giocondo. On the contrary, it is determined py recent discoveries, that Colin Biart,“master ma- son of the city of Blois,” was engased both on the chateau of Blois as well as that of Amboise. According to all appearance, since we shall soon see him called by cardinal Amboise to Gail- lon, we must regard him as a very skilful and widely known master. 16. Chateau of Gaillon. The greatest promoter of the Renaissance in France was the minister of Louis XII, cardinal George of Amboise, archbishop of Rouen, one of the most enlightened statesmen of his time. He knew how to provide himself with Italian books and art works, and therewith adorned both the archbishop’s palace in Rouen and aiso his chateau of Gaillon. Great sums, that came to him in sreat part from the fines laid on the revolted Italian cities, he employed in the buildings of these chateaus. No less than 153,600 livres, a sum now equal to tkentyfold (3,172,000 frances) - was the amount according to still existing accounts of ths en- tire cost of the erection of qaillon, and yet the cost of buil- ding the archbishop’s palace at Rouen exceeded this by a third. Among others, there arose a magnificent sallery in the garden with a marble fountain, then a chapel and an oratory. Nothing remains of those works, but on the other hand we have of Gail- lon, that was sold and dissracefully devastated in 1792, at 1 least some remains in the School of Fine Arts at Paris, the drawings of du qerceau and the complete acounts of the cost, which allow us a comprehensive view of the artistic affairs of that time. Although the chateau was not the private property of Amboise but belonged to the archiiepiscopats of Rouan, and although in his very busy life he could seldom and but for a few days reside there, the high-minded prelats in pure enthus- iasm for the art, campiéd on the construction with all zeal from 1502 to 1510 at his death. Sometimes he appeared to Look after his buildings, to enjoy their pregress, but then must --- go little care was then taken for the necessary arrangements --- everything needed even to means of living must be brought from Rouen, and it even occurred that one must borrow a bed. Yet all was there executed with the greatest masgnificence,. marble piers and medallions of the same material were obtained, and the richly ornamented marble fountain was even bequght tras rf oni st ot vere: doit distaste tas ot non tee oxy dt ,teeRDe gkitss sof oat je sciaese0ct cm ofnkt emao y% rere dg c ¢ . 6 st cL cas saz P/ ib 4 base ef 4, H ‘ a , b — ” jer eb asbestos ‘ideo ohf8) Sakbliods: Wein eller aiem 603 . galvaseetd. qed gl ol ao TI f n6% sag. oF = eet 18 tes ‘ ay ae etal 4a bas G eebia en “er = OO ots yodP ayaeta wsa0 crbchoad Baa sei SHGE ifgtese of-2ysmates, hiss sdf a oes ae ented Sécdota neg! Nea tingge stone acoust ed | 7-8 880%) ipucn ds veaoti lod: 400 ne Bue ov 7 230 ? eyeeitco sttaagce Piet + Yad if Gi nk Melt oh ap hy <3 Idep: "i ri % at. ee Wire ad obie sphaol sesodtuee sal saokLived olsas 58 Gaillon lies about 45 miles from Rouen, a mile from the Seine and on hilly sround, that affords 2 rich view toward the east. In the middis ases under Philip Ausust, it was a strons fortr-— ess, that in the 13 th century came into the possession of the archbishop of Rausn, and in the 15 th century was destroyed by the English by razing the walls and the keep. Soon Thereafter cardinal d’Estoutevills rebuilt the castle, and George de Amb- oise found it in this condition. In his rebuilding (fis. 26), he added to the existing works, retained the main walls with the towers and moat, thereby preservins the irresular triansu- lar form of the whole. He threw a drawbridge over the moat L, protected it at the date a by two towers, to the main entrance bc. This lay in a rectansular pavilion H with little towers at the adgles, adjacent at the right and left of d’Estouteville’s buildings G. From thence ons passed to the outer court A, and from this through the gallery & to the principal court B. This is also irregular in plan with arcades on two sides D and &, thet were open in the lower, but closed in the upper story. Two projecting polygonal towers in opposite corners f and m contain the winding stairs to the upper story. They are con- nected with the galleries at the same time, and through them permit access to the apartments. The main stairway f is state- ly with its external piers and open arches between them. In the middle of the court stood the famous marble fountain gs. In the northwest angle of the court rose @ rectangular pavilion K, flanked outside by little towers on corbellings, throush which one passed overt a drawbridge to a great terrace, and from thence reached the extended garden. The principal building C,“the great house”, consists of a seriss of rooms, before which on the outside extends a magnif— icent gallery h on marble piers. At one angle this is flanked by a great round tower I, and at the opposite side by the cha- pel J. The opposite irregular part F G of the building was ter- med the house of P. de 1’Orms, after the name of the construct- ing architect. Also the pavilion K, that forms the connection with the gardeu, pore the name of that master. The garden it- self formed a flower lawn of Sreat extent, 540 ft. wide and twice as long, inclosed at the southeast longer side by an open gallery, that ends in a little pavilion. The middle of oF, a or $sonec mis soo? jason 5 hes ~ Pip) 4 SD -ocht Tae jonah sat ashe Pred ie ti odat be al ot mp gies & 194 i. tee =e he We Ned te ate fobba snenosnarse _ wh epee e e fod yeiese ooco% 38 sodtex ¢ gh ,nodape Yo sexe ga Beats quco nPes ® § . S Das et Siw (xs oRb2) 0 ; tee “eid diin exce ‘ 4 eno ikem Iegqed +. elbbia edt + Yea okdtos ens way, PONE ae Bikselge seneig efdsse e 5 onpasns odin J “tie saides oad | j then: déin bs ‘ak dusq iauhoning: g ) Be GGned) todtae ef bel i la aepeagie i es: ‘tak leew oi . oe ae tte Iq7TZHe o Qritaicg ‘aeggu oa eteiidd to 4 betuse ie, .. , rn % ha . ‘ad vi 59 the garden exhibited a runnins fountain beneath a dovecot. From the sarden one passed into the part with its magnificent sroups of trees, from which a long alley led to the hermitage and to the “white house”, an arrangement added by the second successor of Amboise, Charles de Bourbon, in a rather garocco style, but with Sreat magnificence. The entire park comprises an area of 500 acres. The general appearance of the chateau (Fis. 27) a its high roofs, chimneys and ornamentally crowned dormers with the nun- erous towers, subordinate towers and the Gothic chapel was one extremely picturesque, yet entirely in the sense of the middle ages. Only tbe arcades with their depressed round arches, the medallions and the pilasters belong to the Renaissance. But t these new elements are much more strongly mixed with the Gothic forms than at Blois, and the transition style distinctly appe- ars in Gaillon for the first time. All parts of the building were adorned in the richest manner, particularly splendid was. the external sallery, whose arches rested on nine marble piers. Over the archivolts were placed marble medallions wibh antigue busts. In the great round tower of this side was the cabinet of the cardinal, whose carved wooden ceiling gleamed with gold and agure. Further was the great hall in this principal part of the residence, 2 room mentioned with gilded leather hangings and another with green velvet tapestry. The hall measured over 100 ft. long by 48 ft. wide. Like the other rooms, it was dir- ectlyconnected with a Magnificent terrace, supported by a mar- ble gallery. With particular splendor was the chapel furnished, which made itself particularly notable externally by its bell tower with open lantern. Covered by silded lead in pretty ornaments, it was adorned by figures of sibyls and of sirens. The altar of the chapel was entirely made of marble with relief figures of the 12 apostles, the choir stalls being covered by ornaments and fisures in artistic carved work. The 18 windows with paint+ ings on Slass, that still aroused surprise at the beginning of the 18 th century. Even the walls of the chapel wers decorated by paintings, that 4. Solario of Milan had executed in two yéars until 1509. By him was also the altar paintiug of the chapel, which represented the birth of Christ. The upper part of the ni iat en? eidven 2 gg Ben fi te ict “ag nt ‘bevae geen won boil ou ¢ of te te Sacteres Eetaro etem ea - “ ad &% sei de He berxozs meteig. b93 pa + me (OAs ,Joomtsc : VeRae 6 ,48actagre edi evn? ny pee seecb soteafic x notigsonco. ayantect noitale ol aee [adi . ay af) (ese . ‘Ree CP eeay 2! ik idade: 8 ab elo ecakeas "ott exc od nozinsgeco mere eevee? ines, teas: , Disk? 60 altar was formed by a marble relief by M. Colomb, S. George gs Slaying the dragon, now preserved in the museum of the Louvre, while the fragments of the unexcelled choir stalls, that show | the highest luxury of decorative magnificence in combination of Gothic slements with Renaissance forms, exist in the cherch. of S. Denis. Beneath the stairway, the perforated keystone of the vault was distinguished by its fine ornaments of relief. decoration, and the copper S. George that crowned the roof of the great main stairway leading to the chapel. The arcades of the court rested on richly decorated piers, adorned with arabesques with the most delicate treatmeot, the. windows over them with marble medallions of Roman emperors, finally the dormers with their pyramidal crownings save the architecture of the court no lesser character. Above the arca- des was sven seen @ long marble relief, that represented the battle of Zenoa and the victorious entry of the french into t that city. Painted heads of stags in wood on a ground of foli- ese adorned the lower gallery, while the upper one was painted in azure and gold on its vaults. Ths entire court was paved with black, gray and green tiles laid in rug patterns, but re- ceived its chief decoration by the tall running fountain orna- mented by works in relisf, that the republic of Venice had sent to the cardinal. Of all these beautiful things nothing remains but the portal of the outer court, the work of P. Fain of Rouen, that now separates the courts of the School of Fine Arts in Pa- ris. With its depressed round arches and the pilasters decorat- ed by arabesaues it affords an approximates conception of the former splendor of this building, which the Revolution destroy- ed to the naked walls (Fis. 28). 17. The artists of Gaillon. The building accounts of Gaillon, that afford a complete gla- nee into the entire undertataking; also sive us conclusions in regard to the artists there engased. Contrary to the so frequ- ently repeated opinions of the participation of Italian archi- tects, especially of Fra Giocondo, in the French buildings of this epoch, it is of value to establish that no prominent Ital- ian architect i. mentioned in the accounts, that merely in @ subordinate way three artists occur in comparison to more than 5 hundred French ones at the building, that manifestly the des- a ete } nia soleuoere baa a steee.- sai # a] 8 acomat ‘Of be C1 Vie r 7 ¥ ri PS , b any fo + a re me on Fi es os me oP - on des oh AE ad ’ 3.7 7 te CR woms heb § Ee t F i 7 j J le ij nai tron tama ewe hie ete! Wh oe & ' ala de esse? fo sadd “8 sap Leteves g ' $ oh: sRebadeos? " gat ties ent 03 erels Bases bas f on * ve. BIE on 80; ‘ponsdas 2 ats eiwext ft: eg LH - ve ae Sa. ie ae oh ew ~~ ee ak % Pe eee] 20200 acT1 Aad. eats 362) beffac: pbisd 062 Boise ay, ates 61 design and execution of the wholes was by native artists. Thése- were indeed no famous architects in the modern ssnse, but plain master builders and masons after the kind in the middle ages. They came from two of the most prominent schools of artists of the country, that of Rowen and that of Tours, whose traditions extend back into the early middie ages. Frequently several were engaged at the same time on different parts of the buildings, each working independently for himself; sometimes one rslieved another in the same work. What the whole suffered thereby in united strength was entirely compensated in the spirit of the middle ages by the varied diversity and original freshness. We briefly mention the chief masters and their activity in buildings. As such we learn to recognize G. Senault of Rouen as in the first line among the architects. He designed the plans for the main buildings, and labored from 1502 to 1507 tn their execut- ion. He was- sometimes called elsewhere to important undertaki- ngs as an expert, thus at the building of the new towers at the cathedrals of Rouen and of Bourses. He was also engaged on the new archbishop’s palace at Rouen. P. Fain, likewise from Rouen, erected the chapel for 18,000 livres, together with the main stairway leading to it. Furthermore he was the creator of the portal now placed in the School of Pine Arts(#ig. 28), for which he received 650 livres. Ye further find him at the build- ing of the archbishop’s palace at Rouen, which he superintended in the years 1501 and 1502. pater the abbot of S. Ouen, A. Boy- er, called“the great builder,” entrusted to him the building of a new residence for the abbot. The third master is p. de 1” Orme, also of Rouen, of whom it is expressly stated, that he understood how to work in the antique as well as in the French manner. He was a,so ensgased in the archbishop’s palace at Rou- en. In Gaillon he led in rebuilding the old portions erected by cardinal a’fstouteville, built the wing named after himself, that lies opposite the“sreat house”, and the pavilion that for- ms the connection with the terrace and the Sarden. Besides these masters from Rousn, two prominent artists fron Toureine were employed in Gaillon; ,. Biart of Blois, who was called several times to inspect the buildings, and designated as architect of Gaillon, besides being called for the buildings of the towers in Rouen and Bourges, erected the bridge of Notre = -—_— = ——— ae ——— cr ele a we oe a i rl bitnd ad; } to bepenno: eer i bas! yehing: emeti> i 7 | > ca — © conele av.i eit: ,elolg: to : Bae a fe chon ay oft #4 Se be ee gn ~ BE ¥ WE, go vat Hae w ee ole Be a Pp -Ponest aah petak tf tap he a recs tdtons “eenatetnos Tesh Binode ti A. Medite! edd bin (seat eat 20% — bio. Mo * ee ot betend exe ne _oneesatantin | sdtonk astis L _powaoen SPelste: : Boge tetles tips eotenias ae "aan cont | el dediaei pfsbom edd nied & ah m+ eo mre bes clad sosean Sad cnelg oi? te ad wae o t, a. « ood OS ee 4 g 6 ek Ore ,eoTtenl od Ov ievesdais to seiteac 8 A amePeE Sovsitdad odd déin | — “i t ‘ , pa eae pae ms 7 62 Dame in paris, and was engaged on the buildings of the chateaus of Amboise and of Blois. Then P. Valence of Tours, an uncommon- ly versatile artist, who was employed as stone cutter and mas- ter mason, master carpenter,:painter, joiner and hydraulic en- gineer. He chiefly had to do with the buildings in ths garden, the great arbor and dovecot, the pavilion and the chapel there. He worked in particular on the wooden covering of the sreat Sallery in the sarden, led the water from the park into the chateau, established the running. fountain and brought it into connection. In Rouen he was employed on the archbishop’s palas ce, where he laid the floor of glazed tiles. At the conference concerning the new tower of the cathedral, whether it should terminate with a spire os 2 terrace, he asreed with the other architects for the former, but the chapter decided for the lat- ter. Also in this is recognized the contest of the old and new times, of Gothic traditions with antique opinions. , besides these principal masters, many others were busied in more subordinate positions. We call attention to two Italians; B. de Meynal of Genoa, who brought and erected the marble foun- tain and worked on the ornamentation of the marble altar in the chapel, and G. Pacherot, an Italian settled at Amboise, who 1 Likewise worked on the fountain and altar, was also busied on the portal and received relatively high wages. Besides these architects, the extremely rich relief decorat-— ion was entrusted to seven sculptors (“image makers”). H. or J. de Bony makes in the year 1508 a S. John for the pavilion in the garden, for which he received 12 livres; then “a master of Melusina, angels in wood,” for 24 livres, further 15 stags’ heads in wood for the lower gallery, finally the model for the copper S. George, that was to crown the grand stairway. uM. Co- lomb or Goulombe, an excellent master, wrought the upper marble relief for the eltar of the chapel, S. George slaying the dras- on, now seen in the museum of the Louvre. This master belonged to the school of Tours and did his work not at the place but in his workshop at home. He received for it the sum of 300 li- vres, considerable for the time. But the most extensive orders were antrusted to A. Juste, who is designated as the Florentine. He made the 12 apostles of alabaster for the chapel, the sreat marble frieze with the battle of Genoa, a bust of the cardinal aur hg Bt pees) hh A ae tl it ae moe fated sf it Bevis: yonT ye dotdn ‘20% ator. ee, lésaven. Bae ened vitensd sdmnfod .¥ os nositeqsoo at Afene .petvit Xsh hi —Sidies edt berabioc orls evow ,ousigul eb «i no sence (ER a 5 ) efit .wedqen eld to Bes lenibaso edd Yo .betd oud Yo nontede nefits? of vies wort sigsotd sien edyon ceed? erent So ateebod otaslo2 sh «A yiao ,benotdasm todda0t exe stuteq OS ” | sede agin ob of bed yino wredde LMA, s0nsiacomt Isqtouk udaeg {etranento fue Letetoetitioss edt to anitntead bn enies .bick to‘ seu momzco edt ,eison eesdt . To soastiognt has 3actxe edd eeonsbive acof bas Swohnin edd to soiseoexs ett woh .noltte ~62 eh .gi9iniec ezsld evi? hesciqne eten. eb a of bencitacm sxe ellete alotio si reser Oterieds20 .cqisa) .f se iilow es “saab ezetzoy beed cadtine gia .etol ‘uupecaigiiad sisinieg our usa) avit woliish 2o VIe% a, -tenok te sien, | ot d3 ot pepaoted dean april ta hevefame ede ito. spyhionne oad ab mck? ted? ,Locdoe .@ 4 r pam 4» on 2h socfea Paaakdions ‘ im? .enistes wot bitddon send .2 to oa @dt Ro \sbaost sit co ooviteds Beistecne: Sigg ni Seidenigize &p een tie Re wet Cds dasge yLesisas fitse yeds eonie E paises asinoce once Enad tedio edt 20 RS Sates Meiet-enid odd Xo olyte: nottiesssd oct fotdw nk vagacted ei9h Jsteqmeo f4g woe edd bos blo ass atedy Nee duetecth sat bas tale SI9l ecciw .a0ksent to ee engi if 64 . segmental arches, and has for a crowning ornamental pinnacles | -and statues with & connection with the flying buttresses. The | tall dormers terminate in slender gables, before which extends the entire perforated gallery. All is decorated in the richest | manner by extremely sraceful forms. The left wing forms a sin- gle great hall, with galleries and windows at the ends. getwe-— | en the windows are small niches in the walls for statues, cron- ned by ornamental canopies. Wooden tunnel vaults with openings ) for the dormers. In the middle of the principal fagads is con- structed a beautiful polygonal ban window, even more luxuriant- | ly ornamented than alli the rest. A magnificent example of contemporary private archivestiae is the mansion Bourstheroulds. The principal building is still Gothic in intention, with little flyins buttresses, high dorm- ers crowned by finials, and a little stair tower in the angle. But in the upper story already occur Renaissance pilasters with their relief ornaments, and the surfaces below and beside the windows are covered by vividly treated Biblical scenes in low relief, without artistic design but purely picturesoue. On the contrary the left wing is an ornamental work of the early Ren- aissance of the time of Francis I, of high decorative worth. Under the windows extends a plinth with extremely sraceful ar- | abesques in delicate relief. Then follows the naive ornamental- ly executed frieze with the meetings of Francis I and Henry VIII | of England in a rich and picturesque arrangement, but modest in effect. Above occur the windows of the upper story between pil- asters, that are covered on surfaces afid capitals by charming arabesques. The windows exhibit the most elegant enclosures, in their jambs being little columns like candelabras with.heal- thy nude children and other figure accessories. Above an altar finally forms the termination, also with very rich pilasters and a frieze, that however has a rather too strong relief. In this has been found by Palustre representations of the triumph of Petrarch. The whole belongs to the most luxuriant and most elegant, which this sportive time has produced. the proportions are little and triflins. As one of the most precious creations of the time must be des- ignated the house on the central Place, that formerly served as the finence office, and was erected after 1.09 by R. le Roux for _ a — ee ee F, aon edt abviaenente tts ~ : if Yo soasd Liv? ‘: Aaa hid has Vid | | | noo yelq Ratdéaeione vines 2 at aysesqe i ll “ef 26 ded? snoiduoexe to yorokie® brs scisaovak blotisan a al i¢ ital oat ,eesidbe fas eats ,encilishen to ta efavoe vai “Yo eeupesdars .eifed bekninw yd cele baa ee besniw yd 6 sebosd isoitsev' yd bebrotte eostive dose no eeaklsne fee otteg .snidglos boa sesilot atin eletiaso sti -exol.yiiect? ‘Bovartidoss wohsin eds no etote fagioniag oft le anobnin of? 29 L908 a0 eaton Soiniseis abts halecat - 9ev0 eninszeca wol od? hae yrode yoetios as ee? woz? tnazelkh svon etaeg tegen odd elidw Yeilen ban Boteshed eit .teiio: aefint at tromiasit ¢ sliavoerg madin godoia chibi [40% akeod Yo eals edd. sdaoibas “ rloves eds soe wae aonvetswuvernieié Seon .eo fban we we AS ses deofs sited niet: ca +. niko pepe. supasiase ae hedge noidienest Bids ledeo teaict eg sfoasl te 2 Te et tt betoese ,ohoves®. Bad sor sic ob beassuiuoe- faa yrute i$ Been dadt .notnd sinh to sat pear eno wen 5 yd booelgeg vitneoes eaw tud .SSNb ni esi | i005 OF ebaetxe exsiden to tind path tba wrote gao ylotete sh Sal OP ea Weta ba) Hue ),208 ebnsi® snd Yo. obte dinog ait no ditones oldeqsbia. a pees #oeoitiahen s yd seitstoomsr.0 NG nigg att savieo sds ELh contd elds to exektect> teodets tt ebsofed sadé “Sa sain ant diy senidmos eiyse | ea ac sag to vanepl | ‘edt edoss. neve gods ,yterttee as. ak sonpaviane?i edd te etnsar ais Eee 0 motens Lerenes but oF Anthro siooce aids ot cdi ambee A yd boonege comextno abirx s So eiteteros Lad %og: edt. szeisnes e#O02. 00 PncRseg to}. ysut005 wol, Liens e bus dow apevonaloon 4 grot map ente qd .£oa19v00 Ne iy, A eae ‘ &: dic) 65 T, Bohier, Seneral of Normandy. Here the full grace of the car- ly Renaissance appears in a truly enchanting play of ornament, in a manifold invention and delicacy of execution. That seeks its equal. Frisze of medallions, arms and egblems, the latter held by winsed genii and also by winged bulls, arabesques of Sraceful outlines on each surface afforded by vertical bands and pilasters, its capitals with foliase and dolphins, perfo- rated flower sarlands on the window architraves, finally .luz- uriant candelabras before the windows of the principal story, these are the clements composing this charming work. One no- tes here, how ii the Sround story end the low mezzanine over it in correct taste is drawn all ornament in the most delic- ate relief, whils in the upper parts more distant from the eyes prevails a treatment in fuller relief. The hedsehos and the L indicate the time of Louis XII; Gothic niches with fini- ais at the angles, whose statussewererdestroyed by the Revol- ution, are the only decided mediaeval reminiscences. Tn this time also belonss the magnificent’ and srand sesmen- tal arches, that from the simple and dry late Gothic clock to- wer, the belfry, span the street. The picturesque effect of the whole is yet enhanced by the fanciful ornament in sSrace- ful Renaissance forms. 19. Ducal palace at Nancy. With the most splendid examples of this transition style is also counted the old ducal palace at Nancy, the former capitel of Borraine. A native artist, M. Gauvain, erected it in the b besinning of the 16 th century and sculptured in 1512 for the main portal the equestrian statue of duke Anton, that was des- troyed in 1792, but was recently replaced by a new one. The stately one story building built of ashlars extends to a con— siderable length on the south sides of the Grande Rue, and re- ceives its principal ornamentation by a magnificent portal, t that belongs to the richest creations of this time. All the luxury of the flamboyand style combines with the charming orn- aments of the Renaissance in an entirety, that even seeks its like in this epoch. According to the general custom of the tins the portal consists of a wide entrance spanned by a segmental arch and a small low doorway for persons on foot. Renaissance pilasters covered by arabesques form the enclosure, from which . lanl * de en ie vee Heed be. dame a ey 4 x ae Jt i. we he iii Me ed a i Oli ae hs, Kn es eet vets. mein ows suoagmy7 ‘pt f 2a ria " ra { 5 aa cotiete! gata ey Pre OF AD ols Se Tots ~~ Faso fs er ? | Pe he A parce. fg CG dads Snscttic Sitoecsieh saz wey wide inhi wu = woos re f & \4 SS Bee 86 rises the Gothic profile of the arch, the ofec gable with croc- kets and crossflower with similarly adorned finials. Over the narrow doorway are secn in the tympanum two armed: travelers, but on the contrary in the tympanum of the main portal in the niche with segmental arch decorated by a small pointed arch, is the equestrian statue of the duke. The hish pointed tympa-— num filled by a fancifully notched arch is built above it, ri- chly beset by crockets and crossflower, and over it finally risss a high ornament, on which the Renaissance takes the su-. premacy with its pilasters and arabesques with arched niches ‘filled with shells, to finally be asain terminated by a high ogss Gothic arch. This upper crownins, although conceived as mediaeval, is translated into Renaissance. forms, particularly the finials and the other additions orisinaliy transformed in- to candslabras. Hence these works belons with those, in which the mixture of beth essentially different elements, indeed in all their sportive caprice, but also with an overpowerins orn- amnental magnificence appears . At both sides of the portal are seen windows in the upper story with projecting polygonal balconiss, that rest on conso- les in the medieval way and their balustrades are composed of vesica patterns. In the interior one enters directly a great hall and from this the great court of the palace, that still shows a part of its old columnar arcades. From the hall one of the most convenient and widest windins stairs with numerous resting benches in the deep window recesses leads to the upper storw. This consists of a single hall of imposing Length with @ carved horizontal wooden ceiling and two masnificent fire- places. This hall is called the “gallery of the deer”, and ori- Sinally served for the sreat assembly of the nobles of Lorraine. Tosether with the lower rooms it is now arranged as a histori- cal museum, and among other monuments preserves a magnificent tapestry captured in the tent of Charles the Bold on the day of the battle of Nancy. 20. Tombs. We meet with a master of Gaillon in the masnificent tomb, that queen Anne caused to be erected for the last duke of Brit- tany, Francis II. By an inscription it is designated as the work of M. Golumb, who completed it in the year 1507. 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The rear wall contains in niches between ele- gant pilasters statucs of saints, with 8. Georse slayings the dragon at the middle. Above the kneeling figures is arched a . canopy, whose curved soffit is ornamented by rosettes add fol- iasge in gold and azure. Three perforated and suspended pendents terminate the arches. Its crownins consists first of a frieze with arabesaques and most charming nude children, above being niches adorned by pilasters with statuettes of the apostles. a and other saints. Finally are formed six pyranidal .additions in the Gothic sense, but with sarlands, children, shell work . and all sorts of fanciful figures, forming a conclusion of the incomparably masnificent work. One cannot place any severe crit— icism on the composition of the whole: but the inexhaustible wealth of imagination, the playfal lightness of the execution produces a charm, to which the observer willinsly yields himself, — eiones= tehan eonévarene® .TIT rotqedd senpotetio IsyoR 1A Bee im “* ,efole ds nested iis esd woe elao bincd exobed eastoetidows: to site wen sat Veredueteve elyts cited eft doittw at ,etgned 'eas Ot T atonent to noleeosoer Gat atte neds: of S aeves Tass ,seinqmi wen & sow eoneselaneh edF . (2 me eeee vilentt bus .enotsibert isvetier horancqan o¢ > =@£i baw Sotd ed? Absieay pre ee Bot elyte ter peiiteve G51 tess tne of besoveh doom vooning Se wesogge gnehande (TkCr Cfit) ai /=3ee edd yewane ilede f rede seodw oid yd j etasmdeino Pie eae $6 eisow ect Baoled ed 4 (Ef 42) soeveoebe fH Re erect hexin bE | | aay goty avestz0n ei hen ) mpisned sitcs 8 Yo amiot edd | 08 eit acidedup ‘tuodeir ot Bad eouseelsns m Yes epadoed din vsdde Bruots Paste sith elatiqso dtin ak dotdw to $e9kT ent asi oa cl bebivte erataiew dvin az obedoe {2 Sta upobsiu Lis “J sipences S88 stots ., ‘edd! teas ox puddnan Seoisioy. oa: < HP besseges tga iB Bovewes at stéelig. edd ® sette2cs h § reciaace cels Pp opie tien te sit ad . 8s se nates uf ” few Sad Yo een gommod oft yd ootsetcemenco Sth tal NWO Bobavese Det henanoto: # Betawors sasottinges ess yd femrot fae eupatns asin enzo? Leqhoutan ae * a i“ 69 Chapter III. Renaissance under Francis I. - A. Royal chateaus. | 21. Chateau at Blois. If the new style of architecture before could only show its- elf in certain attempts, in which the Gothic style everywhere made itself felt, then with the accession of Francis I to the throne (1515), the Renaissance won a new impulse, that ever more and more repressed medieval traditions, and finally ass- isted the new style in a complete victory. The kins was hin- self one of the princes most devoted to art, that has ever li- ved, and found ia his long reign (till 1547) abundant opportu- nity to satisfy his love of building. We shall survey the ser- ies of the chateaus erected or completed by hin, whose number, extent and magnificence arouse astonishment. "7 the earliest of these buildings belongs the works of the completion of the chateau of Blois. His predecessor (S. 15) h had rejuilt the eastern wing in the splendid mixed forms of the transition style; Francis I erected the northern wins with still greater magnificence and in the forms of a noble Renais- sance. The court facade (Fis. 29) is without. quéstion the most beautiful and richest work, which the early Renaissance has to show in France. It consists of a low sround story with rectan- gular windows enclosed by pilasters with capitals Like Corinth- ian. Above this rise two upper stories, the first of which is distinguished by Sreater height, both with windows divided by stone crossbars in medieval fashion. All windows are flanked by pilasters like Corinthian, and these pilasters are connect— ed together by a continuous vertical division, so that the hor- izontal belts on the entire buildings with the vertical members form a complete framework, that is everywhere repeated in the early French Renaissance, and whose monotony is removed in this case by the rich and refined ornamentation. Then the pilasters have not merely in the upper stories a border of rosettes and elegant capitals of that graceful form, that are also common in the eerly Italian Renaissance, but the larger wall panels exhibit richer ornamentation by the common use of the well known emblem of Francis I, a crowned salamander surrounded by flames. The termination is formed by the magnificent crownins cornics, that combines its principal forms with antique and kn wepnsmmos ti act ytostis geodsid ed? 102 eovitor Levetbem V9 ebbhs tad ,ecfoecoo déiw eotnico dgizs fas eseiat [tinsb e P. aarehangies edd 20 bcthivom age. edt bas skhost. bogiq odd ceeds - (818 eaninego bedoss eetde ,oseint bedors-baro onpecuenon ; tet feveibeh édt doal gon eeob sadt ,wedsug edt) to aathinos Mod netuded .{S1 Bit) obertenfed bosacctieg ylerisne na, 29! Stéint edt seogge verdeleteso sill ecunloouplssel bas etgto ankyt esa3 8 ,notteninzey aidd sev .eeqoe yd bedeksedos ban Ts odd of baibacgeedice ots tte etretscosneds ad¢ to dave benttes tiods agit exemach ois cede .obebelt sit te d eease eidiod sav ai hevieonoe gainsors eat bas asivnclgns i . seoxe? consations® nf bozzooxe MO Gutbiiod siitne edt Yo soetquctenn henesqimeco sdt tue sa y Lenogstoo ns si beosig vi sett ,{68 .829) vawntese evomed webs p6add 30 oléfhin sit te ylioaxe anitoetoiq yllentkiuo enso |, qaotese Ro batbsind sds yd bedesteib setel een coitelot aid? 229 to, abiaedh fntisused - eat tc nokéaeg 5 rua oun r: Bien Sas Wo gyentiase teeoilindew: Jaom ent Yo eno ef: gt ee: s Botbais asiese © es noltiabs Givens 3 as at beboeras me FO t EL t0-seteaets @ ddim .oid?c® ex hebleom yletiias fenes ie ge nome > Elders Séiv eotoooisd as hoqolevsb evs raatbasl! bs ibe ei acigucex® To yisxul teedsid eff ,pobantegiae P bdkewon ere atelg add to edseq sowol ed? sedasq saciid, ne Oe pass Siddciv ote dokdm. ebtued .n2npesdess dpenit edt paeddant sect. .nessp fos gain odé te. eletsint etd bss 2» besutolnoe yield no BSushlt isotsogelis, to ventate | Peal oan bea, tagitevels otdéop adie eciqosan stsensd Progace Adiw yiote seowol att of esberasdeolad end yliewi® elk d. bos esefuseeise yd fopiobe-cegen sdé. ni .esadelshineo exif | bimte? weggs ood ;nobvadcemsnio gaonkd edt ot. 9 saedsas steniod eiden esi fos solutes nies sat yd hewset even ei fv 20 eefntes Toor doin yldetvel s diin esaclot atere fade 38 eat evoda aspia stedt yilact? .elfede, Iiewe yd bosnems oiedvbetnemenio ,ebesiO stim Saatt efd. Bea bets odd to: pe retane Wiglests Ses erétg hfod ylisasetxi .asefo ent | i odd doidwgidsin .dsowssait bessge ¢loent 8 myo? acece bas shoe yeriiata eft doidm co gdsrted g ewolfos asd? binatiaie to dnd fanognteo wrote teage gntavowgs ek gi” big) edd da ,shartesisd betarotisg « bas noisiecgmos Lanigiro = = 3 | ay Vv 70 medisval motives for ths highest effect; for it commences with a dentil frieze and rich cornice with consoles, but adds above these the piped facia and the ess moulding of the latter the Romanesque round-arched frieze, whose arched openings are orn- amented by small shells. Finally there rises above thse bold moulding of the gutter, that does not lack the dedieval sargoy- les, an entirely perforated balustrade (Fis. 14), between whose piers and little columns like candelabras appear the initials of the king and his first wife Claude, ornamenteduby2crémisea sndcinterlaéed by ropes. Over this termination, a true triumph of the stonecutter’s art, are corresponding to the divisions | of the facade, rise the dormers with their refined arabesque enclosures, and the crownins conceived in the Gothic sense, but executed in- Renaissance forms. But the unsurpassed masterpiece of the entire building is the famous stairway (Fis. 29), that is placed in an octagonal stair-— case originally projecting exactly at the middle of the facade. This relation was later disturbed by the buildings of Gaston, who destroyed a portion of the beautiful design of Francis I. It is one of the most magnificent stairways of the Renaissance, arranged in an octasonal addition as a stairs winding about a newel entirely moulded as Gothic, with a diameter of 18 ft.in the clear. Sxternally bold piers and straight arches of wide ‘spans form a fresly opensd framework, within which the inclin- ed landings are developed as balconies with richly ornamented balustrades. The highest luxury of execution is concentrated on these parts; the lower parts of the piers are covered by — the finest arapesques, beside which are visible arms, emblems and the initials of the king and queen. There further appear statues of allegorical figures on richly sculptured consoles, beneath canopies with Gothic elevations and Renaissance deta- ils. PindIlly the balustrades in the lower story with supports Like candelabras, in the upper adorned by salamanders and the. letter F in the finest ornamentation; the upper termination is here formed by the main cornice and its noble balustrade. Then follows a terrace on which the stairway ends and behind it is a crowning upper story, octagonal but of smaller diamet- er, that again closes with a lavishly rich roof cornice of very original composition and a perforated balustrade, at the middle * ne Ftet &o70 ‘ne Ba tee os oe “anapitihe olte Mss iit at 1 ~1 tages. teers “02 yd ‘bemac} is BL '-geigsrs . pean Lier wee os “aie von eds “tort a " denen, (bnel foldn , a We } My ’ ea, ‘i 0 Bh a : ; ; a yi “ha ¥ “ , 1 TE rising an ¢legant and slender added gable as a crowning, simi- lar to the dormers but again a new variation. In a word: on this wonderful work in architecturs is an oroginality in compo- sition, a spirited freshness of invention, an artistic refine- ment in execution, that nowhere asain has its equal in this art. The interior of the stairway is no less of the rarest masnif- icence and richest execution. The wall piers are formed by no-= ble pilasters, the inclined ceiling is divided by Gothic ribs, in whose intersections appear rosettes of the most elesant work. The newel is covered by precious arabesques on the narrow sur- faces between the Gothic rounds, the upper vaulted termination of the stairway is decorated with special refinement. put bef- ors all the openings of the portals with rare luxuriance in t the separate stories, ornamented by salamanders and noble ara— besques in-sportive ‘nie The internal arrangement of the upper stories consists of two serics of larger and smaller rooms, that are neither character- ized by particular size nor by unusual height 3-- the latter Zoes not exceed 15 ft. Yet rather unusual for this time is the double row of rooms, which orisinated because a new wall was built at the outside at a distance of 16 ft. from the old outer wall. Both walls have a thickness exceedins 5 ft.; the middle part enclosing a rectangular tower is even 6.6 ft. Thereby are formed those deep window recesses on the exterior, which lend these rooms a special charm. Before several of these rooms open polygonalibalcsnies externally, that likewise!afford the narrow rooms like a corridor e freer view. Nearly at the end of this wing ig arranged a little chapel with a polygonal projecting choir. Finally an open passage on arches was placed around the old tower belonging to the older building, arranged at the top like a balcony. By the masterly ‘pestoration by puben it has been brought into nearly its original condition. The richly p painted wooden ceilings with their carvéd beams, the large and magnificent mantles, the glazed tiles of the floors, are faith- fully restored according to the old patterns. Ws finally have to glance at the longs northern facade (Pig. 30). It priperly exhibits @ similar treatment, and more strict adherence to the Italian style. The facade rises in its entire length from the irregular rocky sround, indeed so that its wes- Pe ee en a a ee “a if all ry : 7 : seg +8 att wR ‘et nite pa Baa 6 doe edt ei vabeors Lone jeted ged? i 4 st ey x Sin ys 2 a hs petsdoly atm wh ge wns ry 4 dh TB: 7 “ Ca ‘they wag ctened tT »sesop eft 10 ne a7) ary 72 western half has one story less than the eastern. The latter besins with a sround story of coupled and arched windows with crossbars, instead of which the western portion only shows hea- vy substructures. Then follow for the entire lensth of the bu- ilding two stories of cqual heights, whose windows are placed in arched recesses like losgsias. By the arches of this arcade. as well as by many other details, one recognizes that here two different conditions adjoin; the western half has depressed b basket arches, the sastern merely a segment of a round .arch, the last form less pleasing as beings less organic than the former, both indeed reauired in the northern Renaissance by +t the small height of the stories. fnclosing the separate syst-— ems forms pilasters below and above, whose capitals vary from Gorinthian forms with true Florentine refinement. If anywhere, thers may be surmised on this facade the influence of an Etal- aan architect. The round-arched frieze with shells forms the termination of this facads, that makes one part of the magnif- icent main corniceof the court facade. One must wonder at the fine taste with which this simpler form is chosen for the ex— terior, above the lisht arched walls. Above the. cornice rises yet a story with short and stumpy Ionic columns on stylobates, connected by a balustrade, and whose form on the sastern half is that of a short and small Corinthian pilaster, while simpler on the western sidsa The long extent of this facade is broken by the polygonal b balconies, partly constructed as opsn projections, partly as enclosed bay windows. They develop in medieval fashion from corbels set diagonally with little supportins figures and rich- ly subdivided bases. They have gargoyles of fancifal forms at the angles, on the balustrades are scenes from antique. mythol- osy in relief, on the piers are sraceful ornaments, consistins of emblems and arabesques. Besides the pilasters of the princi- pal He, in the western building are also richly decorated, whila in the other parts are left plain. Further the balustra- es of the principal story exhibit the initials if the kins a and his quesn as well as the emblems of both, the carved sala- mander in flames for the kins, the lilies and the swan struck through by an arrow for the queen. If we edd thereto that the niches of the loggias sleam wath Sold and azure in the splendid ? ° ul 5 iF |S 1 se Ne ae . WF ahs - a ie a ee nn ee a ts . Pb ‘ohh iyi a. : Mie ss ii ee , iad if us! i ; “y y fy ' ) a i) se A i a i 7 ; J : ; f , y sv. Madabtectios: re eved. #n nent .zofoo. ged sctteccosh © setuag selgate fey eeeiit to onle soneottiatss: edt: re aches mom? eteeqge st \Bakhiied eft to eteb edt sot 2b: ae adeeb edt excted botnosxe sceex eiceg enoizey ati sadd of ésew dicd Sonte bas woneseemvedd nait qetal yltnebive et ttent ed hesabat Iisdeiew ,ebeost tages! odd anit sosvel haha a Ps ebaks act to nbiow edd to ieamange aiold to neetedo ed? Yudtnes dd WE sit al 20. dedsosd ,ensefs0 to actuah yd acldamtotensid eidetsbae /beOb teot id) Saseask Peapso O86l oF Her wort cow ,ITIE Pi Bigtent god evogreg edd yd ti sostget baa bain svotvan to: Pgikt beptorers wotsnlovel ed? .ecce ed oF [fit wor ers on ten 8tt dh baa ,piibited tneoiiinnan @ikdd ao oktuoiudeob pennes tostscqz! wecso.yaam oe diiw CONE ssey add oi tedt deur ota etd to Leek ott oF Sdybesd yiseen can 21 einem pire REL conte yoo bac teow en nid evideszo, sids te’ sackinevat edd to MEIN bate s03ten00 baa agic ak ystresevibh: emoestxe ‘e8e ai toad getbited,-odd. to taeeeonpemoo odd aaoltoala: - | pint eft To'dneg nsedese ont sonte .(GSEL) obeslO neon. | + ed qusdnd de e aditsucdesa avout dt. dbpomis feceaq) Mico datv deco tow fib emict Intosmenco edt tl wepect io Botoiigas odd Ysdd’ pvetisd: yleorese aso Elsow nade MOS, 10d Sna omit. omen edd ta bedoere sex bucdmss9: to o8 eokL brodesdd wetole Yo baiblind eiden edt ca cao biasesh s nt ented Ons mos? Bae eiolA -novd) tnadgeih es wi eae ean AAR StH eds ei /noferetqnt ceodw .ectineoo oy pads yinO-sertcd ot Yo tiaad snfitme att Stel yUsorsoe ip #aene eidt: af bite of mofessoo syed T atoraye to gakinsd Vedwew won 2 al epesia @ eiif vocia tT .pestado hoses ; “) $ efsais 2 Otend ysi eted? bobs sibbin- yisee edd ni yheoulk 1:20: pasar isnot, edd of gramicatts gnotte a Soniaton anki yiyitibin 2id¢ to weiteene 00: eSer drods: aeged She (ce -& Wd bebsvortee tected alddibbieace: to ozs solons sata dete ra Ewalaapaaagt odd) mt. etolS to tnpoo. edt Yo obbol Bak i moh to bactade edt betidedat 1 eioasz] I¢6 toitor-. 2 eee) ee 73 decoration by color, then we have an approximate conception of the magnificence also of these yet simpler parts. ’ As for the date of the buildings, it appears from the emblens that its various parts were executed before the death of the queen Claude (1525). Since the eastern part of the exterior is evidently later than the western, and since both were begun later than the court facade, we shall indeed be justified in ‘placing the commencement of the building back in the beginning of the reign of the king. In the 17 th century the chateau of Blois experienced the re- Srettable transformation by Gaston of Orleans, brother of fouis AIII, who from 16385 to 1660 caused Mansert ti tear down the w western wins and replace it by the pompous but insipid struct- urs now still to be ssen. The Revolution exercised its love of destricutio on this magnificent building, and it did not lack much, that in the year 1793 with so many other important monu- ments, it was nearly brought to the level of the ground. hater | the. chateau was degraded into barracks, and only since 1841 it passed through the splendid restoration by F. Duban, by which one is now surprised. 22. Chateau of Chambord. | If one desires to treasure the wealth of ideas, the variety of the inventions of this creative time, he must consider the extreme diversity in plan and construction of the separate cha- teaus. If the ornamental forms did not speak with certainty, then would ons scarcely believe, that the capricious chateau of Chambord was erected at the same time and for the same prin- ces as the noble building of Blois. Chambord lies several mil- es distant from Blois and from the hoire in a desert and sandy country, whose impression is the more miserable, when one has scarcely left the smiling banks of the Loire. Only the love of hunting of Francis I Save occasion to build in this desert such @ grand chateau. It rises like a mirage in a now waste and for- ested enclosure si°considérable extent surrounded by a wall. Already in the early middle ages there lay here a littls hunt- ing lodge of the count of Blois, in the vicinity of which the mother of Prancis I inhabited the chateau of Romorantéin, The king retained a stront attachment to the localities of his you- th, and began about £526 the erection of this mighty chateau. a2 too itn \ tt onoy bas Ssazolo ie statis care tese | os teen nowt ive 2 $1 serewot odd to eviaaloxe -78 alegs bad Boys yletanitedo bed alt qd scnsevie: sdestetal e10n 8 90t Yo eltaich « ogi iatrennne EW YLETVETNOSS > /asqobs cove ti { Basie assdtion a wth Tend ' ft E RE. ~ Syé ii EibiLzsgoo C 2 bacost S oni Spot of Rel et et Ye ET) Se ee he » t > Py : 74 The construction is colossal and powerful, entirely of great ashlars, the entire building from west to east being about 400 ft. wide by 275 ft. deep, exclusive of the towers. It is as if the entire imagination of the middle ages had again ar- isen against the penetrating new spirit, and had obstinately and capriciously opposed itself to the Renaissance by this colossal creation, an attempt which appears the more interest-~ ing, since it is executed with the forms of the details of the Renaissance (Fis. 31). The plan of the whole (fig. 32) agrees so accurately with the arrangement of the mediaeval castles, that it even adopts the colossal principal tower or keep, isolated from the other buildings; only this is transformed for the modern customs of lifes, and by severely symmetrical and regular plan of the wholes makes a concession to the new spirit. The building forms a sr- eat rectangle flanked by towers of 40 ft. diameter. Bach of these towers shows a different subdivision of the interior, while this substantially consists of one or two large living rooms with a cabinet, wardrobe and a separate stairs with an entrance. Likewise the front wing, to which a drawbridge leads across the moat, like thé two side wings, is divided into an number of livins rooms, each of which is connected with 9 ward- robs, but is separated from the rooms at its sides and has its own entrance. What value was placed on this arrangement of the interior in the chateaus of the time is shown by Rabslais in : the description of the abbey of the Thelemites, and is further proved by most of the chateaus then orisinatins. The three wings of the chateau considered above have only a ground story and are covered above by s terrace. Only the northern halves of the two side wings adjoining the main buildings have an up- per story. The fourth side in two stories over ths sround sto- ry with arcades forms the connection with the principal build- ins. In the two outer ansles these arcades extend in semicir-— cles, that are built as an open framework around sreat wind- ing stairways. Both winding stairs extend to the attic, there they end in domes with slender lanterns. Their exteriors are decorated by pilasters in the three lower stories, by slender i hermes in the uppermost story, that are not finished but are ~ ; only rough kewn. AQF these two stairways only the eastern, ; % Ba dg Pee wal a Hwlved Gi etoatng eidd Bao a 48GQ19 desst 7 ond atin “aqe feosig ee saieas naan: ehosa nee gi ot bt. ‘neitacacs ci sayted we ~ wiht 4 ohh ee ? d ghee gr he ede. to: [agedo e * sonetds a ed StL g a ‘bodosnace vidoes eat. ati ~ af we 5 bree noredvibds if y¥ Bi ‘ Y pres -PRpOIRAR "700. at sade ,qaomigag? S80, heguied.ad fomnss fe Wt a ba , ‘: ‘ he ¢ S . 75 that leads to the living rooms of Francis I, is of the first building epock, while the western dates from the time o.. Henry II. On this as well as on the upper story of the adjacent wing, the details are also by far not so finely executed, but are rather heavy and stumpy, with rudely employed emblems of lil- ics and projecting columns. The most commendable part of the whole is the middle building arranged in the form of a keep, a square of 140 ft. flanked by 4 round towers of about 62 ft. diameter. In the centre of this building rises independently on 8 mighty buttresses the famous double winding stairway, so arranged that those descending it need not meet those ascending. With its opened flyins buttres-— ses and slender lantern, on whose apex rises a colossal lily, it towers in the air to an imposing height above the roofs of the surrounding parts afidsths towers, sharply detached in the Splendid white limestone from the blue sky. Around this princi- pal stairway lies a great hall in the form of a Greek cross, or rather four halls repeated in each story, each with two fireplaces, that in an intelligent manner are not placed opp- oSite each other, in order to make communications easier. These halls are covered by mighty tunnel vaults in massive stone con- struction, in whose coffers are seen in manifold variations the salamander and the initial of the king. In proportion to ‘the width of the halls the vaults are somewhat depressed, be~- ing executed as oval vaults, yest mey thereby have. produced an impression of comfort in the occupants. The four corners of the middle building lying between the arms of the cross es well as the adjacent towers are asain divided into separate livins apartments, each of which con- Sists of a larger living room, cabinet and wardrope. The principal room in the southwest tower is the chapel of the Chateau. All these living rooms have their ssparate entranc- 8 in little windins stairs, but are again directly connected with the sreat hall, that on its part asain in seneral is acc- essible by the principal stairway and by side galleries carri- ed on the towers that connect with the two outside wings. A larger chapel is arranged in the outer tower of the northwest angle. This is briefly the subdivision of the chateau, to which cannot be refused the testimony, that it corresponds admirably 5p jt) A ana Mn Aa Ca iia 4 it Yo elkf edt to atnemartnpes sad cd meqeb. a to entot t odnt ddueas ylintvebnow beorct ons snotsaeilivioc tc doous wf oe wo Ww ¢ a 2 * m penet/ etd , > te es \sotaete cain ent | betors-beves doe ent .ysote tte v3. yo esianct _ Ietoosteet bre Fiiiieea!: betsev. pete: Rieasi eodem ater! | teotonos 6seyse en ) efit: sec aha Pome send Be St yma. en a4 ei a ? ovitsesse sa asin. +) 4eetdse. 2atnwote ae ‘ ease? bofaey teem Va@etosl fatto: ue ; i 4, *. . es ‘ ‘ tee ‘" a: A <—— ew a @6 oe CoE Ff yo i tay t i thhe ohn re * - A. . a eS ye va ov ae oi er wel to tadd bas ons Le v ino 1883 tnomeaxe fe ~*~ 7" Oo. nd me) i Se 76 to the requirementr of the life of this time, although these are forced wonderfully enough into the forms of a departed epoch of civilization. “Now as for what concerns the artistic treatment, this ton- Sists almost exclusively of elements like the antique as at Blois. The principal parts of the building show three stories, animated by windows with single or double cross bars. The win- dows have horizontal lintels, excepting the three round-arched windows that lisht the middle hall in the upper story. The sub- division of the walls is formed in all three stories by a vert- ical system of vertically connected pilesters and horizontal belts. Although now on their capitals the most varied inventi- on and most delicate treatment of the reliefs makes itself felt, yet all this does not sufficiently animate the severe monotony of the subdivision, that extends in tedious sameness over the entire. building. ven the rich crowning cornice, that indeed repeats the chief motive of the beautiful cornices of Blois, consoles and round-arched frieze, but not in such organic con- bination, and an added rather too ornamental balustrade, are unable to remove that impression. ‘ But the monotony becomes even more pebeebuibey by the exces— Sive abundance with which the high roofs of the middle build- ing and of the towers with their lanterns, with the exhaustive dormers in mere variations, and their tall crowning sables, likewise the chimney caps ¢xecuted in the most varied forms, and finally the principal stairway with its fanciful lantern towering over all else, are overloaded. As by the most compli- cated Gothic buildings, the eyes are completely bewildered by this éxcess, and the unprejudiced observer must confess, that an architecture which awards the prize to the chief parts of the construction or to sobristy, in order to raise subordinate parts to the greatest unsuitability, turns itscback on beauty as well as truth. Wonderful enough is still another decorative element exclusively employed on the pilasters and cornices of the bay dormers, as well as the chimneys of the stair towers; ‘ the numerous trapezoids, circles, semicircles and triangles i / inlaid in dark slate in the surfaces, that makes the richness | of those parts still more slaring. It is well known that this is an ornament that only serves Venetian art and that of upper Reise a) Te) HE dP sti noga drebnedsh ylesl | y Ode .oettaons ue tb awew ass dtin ob of sved sv yfteotinsy od dedt tocng eviy og bhegkeoh tad [oodos sviten s mou? swso ‘ot efde ean bas ,elyte wen ont to t9¢eam stoficmos a Bar S. eh wstntoetidoss Levethews to medio Intionst edt $f wort eiiso .vevgell +Y san dosdisows edt ,hevorq enolsagisesvet ven) Gaw brodustip ssvostold “.brodmed to sastedo edd*te wtneexe eiieq once of aster ySaewle oY .bstelgmoo vile 8 + to earo? benttes edd swode ecedwyreve yrote badory edt edt to aokbbied Legtoniva ecitce ond ‘Cele .Tietonsay to mote soqas eff .tisanid baig ont yd ‘BStqnooo biin gees i omid adel 8 stidiize yis2asaco edi ne gaiw teexsiocen qneB ashliesd .actiscexe sehr oft Bas emtc? yquase eros | seddant Bobsetxe ed ct buidlind edd beenso VIK strod ‘awe ay )-Boideiow? fSnesiiinges edd cen yLeven fod .eredso { bar nweh nzod osen vooslqettt dots adé geo ..neloses osoame , bested eten eett2 to eciutekgst ylteod edt neve Dies sem deegena andl pi won et gtedt .ehestdt tovlie bus Biox ad’ ae: M6 @ifcsv edd yino :40hnelaqe bio edt to sbiteoy ik bed bape usdots beewssqeh dtinw emoo2 siadaes baz 8 lgaetios aiest of wode .ncitonssen0s biion seen P nonet 8800 eft nt feqado vaeth 6dT tnemenites ematt > Eten vd Bsderoces eslacte ont at efguia bua sesn ! re . p@agolpog to bivhsy bsedaad ES ed. etalalenin iiiw emis emse edt of tesatoco “Fee ea> f | “ET efonati .brodmadd of neeluaqaon ni Bishbey nadtedo ess 20 216bix eed ni ois to ystiatoty edt at botosre sd of te saps yidstonsy $1 8822 conta tvoda engolpog to gesz0% bt i ol “adbung \s 20 mottetini of gsve w.achi edt to xytivitgqeo efz te sth ted jaiage to fetigas edd to yinisiv edd ai Sanot Wy 8 hoéssnikizo omagioin elas tadd .actnkge edt ei afd ‘etamiint wet a dtiw hott ods aeiy ,etetsianoo edd to mm yaa to sense Heskter teom eid din bedeiawt Sas bepnsszs ‘ Ake $k bofevol ooteglores ial oreddons 10 unisaes ekcde Ri, ik es, 4 As ve os ae a ho, ; : b va 7 i a: ot ‘ ‘, ‘er. lal 7 5a ui Pe) eee oe | a ve a tee wh fo ct gh w@sioos tiedd of evil ot t2yeo edt mort wetbdsin . ‘Sneoktiosen efat 20 .engoised to gestot add to se = m ed Yo sesgeem es botenktesh ueusigx® tet ofx .ssopniaT pelt noidvloven odd ak etstesveh can ssetedo odT 348 nad Sod ,hemsa co yllseq saw #4 ted? ton .bisbeli to seen 4 Italy dependent upon it. Manifestly we have to do with the work of an architect, who came from a native school but desired to give proof, that he was 2 complete master of the new style, and was able to wrest from it the fanciful charm of medieval architecture. As recent investigations proved, this architect was P. Nepveu, called t frinoeau, who was expressly designated as master of the works at”the chateau of Ghambord.”. Moreover Chambord was never enti- rely completed. We already refer to some parts executed later. The ground story everywhere shows the refined forms of the time of prancis I, also the entire principal buildings of the north- east wins occupied by the Kins himself. The upper story of the northwest wins on the contrary exhibits a later tine by its more stumpy forms and the ruder execution. Besides Henry IT, Louis XIV. caused the building to be extended further. by: wans- art. The chateau was devastated in the Revolution like so many others. Not msrely was the magnificent furnishing destroyed or stolen, but the rich fireplaces were torn down and broken, and even the costly tapistries of Arras were burned to recover the gold and silver threads. There is now in the interior not a vestise of the old splendor; only the vaults of the great hall and certain rooms with depressed arches but erected in the most solid construction, show in their coffers reliefs of ex- treme refinement. The sreat chapel in the outer tower is ear-. nest and simple in two stories decorated by wall columns. . 23. Ghateau Madrid or Boulogne. A great contrast in the same time will scarcely be found than chateau Madrid in comparison to Chambord. Francis I caused at to be erected in the vicinity of Paris in the middle of the forest of Boulogne about since 1528. It generally reeeived the name of Madrid, not that it was really so named, but in memory of the captivity of the king or even in imitation of a chateau found in the vicinity of the capital of Spain; but more proba- ble is the opinion, that this nickmame originated by the satire of the courtiers, when the king with a few intimate companions withdrew from the court to live in their socictw in the chate- au of the forest of Boulogne. Of this magnificent building, a ; arranged and furnished with the most refined sense of art, no | stone remains on another. The Revolution leveled it with the ee J 4 1) ‘ nsso1sy 3 Yo ehoinesd ont of us 0 ea Bete + | two” sd mee 606) Sonem £1 Be dads gee sf Has ete paD eidé iviv oe yie- = Ge ed Obie .tF OSS Yo ofgnadoes oud jenotiived sisope xalisost ong | +8t tei: ane G a¢ \ elBbia | enett ive: eat ‘enanies ties hiddieseg ot enoros gages eee et ieee epksneq i ie atene ‘@EBbia = 16 MAI ‘00 (gnites gon-esensed : 1 gap pied. eieiebon to 1 seed +BH00% jee ny eq . hid bre bavegk odd fei eat bas Jiseweee Xt | eh waabis tn ot i, fags, - a. baad ah08 iigesit tien end in ar ms Yowsinse = petal fegedo: @ edit noct ens bo -Doptieas edd bad wedsoues om j Le bit ae en. ry ‘ 78 Sround. Only to the drawings of du cerceau do we owe an accur- ate knowledse of it. Chateau wadrid was what the Prench term a manor, i.e., a sm- all country residence erected without towers and keep, that as 2 rule also lacked the court. It was entirely so with this cha- teau (Pig. 34). It formed a rectangle of 250 ft. wide by 95 ft. dscp. At the four angles rose projecting square pavilions: two square stairway towers divided the two longer facades into th- ree equal parts, while a round stair tower rose at the middic of cach end. Between these stairway towers and the pavilions were arranged arcades on piers with projecting half columns in the two principal stories, sufficiently spacious to permit easy communication, but not so deep as to destroy the.lisht in the windows furnished with ouble cross bars. The middle parts of the two principal facades has in its entire width a flisht of steps A, that leads to a strongly recessed arched passage of considerable depth (12 ft.). This stately portico forms the entrance to the great hall, that with its length of about 65 ft. and width of 28 ft. sccupied the entire middle portion of the plan. This hall with its arcader is repeated in the upper principal story. Then follows a smaller story, w whose rooms ame connected together by the terrace resting on the lower arcades; finally a fourth story of moderate heisht like the preceding, also like that contained suest rooms. Bes- ides there wes a low Sround story, half in the ground and cov- ersd by massive vaults, which comprised the kitchens and other nouseksepins and service rooms. With true intellisence the ar-— chitsct so orientated the buildins, that ths main fronts did not exactly fece the north and south: thereby the hall and most other rooms had a refreshing coolnsss in summer and much Sunshine in the colder seasons. Corresponding to the customs of the time, the arrangement of the interior was in careful utility. The sreat hall B was heet— edcBhy two magnificent fireplaces, and had at one snd a smaller hall B’twatiserved the king, when he desired to withdraw from ; the society. In this hall rose at 0 a great fireplace, behind which was arranged a passage D and a stairway + in the wall, by which one could unssen reach a room like s chapel lying over this part. These two rooms toggther had the height of the e new esizese e * ence Bauct os “bien & dtiz ok es Foosewoss See nok! seeds to dose Seotbest “een asee. senefso ei ry) I yeriiste ods bated Jpodtiw ead SEW Ero”4 . hs neds J re a igo ench niv ‘edt. oF “Mo erooh ‘ots dope e ad od Ss ha giw ens: ps ewniase b Fee ee > snag eto reiii Ne bg: Rd Unt (cab guia i a g olbiis yanet qeonce. sone? Bas * ites edt Cla be _sdanteres Issimeb est , te ewobnin ten af end oT ee seiset Scien: C#in eorezate ce odnagele aieds ¢tin Bae vedoze Bssetico bre # eosetst. Hetnemerve vis yaods foe 6 doidx us tha abe fae 79 main hall, which amounted to about 22 ft. This side hall was further connected with the external arcades by separate entr- ances. The remaining parts of the two principal stories were intended for separate apartments. In each wing are found some sreat chambers F with fireplaces, each connected with a ward- robe H, partly arranged in the corner pavilion and throushout fully connected together, and with the porticos. Gach of these living apartments could be separated from the others? each was in direct connection with the portico G and the stairway I, as well as with the main hall, so that the occupant without being seen could so out or in. The connection of the rooms was thus as pleasant and convenient as possible’ the architect then ad— hered strictly to the coincidence of the axes of the windows and arches in the middle portion, though not rigidly to the ruls for the wings. On the other hand he placed the doors of the apartments close to the windows, so as to obtain .as much unbroken wall surface as possible. Pinally it is yet to be noted, that also in the open porticos the force of the wind was interrupted as much as possible by the projectins stairy— ay towers. This chateau must thus be termed a model of a prin- cely country seat of that time. The elevation of the whols, whoss middle portion we sive in Fis. 85, shows a combination of Italian and French concepticns, thet is here as successful as it failed in Chambord. The high roofs that cover e@ch principal portion, the domical terminat- ions of the windins stairways, the dormer windows of the mans- ard story, and the sreat chimnsy caps belong to the national traditions, but they were reduced to the measure of the need, and did not become objects of a fanciful hobby. Likewiss the windows with their stone crosses and the construction of the vaults belons to the native architecture, all else on the con- trary was imitated from the Italian Renaissance with free und- erstanding. This is true of the arcades with their elegant pi- ers and columns, their richly profiled and coffered arches and their medallion panels, of the elegantly ornamented friezes a and the varied architraves of the windows, by which seach story has its separate charcater, and finally of the crowning of the doors, that mostly exhibit a pediment with recliniug figures. The most splendid decoration was received by the building by eS > * ; d D Gh .adico ayiad Segolos fue hosely to. | ur seonssol? iter wht Se ist ; “aaah ee Re se20012 $d no bea eootssoc ro} te dit eberpely aetic: race piptseboor 74 nokia ) dneas boi, eas eereeigxea peptns Se nroitedxe © p penedio Bconnk 7 " ar fit : }oMsanson7 sands Leatce a ‘Peney weve rtie~< ‘aig \dofdm sitin: ator f tao ni tedd enfec: Se: fomexe ! nebogda ok es _ atte ind ¢aetb 303 Ae ‘@okTyenr 4 ELERE - Sh ‘~SGss 8 Ae eae mo tod pnt 200 0 nO cliches F “hk shin ceeanian 80 the rich use of slaged and colored terra cotta, for which G, della Robbia was expressly brought from Florence. This masn- ificent ornamentation was employed on the friezes of the prin- Cipal story and the medallions of the arcades, as well as on the coffers of the ceilings of the porticos and on the floors. Du cerceau gives some examples of the coffer plaques, that for beety of drawing and richness of invention are wonderful. Wean- while when the learned Viéliet-le-Duc expresses the judgment, that this use of Slazed terra cotta on the exteriors of build- ings is a new idea due to Francis [, he forsets among others the facades of the Innocents at Florence, of the hospital at Bistoja, and most of all the oratory of S. pernardino.at Perugia. Also for this building it is strongly disputed, whether it is due to an Italian or a native architect. Thanks to recent inves-— tigations, we know that it was a Frenchman, P. Gadier, who des- isned and executed the building. Count de la taborde unjustly reduces the honest “master mason”. to a mere practical superin- | tendent of works when he states:- “G. della Robbia was the ar- tistic creator, the man of genius and taste, P. Gadier was the subordinate workman, but in reality the actual constructor.” This hypothesis vanishes completely in the air; even Vasari knows only of the terra cotta and stucco work with which della Robbia adorned the building. All these works that in sreat part belonged to the interior, du Oerceau sives in abundant examples. He has represented the two fireplaces of the great hall with the door lying between them, the great state fireplace of the sids hall and also several fireplaces of the different rooms. In these are not merely surprising the richness of the decora- tion, the lavish use of sculpture and painting, the diversity of arrangement, but even & conceivably prominent preference for pompous, even for Barocco forms. Particularly came into use caryatids in very ugly forms like hermes. However since the internal decoration was first composed after thse death of. Fran- cis I by P. ds 1’Orme and later by Primaticcioc, we must assisy @ portion of these works to this later time. We shall only re- : mark, that the richer fireplaces have above them a sreat niche with & pediment intended for a statue, but on the contrary oth- ‘ ers a panel evidently designed for a painting. On one fireplace this is adorned by a paintins of the abduction of Europa. 5 wD ed iat yas en (HEEL nd Bott a ebed «9 | OfL eb pelh snendonent eter diod ead? .asek noe uit oc Stiaca atiss beenvso tert? ideekpenkss -aehomsd © aqode Who xtivee done svik cao butbiind sedto on ego yne nl .nisks Wht) eaebiind yleontag potvol-t1e ett to oti! esemisat’ ont OMe T 6 t sbacidestatoo® Yo nasdedd obs sigetaqgeco ens bus sosenltni eft bawot ak widitqeoreg teok =i i bebsegss ed yam gedd ,naodado eff ga etetiang neiLasI to | - badiong®: elds to vxsudn. Inqdouleg inkéocant.teom ait 26: fat wissris new naeidenietno® .1 efomhas Yo ncivesso odia , OF ntdizo eti Bono dad? .eldeso eves 2 yiudnes de $l 1 teow edd to sno Iligde .ésetck; teeth baiadoddatca edt ck it dfind od ot feqedo 5 heepac IV ekacd .senect ai Let is Hebenol einod .2 .ntswsted 1.8 bne giig® .6 Yo noned ft at sano ‘nispiteM, ood Helileo af doifn Yo cotvses add of daa fayodt sto tees ait ylrse cee wasidoriatach Samia fo wreadgl death oft to atend edd omaoed 19 1 omg Shanes ud to sons eho ot ea teedxze st Lange edi titsces % ontiena? .etotaned .9 .teitee conetet. oviten o be 3! 0 eid ot eseflo Lasiqaed a baa ywiotal ylod edt cst Loqeds) feyot @ of eltzec Inventhom cit betavels ¢orik.l Dyerebiind eecennt vidt te nely ad? exsbigneo eno TT. (88 lash) 2: BYE suede of edsvome dthnel of ¢ne \ A dameo Leve bsileo-ce got tadt .yiicelopersi sti | Bebaronace ei dunde eid? santblind od? Io dneq deshia sbie snbic eds elidn ,emoo1 So 20itee efdoch 2 yd gel S fasohyloq dtix C fecedo efdgob 2 yd hima nite yiteisdo i te yteiist balfleo-oe* eds (0 Lisd-e« Boe (migentss <8) sive Hewtol een noijenimied odt anid e*nseored gb al “VII ‘og Gordv mort .(td .e22 mt &) Legedo edd ot secfo les Lave yaa : btat aon Qnideixe sort eddysevo'heerag sao osbindiwerh Piosat hebasixe ean Vi yinek sobax setel dotan A oothliad cane “ee me. ‘A eh mpagrebeds sod a0 bee feqado ‘end obieed & ct sodtret aren i 28id sede! aot abnolsd eefwedit{ Jnenskislae se eet -gaodK: bas ."sconitg edt Io d1n0o” edd ano Bkaotrs a zon BT ‘att #3, ceo. “anise bo Phare aac ead eakagaoo ¥ # BAS. vd -¢i ONS Jo drpoo etavpe ylraen 2 Boizelone abadK pepebneixe af nedy .duven Isvo edd fenedtyes! ople WI vive . o edt Qo Stef cas te dodidw ,egaiblned Yo & qnoty odd fo... Pa ae oe 81 P, Cader died in 1531; he was succegded by G. Francois and his son Jean, thus both were Prenchmen. Also de 1’Orme employ- eda native faience artist, P. Courtois, fromithe famous work- shops o: Limoses. Primaticcio first caused della Robbia to come again. In any case no other building can give such a view of the intimate life of its art-loving princely builder... 24. Chateau of Fontainebleau. Most perceptibly is found the influence and the cooperation of Italian artists at the chateau, that may be regarded as one of the most important principal works of this epoch, the favo- rite creation of 5 ;rancis I. Fontainebleau was already in the 12 th century a royal castle, that owed its orisin to the hunts in the neighboring sreat forest, still one of the most beauti- ful in France. Louis VII caused a chapel to be built there in honor of S. Maria and S. Saturnin. S. Louis founded a. second chapel to the holy Trinity and a hospital close to-his castle, to the service of which he called the Mathurin monks in 4259. Fontainebleau was early the seat of a royal library, that lat- er became the basis of the sreat library of Paris. But Prancis I first elevated ths mediaeval castle to a royal palace, that sought its equal in extent as in magnificence of furnishing. If one considers the plan of this immense building, whose ext- ent in length amounts to about 1476 ft.(#is. 36), he sees by its irregularity, that the so-called oval court A forms the oldest part of the building. This court is surrounded at the left by a double series of rooms, while the right side is chiefly enclosed by a double chapel D with polygonal ending (S. Saturnin) and a hall C, the “so-called gallery of Henry II.” In du Cerceau’s time the termination was formed by an oval hall close to ths chapel (J in Fis. 41), from which by a rawbridse one passed over the then existing moat into the buildings H, which later under Henry IV. was extended into three wings enclosing a nearly square court of 279 ft. by 258 ft. Henry IV. also lensthened the oval court, when he extended it farther to & beside the chapel and on the opposite side. Anoth—-~ r enlargement likewise belongs to a later time, that consists of the group J of buildings, which at the left of the ovalcourt extends around the “court of the princes”, and whose front wins K contains the “gallery od Diana”, 295 ft longs. If we return ‘ » iy ; i,’ $. t* ; tie y ni otede Bait e F pales re 0 pitas! ert peste a § wenct exegos & fre se edt mort Bontese: otek eteng incont eets éxe00 odd to deaq awebio side Oona moo-etew teddy .enuploo no . : wots ana eas ni. Bec ak senetiae ~ ie ss . oetong & YO eploo tied iavistsés ~Ict e -n8 eit to atootes —s WF Ly Sel we woe ky > qedo 3 tit poder glieritoo ierepe atest, sebes ce BH89° fs ee 0 be wat thd a tae hy. "i " 82 to the oval court as the centre of the plan, wo find there in the middle of the front end a squars tower E, the old keep, w whose walls and the adjacent parts were retained from the ear- lier mediaeval plan. Before this older part of the court lies in the ground story an open arcade on columns, that were. connec- ted by an architrave. Above them is found in the upper story a terrace for connecting the rooms. At the former entrance in- to the northern rooms, this arcade is interrupted by a projec- tins building in two stories, resting on pisrs with half colu- tins like a logsia. Its arches (Fig. 37) are partly semicircular, partly of depressed form, like the other parts that show a tol- erable understandins, and therewith a free imitation of the an- tique style of architecture. If in these parts the retention of the old plan caused the irregularity of the sSround plan, the resularity of e11 other portions shows that they were built anew. First was added to the older portions, particularly to that square tower of the middle ages, another wing N corresponding to the lonsitudinal akis of the whole, that continued toward the north a series of rooms with the“sgallery of Francis I”. on the south, 191 ft. long. at the end of this and at the right ansgis projects a transverse structure, that on the left contains the entirely rebuilt chap- el of the Trinity 0, adjoinins which are several livins apart- ments and a hall T for playing ball, at the right being the s stately arranged living apartments P, to which Pius VII was assigned as quarters during his imprisonment. Before the mid- dls of this transverse buildins 433 ft. in lensth lies the famous horseshoes ramp steps R. Corresponding to this western wing was erected at the other end of the gallery of Francis I a third wing L with a double flight of steps, that contained the theatre. The southern side court originated in this way, and is called “court of the foun- tains”: because on its lLonsitudinal axis as a splendid point of view from the gallery of Francis I is a fountain and the basin of a great fishpond. But with this cnormous extent that enclo- ses four courts, ths construction was not yet completed. Fran- cis I already added a fifth court S, the “court of the white horse”, so-called because its centre was iccupied for a long 7 time by the plaster model of the horse of the equestrian stat- — D tedenoo’ seat egnk Sek: de te yIose fteoge of mo Ia enotitves exiz my 884d, otece <32t to svete: ta “om ,eéedw sad -ecacbiess bread WBanore tson ggoh!s Pe866eq 2 to acteacoo edé co usete r a . fagtoniag 2a: anoo tein 5 » eg? ot Si haahee’ > an 4 = sSyv ¥D wee vid eenree & » bf + se oe SS Sa eeinon +38 .senis © ptednes ai sbigieai s pte ‘sii pda ts Py) benbter: ede a Bet ‘aottqeoze edd ei. 85 ‘ in the upper story being Doric pilasters between simple windogs, instead of which niches occur on the middle buildings. Also thé dormers, developed at the middle into a dominating sabled str ucture, evidence a characteristic simplification of the style. (Fis. 39). Another gallery, called the “gallery of Ulysses” from its famous painting executed by Primaticcio, uas. taker a destroyed under Louis XV. Accordingly if the exterior of Fontainebleau could not comp- are in refinement and richness of treatment with the other cha- teaus of francis I, on the contrary 411 energy was placed on the decoration of the interior. For such decorations hed been developed in Italy a style, that had come to the most luxuriant development by G. Romano in particular. He combined the richest usé of paintings on ceilings and walls with stucco work, that exhausts every sort of creations from relief to free sculpture, with which was further combined wooden wainscot in richly car- ved work with splendid ornamentation in color and sildins. (Pig. 40). But this ornamentation soon degenerated into a heaviness and an overloadins, of which the gallery of francis I affords a striking example. In this confusion of details, that seex to outscream each other, these pictures that are not merely enclo- sed in richly carved frames, but also by garlands of fruits, by wonderful cartouche work with sportive genii, athictic.human forms, by hermes and caryatids, pans, angel heads, masks, in | brief by the abortions of antique and Christian mythology play around, the eyes lose their hold and roam around helplessly w without finding a point for rest, from one to another. Only t the curved wooden ceiling is distinguished by good subdivision q and preferably by the noble style of the ornament. Gertainly a palace was never erected with a sreater expenditure of artistic means, and the general appearance of these extended but low : galleries, that under Louis Phillipe and the new empire were . asain restored with unlimited ¢xpenss, ars of incomparable ef- fect; but if Brancis I sought to brins here the best powers of his time, then it was only his nisfortune and not his fault, that this already brought with it the full decedence of Italian apt lien have much disputed, whether the parts of ths chateau er- ected by this kins were due to French or Italian architects. The detailed decree of April 28, 1528, in which the king reg- ut Ni ra 4 \ ts * Jd oA iP ids Late tii ae ok | ‘ ps i a EG . 6 be rib hevoene: ty of ebathlicd won etd au , oblae2 s Saey snes dit ct gedt went ov Lind, edé¢ begodtiactis yitoowibd need sboxoLgue eo” add amrco? fee eed tod baieo, doom ce sidisxe | aa a; ‘sith Bis Br gadis ~oetdue on gedit. D guedtigq tiie , bltever N . dokdw ah f.-tedzo bas - Witevee vib ¢ papyeant sein > pane oF eds « , ol san Ov CLR OLB Aenmrte PF ex Wiwiew ce LL Wel age ae webeoela nf 86 resulates the new buildings to be erected sives the names of no artists; yet we know that in the same year Serlio was called and to him have therefore been directly attributed the buildi- ngs around the oval court. But the art forms there employed, particularly the columns of the arcades exhibit so much origi- nality ir treatment, that we can only regard them as the desi-—- Sons of French artists. Contemporary Italians had employed the fixed scholastic antique orders. Likewise in the forms of the mouldings and of other architectural members the antique forms were truly used in detail with intellisence, but were ‘combined ‘in such a capricious manner, and especially the pilasters were ‘arranged to without any system, that an architect ‘is recognized, that had indeed studied the new style of architecture, but had not attained a full understanding. fhe prevailing freshness and abundant imagination of the carly Renaissance are no longer at command; for tthe severely classical treatment, that had pre- vailed in Italy, its architectural form does not suffice. Aga— inst Serlio’s authorship is directly ‘the fact, that in his kn- own works is found no indication of this kind, that he subjec- ted the ballroom to a sharp criticism, that was built without his assistance, that he had siven his own design for it. On The contrary it is probable that he must be regarded as the builder of the facades of Fontainebleau, since there prevails that more scholastic, simple and severe architecture, which about that time was raised to a principle by him and other Italian theorists, with its disnified but rather dry severity. He appears as “painter’and architect of the kins” with import- ant payments in the accounts of fontainebleau until the year 1550, when he remained in employment till the end of his life. (156 But the same artists, who conducted the most essential part of the equipment, the decoration of the interiors and particu- larly of the galleries, were first the Florentine Rosso (“mas- ter -Roux*), who was called about 1530, and who was engaged un-— til his death in 1541 on the paintings aiid stucco work, espec- ially those of the gallery of Francis I. But already in 1581 Primaticcio was also ensasgsd, who was however sn strongly thos— tile to Rosso, that the king was compelled to send him to Ita- ly with orders for a lons time, indeed we sce both separated by themselves, busied together with numerous assistants. Yet ‘ e n J : p t * Wit to toe nf efor sft bevie 608%. po to pe : yorrseh “s ‘Qo e028 usdenuz es oft 4 Sao ae ae NC ney @dt' nt deeb ek | | : . as @ >, I sigaord ‘ease 97 after Rosso’s death Primaticcio received the sole direction of the works, when he began at once to destroy a number of the works of his predecessor. Even under the two successors of Prancis I he continued active until his death in the year 1570. He was aided particularly by Niccolo the abbot, who painted the later destroyed gallery of Ulysses and the ballroom. §t first there were chiefly Italian artists, who cooperated in these works. But besides them and some Flemist masters we find in the accounts a considerable number of native artists, who were desisnated as painters, stucco workers and sculptors. This is the school of Fontainebleau, by which the Italian taste was e slevated to exclusivs domination in France. Wnfortunately these Italians brought in mannerism with all its excesses, to which after Raphaecl’s death most Italian scho- ols save themselves impetuously, and here in a foreisn land, where their creations were wondered at as the hishest manifes-— tations, they fell into such sreater barbarisms, when no rest- training influence was at hand to check them. Rosso pleased himself by the imitations of Michelangelo, in dashing foreshor- tenings, strained poses and movements, thus Primaticcio differs still more by the affected srace of his too slender forms, in which the Prench yet always liked to see “Grecian charm”. Con- sidering these works full of monsters and excesses brought in- to being with such pincely liberality and such Sreat means, ons can scarcely evade the thought, how much more tasteful results the art love of the kins must have had, if A. de Santo had re- esived the direction of these Sreat works, instead of the dec- eption of the monarch by their frivolity. 25. Buildings documents of fiontainsbleau. For the architectural history of fontainebleau, a series of documents are of importance, the merit of havins published then being due to count De Laborde. We find a decree of the kins of July 28, 1528, in which francis I expresses the intention to _ cause to be erected several buildings in Fontainebleau and in the forest of Boulogne. Another royal order of Aus. 1 of the same year, dated at Fontainebleau like the former, repeats the contents of the first and extends t§em to“two other places of hivry”. But of most importance is the longest and also the earliest of these decrees, siven on Appil 28, 1528. .It contains 4 . f ; J } Pi. P) Be yt, 4 i > i «, i ‘A ‘a f ; netecsatt wait act ‘enotte s woah ape eevet bas Scans iy ens to satenenth Bs flew. sa ,fser ¢ 4 move tad’ bext? xi | - etid ai uaeyvabon: . dasa issutoeiiso “page, atedd: déix S Bite eexicboos: Lind eat wos .acnon m2 ea0 Bas ,is200 & \ af af eexitenoc gett ie \ipsas nk daeq ve ost ot gnihicoos*40 efor Bes. spe |) 108 itsaiee ae xs oo me rk ore gl ty au & . A Pe} 7 CW aha geal zo a8 eatcn oni ivonenth penettgisoece ‘eae sicted we i 88 the most exact instructions for the.dimensions, form and execu- tion of the new building and takes care in fixing certain poi- nts in such detail} that not merely the dimensins of the sepa- rate rooms and the kinds of materials to be used, as well as to be intellisible or itself, and are exactly fixed, but sven the thickness of the walls and the degree of reduction in the © upper stories, the forms of the different architectural memb- ers, and even the arrangement of the privies with their seats and openings for removal are prescribed. One recognizes with increasing interest from the detailed statements, how the buil- ding was the matter lying close to the kins’s heart, and can follow the progress of the work step by step. Sometimes it is said in general expressions, that this or that part in the statement shall be executed “in the best” or“according to the best judgment of the master”, or“as it pelongs”. But as a rule the wishes of the king are stated in detail and exactly. Bor example it is said of the external piers, that they shall be “ornamented by capitals in good fashion”. Of the wall piers it says; “which will be furnished with counter pillars bear- ing base and capital, architrave, friezs, cornice and pediment, aS it requires”. 7 The construction begins (fis. 41) at the south side of the . oval court A by the removal of the lod portal, instead of whi- ch is to be erectsd a new one (the present“solden portal”),in @ square pavilion 8B, whose dimensions are accurately given. The number of rooms required and the thickness of the walls a are fixed, but on the other hand the heights of the rooms and the width of the portal hall are felt freely to the judsment of the architect; “that will be done for the best”. fikewise the two smaller pavilions, which enclose the longer one are accuratsly designated with the dormers. The view that du Cerc- eau gives of this side agrees perfectly with the description. Quly the portico of four columns, that wes to rise before the pavilion in three stories, in ths two first stories with hor- izontal sntablatures, in the uppermost with depressed -.arches, was not constructed. Toward the court side should then be built 1 2 winding stairway of 10 ft. diameter in the angle between the pavilion and the part adjoining it at the east. Also the portal of this stairway is exactly prescribed; it is that represented i, ae ‘ pm be ; i“, | ia Gat ’ : f Vey aie Le ica \ or y N Sy. 2 y i NP Mei ee “wo 00 ates © exe Aicd pipe ads fot ene Ta > “o t Bits ovi toate met eS oF 8 as ealfew b fi 8 . ‘ed itede 1 gait Bedosbtar .2isdmends ge gondd oft tit y~tat ete dedi | eo ested ad iP, ed of alls Som ed of ai tern For ore eB ww o> Bar et Be ee getbate ‘nocd oved Lis vo: ond wen Yd AOR ) eByseriete Voss eloztoinse 4m vetatx B Bae oneel sh wash ee nente. dae gady et asia esi us an ry Ps ~ an Hie es > ia ~ Ww a) N27 aS 4s 4 fy Bo { mee 1 PA oat eh ancdotia. ow? esac re wtege . nese prebas ‘vino aso en : iu ands ,doemszners a ey awnsee oS) to Beds oe ae 839 in Fig, 38 as still existing. Beside the great stairs shall be arranged a smaller one for the privies. Both are seen on our plan. Then the defective parts of the old walls are to be torn down and new are to be built. between the portal pavilion and the keep C of the old castle (the old great tower) shall be erected two “apartments for suests”’with two chambers, wardrobes and a hall in sach story. Then are to be rebuilt the three ap- artments D, #, F, at that side of the old tower, that are int- ended for the rssidence of the royal children, with halls, chan- bers and wardrobes in three stories. The outer walls to be re- tained, but improved. At the end of this residence is to be er- ected a pavilion H about 24 ft. square, like the first near the portal and like the old tower. Further four winding stairs are required in the court, that however could not all have been executed, or were soon thereafter partly suppressed by new bu buildings, since du cerceau does not show so many stairsays. Furthermore shall be built near the old tower a semicircle corbelled out on projecting stones (see the plan) and a windew ing stairway, that leads down outside to the garden. We learn that the living room of the queen lay in this part. Likewise from the rooms of the king must a stairway lead into the garden. Then is required a terrace on four columns in order to mask the entrance into the hall of the garden and the dwelling of the princes. This is doubtless that stately vestibule H in two stories, a portion of which we have given in Fig. 87. . However the most interesting part of the plan is that porti- on designated as the “Sreat apartments for suests”, which must contain a sreat hall below for the suard, above for balls. The dimensinas fixed for it, 84 by 40 £t., actually asree with the dimensions of the hall L now known as the “Sallery of Henry II”. (Fis, 38). From this hall must a winding stairway lead down to the garden, and beside it is to be left a space 36 ft. wide for the arrangement of a chapel K. It was now required between this place effta chapel and the portal pavilion to have a “series of apartments for guests’with four service rooms, two kitchens a and a robing room for the sacristy, then we can only understand that originally was intended a different arrangement, than what the plan now shows. In any case the chapel of 8. Saturnin was undertaken later, for the keystone of the vault of its choir a om ; a4 oa gi betelques eew Segedo od Ke “aonts yd qnead * Boe mcoslle dant TE Gate Iee8l etonat? sebss : e eft nt dsdt uodase ef stenne m Boivouggesth 2 at ‘poem een .8d a8 a {eyou! oft faotxy itty ne soafsq edt te te bee tan0d oft a0 he =< Nod thee wh neat ton tebro Babin ott nite tinev o “Liat fo: csr ‘40 Of (o70dt ome #8 ts od. ed: ‘Seow neboor pat ETB eat ee | me we - ~* Sa OMB fot 4 ti, 7 biang f yr ee we Wee NY ~~ etal yous w dead aegte pomaics sme nad ae “minosace ea noean” seteze t to tod: ins odd ed ton a edt ri ybaseir veh agar ni os B dovenl 3 gO drawn by Pfnor indicates that the chapel was completed in 1545 under Francis [Serlio speaks fully of the ballroom and indeed in a disapproving manner. He states that in the second court of the palace on which extend the royal apartments, was arr- angesd a lossia, which at one side looks on the court and at the other on a srceat sarden. At one side of it are the printe- igiapariments, at the other is a chapel. He continues, “this logsia is so arranged that it has five arches 12 ft. wide and the piers are 6 ft. thick, but I cannot say to what order this - apchitecture belongs?.He further tells, that for 30 ft. width of the room and a heisht of 16 ft., it was desired to vault it, and was already commenced with the corbels, when a man of infi- uence and with more judsment than the mason came there, he or- dered the corbels to be removed and a wooden csiling to be ar- ranged. He adds,“but I was then present in the pay of the high- minded king Francis, aithough not in the teast consulted, I m made a design how I should have erected the logsi.” And now he Sives his design in plan, elevation and section, and a view of this severe and nobly treated Dorte portico with piers and gr- eat arched windows, which at once shows the sreat difference in treatment by an Italian architect and the works that were executed at Fontainebleau. As already stated, it is thereby ' ineontestably proved, that only a French architect, one that bat superficially made the antique forms his own, without knowing their systematic use as this had become common after 1500 in Italy, who could have designed the buildings in quest— ion. Who made the sketches we never find; as constructing mas- ter wa learn to recosnize Giltés: le Breton,“mason, stonecut- tsr, living at Paris”. Indsed he need not be the author of the design. After Aug. 1, 1527, this Gilles is already in the old abbsy of the wathurins, which Francis purchased in Order to set him into his works, as well as to engage him on the service dwellings of the outer (lower) court aidithe porters lodge. Also on Feb. 18, 1534, he received paynents for buildings in those parts] With him exclusively was a bargain made on the basis of the extended programme of the buildings in 1528. We only have to add, that also the great sallery of francis I at Mis mentioned in this programme. For it} is required 2 lénsth of 192 ft. and a width of 18 ft. It is decided to extend from — ; on Lhe oR * Th ane et Hepa s obkvorg of Soa vedds eae od kewol fio eat fal shots esints¥ edd fo Leqeio ost enelidecd phe iat ede02 ac? adnorsaege”: weit co fedsew well tp Oder od VEEL b edt base gan00 enol odd: seericd” net Bae faclliveg ont dood idowe bese wescieq™ ea exssqqa cifse2 «*yadde odd 3c se f hay gevisoes bn fb! (NS sonH go gerd “go4d) odd et#oy 963 20% saonyed. tad edt nett afoasize fokt eds ai esoiten gninieset ci? Wpottanooeb Lectetnt edd ateodts ftaq dsoxg nt etnnesos 7 |) “oqoue® of -Lleooe asi Satwoe oved ov fogstea ei sobnslds - ) fos Ratt ec. to etacmisegs cit oF ofeles seo! .enkt ete sted “peteb tassaoyr! se6e. ods esteedame od yi mogsicty .6 6G .*eoovde to adeow bos emiot” GSEL seste eed 6SCh totis cetwedxti ,S6cr af edaow coonta ni ober ped Ts siz at beddow oiw“eneshow Sellen” .mtiie® «Wh bea Beemencastegs Si} sageoneo ylicido si {aiency nl .tonod Bic , ese sisducg nobiog odd ee {fen}es .meenp bao.gnhi saz ee: th sl etoaste to wrellsk edz at beusen Petits malke Come | d \ ) 8 Bae .eeeteid edt Ynidetorot of betend eier nem aud - a 20 Beaiange 2 dtin. soilisbes Sithkaas a8 etdlem etddok A e a t sobnelgece@tes [1s sebiser. susededs edt to. lstxog edd a ee Sidgsnegetint osdt eysnia [iide edt shiissl gon a oe ebare2sm .NSCL (NI) .hoh no ybaorlé .ace dddoset: ests nohotx fis yloque of pxoxele wuss eiee eeniweh.ewis (enoedminoes® 22 [f45 ba ed tdu sited Ob bevieoes od eciveh bos cinzs dose Tea, Yee bey fesugit & to acitvadacnetge: t)ebsel «0 yl! = 2e abe ae dose 207 tt | ate OS gedothda. tne eleqade nt .“adassdotees tadéo bs a b.yldeoo bebaciad cate nodt gatceto a tasotitozen itt Wmodises 80 SRA inhi godd Saome hafthosi aoddae ip bag ae | "Soeved ent Hb lo elsow euotemen add habits iain ed .o2 i2oy oa, ath care BP O1ed Savor Sign teat .ontiatss hae orpdgiose sackoe bo eetseiiads edd of beosle yino son TE etonnts »,corieto peweeedoisg bed od dati .etostde eldtam enoitse seslden oa Gpisae sedic to ates escoid edaa oF exehre svey cala Bed? endT .202 e360 of ese cheoiterts9 alebea eeadm .fAtew + aga seis. teun dofidu),semid letoveo Soneitses 2t socios. te , Rolev™ us neaivasoe «, nosed. aa pemidamoe etaucgoe ed: at bt, : 4 . . ‘ % A J d ry Fant ‘a Mi j f \ : . 4 : ris . ‘ \s i > 1G ’ a vAbs an i a {i ve ' Te 4 ety ,? baer ii vy reer ; ne © COPE SE TEE, CER E YR Onn ane Ce PT RD I, re A ee ee Soe ee a ee ee ee ee ‘ Ry ee MN licens 91 the old tower to the abbey and to provide a chapel at its end. a Thi. is doubtless the chapel of the Trinity at N. In the years’ 15387 to 1540 Gilles worked on the “apartments for suests and the pavilion? and then “between the lower cousté and the clois- ter of the abbey”. Serlio appears as “painter and architect of the king” first on Dec. 27, 1541, and receives 4090 livres as payment for the year. The remaining notices in the rich extracts from the bnuildins accounts in great part concern the internal decoration, whose Splendor is stated to have sought its equal in Europe at that time. Most relate to the apartments of the king and queen. On- ly to emphasize the most important dates, there are mentioned after 1533 “terms and works of stucco”. D. d. Miniato.was en- daded in stucco works in 1534, likewise after 1533 Primaticcio and N. Bellin, “called Modesne”, who worked in the room of the old tower. In general it chiefly concerns the apartments of t the king and queen, as well as the golden portal. About the game time Rosso worked in the gallery of Francis I. At the same time men were busied in furnishing the chateau, and G. della Robbia makes an enameled medallion with a sarland of fruits for the portal of the chateau. pesides all this splendor there was not lacking the skill always then indispensable in painted gl- | ass. Already on Aug. 17, 1527, wastmade a contract with J. Chas- b- tellau, glazer, to supply all window glass for the chateau, b both white as well as “escutahsons, arms, devices and other painted glass?.for cach arms and device he received 40 francs, for each smaller or larger representation of a fisure, “tales and other enrichments”, in chapels and churches 20 frances. To the magnificent furnishing then also belonged costly tapestries and leather hangings, among them beins“skins of leather from ths Levant”. Finally are yet to be mentioned the numerous works of indep- endent sculpture and painting, that were brought here for dec- ovation. francis I not only placed in the galleries of Fontai- nebleau antique marble objects, that he had purchased, but he also gave orders to make bronze casts of other antique marble — works, whose models Primaticcio was to care for. Thus the cast of Laokoon is mentioned several times, which must then appear in the accounts, sometimes as Thacon,” sometimes as “Vulcan”, sqaye dnayete “* ras afew oi tools: 3% 084 wwt sletaog os Bebsotni cele ios edd yesrosd tl edtate of bed ded ati pay sols “Late at in Ifeod of Iebos edt bra BE eizon scr ry er a er eh ho et me ’ Dae ahi FREE = eat LES VERO {ih > 4 o 4 iy .etewod oni ade 0s singeoet of na c* 92 indeed once with“Cleon”. Likewise was the figure of the Tiber executed in bronze, and B. Cellini cast his elegant nymph for the tympanum of the portal. Furthermore Primaticcio made a mod- el for a female figure in pronze, that was also intended for 2 portal. But also a copper Valcan occurs, thah had to strike the hours on the great clock of the chatesgu. B. Cellini incid- sntally made a new design for the main portal and the model for a colossal fountain for the court of the chateau, we know from his biography. pinally elso the oil paintings for the wardrobe doors in the cabinet of the kins may be considered, with which Bagnacavello was entrusted, as well as the water- color sketchas of the 12 apostles, that should serve es models for the enameler of simoges. The extreme richness of the works, as well as the great number of foreign and native artists of all kinds, who are found there for several decades, sive an astonishing picture of an activity, such as then could scarce- ly be found even in Italy, as extensive the abundance of desi- gns connected tosether. It is only a fault, that the character of this art is already essentially that of a mannerisn. a 296. Chateau of S. Germain-en-Laye. Again we learn to recognize the architecture of Prancis Ion another side in a chateau, which the king began to erect at the same tims as so many others. This is the chateau of 5. Ger- main-en-Laye, 18 miles from Paris in a fine and commanding lo- cation rising high above the bank of the Seine. Already in the ‘ earliest middle ages it was an important fortress on account its situation, #hich dominated the course of the Seine. Sev- al kings then resided there, and S. Louis built a castle cha- pel that still exists. Later the inglish seized the place, shat was burnt by them before the battle of Coucy. Charles V resto- red the castle, and there is still seen at the outer Isft angle a square tower, which dates from his time. later the castle rt rather fell into ruin, until Prancis I, who had eslebrassachis marriage with queen Claude thers, subjected it to a thorough rebuilding. However he retained the old foundations, the chapel of the 18 th century (C in Fis. 42) and the corner tower of % the front sides, and substantially save the chateau the form t thas still exists, with the exception of the towers, that Louis XIV transformed into pavilions. We learn to recognize the elder ofw 4¢ oanellts ohne a ‘08 20 ae og + fer ee te s rs wy ee) ie ae Vv « c a oo” fiw 1 iaier > ale SR ae Ee Sel ee ee ee > Yer ‘g y hy r R CBRE TES! TRS AE Gt RR a Hy Re Ree ec vee a te i ? ie Nv ey aha iM , Ay 93 P, Chambiges, who is designated as architect of ‘the city of Pa- ris: after him appeared G. Guillaume, who was also-his succes- gor in the city office, and who withtthe master mason J. pans- lois was required to proceed according to the plans of the fi- rst master. Among ‘the chateaus of this time is S. Germain that one (Pig. 42), which most bears the character of the massive and warlike, and without the great works of the two upper stories it would nake a sloomy impression like a fortress. Surrounded by moats B, it rises as an irregular pentagon, whose sides all join ¢a- ch other at an acute or an ‘obtuse angle, to sive the same shape to the included court D. The exterior first rises in two subor- | dinate storiss opened by small windows above the surrounding ‘/ moats. Thess parts still belong to the middle ages. The main entrance lies at the west side atid was permitted by a drawbri- dée. Another bridge led to the northeast angle of the extend-- ed gardens and parks. Before the main entranci extends 2.court surrounded on three sides by farm buildings. At the outer ang- les of the western wing are placed round stairway towers. Three other winding stairways lie in the court, two of them in the ansies of the western wing as entrances to the great hall there, #25 £b. long and 35 St. wide, a third in the northeast angle. Besides these several smaller winding stairs are placed in the south wing, while at about the middle of the north wing rises 2 convenient principal stairway & with a straisht flight. The building is in four stories, of which the two lower have less height, but the two upper are stately in arrangement. The part erected under Francis I (fig. 43) shows an original treat— ment, in which the ornamental element strikingly recedss bef- ore the severe earnestness of the construction. Bold buttresses extend up to the roof, where they terminate with pedestals cr- onned by vases, that are connected by open balustrades. In the second and fourth stories these buttresses are connected. by round arches, so that two enormous and deep recesses are prod- uced in the wall, within which the two tiers of windows of the corresponding stairs are placed. The windows all exhibit round arches, are sometimes coupled in pairs and have an enclosure by Doric pilasters, to which is added in the principal story a simple antique gable. The principal story is also furnished wita Tae ay ne ee. Si a a or a %) ~~ ee f ; ] / ae a B awoboin | esoted pkasixs <2 ¥5 ofgue cals aptocd Hous 168 aie esem [fi v Der ers NE Be ot ee! 4 Oe fr 4 oe © ‘err ¢ sf ee ee Ot re i} + Y o3Gi "Swidi 2s 5 os . co 94 with an open balustrade tHat extends before the windows as a parapet. The same severe pilaster architecture is also employed in the subdivision of the stairway towers, and still more sim- ple are the pilasters connected by little arches, which subdi- vide the surfaces of the buttresses. The earnestness of this architecture is further increased, because the principal memb- ars are constructed of ashlars, ths tympanums of the arches and even the buttresses in the upper stories are of brick. This building differs so Sreatly by its almost gloomy sever- ity from the festal gayety, the decorative splendor of the oth- er chateaus of this time, it has just as hish importance in structural respects. It turns in an impressive manner to vault- ed construction, that in the lower stories, the stairways and the corridors and vestibule connected therewith is executed in entirely mediaeval fashion with strong ribs and elegant keysto- nes: but most original in the entire upper story, whose vault is indeed the earliest example of this kind in the north, bears directly the stone roof of the building. Thus exceptionally ev- ery kind of wooden roof is rejected, and by stone slabs laid in series on each other is formed a slightly inclined terrace, enclosed by balustrades at both sides. The more strange is the effect of the numerous chimney caps of indesd modsrate height, that r&se above the terraces. Since du Yerceau states, that the king was so very interested in the building, that he must ind- eed be designated as its support, then,\must ons perhaps attrib- ute to him personally this arrangement opposed to the differsnt customs of his country. + the east of the chateau Henry II later began the terrace Still famous for its noble view over the Seine; furthermore a psculiar building“in form of a theatre’, as du cerceau says, whose plan exhibits a square with angles cut off, and with fouf semicircles on the different sides, the whole beings an open ft room intended for theatrical performances or sames, that was enclosed in a rectangle by a number of covered side hooms. 27. ba Muette chateau. Besides these five great chatcaus, which in a prominent way maks known the architectural tendency of Francis I, the king erected a number of mostly smaller chateaus, which are likewise characteristic of the art and customs of the time. We deseribe cs a) Pees. Ste e y re J ve F haa: SOT ot5 SoM Bd ‘ate . ‘edad georct edt ‘at : $lind « eg Suk £ i |e i abate Pasotrse Se A ye ARM eZ oy es >” hea ee 95 only the more important,and commence with ha iustte.oThSekings caused this Little huntins box to be built in the forest of S. Germain nine miles from the chateau, and named it La Muette, du Cerceau says,*because it was quiet, retired and surrounded by the forest”. As archited is named the elder P. CGhambiges, as at S. Germain, the contract dates from March 22, 1541. Thus it was built to afford the king and some of his intimate foik- overs a quist shelter and a place for rest after the enjoyment of the hunt. The buildings was built on a smaller scale accord- ing to the same prosSramme as chateau Madrid. (fis. 44). With- out a court, it presents a nearly square central building fron which project at its four corners pavilions like towers, whils at the middle of the rear side is attached a chapel with polyg- onal termination, on the front side psins a staircase with a like polygonal endins. The middle buildings is divided lensgthw- ise and contains at one side a hall with two fireplaces and. two windows, at the other side bsing two spacious separate living rooms connected with the hall; in each angle pavilion liss also a livins room with separate wardrobe and privy. A vather more accurats analysis of the plan will show what care was taken to satisfy the same reauiremsnts, similarly as in chateau Madrid. Above a basemeat that contained the service rooms and kitchen, rose she building ia three principal stories. The entrance was reached by means of a littlis bridge over the moat also existing hers, and was in the stair hall. Thenee one passed by a moderately wide doorway into a little vestibule, and by means of an oblique doorway into the great hall. .The hall has a direct ccnnsction with the two adjacent livins rooms, with the chapel and with the little cabinst and privies placed in the oblique walls of the outer corners. It is further in c connection with two galleries Like balconies. The latter lead to Little winding stairs, that are again connectsd with the corner rooms. These are also repeated in the two angle pavili- ons and are so arranged as in Chateau Madrid, that cach has its owl) wardrobe, cabinet and stairs. All rooms and wardrobes are furnished with fireplaces and are sufficiently lighted. Thus the living rooms are also in independent connection with the stairs and galleries, with the hall and even with cach other, © ut if necassary can also be ssparated from cach other. Only Oo de i wos rec ban t * e * : hes * gular projection of the cabinets and wardrobes into “a a La m2 eo a > dao ag a, 3 oom ae eo 1m" sr wt ob am 4 enoas oer awe ~ o — ad bee Sel aa - a ~ ‘ Da OR any ey woe a Se « GIF ~ reo oe | 4 MLalsS a “nerner vw * F ad 4 he i 5 ” hol ae oh Ne ob % “ef ‘a Bey + ~ Qj ae os he fis zor ol = if ot is oF yd- beyotac fone BO: Mad ~~ ig . 1 OF OO ore rr re Gasite eg¢ eu ae u 3 © enhcisay - 96 the rectangular projection of the cabinets and wardrobes into the cornet rooms cannot be regarded as a sutéessful solution. The little galleries with their winding stairs had the greater importance for cuommunication, since the central building only consisted of three stories, while the pavilions had six, that were now connected together by the winding stairs and by the galleries with the middie hall. 4 similar connection is. also found at the middle buildings of Chambord, where two little sto- ries occur for each man story. But also by the principal sta- irgay tising with double flights, the separate stories of the main building and the pavilions are connected tosether. In what concerns the construction of the external slevations, thess show great similarity to those of chateau 5. Germain, and therefore du Cercsau justly says; “touching the edifice, it is made according to,and entirely as that of S. Germain, i.é., ail the external ornaments are of bricks”. The chateau was indeed built of bricks in its mass, with thick walls and boldly proj- ecting buttresses, that were connected by arches as at S. Ger- main. In the depths of these ewclosing arches lay the windows, and on the arches also rested the galleries. This extremely massive constructiou was thereby rsquired, that as at 3. Germn- ain and also hers the upper story was vaulted and bore a flat terrace roof covered by stone slabs, from which was enjoyed a charming view around over the forests. Later instead of this, P. de l’Orme built 2a semicircular roof, that terminated with a platfora. 7 28. Chateau Chaivaux. Entirely the same simple and severe architecture like S. Ger- Main and La Muctte was also shown by the chateau Chalvaux, only destroyed in our esntury (1840); brick construction with boldly projecting piers, the windows sunk in the openings of the arch- es between the piers, also being somewhat monotonously snclosed by a system of plain pilasters. hike those two chateaus this was the work of the (leéder P. Chambiges. eke Chalvau lies between fontaineblean, montereau and Nemours. Francis I caused the building of the chateau, as du Cerceau says, because in the neighboring forest were numerous Stags. He later save it to the duchess d’Etampes. Que to 2 similar p parposc as ba Muette, it exhibits an allied plan (Fis. 457.7 Tt cela: ta ace a ae 2 27s d rae xt TT 8 peg DS A a) er ee ered Ore Bebe os & OR RI no re ie ee ae ee Tip Ste Sie DELI eans Penorwy & se oe row ¢ vor ws om ee OF - rw Bi! Hee Rim in 9 Sw ew ew oe rar por Soe iepr wes bw "wo 1s » haw =o ‘he bi 7 1 ad VR iy ) a Gar alicia Sa ee ei AA a) Cie Or oA AN " Lal hve 1 he ¥ vow ou ‘ 4 Pid hea Aaa Ys a Hi 9 af eas hs be ‘ie mac tion ANS Pues ES a 97 It consists of a rectangular middle building’without a cour$ which is flanked by pavilions at the four corners. To the ent- rance leads a polygonal flisht of steps, above which rises the pse of the chapel lying in the upper story. This is a mediae-— ie idea, that ac frequently found in 2 similar way, for exan- ple at chateau Martainville (Fis. 23). Through a broad portal ons passes into a vestibule from which a principal stairway 1 lsads to the upper story, beside which at each side are formed narrow corridors, that lead to the apartments of the lower sto- © ry. They end in the depth of the building in a transverse pas- sase receiving its light at cach end and separatins the front part of the building from its rear. In front are placed two stately and nearly square rooms at each side of the stairway. Bach has its entrance from the corridor, its fireplaces, a con- necting doorway in the dividing wall, and a window at the side opening on a gallery, to which is added a window in the facade for the front room. The part of the middie buildins lyins beh- ind on the contrary is divided into a large hall and a room connected therewith, which has its access only from the hall, and thus ig to be resarded as a separately reserved cabinet. The hall has its access from the transverse passags, is warmed by two fireplaces, and receives its light by three windows in the rear and one at the sides, openins on the gallery. These side galleries rested on arches with plainly treated | piers, and served to connect ithe apartments lying in the angle J pavliions with the middle building, particularly the hall. Hach © _of these apartments had & principal room and a side chamber, h fireplaces, then a wardrobs, privy, and a separate access by a winding sisirs. Thus the same programme was comple= i. that we recogniged in all new buildings erected by Francis I ga Chambord, Madrid, and La Mustte, as a common basis; a mid- | dle hall for society; about £t being grouped ayd connected with — it 2 larger or smaller number of independent lodgings, each m made so indspendent by its own winding stairs, that its occup- ant could go and come unséen. The principal stairway that connected the elevated rowed Ss story with the two upper storiss led in one flight without rest or landing in the entire height of 22 ft. of the ground story to the upper story. This stairway must have been rather tiring © ¢ o Q oO i i be =g tet ct * ibeiarshte 5 aedaf datvenc en? e otteiv o¢ swom ~ Ci [ im oy e we etn of ae aqno1e “Bebsetxe (=n0% afin aa | Bfo bse xiest? Syblamren bas ted ‘noc on " S8@r .8t ives en 2b brabeul «08! ee! HO “den | celp e ~ aE catia Shad acl dad se pata To enh = Fok .no%: ‘eau Se Pe * . ,? ¢ ue om et ee J he eh OPT ee blades 4 an ams 98 to ascend, like the somewhat later constructed prinpipal stair- — ay of the Louvre, that is well known to visitors of the gall- ery of paintings. Of the architecture of the exterior (Fis. 46) is only to be said, that in the mass it is of bricks, ths structures members being of stons, making an extremely plain impression. Gharact- eristic were the windows lying in deep arched recesses. As in S. Sermain and Lea Muette, the upper story was vaulted, and as there bore a terrace roof covered by stone slabs. Only above the lhapel, characterized by its great arched windows divided by tracery, rose 2 high roof, that was crowned by a lantern. For the side facades the impression was determined by the open arched porticos of the galleries repeated in two stories, 29. Chateau Villers-Coterets,. Tf La Muette and Chalvan may be compared to S. Sermain in ¢ construction and even in the compact and closely énclosed plan, then chateau Villers- Coterets in its broad and extended sroup-— ing around several counts presents some relationship with fon- tainebleau. Excepting that here, where little of the old was to be retained, and ths architect proceeded more freely and more systematically, could be comparsd symmetry and normalcy. From the decree of Francis I on June 18, 1532, we know that en, besides the buildings of Fontainebleau, Madrid, as well as S. Sermain and the Louvre, building was also carried on at Villers-coterets. It was even expressly emphasized, that there as at S. Germain should be made a fountain and supply. pikewise like most of the chateaus of the hunt-lovins kids owed its ori- q gin to an adjacent forest; it lay on the roed from Paris to 5 Soissons, 18 miles from theilast city and close to the forest of Rets. As architects are named J. and G. le Breton until 1550, whose brother Gilles ws learned to know in Fontainebleau. Later when the building was completed under Heary II, and particular- ly a great pavilion was added,to the west side, we find R. Vaul- — tier and G. Agasse are mentioned. About the middle of the 18 th — century the chateau was greatly chansed by the duke of Orleans, 7 and it was strongly devastated in the Revolation. Not it serves — as a “prison for vagrants”. 4 The building belongs to those in which is represented the mod— arn form of princely conntry seat, without moat or drawbridges, wi ; oe His vetnomels. ie vesl »wertoBEsoos > ¢ eRot te ow tee Fi ee And %, { - wile Ha Ss rrr let om we’ “4 75% of) oe ere of ob = ew Se Boe qe 3h w é] oe 6 £3 ew > had oak ey tebe ake zs oh ; |e Ht SEES Tn EST ame ag ee A) ae > | i Me ow re, 99 towers and the other mediaeval clements, in brisf it appears without the traditional accessoriss. Aven the stairways no longer are in projecting towers as windins stairs, but rise straight after the model of the Florentine, yet are more mod- estly placed in the angles of the court. The latter has projec- ting columnar arcades on three sides for connecting the rooms. One enters through &@ plain round-arched portal, above which rises 2 balcony on consoles, in the outer (lower) court which is surrounded on three sides by one story service dwellings. Columnar porticos, to whose elevated floors lead some flights of steps at certain intervals, surround tis lons court, that measures 120 ft. in width with 2 lensth of 300 ft. In the main axis one then passes to a sscond sateway in the transverse bu- ildins, that separates the outer from the inner court. This structures contains the older parts of the chateau, which Fran- cis I restored and built. The forms here are naturally richer, and the building shows above the ground story, that it has in common with the. buildings of the cuter court, an upper storm, that is built as entirely the nobler part. Pilasters are Doric below end gorinthian above and divide the wall surfaces. In the middle opens the portal with a depressed arch, that leads into the second court’ above it is a logsia with a balcony: o over this on the frieze are the lilies aad the royal initial. Tas high roof has its separate story and on its gaple prises bell tower with a slender spire. | According to this example iscthe architecture of the living rooms of the master, that surround the inner court if the chat— sau, except being in a rather plainer treatment, Before the § sround story #& both ends and at the longer side at risht of the entrance lie columnar porticos, like those of ithe outer court being surrounded by architraves, and as thers directly i) ft. and serves for playing batbl. Notiiag further in the internal distribution is remarkable, than with a series of larger and smaller rooms are arranged beside each other in one lins, partly detached by narrow corr— idors and connected with the stairways, whose arransement was previously stated. “esides the principal stairways, these are however aided by some winding stairs in little round towers at ‘as rn * | Fi . r 4 44 i ¥ eienos £: Sissil [etsys bea sushiss ott to wetv ia - @ wm) « ot on a noe e p pe) ee + Qr tees we de te Se So be Saisse? eu t i - . . ~ 8 Hewota .stade na ~ ae | « RHE Sto Pk: oi ae 100 the angles, and also several little round towers are placed | elsewhsre outside to afford a view of the gardens and park. — For the chateau was surrounded on all sides by extensive beds } of flowers, gardens with alleys anc shrubbery, ind finalsy by a park also intersected by alleys. Stairs lead directly from the rooms at several sides. Thus the whole may be regarded as a model of a simple, but comfortable and tasteful prominent country seat of the time. 80. Chateau Folembray, called the Pavilion. Like the building last mentioned, the chateau Folembray also bears the stamp of a simple and clear modern arrangement with- out mediaeval reminiscences. At most the five winding stairs with their polygonal towers, that are distributed in the court, recall the old native customs. The entrance with a round arch and enclosed by pilasters in tae antique fashion lay in a pav- ilion A, that was flanked by four round towers. From thence one passed into an outer court of irregular plan, that conta= | ined a hall for playing ball besides other structures. Then not continuing alons the longitudinal axis as usual, but turning ~ to the left, one passed at B into the sreat inner court C, that ~ had the unusual length of 24. ft. and 140 ft. in width. Without arcades, yet arranged on all sides in stately form, surrounded by well connected living rooms in two stories with an attic s story. The windows were high aith double crossbars, showed a simple architecture, but the dormers had gables like the anti- que. It is the sams spirit of dignified simplicity and plain — clarity, which characterizes this attractive rural residence, like that of chateau Villers-Coterets. With especial preferences was treated the longitudinal side lying next the sarden. Accom- panied by a terrace in its entire extent, from which steps led : down into the garden, it contained a flight of steps and dirsct— | ly cornected halls and smaller rooms, no less than ten ir all, further connected with the other stories by three windings sta- irways. But the greatest charm was obtained by the plan through the beautiful gardens and parks, that surrounded the chateau to a considerable extent. | This chateau likewise owed its or#gin to Francis I. Two and one fourth miles north of Coucy and located in a plain, it ser- vad the king as an alternative residence, when the walls of that ee ee a ee a Tie ) sh root tas p sibbte ENE adds sass ay 2 gene op mers "aay {tyto emt nk tosnd yaad Realy ni guint Qed brtéired odd do xeiv ovidongessq eanihiind. siden 645 is ios exitce grand fortress of the middle ages became too oppress Partly burnt in the civil war of 1544, du ferceau perspective view of the building half lying in rains entire ruin of the opposite building, » / ‘ 7 i f 4 5 , | Ais> Sa 'y rt 4 5 ae es tk a“ ely oat 3 awe fw ‘Bid BE od: Baia. te eo eee tt ee be Se nwo HW as > stip ie “4 wt ed a tence c anh tlle ate + aay 4 oVI Pte ie tedqete 3 me wy om Vv a i sa00D 102 a Chapter IV. The Renaissance under francis I. B. Country seats of the nobility. Shateau Nantouillet. The example of such an art-loving king rapidly had a determ- ining effect on all that were eminent and adhered to the court. Still at about the end of the 1m th century the nobles built their residences entirely in the Gothic style, and. ¢ven a man like L. de la Tremouille, who sufficiently knew Italy, found the old native style of architectures sufficient for his fine dwelling in Paris. Even in the first decade of the 16 th cent- urn we saw @ connoisseur and friend of art like cardinal Ambo- ise erect a buildin, in which Gothic tendencies still strongiy predominated. But after the accession of francis I to the gov- ernment, the Renaissance also penetrated sradually to the coun- try seats of the nobles, and we can also clearly follow here the course of development of the architecture. But it is char- acteristic, that the main points of the feudal castle were more retained in these buildings than in most royal chateaus. Of less importance compared with the power of the crown, the nob-— ility henceforth is an indep oon. slement in the life of the state, and it appears that the more misht its members maintain the appearance of the pets castle by the surroundings moat and the massive corner towers. It was indeed only a mask behind w | which the care for convenicuce, say ornament, and comfortable i enjoyment of life no less made itself felt. } We commence with 2 now little known chateau in spite of its nearness to Paris, whose excellent publication we owe to Sauv- assot. It is the chateau Nantouillet not far from Meaux, the splendid country seat of cardinal Du Prat, who from a low con- dition rose to be a chancellor of Francis I, and later even s rose to become a papal legate. It appears that the buildings w was begun about 1519; on a window of the ground stéry is read the year 1521. The chateau, today reduced to a neglected con- dition and Leased as a farm court, not only bears in its ent- iro arrangement the stamp of a fendal noble family, but also exhibits in its details a strong mixture of Gothic elements with the ornamental forms of the Renaissance. A moat is now filled and planted with shrubbery, but surr- sounded the hish enclosing wall, that forms a rectangle ofabout gensoo ano? edd ek | “+ rection eted &: on i om & 240" + mp ehgre oh e a ha ol ah Ut Bees. povren oo ca er BPE * an 43% 02 S iianeadhl gi . 4 P&S Vile Glee 2s ae ry 4 bad Heb tech ral a! = . roth iy eee 103 260 ft. wide by 2380 ft. deep. At the four corners are placed toundztowers about 32 ft. diameter,entirely accordins to the mediaeval style. At the rear adjoins a garden lawn, that the former noat enclosed. Also at its two outer angles were erect- ed two smaller round towers like pavilions. The entrance to the court of the chateau does aot lie in the akis, as one might expect, but at the right corner of the front side, closely fl- anked by the round tower thers, entirely according to the old tulss for defense and threatening the right side of those ent-— ering, as in the plans of that time still had reference to the strong repulse of an attack. The portal consists of a great ‘pound-arched gateway, beside which is arranged 2 narrow. doorway for persons on foot in the traditional fashion. Here.at once appears to the syes the wonderful mixture of both architectural Styles; the lower story exhibits exclusively the forms of the Renaissance, enclosing pilasters of heavy proportions with el- egant capitals and other ornamental decorations; ths upper sto- ry, on which are noticed the great slots for the chains of the drawbeidse, has three elegant niches for statues crowned by. canopies, between which and over the entrance a much bisher and richer niche with a statue of a seated Jupiter --- a suit— able ppahectine saint for an ecclesiastical princs of that time. Thess niches with their hish perforated canopies are Gothic in conception, but the mediasval idea is expressed in ths most or- namental Renaissance forms. If one enters the court, he passes between the later farm b buildings to the nucleus of the old plan. The chateau consists of aja ahaa wing, which contains the entrance and the stair- , adjoining the enclosing wall at the rear; also two side ar the one at the left containing a beautifully treated stairs for the servants. At the two outer corners ars asain placed round tomers, that however measure only 9 ft. in the clear. As bays for the corner rooms, they afford a view into the gardens. The one lying at the right further contains ina low ground story the bath cabinet of the cardinal, which tas. pressent occupiers call the “prison”. A winding stair is visi- ble externally and leads to his living apartments. The most interesting part of the buildins is the stairway. Placed in the axis of the principal wing, it presents for France | ‘4 Du. Bebonos Giir eS on hii dae WA 2 a 4 She * Bhat ste bik atin, he eq! pi) ee teste ost biaca else pda: ‘ Babtess act ges {hiss leuthaas + & gates ‘oa + 104 | one of the earliest and perhaps even the first example of a stairway with straight flight, arranged within the interior of the building; while most stairways of French chateaus of the time are placed in projectins towers, as we have seen. The entrance to the court forms a low portal with rounded lintel flanked by Fothic rounds and hollows, but ornamented by dslicately executed Renaissance arabesques. But at the same time a double ramp stairway at the opposite side of the sarden leads to a second portal, that is covered by & portico on slen- der columns composed-in the style of the middle ages. These c columns (fis. 48) support a little polygonal chapel of the cha- teau, that z= so frequently in France is built out over the p portal on columns. A corridor lies under the second flight of the steirs and leads from this sarden portal to the stairway. This is a masterpiece of elegant architecture} covered by vari- ously composed Gothic star and net vaults, it shows in the free- ly suspended perforated keystones, the rich tracery shat exte- nds around the ribs, and finally in the consoles and elegant Renaissance niches of the wall piers hre entire ornamental mas- nificence of this epoch. Here may also be seen the daring motto of the ambitious cardinal; “Never struck”. The chapel with its vesica windows is small, but is so connected with the stairs by a tasteful wooden lattice door, that if necessary this could serve the attendants of the master of the chateau for hearings . the mass. The masgnificentcy carved chair of the cardinal still exists. Nothing more of the internal treatment is visible than the rich fireplace in the bkall of the sround story, that lies at she BefS of the court entrance beside the stairway. The salan- ander of Francis I is found in several places, and as a further — evidence of the date of the origin of the attractive building. — Also the elegant tapsstry patterns are conceived, that in the form of stars, lilies and the like animate the wall surfaces by varied desisas. They are cut on the stones in flat sinkings. Worthy of consideration is finally, that the entire building possesses no visible attic story. 1. Pa 82. Chateau Chenonceaux. . Tn contrast to the works before described, the chateau Chen- a onceaux presents the view of a completely preserved monument 4 > . 5 OE ee fork tei ta CS ‘ence “garetind So evel bddFtorenie dasld Ye “Tae Sevts sdt escuoe egbied « ne tiied aielS wedeca bre B Yo guebeetnt Leionsntt yueivo® tf yd “Leh ceste slind var f ni d¢esh etd ts etteq Isqioatg ext tt Botelgaoo bas ,yboes fared ode Steelig te metex A ee! ewobair T8i xugpororen$ “ : e i - —— ee 4 an Fh ee ¢ wl USADYE ~~ & Ad hod we ee be eoor? veh eat mu vg eine’ 8S ie. We oo Set se dhe Gy oe | ota i’ sea 103 odd poke taf tega ao] weeteds bs Be Fe ws YY Oe 8 i622 yilenps Bronce Snre2 34 Sakwedii) .sresapd-nadoh geniag ti 3 Si didiess« enokvelooiioan bas ednemeiisa aa kin 107 combination of the mediaéval plan and the modern treatment is visible. The moat with its drawbridge defended by towers, the four round towers at the corners, to which are added also two that cccur at the end of the garden, belons to the fendal cas— tle of the middle ages; but the subdivision of the interns} space shows us the customs of a new time. Instead of serving for defense, the towers contain in each story a spacious chan- ber with wardrobes, and open externally by sreat Windows with crossbars. Bbikewise the stairways are no longer arransed as winding stairs in projectins stattcases, but are included wi- thin the building.Abso the stately arcades at the entrance side, the regular plan of the court, that forms a square of 150 ft., and the magnificent sallery 140 ft. long and 24 ft. wide, which occupied the right wins, is of the nen time. From the Renaiss— ance also dates the entire decoration by the system of pilast- ers in two stories, and the richly crowned dormer windows, wh- ich recall the fanciful forms of Blois and of Chenonceaux. Amons the rich ornamentation that distinguished the chateau, were emphasized in the 17 th century still the splendid marble busts. In du Cerceau and accordingly in our representation is seen at the middle of the court a slender youthful form on a column. There remains no doubt, that this figure was that of the entirely vanished bronze ,avid of Michelangelo, which at the order of the Signoria of Florence was originally cast for P. de Rohan, marshal de Gie, and that his successor F. Robertet in the favor of the king received and established in the court ef his chateau of Bury. The travelers and description in the in the court of the chateau of Bury, that was brousht from Rome and was very highly esteemed by connoisseurs. But already in the engravings of I. Sylvestre is to be seen a fountain instead of the David. Probably the David was also removed te chatean Onzain, where it then vanished withiut a trace. 34. Chateau Le Verser. In like manner as at Bury, nucdiacval traditions connected with the ideas of buildins in the new ipoch dominate thse desi- gn of the equally grand chateau Le Versger in Anjou, the former residence of prince Rohan-Guemense. Likewise here round towers with crowning battlements and machicolations flank the angles * : ri ‘ ) 17 th century expressly mentioned a “bronze image of king David? a On: eg {Sai hin ‘eat bivereis' tens asain saz ay rt onta sade ~setesm edd to soneblee: sat te zelene edd te a yiesom fon PES fom A wtunoo sapnt ssleynzt0071 2 veh ) dane Leasosxe edt betsasqee cafe tad .nealq esitee odt | Daciatisers Bus salognatoss edi gi. ing eTegozq naotesio edd e xsd youchnet ed3 Soeesagxe eased et aelg ads to jnamosnes Ke GOwesh A .consautenct edt div berets test .Wwisslorey jeee, | yBtenod Bonot ond ys hexanal? eonsisne feqtonisa siz ot ess ees. we} ent sedssini aoongnyt bos dows havo gesss 2 dtiw tedd mn Spome Pacoee of2 ysertnes esd (nC stows Ledguuiss espiins se to Bee “4 aeeees eovib .tertt edt eiil sixes aism odd no snixl const | ‘WW mosess ones} ‘odd. ot Bnthsocos hae ,tanco. segan edt 02 | wantocd yoizen 2 dtiw dors begssiqeh & yd betsyoo soneiiae tos don ek etedd celA .soct no ategsseneq s0T Zi ebteed ee naiatecupe odd dtiw asin bedota stinovat ost oved a fgco yd bodaalt aoklived Biod s te stakenco antawor edd ila ene Go etewt0b oA? .etomt0h asic yd bedeintt bas etenaes ft veetol [aveeibem tasnimohexg tidigze {lide gnibiied 3% Ste th gra etias enoiiibaat lancitaa + e730 cs , a eit eoiliveansieY uscted’] .té : fe 2k sooge Seihtenas3 eidt Yo sovoacscéso desat sase sit. ° me | eeageis-scen, sliiverns72¥ festedo ots Yn eoismer edd yd | pi Oisants O08. 20, eioccrocm beivesisict 220m sit of ekocled 6 dtizon eid 20% eyomat ,yio iseft to tenxe-gide a ond id howrso ta Yo evel etd tot west ton ,wobsvev 2ée goof ‘Bed ed sadte ~Nedoe3s ed of tees yituseo sneoit ingen R bevsE0 yidolit « déiw-eapod sid ileedi scqsid at titsdes ’ pees ftediotns bas evicoes biuoo ed SS8i snodé € mee & ’ é q Ditauas of 199 it is to be regarded not as an arcade but more as an open los- Sia. The columns by their dry proportions and the capitals re- call Gothic architecture; on the other hand the arches exhibit antique mouldings and lozense coffers, mixed with Gothic blind tracery. In the ground story is seen little round-arched windows, en- closed b: pilasters, entablatures and gables after the style of the Renaissance. On the contrary the windows of the princi- pal story have straisht lintels, crossbars and an enclosure by Roman pilasters, a frieze with medallion heads alternately en- closed in lozenge panels or by round garlands of laurel, extends between the two stories. Just as in Nantouillet also is reject-— ed here the arrangement of an attic. The greatest splendor of the ornamentation is developed on the flight of steps, whose end walis are entirely covered by precious arabesques, pilast-— ers with gracefal ornaments and medallions in relief. 36. Chateau of Chantilly. In his description of the abbey of the Thelemites Rabelais calis this imasinary creation “mors magnificent that Bonnivet, Chambord or even Chantilly”. To his time thus belonged the lat- ter chateau eamons those most estcensd, that men knew in Prance. The location of the chateau (Fis. 52) year Senlis on a branch of the Oiss, had given opportunity for an extensive basin of water, which not merely by the usual moat, but further enclos— country road by means of a ions bridge A over one of these broad rivers that surrounded the whole, one passed into the rectansular court B surrounded by service buildings, which was connected by the hall C with the garden lawn D. Like a longs ex- tende. island lie there both of these connected parts. As a second island surrounded in the same manner by water, there rises the master’s residence, that is srouped around a trians- ‘glar court. Thus we find here, withont question required by the nature of the site, an entirely irregular plan decordius to the style of the middle ages. The fendal impression is merely strengthened thereby, that not only the angles rise th- ee round towers with crowning battlements, machicolations and high roofs, but that nearly in the middle of the two sides of the triangle projects a semicircular tower like a.bastion, and aft eau ames oat ‘bas? 36 ebis bakdd 2 Ae beatendase ce! m ef e798 i ‘ebbhiadwash i29d%9 \pueetecc weit va ) ged? gleviedstaat cane tatonetetio Fd * sabenct oot & 10 hs atl cHeteaoowenns Sei ‘eae te gnomevsg sis oveds .ti Of Jvode-. aeeks oa egese ess yd ti sozl Sneose etatessd? tage edt ar tuo -o7ed 2h we Baihrooe <"aellso et0@ Debse -yed ebson? Tac ) bas t5532 2 gd OCS tuod 20 Feort exivce Sah jasbe Bi aviensixe ‘eno! $s bee Bofons ech #A¢e Pawe we We ke se ' Cl 6? wea 4 we ald ome eam Ded me dn ee Da Na em ee me ay a eee Vee 110 two similar bulwarks at the third side defend the entrance over the external drawb&idge M. Here is also emphasized the feudal character mors impressively than on any other chateau, of the time. The Sntiré innercchetean stands on a rock founda- tion, whose level rises about 10 ft. above the pavement of the outer court. One must therefore ascend from it by the steps B to the bridge F, that leads to the residence of the master. Likewise one passes from this by a second flight of-steps down into the lower garden. Finally beneath the entire residence of the noble extend vaulted cellars of great area, cut in the rock in two stories, an arrangement that accordins to du Gerc- eau “is rather to be compared to a Labyrinth than a cellar”. But the ground plan did not end thereby. It extended more considerably at two sides» then from the principal facade bey- ond the bridge J flanked by towers, one passes to a great and also elevated terrace, which in a rectangle of about 800 by 500 ft. enclosed by walls, extended salons the entire front of the chateau. Brom this one then comes to the broad parks with their magnificent alleys and groups of trees. But at the oppo- Site side, if one went from the gardens D by a bridge across the outer moat, he cams to & still more extensive garden, that formed a square of about 35. ft., and was enclosed at ons sides by an elevated open loggia. Beside this garden was placed the irregular and spacious farm court with its extensive structures, SO that this chateau posséssed no Iisss than three courts. Let us now return to the inner chateau to sxamine its arran- gsnent. The main front forms the longer side of the triangle. Hers one passes throush the entrance J ofctpyins. thesmiddle, and protected by towsrs, into the master’s apartments, that according to the custom of the time consists of a series of larger and smaller rooms. From the court G a stately flight of steps K in two ramps leads to the elevated ground story, and from thence to a stairway, which in a straight flight to the first landing and a rectangular turn there reaches the upper story. In spite of the strong mediaeval reminiscences the des- ign of the stairway is entirely modern, and in the entire chait- 4 eau occurs no more important stairway. The other side of the 4 building adjoins ths principal building at a right angle and has a great hall L, to which a separate flisht of stsps leads § ii Pe Lars tha) sh a ' Afereeae? | yr 1s 3 lt Sa SS ge 7 Bk a aa iF Oo 8 ¢ etentbuedve a i: hesictbs si aka, yenate eda wor. | dik tinids aT 8 $igcaiat edt te signe tsingatsi bee tani saz heeoisan uitasa | @aniblind- 202 yitaag vine et suncesteayd 40 gaobnotes M02) 4SNe0d s gtootosg doide mort. .flew foltidact a yd 1 parce ead Saiblicd SdsUSgoS & && opti erel .cpbiad buoos > mohelog dtix pmk fotdw , Saib! tod tenav edd % Caepsetenes i beseseea sar ded TEdwoset .consottinner yisntbanetty “siereg shaiweasl e*geeor1ed wh as pay eoheloot dexli edt .bedeisas eee nines e*setesa sid. ,ssge0 a3 to bas sabhars 26 ‘samen Jaesh edt ie ede Beccicmue cit betetcosh Joed weds dokde yx Magnasd ston Fi ebam tad bas acu Yds \f1ex0xnH08 XC Bog edd ictal cane eaeiotng yd. Hiehoiwees VIEL eeoy sdé nt as Gow. 25250h 42. ITIX elec. Io sessegess esd Ye coin oe segesoo sioner? Gl ic e¢iaisiog adt atin yreliad seoud eosi ent slid has . aisdd eved gciblind Lag > tedanc ed? .zon0d ae, Bibises. on e*gago7ed (etsy yeas Vobiw. ot? “dd 8 sd Ob taeda. te iiss ane baa seacal Po gtix be ie Goan Teweds feeb 2 ct notliveg cae ebfe sd. dsiw, betosanco encc: | td Bazolone shiet fosevisize zo Ifex es ¥ y on aaiod: S57) 2o soctyoug ec? Jo: eresteno TOAte b. to clasasse . LS done ei gonssel ‘an ole = wt we a a oo aly a: erutyin edt fereseten fanoitan edt iim eyswiiscs ‘Ratdostouq: , P Poataroto doit. dtiw steo ¢ ecient Sapttne otesses Bote Bi 1) ee riety + 116 were connected by the great gallery D and an arcade C lying be- fore it opening to the court by arches on fiers. Above an upper Story aithclarge windows divided by cross bars and enclosed by pilasters, tises a roof story, whose windows on the connecting | building and on one pavilion,exhibit the ornamental and sport- | ive crowning of the sarly Renaissance, while those on the other 7 parts are simply terminated by the antique Sables. Two wings A, G, at right angles enclose two sides of the inner court B, one but halfway. A great irregular outer court with farm buildings extends before one longer side of the building, as at Bury. The modern tendency of the entire design is evidenced by the completes absence of mediaeval slements. Yo vestige of a moat with its drawbridse or of the favorite corner tower is. to be seen. Likewise the main stairway is placed in the. buildings and indesd it has two flights, one beside the sallery, the other next the principal pavilion. To the elevated ground story of the latter further leads ea broad flight of steps in two runs. Only the service dwellings, that surround the lower part of t i the court separated from the principal building have their : Windins.stairs in a projecting octagonal tower. The number of the master’s apartments was small in du Cerceau’s time; besid- es ths gallery about 70 ft. long and 18 ft. wide, they were 1 limited in the principal wing to a hall of about 40 b: 24 ft. with sids room and wardrobs, connected with a larger and smal- ler room, in the other pavilion te a sreat chamber with wardr— obe and two smaller rooms connected with the side stairs and the gallery. A great and well cultivated Sarden, enclosed by two long opan alleys with the corner pavilions, as.#ell as a wide park with magnificent trees and alleys surround the ‘building. 49. Other chateaus of the province of the Loire. The buildings so far considered contain the clements of Pre- nch plans of the chateaus of the carly Renaissance in sdeh rich diversity, that we must callect a gréat number of the smaller chateaus of that time in a brief survey. The common clements aiss here regain during the sntire epoch the mixture of Gothic forms with those of the Renaissance, the national preference for towers, angular projections, projecting stairways with winding stairs, and for steep roofs with rich crowning gagles. With these elements are connected certain antique forms brousht P GAMIEe tii” fi iy A ‘ ‘GAL, Wael, @ ar a A Nae ae os aos, Sees fou to! Swat sonnet evelseogaug bre evies. ‘tess ai eiatt 1o8} ac. guado expessesoig sd? wat wood of Bonaeel ybserle svad vedd Gtie bevoonnce seeighaourteys ei eftow Intsossy Sistil eeent o fesase woisen ef3 ol .egabbascrins lens akedt to vetogaaso ) bene santoodidoss ciest ,esit¢io Io etoslg salpkenii ond. ne nleplaa He an hosalg ease yedt to tene! ; | epitgneselh b gned vi I So > > ms ws ~ AF) ' a . seit ~~ ne ig + wd $ * os sapahee SgaesSre2.e Rie a Ret Bi. peovine fsctelen a jade vids Jididxs Dueebte-ef-yess is SLBBLo eds nt tev Dyad.8t cts nt betealagoo | pepiscel eid ad acdonte Pibes. Stenod dvin bebacicsve hes mee Gideraqnconi 10 .emccidens ail an docde i faet0q Sotw nasiaio 13. | enatence bas goteek si ofdto Pawolt tose Sta scbet soage | ROTO. yllaisedes Bas .ooel alecensd drece bse sities d BE isuee set. Y vee ) a | je efesis ead. yd -2 | ole ei ponseetenss ok edd Gi | : t exeas01 edt. P Wei weotedopose oatve ee: segsdgeorD déinx svobsin i meh yd GEGI saods sliudes’ te ee ~0660°2¢6 veetans g feigoresio ,etencts senico bapot evga pci Gtin bos eleasg ile edd jot etend dé Predenss t¢ paettade oft -eliede sala) ege exin ovr etnemels oidted arose ¢ Beiesasnen eh edoch ts aeatado. as eae sonesetenss -aved sand esstegiitq diim ceinadil ,ents¥ to. sostverdg ox | ‘ag09 odd to sebeors o#d af esdove apse dtivigdsowere ‘7 7 A y hae ? i i LiF from Italy, in that naive and purposeless manner in which we have already learned toe know them. The picturesque charm. of these little graceful works is intimately connected with the character of their rural surroundings. In the narrow strects, - on the irresular places of citics, their architecture sould not be good, at least of they were placed anywhere directly be- side the severely composed Florsntins palaces developed in mas- Sive forms and symmetrieal plans. But lonversely a palaces Str- ozzi or Rucellai would look jast as badly, if it were transfer- red to the banks of the Loire or of the Cher with direct surr- oundings of forest and msadow. Prench chatscaus haiveusaStamp of rural freedom, that can only develop in free nataral Surroundings. The buildings in the province of the Loire exhibit this char- acter in a particularly charming manner. Neer Azay-le-Rideau liss the chateau of Usse, begun about 1440 yet in the middle ages, then continued in 1485 and first copplsted in the 16 th century, a Gothic building with later changes in the Renaiss— ance style, excessively rich and overloaded with towers and hish roofs, that shoot up like mushrooms. Of incomparable spl- endor is the facade of the chapel of the chatean with portal and tall pointed window, still Gothic in design and construct- ion, but with luxuriant Renaissance decoration, that flows over the whole like a web of Brussels lace, and especially crowns the window, that scarcely finds its equal in grace and sportive pleasure. An elegant early Renaissance is also shown by the little cha- teau of Sansac near Loches from the year 1529, ths windows in the usual way flanked by s system of pilasters, the dormers in the roof with ornamental Sables. Likewise theichateau of Band- ifer with four round towers, windows with crossbars, fine pil- asters and rich roof story, yet rebuilt about 1558 by Henry II and in part restored. Further the chateau of bude, completed about 1535, with massive round corner towers, ornamental pilas— ters, medallions with busts in jithe wall pansls and with dormers that terminate in caps with shells. The chateau of Benshart, built about 1580, on whose dormers Gothic clements are. mixed with Renaissance forms. The chateau at Rocher de Mesanger in J the province of Maine, likewise with pilasters that have a c framework, with flat arches in the arcades of the courtand j us ? Yee Daa 3 ss te weetsdo das Aesles ‘ouds eve8 juseieeeh bonkoso eae Ines peods ee0neiat ent? eat yd nvons? bem (necved xus%) tw Bednoexs stew Ene T efonesy Yo smis edt mort ete5 asaag ‘dads So notfenbowq edd sab ota vi wortw oF wheal siceisas euuaw Ove ett asin gathlind feqtontsq sc? .yrostog sneottic | ent of $esit ekooled .eyenot Eooed Ane eeoifivag yo beical? eerere a sthoxe fntitesed end athistel, ads al vyuednso dx St Meggicoe yidoitz « slidw .1Y yined to osty ens west satak ffeni® .Tetonss? to Woege edd news ort aédeb eostgert? | dae sabailos Stdded Hbetainy 03% dtiw tanoo eat ot yselien er: i ewobolp odd diecnod eeclifetben eodeeeianss. eid dordw faea 20 doogs solisienesd edt mo1t scab fey ,Yer tatleoes a ot ie a ee eb paksive sisnscdtneg at exkivoy de nesdede etd wodtect osiceriaagl won ,6ohsota. fins duuoo bibaslou dtin .Ose!f tue ige bos etlovidows Sevise ion bag rae nares bebsaenece Saag .[fewdd be rastedo Ss! sta wOlagin aton Sreottiases to sosidesit 9 4idne eace (eonaloo: 20 dstads cincl fos ssste? ego REROND GAS Bi west Ieedrogqui .eevsel Yo ewes to stetrecc: fe BothLiod oiited vel sacth &) ,EvVaLI tuoda nuged .areveu tz | ange Was to cfhhin odd te yenriete basa og cede re- Medetarnt: Yirelioizasg hae ViLtAs st edt ab hee | W mbidoysed ee Bentebe ose dwoksik snes Paeeenoe de volgs to sinh odd to pestace A doi: BY Detacsenio ,inewokoeaie Levsa BES Sot ebarivers Son bas caelo tu MOS Dascs teouh ctiw ,OhEL tuoda bes ; Beis od bebsolzeve |, S£hiigi oat is soil tvas teeth f B bioteolig Vo fesoelt akeksin sai! too. tanxido atid Baa Recis phe odd seods zs bevieoe: buenas 2 neeteio. sit leo sa! dencitipgs Letaemente tedto hide yicte toot sinesiticsen yiiae SbeL dnods titid evar saogeh gost wet toh sustie® nosed B yacts toed H sechsin. hesvoode:..yvrntnes dé cr ody bf Hetslg FY Swoboin gaived oatwedtt ,Pouserianes Seve secde: © ol. } heistesp to sitod ots sensem ef weseteatig bas. engeow SGsGgi769) ,oisel yd ecivote sews oink hebivibdwge, o¢s ted | eas ete onlA wisox tehiee biloe nt etesesita etiaoy sed Jit hues Wolfel Llite etersoo ede ta SIAMCe, inves vr, blige ea i. Ve 118 richly crowned dormers. Here also belongs the chateau of Oiron (fleuax Sevres) made famous by ibs fine faience, whose earlier parts date from the time of francis I and were executed by the artistic lady, to whom is also due the production of that mag- nificent pottery. The principal building with its two wings, flanked by pavilions and round towers, belongs first to the 17 th century. In the interior the beautiful winding stairs dates from the time of Henry II, while a richly sculptured fireplace dates from even the spoch of Francis I. Finally the Sallery in the court with its twisted Gothic columns, with whick the Renaissancs mediallions beneath the windows contrast in a peculiar way, yet date from the transition epoch of Louis XII. Futther the chateau at youlins in pourbonnais orisinated ab- out 1580, with splendid court and arcades, now built up, Corin- thian pilasters and richly carved archivolts and spandrels. In the same province the chateau od Chareil, that possesses in t the interior a fireplace of magnificent work with ornamental arabesaue frieze and [onic shafts of columns, that entirely c consist of rows of leaves. Important then is the ducal chateau at Nevers, begun about 1475, a great lates Gothic building with an open polygonal stairway at the middle of the facade, resto- red in the 18 th century, and particularly furnished with a rich roof story, whose windows ars adorned by caryatids and v volutes. The old chateau of the duke of Anjou at Angers, built like s tower in mediaeval arransement, ornamented in rich and noble Renaissancs, but clear and not overloaded. The chateau of Valencay orisinated about 1540, with great round corner tow- ers, a great pavilion at the middle, overloaded by rich dormers and high chimney caps, ths windows flanked by pilasters as us-— ual. The chateau S. Armand received at about the same time its magnificent roof story and other ornamental additionsy The cha- teau Serrant not far fron Angers was built about 1545 and conm- pleted in the 17 th century, crected without a roof story and in a rather severe Renaissance, likewise having windows with crosses and pilasters. The masses are built of quarried stone, but are subdivided into three stories by Ionic, Gorinthian aud Composite pilasters in solid ashlar work. Also here the dry round towers at the corners still follow mediaeval desism. The md vy te i Ms | dg Of ‘Se 7 Lind : e eb pe eoreibea ic paasen eaT upe 6 itn dapoo etenpe » dbode bopaszza bag eisupe ,ytatnes | dofdy .asuse baeor beliedeco # bas semz0e enc ta asnot o1y pbemiotenes? ,eonshiees od to aobia ond bee dataog edd une weretenitg yd feacione ewebeix teord wd yastaco sd 81 end ® .bessc ad, thie ereihitod gente vary .cacieso eouneetenoe a. si | sf ce) je Baoltencrotenstd calinie feosetasqxe evsd wt hdeae | ‘eYhosarcl ci ansstedd . 9 sud to apaibstod nt dors ybnawxek af ecniniwic? of he a! Sinsype1t foe cowmoc' eed didi¢xa onfae yedT seonsentanes Alien edt xd ovodt Snivnadas) yuo .eotdekrotoetado Roget on dads sods jagsewenta gait Io eoneo ttinsam. guslauxal ote to feotne ofctoe stl edt To soastiuedai eAd od of ii aes mh eoseinegs; ic weotedo aid oman ef wyninecs edd io , div celg otenpe 2 no hegnetie yenie? tenod Ye tao Sites Gulecqst teow fas technet® edt to ene ab dT wecigas odd WRGR eneves yilenietxe .OLGI-CREL tuode dLind posts ont to 8 diiv gilansedal sIodaso fie edd of Reibocova “eessds0t . “ebn0d te eesoredc: si? .eebsows yd hebrnoiise, staves babe ae perenstsace armesesatasg ais desacv-ol~qeaiog 6 bor GO 3 pee ae eetemsob tasheie avin edoiid bas etalidas Sten aznoled achavisd io tinemtisash add al 6 Wigeigizc atod ,giseh-tirlstact to stadt baranosce,; aah wh Piledex.f05 sé 82 ede at bowodess soc Spinach fetnensnr0 yiesesize sii dtiz aossal foogueeutaneh pial yHeldee Ato Avon Sd ce Hedengiecd. ylingoan ei mi ees to T4E228" hedditabetteth S03 #2 =] 66 oh wont fis me ett ei Devteoes yinel-saisisot meao or exzetd: .6 3 sigeaglos ati yd do tae ,eeetova [aveaibam ade ot o pais deaecio ati ‘bas Bath kud tedt ead Jag ted of Anibecox: ea Onid Vedd Io kaikdéyseve beidsd eeves!l senod a wit one Qo sonst fellec-ce o43 to ened ef smae sot ssounsd ab Lyi @ (R0e0 wert tal Ica .Joaifod io tome ylaegors .acaish fn doidn seiswed, Davos ywogia ssin ogiesh tsvesibes to oni Jad: noifitshes excieups bas syoboltw cosaueianes siazhete— Me neve betaetenx0 zi yesostane edt zgv0 hetudisdetrh ylusiv qnotequoss-snieinc¥ sactedo odd osc? etnomelsied ond f sedevo? fanoy owt yd Hawnsit at. fedseg sosgele coun ft Rind atemtouttedas s2ose 8 ee besos jolie? tc ea 119 fhe chateau of Sedieres (Gorreze) is a building of the 15 th century, square and arranged about a square court with a squ- are tower at one corner and a corbelled round stwer, which fl- ank the portal and two sides of the residence, transformed in the 16 th century by sreat windows, enclosed by pilasters, into a Renaissance chateau. yany other buildings might be named, & that have experienced similar transformations. Ghateaus in Normandy. Next to Touraine is Normandy rich in buildings of the sarly Renaissance. They also exhibit the common and frequenlty ment- toned characteristics, only enhancing these by the still more luxuriant magnificence of the ornamentation, that we have seen to be the inheritance of the late Gothic school of architecture of the country. We name the chateau of jesnieres in the depart- ment of Lower Seins, arransed on a square plan with towers at the angles. It is one of the srandest and most imposing works of the time, built about 1540-1546, externally severe and like a fortress according to the old custom, internally with 4 char- ming court, surrounded by arcades. The chateaus of Conde at Yt- on and of Boissy-le-Chatel are picturesquely constructed of a ashlars and bricks with elegant dormers. In the department of Calvados belongs here the chateau of jassonand that of Fontaine-Henry, both originally of the 15 th century, but restored in the 16 th and rebuilt in the style of the Renaissance. Lasson with its exteemely ornamental decorat— ion is recently designated as the work of H. Sohier, whom we shall know in S. I[- as the distinguished master of. the choir of 3. Pierre in Caen: Fontaine-Henry received in 1537 an addi- tion to its mediaeval nucleus, which by its colossal roof far excesdins in heisht the other building and its colossal chimney like a tower leaves behind everything of that kind remaining in Prance. The same is trus of the so-called Manor of the Gen- darmes, properly Manor of Nollant, not far from Caen, a build- ins of mediaeval design with mighty round towers, which with slegant Renaissance windows and numerous medaillion busts reg- ularly distributed over ths surfaces, is ornamented even to the battlements. Then the chateau Hontaine-Btoupefour near Gaen, © whose elegant portel is flanked by two round towers. The Manor of Bello, erscted as a stone substructure in half timber with va ‘wera i," ge a ra a ‘7 ee Gat Sie sie: A if 3 fea ~ _ ay, 7 me J Af vy 4h , * ‘pation’ va ‘te Slide etue Yo asenp PR ee ei wedoted “termi ob aismis9 o6 20 wastedo edd nee? .ybaamro% of bestowed? * eodoiod Bae euslies Yo tlisd at xeeieid te60 4 “to neocads est hexisetoussdo ai yoorfoyiog snooitinzes.« ¥8 Slgiw .etenvco eit te etewot Bowot dtin sonen siqnie & ,yepecd ib sisiq: yiselimie 20 seonsieeqge expeeym#iotgq yiemeatxs as agin gaiblicd doind « .ereiifivniss to sseetado edt et in: Sesnemenze odd ot hednosxs olcds edt .eancde too to. osigest? s ai tchietai edd ol ,S88h-NOEL to nee nt easek? Mesedo Ayif venmuloo ewdelobseo alstil yd heecloso dgia ott (@asizazei est si sedi (edene} qeoieteedd to usstedo, ody | Bod yicse odd elieosr neivivibdse dois efi base coltetase Pah te sc0n. 6 ea Leaciivean:cd heckai tuum Eos need to pte dlivs vSilisteg-el-yivl te ssededo si} sed? {C8 .bi9) Pmt TT yanek sabes tilodes bra, ellen ett of boyorseeb. sud Ef edd et Qathliiad {ateoss1y tad efgnte A .elyéa ofa00 ane fessog bas ewobain ,gtecdsedD seen ellivsisnet to see 9 incl ud Enea een ese tadd ,evetealia bee dsatsed betel? ya setowod. baron odd ee i ie EHOHLfvowG Of8 ak esneotad> os F dos ei Aphabed absodde tac ead bes oppasd. of ofel ai ons } set _wiloogo yites: Beioisdc vids sox 120% fatcemanio doom hsdos | fio. ceedd, Whnamach to eeoiblind ood sad canines we 2861 “7 cp cechenail taeuteet? kaimiedo end ni sfeq or pe ee ef @ignat? to edaow or sag i tepcae edi io mbiss std nt Peyortech gazil esowrl te nestado edd andl’ “Rox ‘ghictsnes Biteq Ineseliih edd of atididxe: sqqtlidd eiced : 2849 oes. doide ceprted .pedows fsoid betnemenie ylino reer ten Belone yisois 2 shiesd (uleiclt obdded dtin etanimzss Llide ens ie obs tocds best: ak te2ex sat Yo SScl tedmun eg? .wobniv ; to .yssiod sectado Beteaihico SSeL caine nooe baa emit @ aoisd 2 Saied esar edd at lentamed [Lise gnin soo ylae @ e*godeiddore ens of taliala .enistieg ciavemesd ddinican Paitin dud elgete ei towndsens ef? (81° .bk%) ene? te con ~ g3ninc ‘Nod Gotuecofone Lepem. end even ewobaix six. .s0axz toe. “83 siitq avin Batecvt yiralimie at Latses ody. ,ateteeligq anger. to 6d ot amos’. soltednemeni0 snd. sided gaisnois \Bakbliad eldaxsihiuncn ytev s vilanikiao ese $I wtnewas » sBodade ae .koinismes ene ylac. seRadn ond one exoltiveg hy Ba. ° i) - | ‘ ay 1 et % vie an ~H ‘ hy an , i : ce ms 7 120 bricks, is an attractive example of this mode of construction favored in Normandy. Then the chateau Of S. Aermain de hivret near bisieux is built of ashlars and bricks. By & masnificent polychtony is characterized the chateau of Aussay, 2 simple manor with round towers at the corners, with an extremely picturesque appearance. Of similarly -plain design is the chateau of Bainvilliers, a brick building with pilasters of cut stone, ths whole executed in the ornamental forms of &. Pierre in qaen of 1527-1586. In the interfor is a fireplace 13 ft. high enclosed by little candelabra columns. High charm has the chateaa of Chantcloup (Manche) that in its luxuriant orna- mentation and its rich subdivision recalls the early buildings of Gaen, and mast indeed be mentioned as a work of H. Sohier. (Fig. 59). Then the chateau of Ivry-la-Bataille, built in 1537, but destroyed to the walls and rebuilt under Henry II im severe Doric style. A simple but graceful buildins is the little chat- eau of Tourlaville near Gherboursg, windows and portel flanked by fluted Corinthian pilasters, that are replaced by Ionic on the round. towers. 42. Chateaus in the provinces. Aliso in Isle de France and the neighboring domains is to be noted much ornamental work from this charming carly epoch. Less luxuriant than the baildings of Normandy, these chateaus participats in the charming treatment, which became general — by ths epoch-making works of Francis I. Thus the chateau at Sarcus first destroyed in the reign of Louis Philippe sxhibits in the different parts remaining mas- nificently ornamented broad arches, between which the piers still terminate with Gothic finials, besides a richly enclosed window. The number 1523 of the year tsetsad. About the same time and soon after 1527 originated chateau Anizzy, of which only one wing still remains, in the mass being a brick stract- urecwith ssometric patterns, similar to the archbishop’s pal- ace at Sens (iis. 16). The treatment is simple but with perf- ect space, the windows have the usual enclosures by Corinthian pilasters, the portal is similarly treated with pilasters and crowning gable, the ornamentation ssems to be of greater refi- nement. It was originally a very considerable buildins with pavilions and two wings, only one remaining, as stated. After ¥ (28 ho le a i J ie ena g to oretade eds scsdee ale at RAP rah Laren ent os Bedetatct Soe’ emiot 2k betemtce etcm teduence dhuodt re . sObED ak Besetiqoo :tsetlivag elszsil wel wedsteds' eit sew asgiesh taescoqut tac edz to end § syouetoatney eb enna x0t SStl iestse assed eicuebtel-ne MIO sinomges2 wet 2 ylac tue steelio€ .bexd betoene yitue 3 Bebasty: teat? edd ovorg of Sasfottios yiniasace .atanss - Dang foubsiv sees odt viaesimon Raoled seeds of .eitow odd /Henon 8 ee evisesn , seid .St' SEN pehiw .2d 82 Bae saol 19 Boteost yd Berebiod yeisviesoigxe tad ylntaigq eedorr ogi - s tye Bedesl? .entaret Letucg aiam bibnsige ont old saral vod Aeameaagdean heat ytols wequn eds tc ewobnin edt) .enuslco eeqeo bodowe déiw Scibae Eee toot edz cint votaico sid ybeotls eflodulafdé aa .S8el eroisd hotelgmoo saat ete'sa wytiect’? sTl yineh.to sais eit To tetsetado sat tantes ee Biiodiitwitads ~xoelve to acenam ent bencisaam od. cale et $20: potanige< Sf¢ astcothnt esiehto cerdt eddeal eretealia peoeigeitt® smccbaad « ci soivedni df nl .TI YiteH to ngies b ss00) ntindei-yeec® to sesdado oft bbs ew ybastao8 mogd ‘cama edd 02 earoisd [Lise eohegs esi isin davoo eeodn WRolSiyte eds ewes sheost Lagiontsg edd ofidn (2 ato i oiassise wae of fitte dad ,yaetnss it VL sds to Piss etd Se Woleivibdve edd 2k Intrewod .toontasut segnowtes ie ‘yewobabs edt ueelt sadd jesevesiig ngidinisod ydeo gash ectce ifs yd Betamins eis sosuan edt nods roe im Ghd) aco Jaseety I sionerth Io satt off. nest anttsh siivad fep wchaiw oftiil eft me.ee [fox 2a yiose Snsowk sat to $ feokisss sds to eedora beeustosh ods ysete adagqy edd etenod Coser nisl cols eb{ bee out eHJHOE sdf nt soestedd sep ead Hotdw .esa0ihliod odd ste sodmen ai hetiei! sacy inj So unoitests to aoives ont nticosig of aved roonivozd ero hicce 02 36 Botbariereian teucel s wore /ecait eobhigos ee.” at dead act sseenegnos ylenousoc? yodd ted samact eno! Pak teat ,econsotlinages evite1006h Iicids vd: danse p3 nt gobvedaesansc io evel ods mott essttip pechvsienal gi cela bee scisinof ol .esogtveig albbhim bar oer etesbor bas oteci led te ts etedaom Intnsoesidosa 6 & Gx70N Jeod edd co atnemsato squtit bas seapesdets wise £21 ene model of Anizzy is then treated the chateau of Marchais, thoush somewhat more animated in forms, and furnished with . little pavilions; copléeted in 1546. Ons of ths most important designs was the chateau of Fere- en-Tardenois begun after 1528 for Anne de Montmorency, appar- ently erected by J. Bullant. But only a few fragments of it romain, certainly sufficient to prove the former grandeur of the works. To these belons nominally the sreat viaduct 240 ft. longs and 18 ft. wide, 73.7 ft. high, massive as a Roman work, the arches plainly bat expressively bordered by faceted ash- lars. Also the splendid main portal remains, flanked by Doric columns, the windows of the upper story then extending above the cornice into the roof and ending with arched caps. Thess parts were completed before 1566, as théiwhole already shows rather the character of the time of Henry II. Finally should also be mentioned the manor of Bulenux, that with its plain pilasters in the three orders indicates the besinnins of the reign of Henry II. In the interior is a handsome fireplace. F From Burgundy we ad@ the chateau of Bussy-Rabutin (Cote 4’Or), whoss court with its aréades still belongs to the time of Fran- cis I, while the principal facade shows the style of the first ~~ haif of the 17 th century, but still in a very suitable though | stronger treatment. powerful is the subdivision of the surfac- & es by Corinthian pilasters, that flank the windows, and betw- een them the masses ars animated by all sorts of niches. The parts dating from the time of Francis I present on the arcades of the ground story as well as on the little window sallery of the upper story the depressed arches of the sarliest time. At the angles rise plain round towers. | 43. Ghateaus in the South. More limited in number are the buildings, which the southern provinces have to places in the seriss of creations of this tins. Besides these show 3 lesser understandings of the world of ant- igue forms. But they frequently compensate for that in a cert- ain sénse by their decorative magnificence, that in.principle essentially differs from the love of ornamentation in the nor- thern and middle provinces. In Touraine and also in Normandy the architectural members ars of delicate and modest form, and the arabesques and fisure ornamentr on the best works ars treated —— oe a eS ee a ee _— >) ee a eva 8er td af brulshosses ie +d ylse tend of Rieusainel lastest at Deven: yiemenize eft boosbowg ei exe atesd Yo wecudets Hebsol + ee n1eddnce end af rrr eas ie We heat saeot ) exaead: efantd tate 08 ybseris dob B fsifer blod 2 11 .coas7% >t lg ail soph emis qonebreds e ovis el eit} .dtixersds Sestoennoo st Se s¥tenou0o adi Yo efusapaoa 1 neues edi lee sidd to eelguitze toeoit Iga bas eonsizoxo! ot ,05 aff ,(encd Bpeat ent nO .conas? [fe sk teodois 9 eretie! fsofensis al tsdt bk eal oe Sgonoties edt ,etodsun supling < : pete Seid od? esteoibst sexi sacahibed tiogdi sedan yoa Min paee Cbd suiwisddo Sad .yindeso do OL edt Yo efhiin end Bi: ieseb eid to xobnsfgs svivwos edt ynotétecg: Gated edd of yvlesitns lfite ai tnemento ertin: M8 eadoin ert seat eid? 2! rapa ale die ; bi ade esisota tedgr fn spi betsey edd ed o essesii eiemet i To seanbistdue wees vedse eadwed edt 07% Belfirte pupt a. wrote sii of hosin 7" 0 B ,B9tmwsit sitéift + ed not {fetes ecdd-st | nq et to seloenos sc eotetoovEldd dt ve PMotiin .eginzi tc encodest dite i202 xtote Bavews ea3 tavoesi0 .cizvte sdt Bt: aN edt ywilisivotiasq Bas Bisnoosee: wesiiedd Ens eaarico Sstrlt ite ee eVIuinso “te Gl: ens Yo eh & fea Sf Sqeooe nso ono es 2! iat qactitecgqmoo. edd to: Siiiicie sb) PeBentss1s ect to sonainexnt gnlaswequevo '* : ) . » mt | . ‘ oma 20 Seetedo yidbin std ekbacted cele acdd: ovek lisp s ni fetvonyes Poe begnetse dgecdiie {emelpobnd ts90N im fined feomiorste eae "te tesa fardecons ener eh etetssiasc. g¢esdet al us 122 in graceful refinement, so that only b: the frequently over- loaded richness of their use is produced the extremely magnif- icent impression, On the contrary in the southern monuments t the architectural members were formed with that luxuriant en ergy teeming with life, which already SO strikinsly appears on the antique monuments of southern France. If a bold relief dec- oration is connected therewith, this is also a tendency already exhibited by the Roman monuments of the country. One of the most magnificent extmples of this tendency is the chatcsau of Usson (Puy de Dome), Fig. 60, in luxuriance and spl- endor indeed one cf the richest in all France. On the feequent- ly preserved inscription tablets, that in classical letters c contain passages from the antique authors, the cartouche work ateéady makes itself noticeable, that indicates the time of ab-— out the middle of the 16 th century. But otherwise the tolera- bly loose composition, the sportive splendor of thse detail forms, the entire ornament is still entirely in the character of the early time. Particularly is this true of the niches ar- ranged above e@ch other in the sround and upper stories with their fancifully decorated consoles and the varied diversity of their little candelabra columns. The female figures ofthe virtues placed in them betray a rather heavy awkwardness of t the executing artists. Dirsct antique studiss from the Roman works of southern Brance ars recosniged in the showy -acanthus scrolls intermixed with Senii and other littie figures, abund- antly distributed everywhere, as well as in the medallion heads of the ground story, Bhé boldccornica on consoles of the prin- cipal story, and the Senii with festoons of fruits, which as’ an open frieze crown the attic. Moreover the ground story has suffersd considerably, and particularly the enclosure of the portal with the stiff fluted columns and the leen festoons of fruits belongings to a restoration of the 18 th century, as it appears. The entire work, so little as one can accept it as a high artistic effort on account of the composition, is still interesting by the overpowering luxuriance of the treatment of the details. \ Hers then also belonss the mishty chateau of La Rochefoucald near Angouleme, slthough arranged and executed in a quite dif- ferent character. As the ancsstral seat of the famous family of th ‘a thee) ear Sits iy -toen ‘at date Baas. e1zcp. Laat ont a ane wih yirtelnuos teem edd to asig ec to tnemegacadis sit cainedid .anc gnideleses .etenos banoy gninotseids edt 2: . est Rninisines tewosy sic eer gen, bus nistess #08 Ifed edt yd betsoibal ylles gteixe yhsouls at emit gisee eft of n° .s neki fevesiben a Slide _atedt & betelqnoo sew (ESE! eit } ion uth #008 sd yd i etoaast sefon betsoexs con ‘po 28 ark asin dake hinée Sdsz ; ee ec0s seve dey ,erodaliw of: evods ee Eee ® edd s aobanoo at Sad abe ta inwo- ) -fatacnzase dfin befourtenco ewobnin seatoh ok ted wd ritado eat io fabie sit ON tn al es) ,enokzevele evisgszoqe vi pdin goiveta: ets ni ytollay taooitiakem edt 80 .eicl? to see “ah *9i8 at weiv s eves : tiuevbeddia hagoleveb yitol- ) wreteslic to megeya é ‘yo Beeelons vilapreixe ei 7 Jseizode seudt of eebace | ppompotiiazes bee spohas pia’ at sentawoss. acic yiis edt ofat beoteleasss cis Deaténer gon Cela ei excdt be donté ge apiseint ed tem gi 1i ae send wides fae yisois x! selucisrze' f gin yet edi 30 acivoensco edd mots ca 3 te supe des By gdisy to te Bites Nesette.. 6 et sesar ‘SH tte Gb .yisicce ag er odd ci heyotise? .cocent? meget 28 a6 iis seste siekxe ti .noltizloves = enode bes supuszetoiq yiterr chen gi 2 oe 7) dein Jineo stesps Fseth e OSHL zLeey fF tes i ee 4 en102 Keodato ait .shie ono ta Raitostor to sit “ og Buoled Pata setsak d3n00 Lentodat edd) fe 123 that name, its origin @xtends back even into the middle ages, as particularly shown by the mishty square keep with its mach- icolations. Likewise the arrangement of the plan of the great 3 main building with the threatening round towers, consistius of two wings, eastern and southern, one tower containing the . Chapel, which is already externally indicated by the tall Goth- ic windows, is still a mediaeval idea. Sut in the early time of the reign of francis I (about 1528) was completed 2 thor- ough rebuilding, that was executed under Francis II by ba Roch- efoucald and his wife, Anna de Polignac. fo this time belongs particularly the facade representsd in Fis. 61, as well es the Wing adjacent at the left at a right angic, which with its sys- tem of enclosing pilasters at the windows, yet even more by the splendid growning cornice and the gallery extending above it, as well as the dormer windows constructed with ornamental— ly sportive slevations, clearly betrays the model of the chat- eau of Blois. Of the magnificent gallery in the interior with its richly developsd ribbed,vaults, we gave a view in Fis. 18. This gallery is externally enclosed by a system of pilasters, extends east and south on the court facades in thres stories, and has not its equal in France in grandeur and magnificence. Above it is terminated by a fancifully rich crowning, in which Gothic tracery gables and finials are translated into the lan- gee of the Renaissance. Indeed there is also not wanting a stately windings stairway, even if it must be inferior to those of Chambord anf of i fa Particularly richly and nobly treated re the portals, which form the connection of the sallery with he adjacent rooms (Fig. 18). The principal work in Languedoc is the stately chataay of Assier. Instead of an sarlier castles, one tower of which was retained, it was built by G. de Genouilhac, who already under Charles VIII was with him in Italy, and under Francis I comm- anded the artillery at the battle of Pavia, and later was for long minister of finance. Destroyed in the 18 th century, 40 years before the Revolution, it exists after all as an import- ant ruin. The whole is made richly picturesque and shows on an engraving of the year 1680 a great square court with a rectang- ular wing projecting at one side. The chateau forms a square ‘of 168 £t.; the internal court facades belons to the time of Fran= fe eet, ae ee re) ct at Rp apy gt 4 pea. Kg ore ‘ Ai : 2 vo ie ri At A vy BS i a 1 : my : ° A ; " hy 4\7 Wy arr 7 , iz 1 bors, ai gant men hsceee edt $0. aah @ 8s fisv da T etonns fe em 3 hes sevele edt Bissggh eetxteds6 .towed bavot eviekew blo end ye a eck a a doege eras Yo bre edt Fe tnord (susetee ont to mn II yaaek to'oetd eds ot Lfet yhacrls cabed Be Yc sennss' ens ci bem} et rte naeoneei ou oc senanios netiicized yd beanelt ut fine dove fetigoorad engiloc: oinol to etebt6 one. yd bedne tt Leis fasta f ene on nese Gew toln.edg at ai cee thed eroivos sf Progqua deh’ Battice? eldcsq exe ekobein ou?) .T bionss? to evtaie oe ie waver Gi bessows wtaeq coldest Bie edd seste etadazgas ted ousiat ezine tpi oat nf sidgizene? .asok Iaotreslo 2m nr esiosnso yviei yd honrobs at vent ,ostesce teon ‘Syizece manta: Boe eoceron ge84 Biesoos esc cesd? Ifa of ehh pasno! etd ce bestentigms sve ow seat eee ve “O8 gan solved ywode eid? .teethlicd ovettpor eseds 9 > Bonen Efe sid cd enfe bebks BET $f axcle? ont otis fang ofesti ofc} yd bedosl? ere tvobrin semech set cee —" wednlev wd tninwesd & wore “wanes fae fetcensnce -Hnetale stem a args cane Serey Poltecup soewsiy vst ines ; i Sasi BHT syst ‘esino Saf te betanes oy: 8 eK shade Seiwestl .x oe | iB ucttercosk toi: roo RE toetegct tetoes 2 3 Pete 3b! notsenine ect ‘i aox4 idehtc ack —ersye {enisesy epos lewebnix edt ccoted. pisnse flaw ode 47 ene s dein enoiifatem nl exeseqns menos gi nsotey: exe Hott ni eese fos cas tdw= stone ya erorercnn sts abel soggy ef. 7 Baoitst Gbts ge casvsd & mis fsint en? bas ameiine RY Blode Sas Egehio sotates Fo: "te foteet? sore t29 ah wa? Shego typ ; “4 uoiditte sézel s ihe”? Ng ue nsi oanheite BI (Satg cht revo .e20ttcs Sibae fea -senmplod oiacl aniioetets yd besolone me Sand): ee a % Bs o a ae hy oe ft [ated TGGay Dus ene of gs f y sotves Sev dvecesd’ .oaste (nticost yllanenny os erates: a(snmen) end evel T* troftom Bogeeces ofd' Beod e3 19000) 124 Francis I ag well as a part of the exterior, that is edjoined by the old massive round tower. Otherwise appears the elevation. of the external front at the end of this epoch, if it does not already fall in the time of Henry II. The principal portal is formed in the manner of an antiane sriumphal arch and is flanked by Corinthian columns. Above op- ens a great niche flanked by two orders of Ionic columns, that Support an antique pediment. In the nich was seen the equestri- an statue of Francis I. The windows are partly furnished with crossbars after the old fashion, partly treated in severely classical form. Remarkable is the hish mixed frieze beneath the roof cornice, that is adorned by heavg consoles in Roman style. In all these forms appears that pompous and rather massive mag- nificence, that we have emphasized as the characteristic mark of these southern buildings. This showy cornice was so pleasing, that with the frieze it was added also to the old round corner tower. The dormer windows are flanked by Ionic pilasters and show a crowning by volutes. | Incomparably mors elegant, ornamental and richer are the co ligr without guest ed at the corners, tosge- g ikewise thsy wers flanked by phlasters that were scoration, and accor- ding to a favorite custom were connected together in a contin— uous vertical system. Hxtremely rich is the animation of all surfaces by reliefs. In the wall pancis between the windows a esn 12 busts of Roman emperors in medallions with sarlands; ss salamanders, smblems and arms in rich exscution- Bene- of the upper story are numerous nythnolosical @ termination forms a high friege like an . h are smblems and the initial of sant dentil cornice crowns the whole. the 3 ® great arch, flanked at each sids by three Corinthian columns, manifestly a later addition. The soffit shows splendid coffers. Over the portal is arranged a loggia, that is enclosed by projecting Tonic columns. The whole bears an unusually fanciful stamp. Beneath the devices of the omner is read the rspeated motto:- “I love one (woman) muck,” ordins t ther with the divisi + we © ry fete QQ A a et (lu ta om ei i ¢r ce Oo. a cr & is cr @ ty Lory te te (2s « Lie 2) Q eds ‘yyhaie tags, gee ht sanoe Bary ets 6! hide Ae “aobieed s(*enatict s¥o§ I") abuow gest ops edt to azen, “es, Sasi tf svol Taek” ~:e0tdvanattaos suosemnd &@ ce horot si iG QntbsSiod edd to votsedat ee? .(."gctantved edt at esx tt moses. ,se8esigesit Bitseles Bar eyertiste {otisaesd atid if ii soncesicned gistse tole cals ted bétiidens, seduoace & Se & wi (tod) e169 6G asom LatnoM: nsedads yd o¥vode. )asvetenos JI sbS6Ll etdied neve sliced Sus {lidis oo scott eG sbeialgnos seven een tad ,e2owod vd beionit ehore - idaeq:.ashsos. gusco edt bedsoexe 5998 cale evs dots pine bawory odd asowsed: seeks) Joifor sasoitinnas « atin | Pakaused Seed itn sodoia ye cidsion ns Liew es .epzicse| ment ofdsco ef seldsh gatawots s¢i wolfot)sesT .swotain pte ebsvos elesgall sdgisate edd sididxe egeniook bas exo T e@3eCGactio yc soleivit s bnfyed cele’ temee? edi aie i Peat .asoceméeute tosgtlo svad ylitaci ene en fke anisolon ff becscte oie eetacte seqgn bos sencl ed3 aceuted. adageség selettiac’ lensite ~eeppeedets yd hotsrcoeh eselai sete Ladetade' Sas Goeuied) nese esa yrove eonge! oct ot .eastd tibe Gus Gtedesiiq yo heeclons ets ted? .enolti{aber ni Ttogotg goed oelnon and dtix BAAEDIOGE at erreeganeraec Siolv eit fo roteesagut ed¢ c x Jey Sa Lena . n cremated bites. gavorilovan eu Jia satnemento tasgols. ¥d tone VOD 13 Rieovaktets dtiw aoalger tt doig & etickdze P Sidsdindes & oi sedte dose eveds eoiits out yo beawoss | veucivaxooeh dasselo. Bae wate yo Sotaemaoic yidois gtod ib Sodéax soll doidy ,¢1e Istonivoig o ef atts tedt nose e8G701 ed¢ Io Sntkastaseban bas esotges woud Bfonine eelitebined to pentsdo) eds sanofed onla 26k. Sgeaszect bea eXitaew. to Batolind) [saysethes:s vi lettondy Mob sttengost QWansaco dx SL: edt ai tsvewod sotny of: veg Miguco xexen bay sovewod ¢sds \bolblind wen ® bsbSs ony | esedate Ses naetado ef% Io sedasai edd oc wobin. ost aim by seiseial edd .onfg otenpa ylares s cad 3 senosnen3 to Stes Bavaseaag: ifex {fits edt bos, yautiste yleteate s\ to} Hdols eit, ins Jocanmiar Sao ag lntscueer eat “ited +a re aa nal io i. 125 where a double sensc in intended, that results from the near-— ness of the twa last words (“I bove fortune”). Besides there is found as a humorous confirmation:- “Yes I love it just as it was in the beginning”.). The interior of the building exhi- bits beautiful stairways and splendid fireplaces. A somewhat unskilled but also rich early Renaissance is then Shown by chateau Montal near S. Gere (Lot) in a pleasing loca- tion on a hill and built even before 1534. It consists of two ‘wings flanked by towers, but was, never completed. fspecially rich are also here executed the court facades, particularly with a magnificent relief frieze between the ground and upper stories, as well as notable by niches with busts between the windows. Then follow the crowning gables in Gothic form. Wind- ows and doorways exhibit the straight lintels rounded at the angles, the former also having a division by crossbars. The enclosing pilasters partly have elegant ornaments. The window parapets between the lower and upper stories are adorned by a high frieze decorated by arabesques, sirens, initials and en- blems. In the upper story are seen between the windows busts ~ in medallions, that are enclosed by pilasters and usly steep Sables. In accordance with the nowise happy proportions, this lends to the impression of the whole something restrained and unskilful. . In the interior occurs a magnificent winding stairway, whose ceiling is entirely covered by elegant ornaments. Then the sr- eat hall of the chateau, which has a Gothic ripbed vault on corbels, exhibits a rich fireplace with arabesques, frieze, crowned by two attics above sach other in a remarkable manner, both richly ornamented by arms and elegant decorations. It is seen that this is a@ provincial art, which liss rather distant from sources and understandings of the forms. Here also belongs the chateau of Bourdeilles (Dordogne), sub- stantially a mediaeval buildins of warlike and fortress charac- ter, to which however in the 16 th century Jacquetts de Montb—- run added a new building, that however was neysr completed. She was the widow of the master of the chateau and sister-in-law of Brantome. It has a nearly square plan, the intericr notable for a stately stairway and the still well preserved “solden hall”. The beautiful paneled wainscot and the richly painted siciigies AC a tary ar , P sto blo at ita oath, sbomestae vidsid nod. Becotines ed tenm ,otat@ edt to notesces elyte enoiasxol guoe ot t Betnoexe esas -obdd02 qnooih bne evizeet aE 3k wesa Yo yteor i te. Basol onrran.e ‘y oe sar » HF at ww 2h sed? eee! fedte b toote Si oe | 9 opt v. sid? cT 8808 BE ‘Ipteoaas vitzoge tend to elieteh Lie betertar cw | ay ft ah Ow .- any ~ —v ‘nome « wt ed es ee oP a a ee wee et tem dal Sb ‘ he A NN ewan’ 39 Sd onto sf. wesc: old i? ate a es wt yng ea Ne Gt Ge SMA " 9. re (| wooden ceilings are highly esteemed. Finally the old chateau at Pau, now in possession of the State, must be mentioned here on account of its parts executed in the most luxurious style of Francis I. In its mass it is a massive and gloomy Gothic structure from different times in the middle ages, mostly of the 14 th century, when was mentioned an architect Sicard of Lordas. To the colossal keep built of brick and the other three medisval towers,,thatiin a varying way are not round but square, there was recently added others by Louis Philippe (since 1838) and Napoleon ITI, so that the chateau now exhibits no less than Six towers. The parts here interesting us were erected after 1527 under Henry d*Albret and his wife, the highly cultured Margaret of Navarre, the famous sister of francis I. To this belongs the magnificent dormers of the court as well as some portals and windows, that are counted amons the most graceful works of the time. Not merely are all details of that sportive charm and abundance of. imasination, which animated all details of that tims, but the wealth of sculpture according to the cus- tom of this sonthern school is so sreat, that even the eross- pars of the windows are entirely covered by sculptures. In the interior is notable a beautiful fireplace. Confiscated and des- raded in the last (18 th)century) the chateau was utilized in the Revolution as a prison and barracks, only experisncing in recent times a complete restoration. To its highest charm bel- ongs its wonderful location. 44, Ghateau of Bournazel. To the beantiful publication of A. Berty we own the accquain- tance with a chateau of the Renaissance, nowhere previously m mentioned, in which has been regosgnized one of the most compl— © ete and model creations, whose number is extremely limited. We mean the chateau of Bournazel, that is located not far from Station Cransac on the railway line of Rodez-Villefranche in very romantic and hilly surroundings. One of the chied officers of Francis I, Jean ds Buisson, who was wounded in the battle of Ceriscollses, caused it to be erected, in order to rest there from his fatigues. On the building is read the year 1545. In fact its architecture bears the character of that noble -beanty, which the charm of abundans imagination of the carly Renaissa- nce moderates into the expression of a harmonious peace. As mit * rigs jerian ends as Been ef bit 0 votsonns dt betedivtes ovle -tese ‘taebon fre ne beset edit, yao dad of fe pardon a 8 tagie J tet piala oid peizod eif .tasllog “ehasts gasoinoh baw. onek te $22 tote wehe ¢ f “setn0 cad ics! “a w 198 eebod bevosaace Gade weleds @ 4a ee ne ah Dp i vod edd .elguie 5 éndned i Svi Bide die ¥ SOC ob ray tel SAA w CE2oLgF cA 127 creator of the building is named an otherwise unknewn artist, G bLysforsgues, to whom is also attributed the erection of the chateau of Graves. But even if this forgotten and modest mast- . er of a remote province had created nothing else, but only the chateau of gournazel, there is due to hie with full right a p place of honor beside hescot, de 1’Orme and Bullant. His buil- ding bears the stamp of a powerful dignity and dominant sgrand- sur, in which are plainly felt the deep influence of Rome and | its antique nobility. The chateau was doubtless intended for four wings srouped around a court. Of these were sxecuted only the longer northern and the shorter eastern wings, as well as part of the southern ons. The latter contained = great stairway with the principal stairs broken into four flights at right ansles; in the east- ern wing lie the principal rooms, especially a ball 45 f£t. by 25 £t: the northern receives a series of living rooms, that end at a second stately stairway at the western end of the buildins. This is also arransed with streisht flights in the tendency of the new time. On the contrary the middle ages are. F recalled by the two massive round towers that flank: the outer | angles of the building. The architect has given to the external fagaddss the etude of a serene and almost dry earnestness. The walls are built of quarried stones, and only the windows and their enclosures ex- hibit elegant ashlar work, with the arrangement of pilasters, Tonic in the ground story and Corinthian in the appsr, with Doric in the roof story (7). These systems are connected toge- ther vertically by pilasters diminished like stsles, that in the upper story develop as rather affected hermes. This entire ; composition is not to be termed happy, by sither the proporti- ons of its intimate connection. So much mors astanishins is the effect of the facades of the court. fhe northern facade is lonser and shows five wide divisions, that in the ground story are made by Doric half columns, in the upper by Ionic. Bach of these enclose below and above a window, sometimes in two parts, somstimes narrower and single. Above is 2 roof story, whose windows are flanked by Gorinthian pilas- ters and crowned by sportive sables with edditions in the sense of Gothic. Pity ea : j 4 r. ree | 0) See oa g ar mM he a ee rhs VE yi ie | id Ht We Guey v di ct =. Pine Bab eu eft i edt Yo doe yfno ott et elat eae ie suchale ent .Siyte won edt of gnofed alleteb | pds: tk base .ofs0e0 xd vists Savorg ent ni boselore ers vets spttoc. ens ettl scidea bicd yd benwoto im heat ofmel yd 7eq Mme OS201 ceed? [12 .eninagoisa eitsid -neviz nove eta doldy of peve-ers yodt ind finondacs | nd fig s2cted tae sic sini . spwobain sd secions gad | 1 ett So noteesugst Be sninamadess : 1 uottarceet edt To demmauneh ‘porzssc geinp edt of Bones9 wet yrev x0 es pees poieveb ylisofeasis esod m Wtote Honors ene ni awobs sagen edd at By) , OF wort betes ysode Boborb oad te eeois? 9 | phtatasess9s7 30 Yewisav gidivesagxes iopedosovino jelfmie xo ,sdese rd gonvoe tien aove Bos .ecogesn bre = Sit Wein sointce cis Biebos ‘eoptiae: ae Jeon estan ievertidoss: ens woisd ip reese aoget 202 sexe? soloe: “opel Sabsa9 esi at béricks passed yaig fine» ‘Yelie daivs eked , noisgasexe Pasenqivens ie jedi enesces eit to cromdeont oat oe ati dttw orestion ese Yo. toomegnas zs Boveseotiiniss evi fas eampiod: tied Jicol ft f actavosoxe aot o¢ rege bespeqsnenn &b Bb ico. So gnesehnaite sit to-eee intisused page obix yd srobatw {pate sit ederses epEscst badoxe S596 at Unve ome seve yweaT .2onsia yd hogan eq eT, peiiin est. to sesrxeids aldavebienos cut yd . ‘Bearret Si ..37. 6 tocda 20 acifoetotg 2 si crveden ° reeeerens ed3 etoted ubaetxe tsdt ,eyezesq ii on 889 vselvotdaed weioigeals Yo qaate. edd aces iar vere ia a ike nie 128 This is the only echo of the middle ases, and here &lso the dstails belons to the new style. The windows of the other sto- ries are enclosed in the ground story by Doric, and im the up- per by Ionic pilasters, crowned by bold gables like the antique, to which are even given little acroterias. All these forms ex- hibit unusually fine and elegant treatment: but they are even mors imposing by the beautiful proportions and before all by the unusually wide wall surfaces that enclose the windows. This chiefly produces the truly distinguished impression of the buil- j ding. To this is then added the richness of the decoration, an abundance of relief ornamentation, that like the quiet bearing of the whole is so happily subordinated, as on very few French buildings and only as the case on those classically developed. Already the entablatures of the windows in the sround storw have high friezes with ox skulls and shields in the metopes. Hach window sable further‘encloses a bust imitated from the antique. Then comes the great Doric frieze of the ground story, in whose metopes is en inexhaustible variety of representations in relief, decorated shiclds, masks, ox skulls, cartouches, el- egantly ornamented armor and weapons, and even free scenes in relief. No less magnificent is the main cornice with its row of consoles developed after the mest slegant antique models, that.in a remarkable way extends below the architrave, white a smaller cornice with consoles forms the upper termination. Between runs a hisher frieze, adorned in its entire length by magnificent acanthus serolis, in which senii play beside richly opnamented masks. The execution of this lavish rslief ornament must in part evidences unsurpassed mastery. Yet more important is the treatment of the eastern facade. It follows the arrangement of the northern with its elegant fluted Doric and Ionic bhalfecolumns and its magnificent corni- ces. But what lends unsurpasssd dignity to the sxpression is the incomparably beautiful use of the arransement of -columns. Those in pairs separate the sinsle windows by wide spaces ani- mated by niches. They even are sunk in deed arched recesses f formed by the considerable thickness of the walls. In the upper story, where is a projection of about 6 ft., is, formed thereby % connecting passase, that extends before the windows. Alsoongh hers all bears the stamp of classicism, particularly the nople ‘ ——_—— — ee eee est ie, Ke pieck een a aa Se esasoloes toc itascisesvees foriduasd at dotuw \seetene? Didasil Yo aclasesqxs oft esdowa saz Yo efittoe edd o¢ o aus H2in ob ct. sved ow .ss0ted beteta ch acbsslge cides Pyd Belt? at ofm ,doet teaft sdf. to wean a Yo. nord gxe sad bus sokststigqess deest diin eaoG io anolens rm ice Sot Bolbliod iaeottiches « ab baifeed oiseises to osid ad ‘Yo aneisstueyaeh add yletansccctal .yolisy aia eUisigves taswotom elbtt doauds cale ecapatener rosettes, which in beautiful conventionalized enclosi to the soffits of the arches the expression of light ck noble splendor. As stated before, we have to do with the tion of a master of the first raok, who is filled by the essions of Rome with fresh inspiration and has express artistic feeling in a masnificent building in a reuctene ain valley. Unfortunately the devastations of the ‘tine of Revolution also struck this monument severely. — 4 ( ‘4 ‘ PAD We Teal, ’ ¢: Thy, { ’ + ed ) ‘oe Te aie My R21 Fst , (are f 7 Pak : ihe 4 7 A ia eeu oy Te eR) ea ee Oe re a TE Mala a ewer nee te Loe ata _ PO eek Iioeess sabay ebantetanen .? datases (epbolalinod egid .5 eenntht tad: yiio to eekosad | .éh dotde notes lagod an? to enegelo ‘wswertis cad of “bets edt siddin belétee bed noe. elbtia yites acd ecate Widows sd? Yo ytiedevib edd ehncgeesies . ditto ent bits qatinos oft % eelten eucteana ont tacit .ergieeh aseantess deenseseq thet bed veldetveace tastaoqnt eon Be ,acotiveig cit wt esliiioc weprel ‘edd ok ¢tod , e590 oad aoidw ict .seonebriss Scent suives af ylsalvoivagg #80 wcitstiel as edt even (nokener)*Lotowhroy edt aver des Poe ofsoe beceiainih & ae fey ,beededo cat te fede Bead .easeteh tect Sedainolec einomele ant to ¢ Bootie « vind west Biadwsih atady diiw'eteom edt: | F ytice edd modt. nofeaecss Ene nolvnteges Destin Bib E Mave ods Io segekse?s 2 yilesues . . “ Be sevitsoserx: eke actide sex elody sso peeee cde tot fue ,etoemeltied yd bo ae retie fe ext west daege-feosig vax ha vel sd ex hay 8, wood’ axl? yiad- 3007 of Fined 4 -Vd II wort besdavaqes eds bovace tention g@ Bsoor dove +0 = ; i Teen 8 sid os + ¢ ; ‘ieeeibaesee fii Caray St esi yd Gcbat Ena escente . iB POTS2I6 FI smi? esee ens 3 BP \encbsea Sue akon i batag a esans Pier tstuaee edi ni .enotsaen bens doce Te yeaa get labon “ a pias Yo Sldon Jnentme se to eonablees ysie std et ef! mt enc fo eiettevo soaebigey edd ei yaoi Yo nokenem end ; této edd cede ybaetls dud wytinuoy ed te etodda deetnery van Siterccteizns gets hedatiar yatiser emoosd bed tags } need eerpoel hoe ,esvidesacesige? Tdeainong seow esi te ot sed? .gotilewb @ eeoteod ni soterem efAé ci bede 84t dwin bessqaoo woldednemento dots bas tuemadace Pyembor eit Yo soitudinvelh edi nt .eeldon hedetoynésatt Hast fvesg beedt Ble efaoe Beoohes 2 fn tididxe spoliltod | eying aieds aren .dotasd sat so sis belay Temyei stew yinhi*revor fides t6-eqodetd Io esencbies ost settib yiletinesedve fon © eat oF Sudgegsaco Tees Feds “ino acter ; jos yievisnctxe saom bacnsiqg ete .blodoencd neatearg & Se hesflseigas ed teow sevexos taieg sad .ylhsast esco 8 308 hetelsoleo jlat asety & to themebusase gdd yoitniso hestidmoess egeioce s0% bear sex tadt'. choltifemseldatcbte yinglosovoa bo. echt od3) doitin af Saez jabaid enoicsv be Fe esotosge 6a¢ osls. bed rooe neat ified ckat .beihod | moos ns San slodigecy.,emoot shiz .amcoy PisEbshos fo | Z ovph Haste. edit of Bel nooe si. yiietosges fna ptlueen Ht fovicoe: gon0d to yentiedy eng sa Hoisw yyautigees. sit Yc » gpa esi to eeag0d ent at .eocetacqni stglzottesg 3 bas bekoaw; 102 bani dhe! dneifeorn boxed PANRER thoes ie “a > aie “ag 4 134 whey were accustomed; simple connected rooms of different kinds, & larger hail, often extended as a gallery, before all numerous communications, chiefly obtained in projecting towers by wond- ing stairs. Also a house chapel was never omitted in these man- sions of the nobles. These ground lines of the plan also remain in foree during she time of prancis I. They had become manifestly too interwo- | ven with the life and customs of the nation to be lightly giy- Sn up. The only thorough transformation occurred in the domain of decoration, which gradually loosed itself from mediaeval traditions and adopted the forms of the Renaissance, just as in the chateau architecture, and is often in an extremely dec- orative treatment. Only the plans of the courtr were often on piers or columns a hesgher monumental impression, -and a new mo- tive for the commodious connection of the rooms, From the mansion grew the palace as a necessary result,add developed further the clements of that building in a merely Cnhanced arrangement. It rises tncacsimilar manner above the ; plan of the mansion, as its possessor rises above the social i and political position of that aristocratic class. According | to the French conception, the palace is in the first line the cesidence of the soversign. Therefore men speak of the palace of ths Louvre, of the Tuileries. But also the mansions of those high dignitaries of State or the Church, who in their circle . exercised the rights of sovergéisnty were termed palaces. There , especially belong the residences of bishops or archbishops. As | tated, these do not substantially differ from the ds- @ mansion, only that they correspdnd to the neads of ; er household, ars planned more extensively and developed ~~ ly. One point fowever must be smphasized as charact-— ht ; @ arrangement of a great hall calculated for a con- Ssiderabic multitude, that was used for solemn assemblies of ; various kinds, and in which the idea od sovereignty seemed en- bodied. This hall then scon had aiso the spacious arrangement | of accessory rooms, side Pooms, vestibuls and anteroom as a : result; but especially it soon led to the grand development : of the stairway, which as the stairway of honor received its particular importance. In the courses of its development the Renaissance found sxcéllent opportunity for varied and srand wg arian mee nren aN T eakeeend Lnresoe9 icone akdé ye ties to enottrice. Sar afd bateerteco st seonebise: olgeiseteles eesdt oT be fo agotsmun sdé to evidetneee7ge? as 3niilerh e*aertiio 68T cetlzeisg {sicsenbal Sas efivn ene ot beanolad. tard Bei Hedeioyniteih ybsorls sone elbis Bubsviont efT .nciveveie hans asig te ig fepbivital -doas beiloeaqai ) eresezes ot Oboe ehesn cwo ete piaedxe . edt me yllsoisebsene. “anedéacn edt 206 esitio Isinte pate evi beessiqesi.o a6 eyotain shir - iets edt .teo7ta. | MA ymOS? edt2l = ofat yLto: ee 8 Bs bebasits vies Mdedigay! tiues edt of fe! “3 Shee gots s0t amoot ne B Baestitio edd at fend elndit om pt ve teledetir ee i » i oF aa oo eee> bap bee et et Ne! ee URS g@ewu dos ¥ > % Map eer g ¢ HOU TP idles ced. | Tle bd Hm th A MAA oak yoideas e*etdon p new tess Wrote s89Gg0 $ evods. ben dedt- bre | [ sdecste ed3- duen moor legicaixa steel ead. aod2%0% Mbedeado eta wesbot | Sieenps7t S28 gaetd) .owobniw cbcef Sga yout \.cthin etttae molvoesuco ni sd of mene oi fesevet ef youeiaad ig te8o gion: sedeis tfad ens eee Guosseun oct .emtt bg) oe Lagat he eves ocid Ba ym # Tot Oe tne es Cana! ev os od ~~ : 4ith oT. Toles peat? syed: Sait eqgon9 +aaec Vee lus # senes edz 46 coitevels Sce paic tie vitis on B enonw ..aceed nt aRLL to saemyotae sidetrelmes end Boo sedte1 Ens. © ttines edd ofni eas) mci? eceseg mM forexk edd to yertoch page bets iwo ei eran’ eldiesog #26 doom we wer eco sizt es sh ia whe eA 132 solutions of just this architectural programme. To these sristocratic residences is contrasted the simple c citizen’s dwelling as the representative of the numerous class, that belonged to the mercantile and industrial pursdits. Tab ? citizen’s house of the middle ages already distinguished itself by the diversity of forms of plan and elevation. The individo- alistic character of that epoch impelled each individual to Shape his dwelling according to his own needs and. to express the arrangement of the interior energetically on ths. exterior. In the great commercial and industrial cities of the northern provinces, reference to the public traffic impressed its stamp on the house. The ground story opened with wide windows or sh- Ops, sOmetimes with arched porticos on the street. The sntrance lay at the ground level and Sed directly into a large room, de- voted to business visitors, and if necessary arranged as a sales © room. From thence.a narrow passage led to the court lying beh- ind the house, beside which were often rooms for wares and oth— cr Supplies. From the large vestibule that in the citizens h house took the place of the hall in the noble”s castle, led an | Open straight or winding stairs to the upper story, that was reserved as a dwelling for the family, and that had above the vestibule a correspondins principal room next the street. Kit- chen and bedroom lay next the court, and further the Latter is f mostly placed in an upper story. These houses are characterized in the facade by numerous large windows, that are frequently j divided by narrow piers and occupy the entire width.iThey. open as widely as possible toward the street, te be in connection with the traffic outside. This tendency is favored in the nor— thern and esntral provinces by the half timber work that prev—- ailsd there until in the Renaissance time. The numerous small- sre divisions caused by this construction gave an impulse to ths use of numerous windows. Otherwise are formed the plan and slevation of the house in the quiet farmins cities or in cases, where a wealthy citizen erects the dwelling for the comfortable enjoyment of life. Here the regard to public traffic is omitted, and rather occurs the endeavor to withdraw as much as possible into the family life, isolated from the outside. As a rule one passes from the street by a Fiight of steps to the closed doorway of the sround story, — ee ae ee A gt et Rage rE, ertotai s aaa to ie ‘ote ‘evede ey tat beosio B seute encane gad? of helile exteret sovenod roltadiatedch ed. wtol qeob. ine worzaa se fetoere eta uegnod odd nedt aks cmc: hentstdo ed od ak babddgtl ¢adt og ysedto dose sb . weéenod seeds to yicte Ensesh of? wtas0o ase2 set bus te07 i$ mT smmoor sxote boa asdodid jeocysng eoiviea of betoved | sbelizote sega ead of asisde edd ecliosle cist eladivasy opel te wt0t sh? .elimel odd to ewoot Snivil sat ee evise pa Yo ccitibbe ed¢ evinzeq detbftad Yo beid etdt to eain ¢ 02 Beaze1 2 coonivetg asescece edt oi ylod sewodais sa4al @ seNe? Shea od ot ancbg sn ent eloqmoo see 98% tc 320d tacay mee . . ) » (iiss? 00703 ei sieses Tasmegnazt2 ed? Yo eball- besow seed peed goiseh nove aserod “eassidio te oxtoegs taeteTiie edd rhb eualo aesitio oad qbactie sonte cel? soveceia to en7cTseds oF seve cencisibsed eat as yikaeowte Boe a sal deon edt sec ojni ddgsoid Sad dooge oidted od? . 980 secuivetg elbbic Sas sisctsen sit stk et 98 Eds SevVoldtcK todais Lied bowise visois ni aes Ee ate yous Becrved viebiu palitoetotq ano ,otaiden to 3 i f yiisiorges JeSEIInn0o Tedte eh rswacd baifgoetoraq to Pes er ‘Ome eee Stic). 247 Yo sotheyt edt .endagmed~ | tveeicea asm scoitomivanco tafdes to 3non rsaaan & BeDD! 9 ybneexc! Gree iicu wa sogads tedudtoce %6 excises ede ae pease teneh Sd¢ dai eteegqe JI .ocitorxtedce usiad ant ba ; BE m82, ce wgeoass? af ylisocideisus sottel end. acleves ot belt} im beseart een golstouttesco taifes yieticos 2dd.00 wood on ete Bue fors.e yicvex go. Seoasinmages si bas. ,someastes Aeotdgsshoes ne teery: & hensatdo cals tnd hash teks aed oeis ensn olyte wan add to eect ess yllegtt. .cot ag seoonivetg crsdisem end af acttonisecop, tadmid “Yiad oa - end of asad2 ‘Fo Ae eovs Tpodvin sey .yhbaewi0cK ol visas ys: | fers MF ebxtbiiod seons pan Keiinem of sved on: eileat® Katnemnnom 2 besiepos enesitio es2 to, Raifee? congas sed yo Hooseisiny od yam ise ,eiied Itoupes 90 ytlo ode ane sron PR ice be elbiie edd to agoksifaat eds of eetiio siz te coy * .888e Sved. ew as .Wandaes ef Of o€% to esheosh. deuit rane pares tetic Si hal oidsod Sao Gh ylevienfoxs, siind 133 placed considerably above the lelve of the street. The internal distribution however remains allied to that mentioned above, as then the houses are erected on narrow and desp lots close besi- de each other, so that lighting is to be obtained from the gt- rest and the rear court. The ground story of these houses is devoted to service purposes, kitchen and store rooms. In the vestibkle here also lies the stairs to the upper stories, that serve as the livins rooms of the family. The form of plan like- wise of this kind of buildings permits the addition of numerous large windows. Only in the southenn provinces a2 regard for the great heat of the sun compels the windows to be made fewer ana smaller. , These ground lines of the arransement remain in force for the different species of citizens” houses even during the Ren- aisseance time, since already the citizen class adhered longest and strongly to ths traditions, even to the forms of the middle ages. The Gothic spoch had brought into use the most diverse materials, in the northern and middle provinces arose the upper stories in richly carved half timber work over the Sround story built of ashlars, ons projecting widely beyond the other on the ends of projecting beams; in other countriss, especially in up- per Yhampagne, the region of the Loire and the southeast prov- inces a development of ashlar construction was native, while in the regions of southwest fhance as well as in Normandy pre- vailed brick construction. It appears that the Renaissance fas iled to develop the Latter artistically in France, so far ar we know. On the contrary ashlar construction was treated with preference, and it expsrienced not mersly a rich and elegant development, but elso obtained a Sreater Seosraphical extens- ion. Finally the forms of the new style were also transferred to half timber construction in the northern provinces, practi- cally in Normandy, yst without even adaptias them to the mate- rial. Finally we have to mentién also those buildings in which the common feeling of the citizens acquired a monumental expression: =< the city or council halls, as. may be understood by the adhere- nee of the cities to the traditions of the middle ages, In the. first decades of the 16 th century, as we haves seen, they were built ¢xclusively in the Gothic style. girst about the middle ap Raa il nt a a ag ig tt i ee ey ouom ott ehee aa He 9 sit Yo sane eis yauitnen, ett rete P wiesnet Weeenotttaben tang tin beyelque era box ten Lave a Steal .epniblied suedt to rotoeiadc Lavesiben cit exeeqynels Nealager ye sfind si eooktseg nego stisevel seiluss cot Yo 8 #68 sag to sexsot Iatdovaente weito edd bas esstealig pti B Od eoelg eevey to eseegcasiS elevating seitie yrtled od. y enkesce severod sa0isedat sid at .1ewet Ilsd foe doolo sel Anaad woets vekixae off To notindinteld Isttantedne Se sedols a etinpoe tewntase hos Oloditeey edt vilep entizetnenensto te \ 6 ohROB Te woaiag e Abe coevartig OS eis fotdn —Bhoiblind anideewedns excromps odd Ruoms a Dion teaveb Yosa to evick ak etididze wan eave Yo ysio oneicnst he es Seviesdgao sd os el godeiddors edd Yo woelag EOF sebio ods CSCL trodé .consesianesd yltas coc to doow ben Qotaidsesa yd betoore caw Lat. beddas edd of Lofiacayg ae gute vusosi he eat bebis nodined eh’ sivel Iantheso ZSEL ab Be Pas .NeCt weeyioss ni ihetelqmoo saw deine fpae sdata & pobbi ts {eras Ye. Toesinort eT .°IT ytoah Fo trix” cat bone st eale Peer nat ‘bak —SStorl Bo sankhed ated eva té arasqaa Tite etstin vend ‘Se inte eae ROM AptEtone} jkevitinges 4 hed: patie: xa lake nos eae ek puvneed 6-262: sures sat, Gatwoile? . f % $979 of*Beyvoulnash 5 OE eichinsl stent loo 21 stostayess Yo eictyash oft yd en-0F Boyes: . yan Ropiiee to chind erste fawocs nielg eiexstses. ca Ye Pseeoih .erchilw ifeme to ewes ows yd beneqo ,erstentig Patsscee agin tisd ane Syock veaoce Zeqqn' edd ef dasnete Bll egofansixs cht ys Hehivih sgeig? ahin 2 dtin cooase peeptehe et exckaiw aft wehen: sded10e esodw bas ,exeteet BH egtad asin boa ehped paksebl? dtiw eliede boyee> vind Pelsivebeq bebloom ¥itots ffiw s2etselig wollot noedy. .( 28 ih Bas. selsce ,eiscusliq ed? seledivoo aaideniacd bhaeed @ nt Atowoix tosis sudetipe ens jexsddee to galence admat loia yeneasxi ebiensg spntecl acct sdoizd hosels sioald toi SP Sids69 to gelenoo you? .swobnin edt to setbeolons oct ese * Pee rewcls hae’ sevesi yd bensoba seal edt \awollot bus abe ee sgraner a ate: yemcot fentaink edt te ebera edt ot Hearst 134 ; of the century the forms of the Renaissance come into more gen- eral use, and are employed with great magnificence. Thereby disappears the mediasval character of these buildings. Instead j of the carlier favorite open porticos is built a.closed facade : with pilasters and the other ornamental forms of the new style. The belfry either entirely disappears or gives place to a smal- | ler clock and bsll tower. In the interior however remains the | Substantial distribution of the carlier time, except that grad- ually the vestibuls and stairway acquire a richer arrangement of ornamentation. 46, Archbishop’s palace at Sens. | Among the numerous interesting buildings, which the ancient 4 city of Sens now exhibits in spite of many devastations, the palace of the archbishop is to be emphasized as an important work of the early Renaissance. About 1520 the older portion 1 ‘In 1535 cardinal Louis de Bourbon added the adjacent wins at @ right angle, which was completed in the year 1557, and is . tarmed the “wing of Henry II”. The architect of this buildins appears $0 have been Godinst of Troyes, who in 15384 also erse- ted a magnificent fountain, now destroyed, in the middle of + ; the court. The older portion of the building consists of a wing irregu— . larly arranged about 160 ft. lons, following the curvature of the street. Unfortunately recently destroyed in Sreat part, it reserved to us by the drawings of Sauvaseot. It consists entirsly plain ground story built of ashlars with plain pilasters, opened by two rows of small windows. Richer and more slegant is the upper story. Above the belt with dentils #6 con— mences with a wide frieze divided by the extensions of the pi- ) lasters, and whose surface under the windows is adorned by beau- © tifully carved shells with floating bands and with harps (414. 64). Then follow pilasters with richly moulded pedestals and varisd Corinthian capitals. The pilasters, angles and window jambs consist of ashlars, the surfaces are of brickwork in wh- ich black glazed bricks form lozenge panels. Extremely rich are the enclosures of the windows. They consist of Gothic rou- nds and hollows, the last adorned by leaves and flowsrs. Accor- ding to the needs of the internal rooms, the windows in the ib: nod ve Wp Ne aede te. o%8 nai OA dpencts. oat ‘Gh st2 Gf tnoda) {4ghod oldarobienco ziedt te souce 9 nozteaiazes eat .eaedne09D guots oxi yd Aebivth ova. its y ePibtoug ofd7oo to yifatswatadne lide solaios @ yd bom Set. »oheiles bse ebeod- *eeetl xc le ek teituR ode <= Baoketoqoz¢g Spett s0d foe foowento Hesudrasersh tc anibliad est sviz --~~ degied ot .ct te Seghesom VTOse xe tor Boob yiose, Toor A .deetve iniveleg bre pedetuanivath | biied edt tc hue atetecw ond Je, Yewtood, bedowa a& sguoadT ; Bek tdyia ed? no Goit«. cared retwo sa ofgi eougsa end Ptentoot: wozmss A .dav0o tonah ec? ost lion eeoto 4 yd. | bere edie onggk beside ed? otal ebeol Llatroq weatal «6 gh ne avers ot .sokleq etd yd owl steito edt Astheddes sad yd. ee iad wd oot Off: ek iakie gee 6378 beoin: ,albantec Ne lage ondaninw. oud feonsite evagain webic. edi aT .c8:4e to g pased TOnd0 C60 ~uoksto¢ of ai, wileatesze ontt: | weve eiesicyg giest, .keibiing odd sittin Setrions bus eisai! edt to-eloceq eft vito ,ens0% ofided etal dord of So naoie aenateers: Rnivode sfsiait>bhas sessextiod bal Ben bince Soe gece benseris os caw Llew. wash esti! ox edeiocce "d)femed. toot oldie? «2 | Y sstnt- ext SeBelanod afi ac biases: oon2 te Piyee 6n¢ yilsicneseins avode PPE om neve Oi poner tiases Snieeneoro sis gedit tqeoxe ) e83 08 BnOdSd BoepsedetaA ail .beiaesv saom brs Js@onestieess donet® es) 2o bedi intga saeon eth ae. sobnonte cs heilibos dedresce oi aigéea eint j nevencs nckigeoueo eetdn , IT Vinee to bakw belleo-o2 ens rt) eeididze g1,.2;ekshesd to omit edt fo dedt.o¢ sgaclod ‘won bas nego, yicaetct .usote Hasowy end. gi gadote onto per Bp Anbtostony die espigono baiteos, Bofosa Arsen adt yop edt not? Daetza sevael endinese stiv maiouach seseseslia asi Beeseer eqgn ocd fo weno Saok oct iedtaz odd ot ereiq enol O05: inigey obdsob dngzesg Gaile wetiel asd to dnchuke ose - ypaebtas edd tron sbsoat est .edaet Beiitouq yigais aieng yc: Ponows-042 if eet abd? ylag wsadinie 2k obis ex teocge fn /eetindiadetS Leaaseiok edf .gbeote sa lo beecani awebate oc eag eds fas export saloged foe ebtel edididxeigniw atce eer) tdgiscre sa vaods seqqp Ods.03 ebact yewsrace enpionn on i" 135 differsat divisions are either single or doubler.and bat on ac- count of their considerable height (about 18 ft. in the clear), all are divided by two stone crossbars. The termination is for- med by a cornice still substantially of Gothic profile, whose gutter is decorated by lions’ . 4 Tt et ee o> bain hay Vk ew A ad ats: sag cponeny at ‘To edust of3 oeiv ya ,s0dcsl sat % s -_ * > © - p4 * aie ge2tro saias ai" ere nA / twp a oP Viwued #liewat. qs atin move F » ed . elle tie fSOr eB@Qh in SvI8y. b oenorede peyensooe Oe ae eng T4585 Wi 148 #hiie the great arched openings: ofthe sroundystory have no refersnce to the upper arrangement, 2 freedon employed in good mediaeval sense. Besides the profiles of the arches and their piers as well as the architraves of the windows exhibit Gothic hollows and rounds, Likewise the jambs of the windows partici- pate in this treatment, and sven the caps of the latter by @ broken cornice resting on corbels with little fisures are of Gothic origin. But the delicate ornaments of the window archi- traves in foliags and leaf bends ars sxecuted in the true spi- rit of the Renaissance, snd the graceful Corinthian pilasters of the dormers with their fine arabesques show the same tend- cucy. Motiveless and inorganic are only the sables of the lat- ter, a fault that meantime was softened by ornamental additio- aS. purther are to be considered the magnificent stone beans, that in the ground story divide the great arched openings aa the springing line, as well as &lso cover the horizontal port- ai. They were all ornamented by very lovely bands in relief. Above the doorway beams is still a frieze decorated by slegant erabesquss with a crowning cornice; that separates the portal from the window with a flat arch, which gives light to the hall. In the upper stories are repeated for the same purpose small rectangular windows, with richly ornamented jambs and soffits, To complete the description of this original and picturesque facade should also be considered the leaves of the doors that close the portal of the great arched openings. They show with- in rectangular panels, lozenges with boldly carved rosettess Tae court facade rests on columns, that with their arches ex- hibit mediasval proportions and profiles, although the capitels : are decorated by sraceful Renaissance motives, arabesques, si- 4 rens and other fanciful forms. Also the windows, doorways of : She ground story have Gothic profiles, but on the former they re connected with elegant flowers and interlaced bands, that belons to the Renaissance. The two upper stories --- there is no roof story --- as on the house facade are independent of the ground story in three systems of windows divided by crosses. Likewise their windows have on the mullions and their architra- ves Gothic rounds and hollows, even if without foliage; but they add a developed system of pilasters, which after the Pre- ach custom ere connected vertically like bands, ending close tS) Pre a Gg ae lh ane a hed ‘ee peal sd0b0 benntt std ee wefoagco oo actos add avede iS senT0] eit bas .eisseg peosel eves enottennktnce ttedd bos Staev teeth ai eletiqes soneeeionoh ylese tnagele yo bewnono zc eere oo to Hbleide 2 neeu af awohuix eeadd ssben t55 m iftte ebeosY sic? .ehnad pnivettelt bee eeveel te shneitse jolts eti si coosveieceh ylues ed? to tisgigas des7t edt sated O8SL.faods 5 betealt ic eved, denn bas paseo seboow Bovieo sas ylisart eae mado belleoxene IC eBE8)' sew7ct oof .yrote toatt edt bos ys re edd seod Goin ebrad BL od ed Esvoloal elensq taiar td} poles Stecifeh taou shy atin ‘ewpesdawe tedtone ‘d Belf ent CW Bie) yrosve wqqn ods AI .eckinevat teeitqgad PBieide vd bled ers ehasd fal? renetti bas. BYettoo steisqee .conpeedens if Guaesol «2 ant edjoa07 2 secolons “nese avod te selgmsx & FF # “ eee ad Seth st $£fod 45 POSATo yidola bss gues gail | Bufonco eved. ean J mad few vid t02 es. ars 8} it) done Ge -boqueré 5 Ro acisetival s sit te Ot . Bt ton 2100s diniv 2 ebes wolsC je «cdeid edd ,efonn 24 mt. +E setzenp siz nui bevel $rnd .$9n05 inal Teqooeices og nop : | . sesoofl ei doliw oe eidca yign Bolter . Sa ‘bries Ropsseisces yliss cat Io yelo a! nied. ezedagoxe Asin evohnain hs Asie ge ees: sageo bedoar-boves Adie bag ,etedesl Dai eqece etiqove? « ted ,diedusets xiote "4 nKOTD st eiitowg siqmie to eves n¢idorws yee ty oc: nt beod noilishem « dix seupitne eas exif atdas & yd: fot evode (ea o8t®). medg os? .etwepfons edi boiziol .mnasg. | jhe olde. te ae edt ts lie @ él eopiids edt Yo elbhie. i phe ‘ é| setae: NOB 144 above the arches en consoles in the finest taste. The pilasters and their continuations have lozeng panels, and the former are crowned oy elegant early Renaissance capitals in sreat varisty. But under these windows is seen a shield of arns encircléediby garlands of leaves and fluttering bands. This facade still re- tains the fresh spirit of the early Renaissance in its strict regularity, and must have orfisinated about 1530. Of unexcelled charm are finally the carved wooden ceilings of the ground story and the first story. The former (Fig. 68) exhibit rectangular panels inclosed by bold bands with rosettes, cack filled by another arabesque with the most delicate relier, énd the happiest invention. In the upper story (Fis. 17) the design is different. Broad flat bands are held by shield knobs and ornamented by precious arabesques, separats coffers and flat mouldings, that cach enclose a rosette in a lozenge panel. Ver dicr and Gattois sive examples of both systems. 50. House of prancis I at Orleans. | fo the most distinguished among the numerous Renaissance houses of Orleans belongs the so-called house of Prancis.I at Ths corner of Rus de Recouvrance. According to the. researches of a local investigator, it was built in 1536 by the royal chamberlain G. Tutain, but was furnished and richly ornamented in the interior bo PraacisI. From this it has been concluded, that the king caused this house to be erected for his well kn- own favorite Anne de Pisselen, duchess d’ftampes. So much is j srtain, that this lady in the year 1540 at the invitation of J her uncle, the bisho» of Orleans, mads a visit there, not in the episcopal residence, bat lived in the quarter S$. Bufroy, in which is located the house in question. The exterior of this house exhibits simply noble forms, and whese ars always in animated but massive treatment, which after the thirties, the sparkling play of the early Renaissance used. On the facades are seen coupled windows with crossbars between tae Corinthian pilasters, and with round-arched caps, a form occurring very rarely elsewhere, but a favorite shape in Orl- cans. A psctansular architrave of simple profile is crowned a gable like the antique, with a medallion head in the tym- panun, forging the enclasure. The phan (Fig. 69) ghows in the middle of the oblique pian a hall, at the right of which adjoin’ — fe aS at” 4-25 AR (PRC Set ie eae edd va Lede te ¢ ioe pet tens ove agen moos poy i ‘et tapoo ext ‘to gnedxe setacty od? tet meee ef di. ddqeb n of sepoi s ddin cb. od eveditor eoob ere tect fae .Leioit img. eltdosossa sot aevise pn baa peodw ,aneedis0 at eno | 2E @eibeoesg edd. nt fedisoreh cent, olquaxe got es ~-- eesog ba fevicg a to teds ei anti fons betelowt edd tedd tud --- not te =O esbis cowdt no hebisosteeres tipen.caleger1i ei? onan back eno oh .iiew dkid o yo a%snoi eat. no ,edsentisqe Snivil Menrsia isin sno sencd odd .t) eniotbe ocidtog betow nz ebie et (0%: 233) enmaico oinol stote déiw teqgn end .natcéataod IO Younts 6 has sebs: tensyi bak | io colsnoexe eaT ~avic tosh hetriiveeve exit gsoatie yaced Bo @fLetigso. beisav visors oo edd to dasksle Wav Hoteesd ers eoicze Pwolsd fentobe .elosbesge ent ni fapeds fe eat ieasiae ettin eteuagme cameos ) ploanoo exit eonoteysx as 33 ' i bce! Niece woggn sds ci esloznco ditn . Besbon iitde boa besawine to scieedxa2 yen priests gnihaix od ‘ed? atin nolsoonnco esewos ver Sings. crenpe . be MSP PShSh Stdtas 2s Bie cee suponibe § ae post: efdiaseses 5 &d oe pavers boson 92 edt evyeds 2 Be ia ¥ ’ 8 eid gdin scien : me too tind ei siehas j$eaing 0: aeshoup & ersck coidv: vad s edit aonot ixeieiettoo seoar (2a ; bequait) dfnsv {feds .2 | mead Brome ,enolied i067 einai? ,eeupesdarze n 90 €fi seven edt cosiell donne étab of3: boa . add ni Bopsesecd flite,.t% ,coltibuoce batetoerh yibae Boss sb0isatvernaic hihselqge seeicl esi. t wont. aroma 8832 meee ese emaed bcitt “edt ow bevaeo. sedge Sag eattqioh hanwers a foc to. era dueottinbem ods ai cost ‘ smotiatinerxetqe% 6 Bt i0y, neds iad Je bas boon tO pd th iia ot eh 145 avlarse room with two smaller ones at the left. By the small depth it is seen that the greater extent of the court is bene- ficial, and that one does not have to do with a house so nume- rous in Orleans, whose ground story serves for mercantile pur- posss --- as for example that described in the precedins Sect- lon, --- but that the isolated dwelling is that of a private man. The irregular court is surroundsd on three sides by the living apartments, on the fourth by a high wall. At ons longer Side an arched portico adjoins it, the lower one with slender Corinthian, the ufper with short Ionic columns (Pigs. 70). This decided accenting and contrast of a slender and a stumpy order has &@ happy effect like everything decisivé. Tha execution of these parts exhibit great care. The richly varied capitals of the lower columns belong to the most elegant of the time. (pig. 71), the Ionic capitals of the upper series are treated with refinement. The medallions in the Spandrels, adorned below by armas, above by heads of Roman emperors in reliéf, the effecti- vely profiled archivolts with their keystones like consoles, and the rich cornice with consoles in the upper story lend to F this facade the expression of animated and still modest chara. : The arcades serve as connection with the tyre windins stairways, 3 that are arranged at both ends in square Stairway towers. The ‘ Termination of the court forms in its entire widthca great hall, ~ connected by a small doorway with the adjacent Stairway, with the court by a Sreat arched portal, and accessible from a side @ streat. Here two upper stories rise above the sround story. In ‘ the angle which this part of the house makes with the enclosing _ weil of the court, in the principal story is built out an orn- , amental little tower like a bay, which forms a quadrant. It rests on a shell vault (trumpet vault), whose coffers exhibit tasteful arabesques, figure representations, among them ths * Salamander and the date of 1540. Although the house is found S in 2 sadly desolated condition, it still possesses in the int- 1 erior vestiges of its former splendid ornamentation. On the ‘ animated paneled ceiling beams are seen arus, amons-.them the royal lilies, crowned dolphins and other carved works. But the prinpical piece is the magnificent fireplace, of which Sauva-— gssot sSives a representation. 51, Buildings of wood and of half timber work in Orleans. gy : | a Dies aa oo aela0 on eg Pecmie’ en bar duubbbive i teas patio Intoisenoc 26975 eds 10% oifeivesyorzsdo al ST alg ahent nt yoited seepod bic esi te sedwnn sedeonR odd i xltaabive: PRM .oLkteod Lokotsenoco hevawins eds aot basyen weidiesog 28 eidasitoig 22 shes eigu-t0. .pinedowen of bexnol a3 yd sOittext no Yee acviesmedd Som bib odw .oescow sisdd eft BBS pepecd easds $0 noalg eff ,aqode to sosmshasts > Leventher ods s2t%e VES .SS .eetd) wormed yienotize L gleoysoe xuote benowg ad? .dtoob eldetebienco te dnd genie wehie sno Ja tobiaseo wosser bre gneol s 102 sozqe Ne gaogo sid? “600% eoles 6 6& buiqnooe ef woos ostiae woonnos ilite et tod .iwestg Poe sedots Jeoth dtin segute 30 , -d20co a mort, dmeEL esi eoviees1 doLay ,40c% 2 Ogbw a edd edd .et eeupod seedt Ife yiseen tk bs gasued yvland i. ® Odnt easuelne,dasco edd oi ehns ti susin .vokisios yoke meqgn en7 of eheel eafsts Rathsetu e ya sedé } spodi si dusco sc? .sidészoa as Dikaieaiy aa seni toemok mG Beonbes eaom Ifite et yidaerpe tt bas Ifeme ysov ef . Cs eedtoggue oupiide no duo beliedieo .esticie 4a BO KC betes Yo. xsicow ydeseilt bus Leniziac wife toegad Bevseveng mogic. fiivte oct pi sontiitad saaeds aces: mou foods cidiod ens of .emoos sefsa edt... daa) oct to Batlle edd i @ionet4. to sris oot at otal Lidae gn 8 be mand Jesuta 2 ai boow to jeyéwls esn shoinsqo Sado%e $8 edidicxe ny -ntot dead to. smedse ads’ o3 nbaeaeee ss aa W .moigourdancs nctve 29 egiot ef2 no senshasgok dnival Sin eeiwiedso esx ag sbaid aidt to elqaaxe og bY .yiF ni fe x00 -Gonsneiece? odd io efyde edt betqcks gads skniblind ts bekG Showtess? ect at [eigetan oct enpooos og¢al cis’ pas 8 pemngat Pf asvs , siediao div se2tl gef .soifonites Banas bi?) bofanio eag #48 Laveatbes to eaviten ani Pamenied s esvisoos Qnhacyo shtal sis to guagqg sewol ast “aia aecain Buthroetze edeog bas .eloneq based bas aiduog eeolons Bi dove off Io daeq teqqn edd .gode add ct oenasing abled onie omse odd Ga doldr eee sehoow ance « xd Pdeyesibem eft ni aette .wand eidt to sine edt vent th nt beaact ox metledsys oinoioeds evideetic af bas $ elit? ged} ,coitte! nsheor ent atesy wesd ‘eidt 26 puta ‘| ee. ast? gnisdinbs many! Have .so18 edz to stnemges sn : rey 146 51. Buildings of wood and half timber work in Orleans. It is characteristic for the great commercial city, that far the greater number of its old houses betray in their plans a regard for the animated commercial traffic. Most evidently be- longed to merchants, or were made as profitable as possible by their woners, who did not themselves carry on traffic, by the arrangsmsat of shops. The plans of theses houses as 2 rule are extremely narrow (Figs. 72, 73, after the mediaeval custom, b but of considerable depth. The ground Story scarcely leaves space for a long and narrow corridor st ons Sidé, since the Sntire room is occupied as a sales room. This opens an the street with great arches and piers, but is still connected a#ith a room, which receives its light from a court. A péecul- iarity repeated in nearly all these houses is, that the narrow Corridor, where it ends in the court,snfarses into a stairs, that by a winding stairs leads to the upper stories, an arran- gencnt just as compact as suitable. The court in these houses is very smali and frequently is still more reduced by the upp- er stories, corbelled out on oblique supports. i Gspecially original and thereby worthy of consideration on these buildings is the still often preserved arrangement of j the sales rooms. In the Gothic epoch, whose forms yet extend until late in the time of Brancis I, the filling of the great arched opsnings was always of wood in a style, that as a rule corresponds to the scasme of that form, and exhibits a too Slavish dependance on the forms of stone construction. We give in Fig. 74 an example of this kind. It was otherwise with the buildings that adopted the style of the Renaissance. They alw- Sys take into account the material in the treatment of wood construction. fet first with certain , even if fanciful, yet animated motives of mediaeval art are mingled (fig. 75). While tne lower part of the large opening receives a balustrade of posts and board panels, and posts extending higher flank the éntrance to the shop, the upper part of the arch is enclosed by & strong wooden beam, which at the same time holds the door posts. The ends of this beam, often in the mediaeval fashion and in effective tectonic sympolism, are formed in dragons’ hsads. On this beam rests the wooden lattice, that fills the uppsr segment of the arch, even then admitting light to-the ‘hoow sy ee ae et ae towel ositie ous sete 809% to ‘duongelevet ent 26 cyede teal hae Batdd edt. .asosicde d ovat atecg ehd ted BY EB na0 yd fotmeserges et sviton >" Osah macd edt eiefeniiq Isinemenio oink bemroleanesé i ets elfen: lieve! siping torhofe atin coteroo tne ev eis” BtAd ‘cort Yo witeluace greg geqar exz-to pat spt solseradenco asboon |, encitaeent ozedd ph tI "To eebeceh tert eds (Pit e¥acblind +obLo ile ae @ Lecedes cdo ot Sapo: Jenke Edd eyala cals $Y tia ged) ncitonsat ents. sedait ‘QWad 22 27 seenvot to. ead shang mece \Siasssegys Olveitatoetais siedt asheoel cee: 3 @. Ont vemacd eit to abre Bebnotey edd ae toetota estroce r g 24s 26 ebae sdf woitoorwteace eldt Yo rinemele tradacgut hotvaso [ptliae odd weal Bavicons ~Beeed arom: tabtoet eget oi \noivetbesenie hotominx ne newitow Lavesised Ye open vieyitonisse one nolisiceméiase Letionst has Ggaeb ,eolitez evitoatte ya evieost enged satdoensnes aee Betéeigas atedt eiewer guitosterq yiqusda be | 20 Usated Hit0n ses noidw yd, eeentieeyt fantsire eis to > eloecan desea steleod .dhatetedlak xotneonss teiteioarede gti ook. tag eidt bateex .eborestnve® egies Ge56 eleivetaw sat to Sinsen edt sort bege! “Ponest ni 0 i Hosinki & mcbise sf ssedd woh ote betaitsnes a odnh [let qiiaves weds |bestats: yhasale “Neay peaneerog eoagia® stivedii). »neitonzance we nt in: BAOnSTY BG Smid SUF GE Rncledaneve tadd hold etdt %o want pad’ ed aneeebienoe eid gedit .bies 24d vem J MGS WOLseek? odet Ratate soitosiwieac hes {itse .olyse Ghdd: do fae E © dednis 216d esscioneds dedn .2hite fa yisteg ,biqisa: wisieg evs to emret ¢ edi ai yen Bas CEI to siat at eteod: I »S1nto: edt | meen ch ainthliod oisto® otsl Hove .e1sh noite pence ne - aT 7 Dihenc? ea0te odastia: yods. Tha0% plooncenaaroins ne cove node ied :noktonsdence 4tecsd Ie esnted si3 “0. Sevetigebee ton ste . baa eid neboow. iscolktes sto nctimes ssgs0l, on ak saed Matecl yilewisas ef sromfsesy dons 36% hoitsoltivess, esd yd eG2 to asanes \edih wl bat? mebles sot: on’ yusasaeo eds 00 2 nO: yiteag daoy tage! seotgetiag aeboon eneotad ge ese. 7 t b> tO) Deh an 147 room, when the entire lower openings is closed by its wooder Shutters. The third and last stage of the development of this motive is represented by our Fig. 76. Here the posts have been transformed into ornamental pilasters, the beam gato architra- ve and cornice with elegant antique details, while the lattic- ing of the upper part consists of iron bars. If in theses insertions , wooden construction Supplies the th- eme, in all older buildings till the first decades of the 16 th century, it also plays the first part in the general architec- ture of houses. [i is half timber construction, that sives th- ese facades their characteristic appsarance, when the upper Stories project on the extended ends of the beams. The most important elements of this construction, the ends of the pro- jJecting cross beams, received from the skilful.carvins tools of Mediaeval workmen an animated ornamentation, in which fis- ure and fanciful ornamentation are attractively mingled. Also the connecting beams reesive by effective profiles, deeply cut hollows and sharply projecting rounds their artistic Stamp. But of the original freshness, by which the north German masters of Brunswick, Halberstadt, Goslar, Hildeshein, Quedlinburs and Werniserode, created this construction with characteristics ds- veloped from the nature of the materials with tectonic nscess- ity, thers is seldom s limited mention in French buildings. As already stated, they usually fall into a restricted imitation of stone construction, Likewise Orleans possesses many ¢xamples of this kind, that even belongs to the time. of Francis I. On the whole it may be said, that ths Renaissance by the luxury of Skilful ashlar construction coming into fashion, supported all State decrees and made an end of this style. Still is seen in No. 48 Rus des hotellsries, what translates half timber const- ruction into the forms of the partly insipid, partly already Barocco architecture. It bears the date of 1599 and may find Sn carlier mention hers. Even late Gothic buildings do not Show such an aberration. For if they imitate stone forms, they are not endangered by the nature of their construction: but here is no longer méntion of a rational wooden tie, and there- by the justification for such treatment is entirely lost. On the contrary we not seldom find in the courts of the hog-— ses at Orleans wooden galleries, that rest partly on stone cor— ——— ; Lit fi Bat bet, is) ay | iy A ie aot, gee: i didddxe. ai i. 0 at pra Faseod acboow ae atiaed ated ae o signaxe Ipitooge = yievines ec3 nO -Jndataoat oktulugios ae veo wi) .O4 de .oan0n off mi gees ed ct ci esingss. coppsad ho ed nolned sansel30 a6 prelans 2@ @anibliad etavieg .SG ' ginisos eoansd gaadyegar etog bas .sebtal ods “pebteet (dud ofeviag to isdaun e engein0 pi bait ew 0d .Gb 5 Rrannes ecote Goin ok sotieeetane® oft heyolqme st foie efosoide & cini gntad of socidaming bas ti tnorse din si On .goifentesxe sok pacot ont to taemqéleveh cid esas pads. .eidieesqat'! ef ani Yo CS .ok aren ens i itiy i sone ne Lane wises datdtenpoo fnA Juskivxnl dace oft ai mane Odaving sedic ifs ccliadnvmente 26. yuwxsl ol cle fe esizae 6dd..20t edelenod ti yote Bavows end aT ge06e eds. to Sainego oft bru yewrooh sensed add iseegdd-dat: touted sd evode «docs Seenetgsh wol a yd Sil tok satealigq efstii s yd baiersave uvolaiw ort bed Is BOR. Sf, qrete, tevol.edds Jo eciuivibiza ele? .ilsd ens oh dete ~eled3do ge Zcitees Neate. t42%6 yd houclone ‘yl eer: bas egteda gisid ao eéspacdans enit baa $2 2080 ead. sebicse Lisash. &.yd Betoenros ais¢icso nek q Est $2Tioe ed) feed Seoeflietnl of eed saddrot dose “ol meee Ghesbusgs favre edo yileci? bas .satieacs ditty peeve “wmode aagas ead of ecbeia eladic eaT .eheod soltiebem elie ‘gied Beeclone ainga ef base .aaedeccto diin stelogne goo Riad celddniied ont go Hetnel? Sue busd beoeltotnt got fs feepesaesos edi do: tigige cc? ak.cxca e230 attade SEGLW t svods weetiecos afiy eélneq cbessol wose tae sonseeta ma; yeliiore eudiness cpeisewg tin aseiat a.ebaaize wok bod Saeize .eenpeedesa: yd boiav 3. cals ebasd Lasitiey yobs (cided cootine 2ii din vad? -yiote troaseqas ett te zul Balinte & of baa. Woon edd otai. taifbssdxe soiflobes 2 pages date yo Esrevos susderitg. yd‘ be ec lons wi géilestboug do0exs eed to, Sroneoiten goatee: sat. vena iaS -nodddeos. ae ttiszen bas Iiswe eids 26 etead soolee efi ot abncgeeai99 rata ) pp eRmdbiind ibliad 4 See aie ai icavtehon ef. eonsitoxul eid? Sivedooaste ei Llaz25 yntvags Stem. yd ¢ed2 ,yaonges Jolup ergctatysbaes bebsst ne: dion hos pacisacqouy Iniigused vd, f 148 bels, partly on wooden posts. These frequently exhibit a char- acteristic treatment. On the contrary a Spécial example of the Barocco caprice is to be ssen in the house at No. 1o Rue de Goulon. 52, Private buildings of ashlars at Orleans. Besides the larger and more important houses anticipated in S 49, 50, we find in Orleans a number of private buildings, on which is employed the Renaissance in rich stone construction with serenity and animation. To bring into a chronological se- riss the development of the forms for examination, we commence with a little house, No. 20 of Rue de l’Impossible, that shows in the most luxuriant and coquettish early Renaissance, and ex- csls in luxury of ornamentation all other private buildings in the city. In the ground story it.consists for the entire width only of the house doorway and the Opsning of the shop coversd | by a low depressed arch» above the dovrod:thechhusscarecarrans— ged two windows connected by a little pilaster for lightins the hall. This subdivision of the lower story is most clegant- ly enclosed by drarf pilasters resting on corbels, with folia— ge and fine arabesques on theih shafts and ornamental Gorinth- ian capitals connected by a dentil cornice. The profile of the arch further has an interlaced band, the soffit has panels : with rosettes, and finally the arch Spandreis are adorned by medallion heads. The single window in the upper story. is rect- ; angular with crossbars, and is again enclosed by a tasteful i ; interlaced band and flanked by two Corinthian half columns, whose shafts are nore in the spirit of the Romanesque and Ren- | aissance art, show lozenge panles with rosettes. Above the win- dow extends a frieze with precious acanthus scrolls, and short vertical bands also covered by arabesques, extend to the window of the uppermost story, that with its entique Sable adorned by & medallion extending into the roof, and in a similar luxuriant prodigality is enclosed by pilasters covered by arabesques and an acanthus frieze. The perfect refinement of the execution corresponds to the select taste of this small and magnificent buildings. This luxuriance is moderated in the succeeding buildings to quiet harmony, that by more sparing detail is effective only by beautiful proportions and well arranged subdivision. Ws nane . ’ ¥ 99} ~« ee beh. berioss 3=Hnvos "f oe Se a 8 gs ee # a ew » mo €3 pibiz , dn 07 sk oS 2 : Zi nn re * Ca races + rn. he ww oe we ie eh ne mf Fie ee Oe ee Ne oy rey t em eee ht oad tt roe 7 *y ¥ Ns 2 | { t te 149 first the noble house in Rus da Tabours, whose narrow facade has a shop in the ground story beside the round~arched .door- way of the house, and in ea@h of the two upper stories has two double windows, that are combined in ons system of pilast- ers. On none of the many buildings of the city is shown a suab- ivision, that was executed with such select refinement even in the least things and still with animated charm (Pig. 77), ach of the two round-atched windows, which according to medi- eval fashion are divided by small columns, is enclosed by a blind areh that esate ss both openings in one witole. The arch- cs rest on fluted pilasters whose abacuses nov only corrsspond to those of the little columns, bat even to the mouldings on the great pilasters, that enclose both windows in a system, An acanthus leaf there Sives the mouldings a support like a console, and the upper part of the shaft of the pilaster is ornamented | by a refined arabesque relief. The consistency of the distins- uished artist, to whom we owe this facade indeed goes so far, : as to sive a ring to the little dividing column where the par- : f 2 fj apst terminates, and to flute the upper part of the column. The tympanum finally shows in ths forst story festoons with ornan-— ental bands and a little medallion, in the upper Story being a larger medallion with a figures relisf. bikewiss even after the most elegant period of *rancis T or about 1530 dates the beautiful house of Rue de Pierre pereasc, j In the ground story 1% has two srsat openings for shops, but : for their considerable width and the slender proportions of the pliers, these exhibit Honiton arches. Heonony of space has here ceased, that even the house doorway is included in f one of the great arched spuaiaas But the location of the cor- ‘ +o8 in the ynner staris hi: ; ; [ wed in the upper stories by the little windows, Hy ssages. This arrangement, which oppoges ictly shaahelols feeling of our days (fis. 78), comes he sound architectural sense of ths tims, which without concern expresses the internal division of the rooms on the acads, and not on the contrary places the internal division of the rooms on the Procrustes’ bed of symmetry. The division of the wall surfaces consists or a system of slender and rather lean bordering pilasters with the well known logenge panels and gharmingly varied Corinthian capitals. The windows are combined wi 4 i i oh : ORs i . By) a ¥¥ ne } a: ver : tin 8080 bos ‘obit w OMB GORE ono abet: ebalbited tis f es ened 283 lo nisq sd ad sesoki ion eaoro hae efetnil sddianz & hig sosmebusess bedicoenh ybsetfe edt edcde sass (83: 528) Seas Jady ,besiesdqre ed of ylnevet ai .eneel10 Yo scundd a teas Bbd i eecod test Sf2 dfiwencet s20s% sat to notios Sseds .enmuoo elesif£ dtin yreliey nebocy & yi ofan ai ‘sneiq ed¢-ne exif Ratan a ak sdocid oneds yd £ ‘to Senof odt betoore ei yak aelquie danogs rainke us eve eno to Ralteteros. vino. bas monies: of! Resets citnie ect | Dewctats selugasios o, ppidinivo, Bair ‘gonsec ‘atot ésa 663 of saeeqgge sen Beet ses gods on sceB .efis Nk @siGinzs Nas egrarn ba b. Boas «88CDese SAR aA? ‘eine ered, bis rete: $ Beuoak eid send , ptastusa ead olsen . wereoging esivyise sisaibtodna at F fs bateogri srecie noqqu eigcia edt ot boock ek dr cate Rr é p Bad) to bas gwotci fito medayelsd? Jenoidsogos ttpasd eat 46%, VN. .oi7 bss t pe) \ degnoscs bas geigqniz cedvoo es: : pait reel $63 enoesdass droivin stodgaslio antineli es Bs d neistatacd Odd To iftano ofnel to Si19SIeggwe \hs soutss senohnin bedowse-basor nAeli0 2s aveldes bos exoird Bint ra heosbotint car pasate MgOhS coidw ,Saibited je shea dese : Bastse: Gteibonteat nd .dnedxsaeees sis boidasaens dyad —eizemsO*£ ob opf< Be! eenod add ys .bedane: we. Ecs geytsl edtic? agaciéd 31 sRLivk zune B. 602 * xe Sig eed seem exis vod yesenod stavirg at ‘By wy, , 7 ® a | isc vo 1590 a3 in all buildings into one¢group, are wide aod high, with s Straight lintels and cross mullions. On the paln of the house (Fig, 72), that shows the already described arrangement of most houses of Orleans, it is only to be Smphasiged, that the conn- ection of the front rooms with tha rear house in the uppsr sto- ry is made by a wooden gallery with little columns, that are Supported by stone blocks in a dotted line on the plan. . In @ Similar though simpler way is erected the house af Rae dé la vielle poterie, narrow and only consisting of one systen, Likewise enclosing the house doorway within the Single sreat . arch of the sround story, and also shows rectangular windows house at No. 1. Rue de la Glouteris. Here no Shop opens the ground story; in quite an expressive contrast to that commerc- ial house widely opened to traffic the ground story is closed in &@ dignified mannsor, and exhibits in its small partly single and partly double round-arched windows, that Sparinsly open ¢ the broad wall surfaces, that the ground story is here ‘only intended for subordinate service purposes, while the master’s dwelling is found in the single upper story, imposing in its lofty proportions. The system of the windows and of the enclo- Sing pilasters is imitated there in Fig. 77 for the beautiful house of Rue du Tabourg, yet somewhat simpler and stronger, the flanking pilasters without arabesques, the cipitals like clas- sical Corinthian forms, the whole more attractive by a noble treatment of the members than (as above) by ornamental grace. On one dormer appsar hermes as supporters of Ionic capitals, enclosing the coupled round-archsed windows. 03. Buildings of bricks and ashlars at Orleans. Besides pure ashlar construction was introduced also in cer- tain examples at Orleans that mode of building, which adopts brick in a Sreater or lesser extent. An intermediate position is first denoted by the house of Rue de 1’Ormeris, which forms the angle of Rue aux Juifs. It belongs to the larger and more dignified of the private houses, but like most has the extreme— ly narrow form of plan, which affords space only for one room besides ths very narrow passage; The ground story is opened by i) ‘ + Peyoeaeks i eveds seid encktiw beignos: budoceebhact Slaze a ‘pais Belgnoc) cetwoiif ond: begaasta ete yrota, Ieqtonizg st t ysose sogqp ect of na ,esided cupiies vd Beorors suotaiv edt. exif eed uscvo, baeeletail idsiewte eved exchatn meee on goiewoto sat search eaedd to Jecu go eh > idisx etstealiq saidtniseD stocr anitostorg ylebiw vd aesedseno sovdd no betel siTade edd .elaciqao benno? yicdate # nisido og Ena ,eeisote sted ai esneen edd , ig edt .tedtskest seols medt gntoziq te besteni evoonix & ctet noltesrolenasd aestsut ¢ et ebsost aind te ys feos nt sexed semitoo edt te shacet heditors£, aacted add te i to enid belecio odd Qniteotist yiseetinen ,siaedeold al Ohne soning seiises edd ;oldedca et gntde one de .dooge | aw odd col gnebueg = bedsete ead tact .yastennya. t0% it oon? noitveceiaxs on ebott ged3 .sapon edd ikysezesq odd se -emeig ed} Yo dremedasttes se se ebie offs ni ehsoat ebie fetegnole ed ak eldatol sind Howogmeo. ei weze eibbim edd to yaw supeesnioig edd ie ge Eas atdgicd heiney te siveq Jootsttib yrey, to oxo upton @i Sevod ody to Used tnond said off .baiteos heya Selden edi .daowlotsd edi stip wie siste becione Ssiuvoulée Bridoennco wel s ek eldd dxen ;loos nine sede ‘eapod edd to tseq qe8% odd od gribss!l .darco bre wicte-gn0 Snted eno .essac eeparaehe) ont to: edsic t seve bine, yereten shins ebeol sitmco oft cial. .yrode cnt ee peodote: Eases dtiw dtod ,eoneitas ce est seucd ss9% m@ ,belquoo ylizeq ne signie, ylseby Bodove-faset Lis ene > Yrote Saakt edt ol .asvactinors selozasices yd heaolone Bicd so wobriw vad snoabrad s hsoniq si senod. taoxt be belica £ vd Hheunois bas asagesiig seidiaisoed. yw betercoob feapvo needinzcg fect obie eft ge wobsatw Ilene 2 yleo ean 1 5 He edecise ebis cit: To ee lew es Leqtoning edd to tab b wiisiseges .inor seldes Iutitie ef Ife vitaen ssi 08 e ei doisd to cen snd qaistiaco edf 20 ~ebaos?. lagioniag ( tnowt edt to esioata edt ossused noisgesingmmoo od¢ enact Seauchsied tisad dtiv acapioo eit, s@pnlblisd 1a9% ent fas 4 Oy ae } Pe: ‘ mn . ui 7 j + . a= 5 Fae esostine [fsu stegetq evel ot meded ceed, cg. 2g29 sabod doatcoqmi evom edd ot ylissensg 2A .dsn00 adit act. of es ta eintouste gnivoranoe 2 déiv enoploo go ontewegite ‘ort 5 oF Aree Weaela!! «5. ee M! . 1 191 small round-arched coupled windows high above the street; in the principal story are arranged two likewise coupled high windows crowned by antique Sables, and in the upper. story the windows have straight lintelsand cross bars, like the lower. As on most of theses Houses the crowning cornicevis covered by widely projecting roof. Corinthian pilasters with correctly formed capitals, the shafts fluted on three guar$ers, divide the masses in both stories, and to obtain a stately expression, Garcohas been taken to leave proper wall surfaces beside the windows instead of placing them close together. The plain clar- ity of this facade is a further transformation into simplicity of the before described facade of the corner house in Rue de ia Clouterie, manifestly indicating the closings time of this epoch. Yet one thing is notable; the earlier unknown endeavor for symmetry, that has created a pendant for the windows for tac passage in the house, that finds no explanation from the arransement of the plan. Notable is the elongated side facade in the side stbeest thet in the picturesque way of the middle ages is composed of a ér- : coup of very different parts of varied heights and endependent ; roofing. The high front perk of the house is adjoined by the Stair tower with its brickwork, its ashlar trim and pointed ‘ roof; next this is a low connectiug structure enclosing the } court, leading to the rear part of the house, that again con- ; Sists of two indspendent parts, one being one story and another two story. Into the court leads a wide gateway, and sven the ear house has an. i both with round arches. The windows are ail round-arched, partly single and partly coupled, mostly i enclosed by rectangular architraves. In the first story of the front house is placed a handsome bay window on bold corbels, decorated by Corinthian pilasters and crowned by a gabled arch. It has only a small window at the side that permits an oversi- sht of the principal as well as of the side street. So far nearly all is skilful ashlar ae espécially on the principal facade. On ths contrary ths use of brick is retained for the court. As gsnerally in the more important houses, a portico on columns with 2 connscting structure at a longer side forms the communication between ths stairs of the front house and the rear buildings. The columns with their freely Corinthian ii i ” tide e | RY \g 4 | Set + te Masbborins eft ,eedoss efit Yo edloviders oad fy a Rifent? ellen oft Yo.elgan edd bas anefniw bedocs-ban0r BNTOSe Teq95 eft to ecdtzsliq neiddaized Ketolt snezetes ai betwoexs ylesitae anied seoetige [few edt .ereides to so saplaniag oigaives. tol gniviats: s eves evesqqe ovegs ts Py deigeh st ensetteq shresol yd Betaves ete esoetane sci ingetaiiedt sc? henistss sisi eh coitenasanos doiad tT niaaduéget ga no tdais owe oti nt yllanit ‘eiseqge eidd ntot be Sbu0d tentco « cela st eid? .deey aiotied ‘oh spf daost sat (naiq tebiw eidetebienoo Yo syd «rouse €5 “bsoa la iiss wovisa edd seblesé amcot aneiosqa ows dln ext oft eusiste gathcin sat ot yldoe1th ebesl cells tad3 .ebie pees enc yinc Sntfilatice ,sdent mosewo edt mort easttib ecnog $ dass b si'yidatebienoo hesise esd ftuoe edd yderedy «anoot 7” eOOasticqal oideitis voa sooddin ek tedtast Fk. denods pameog ‘ont Sansosd .¢£ 103 bealetdo ek tte Bae scat! eson xen eoalg ton et ebniblind secu base snot naseizsed boiv athe ledt to [few was1 otf Jenteade eiitnd .gocaizse shie Seton 2 pereneest wt noitsnistet edt tesate shia eit txel “4 anal hee gs , 3 eYRRSTLS & ping i‘ wit paghting esiine sig nf 20 of aatteeratad teow lavesiven ‘edd enettxe ce of gwolict. ¢I .ebesst Lea dk goeees toodsiw ao) .toleivibdnes desert sad Yo ins Somadit ea? adinisq ti asde ettenmyenn dtin wib 5 feqmec Sited Juostin ewobaiw bedowe-bavos Beigocs fas Bp llaotteiccdsize bag daid & evodh .soivivibdee lsntedei eves @ead yevobain badode-basot Ilene ddin erode bavoss oes eeeerta? Ltiasb arin etoeolone taingnadoey Latnemas oiveeg dtinv besssst ete swobain agin evodn. .eeinade veg 5 S{hnle 5 wh. £ , s' a Ly - x ; / ne a) ‘Re : MRR) 0 Se hla sk BNR Noe Bu ob 4 155 francis I, On the splendid stairway are ssen the arms and devi- ces of the builder and his wife. His motto states:-“Virgue wi- thout fortune is crpphed;” another is “Warmed by ardent desire’, with a flaming pastille burner. A house of the most ornamental carly Renaissance, that oris- inated about 1535, is seen at Paray-le-Moniel, With its little turrets and roof gables ornamented by crockets, it still pays tribute to the Middle ages, but with the elegant windows and tae fine pilasters that enclose them, it is == allied to the allisd to the new style. After the so common way of the time the pilasters are continued vertically by dwarf projections, but all these members receive by delicate arabesques and orna- mentel shell work the stamp of animated charm. The impression of this sarly time is borne by a richly trea- ed house in Rheims located in Rue du Marc. It consists of two wings joining at 2 right angle. The portal shows the flat arch, the windo#s are coupled in the lower and upper stories, wide nd divided by cross’ medallions. Over the windows of the ground Story are scen medallions with busts, above those of the upper Story being a relief frieze with combat scenes. ean pilasters are connected by shorter bands, partly with Composite and part- iy with Corinthian capitals, that sive the surfaces that spor- tive and ornamental subdivision, that so frequently recalls joinery. On the contrary is attractive here the fanciful and finely treated ornamentation, which is poured in abundance oy- er the surfaces of the pilasters; human figures, birds, lilies, vases with other smblems ars interlaced by charming branches of leaves. In the interior ou a pavilion with wooden ceiling, that is characterized by elegantly carved crnaments, plants At Le pipe close under the west facade of the great cathed— , tases a littis private houses, that likewise belongs to S time, and @akes itself notable by a pretty polygonal bay and elegantly treated roof gabler. , At Angers is the mainsion d’Anjou or De Figuer, likewise an elegant building of the early Renaissance, meriting considera— 7 tion by its tall pilasters connected as always by intermediate ~ bands, showing graceful arabesques in their panels. An elegant house from the Last time of Francis TI has been p keoqmt Pry eiiebbysce wood te sesso seh och at Bevrsesta ; ak exedy ~emoltvetesveb solve fae aottnloyse edd yd .uolense idem 663 xd Soes¢scqat yluees0t yeiflind & Ye tasqme: sat vine Mb s at bovot et si bas ,tusmdeen? ett Ye avendoiz bac ytilh Pabgnibiiod sete! fad yd Senoson® steolyen to gossibaoco ya ssebaien -ytOta Bapowh s svede getzots ont st eseia sheoet Peppites oa? «(OV sbtt) enmnico duigostorg yd bobivisdre “nasagata tpneoleo edt bse .zathbnateaciar {ist dtin belbass Snepiliesar sit too yotadolyse Brovrigneo ent dost ye: Me ese ytots fowoth est aI .sbtetoe haw euuteldsias he a std , ga ems yore baodes ent wf yenanlos exieegmod beto!lt bated frist edd ai .Jistie odz to nobivog tenol, diooes: dtin somenso tod | betel? gidece cxinaitis neidentzod gegdhif b else to esige af tod .reitatasssnto cert: ydibac rewed ond ef vise sat to etiesh Isiussanze eft metoieeste ote edt at déod etasggs Bids bos .eidbia edi, teod. gon eed ato Teifes od? ai oals bae admat wobriw add to sano aod) efensg ent to bae envuios eggs ead To: gesed add Salas: scinte. feqtonizg sit te oweboin ea¢ aebsl ewofnlw ee: ee 28998 Sad ni .teties blod ai aemeerces to etadszoo a qd Betercoeb Bos omoto s*daroo # adiw bieode 2 treqque ss Sim evigzetoes. sebtel ans. enoisin edt .sehic ne to Sead . | merveiease: tease edd to emokifon edt ctoted ;.enotlivs ‘doa ) Tadrensnto odd doi yoomted ok omploo ditse! ask a3 atte’ Go Senteo coc th .etote sids of asvie otsdxyrave wot Lett OY Bnsqo fedt .jewot faves e alietintes 2ati ebeos gh ebst tad) e Redwotbat exe. etegated ett nO seeders tal? yd aan Bt trode heecqeed need evad eon eaned 247 ,tetlan bLod . > wemobain teqqn edt Yo exo mo beet 2d eteh etnt cos lost te acncmenot gotgdo ci. dots of ,2eyosT tnekona Gebel s€ to wintoty sat of serseeeng .eonsbelecoh bas b Bfelel wh enh bee shake sacing esh oof to aendbo oft cereus asseis. Yo essod ecvéeviag aatteetetal cs vqeigns odt te wobsiw xsd. Lgncaylog begolowel ylaniove eve (bibseige atin hos ,eerot eonmezeianes teecii edt ai Pyros faner3 edt) to anchain ev no. eanivery nots besitis eeste esd mort boredae yitoetib ef sens end Yo, sheoat ah yibifasige .euit edd 2o dnepeis duos sad ot edacied p ulietoeges Ses .isen siedileb Jeon edt to. srogeslig a Ae oe i ee 5 Mk 156 ae preserved in Rue des Forges at Dijon. Originally an imposing mansion, by the Revolution and other devastations, there is only the remnant of a building formerly important by the nob- | ility and richness of its treatment, and it is found in a dre- aty condition of neglect. Enclosed by bad later buildings, its facade rises in two stories above a ground story. Most happily subdivided by projecting columns (Fis. 79). The antique is here handied with full understending, and the columnar orders neith-— er lack the continuous stylobate, nor the intclligently treat-— ed entablature and cornice. In the ground story are slender f fluted Composite columns, in the second story are Corinthian with smooth lower portion of the shaft, in the third being lighter Corinthian, likewise mostly fluted, but ornamented at the lower end by free ornamentation. But in spite of this sey- Sicismn the ornamental desire of the early Renaissance has not lost its rights, end this appears both in the arabes-— ques of the window jambs and also in the relisf ornament of ¢ the bases of the upper columns and of the panels beneath the windows. Under the windows of the principal story are sesn combats or horsemen in bold relisf, in the upper story genii - Support a sheald with &@ count’s crown and decorated by the bana of an order. The windows are large, rectangles with cross mullions.; before the mullions of the upper are placed a slen- der 1ittis column in harmony with the ornamental character, e¢ éverywhers given to this story. At ons corner of this pleasing facade lies a stairs in a round tower, that opens to the court by flat arches. On its parapets are indicated a balustrade in bold relief. The house must have been composed about 1547, si- nee this date is read on one of the upper windows. Ancient Troyes, so rich in church monuments of the Gothic a and Renaissance, possesses in the vicinity of S. Madelaine at the corner of Bue des quinse vinst and Rue du Palais de Justice an interesting private house of richsr arrangement, with a ch-— armigsly developed polygonal bay window at the angle, treated in the finest Renaissance forms, and with splendid convention— ~ alized iron sgratinss on the windows of the ground story. The facades of the house is directly entered from the street, and belonss to the most slegant of the time. Splendidly. decorated pilasters of the most delicate work, and especially senii or la b kas. of miedo aaineisisg evty ents Se bleiae & beiblo Peiebe. shen std baer ef nokdosse to o¢abh edt ea .gatblind hetoese ecelag faery es et effeynacd eceled neoneesd fi ht “gi ,Yfeedtd 102 ecrekives eseving e es Lenthaec ‘euemat: odd pete ost sbsvol siutsogidows neiionkaee ee shohtioghsa yvaecd eee god) fotlide el noitonssJenoo usides Intouss oi nei “ead Yo ents ai amex ed? .ywsed bas qmoola at Lesenck os ‘aa A) Zited meed etidiixe tvodzsctds) ine .eomelos tian oft00 wievrs etoel oanthiiod tistete ifise edt .cckeedai efi : seonseblianss siz 6 duonts raltatxe eeened ctevite evoromng ond %0 -eone8) eflivaicl ,emvet te cecdt gisc ncitnes [lade on a (siovee, eduek) Sivexbd bne mee | »Bited ta, I etenst? to eanck .22 | foedisote Séeviug. nl ehoidedisbas teeidon ect oncom etexent ex doide (fife ot awond ("8 stones] to senek™ sad aon “al ites Os wesldsnietnc! asen dow Yo stalfiv est mort Est mee wecthlind efittl tds to eheost edT s-eeoeyla eqmadd oid incpeoeakeued Bad of selevets eltt yd bas ,ebniifexb % ie deotatersys cit nisizeg sind of .e2niog pS: Fito es ddgis Sa Je dose elbhiai sdt xntéteda grag edd ; {PTY edz; Stinedi! Pathikod: sds bolewoto sidse ywvese i to COssetey So atond otiw sacizt scy to ebuaiass yvteo! Mai, Lie O08) ,1 eionas§ .eretiied to aneid j ytote bavcw edt to exobein bedowe taonk cords edd of oH B. yd behivib enobaiw eardd yrote cogan ons ci me } avode boa woled hescions si emcdave seeds te dost vied i. eau 6dt a esoetins Sbedw) .eisdeelig neidinincd bikas rire ncitnevei sieckleb seem adit. to Renal vib oan > Liane Bociisxel beate eseteciiaq sswol efs crctsd aliar ) obeos), edd to eeiaua- edd eeinedt! uetniteSaten seo; -ealt tibce: Stkw areduet ho, node. (noizibde rasben 6 et tibia ode fy ‘ eaottennivnace feoiszey. sat. Setseit exe cele bos .acopsed i ts b ehs dad .seinete owt edd nested eisteslic. iis bs-sosig tots yqignibecoxe edd st sguniet geadigid oti. essend whbis edd oi teifen bled sk swoie ¢1..eeitote ated anito d bewxegque ante ,sboadwe2 yd behaowortse acecd (ssote) my vs Sy “Fa 4 o bedan ft etaiesdots beresigeh seode ,tasco esanps ylaset “pesebem ct Sséine Sesiat ef: slodx eit to oslg edd gave 157 holding a shield of arms give particular charm to the refined buildings. As the date of erection is read the year 1581. In Besancon palace Granvella is a great palace erected by t the famous cardinal as a private residence for himself, in heavy proporbions as Bursundian architectures loved. The ersct= ion in careful ashlar construction is skilful, but the effect in gsnerai is gloomy and heavy. The same is true of the sreat nearly square court, whose depressed arches are flanked by Doric half columns, and throughout exhibits beam ceilingsyin she interior. The still stately building lacks every charm of the Renaissance. Of the numerous private houses existing almost everywhere, @ shall mention only those of Tours, Joinville (daute Savoie) and Luxeéuil (Haute Savoie). . 55. House of Francis IT at Paris. Among the noblest undertakings in private architecture belo— ngs the “House of Francis 9”, known to all, which was transfer-— éd from the villase of Moret near Fontainebleau to Paris in the Champs Blysees. The facade of this little building, and even the plan of the whole is indeed suited to modern ne@ds of dwellings, and by this transfer it has been changed in very important points. To this pertain the symmetrical addation of the part abuitins the middle arch at the right as well as the heavy attic crossning the building} likewise the filling of the isafy sarlends of the frieze with busts of Margaret of Navarre, Diana of Poitiers, Francis I, ste. . 4 To the three great arched windows of the ground story corres- | pond in the upper story three windows divided by a horizontal bar. Hach of these systems is enclosed below and above by Spl- endid Corinthian pilasters, whose surfaces in the uppsr story exhibit sarabesques of the most delicate invention and execution, while before the lower pilasters stand luxurious small columns like candelabras. Likewise the angles of the facade (that on the right is a modern addition) show pilasters with noble ara- besques, and also are treated the vertical continuations of all pilasters between the two stories. But the decoration cele— © brates its highsst triumph in the exceedingly rich piece conn- ecting both stories. It shows in bold relief in the middle (<, (modern) busts surrounded by garlands, arms supported by Senii, — ns Lee Party ‘ rh RD “Tey '? 3 oh Oe ke ees i 4 , ia) : Bre) ee W@ a net iihdo grit Weed royed united ‘elieas okie edd ot pus eperyd? end Boigcive fined :oonscltiatie otsooas esi. ed of ek tue Ievesibem to enieme: gfor ex? .esqecd me 47: sswobatn obie sltthi odd Yo Ubainwote Sotsav sdt si eens v8 sed gnibiiad elssiil tnsoktignam 2ids to e825 scP. 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Men edd Yo eontoltkaseaitesnemense Lint edd asin fegail fetuosizos yeliiodg otdted dzin wol 22 Lescog 92 iS OVOUA .nreteslig neldtatsed yd Benclons ~eelane Bobsyos oyeiene visefiotes .webain belgnoe 2 yiode bnooee egs at G28 28 yreatdne int. e@tedeecyo Biod yd bekivib ,beeoloue Brit sot +20 20eig node B 8s Begneste ef sheost siquia ceinz ‘& eointos (ated, woboim Baa etotezliq ,easdesm ff aa mc jiaetbaze »e$apeodats Sasgels tuom adt diiw woltacio: (ese. o 2 bas ,amie batesss yluots og¢ eseclons cxlé aoltedtae tesli edd Jedd ov ,tobatn bos igphekaiat edt noended. eoeae 158 in the side panels being gayer scenes with children having a Bacchic significance; genii swinging the thyrsus and picking grapes. The sole remains of mediaeval art is to be recognized : in the varied crownings of the little side windows. The rear of this magnificent little building has at the med- dle a projecting flight of steps with two accesses, that leads to a round-archead doorway with rich arabesque ornament, that foruerly was in a side wing as Pig. 80 shows. Above this is the Sselamander flanked bg two canopies with little domes, that re- appears on the same facade in the tympanum of the beautiful w» window with cross mullion, on which are placed also two lovely genii riding dolphins. The two other facades are modernized, and also in the sculptures of the principal front are said to be modern additions. ‘eg fie intsrnal arrangement is modern; only the stairs that es cend at the middle in a straight flight, belong to the origin- al design. 06. Private buildings in Languedoc. In the South, whers the magoificent remains of the Roman pe- riod never entirely remained without influence in the later development of architecture, the province of Lansusdoc in par=- ticular takes a livins part in the Renaissance movement. In 5s several chateaus of the time (S. 48) thers mests us a certain erflowinsg luxuriancse of the treatment of form as a memorial ei the buildings of this sedge ah Likewise in the eittes the competing architecture now commences to follow the seneral movement. a In QGabors is to bs seen a Renaissance house from the earlier time of Francis I, on which are combined mediasval reminiscen— ces with the full ofnamentaiimagnificence of the new style. The portal is low with Gothic profile, horizontal lintel and rounded angles, snclosed by Corinthian pilasters. Above. rises in the second story 2 coupled windoz, ce profiled and enclosed, divided by bold crossbars. This entirety as an oth- eruiss Simple facade is arranged as a show piece of the first rank. All members, pilasters and window bars, cornice and fri- a eze, overflow with the most clegant arabesques. Similar ornan- entation also encloses the richly treated arms, and filis the Space betwsen the doorway and window, so that the smallest fein 4 eye shadeedoenent trogtix aniaces one re, 842 te depen edd nbdcoled en © be E grove bescsn) eh a 6 pthc . oeve eds okstacol six encilisb< Bdidze yen" ) ae gel’ Paewk A sarod, eyaseol ent St}co tncoitiages | We. aeqge O4T .odsia A es gk. a imecc tof Bbesetico ceils derooes eee tedt. otis as | . Bicsise edt .Sotnt! si ,@eveloo meiddte ve@bestenisd iG Presosenccs e242 | bat ewohain yp see sbhevs! Lp o* i 643 Ngliontas bebedid eyes 7 ge tinee Git Giragscisd- wsvot ciste 1s Bebedzacoe! Soe Jeenis? istsessenso fans asin: ‘euetiishber odd. .esioca ent a ’ 4 y ped, 40) wuelcencs sl fice sibbin peoent. fesaget gtcn {fits nigede avin 3 a aN . 15% Space remains without TS ya To tac same carly time belongs the court of the Jesuit coll- Sse in Rue des Balances at Toulouse. A high sround story is a decorated by elegant little candelabra colunms.in the Spandr- els of the arches of the arcade are seen the medallions with busts so favored in this time. The arch of the doorsay exhib— its magnificent coffees in the lozenge form. A sgrsat flat arch is also coffered and opens over it as a niche. The upper story is made considerably lower, like an attci, that has decorated and projecting Corinthian columns, half fluted. Ths pedestals on which they stand are connected by a balustrade. The frieze shows little round windows and a rich dentil cornics, that is strongly broken over the columns. On one court facade the upp- et story contains windows with cross mull ions, the other side exhibiting a gayer and splendid logsia, whose depressed round arches are coffersd and flanked by magnificent pilasters. To the more stately buildings of the spoch belongs there a mansion Meynisr, whose windows in part have the elegant carved pilasters of the early time of Francis I and mostly cross mal- lions, partly betray the late time of the century with Baraceco hernes, atlantes and fauns with sreat legs twisted spirally. bikewiss the court of its stair tower belongs to the early ep- och, a8 shown by the rich ornamental frieze, the decorated pil- asters and tympanums of the arches, the medallions with busts and the spirited arched frieze resting on consoles. Of the in- 1 ternal equipment is to be mentioned a magnificent fireplace and z Zz 4 2F reliefs, belonging to the richest of the early time. : sen in Rue Timbal a modest brick house with very characteristic rustication on the enclosures of windows and doorways, evidently belonsing to about the middle of the 16 th century; tha cross bars of ths windows are decorated by dry a atlantes, angels’ heads and other figures, as this style loves. axtremely picturesque is the effect of the Bittle court, that | is indssd now very ucgiected. At the left-is an arcade half walled up with two very flat arches on a Tuscan middis column, above it in an upper story beins another still more depressed arch, in the angle is a round steir tower with simple winding stairs, and on the right wing between the rather dryly treated je ith arabesques, genii, festoons of leaves, busts © i ul y ‘eo i! : At, ie 4 rg! : a ae ay (Ai us | Po go > celia ier? ott nest $0 pitts ‘Pedesins ae ant. ete: eatebuts Pelodx edt enctsxcecsg Seatecqainr to stige of setgin 2 et Ae sHeuse onne oft oT: sissigivo si bas esoedene tc iint Peas Googe omer ens To-cesod “edwit tied alitcif os, rece 4 etn200 goidw ao .eresestigq sinol I¢ asvayse 2 ed besolone e .nolsonti ance Loomot Sigde enote edt te setenast $9e9 Yeds buns ,Sonseelanesh of? at otainyisvs svisoisg 4 seantoed done usboon thokusgebat Yo spaorhsseh odd aston 20 yotdgnad ooteodsbion wie motl bebbe ed Yan ere we eas Ife af bibsaeica ,eased nidece a joobengaad to td Bb vooncley at bevacaeng ad Yedd (oonsnetene? yYines sad 3 Olbns bobanos bee istnki sigiecte ddhw fe: Meg snusertio ee eet BecLors bea Soousazo 30; sonebaete deivel‘s y¢ hebone - it mcholifethas: neve ect aseed saodw no ,eteten lig: baius mi tegionizg edsyemae? ,(aives te) ge03090 es% nc’ seems Ba). ente) Hotbiod’asigas bes Lledw dtin edois a .shanst A nes! on 8 ef dofdw seve \huoicss & babhastxe. ant ‘ebtecd n6o ened? bs ,1adexcan! iin vobair busueceass ylencis seeondcic Sesdhsd-sdt Yo sloaw kt epneeiul te Lfad; ysto ont .8e bor bas be? eosbostnt. seed hed ecnneeiensh sod se g too eshte: ocd qd Seeds .edvow dasottiogen exvce Rettods 2 meet .sealo nostiio yisieer sertes of kate © ent at Besser ctseanac: ne Holstagcost evicoss Wanene gs qroines d¢ Bf acs of Livan ef! "3 7 2a as RSisio. edd) to. oonedache Snoite. Meret sonehive sacced won, (&f .e ess) Btesitio ads eo. ahaha 60%) Io yonshaot bour Menke egedsey. .tesiizee otto ead .ackdeotgxe be UE: ia BOt RG hesoate sew (epotblind event ile t¢ seni? iaeese of 2 ewolls sicsgad 2h ex uindsdseo vistas ‘ce: vere hod edd .yautoco ad Bf ens ao; cave’ efhbie edd tiods' ts = evahiVi aesecs cd? Ti fos seatoets tom xninkssaso sae va ib wed tas Sho Oek Yonetuses ga fied wie add os tfew ea £% | shotade oo donseo qiderosine aidd pipnthline ss Cc seit) eadeo thes sonavengqe t3k eh Be es eli ekonast Jo weed edt to suki ylase edd) nk bed Cita) eeignavooy tedubor yiderelod.\p to eteieoco. st “— obobivib ‘ylewdt ef fee ree WOVMCD! B) oo eiool * _ e " 1% at 4 nt ht u ie te aL PT: \. ” ao rs pry. vale ibe 1G%, a windows, are the very animated busts of Francis ‘I and his gusen in a niche. In spite of unimportant proportions, the whole is full of character and is original. In the same street is still seen 4 little half timber house of the same epoch, the windows enclosed by a system of Ionic pilasters, on which occurs & di- rect transfer of the stone style to wool construction, which we perceive everywhere in the Renaissance, and that elways de- noves the decadence of independent wooden architecture. dere may be added from the neighboring Dauphiny on the bord- er of Languedoc, a costly house, splendid in all the luxuriance of the carly Renaissance, hat is preserved in Valence. A mas— nificent portal with straight lintsl and rounded angles, surr- ounded by a lavish abundance of ornament and enclosed by deco- rated pilasters, on whose bases are even mediallion heads (like Ghose on the Certosa at Pavia), forms the principal part of the facade. A niche with shell and angles holding arms, the genii beside them extending a garland, over which is a no less luza- riously ornamented window with crossbar, is there combined in &@ whole of the highest richness. 57. The city hall at Orleans. | as the Renaissance had been introduced into the cities in nu merous magnificent works, first by the nobility, but also by | #05 compsting wealthy citizen class, Then it should now like- sccive recognition in monuments erected for the communi— | ty. City halls antil in the 16 th century by their Gothic forms, a ante of the strong adherence of ths cities to the traditions ~ of the ere ages (see 3. 13), now became evidence in which is a combined the changed tendency of the minds of the c citizens to ; 2 Splended expression. One of the sarliest, perhaps indeed the. first of all these buildings, was sracted by the city of Orle- ans. So early certainly as de Catto mi allows it to originate % about the middle ¢éven of the 15 th century, the building was certainly not erected, and if the master Viart, to whom it aS well as the city hall at Beaugency are attributed, then this sae cannot be stated. | a ppsarance indicates (Fig. 81), the building origina— early time of the reign of cae cis I, about 1520. ‘ It consists of a tolerably regular rectangle, whose facade 4 looks on a narrow street and is finely divided. In nearly a rr @ « ce @ pe) pete me) cr oi om 69 | ia cass « onat Bokivih at zt (ineaqclaves Eeeasalate re ed edt meat seit ted? .gtedantig yi Eoxcloas dose), ec ébr ip, pie } Esottaev taetetsnos © eosliorg bas opinteo teor ent ot ie sfde od of ee edetrne fowm’ce ftel wi ooed yeendod ‘.ncie “eeigonse yacte taqicgieg sie Yo.swobaiw sit ehieed Ais disx Sseulo ye. sonefad s eyvih eaee srt te bee. .coutate Be nessacos ydeveds svet shave? eddeto ancisuogesg sAt bon arid of epocied of yeetigod ett oO .foette raged vie eos, pad Foertdons edt tedd .ds0g2 ¢ltes gids to estons’ | dageds To elhbin ott tpods te Biateeliq etd Bo wlatiqes Peas asesned yiivorth te footetl: .npeges yor dsodstin sHolsiegesy. baa eatot ai stzetnte eidavigonooalr ‘aa a. ax Vika Been ydoveils coc od .erttinan Genebisoon ifex Me eh Clk wed? Io ‘vetieecizace 4 ee ubuad siate die poe ign jwitatod 0: Sromeniies bas eacitois dttw beswesxe sow: nid wens Daibelsal) yiosu harcus sdt Ic sostucea engine eat - ia mer eteolileh nt eeitii to uretrag eitesast f yo fevevyoo ee) Ig lattes ead yo Heated. at ecatokiiagem te eoekg Letoege ot 8 yd beansg? watts ens mort rchate Bitoose edt désened et of susscaos tole Ene @tnsegnte yo benvehs bas dow [cast 20 ed lene: 217 -bugefoo tisd ne gattren evs: ae ieeanas MG ae Rdnesente bos coda? boven Yo Deteveo. S38): AV ee % @ 'abostxe. Letroc Sat Svocd »slyla neitiqnast soogsnemcs as eeel eidt yliddrew Goidentmset 2tedcenrc has’ enoqgasw déis Sie nae ytote Bevows 90s Ac enchsin sé? .ecetovetaen etitel ayd Leanozo (novantidotws atefig yd fosolone. bas: waiotasdeo’ yi » geEgte obdted edt s23te scibioow tned sokst0G0%14 ieaeougel edd o¢ teasénoo ni tos2Ie weboasy A ae Medtbenk sci agin. yrote teqgh chin edt 2k .yeode Bavowy odd ey Mergeses viv eescic on ,evadancts heldneh yo behivib avo (te ob iS) eotares. Sainwou Josoftinwen yiewentzs edd tas ode Stosn. Sétiine .vetitders sed to sas eeted enoissogosg eh Sao 2o eeciiion few .esmeoione sf? stcette gacinoa A eile g im mh 4 = ea) p+ > 3 eet tA 5-1; f pee ashasle ‘to hentdans' 20% Sistoo oi ylositao ikite © es ib xen Investhen « 2 ef entvedid eenoliod gest. fcs gass , (nam Se atertgges edt qrct rads. eadors beuoy beateiotssg Yo sae : ae f ddiw wendata adi to aedota edt cela -wefq\inteseca ok a aso {BMIeT ofdsod, af: Riotiiad hetuogxe cis esigensa) > 4 Regime sit aoweds ‘gewth: Vitnogiiiesst, Bei do9 is N Mae cate oe piedeee. febtoel ay, ak soperedat of von im t a8 mn ae —s 161 Syumetrical development, it is divided into four systems of # winddws;, sach enclosed by pilasters, that rise from the base to the roof cornice and produce a consistent vertical subdivi- sion. Between them is left so much surface as to be able to add beside the windows of the principal story canopies. with Statues, and at the same gives a balance by closed wall surface. Tas proportions of the facades have thereby acquired an extren- ely happy effect. On the contrary it belongs to the wonderful fancies of this early epoch, that the architect has placed the capitals of the pilasters at about the middle of their height without any reason, instead of directly beneath the cornices; an inconceivable mistake in forms and proportion. Instead -of well considsred members, he has thereby used usly dwarf pilas- .— bers with plain bands as a continuation of them. All is more- over executed with richness and refinement in details, as then ths entire surface of the ground story includins the bands is covered by a tapestry pattern of lilies in delicate relief. A special piece of magnificence is forméd by the portal, placed beneath the second window from the right. Spanned by & round ~ arch and adorned by ornaments and rich members, it is enclosed by pilasters resting on half columns. The shafts of the latter ~ are covered by curved flutes and ornaments in the manner of the | Romanesque transition style. Above the portal extends a friszs. | with weapons and ornaments, terminating worthily this luxurious — little masterpiece. The windows of the ground story are simply rectangular and enclosed by plain architraves, crowned by 4 b bent mouldings after the Cothic style. é A grander effect in contrast to the depressed proportions of the ground story, is the high upper story with its great wind- ows divided by doubled crossbars, rich niches with canopies a and the extremely magnificent crowning cornices (Fis. 31). The croportions here ape of rare nobility, and the whole has a hare monious effect. The enclosure and mullions of the window are Still entiesly in Gothic form, combined of slender little eol-— umns and desp hollows. Likewise is it a mediaeval idea, ths uss of perforated round arches that form the separate ending in graceful play. Also the niches of the statues with their 3 canopies are executed @ntireky in Gothic forms, yet the archi- | ect has intelligently given them a flat termination in order 4 not to intersect his principal cornice. de he's thereby ‘sealea _ ‘ f Y yy \y ye Part , eee aaa a F a 4: yp hee | SBS an : an PAP, Bet aN i (4%, 2 wen tos stdsextident) edt. 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B asna! as, nh Sond x , Pee a5 S24 eued cecto 1icid aéin enokein teme0h abana candied eae. dedd ,ene Pain goatog Srinkore 28 dae ee2%. mre ; pe ag ar sesh btn Relibtoebute ‘etdinck ads as moe f of ‘Boekat 2otavi ah yeam beonefiegae sed ebaont sot 2 Liv. oS weisetand se. te enou Lntesoaken ose” Vasoncoape Bieds ie bien jean elie. Ugeinedtelt etotisd 44 $ ators diene mort ST08 Phy nat tM vege yin PN oe. OS ORE oe nn tt + 0 y : ~? oe ‘ : v i ee 162 the rale of a the horigonta],the justification of the new Styis, and by the wise subdivision of the mediaeval forns employed has — Snsured to them a civic right in the new style of architecture. Otherwise the Renaissance is clearly expressed in the slender pilasters, the angles supporting arms on the window parapet, the profiles and ornaments of the mouldings. Only in the crown- ing cornice yst appsars a compromise between both styles in a nappy way. The principal form of this, the round-arghed frieze is borr- owed from the Romanesque style, like the columns of the portals, and it merits consideration, that the early Renaissance has of- _ ten employed the forms of this styls intimately related to it. But it knows how to transform it ia its sense, to animate it anew, and gives us thergin a notable indication of the spirit \B. crsative architectural epoch understands how to make current again the forms of the past. The shells fillins the arches, the ornaments of the members and the little spandrels show this. ; Only between the pilasters and the frieze is obtained no organ- ic connection, since in general the loose composition gives e evidence that the masters of that time mostly still uncertain, fumbled between both architectural styles. Directly over the cornice lies the gutter with its magnificent rosettes and gar- goyles, and then follows the perforated balustrade of the gal— | lery, that extends before the windows of the roof story; this | with its vesicular forms is the last echo of the flamboyant. fhe entire composition of shis rich crowning evidently forms — the preliminary step por that still grander and more developed crownins cornics, that we have learned to know an the inner fac- g ade at Blois. Also the two little pepperbox turrets on the an— gles are a mediaeval conception, also more allied to the Roman— esquctBhan the Gothic style. | Finally the dormer windows with their cross bars are enclosed _ by Corinthian pilasters, that are connected horizontally by a | cornices. Very inorsanically rise over these crowning pointed gables, that by their steepness and the closing crossflowers hr belong to the Gothic conception. Furthermore it is to be noted, © that the facade has experienced many injuries, indeed less by q the Huguenots, “the ungratefal sons of our Christian civiliza-— ~ tion,” Dre. Cattois flatterinsgly calls then, bat by the Revolu- uion, that especially tore from their niches the five 68 a Be ; Avia ree o $ tag) “pl ie i} ey aa ft) = Wars), ie ‘ Ti) Lap af Lin A ay .™ Ani Pell Pa ar t's pedal a eedt, ‘wert? e028: ay tatoanua ‘suaa’ eticltaca ‘edt t daeeesa 24 need beyossush bae ehoil donein $e ceasede. yeanm e3 oval Segnads eh bas tod bease viseq 01g ef buihiind : a 2 im attio. sa? 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Ls bP Pippi eda a Se ats eey "| 7 bs th Fea 5 : ’ eS ‘ f { A Cee As? 2 _ Pea te ‘ 1 i ‘ ’ \ ‘ j is 163 Revolution, that especially tore from their niches the five s statues of prench kin ‘in and destroyed them. At present the building is properly cared for and is changed into the. museum. of the city. The plan is simple. A corridor covered by cross vaults, bes- idé which at both sides lie important rooms with great cross vaults on octagonal piers, leads to a stairway by which one reaches an elevated court. Gere rises at the right a mighty belfry, rectangular and not square, with a round stairs tower. extending to an ipposing height and terminated by a slender Spire at a height of about 180 ft. The upper story opens at. all siges by high gothic windows as a belfry. The window caps aré pointed ogee arches, and with the finials and the vesica Sailery at the beginning of the roof clearly prove the late Gothic origin. The statement agress well therewith, that R. Gohier erected the tower about 1442 and completed the work ab— out 1453. Tis stu r story of the front building in its enuire extent consists of a hait 60 ft. lons by 25 ft. wide. At its ends are laced ant chimneys and two doorways lead into it from e vest-— sae The latter is in the form of a narthex, and with the windins stairway extends the entire length baéfore the hall. 58. City hall at Beausency. Tae first place that followetl powerful Orleans in the erect-— ion of a city hall in the new arch he EOS style was the lit- tle city of peaugency, located on the Loire between Blois and leans. Its style is so nearly allied to that of the city hall Orleans, that one must Gecide on the probability of the same - aster the date of ersction is siven the year 1526. In any 1 case the little building was first built after the model given | y Qrleans, not before that as Dr. pattois assumes. Aside from © this, that as a rule the great and powerful communities decided — the arlhitectural development, and first proke the road by im- portant works for the new tendency, there also certain forms on the city hall at Beaugency that first exhibit the further development and in part the higher perfection of those beginn-— ing in Orlcans. This is expressly true of the noble crowning cornice, that in richness and nobility surpasses that of Orl- eans, and places itself beside the magnificent one of the- py » ink bai a One Need nies ee etort to. sasveds Fyeleaszoos telegori ne to etultenoo Boibliod elasil srt ons) SAP no Suinsqe cokitog @ yLote bhawesh ans wf znlednoo eS 22 eof .fiengeo st? to [fad teens ed? verts ze tibats baowd d3ie seacuiess fenohedoq «2 xk tnewsnz0 Jeon baa Teosdocis 247) ev ehnoiad pOsin eofoss feeolo Blsd seo ot? . (86 ty pate eazy oi aneqo: quote bapeth onc goidu vd big@e egode. 10% sromegogrss one gor? ooted )@0s Bi tratefe Ena Latnen m cext 2 cl .tt e Bae JueneacetIs t pf sais to gnoteivi atin efedice to ten ads hichee -wobninw sit {ii% ted bid; a ERTS haat. Sta dotigucod sgl Pay ‘2eatm cetds edd te 4 ebepescete @roioesy yd \y ea ‘ o “pee eeuyid ead deo. Soveriidovw ¢ eigo dant {soroses Qatonoro ed? wha baistesee Gh 26 eevatzue wet: «2 {0s to -usedano | 3S BS ot sdvag RIEL 2 yd be Pune, «eed his Yo nok ‘ felis) sc | es: [7 no, seeed ‘eS eevitetacssaqes «ti ‘wea? NGSi ni Bece iy enn Boldx .eteto ddix exeod bons ~ sepdot ?Bados & 08 doin Sr ted Jse2b @ bua * ~ a 2 ? 29 SES ePone tae eck’. onal of nokwe Lom sq tot pats 6g es Bt of “SREh 62 im See wea s to solteets eft tot hoe eeanos dnossthe Lever - sopaiks "7 ihn xiget tiie i ere Ling ydio ist ae” ee rey a). ae eo Oe Le | a ht at ‘brug ie a ? > ie hay Ly By eM a ee Clie) Rae CENT | Seen a ; ; ee yaa i : ‘ ra \ ; 164 chateau of Blois (Fig. 32}. The little buildins consists of an irregular rectangis, that contains in the ground story a portico opening on the street, in the upper story the great hall of the council. The access lies at the rear in a polygonal staircass with broad winding steps. The facads belongs to the richest and nost ornamental aC of the time he 82). The grsat half closed arches with flat depressed arches by which the ground story opens to the street, are manife oe taken from the arrangement for shops employed in the neighboring Orleans. Ornamental and slegant is the por- tal with the little coupled windows above it. In a free manner the upper story follows its own principle of arrangement and distribution, without regard to the axial divisions of the log- er story. Therefore tts pilasters are set on corbels with vol- utes. Beneath the arms and emblems that fill the window panels is noted the salamandsr of @rancis I. Very beautifal are the proportions, subdivision and decoration of the three great windows with ¢ r cross barsanimated by precious arabesques, asteful are the ornaments on the eapitals of the jatestes Shafts of the architraves. But the highest oman is developed in the crowning cornice, that only finds its equal on the chateau of Blois. The surfaces of the upper story ars finally decorated by a lily pattern as aproof of the unsatiated love of decoration of this time. 59. The city hall at Paris. The city of Paris possessed in the middle ages for the delib- tions of its te ae ph ve called house with piers, ich was purchased in 1357 fromwia p private man for the sun hee 2380 livres. Accordins to the dese- fiptions of gd and a miniature picturs of the 15 th century, it was an imposing buildings with an arched portico in the ground story, two prveiet & chapel and a great hall. # fa cr wk re i) With the great increase of the population in the residences city, which then besan to be a city of the world, the buildings had lons been insufficient, when the aldermen made a decision on Dec. 18, 1529, to So to the king for permission to purchase several adjacent houses and for the erection of a new and grea ter city hall. Francis I willingly gave the authority requentsd, and on July 15, 1538, the corner stone was Laid with Sreat cer-— ar S a house on Place Greve, the so- ie a» ; er st aeuziaohd Bh .yaorstso Bh giteoe: out yanoted non? a rn ies betan at sokteoexg beds esw cid’ taba0 .sotvil v6S to yosiea \isbans ne t0teasdt = 202 Bos ae wi sm ulieb eeoe SS dtin go shea: ievnce esavii CY fiiv mrieseA .l begahne sen yitasazec ee ,eiedgon Seed ke notte lex ninbisel: Gs acitices renino1g edi ai bebesoxrea neiie & ~ Fa) tn te ra i 2) ~2idteen Sriseogne Ciotem “eons toe2idow aniaty | ve. pifeotteaiens oc Seitteo ean notioustenoce sit A edd beeclora teat ebakw ebeds ond hel Ligeo teas entes sedi dxem chia gabi« 8G Pak) Jaor f a ed - we et a Se BS ale ah wets, Ga Alek af wit de ‘ deicil sew svanoo edt yloelwoisis: .desefemoo. yilei itige som si ea .Seteertbal sehie ceoudd eddco toagq g elifveos. 36 dosotqce sid mo. ,fhGf .G viel. oc scoke ene 26900 Jena estvit 000.86 Io woe ott .cirsg to wttS reser eit Bue .bebtatoeth sack aemitow odd tled .enokdent ; es, + Aes bol Lliié Sevni®eon viluol Lom BSP pom aR2O71C “¢ gc be ’ - n . a, ow vs oe i - aw bit a ‘ a y . of gtef ve fe THOAR edt vi fi 6 « Reo OP Date t yi Fa : v efa 1 a st re i, ¥ pe Fy — aad r fo Be Ne ee de yt | Bie - i. ond eae Ohe Yano {SSL982 LENDSLE Seis! ceo dotdw syoda j | oats bas e209 BO Srucd 6s Ro tasnmes exoatys vrev steel. ond | Peo seoa hae poh 7 jos f . S3aol a8 Gh Jee? ,oidevieonce ylisge ei aT .oxck anes eisotue 2: toe 7h ih a " ie "oe ~ Is ate reg DAAwehAe nah eA meee ee Fe ee a 2 ae ‘e ws rhs eb aud ¥ iio CLs Mus, SVeubOTRTa ic oF ND Le ie Lea Cf “it oye we 4 a. 1 » Y oe iv nos Saif ls Sates grenos af SEazsen. Ton 2% rheh wend am Omno® [ * her aes Oe a © . Fi Aes} diag ab Oe le et oe nee aw ms hy as We ak ee i; ee et ee ri “J a . r . e ~ tc oy rs hoe ee a a Aer wet aw oh § ‘viatet - r e ‘ t nt a end san WIRES AO Mieos oa7. OF Deninges yiiancae. foe soseqg , Sie Mae as ee : ‘ > en . . + P He saygeliileaae ms Poe ,OCGl taste fets wen téin meded ofaga sabi é - exest bedteq Lecionize ‘ai , & Meamgoritog elbiin eos 20 Sones Aoclo ody pense of Lente ahd ext y , , a ' iB) eointoe 1 Rae emePePlnos ..eusiceliq ett ttie” ebs i We eu 7 a es of me Rito nas “| ai ihe Hever SiLCcog Seki 2 uv HOw sri : pete on, =o. ys yl > +s a *. wit Pe ‘ee ii 0 NOx ¥ fol vee SV ss] al .@ Gk I oid to best ex b msds Hn hid ent 4“asels-o sw ova Besciy x@tol Odd ever fivotle, toon ed 3 Sedvecd O62) 20) Lied eeerh 2dt to‘ oor edt Yo notses athe saison great TAn) Baw Motselqago te em sn? 165 ceremony. As désigncr od the plans and highest conductor of the execution is named Domenico Boccador from Cortona, who received therefor an annual salary of 254 livres. Under him was the mes- ef mason P. Sambicaés with 25 sous daily wages, and for the Carpentry was engaged J. Asselin with 75 Livres annual salary. One already sees by the relation of these numbers, that the It- alian exceeded in the prominent position as designing and saper- vising architect those merely executing masters. The construction was carried on energetically at first, so that until 1541 the threes wings that snclosed the count in front k , at the rear and on the right side next the Seine, were substen- tially completed. Yarticularly the court was finished in great part on the threes sides indicated, as it now still appears. But Since on Jaly 2, 1541, on the approach of hostile troops to ths city of Paris, the sum of 34,000 livres must be paid for fortif- ications, half the workmen were discharged, and the building # was more slowly continued till 1548 with reduced forces. .A pen drawins of the wae 1583 shows only the ground story left rough, above which ros: @ unequal gables; only the pavilion exrten— ding on the right to the Seine was completed. In the year 1589 the last very ruinous remnant of ths house on piers and the house of the porter threatened to fall suddenly, and must be ~ quickly tonr down. It is easily conceivable, that in the lons time of the religious disturbances and the civil wars, the city found neither desire nor means to carry on the building. When eacs and security returned to the realm of Henry IV, the bail— ding again began with new zeal after 1600, and in 1607 the fae-— de “wit i ei | mouldings, ornamentation, cornice, at-— page ment”, was gomplcted in its principal parts. There ned to erect the clock tower of the middle portion, ¢ hat ath have the form of an open lantern. The executing mas— © as y ters wers directed to ersct the clock tower in two stories with t he form of a lantern, “according to the drawing on parchment?-—— — whereby indeed only the design of Boccador is to be understood, --- “which mast surmount the dial, and on the last of which will © be placed a bell to serve as a clock”. The architects then exp— ressed themssives, that the roof should have the fora, inane tion and fashion of the roof of the sreat hall of the Louvre”. After 1603 the work of completion was now undertaken with zeal, 4 ‘ 'v, 1 ve EF oy ee, ae } ener: Ywote Lakes edt te dani too® ytetoade wre ox sbestented a yd; Beaseso est sakntcs ese .oricecolsod Bed epnegeyt eotrnl bas jetiepet gon BIb agiesh e*sobaccos f Setnoeée cen oldses aosld te Hanoeta’ ago Léetaeq ef hb io TON Ofd Sen ¢1 steifat dbta al VI yeas Yo cadece nelw. pestdows™ e623 Semtot ai adn ,D3std so aptgisog dnalleoxs ese. geibitsd edd to/solscete en? .Qnlt add Yo z6tqlaoe neae SObL t2eits wnkeliigd oF WSstese yd eas sigs te foek Picareets cs eitoexe .peiweasnieo tiol eit to voiiivad ona.) i Mesdnet Sled edt hebbs sew Sf82 Ligon asin .tanbsoerg pak) SXmolsonitsscé wole yrovs.ni ylientt bos .iled bus doolo ! eatiac ead: endd bas tanoo edt Yo coin ats £O82 C:8L/62 elOl 0 deel é4% Yo elhbin edt 26dt4 .dotolomos oer Snib ling BET Aostennac: ezom Baoot, ssv¢ ster encod add nenn (dt be) jt Retucexs desi? eton sevewod tedd Kh 16 sion nishadeumetr<\ tc7 2 to eceiq cat of anibteoss Spel ov oS GL. mor? eomis oeebog ead yd Eeatod: sashuse Gedelotnidveth 2 ni asec) Bae. sivttes wd Penson" Hfaxs Sooke sev bath lind edi fen te | ow wbaibltnd: £% eat. : a: ont: tein soaliz se ay ag veds Sionoh cde age: BSElo 88S g£63d0 dats af aa ee oe mereaetoa Lied vwiio tfc Bar eheiy sure WorYiedd O42 buecta acirose a: deta, eidgos ast wont bedetages cay Weted? ; tie e689 222 yd Boni chieizss HScdw .evesD. co Breese 20 Logets ect ew oiie Stel acy #4 cast nected dd GO etf ehleed igethnsixe: Las igacs Pimtnessne 20% ,iozissl ob SNS). ¥d Hetebiod ven tt, sagia ex: . ifaeas 6 G96 Yethltod amt of bebutoa! Viloitige ean dolne peas fades yet sbeos? ect sates Satcese netiivag: stone sat Yeo ms wonettne Isqgtoridg eas oi elbbia ‘aus ni s$eokuderaye Aina ee gent ieroldin dtiw eugtetyih peasy: wd ehie cose do. \t: Visaystedes sient) do te Moilivag ‘Olgng oviacem ets soe ‘crot BSitiee' on3.. ot Benbeq and Bgeda Rov srEki2 fe aohvlog. 2.95 mT: | : Tare he oe a atts geibited $c¢ 16 eine ene at seit folds , Tobisteo eet is mes &,aoeelaG te List ytio vat nk ss tect vaaetecte ved vf s ae aay Odd evode 499/81 Spada) Roig sauce Perpignan Sa 166 the temporary columns of the ground story were replaced by flu- ted Corinthian, the cornice was crowned by a balustrade, which Boccador’s design did not require, and in the tympanum over the middle portal on a ground of black marble was executed the eques— trian statue of Henry IV in high relief. It was the work of the excellent sculptor p. Biard, who is termed the “architect ana Sculptor of the king”. The erection of the building was superv- ised at this time by master P. Guillain. After 1609 was erected the pavilion of the left corner wins, exactly corresponding to its precedent, when until 1612 was added the bell tower with clock and bell, and finally in a very slow construction from 1615 to 1628 the left wins of the court and thus the entire buildings was completed. After the middle of the last century (18 th), when the rooms were ever found more inadequate, plans for extension were drawn, that however were first executed in modern times from 1837 to 1844 according to the plans of Godde and Lesuer in a distinguished manner. Burned by the communists in 1871, the building was since again restored by Bally and De. Perthss. — To obtain an idea of the plan of the 6hd building, we must c conceive to be removed the extended wings with the two side co- urts, the stair hall with its srand double stairs and the great . festal hall in the rear wing. We then obtain the trajezoidal g ground form of the oid city hali IA EE in its depth, which n four stories around the court of like plan. The | 1 he rear was separated from the Gothic parish church of S. Jean en Greve, which was adjoined by the great rectangular © chapel of S. Jean. At the left side was the chapel of the Holy | Ghost with the hospital extending beside it; on the contrary on the rishi it was bordered by Rue de Martroi, the entrance to w which was skilfully included in the building by a sSreat sateway of the angle pavilion erected there. The facade is:made entirely Symmetrical: in the middie is the CM entrance, flanked 00 each side by three divisions with windows, then as terminat-— ~ ions are the massive angle pavilions with their sateways. By & polygonal flight of steps one passes to the entrances of the corridor, which Lies in the axis of the buildings with a num er of steps, just as in the city hall at Orleans, reaching the . trapezoidal court lying about 12 ft. above the level of the stres eealy “ati Nevoc ylinecot yleo wok 3i- acoriave ob bdatsina: basixs } dosan batded ,erely no aehsows yd Robavotive esx (2003. s qitceinovoco [eveyee) .esinee ofdaie « gf eeoitto edt ie 0 antosuy bas idgitt tdziterte 2 oi gatbdneous aa seqensteda’) 2 ihiead sacitssianpmuss tneiottion bactts) onibssl tert. eas: Gibne .seatiognt eyenlo Likde at yewsieses PRD SR ogt cee iaas betices beasetgeh asd sl .onentas sat to c coi¢. of Did “gi eonmotcyed bre edits weowd dithy Sedeoss .esoibnel edd, vib ens atipey -leonod tneqnear eat Vistgaco ent: oO. .potdegd.) 47 ments hictioas stiw sencaa Sidnelge 4 ot aratico ogas partes: etetoodicows, otseisogoaintio tlesd Bas sissy seed p kentgiee off homtates yllotadiat seca eyelet: Sorin. s8bo f adazce ead Yo echaset [envetat eft Yo: easd > ek exna. dt sac stad teqgqu eds ot .ofscel t+ididre Vone yaodr bopor oes USdiw seiwicito ,estelt frodtin Ife .2nauleo tied netdd ws, © O¢in Oefacto ,esotasoo fae ecuuteldetne ,patedolyte eeiote 252 30 elovbasge ens nl .awaot oupiina to egress heard 262 xitaebive \eacilishes bhetsorct eve sheoxa he a. 9d. Oi, weievsvibh taewy s wode agivallcs ent to ebal PpOnpisne Ons 20 cance ons of (le .corgacéesbibis: nein’ wpe bre grok So yelq sviicdoce Lee fiviw scoserztaces ul: ef NDI S63 xt weeone yiesuacis sone fod elis? ‘eee | Bigs. esi -swodain WZ. mazof ont Io as SSP tees a ebbost sds srotes y eliens® ¢ n t0, Ny By ee BeaBOts.. yicsa bax iol £896 IO LBVOBgGIO’ & oe ages evods Pas (eeode aye & easels chuahdugiieskion cabanas elOhin ott neg? eetode seqqu zaleoort oped oF B Teeieo e443 slicer ibiediatad Dae sointeo «a. atin tk Setdtosicy yd betexeash wrote baid? a. sidtiys iftse . antaele qidhin.cesdT .eleod oeese sdf eeta dotdr | Bod elbiin $hd to tenes Lied tebosle oxd ¢ osslad ylovisoaties Meheroc ows eft See ucclo betacnaczo eibtboerge ett ddtws sak 7 F esd ofsost oot Yo solfstossh bas scisivibdne' sot .eatiedgask ts 3 tne [3cacdedn bedose qeebiytose. Saecas: odd oI verendogs *” gi # Boe anadeecto yd tabivib . falpgastos: oi. cole lech. Gnd. yigaorta poidvoginn .pedadelyse avis co ceec hue beset? oa -Saksodnem evisostte ylsoanoone ne ovih Has. ,esoinires || mes ds tc smaine necie ‘* atte Bwobsin asomione eed yrode as We 4 re i: aplos, netdtatend nebivetoie: VWiaseTste .ecider supdtsca yd iy 167 Originally hypethral, it was only recently covered by a slass roof, was surrounded by arcades on piers, behind which extend the offices in a single series. Several conveniently arranged Stairways, all ascending in a straight flisht and turnings on the first landing, afford sufficient communications everywhere. The principal stairway is still always important, and lies at the right of the entrance. It has depressed arched vaults over the landings, treated with cross ribs and keystonss in Gothic fashion. On the contrary its rampant tunnel vaults are divided into coffers in a splendid manner with manifold ornamentation. These parts and their characteristic architecture belong to th- ose, which have most faithfully retained the original expressi- on. The same is trué of the internal facades of the court. In the ground story they exhibit Ionic, in the upper story Corin- thian half columns, 211 without flutes, otherwise with their stylobates, entablatures and cornices, created with 2 full. knor- © isdse of antique forms. In the spandrels of the arches of the lower arcade are inserted medallions, evidently for busts. The céilings of the gailearies show 4a sreat diversity in the subdiv— ision afiid-decdration, all in the sense of the antique. The ear- ly Renaissance with its sportive play of form and its mediaeval echos fails but once, strangely enough, in the luxuriantly deco- 3 lasures of the dormer windows. a ret us again finally pass before the facade te test its artis-= low ti ground story treated as a basse for the superstructure, risss a léfty story, and above this is a still mors imposing upper story. Then the middle building term— inates with a cornice and belustrads, while the corner pavilions still exhibit a third story decorated by Corinthian pilasters, & above which riss the steep roofs. These mishty closing masses effectively balance the slender bell tower of the middle build— ing with its splendidly ornamented clock and the two octagonal lanterns. The subdivision and decoration of the facade has great richness. In the ground story deep arched wiclossflank the win- dows, which ars rectangular, divided by crossbars and terminated — by antique gables. Strongly projecting Corinthian columns are fluted and rest on high stylobates, uwpportins stronsly-broken ) cornices, and give an uncommonly effective memberins. The upper story has enormous windows with a clear height of 20 ft., and 7 fgzke s: Pee Velisis be iaron « bebtvae sucess! “a ey ore rk OH ol nektarossh ett sl yeMoid ede .ecuzefonk ‘Sacde eit Yaede Broce etd Yo nameloo ont evodh Lele qrey ited? 20 .esdofty gnitestosg "td besyesdoeh qidots sh banc: yd heowovs eeniadsa seheele Salt alstiqes snitociorxg Biadnco vad ecitie bedows tashele eaofoné ct gaivese i ulree out 36 etrtqisoe ea Colseitish fantkino ekdt nT Sat ne Hk contd at SeuT seddoie ett emlaico# miahs cons to eeigenso eco So yareines pidted edt ni neve soak ia sbks vic ews edt to ddandes Basows oad be Rebbe e414 deidy ‘hae 4 ‘anid BR ety o eid bbe res roavthone: geiladi sit Maun height ae ewod tisiqe fanciven sonesy edt of tnoke ">, enkadavet si dps cd Meenesants tTadoit nol aatvitdés sid dtiw deed nk | ie (entatnott yisiate te sence ed? ai edyow 1 ce ‘betoveh asd ybaeafa- ge p OLdtcd Bae ni oud yédnomsace O abasn ital: Psituewe Oct z bile dibis Saptoed Hove “a8 gi Bebaaae sd Sea Bipoo tt bho = A F Eeiduscx oigaiice ehost sna ve BiG bedntog 2 & Gs bhi egs Ee Tae esy dvaauecs 0} Sviscow s OgEREF RE loe00 8 dobe Ht ceden 64: }etinon Yeas {aemscom oao To yhod eat j ehGivensl weis to saa4 } lnived. ehin s to mygt ameiod ‘Bestatent conatelane ea betetcosh yideig Ss Beas sicx B ve doldy ee tite ,baid sidd to etaswpnca faduemsnie, taco ode gnot Yo ytic ocd yd Seeesuecg et TTY etrod Yoor Bene eateancT to ucutevoy Bas Ysonsldmot Yo bac! a ee fnow eucus? sad wd elites sterzed oi bendtect © at tk bsdvoses sfoonatS 4 has .8 ensdgse Ssodw dap loo: d Lanoyetec me Yo eteteocs teemonon elssi! og? .OLet SSBK ie mised Si7 23S! 2eei2 teifiec LeBtus siyg odd doldw.wort. if bas eétede betolt cttw easioloo Jaenb Lents si Se etentoo edd Vewlly oe = thy ‘ Af a} " ‘te Bd Qaitect? Boe anoviset ,eiioise evs eleuag {etuemenso asd”: ie Pee tipted fe: tedena &,aL eqgoloveb bigusrg oat Bi Oh eae PS TD i ® 7) SN ONS LG ek eee os See Pe EST Le SENT ON en ok | a a a tA .<- . ,* zs ves - i 163 if ate therefore divided by doubled crossbars. put the simpler this inclasure, the richer is the decoration of the intermediate Wa- lis. Above the columas of the ground story rise short pilasters, ricaly decorated by projecting volutes. On their very strongly projecting capitals rise slender shrines crowned by round gables, serving to enclose elegant arched niches, that contain statues. In this orisinal degoration the sculpture of the early Renaiss— ancé again iclaims its rights. That is true in an increased de- grse, even in the Cothic tendency of the canopies of the niches, which are added in the sround story of the two pavilions. In these decorations, as well as in the high roofs with their wvin- dows and chimney caps the [talian architect has made his conces- sions to the French national spirit. 60. Pubbkic fountains. Hand in hand with the striving for richer ornamentation of p public life, goes the erection of stately fountains, that hence- _ forth are impresssd on monumental works in the sense of the r- such Renaissance. The middle ages already has devoted a partic-— ular eaietakeeck to these monuments; but in the \Gothic epoch the church architecture acquired a too onesided influence on their form and treatment, and it could not be regarded in an esthetic a ensé as a suitable and truly artistic solution, when the form ) of a Gothic tower in a roduced imitation as a pointsd pier, cas j @ int eas a motive for spouting water. For the metal pipes | that must supply the water in such a case, in their purely ext- epnal addition to the body of the monumen} they nowise became artistic pearers of their function. fhe Renaissance returned tosthe form of a wide basin, from the middle of which as a rule ross a richly decorated conical pier. One of the most,ornamental monuments of this kind, stgll from 4 the epoch of Louis XII, is possessed by ths city of Tours. J. de peaune, lord of Semblancay and governor of Touraine, caused _it to be designed in Carrara marble by the famous sculptor y. Columb, whose nephews B. and M. Francois executed it is the year 1510. The little monument consists of an octagonal basin, from which the pyramidal pillar rises 15 ft. The basin has on its corners original dwarf columns with fluted shafts.and in ¢ the ornamental panéls are scrolls, fsstoons and floating. bands. — The pyramid develops in a number of heisht divisions, in whose ad Parente eh A rate! att i | 1 edd. te He ods: benthtons ek ‘axedios | ae : srode estan bopat®) seGddenibend eft Lo difeew 2d) ys theming edd soets. wbentasetes od sehnol om aan tefoateto pia no Bavot epcidms has emte evotemnn edd snows stan Takk usosp eid to Boe TIX eiyol to aletiinl edd acee ena a 7 eaten sit 98 gattiade ‘IOV. ,etnsaant0 {ntesass yd bsband } eons fo stnemccéenk cay stogase aatnicy tastsis stcdw e0R0 dtiw dacg & to maoi edt po Sakhaetxe .xeqe edd tea at oe i aedd ak guscec inosele ‘ecoibiles & % odoo-Agow 8 # Wie: - dnemaqon ges tans ek batd eitdd to daonsaen iwleoeiy ne ddons “iget ot €f8f oi estae¥ te fetoets okeganot edt (88 Bit t soecn Motdw no ,teigq lencyloq a aseit aiead L[gsobatoo ue syeleiion to bead Lataomentc na yd heteroook Inod haves. sed ass sesotqinoe cink bobivib yleuttes sokg. @ soa eid weme Gined dfod a0 .fwod bitaemanvo yldois exon [Ltt @ fo e68 snkeed oat cénk emseata seden of2. dotan nent ed gam A eines, isinsaanto svigsega 2 to tad ad slodw eft to te Bae de nitites sigssnot si tastxe sotsexb te Aton A VAT, «28 BAT at nowih Bi doisn to noktetasesige: ¢ . baat o oft Hen @eicduh to senpoel yd ELSI asey edd ai hedos: ee «Kiegqusd2 soelS of Hewistesest yitndess esx tad re ee Banox © vd beosigqes, Yibiswiwa eer nized Isnoy ef geb ont me Steg ot oove bas sctievels fsianooed yiovid ; | otitod aleiseo. aniegacs Liice ti. ncitst¢esmente sad a feb odd ddix« beaidsco exp yew Istnemsaro ge at tadd. eee conn upgedass wd Botereosh eteteetig avin ,e0naeelsnes end 0° bi nedes elodm sc? sebotd ‘Wien to Bemesit to enotdibbs mf efoissarqnt wes ylintions? bas Han & tt fesow olden edt ,xined te etyaocnel odd to nietarot ent £3 .6 af heaoisinen yiint esom ek noted — f ~ yt) Fi, oP: iy 7; ; Tide © ea f 169 3 members and mouldings the art of the Renaissance has executed by the weakth of its imagination. Winged sposts whose right character can no longer be determined, eject the animating ele- ment. Amons the numerous arms and enblens found on the surfaces are seén the Initials of lowis XII and of his queen Anns, surr- ounded by tasteful ornaments. rol REAR ENG ars the upper parts, where slegant volutes support the instruments of the crucifixion at the apex, extending en the Hist of a post with oges top. Thas & weak echo of a religious clement occurs in thes purely secular monument. : Ancthsr graceful monument of this kind is that reproduced in Fis. 88, the fountain erected at Mantes in 1519 to 4521. Pron Sli octagonal basin rises a polygonal pier, on which rests the round bowl decorated by an ornamental band of reliefs. Above | shis rises a pier entirely divided into sculpture, that bears a@ still more richly ornamented bowl. On both bowls are found mp masks from which the water streams into the basin. The charact- er of the whole is that of a sportive ornamental early Renaiss— ance. A work of greater extent is fountain Delille at Clermont-Fer- rand, a representation of which is given in Fig, 84. It was er- ected in the year 1515 by Jacques of Amboise near the cathedral, but was recently transferred to Place Champeix, where the octa- gonal basin was awkwardly replaced by a round one. In its spor- tively decorated elevation and even in part in the details of tas ornamentation, it still contains certain Gothic reminiscen-— és, that in an ornamental way are combined with the detaals of the Renaissance, with pilasters decorated by arabesques, as well aS additions of figures of many kinds. The whole makes an oris— inal and fancifully say impression. The fountain of the Innocents at Paris, the noble work of J. me noc Goujon, is more fully mentioned in S. 63. - sedtoT sted , 55S atovenn ra | sOmkd. G62 Jo anels ioe ji ,TOBBOON LE bas ote eid of Fel @ toot to soic? te i aera ite wstheto ead dene hi Beveine It eraeh ator yisaey Oa¢ Qakiacce trodtiv magedesocos eds ai be sabe y @9ieed edt dtiv. Belli? a Bae acknsiqe .eocesttiaues af aid P yxledsie bos arose f : a winas yiteigcoitcay.« ast om seestouexs facicydes f $0 Sonesctoos. yitdaiod wis xt fe6 ott! e*aetbiou. ¢ tence fea ef :2 pis iss. © yabercs to sevel ce Petous7§ osc ets a7 na i a Pie xyileioocus ,ceerrc fyProgoss Bos epetiss 7 to ebadd saoset? —_ pecs ‘bas, tstaee aus } Avani Bie rss ie a f ($8 enclasooc ae 1% 33 eo, 7 a ~~ Sod tne > dPaaneace Peay oe z sd! aby 4 bev sh) erigeniaso we 65452 Lid as =, a Dey wht qe din w en Lt , eRalsaey oat SRNR oten efin eidsdurses aed. evecqcor sees as sa hs ulin hes . ethos Bedoah!ot fstaveie y2ne8 wode tea00 migt edt fd Anitaasal® mrettoonncs sit Besevalasve oe . ( emis ted judd } 208 nemon & ac? slonsce jog bil of ea (Beeatoin fagionksg via wORTE E det to. gsibol lwiitveed, eas, yw Daadesd ved are it WH oi 170 Chapter VI. Renaissance under the last Valois kings, A. Principal masters and their works. 61. Ghanged monditions of the time, #hon Prancis I died, he left to his son and Successor, if Br- antome must be credited, a state treasure of thres or four mil- lions without counting the yearly income. Henry II entered into power, filled with the desire of treading in the footsteps of his father, surpassing him in magnificence, splendor and fame waerever possible. A handsome man, well srown and stately, to whom the dark color of his face gave a particularly manly expr- 6SSion, hardened and skilled in the physical exercises, he imi- tated him not without success in the knightly appearance of his father. Unfortunately given to war and to a soldier’s lifes, he exposed himself to danger like a common soldier; he had someth- ing of that spirit of personal courage, that distinguished his father. An excellent horseman and passionate lover of horses, be astonished by his knightly bearing: not less than Prancis I was he addicted to the pleasures of the chase, especially -hunt- ing the stas, exposing himself to its exertions and dangers, bravins all weathers. A master in the different kinds of playing ball, he also took therein for himself the hardest and most dan- gsrous parts, indeed not for the love of winnings, for then the parties bet only 750, 1125 to 1875 francs, not as later 15,000 or 22,500 or even double, and the king always distkibuted his wWinninss to his companions. pikewise besides the lord of Bonni- vet, he was the best jumper et the court, and to spring over a moat 20 ft. wide was sasy for him. On such occasions he loved allow bis skill and strensth to appear before the ladies of the court, and the shrewd catherine de Medici never failed in seeing, that a splendid gathsrins of beautiful ladies was not wanting. o oe The relations with this remarkable wife were peculiar. fgot- istic and coldly calculating, aghe mast suppress hee love of power, the only passion of her life, and quietly allow the su- premacy of diana of Poitiers, whom Henry slevated to duchess of Valentinois. The intriguing Florentine in the firm convict- ion that her tims would come, even favored the connection with this principal mistress, as she did not scraupls for a moment to entangle her husband by the beantiful ladies of her surroundings, Rr rL . e Be te tntat evel ak Sued: ond te, se Lobtnentta tooqnes sidd. ai celh . eldizeog aE. a Saco & veto don s2ee II ytaok to faves edd ) eaemies yhbesris omotaers dsece ovodn .cedtet eid fA’ Leadon nid eeegise of sod wend soe ec Mf (elds wi faect od pets to sore etd ylno angie dninde son Bwo. eid oF ack we yideives ue etd te Iodaye bas Intsint ebaods becesteat sig ean encitionce seadt sales gnpeac .BIGeHSaILO _ hast iis Bektatcoesh ent ot fotcn ; feerdze oe covloancd? ; geld pe teterricees eddy iIfeoe seeecosn Yao wi +7) ancuimoag MaiGdiisib bateanadle eacden ane | * mead eat ctin .soideat suptina- ond Bas ins yibegest s to cokiedehade edd Bek Ft sh ¥s ' Li “a + y our by ge ve CI ; a oe mr ney 4 ey ; -™ - - y3 —= he ; an ri ea ea > i “ * "4 Sane ‘ ow > ra » é ‘ ey Baas se0isnioace : Sarre HY va A ; eas Hemact-yiio roitaciag iit peite sect to scobhsaelos .seeetoos efinersds fare “edt. isoss ylac Llede on .eti balotien bexoees 683 2¢ bled alt Bt oad sngnaks ‘+ spomad ead ; ret Ser - sel es ne a i ae . vane seschbe Gat stile oe 40 COTRELCALg ’ = ; , . ' or not erthe ep : Yc Cott Shin ons we ; 8! it oe ey ty WP ty quirk au BS ao toni? Gr 4. his i ~ dL YINOR Io Soneta® sd wa vm ine Vs oF teds batt ‘Moo Mex efat Bar’ sreisat | tet “inane k peas. wovoet fr feat ! “ q Aue pigs dh t ee Tt oh ad ey BDAY * £t ee = — “e -5 =" toe Riaocnee tail nee feutsin eid: tot besoera 2 fod eat qiisinois eso tedted a sido yoen ee Lier os iefes Lacceses geet 323. . | ME BoLv bax2n090 foidy pation "te a eiseog .benisel (megesE 8 nO Soead esw bax aven. nee bas soanue af rcs ee ee oe Stas ‘Lhe io moles ‘ ee By a a : eal Fe k=) aN ae 3 17% and all influential men at the court in love intrigues, and to corrupt them as far as possible. Also in this respect the cust- oms at the court of denry II were not merely 2 continuation of those of his father, whose court Brantome already terms“as quite nicely corrupt”, but the son knew how to surpass his model. 4 | monumental confirmation of this fact will be found in this, that while Francis I placed on his buildings only the name of his | quéen in addition to his own, Henry II did not shrink from dis- éributing the initial and symbol of his conenbine lavishly eve- fywhers. From these conditions cams the ever increased tendency to festivals and pleasures of all kinds, tournaments, masquera- des, exhibitions, ballets and dances, which in the description of the life of this king by prantome make themselves so extreme-— ly prominent. It is only necessary to recall the festivities at the entry of the king into Lyons, where alternated gladitorial combats, sca fights, efter the antique fashion, with the then almost unknown in France, the performancé of a tragedy, and the illumination of the entire city formed the conclusion. Hand in hand therewith went the yet increase., splendor of the external appe arance of it entire life. Fe shall only recall the noble armors with inlaid ornaments in gold or the hammered reliefs, 7 the magnificent tapestries, the famous faience, that is design- ated as the “faience of Henry II”. But. if we examine more carefully, we soon find that the son still merely externally imitated the father, and this is part- icularly true in the domain of ideal endeavors. Likewise foll-— owins therein the traces of his father, Henry protected and prometed science and art. To a number of able and learned men 3 hs gave pensions and support, the poet Jodelle received from hin 1875 francs for his tragedy of Cleopatra, the cold Ronsard, who was the delight of the tine, called the kins“his support”, he caused a magnificent chateau to be srected for his mistress, a and the undertagings begun by his father, particularly the Lou- vre,and the chateau of Fontainebleau as well as many others, were continusd with no less splendor. But that personal relati- on to the Isarned, poets and artists, which occurred with Fran- Cis I in humans and amiable ways and was pased on a deeper app- prciation of all intsliectual creations, especially in art, that warm personal participation, which lent to all creations of *r= : oc Nee iy i eee aed ih #6 cr ‘de etco vi ¢2 chit of .1I a ei bhava tt to ‘evel: edt: gext Swixge ten eooh fer to xottonorg a ese 2 edd eoteeat! ,owet ac? tenL dan wos to oyod wos, iriecsto Ghngdate .(C8EL-TaGL) antes Ord Saitiuh satieqisé pees Sue noiipoliet to yews tehootie # .notdaniqsaci. <9 ink tt Sqtdn ck (sogtseteans donetd: 247: io Se ete seoud sate fot aeped fsa I stosaty te dooge edd gadu cneaqelevek See ditige Leiotectidoye Lenolten ad iotde ab ysenolt dé mer foreitc Sae oe eepiiae edt xd Setewethe. bua Seadai ylessb : c i ; | gakton I2e4 ehetee: duc yinole bhienn aii isaevetaness fanbasy & Senta to enor ecetas eat: Ito O49 bokeh \Fatedonos +a ent .Basabotote't«. to. ox ive edz 0% tense: done dake badag mkoay eithiys dosashus tieds yo med? of besyagat ceen bed? besa atiace yrisq saleaorcal. go 2 22 68 urs ye xifeatt bas .etoneegne- ‘sad Bidens Tstosact ybeculé .gniereront no dn ‘Pak eaee Bid olde .eteco ect wt Bednsvetg senganz? bedsaluyee niga ‘sagtiad Gheloense esode . ¢ tc ‘Trengivos. eerie 286. nse eat. geesfes Aporiisn BNohtat: he gag tans A@t yoancmns msoti hte: tine ee S400teVe 44. Race ais of ste! hattahed act Stdeo4 BA: REDE. he etoted | Bie ven ‘gr eto perry were te Bn08 ilh lds ate genus. 2 Wire ae 516d $dt Heeseroad (OSB*H-CREL) neies ela to aay Berens en7? oct ,(ovet-0882) fT seltcdn (enotliin o3 bac hegesd (Sett~-ayer) TIT vanee ert ene fae fede to enoisentaode Sne ntowsed bene ef yilsotfancteye aren cated EA ; funn divio fas Beast Watidacttacsat .W66SGa SiGdd Yo woohivent avckootte: sao’ phees ect ak slocd bebris-drow stew .eeenescditacsi! yd $ duottin yeenetorccs Bos greed saentit: .feveldoep.ciadal eeisaeg sds ceented saiuoven Weuczetiess ,d¢fat. bow 20 to) sohtifoa.nstleyt ssobsint ent Yo hoisenseont edd age ot: 35 eneees sisi “edd 2o: qokeg end sade aoboon of a, " “ q nee 172 Francis I the charm of an individual freshness and grace, we s seek in vain in Henry II. To him it is more an external splendor, his promotion of art does not spring from the love of it, buat from love of show and lust for fame, likewise the creations ore iginating during his reign (1547-1559), although already a cool- cr inspiration, a stronger sway of reflection are recognized, those monuments of the French Renaissance, in which came to full development what the epoch of grancis I had begun in lavish Sern the flower, in which the national architectural Spirit was more dseply imbued and saturated by the antioue and offeret its nob- lest works, A gradual transformation progressed slowly but sursly, that was completed during the reigns of the three sons of He ney, who con peted with each other for the prize of wretchedness.. The feeble- néss imparted to them by their ancestor by his vacillatias and irresular life, by increasing party strife and the disgraceful persecution of the Husuecnots, and finally by his senseless ext-— Tavagance, now went on increasing. Alrcedy Francis I must defray by oppressive imposts the costs, which his wars and magnificent court increased; but his regulated finances prevented worss con— Sequences. Under Henry II, whose senseless burdens by constant wars, luxurious court and extravagant equipment of mistresses shook the foundations of the national eh the annual défscit — rose to two and'a half millions, immense‘for that tine. Withthis © burden of debt he left to his sons the evermore insolent facti- ons of the great, before all being the Peet for power by the Guises, the unsolved religious question of the besinnins civil war. The three miserable sons of Henry, francis II, who in the i year of his reign (1559-1560) increased the barden of father, and the artful Henry III (1574-1588) heaped on the unt- ortunate il aii the horrors and abominations of the relig- ous and civil wars. All three were systematically debassd by i the atrocious intrigues of their mother, intentionally enervated | by licentiousness, were weak-minded tools in the hand of this female Machiavel. Without heart and conscience, without trath and faith, traitorously wavering between the EA: she is t the incarnation of the infamous Italian politics of that time. e . debt to 48 millions, charles IX (1560-1574), the true son of his Pr A No wonder that the pases of the French history are befouled with set ae ie ; : tis et Manes ahs vend dooce Biss Y eele Satbeabaud’ avies: ,eeeted edt sere eas bayia edt 26. scnved sat RI selissd tobse : wy Ge eae ra. F Bois wes ie “Bioatacsoss battoogertsu O45 20 tiots weaglodtase my @08% Qicenis faett yisdosend yibtanco ames oi Blew lenciten esd yo edt weolweban sige Sc pkeesige) on edt of of teow ositesgeta ¢ oa eyo! ¢ BOfcn at atcennnen tans aed airy artteqzuey een . psingooes Me} ag bas avol SP epoktat then 43 esl ayes, 1 rere Pt: rae Ss « a oe opié dese (grt etitar, 10% BD ay eis ade estsaley petisil yliw.ens titted ‘Baa asonarg ed yLinst sat 2c eeentates svitoa os Rerten! fetoticoned & féizaze ce at, aaa to. caaigebiely: esd takisenss3 dognd3 fae : “ee | Livio edt c efice no} aay. pea BRs-es i SHAD YIas geo BORG LLIGe tc perener ane 12 Si galteges &.tci Joo ache ene. ~fis Saenes Bi Gove Tea est of eevicczen?d bea aaisives® hrndeqe WBOOIS S43 ni. bolgad Ge wig 2} iE: - ey é x oy ‘ or ‘ J Plo etki Lecsoeilotc’s Llnicenag iain So meclg edd yd wooge thdt ot be p PRON BAG dsim. Hox te teileda a ois o2. boace a0 173 blood in this epoch, that under Francis II at the discovery of Gonde’s conspiracy ’asainst the Guises, thelve hundred nobles w were beheaded, that under Charles IX the horror of the night od S. Bartholemew broke on the unsuspecting Protestants, that Henry III by the sane cowardly treachery freed himself fron the Gaises. In such times when morality was poisoned, the national welfare was Tuined, freedom of conscisnce trampled underfoot, the count- ty was devastated by murder and fire, one must speak of splendid works of art, the historian must go to the work with depression. Particularly if this concerns monuments in which the love of m magnificence at least for the fame of the great was perpetrated at the cost of the entire people, in which will be recognized at the first glance only manifestations of self love and varie- ty. Yet there remains somethins else for deeper meditations. Juss in the time when human naturre seems to have turned ont its dark side, whene an inimical mixture of frivolity: and bigo- trey, of brutal power and insidious treachery poisoned the air, there is a twofold need to seck also the points of light, to uphold the consoling certainty, that the noble are only depres- sed and not destroyed sntirely. Sven for aatherine de Sedici we must notforsget, that bssides the wily Italian politics she also brought the love of art af her family to Brarce, and during a apparent reigns of her sons as an active patroness of the arts, particularly of architecture, she exerted a beneficial influence. But especially if we observe the couragsous faith of the Protes— tants, the ardemt tendency against Stete and Church terrorism, and aspirations of scientific life, in spite of the civil war also in the second half of the 16 th century made itssihirestra-— ined advance, how Bhish stands that fresh century of spirits ab- ove those later epochs, when the leaden roof of despotism ever more widely extended over Hurops, and even in germany all thase lands, which then joyfully attached themsslves to the religious rebirth, now long since reduced by Hapsburg Jesuitism and bloody drasoonades to the are rue faith, buried in the gloomy spirit- ual opposition of the papacy. q So we gladly turn to the powerful intellectual Life of that time. Thus we ars refreshed in this epoch by the gleam of light, | opposed to the des@lats unbelief mixed with Barscco superstition, © 2 ee r or! al exited: of Yo sokaseeani sak ey of to edtow sit wert edeced fect hae eso ) tee edd cele oe bas We cnmetnie Bas etif Isascelics aa ifiw ackeaeraxe sPaatosii ots ey erutoetiaots donot® iatdvere bas sonond Heig fences emits tot ‘ Oban buhidady Tier eevic ic Wibidtnskes: ‘te afihie ett ‘Sdotad yivtede Ys f2isce8 ed4 er ioidw weipse: ious ovigen to gcoioss a hewoeqoa yardaée Paes? gad wetetet isvesiber riety 23h tsktrae odd Chk) | Peivelanand Sas eke: ne a gk Wiival etssiiio Hoe fue “bbe be dq: lene Be isa ! (eeaiies! edd dein Petsamco ttactesnes etosstidords eyis enews fT = ke dd we BO guess eivn ivibs .wouebss? Basso 13 fz pb fecctten ‘Bs rit bank Shdeed 174 - which makes so offensive to us the appearance of Gatherine de ] Medici and her kindred, and that breaks from the works of a Single thinker like M. de montaisne, and so also the art creas- tions of the time are evidences of the intellectual life and the sense of beauty, and are very welcome to us. But that in them henceforth prevails a different expression will result fron @ closer consideration. 6.. Transformation of the architecture. In the later time of francis I, French architecture hed strbp- d off the last vestiges of the middls ages, and elevated its-— elf fromthe sportivs use of antique elements to a clear under- Standins and systematic treatment. Since Henry II sought in all points to imitatseshis father, then is also the architecture fi- rst the direct continuation of the tendency in which ended the previous epoch. Already the fact that the series of important buildings begun by Francis I, like the Louvre and the chateau of Fontainebleau, were to be completed, caused an adkerencs to the forms previously employed. The noble charm of the closing - epoch of Francis I therefore continued a long time. Meanwhile however many new conditions made themselves felt, from which 3. gradually resulted a strong transformation of architecture. ‘ The decisive one is, that shortly before the middle of the a century appeared a series of native architects, rhich no lons-— er like the earlier are plain mediaeval foremen, but feel then— € artists, participaté.in the humanistic cult— ue, and complete their studies in Rome on the mon— que art. Only the Italian architects invited inte ad previously assumed such a position, and so the s henesforth competed with the Italians, not into a definite opposition to them. By thess external conditions a new element came into ropserly modern subjectivity. The = architects consciously expressed q itself in the various works, and the history of architecture a | now becomes, aS it had already long been in Italy, the history © of the architects. Likewise with an individula stamp on the works, there remains a common national ground tendency, which clearly differentiates it from the Italian. This national ele ment may be recognized in the plans, in the elevations ag well pe a” to 21 nok eft ‘epiesnco eatanes Bas wirelo rt qtatoetidors a Lh & itetas be a A A) “~~ &3 in the this now obtains the fully developed regularity and symmetry, that everywhere lies in the programme of modern architecture. Tosimany i projecting pokysonal stair halls, took pleas clear and airways beco flights, then reversed backward, as already the Romans brought into use i buildings. with doubl remains as ilionas at which by +% an effecti nethnerat ions, and artist anons tT an & certain contempora ladio. In qué romains tendency, on chat 175 decoration. What concerns the form of plan is, that ndependent extensions, the’round corner towers, the inka which the preceding epoch — ure, afte dropped and the facades are characterized by distinct rectangular directions of the lines. The st- me included in the interior with ight ascending stra th baths and similar also found sometimes very rich stairways 6 flights; yst there are &lso exceptions. Yet there & genuine French peculiarity the arrangement of pav—il) the angles, also indeed in the middle of the facade, heir mass and also mostly by sreater hsisht produce ve rhythm of the lines. This is ths last echo of the towers, indeed translated into entirely modern forms. lavations make themsesives felt as national elements the great rectangular windows with their cress mali- before all the steep roofs with numerous tall chimney the dormer windows on all parts of the building, espe— sidan: Thellatter in particular are also den- dit Gothic ditions yicld in their i HOPE EORERE: hound and-even al- — ntal treatment nothing is saved, — mes and ecenactial : % entire details of the artistic membering sf in which the individual character of the differ- s is most strikingly recognized. Ons soon distinsuish= | he artists like P. Lescot, the fuller use of relief, sic theatres, amphitkeatres, There are pat tra sion, as a ioas by P. ae 1’Orme, for exan-— eau S. Maur. On the whole there makes itself apparent sodeavor for simple and severe means of expression, for quist carnestnsss of the surface decoration, such as ry Italians brousht into fogers like Vignola and Pal- — these ars recognized the more accurate study of anti- gs and of Vitruvius, the predominance of a theoretical © which at the same is expressed in the literary express tine : Ve Te | Hh ile ad, Bae eat one 2 eat er emit ob (naestok bb ‘dat tne ai ahd ny meseys 2 boa \yosmesqee entn tegestic ob100 eds rte ede. 8 jd ods Yo Sanco ett no elquexe tot ee \osdtedd bebos et ecdeta | _ ae Baw Si wOoa ToS sOmewTel-yons Yo peeteds oft no ni ter Oxy a | p edie ebsost sid shaw avéhio tetesliq esotemon eft tedd aa MRo Pdated nol ylfexerss oss yd dottin ,eliveng bos anone @ailo edd Yo singer fexvtan a -~- anuiBlind dones§ Yo eele ae evltneninoz stor aga heaeeqon Jedi +-- gat dasha bio Ie Boloo eno. ni ectaoge ons gnibwattse yd stcsddisdxe ¢ i ia3ib 20 molseciges ne sheoe? std ovis od evedea lic at OF sE'nk elqusxe ne bes yhaeal# avad sx doidn to 9 eat anclisica seadt nl .ylfitnend Yo esatesind jp to noktevehience ed? es .feacteteo vilerttee exs oe mei »-tetel svogq [lin (8¥ 8) 6 egades beeiat won na doneat sega? sitdw ed2 mBsebal .neifayl betife sas en ofttt£ ee sant sez: sar aie 6d¢ Ebel sno ueattemoe bre .20leeedgxe to ve: Be iecteyes C2ip tod .hteenck ic eho Gnd of 6a sent .f Beqge eve #1 .eevieiney io ysees ua Yc Raabe afden end q stead eds af Soneneg ret tee stpicert ti otsioene 0: oat Wiehe ke sd yeti tact ‘\eoety @ eaty h doine snd’. yousdacs TettoseY nogney 6 to ddacd onides a) vliee Cay Ic eeenavian eloeigs bos eset sid of saneces Teas eudT .oosctsg oid cd canace eideiessqqa ne ani ged ah Tin uaetsdo ct bebhe noduvvs Jo eelasnf dotde ,“ounda med yian odt ,emerine basanites: oteed edi yd (er Rebs) yd lente Yo Heovent wetelov atin bon eeniw visaed Haifoot x ne seiweness Beoslecini gecf wsod déix uns sbiteeds bevs Has sopebtotetd .eavtsetidows celet eins Bae x uitaedies belduch atin eae? eatdonoto yeetabite becaning yd bathecitave ego Belforoe bee neota dtix ewobsiy yi 00 Sobrtet ony ue wees ote \soveel ogni yPLiv ‘Rottcods GIS Siem Sis ead qeotned eieT .(88 2) yrellev see $a00'%o pte janto Bad meemi flew # déln sentexct ees tt Sadt \tostte ; (orednyrevs dbubdud vedide notfoelie: to efns en ,Jnestes iat tne ‘Des fagooes. yiqaele odd s?,.wWevinn lo Goroetc na i tee seston nituted elastsh tiest at X32V corte es cae oat a : Meee ik 9 Ne ‘i: i 1 ¢ dite = 2 aul vie Ae) ee “=i $ 4 TR i So WR a a at > EN re ‘ oa 7 a ’ 4 176 - ! works of Bullant, du aercean, de 1’Orme. In the subdivision of the surfaces the Doric pilaster wins supremacy, and a system of niches is added thereto, as for example on the court of the bou- vre and on the chateau of Ancy-ls-Pranc. But soon it was found that the numerous pilaster orders made the facade rather monot- onous and puerile, which by the Senerally low height of the sto- ries of French buildings --- a natural result of the climatic conditions --- that appeared the more prominently. Therefore t those expetinents by arrangins two stories in one colossal oré- er of pilasters to give the facade an expression of dignity and Sizs, of which we havs already had an sxample in S. 36 im the later buildings of Chantilly. In these solutions the French ar-— chitects are entirely orisinal, as the consideration of charle— val (S. 78) will prove later. On the whole these French works now indeed es@ape a certain coldness just as little as the allied Italian, indeed even a so- | briety of expression, and sometimes one finds the air of this | chill, just as in the ode of Ronsard, but also frequently like the noble clarity of an essay of jontaigne. Lt even appears not rarely, as if architecture would do penance in the sack and ash- ~ és of a joyless conventional Dorism and a “morose”’rustication | for the joyful follies of its harmlessly sportive youth under srancis I. But besides this more severe conception another soon ins @ place, that may be termed the direct opposition, the br= @akins forth of a wanton fanoifal tendency, but which go longer appears in the free and aniabls naiveness of ths early epoch, but in an appreciable change to the Barocco. Thus the “white houses”, which Sharles of Bourbon added to chateau caillon (Ss. 18), by its Daric rusticated columns, the usly hermesswith but- terfly wings and with volutes instead of arms, by the srotescue © Pans with goat less interlaced crosswise as a foolish show piece) of this false architecture. Picturesque and even theatrically animated atlantes, crouching Pans with doubled butterfly wings)” windows with broken and scrolled caps, overloadins by foliage shooting wildly into leaves, are seen on the terrace building of chateau Vallery (S. 24). This fantasy has the more apparent effect, that it goes together with a well known and correct tr-— ‘'gatment, the rule of reflection shines through everywhere, and the absences of naivety is thus clearly recognized. Such build- ings often vary in their detals bétwiin monotony and overloading Bid cite it eon? hd 4 ; ae Hor there is reflected in it that tendency to forced excess, wW 2. Oe a es ot ee VW 7. Mae”: 45 Me ale SM ae aCe ie ae 1S i * } PANY Cag i ea t ; Sy te i > d * . ‘ ‘ iy 177 as the time itself fluctuates between fanatic bigotry and shame- less excess. But it is very singular that the ssverity then pre- vailing in Italy, the breaking loose of this carnival of folly, in which we again have to recognize a true national peculiarity. Which the Frenchman, whose line of movement constantly rans to 6xuremes, has lift since then in the domain of intellectual life. Buildings like thoss described above at Gaillon and Vali- Sty may be termed grimaces of architecture, and such srimaces also elsewhere sufficiently made by grench art. Meanwhile we mast not forget, that by its men inferior to “ichelangelo was already given a conceivable advance toward the freeing of the Subjective imagination. Yet there always stands the de generate Renaissance of Italy still sarnest and strong in contrast to the excesses of french ari. particularly does this architecture differ from the pompous pathos of the later Italian Barocco st- yle by its characteristic striving for a false grace, which how- _ ever strays so far from its aim, that it rather changes into : the farcical and the burlesque. 63. P. Lescot and J. Goujon. At the head of the great masters of french Renaissance we pla- ce th amiable form of ®, Lescot, in whom the imaginative art } of the early Prench Renaissance was purified by the study of the antique, and finds exactly a classical expression. As it appears, hc was born in Paris about 1510 as the son of the lord of Clagny, his father of the same name, who belonged to the inm- ~ portant court officials in ths council of Brancis I. Growins ap ) as the son of a noble family in pleasant conditions, the young Pierre felt himself quite early attracted to the sciences and — arts, as his friend Ronsard informs us in a long poam:— “Thon, L’ascot, whose name flies to the stars, aast a natural equal; for beings at school, The destiny of thy spirit could not be forced, When aS always with the ink thou wast seen to trace Some beautiful picture, and already a Seometer, To place angiss, lines and points for a map. Then reaching maturity at the end of twenty years, a Thy couraseous spirit could not bs.content | - Without learnedly combining wish painting | 4 oO eo Fyilail aa ip ‘Motthandtes in athe. mil ‘ nee righ /S0nen Of ments ce tosd neds pissed? | hs b aél rake sent yd ek ohn. seetone ent tan? meaen wapiine sad oredd hekbata bos seoh of taew oe geHP G@mserian yd honcticogr ted tt nove .tdzah on so seo exsist: Noe neds 20% eats eyoxq ylénstotiing aiqon 2is .¢one + een @anoveds a anioiside. tot taeam- asitcees sone5e 8 ovad meee saan 28 sinden kid geatta eOtpsoetidoss sepiine WM eesoInd aisge busenoh 24 .T @ioaex% Yo soiton ext betes 4 a. ey yeastse£ Yo wevel ..eionsTd babi edt svucteonss” ipa SS hoslieing onivyib eas 20 cectabe toate sees i ) mee Vdd te sew Clas (ffs sveds sent Bevod Mepecoetes Jxerh a dome yc hevolced of send wistid BD tatécene eas Daeivieque ed GhSl aedie dads nisesed vid] iss 2199 ecisguissiat inodvin bedepbaos ¢f toldw (suvucd pel ew air beasedes vl VIAE- yitnetR wok .ONGl asee edd ne sa. . z Fd oe eee oft} - Nel slate Df ue a Deer sie wh + Dyas a «sy Swarr \ V . ou Seka cabs oy v 4 he * - gt & + » ma Seti fe az vs. oe suscodtic %4 Sootetsbry ft Resttze seods of shnemmocat yIs he gasliiso SQetsy Hae Yates “yaoi mod) eethsh.lopquee 7 179 rood screen was torn down in 1745, and only a few reliefs from it are preserved in the Louvre. It consisted of three arches, she middle one forming the main entrance to the choir, whils those at the sides contained altars enclosed by balustrades. Hach arch was faced by two Corinthian columns, and in the span-— drsls wers ssen angsls with the implements of martyrdom. Above ths columns rose the four evanselists, and at the middle of the attic extended a sreat relief of the burial of Christ. Ths fountain was attached to the church of Innocents and open— ed by an arch to the Rue aux fers and with two to that of S. De- nis. About 1733 at the destroction of ths charch the fountain aas Carefully removed, and then with the addition of a fourth arch in @ rather senseless way was rebuilt as a square pavilion. On Aus. 3, 1546, Francis I appointed Lescot architect of the houvre, and after the year 1550 he received in this. position a monthly salary of 100 livres, considerable for that time, when for example we compare with it that of D. Boccador, who received for the erection of the city hall at about the same time only 200 livres as annual salary. . Before ae speak of “escot’s principal building, the artist is &o be considered, that we have already found connected with hin, and to whom also ths rich sculptured ornamentation of the ;ouvre is due. But not merely as a sculptor, and indeed as preeminent amons all contemporary masters in France, but also as architect was Jd. Goujon frequently mentioned. J. Martin in his dedication of his translation of Vitruvius namas Goujon, who drew for hin the illustrations in his book, as“recently architect of Monsig— 1 nor the Zonstable and now one of yours”, i.e. of Henry IT. pike= | wise he is named in the accounts of the cathedral of Rouen as | “stonecutter and mason”, and in the abstract of Vitruvius, that in 1556 J. Gardst and D. Bertin published, he is termed “sculp- tor and archibect of great fame”. Certainly no building can be referred to him, and it is even little probable, that-he execu= ted such; but his drawings for Martin”s Vitruvius and the Istter to the reader, that ae himself published at the end of the book, — sufficiently prove that he thoroughly understood architecture theoretically. He inpressively recommends to those skilled in building the study of gsomstry and perspective, calling atten- tion to the examples af Raphael, Mantegna (whom he-calis not — ee ee ee a Te es , faine® Lolntasietote .(s dustpeoo. bas 2 aodal ud beatapos wa sidos = tas © Bis, esizes edt seve Mfeobe) olizs2 bosold ee Sait Btee cons Mice aged bac “oo seaivergsy bise heids 2 !) wr AL ot | 185 the principal linesand the dignifisd proportions, it thus has its full justification. If one recalls in these surroundings ¢ that splendig world of the court of Henry II, with. figures par- ading in velvet and silk, in feathers and embroidery, then will he understand this architecture. The internal arrangement of the rooms is the following. The western wins, so far as built by tescot, consists of the ground story and a hall 120 ft. tons by 42 ft. wide. This is now the “hall of caryatids” serving as a’ hall of antiques. The great tunnel vault of large ashlars covers it and finds ea sufficient abutment in the wakis 10 ft. thick. prom the court the hall re- | ceives abundant Likht through its windows, and between them lies _ the doorway, that formerly was the main entrance. Another door— way placed in the right end forms the connection with the adja- cent stone hall, into which leads a direct entrance from the e court. The stairs reach the upper story in a direct courses, that changes above the landing. It is steel and toilsome, as all st- irs wers then. Its rampant tunnel vaults and the ceiling of ¢ the landing are covered by magnificent sculptures in excellent fe) execution. but the hishest splendor is attained by the sculptu- red ornamentation in the hall itself. 4t the end with the ent— rance from the stair hall J. Goujon placed four sracefully dra- ped caryatids, unfortunately with arms cut off. By means of Dor= ic capitals they support a too richly decorated entablatare, o over a frieze entirely covered by bent oak leaves and an [onic cornice. Over this rises a perforated balustrade, on whose piers are formed Senii with festoons of fruits. At the opposites end of the hall adjoins a tribune elevated by > Steps and corresponding to ths stair hall in form, enclosed 2 tens of coupled columns, that are connected at the s by entablature and gable, opening at the centre by a rich=")) ly ornamented arch like a triumphal arch. The closing wall shows at the middle, corresponding to the longitudinal axis of the h hall, a fireplaces of a strikingly simple form. From the court f an independent entrance leads into this tribuns, it ends at the . | opposite end in a great apse 27 ft. wide. Adjoining this hall are large and small rooms, that lie in the corner pavilion and the south wing there adjacent. Notable is the convenisnt connec=- tion of the rooms and the skilful arrangements of the anterooms © pss PE eS 0. fA ie ee A ar 3 i ‘itp 3 is wv, bee by Pata « aabend letteds okie snecetti® Yc ira ent dt bys | (praaniae oat stesllene eds ‘Seve, golbaioxe vor .cost E .eonabies: fayou ed? set Bbebnetat een dotdy .yrots faqionisg wD at Wied taozy sdt gest yloo Sntsqoors ,exoted sx sneer sad Wo shia ovd pat base eboe odd de esosloesht ond d¢in faded Paesweed syewicob baticernsoo oA? .oapdiat oft.ie beeteni Bro mi Low wofntw std o¢ e@elo ett. evyenta ences iscionk @ Sats ed? .eidierog es acatuva Lian bsacio doum. es sized ys os eye ice encon urivil io aedano 2 ctai babivih vf eeTRAS ent To ebsal sda Bniemes Sas Gi siveci ond te sbaort tires e*tooes3 [ie jot ob xizeut seonaeetens® domes? oft Lo sockqusiens iotescauens os souet biyd Hedotene os ei tnowl yasosen eiit”~:eyse sseousd te. S wahipangetie te aie sy la ghana 4 am. 18 8050 La? eh ae Bi: i. We hECOT os ah ; Matccels, waits afar Yo egoevidow traticert to. getcse 3 @ tes Sesoiins ene ylestacs ogrcdtia .vaaored oh 1A Wb ean Js ved Ge ere eieer st toat of .mid yd hetvoexe- ca fev %. to potdqedxc Me atsl 16% ,Jootidots Leotgosag. 's ae ek (pakblind: bacoer + gented s evoniedtint .wisiadro’ tan i papcangentss foe (otitis 's es tod. .aid ¢ 2 en etd yd. cans Oetidows tc? soneticqrs sone Eetivpos | ee S09 ,es84 ecoalg sasha & wtizem od tad? rat io O2om Sst 20 ntivetuaseagsd.bae teoneenesam oct yd yl Peedrdsiteib fae rwond fosd eid ea jeoneig to esesiesc iisconk Ni dod tentesh onc eid. 20 ssdmea serosa . Phen 080 ss & 00.02 Sfanetd evorgied Bech \elistek &: Bietocet yloeso me de ad sav dooe.@A .sostinorte ) Oe ie RVGf .at-beashqge sang Osesoodiaows afd nt denobs: miebie add)" bas: ,etogsidose eponat edd onné shi memes g19 by UPinesotes.A.t seouxe. ene Ens obisse? 32 ~ebivows ry home? CLAf goods eids9 te gi0ed sew. sse0%e0 ah weds eiacgas v1 o ed G8ot tgey edd, ol Ybsowla .tedsloosdt asilase zedtes bind Hsnofiol esr-oneet wists Gus ,ileetia yd bovasane gan 6. _salton to2ee7s sociomen. yd stil yeod bes gcol 6 Is sexueo an 9d dead nomi sx [Lita eit aid to oni o¢ Wont ei sone | dgrcds Ls tied pid ed baxedds: ederit ‘ode ,tnatzesorg writ hi prtaagten eeone ct hegeoihes:. rales Foam Laon daat = Ae Pt ia De aihy eee 1, fats te tims ; ; ps, OS SN 7 i; re & ss j F . r i P I a , } - " i . wr. i rae ata? Sa? PW OY dae aks ove Ak Siem) We, f oy a) a hws ese ' : Srl; : a uae Ae ae) hi A aE aa ad . sa 0 186 ith the aid of different side stairs. Zach room has its firep- lace, not excluding even the smallest. The distribution in the principal story, which was intended for the royal residence, is the same as before, excepting only that the great hall is furno- ished with two fireplaces st the ends and has two side chambers instead of the tribune. The connecting doorways between the pr- incipal rooms always lie close to the window wal in order ‘to ob- tain as much closed wall surface as possible. The third story is divided into a number of living rooms and served. to receive the lords of the court. In all ,escot’s court facade of the Louvre is and remains: the unsurpassed mastorpiscs of the French Renaissance. Justly du 6 Cercsan says:- “This masonry front is so enriched by columns, friezes, architraves, and every sort of architecture, that sym- metry and beauty so excellent,,that scarcely in all Zurope will be found its sacond”. 65. J. A. du Gerceaa. In the series of important architects of this time also belo- ngs J. A. du Cerceau, although scarcely one buildins can be pro- ved as executed by him. In fact he ssams not to have appsared as a practical architect, for it is an exception of the church at Montargis, furthermore a rather wretched building, is to be 2 referred to him. But as a skilful and industrious engravsr he ired such importance for architecture by his numerous pub- lications, that he merits a prominent place here, por not mers— ly by the measurement and representation of the most famous of the chateaus of prance, as his best known and distributed works, but by a great number of his own designs, both in general dray- ings end details, does he prove himself to be a skilful and in— telligent architect. As such was hecthenrégrly recognized, and Je Veedeman in his Architecture that appeared: in 1577 at Antwr-— erp names him among the famous architects, and ” the widely famed Vitruvius, S. Serlio and the expert J.A.ferceau.” It appears that du Cerceau was born at Paris about 1510, yat rather earlier than later. Already in the year 1539 he published & map engraved by himsslf, and this issue was followed in the course of a longs and busy life by numerous greater works. Not mach is known to us of his lifs, still we know that he was a Protestant, who firmly adhered to his faith, although his prin- Cipal work must be dedicated to queen Catharine. The first volume oa ata _) } a7 a) “ “2 wi | | vats n* esi bok beuneges jatid py bit ssn GEG te ae Nap eslicee ts: tke 30° feast ed notéertieh edt, ci fan .31 wise’: of betavibeh can t nh ovigsage ng to Tbpcse @if sbevinoot escvet yoan, 36% nina Beiebs Hilo alia] Vossnp edd of hetaokhst Baw yIeat step vgamebaiah oad ek bepaane taeetasetoom to nssidio's Mesto. enalg.a neds nex pipsasdacy, .abactado: tteorg a ae Fol .“acibiic: en’ to cane to .dnhaden ods” .boertotss : 5 sat p ee of mtd timasg tes. b£5 “SBE add. eanislomos ef SNCL dee fe dood edd 2dood test tin nk ,ercted we yrderkat geesk acoaat eos od feseoibeh eax. feds. S6EL ssey eft to eactittbe Pot assests Seodd boos sa Mbeeti: ebrates ad bos _asvonek ven paeen yoeont ts GASL ub Roth sane sid sents esopar Leook be oes) toteoseq. nk eiste Intovet. tot, febleen feu oc oxeite eioen estectil sseoved of saad edi litsdorg Sis: es OtoRs Meses est drods deds bas .nettvoserea eyaoae ot svaned cg eee Berk mieroisev.io eefels stacecs hot open fas phan ne i it ssikietues aet tn | gnidaixe tc eeniwes 2g (Stnoddteogees gue sid teinesed: ee sm iespinsd dashes: p#aedivoxs, tec”. edd x edd ¢ init s1ect .ON@I Bes avGl ci ma asqge feds Set eerekst 42 setts etgowderd ovpisns Wee tatpdace #1. .“CS6L ,siferA .orevtrd sa a. gid to enna Dag shothiind enpitaa: to: enesvasuse ' ‘ed, aoitsct bel £: Gad SSGhoneow odd nk soevel eik spkaon Lhe ROGOR. Sopiina Te doce” Bovelsist..edt Are sinemetl ‘ag . io Gointov brid: teds fo. eneigacten{Eh: dake } ‘poaciod $0020. to bee owe Bid déty bots texte Srooss ant i git aaseis0 ds ShClini: hotsacoe dsidw. sow gectt cli Wage edd evotanviseh as SEAq Sitis act a seatoy teilaes B. xistes ,eetors to asiqgaze vit qiaset”: yee) actisoibab #. 7880, 36 einemsnos ed moti. seiad) yloang Boa am vd. bev . b tevie ef teewentie: wfledigseq dtinv. bevatace estefq, S€ 20 "7 veow O82 Yo ersio Ene enottevsls eviscegescg Siass ehse! P Qf Btin) canoied nolvacnsdedess: to grnasd ok stow ed? “natal pes Balednoo, 3! 880098 eipting IC .sdcow dackle fete votes 187 of his theoretical work on architecture, that appeared in 1559, was dedicated to Henry IT, and in the dedication he thanks him for many favors received. His manual of perspective on the con- epary was dedicated to the queen. In his old age we find him as @ citizen of Montarsisand engaged in the publication of his work on the French chateaus. jontargis was then a place of refuse for the Reformed, “the retreat of those of the religion”. In the y year 1579 fe complains that age did not permit him to use as Srsat industry as before, in his, last book, the book of antique edifices of the year 1584, that was dedicated to the duke of Nemours, and he regards himself as among those belongings to the flugal court. Since the duke died in 1585 at Annecy near Geneva, wnere he had resided for several years in peaceful retirement, ~ucre is the probability that du Cerceau likewise went there or to Gensva to escaps persecution, and that about the same time he died abroad. Besides a noe number of separats plates of various kinds, he published a series of connected works, that belong to the most important pb cations of the time. Some of them like the Buildings of France and different books containing antique mon- uments, Abt exclusively of drawings of existing monuments. In others he connects therewith his own compositions; finally in a third group he presents only independent designs. To the first kind besides the two volumes of the “Most excellent bail— dings of France”, that appeared in 157@ and 1579, there belong the “Collection of antiques fragments after L. Thierry, then re- cently deceased at Antwerp. Aurelia, 1550”. It contains 12 rep-— reseutations of antique buildings and is one of his earliest works. His latest in the year 1584 has a dedication to the duke of Nemours and the title of “Book of antique Roman edifices”, with illustrations of that kind on 63 plates. The sscond mixed kind with his own and of others belongs to his first work, which appeared in 1549 at Orleans like his other earlier works. On ths title pags he designates ths contents in a dedication as; “Twenty five examples of arches, partly desi- gned by me and partly taken from the monuments of the ancients”. On 25 plates engraved with particular refinement he gives at a large scale perspsctivse elevations and plans of the monuments. fhe work in beauty of representation bslonss with his most exe- @ilent works. Of antique arches it contains those at Verona, ec : fae jos ‘ata cats wad + yalbaeesoIA pene ogee .enciT. tc ms dotdy oo rid tod sce » a fanc® Yo bas exc tid to sado3s Ol seies .ufexeds egcieyesh ad Ow ste ,ezrot sxolitce b baa Basm aidos « od e072 rshacy. 8 BteSagGa BeRED bee mi [ist tom. seoh ck mao paidiniacd edt io ga oizcd BF RaihtoosA e eneldms, o4 eds 20 Biteda.¢ nc 220% By ens. Yo stoia on. Daa at eBIeRIs6 me @ilesiqe : patigal efamst bot olen beuedt? siens? boied peal ph astoetscs bap. 6eigoosa ” tnd Supeststolg yitus toa fo: acedesd pune t tons xedFons he 28 ye as neve d10g8 uibtencs whtied dixie edti ge “ahd igi yd £e pe f awh a “4 Rat 7} by: re vii ib oh womit » $0. suntan gmt - cbs ose at Oi ‘Sepa! eee er (7) 4 ok! ie «8a wt me taitine «: te re 8 f sé a we hy ~ ie our Af lie gm ; at i & « anh ae be TaT va ert eS he on vn ping Seo0id ac @eig2odz p#aceco eid. to. ektcr posaso ait si {Le 1 nad le Ee ge satoaas + x B .nottstekbexrs faceolcs a peedors od? asi 30 eas eset bepels sesak once haidoses egoe gt hevecags { “bye a raAwse ee a oe Ca ote Sevag 188 Bensvents, Ancona, Sus&, Alessandria, the double Sate at Ravenna, finally the arches of Titus, Septimus Severus and of @onstantine. These form a basis for him on which he makes 16 arches of his Own designing. The wealth of ideas that he develops therein, and the freedom with which he handles the antique forms, are worthy of recognition. On the whole he adheres to a noble mass and clas- ical purity of forms; but in certain cases appears a wonderful fancy in an entirely Barocco manner. He does not fail in model examples to which belong several arches of the Corinthian order repressnted on the first plates. Sharacteristic is a Doric arch flanked by frsely projecting Roman Doric columns. According to the ideas of the time, there were required warlike emblems as characteristics of this style. Therefore on the shafts of the columns are ligns’ heads, and on the projecting piers of the attic are 4 warriors passing on heavy battle chargers. In-an allied sense he smploys the Ionic to express luxury: spirally fluted columns, the arches resting on male and female hermes | figures with interlaced arms, on the attic being female figures with floating garments, flowers, cornucopias and garlands. Sary- | atids and atlantes, that are sufficiently picturesque, but very unesthetically embraces each other and support baskets of fruits on their heads instead of capitals, ara seen on another arch of the Gorinthian order. In naturalism sometimes sport even the principal forms of ths architecture, thus on the sixth plate the Gorinthian column, whose shaft 4s covered by palm leaves a and opium pods. Great diversity, partly with happy resalts, he also attains in the gretly varied upper termination and crowning of his arches. On the contrary two examples belons to the most wonderful among the Barocco excesscences of the time. He desig- nates them as arches of the Solomon order. The nature of this somewhat mystic style he seems to recognize in those twisted c columns that first appear in the Roman works of ths CGosmates of the 18 th century, then omployed by Raphael in the cartoon for ons of his tapestries, and later by Bernini on the altar canopy of S. Reter’s was personified in a colossal exaggeration. Besi- des there appear to belons to the Solomon order the arches on 4 hermes with spirally interlaced legs like serpents, or the en- tablature rests en crouching satyrs. In the year 1550 appeared in somewhat smaller form at Orleans, j : - — f f a my ; 4 | Megane & | to tet aoe 8 whadvarene: Kelcsexe qisntt a ag hae Gue eldi¢ yiotsoiseh eft ac haated @ V“ecofouatenco to sovayo edd of tatbsocon a eignexo oo of hedisoseh esignmazxs oes% tonic” 8 yloo ove yinietsso tin ehathlind hotoos “8 BE Crest? .2 to oth: signed sag .(*endooes tc {fecit tcedtaay edt bas stesV Yo elone?g e@i anitens? fae eentcot tok to signed edd i mess? yiteor ad ct. ind ‘sedie “gedmen @ tnentsorg s2 spoline P efdedissch .ewict elden at imeo edt Has snob edt dotdw dois Nadal neignexe to wodmua 7 é aa g oc tdanord poneceienoh yises odd fo tennen eh hodolie Beak toptice Tsofeesio Seeq0s dad} aedsons bolile yleeclo vt 10 Begendineh 2 waa te » 2 "? Pa tir sit hide Sry ae we fife ae “gh re a Ne Rap a ur mi, ‘ a ee riots ‘a i devas’ pitas. tO eroiv fschi- 03 beat. eetstg baer nO YO eibped Vom Hie OF Bro! eect of anoffagetoxe dove x $908 wacisetncesiages seed? be BR aetrceqesec toe awel Le &.eanocosd fi ne eid ashay’ su | od p Besentzs a8 iP ean dabloio' edt Bo 5 ot. RO esSqioning odd Sni¢ididxe 10% ofdereve? yiemes isinev mehoh to emtot trevedtish sdt eva cee! oF nobnesae bevadiaseib yldoia dtiw noitsenaco blotines iteo aeioe32 to emiot efdon yd dniaevoo ateds Bue yencon bos ‘ ’ ’ i Ly! * i err oti) Gtk Aiken Cae 190 Therein the line of the actual and the possible is nowhere cros- sed. The observer likes to think himself within these halls and beautiful surroundings, and he becomes in them so light and free in mind as before the best works of the Renaissance and of clas- Sigal antiquity. This series alone would give the author & cla- im to &@ distinguished place amons the first architects of the tine. j No less fresh and original flows the stream of his invention in the quarto volume that had appeared a year carlier:- “Book of the kind of pictures that Italians call Srotesques. Aurelia. “ie 1550”, New edition at Paris in 1566 under the title: “Book of ‘ srotesques”. It is a précious collection of Spiritedly designed arabesques on 35 plates, drawn with perfect freedom. Here belo- ngs also a work of the year 1560:- “New book of J. A. Su Cerceau, containing many and various matters of 211 orde rs, both antique and modern”, It may be regarded as a continuation of the works Ghat appeared in 1549 and 1550; it contains on 26 f4lio plates several arate and drawings of antique buildings, among them being the triumphal arch of Besancon. In the co 51: ection of temples of the year 1550, the dedication promises the desirs of separately treating en a series of suce- sssive books tie temples, tombs, fountains, fireplaces and fin- ally the chateaus and palaces. The industrious artist has not rely carricd out this programme, but has given in a still more siding way bis Suides for buildings. This first appeared in a folio volumes at Baris in 1559 under the title:- “On architecture, the work of J. ae du Cereeau”. This in pursues the purely pr- actical purpose of laying before those desiring to build,a nan- ber of plans from the simplest to the richest treatment in sro- und plans, sections, Slevations and perspectives, in order to afford assistance for ths most varisd desires and needs. Tt commences with a dedication to Henry IT; the king has found pleasures in his earlier and lighter works, therefore he presents to Bin here 50 designs for houses, produced “not merely for the benefit of princes and the sreat, but for the middle and lower classes”, so that France being already adorned by splendid buil- dings, should have less occasion to seek beautiful architectures ~ anong forsigners and strangers. His text commences with an exple : anation of the French “toise” (cubic fathom of wood), ss well as ‘ if? MI _ De Ld eh song ry. w eeeols sede 2 ~apelblind to efreq Lagtent oo #1 egdeiq io aecHos, Te0Id £ no nevid enelq est 3 mola ent od cisiy aeve, Bas eigaie od} moqwt ers Datong ssa. ile £ f 5 Oot otedeyisvs is eiezocos ofat usist Bag -B4sso yices paedois woes hia act be qu ie a y ci <@pnid yom ioe we anid tedé ah sa oi bbifae fee Sai ad. @tiste onifsiw ar egies od “qoavéog ene to esbie ose +ol -emOOe Baivil edd bivth totedni SY ye ror Bos Ae we bacilives SCR: 20/ rofane Bedsounsd patiqeoxe Sh .ok wi et oslg atdd fo soiteisay Boi livas-o | sabia Laztaci Eyes et? ,eebaota: 3x BoksOe! $\so702 elbbir geese start ah 6H obs To sebiv e i | —— ‘distances are connected by open arcades into a great square with EONS TT a ek Sere ae SES ey ae ee pa ee a oy AL le ii in } ; ry yee eee RCL. & - ; ,191 the principal parts of buildings. It then closes #ith an explan- ation of the plans given on a great numoer of plates. It compri- ses all stairs from the simple and even plain to the rich and magnificent. The plans exhibit great skill, are practically ar- Pangsd and developed in many ways, by which everywhere the regq- uirements of his time and his country are taken into account. The treatment of the details and the forms usually bears. the Stamp of a certain dryness, although it does not lack richer ads Signs; always and justly the principal emphasis is placed on tae general subdivision of the masses, as in all sound architec- ture, on ths animated outline, and therein du Cerceau &8ain sh- ows his mastery (fig. 87). Besides s great number of normally arranged buildings, there is indeed no lack of abstract combinations of many kinds, in w woich the architectural fancy of the artists of that time so loved to revel, Thus No. 16; Greek cross, entrance portico in the front arm, on the right the kitchen and accessories, .at the left the stable for horses, in ths rear the living rooms, at tac middie of the building a great circular structure with a Circular stair hall, thet terraced above and endings in a lant- | crn. NO. 27; a hexagon with three winding stairs in the angles of the inner court, on three sides of the polygon beins three i projecting square pavilions with the living rooms. No. $8;circ- ular plan surrounded by moats, in the interior divided into a Gresk cross, cross-shaped court in the middle; four winding Stairs in the angles. No. 87; four square stairways at moderate — 2 = a ee pavilions on the exterior for the living rooms, housekeeping and ‘ Stables; the stairs covered by terraces and ending in lanterns. — It is evident that the old partiality for stairways occasionally appears. No. 42; A Greek cross, square pavilions at ends and | middle connected by arcades, four stairways at the middle. Stall ‘ more wonderful is No. 44; about a square court with angles cut | off and with porticos on piers ars arranged the living rooms in Ons series, at the truncated angles project squares pavilions d diagonally. A variation of this plan is in No. 48, excepting t & here the principal sides are diagonal and the pavilions @ L rt is without arcades. The crown of er is merited by No. 49; the middle forms a decagonel - court with arcades, on five sides of the decagon lis sreet - i ‘ y ¥ t batzen: Dk Hila Pe ove Mas teanted. BRC iar idee Neigas RAGS spre eee) .eaniblind) mgt edd tix vanes Pnoose & 23 W7on ot sunloy bnrocse ge as behbe tan dion aids @ bointesoco ,saviostidene te zoos” -:f8er ok atoes ta % .erobain.sonsck (escaigstt? tc stntackhrvette tnot)eS YEE edt Yo eiaert ff cud? “.enetitvea bas vei faw eassionct fe: stiga at fas ,egnibiind ‘to tramefune fantetxze £26 Te’ weemiove: & af awode ofshe gh ccooted ot Seebasd adoewsel pengies PSuewsIILh wel .teldie ads to. 519 ovitinevai dois ubsesia ed pots 249 oF nokseodbed edd nTBebbe ona ata ot Vault temso? oft vd bevowtos .notenesak etx wenoo 6n3 to ebniblind efdaten tecic bas eusorens Meh ol eizsd te boxe ey ecizon ahat Bot cy os m0 Kotset e. iti giere sadn ~ 60S 0 naigq oat sihbidet iotdy fd estas sok angiesh etoelioo Mecsvotusi oct .weedado tuenliias Sr atasictes Sactencuth edt 2 eh ancors¢ SoD Gigiscate « btotts of vad : see. Qnidem sot ,oaulov text? f F Swode aisos pessted 2b to acitasvecs 7 pale bre. seefo (Lest: “ ee ee i enol ae Secioiiad seliens 2 fateey eit a diin ID Jk phbdeck on mebyeh' coi din ot 28 peo 3d! xe. tnd o> A Be betsors “aiporio afi : tous pisope Bné’ vax Sve en. cooals tao Sr dottiw Bssicts .¢ nit t2 sipac oehong: hae mienbtyae OTim sfpcavoss Ant ‘2 pea OES Sack yd wwolda foe eebacet nantes seater etoeces aero? PergtAe 4eito dsin on [46C bedtewas Gt) snobasd® Visow {seltescoct 9 achiesd yatio’® Llame-eatsty 09 si eined. os hesseqgn StEl of doidw. i teelissxe tack™ oad!'to esanlov owt ab ssow taasy 2 192 rectangular pavilions, between the two in fronh ars inserted ¢ quars second court with the farm buildings. (see Fig. 88). To this work wa.: added as a second volume the work appearing at Paris in 1561:- “Book of architecture, containing several d different arrangements of fireplaces, dormer windows, gates, f fountains, walls, and pavilions.” Thus it treats of the intern- al and external equipment of buildings, and in Spite of many elements tending to Barocco, it again shows in a favorable way the rich inventive sift of the artist. Ten different designs for wombs are added.In the dedication to the king he already expres-_ Sé8 his intention, approved by the former king, to publish the royal chateaus and other notable buildings of the country. As the third volume of this series appeared at Paris in 1582 es one of his last works, again with a dedication to the king, 2 new “Book of architecturs, which extends the plan of the first yol- ums, and on 38 folio plates collects designs for country houses from the simplest to the magnificent chateau. The introduction has explanations concerning the dimensions, naterials, calcula- tion of prices, in order to afford a standard for persons desi- ring to build, as in the first volume, for making estimates of cost. The gift of invention of du Cerceau again shows itself sre with inexhaustible diversity in a charming, though Barocco mannsr. Most of the designs ars practical, clear and Simple, so that they can be judged at a glance as models for country seats. Particularly pleasing are the smaller buildings in Nos. 5, 7, 8, 9, 12 and 18, more stately is No. 11 with a fine portal and rou- nd morner towers, charming is No. lo with its ‘garden design, and a PS ee eo ee original in form and decoration is No. 25, but on the contrary : No. 2 is abstract and wopderful, with circular arceded court } ai the middle, four pavilions in the axes and square enclosing } building, the whole surrounded by a moat. Almost as strange is ; No. 30 with oval court at the middle, around which is srouped fi the buildings in a rectangle with pavilions and projecting ang— ie tomers. Curved facades are shown by Nos. 6 and 18, aad oges roofs frequently occur with othsr Barocco forms, espscially in Nos. 27 and 37. 7 Besides a theoretical work, “Lessons in positive perspective,” which in 1576 appearsd in Paris in 60 plates small folio, still the grsat work in two volumes of the “fost excellent buildings in Bie a ¥ tere one ee Reiehexths Mies Meihetesne® od of ef *sone7d 35 Rov snestedo tustiogak saom eat to yetidd enokiagteri is Dbiety .evad veieiootte eeeds Yo stom Jatt .toat edd ybaorls preston ics oF colev catd 2 ebsel ,emts edt Yo edecte. vat goo sai3 Sas 210770 Soe eteed Yoel fon ob sanineth- eds WP wobtacd tod yeconysd niasiso 2 yd seltve ellerenes enot Dob secs soneisveeisg Iniddis® efd bas yosenbat oldet B OdS eldsyotne ui creds ,edton aid Ils nd en eued nvodp a an egottadasaciges e4% to noivamics aesilo oa¢ bake eacndeest eyiisoisossq aodn Jo dvet) ,enos ors Aad pasored ob 4A ob spoda'ntod .etuisqaed st e twidvsoy yilanseor 158 a tadd 86 cd estate tis emia 8G 28.502 ,s0itosig est Bae. Li: sBaesmco eid tshon Mess OOS hed vbeswle ef aacy As Of c es sieseeid gdooted af .bnncy wiev If ita bee feantette ovis a svence baa aodel te pes iD aurebhtenco,e ai Be mod webs ro ned¥ atnoagpen ebpdene ent wnesh bas bes Beds .20020 6 de Lantbhseo sat AI0W 2idd ak gon eid Aviv to Mate yd ened {11 eciioow} oq6d nets bon goveid alguns iy ot aYa prttyes mid of edoge .seldon brie ‘ve P wet tool B: lense | buge?. yisens thes eid geY water sata ee . ; so edd re gengo7d sit fas vollss Pats. pageN, Baisinote yuo ede oh bh eid at wid batt on act! ni Biksd tnows2226 to noitos BO nedy (retell BF Se 603 aid ct Eoteonsas a atvebas oigeivas osedd usin ennitac B resuiace ea e070"). eh eeinneoss of nsasl ov 0 SEH ON YS fongat gobow bi (ancoiseciiit-c? tog fiw WhestIae tc tases otkine edd yilecnac soint toad: ag Selhlindetse ods tuctateeqos of bat . of. tc @jediescas cf Scitaixne alosacsy sdi 88 geoolbivotdg din segeines Yo. gaas pegs gostoug, cf fed sf hae .soidibsoc ree az ae) he ead? .detincd 662 vd doetas beacdecedd? 2 most fee ; Rel lide (isp Sew Of .etelidelaatieil gsexs sedge Bas to penta OH anid bic, to nokianttisx0d to bag sew to. sore foe | So eis) te endt Boe ,T eiounig tebam acitinog eigs dei fe od ,S5cl © Lisga to setosk.g. qd It yaask te nbier ed: WS Be ede ae ag | A 194 construction. Then he obtained great influence by his literary labors, since he belongs to the first, who undertook in France Systematically to state the theory of architecture. De 1’Orme seems to have been born about 1515 and perhaps bel- ongs to a family of architects, a member of which we have alre- ady met at the building of Gaillon. This would explain how at &n unusually youthful age he had already succeeded in the art and the practice, for as he himself states to us, that in his 15 th year he already had 300 workmen under his command. A short time afterward and still very yowng, he betook himself to Rome, where in a considerable sxpenditure of labor and monsy, he mea- Sured and drew the antique monuments. When on a day he was enga- ged with his men in this work, the cardinal of 3. Croce, then & Simple bishop and later Pope Marcellus II, came by with other cardinals and eminent nobles, spoke to him, invited him to visit him repeatedly, and took him onto his service. This must have been about the beginning of the year 1535, when ds 1’Orme was scarcely 20 years of ase. That he laready found himself ir Rome in icsae he himself says in his principal work. Yet his influen- . tial countrymen, G. du Bellay and his brother J, the cardinal, Soon succseded in inducing the very promising young artist to return to his native land; in 1536 we find him in his native city of Lyons and engaged in the ersction of different buildings, and about 1542 he began the portal of S. Nigier, when cardinal du Bellay took him to Paris ayd entrusted to him the erection of his chateau. ‘hole he did not continus with these artistic undertakings. In she ca 1546 we learn to recognize de 1l’Orme as engineer and architect of fortifications, in which capacity he was ordered to meee twice annually the entire coast of Brittany with its fortresses. He had to superintend the shipbuilding in Havre de Grace, to visit the vessels existing in the harbors of Norn- andy, to supply ths camp of Boulogne with provisions, to place the fortresses in condition, and he had to protect the city of Brest from a threatened attack by tha Snslish. Thus like da Vin- ci and other great Italian artists, he was well sktlic@ in the science of war and of fortification of his tims. He already oc- Cupied this position under grancis I, and thus at the besinning of the resign of Henry II by a decree of April 3, 1548, he was « S ‘ $ 2 a ae i Rea ot eur eiud seith .etenio bas esosoren evcitiv ,nisaved ke i ' [ modw 20% ,Beseisied Ic snakh tas Tl ywoneh diin covet of bow 5 Betatoqgs usw ed EdEI nk yhooalA .tovet te veonotiva reites sbyedda fexnver Rentsidc gahi gut Yo Yenoals bug ] easel to Gonss 8 eusoed, £4 teoued FT exts! .vewd to sedt lhe ge es beiewal ef sna ob Bre hoooliaes: fae va to BnsiG Yo fads. oxow Hove Bue IT yooh to [itwbocy edt bo désebh cit to¢ts sont t) ,eoitiooges ofnt febnedo eded Bites gh tsectce {i{et ofni peed Ylierid wntosdts Meee fette yab britdt edt no yhssdle teds boeowd arohngie foe paee mots enTO*t 6h hoeogsk Il sfouaw nsdtet ata te azeet Eisd fayos'éi¢ to sseateve ofocitaniz? 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Cosily models that frequently cost 260 or 300 thal- ers (400 to 600 livres), he caused to be made for the king’s i buildings, and for all this he had teceived 20,000 livres, as stated against him, but only 6,000 livres annual salary,”as weil as his gray psard”’. In just pride he enumerated on thse other hand his undertakings; not merely the important services erformed in the supervision of the harbors and the fortificat— ion of the country, but also the numerous royal buildings, that were superintended by him.“He had introduced the good architec- ~ ture into prance”and had rejected the barbarous forms. Import- ant inventions for the advantage of the king and. the country had been made by him in the construction of roofs, whersby it had 1 ~ an ie. ee. ra - _ ee q 4 if ae ; - es RON aa he a. a Ve Nan * ‘ hae om bi piaueeaat ; ae 30 Agtacde iene Pendhites maven at 5 avant paseo Sane Tha | #900 2eol. cone nh 490% holievera eyes yileni® tawe colkfecttivest «ik “biked co? aoieveineco oft PELEOY eB cebredéao sort bovisoes Magtonitg els. neod evad binew dedt ecitelio? oft ace ing, she go bexadeo esw of sgoidetgeco ot ompo bad. wasig aia tf 2 ea I¥éf) CVSI f Gay Ko Asdindoe Jadd..dgesb aid Lic Paetab (SCM rosie) bodseg mwilsse vid norm «(beyyoogst Baspis ics to ansif to conebrees bifactge ad? .¢ocA to osed wencs>o selises sed .ccisuloves ous, at peyosseeh parts goide ,avey .6 nestade sts weaseiiod gassn tam teteti .f Yo inttoq or! wid? of bas off ses eds ao} ectody vEtonedod aieiliR to. dazed 25 b docest” odd mis vd hemen cbhagooloe od! sgoa0w Sti sok. a3 oremtsp ae a od edd vaddin? fos ree eto ead gyaelins Jeeck ae tiind en ecedw. .s6ged .6 .bivhak ant a | a . i” L Saee Pas) Yone> ,ceneeogsl,eteoadd to enoilives ecd.-bas ie Bis I gicset? to dact pot 2 be f s oe . pr ok pw oak @) Towsdieqds to yrosoot ey | fide etna ae Reed ni ugeiblind « [ ghE .ydividos evionedze: ylekersx jotieseb iody, ataisgcs ee ites dads eS Aa OA id | duoksarobianis Mulsounails avewod - a pretties Gis °hel cule (isa sic ki WO Geeceoy eu. Pass. toon yretes Meue .rtocr ec phone ie S.fevoa a ‘ dea & dations si rssonow Sc panists § 10d. bas xocup SaT .isshell 2h | nt qedseliead bua ,Arc¥ eta ni handabics : BP, ood € Ri wicew 263 ot abligueni sid. evi ci 3% fede. zobou 11 etged Sc sisob ott sotta bewneqea wavexod A108 iteo: tees 36 .hn9 [l ‘eibmeceny ‘ie eicgereh setwoo eds) te soveterh octet nelfet bed oc slide e720 edkdone to dood task") +relssd oft taba atued nt SeBl 6 tap hr ysbt oad 20 tancals ytestbug bas toflitossen .sma0*f 26 42 : otto! 8 Ban todtom neeup ait ot acitecibst edt dtiw anieed . ae fi if + wed OB Oe etesd tad Bakeloweo ed dotde of .aobnet add r ito etelsesds bobieesc ‘Qind que f8om conte (etootidots ‘ea Sticold od olidunese .andutes: feoljonig yleyiaeloxs ce: | Besespedidoss te ytididon bas ytistib ed? cvearnem bestcend PD eisgoesin unckiscqo3g Bae eationeaib ¢osatco sik sevinss Patesa fon Ses .bicow ett te doegidois boonet eteque: edd (S08 Bed seitw yo tas. Siscaid yd Setneto ediow oct dads seoad 2: Oi) dacs) Otte oe mid Heiteidee jrotsingzoosn Lacenst 2 ‘Ta sIstiteesd 2t0m has sedded one peas kinder cf Bore sosttbace eid? te eo elisd cads od Sede ai Sakdeonedul (enoess zeseem wos. ,Acod ext? oft Yo Scatort odd at or fd bee *yaaiton: 6 to wttnied a neve” bee sal ,etetrequse ae Wrestett Sue sidded yd bas etootidors.ce asvieeped? xc g st ec Boecaqe ef of yignort2 wok .stanno sad Lootoot wed Mee" eboupegn 882 . neivoizesg 1: ie lod nod_-none’ doa) oh conn to de . tome 4 Bai ate netsh erode ud baa: ets G@yese sd iioes a bemedd- ‘pest eat og tide ao deci goed ef eabeschsenes: BL wt cenw wetetnettelrh tent abit Sralqgue blnoe ofsoiten: 2 babotiots, bod stom Breede Letatosiidete to yi we g f 39; Byee, vouqee tilde teat 8 at ody ane @ ct ovizactt> pede Sb isica bag etkey GS gol Sfeentd hetend sed en 2243 Beeceforn? eelss. lie ne aie Seoin fas .savstoedisow: to foie ovieatietamoo etd anintess ottidnes da cbrorddsd Bie mesOve. Sh .e0ceiveone fesittoaty teock eld to bos eethose ie gecistoetg. aiin gtoens Jo ncizagiadmes end to aiekeok aT fide engtech yd suenko ovikgesh oor eecdd to antdton wer aves Sabaticoast eiteswwacgae bes Sektvens wordt oc , Leese is Hi, @hebou: Larovee dud t00 yloses Jon ebothitod Rdesxogas: tie He teot)..eevisesepe of coals: toette cick’ aden of 4 eit ecgohsow uit oat SIgogIs aagitinwh sasiisoxe as ! haa Bais Pasa avo ett odin weeh od dokde (eizoe egial yasv e ec. yletsccoos Las asus neab adidscl .tnemeteda pid 93 Pi oa) ye iat } nae WO 197 orsparation of which de 1’Qrme utilized the compulsory lsisure, whils he had fallen into disfavor at the court, Appeared in 1567 in Paris undér the title:- “First book of architecture by P. de 1’Orme, councillor and ordinary almoner of the king”. He begins with the dedication to the queen mother and a letter to the reader, in which he complains that there are so few skilful architects, since most ars only onesided theorists, or possess an exclusively practical training. meanwhile hs slorifies in an inspired manner the dignity and nobility of architecture; he d derives its corrsct dimensions and proportions directly from God, the experienced architect of the world, and modestly makes known that the works created by himself, and by which he found ‘ a gsneral recognition, satisfied him so little, that he desired to rebuild them anew, better and more beautiful. Interesting is what he then tells us of the condition of his time in the freface of the first book, how master masons or mas- ber carpenters, or indeed “even a painter or a notary” set up for themselves as architects and by babble and fhattery know h how to fool the owners. How strongly he is opposed to the pret- ensions of the painters in particular , the numerous “makers of portraits and drawings, most of whom do not know how to drag well or to describe anything”, and hs shows later in the 40 th P Chapter of his book, that one will be the less blamed for those sharp words against dilettanteism, when it is considered, that for years the intriguing Primaticcio could supplant him. The charming superficiality of architectural cheats must be doubly offensive to a man, who in 4 just self-respect says of himself, that he has busied himself for 35 years and more in the study of atchitecture, and whose work on all sides furnishes proof of 7 his thorough scientific training, his comprehensive artistic studies and of his great practical experience. Hs everywhere insists on the combination of theory with practics, desires to : know nothing of those who deceive owners by designs already ex- ~ ecuted, who know nothing and emphatically recommend making for important buildings not merely one but several models, in order to make their effect clear to thamselves. That he is himself an excellent draftsman appears from the woodcuts of his book at a very large scale, which he drew with his own hand, according to his statement. That he drew them and accurately measured the che eoasbive » ha nabbe 3 woot ni Sntane7 espltine estaba caoa sedesr testa edt todd: \eotbose evolucdsl fag @Puosods cat pods Boton yd) fae ,ncfttgsoxs iocdtiw ebam conseetaned ost & eds yo"! 60 .atostidoss to softeneas Iucuetg edt to sonelos Bt Scoled eBebro tsa0nlos eupitaa eit Yo encitetnezesge a SEW seizon dome set ggit oad mot ceesecg on fade caed odd poeero Snows Seveg efi adnemucor edt bosimexe od nolsactia sate @eeene 20 bainniged scot co sid yd ebar yieveoeib edd yd akatdt Den enosu ,oxsvetess? ai sidam .e dossre edd to eletiqeo oiacl ‘@aeidiaesh acl eeseaqaoo edd artosta I> 2 Faleg ead bavoi eege od sexit edt at eSi000 Ogin Ofat Sebivih ef adaow elE ited sag to stie edt Yo eototo Sn bhidesd ,wibivetam edt pus enoitebarc? to eteeid hacoee ed? sncitesdneize eth faa eco ste Siasct bas Saidd on *evolgme toctisgors edd isdt alco weetd escent ixen ont: a iesorods & nf sotitvgosros: avin Bsiq id Be teats @ ehhe-cd doidw of) anoles to excise uot odd to gece Shaarceonen. athe emaoctai eevih dishie ofd .notioavat ove yetgion es ,als ¢tog bee sodote fedgquvtat: 20 snc? bor enoidseq no bes eneneagusets vst no ei siain. edd yilanit sexoksin te nats to oeiabus wencisa base extort ni seosigetit Yo acks ae ‘ome seeisgucs.¢ ataq tnnsiecal Teo. edt: .2toos Hy, eoas | ‘a rd sh in Bala a ee m = ts ol re able eons fos. eid be “t Sts Beha slbbhis oct .dantésvocnade ‘ -«& fe ~ @ _ ar — af ‘ a S foovsesce ene SapseeIigota won est bee .fteasee s/o ; a i aK ier ett wi ti scltesd wes 6 so ymovcscasta. to soceioe oad be S eat sok goidot ai sige GA gant ,en70*l oh to siges B aged Woocw 2 ob Sut pioeiitiocs anivibh yiored? \2 0 td 22 golet en deco nettteco sdT .ocivebanet mit bas soames ventas “Reed etizcs es) iton © 7 legen ci avivav s Li | "9 > cy = o & = bar ul be Perh Soo Cliw ed tect avss sh wre atew goottouiianos $ipoitTiS Han booy yoas coois .“xecnes i ie ie esidote Sued eel adiw batctasoos enoct ted smede nein bade wn wigs nt teY .nottonsenes 45 bods ito8 “tact halt ap edie) i Jedd | ee Pod Bemsdoe Lesgneg eae soyiG 6 162 .notsventeancp qbat ‘relquos Seon ‘ooF to eticey * 198 most beautiful antique remains in Rome, affords new evidence of the thorough and laborious studies, that the sreat masters of | the Renaissance made without exception, and by which they shame the indolence of the present generation of architects. De 1’Or- me’s representations of the antique columnar ordePs balons to the best that we possess from the sime for such works. With what attention he examined the monuments is poved amons other things by the discovery mads by him on the beginnings of antique Ionic capitals of the church S. maria in Trastavere, where he found the point fof placing the compesses for describin§ the vo- — lute curve. | : His work is divided into nine books, In the first he speaks of the materials, testing and choice of the site of the buildign and its orientation. The second treats of foundations and the tools that the architect employs’ the third and fourth are ocen- } pied with stonecutting in a thorough way; the next three treat | of the four orders of columns, to which he adds a fifth of his ‘ Own invention, the eighth sives information concerning the pro- ; portions and forms of triumphal arches and portals, as well as of windows; finally the ninth is on the arrangement and ornamen-— tetion of fireplaces in rooms and salons, and also of chimney caps on roofs. The most important pakiccomprisss two books on } Stonscutting. The middle ages treated this seience in its lodg- 68 a8 a ssorst, and the new architecturs must consteuch and foo- © d the science of stereotomy on a new basis. It is the sreatest merit of de l*Orme, that he solved this problem for the archit- ecture of his country and for his time in a manner both scient- ific and clearly intelligible, thereby giving architectures a common and firm foundation. The position that he takes.in this peey in opposition to the old national art merits being noted. ’ @ says that he will not disdain those vaults “in the French a manner”, since many sood and difficult constructions were oreo uted with them; but those acquainted with the true architecture | no longer follow that method of construction. Yet in his works 1 t ra) he sufficiently proves, that he thoroughly understood Gothic construction, for he gives complete general schemes for the execution od Cothic ripbed vaults of the most complex kind, 7h wherein he does not forget even the pendent keystones. But he * prefers vaiits made semicircular in the antique fashion as pants #3 tiilewmsonnts ylisoktads ak yloser ton ehakt ed doide “Yo acisercoed tutedess etos San tadete edt ob cels tnd gone ilite wk ersdt InS vitota favo edd bas Eeesonqeh. sds ne Batt of wid of eretoam Loveethes est te giatge odd i elieiosces ewoda od dotdn ,enottoottenoe xrelqaco teom edt am So9eg Sas eyercisse podinin toenetlib te eesldorg end Batiscqque act stinsy Gegenst: se Llese slnotttib eat a3 Bai yey: .yrots seggn oa2. to adaeq farntesus es batdostord Seid .2i emz0'l 25 Yo watoesedo obteiwas oft eosconco Seah PPitom 2if tocsed Yo dhemenite: bas yiliden odt edoel ed Obaa eletioq to eolgusxs: movig edd at eseeqqe tt as poset Pyiotem dou’ 6k ,exton Hodoosee eid wl az [iow ae seoaly OF euro? cooeisd of eedoeomggs codto yhesule oule vad fntactaon Nove seIedswem: Got. to shanties Bae atece Eis to ie aeae O32 #20 danay dhneot a 3c. mrot: edd of amofleo 2 7 sbnemmeses ei Boead uistiiso cot tad? . ede! bs iggsntnoo Gfg oO »facq neohcow a edif ti ee, it .' es f t ylzud Be tisend, $4 evode stant? @8 dade \Sobnemacess etom si_nanico to bold tas sine pe ao Dum) eforxesoU erell{iV tol { fetatinb aoec end) toitw bua .edenwenis i easzcs Pagveressd.: £49 27 » (8é 8t%)) etontitorw ¢ ods ear bouts Si Qetubss aeneofoe sad tnavat of, bets a Bos: ,enmalécs te corel won tnovnlt of efidenciie ad ten of phne \tieemts ct wits bewolla.cd ¢eeel ta o*konosR™ vex? patel fav, te ana toy ‘wkdgifosem mletdc. od afdaae ase et bedt To staich edd tnifseonon Yo ack? edt ao tik ae fakes Seas ca (edugmbsase goiw shsed, tritectota yd: er i sat stevico cf ¢I .evitesties baa igtisceod ywrev see #36 ex ai eonsecteden doatue etal ads ot arct sdinoyad 2 anineinct ed¢ 20 enostnovrs Filed bile Sos dgnoigas b srednyzevs teat. ,e0o0ht xteiten ylerites tage 2h bos ate abence edd) 0% fodaye: 8 ssiyinv seeqoe ot noiteynemsano ent Bley. tien mu f > Oni: Wdi Bosinsiqre ei yiivatinca ai, dna anctiforot. cz -bntivo? dre) benttes alo eile pay idehsh. e108 Sa acttet Nea apse SOeratqzes od Penee Ssase eAs al .aideqso exsi yous | ) eJoem) edd nein dead .siateco eGimsiifo et #£: ta8 vmod’ Spoasion. eat tect .ylaselo ce emush piesagee Set Bedstasod savale: oaea a: Rowods yeas pe gh sé yibcocte es setult wage x Liew LAN oe a iy 4 ( \ 199 Stronger, Hetter and more durable, and explains their advantages, which hs finds not nearly in Statically structural lightness, but also in the ticher and more tasteful decoration of which they are capable. In the same sense he expresses himself against the depressed and the oval arch. But there is still enough of the spirit of the mediaeval masters in him to find enjoyment in the most complax constructions, which he shows especially in t the problems of different winding stairways, and particularly in the difficult shell or trumpst vaults for Supporting the projecting structural parts of the upper story. . What concerns the artistic character of de 1’Orme is, that he lacks the nobility and refinement of Lescot. His world of form, as it appears in the given examples of portals and fire- places as well as in his executed works, is not merely dryer, t also already often approaches to Barocco forms, to breaks of all sorts and endings of the members. Even wonderful appears & column in the form of a rough trunk of a tree with ae capital of curly foliage, that for certain cases is recommended by hin, 6at kind of column is more recommended, that he first designed for the chapel of Villers Coterets and employed later at the Tuileries and elsewhere, and which has been imitated. by many French architects (Fis. 89). If the Greeks and Romans were per- the columnar orders, he argued, why then should — 1 mitted to invent it not be allowable to invent new forms of columns, and to call whem “french”? At least he allowed this to himself, and since he was unable to obtain wh aber columns at Villers coterets, he hit on the idea of concealing the joints of the separate dr- ums by projecting bands with ornaments, so that they would ap- pear very beautiful and attractive. It is certain that this go. favorite form in the late French Renaissance is ons of the most rational and acceptable iis pases of the beginning Barocco st- yle, and it must entirsly satisfy those, that everywhere desire the ornamentation to appear only as a symbol for the const¢ruct-— ion. Bui it is likewise certain, that when the Greeks joined together the separate drums so closely, that the columns appear as monoliths, and the continuity is emphasized by the sleamins flutes as strongly as possible, they showed a more elevated and refined art feeling. wheres he treats it Like a wooden post. On the contrary a differ- y © | ae we oas0*l eb ,wece etd to nofeniones Intseaso eiemis cd.- Bb ebas! ons ak etoesisots eelat bas ents edt te rotwiotc ‘bas @ toecttiages to Lint eqeoehinel s mt nese et teri? edT wean daw yitashosds tadt .usetie 2 eeloqgts fotdn ayvomit .eooib went /ed teiop Bertingib al eeeakv egeiy yd hegasio sasis edt Me Niiite etd eseotiat of .gnintesl to enociasd dévoy s etou pi bne ,ehoed suc? kas seye sevdd déin detias sit bedetasud potest edd yrsitace edt oO .deet aid me eeede hodnin ddin x0. par ,eqeceissl hbotevitinonas a2 ihu01d? esehaay gostisdo BE BISe serves docdsin ek Sh ,eetwtousta séqedeein vino asee Baa siddad of* dtnom Sa61b e tim betnezerges ei cad .edon {fet wands oF*nan beniwsel * to qeo edt das aeek gaol « ddin te Sm tadd oc .sonstecqggs hook 2 ge geod of bas setoob teong s od ebnac om ged ec sobiess -“sid to teeth tSotdsemoe anidd vo peli sgoidsyae ch of wod Son wood Pedneesigos anods gad’ e fos .“fbaim yvsei bas eects « ytiahie dadi™elinde xo sit . Bid nistes aadesd hbemwoteh slifgw .esldeute ef doisw oo ae i+ edacto o i 7 tec to vested® .88 x feat aseiedo p erct eb yd betnoexe egaibiind eds sie 2 tc 3abI9 Sas a6 bstoats wisow lastoning eld homies sd ‘800 ‘6 #BEed actteei 2 ean ct ~ megoses non cco .e@ixe Leqtoning sii ax qsigaot sateasy pmeecione wry seds ,Jomcd to tipeo ecauce yleaen bna/ teen? y ebie 03 3s baa cdbi 42 i ab 4 > * ce > © is cs. ey os o> a? £9 fp at <2 a bea - i] ei co ieee Gap IgBoD Brot, etd Io eigae edd ob tdgia sad te vel ped itis Betesnaco sew yeutlets tedtone : bean solicog Osa 30 sindostidcw: edt .elbbin add ts sonen api ats :; Sovieues ys e.ond es bohivify {£0 2% ( ~ ey ra La 4 4 eS Z i fag t 2 tn 3 Co f= ¢ a a 12 @ bod Pe a : a8 5 & 5 - ie esoousd ai aetata lc dacse nekoid-no Jest tsdt ,eqao bodes i ae yt ‘ot wed weod foot pigots edo Satiee? ot3 f | wag eeitecgqO .efcody odt-Raisveninoh ¢ta0 efhbin & eabblind Beer: 8 heoslq ed yothliad eid aixe 27100 gotaoge 2aucl cwh ati ci feud vu toose mod aoisica sit ei post Seost «,1€ .918) ia iddniand Beignes : itin ove de Bas .otneol dsix a'th sStudaldetae petord ackbneqesit0s 2 ndod tant . * Los 4G One eonsese dtiw aedoin yd soiscdoencazo dole 2 fe tee Henistaoo wiote teqgn sat to sdoin feqtonkaq. dae # 2c feetent .e8ens. oh algod .ancid to) busdend heasansh eng idk .mod Bid Guianisie ag ocnode soii tedasecages 7, mt ei “eats =smobiw dnidviel eidd gaisiaetostado moltgtroen: an aa earl edt: 20 moved edt ydeted ey szeug™ eainipinad Sasi ent Kaas acai has. ook ate “geneint edt Fak M2 Bs nw a rel a Ba Wt oc + oe fn. +) en “ seks as 7 ap . om» 4 ent be xd 2 by gs g oe & Bhs w ade as & : Cc BME be 8S ii 20 iS ¢ fig £ nu saw 5 & ‘19k neg saath efbiin Inogtaev Scala gaived aemqot «dd edad eae ylaniuage eq? .eidey oopiiee Bore Baka? -@ seit tad .gauoo edt to. estroge ows 83 of Bg 202 Serpentine and marble, as well as bronze over the portals, on the friegzes, attics and plinths of the uppsr structure, to his work and character of senuine magnificence by the use of an ffective polychromy. The interior of the gate building is formed as a stately taree aisled entrance hall, with a high middle passage openings in arches and low side aisles, separated from the middle aisle by arches on piers. In the side rooms were at one side the dwei-— ling of the porter, at the other a place for servants. The arr- ansgament and distribution as well as the internal architecture of this sateway shows the assured hand of a master. Bassinsg further in the principal axis, one now reaches the ‘great and nearly square court of honor, that was enclosed on wares sides by the residence. At the right and at the side opp- osite the entrance extended an arcade ed passase in the ground Story, resting on oat piers with a horizontal enteblature. The main stairway lay at the right in the angle of the joining . of the two wings: another stairway was connected with the ent- rancs at the middle. The architecture of this portion was simp- le and with sood effect. The upper story recsived its light by alternately wider and narrower windows, abl divided by two cross- bars, the former having also a vertical middle mullion and an anhhan @ gable. The sparingly used dormer windows are. crowned by arched scala that rest on broken entablatures in Baroeco style. With teas artistic feeling the architect knew how to give his 7 building a middle part dominating the whole. Opposite the prin- cipal entrance in the axis of the building he placed a portal | likes a triumphal arch, that in its two lower stories correspon- ded to the two stories of the court, but then a third story ex— tended high above the roof. This is the portion now erected at Baris in the School of Fine Arts (Fis. 91,. Paced below with Doric, then with Ionic, and above with coupled Corinthian col- ums, that bear a corresponding broken antablature, it recsives & vich ornamentation by niches with statues and by reliefs. The a great principal niche of the upper story contained a statue of : the deceased husband of Diana, Louis de Brege, instead of the ; Gupid in our fapresentation shown as stringing his bow; with the inscription characterizing this faithful widow: - ‘ “Breze stands hers by the favor of the married diana, isl al ole Hh isheecete etneszROm Ste esznog etd ot Seal Bak’ py 2 cece ean elodn act enKOTe ¢aad- olste efShio edd a0. b Benites eft .eqctl satonevbe vd Sestoqene aera Ro hietie 2 ,elatigeo teageis eat .eat02 Leastsssliors ad} %o edibel ad Lodges! ateolleb edd ,soknco ed¢ to exoleiyhhe etd wise est Te etiads sat Td colieeg steno! sa banors8 Ben setnsesdidets Isolessic, fecited guoc a soslg xegog SG) Io esetase ed? 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Begean alate ae ¢lsqedo anos ‘edd ) xd gewin et Rote: SO dbo rwREA s nee Sestedo ‘ods Pee d iE stuite, 8 ‘atin .osge welvos Petdow baldostoig a atin 2! gk seer risiq na’ egaver’ sflw .¢ivev Lecaud | be ) ied on fd vedd .sindo saz weet elele Loont edt Sibviine ee howd atedo add ebieet.: vebie Woes te ellsce atofo Yo sever ilensedxe. boqade-exeas notbfind. edt aniden .eigeeneay ond a or enpcaste WIOsE WeGGo SAF KE eotesl ing aniniadvon see’ faa,,2sfg04t0 Vilensetot een cmoot phic sl3thi eaedt. #9 eBeoed ext -b000b [fama yd betevos fae esdokn inet y wetsthtrs ane? Ipotasalo Clotevoe ptldiaxe ff 6 elttin ead mh eon tag eefotn S286 fiotin res me Ra 204 chat imitate antique Victories, the dome #ith coffers of lozenge — shape. The sculptures are from the hand of J. Goujon, and like the chapel itself belong to the still tolerably well preserved parts of the building. Besider there now exist only. the main p portal of the left wins adjoining it. At the rear of the plan of the chateau adjoins for its entire breadth an enormous Sarden lawn 400 ft. wide and about 250 ft. deep, surrounded on theee sides by arcades in a dry rustication, “hich gives”, as du Cerceau says,“a marvellous splendor to the view of the garden”. The connection with the noble residence is made by a wide terraces between projecting pavilions, from which one sees the garden and both great parks with their alleys and moved lawns. Two fountains were placed in the middle of the gar- den on ths axis of the two pavilions. In the garden arcades and the terraces the pavements were covered by slaged tiles with rich patterns. A fragment of them was brought to lightlin the” forties (1840). It is seen that the entire design exhibits prin- cely wealth, and was treated entirely in the sense of the modern time. As an scho of feudal castles are to be mentioned only the moats anf the fortified walls, as well as the little turrets 1 like bays corbelled out on the front ends of the two wings of the chateau. Likewise belongs here the round bay corbéelled on @ shell vault and belonging to the cabinst of the king, whose construction de 1’Orme treats with special care in the fourth book of his architecture. With the most interesting parts of the chateau we finally reckon the tomb chapel, which Diana caused to be erected at the left of the chateau, and a drawins of which is given by du Cer-— cheau. It was a smail buildins consisting of an elongated rect- angle with a projecting s¢micircular apss, with a single aisle coversd by a tunnel vault, with severe and plain forms. A para— pet separated the front aisle from the choir, that showed two rows of choir stalls at cach side. Peside the choir projected two transepts, making the building cross-shaped externally, th- ese containing galleries in the upper story with their stairs. These little side rooms were internally circular, enlarged by four niches and covered by small domes. The facade of the chap- — el exhibits severely classical forms, Corinthian pilasters,bet- ween which were niches with statues, in the middle being a portal i wy ye ig ou ‘i fi Eka en att ae duane | ‘etd tevo cect tt nove Veobats hapot s Sn8 old? a £ eeu esloence gtiw cotnxco bane oseict bellow | ) eft xd heawovo gniblind eLbbia edt .eretestig ofaed dtit pte enieg déiv elogas doidw eroted. .emgadqe A sense sidativest odd stiw eibit a ces 3 d {Live em ,emt0’s sh to jlvowsedesm ocd sect .oasteic sat te voomssets treot?| brecxe Bae ,tinigqa olive tize eee edd yd ‘olepai Boe books — sofostedo ois ¢i balvin seaibiied edt tq sicag [le seve mesegesieriiae edt zozt exindoost ew soldw ,ynomts ‘89 } ead engotites bificcige sdt. tO. .eerdesorncdgco. to encitgqinzo 6 Q £2 ry < & jes? oO ft o br cr . fdate ds ve Vala NG Pa) ogé?d Liaw Santis edey hae dgronboor: bey lies @itt Deesi2 edt Yo eteixe sittil es ten? .aiener aed lhe ppeyolque eqen eveiita beceiggntielS teem edt dotde act S eid Yo eeodt uwose ote dese! te sotsce .L tc eexeiglvoa Wicexvocd Sn2 io weevas oad¢ ak grows olstnnot ost se Ilsn ee eed bat allsn dt to a2tocentaw cht tot bee etccd encsemua edd ee? gedh .eboom to ebuid desiss bas yl 5 iaeataors teilez biod ost to aotostes > ae Jeiiat staschom co wode. yldueq oats yea? baa .dooge te ) | Sith a: ebasdze efecx 665 1¢ gGivosiieg Sigaliqa eft ,etolos ei» : - r) , " = et te os es oe, * " <) p a sbi isieo deec! ed? seve ec erso Jostenoo b ote no sinaed fo encidasonoo anc begoleves cv ites 0% eybuti ot ep Yok yose fom ek 22 , emz03 een edd: vd. befleqa 9K Ss Yistoive amid eka Yo @iioni e768 on fas «cok | C Gisbine: Seusy Sado antosy etd brewed : Sons Boe tue thedd te yifis3 Gjeootenua at tiesnin e OSeoigzs emr0tL ag Bedidows Ht fskinsere edt oo enenaselo insiditwe ddiw eso te need piabtee sypa T*=t8ya2 bit ene nity | Ste PAU Say TH3 o28 oz Sue ad eavtoasne bas afised ong se] yissasoca ef Jedu Liew cia HN ‘aeqosa: odpdos yas Ji Sadist yee tor ob 7 pisaieabe 40s 3, betolane baa adbemgane Fenteuned Teer ming Om Lite a 4 a , + - oe a ee. re oy wh & ¥ a at Bevel .elenad Olgamaidns soia bas etedmtm szeysh odd mk TAY. to. ghoow pe ens atin eyelol yo sncadaess oxpeeusd wen 5 ; bw : word ot gon: foc tidone: ‘eat “52 4 f d ef. ti wage noinias. bt Sas),.atetwesio so effew to. sineaairaane catoonetnd wine ‘09 pak veottoand. ede Y yabor 8008 ated eu bas ZHhGe tog ae 205 with attic and a round window over it. Then over the entablature © with swelled frieze and cornice with consoles was a hish attic with Doric pilasters, the middle building crowned by the addit- ion of a Sargophagus, before which angels with palas kept guard, and sbove whicr rose a figure with the inevitable arms. Before we leave the masterwork,of de 1’Orme, we still have to consider the magnificent treatment of the shaken That was des- igned and executed by the same artistic Spirit, and extended o over all parts of the building, siving it the character of inc- omparabls harmony, which we recognize from the enthusiastic des-— criptions of contemporaries. Of the splendid eéilings, the car- ved woodwork and the painted wall tapestries, only paltry vest- iges remain. just as little exists of the slagsed tile floors, for which the most. distinguished artists were employed. Of the sculptures of J. Goujon at least are shown those of the chapel, as well as the fountain group in the museum of the Louvre. For the numerous doors and for the wainscots of the walls had been used the most costly and rarest kinds of woods. What remains of these partly bear the character of the bold relief treatment in the dryer members and rich emblematic pansls, loved in this epoch, and they also partly show a moderate relief and more pic- euresqus treatment by inlays with the use of woods of various colors. The artistic perfection of the whole extends with ever constant care to even the least details, When we have developed our conceptions of beauty on the charm of Grecian forms, it is not easy for us to judge properly the creations of this time. Quickly are we repelled by the heavy and in part Barocco mode of sxpression, and we are inclined to turn away from these works as offended. But thereby comes to us & strong impulse toward the senius of that sreat nasters, who Ghougat so earnestly and highly of their art, and created such noble things in si De 1’Orme expresses himself in numerous pla- css with sufficient clearness on the essential in architecture. In ons principal passage he says:-“I haves always been of the o Opinion that it is better for the architect not to know how to make ornaments, enrichments of walls or elsewhere, and to under- Stand weil what is necessary for the health and preservation of tch persons and of their goods. Today the practice is entirely the contrary. I do not say that it may not be proper and very well to make very beautiful ornaments and snriched facades far ¥ . a? aa f eye me Mt a5 ‘ ‘ae io Br ie ay. pel ’ eg ended ‘eghaeb baa: etiedy bat bee eeontag abate | ned witeifio yeys ont of eteaacty ins cetvostaizes. taerts ie eds ne scidecgorq entd bos ystesmye ot eben ove) pRehsoet em Bus yteoensen ed yeu ss seneiq dove co heoatg Ba" ej asa “pen ‘gatt..ife bas soosidocn #43 ovkwhe I etst sel welds peisten ed? uced of asdiat ybude yeodt ted? sbLind of acre peeds ),eicessnrc Iytieeséd yeas e8 exam oc nadd ,soely fay tent SO (fer tolist not ge ezage 8a ‘eviek ylesas uhdnses Blues Binemenic Hiss edd vad? Jon Hisow 3.0% weceina stedd PB ySet forinpes xneew 2079 edd ovis hives eno tadd pda er Sh pesceh edd soalq tcanes. ene tet cele bas ,tedaasio epeeoeig yineeesen fas snotaevnog. Jecn ect ak seoelaett? ecees oie yo nedt seinzeivo ole lagaes wd ‘hutdiyns tatoh - ore “eagtvan tq baer @ metergns. :fGohioeh est stisen ods esigicouing hoch svad? . wt 3é eine Sseioesggs cf wom awond aevebdy bee ,ehoiilfed aie am ade To taavines heishishes [foe wnoivadbateih base ~sesenigpall Sidon .eeniidgec Laneneh off to Snamevon, ovis ge 22078 cdc esishoosi SusiKYisvsE jig ,actelivib oinnsyis | gLEIac ee; woliiorg oruellodny ys woody sort ‘eid «ct od bY ales on oes ef otert ,ecgstnovbe eaedd Lin clase i Sone ie eeersaliet ect 66 eibst wee Seite: bey Stifiets Yo meldotq tesheaxd cat D gntiltad A atd ot hatenateas Lothey 2k ealisiza, cede ie eieiels téseec Cid woldorg eidt of .etral ts aoeles bene yeby ciot ehbeinond foe esisilidsa eitdas eid sain Didesg eved biaow tad? Soa yeovik vecoten of oad naig , sat Se esnsoctidows sosisg edd toi lechi vectnia sad. tac ae ean en tedu dave Jed ears xeig wleten.ton benisi thers: OF sGidssiakcoeian davis shen sete! sen etonexs of ete sngepasd ub. to ehniwesh sesicitinent elodenvdactas ent ie 0 peeoywws od? to sca ng wevi¢erzo 29%: m20% of sitesh d me | ed of. costed non &. @enee) oF behiceh nese eda nese tods ate +0607) yal nedd Colde edion olit.adt wort setrelto® j f ‘ j a 4 i 4 oe mi rl ni Ror ee es Sr QO duen edt te ctywol end te Wiisioty, edd. nt theeesd so. Semen edd Hevicoes doidu Ene yytio ede tovelfen Boe ged y ix ean0* Deh «Got Batbl ind of? $0 notseoregedd ke! | b+ ‘td. ro ned? =e ne oh danas tid Lites Aton odd. _ 206 ; kings, princes and lords, where they desire this. Bor that gives great satisfaction and pleasure to the eye: chiefly when such ~ facades are made in symmetry and true proportion, and the orna- ments are placed on such places as may be necessary end reason able. Hor this I advise the architect and all that make profes- Sion to build, that they study rather to know the nature of the place, than to make so many beautiful ornaments, that most fre- quently merely serve as snares for taking men, or what is in t their purses. So I would not that the said ornaments shonla pre- vént, that one could give the true means required for a hall or Chamber, and also that one cannot place the doors, windows and fireplaces in the most convenient and necessary places, without doing anything by compulsion, otherwise than by the means of art and of nature”. These good principles the master has decidedl: employed on his buildings, and whoever knows how to appreciate suitable plan and distribution, well considersd contrast of the masses, seffec- tive movement of the general outlines, noble proportions and yr ‘ rhytamic division, will everywhere recognize the great architect. — But for him from whom ay unhellenic profiled “egs mouldins” con- ceals all these advantages, there is generally no help. 69. The Tuileries. The grandest problem of his life was partly for de 1’Orme, when fatherins de Medici entrusted to him the building of a new palace at Paris. In this problem the master plainly sought toe bring his entire abilities and knowledge into uss, but his vasé plan that du gerceau gives, and thet would have personified ab- the highest ideal of the palace architecture of the time, ained not merely unexscuted, but even what he was allowed to execute was later made almost unrecognizable. We are left to the unfortunately insufficient drawings of du Cerceanu, if we 4 desire to form for ourselves an image of the purposes of the a architect. 3 About 1564 the queen decided to cause a new palace to be built for herself in the vicinity of the louvre at the west of the ga- tes and walls of the city, and which received the name of the Tuileries from the tile works which then lay there. She entrast- ed the erection of the building to By de 1’Orme, who carried on the work until his death, and was then succesded by J. 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To the noble and srand proportions, the finely conceived rhy- thmic movement of the masses, the animated accenting, de 1?Orme adds in the details a refinement in treatment, by which he shows hinselfiva master of elegant decoration. In the pilaster and co- umnar orders of the Sround story he employs ths Ionic Style, but in thatctransformation that he invented as the “Prench order” and first employed at the chapel of Villers Gotarets. He compo- Sés the shafts of his columns of separate blocks, connecting the — fluted drums by high bands of marble. On the latter he places Symbolic ornaments, laurel leaves and clubs as emblems of stre- ngth interlaced with knotted eofds, indications of the condition of the widow. These ornaments are tastefully designed and wrou- ght in delicate relief in the fine material, forming a well ar- ranged contrast to the deeply cut flutes of the drums of the c columns. Similar richness of decoration is even entanced by fis- ure sculptures and prevails on the upper story. Below the embi- Sms ars noted ths frequently occurring initials of Henry and of his queen. The court facade is likewise Siven by du Cerceau and exhibits &@ similar arrangement and treatment, that is only simplified in the ground story by omitting the arcades,and pilasters are ex- Clusively employed. An original afrangement is noted on the fir- St pair of windows at both sides of the middle building. Here in the upfpsr story the two windows are exceptionaily- brought close together by @ common crowning gable on which rest statues; an arrangemsnt that in connection with the middle pavilion must have a splendid effect. The later tactless transformations ‘have left scarcely a shadow of the noble architectures of de 1?0Orm os Had the palace been completed according to his plans, no other. royal chateau could compete with it in grandeur and beauty. Toe pavilions added to it by J. Bullant at both wings of de 1’Orme’s building follow the middle building in plan, division and treatment. still they likewise are affected so badly by la- ter changes, that a judgemsnt of the worth of the works of Bul- lant is no longer possible. Only so much is recognized, that as an intelligent architect he strove for a harmonious seneral effect, 4 i Pat ‘Or i Sat ? wi tan airs goal exons be ‘eeopbun | ads sort: bovoass mk asm hoe: . eat ty ETeATOO edd te nebso (neeolos ost to acktooxw Stes te sindosticors fentgieo st beant nk yldizqeorsg ct syseliag etveod end bos soivel int Ihe 66 to neetedd .CY ven20"! “b to’ udtow edd, oO beltee ens seolo. ew neck deen & fidiw cb of evad ak font vedmenen teom ex Tbh B to fitesh edd sicted esoted ylsi0se epaasy Inidtsoy sid ne ect ewelied sh Itnibies ,aowseq eit so oszed on I tao. 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Des eh p Bi tieosis ella cf ging seive® ,siabbars i aa oF ,gonstomgact eb eldetenco add to) tostidove ih heme Bi $0ebsev Qoihepoowe oct bes sf betco thot satin uIdemses, co eeidaest eigvid’ ei Serzeaqge gt Hidiw bedeinwws wefece ¢ ce boncd sew dace vedios: @ eaiboce oltizaciog. te Do0tg ovis, egcitian erent, .e¢ Wee Lecisetonteds. doitn .gaceds ot nciteation! doses petedd wt otemoh eins nbitcon Laqgionisg civ a Joidsiunco sdt eo. noe edt ot befectieh peer & to esio1 fayeone” guetel nies visaenpert: bas Ae C1900 ,nsoent week .enmaice Yo. eefyse ay} @ hos Wiiupicas to elonare ead Sette .etieoqaep a e“eniverth¥ Yo yscedd fas, eefdy Bee ae evtsredergmon ov amittec: hoskat ses extaex 86 mots) ct. .en2C* i $5.46 sacad e4if sonsteooss guebne fe reietee Ofc de8).boiniast oktitanion Larecey ni sehastai (Past enous etodnyteve: Menwid.gezeeugxo taaiioSwisicn: ben soitteog eid yilesanen .ytiney Yas. sort bovonsy aa), laid ab sepuO*l of a Sew tavern on bag! ant trebow ag 212 é It may be conjectared that his patron, the constable de Mont— morsncy, to whom belonged Ecouen, early noticed his talent and sent him to Italy. It is certain thet while the constable lived in Hcouen during the time of his disfavor from 1541 to 1547, ¢ camé to the decision to rebuild the old castle and canse a-new Chateau to be erected by Bullant. That this sreat undertakins established the fame of the architect, and since with the -acces- Sion of Henry II, Montmorency again attained power, and soon ¢ the favor of the king, who by a decree of Oct. 25, 1557, appoin- ted Bullant inspector general of all buildings of the crown. I Immediately after the death of Henry II, like ds.1?Orme Ke fel] into disfavor, and must sive place to a ersature of catherine by the name of F. Gannat. Prom 1559 to 1570 he remained without farther commission, as it appears and as he says himself, the constabis employed him in the srection of his chateau, since he would otherwise have been mostly without ecployment. He took up his residence in quiet Hcouen and busied himself with theoreti- cal investigations and literary works, like de 1’Orme. . The first work that is due to this leisure appeared under the bitls:- “Collection of Rorology, containing the description, making and use of sundd@als. Paris. 1561. He calls himself in ¢ this the architect of the constable de Montmorency, to-whose name he dedicated it and the succeeding volume. In the next year of 1562 appeared his “Little Treatise on geometry”, with which the sarlier work was bound as a whole. Purnished with numerous woodcuts, these writings give proof of scientific studies and an earnest inclination to theory, which characterized him like de l’Orme. But his principal work in this domain is that publish— ed in 1564, dedicated to the son of the constable, revised in 1568 and frequently again later; “Gansral rules of architecture, — of the five styles of columns, i,a., Tuscan, Doric, Ionic, Cor- : inthian and Composite, after the example of antiquity and accor— — ding to the rules and theory of Vitruvius”. “a These works are indsed neither so comprehensive nor of indep-— » endent importance like those of de 1’0rme, to whom he was also inferior in general scientific training. But the modesty with which Bullant expresses.himself everywhere shows, that he was far removed from any vanity. censrally his position was a more modest one, and he never was like de 1’Orme, an abbot, canon, Es ow 4 : et ey eee 0 a | ee ee ee ! il a ‘ 1 or ‘bets eund ino: bearsel ost ewencels Bue s0llkennos Leyes f eyes tisentd ed hee ,deeklo8 ak cetm ex lrediel ear at Sala yosentns! bre de¢tol edt nt tine? cece Set cox nei bise elit Yo noltagnemento Hed bow’ wsoncbur oft sagore Piesstossidose etd ot S04 tetotted. s ten ne Tp eapsoed “go: tLewmid negooxe ad Sed uso 32 Teoluetoom for slants Mensetl Io sicod sit Snedetqeon of yiif{tde Ilene*etd & Men Bid es¢zx ylcoted coaip --~ Sheamks wtointeas: osie tread fe Sean Jou. cb Sse sdt at Bs efiigs noe BO? .cemiton oss A02” ie suotize dstw weib of nod wedoned od doldw tod) (rameloo: Yo @ eid geds oe wesigtoning tne seloutot ss belie yc yoas Beg tol oolis onlev sidewshiamos fo sbedceved enum Jost ni t tect ni sodel deonise den yelomexe cide mov? aca cate oF Pio ybote dgno71tdt. edt ot nevin oven denn toottsors yen Deus 20 .uncktsoge7q To noisagtiaevar ads 22 visalooie petemes. 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Ws. he vs, : i. 7 . 4 { 4 , at My oa a Ree. 1% TE . “pce (2) 0? eee ee 7 py Roe 4 eee 2 at " Sek! ) 7 en, ye 4 ty, -j 1 + a? ‘ - ¥ ’ er ee A le a Pp ee el hae eee yy See eee ‘ a a he mi ‘a io 7 A 7 : od y ’ “he te bp i bly J ¥ MW \ hi ORR fi ee e Cr 2 : e 7a ~ 4 c Aes wey . , ot : of eat at boote seve eondete ongtialt seeipégivon dite is ods at ded? aatl & sai) dod diel ef patdden sidt Ife 20 2g. Biad ouiwedis -eiyde omex) sds ni Bh MES ie Bia at apo tins ait movt aeigaiiqani eid fsacasqee m4 4 12 ; pealitad ‘ , ( Le oe bs 1 itl Py Fa : at bettors egos »f' eifdstee ge bone? st s teascne tear? pbiq 8 ot yban? ‘Beoncazos « in te ates Gr oe ee gs ay eBrocats shea add « » ebsodre '@ 4eve ad ead! ts pues oh per met av . Bit ya ¢: fis: yifotiqnte e dns Pre: Ww E54 a ot, "NFA tree wd noisivibdss sis! Ae a Be aw Ge ahegehaa as rtiie ae a : 2 & Ab ie oh on ws ~ Dee Mug 219 Chapter VII. Renaissance under the last Valois. B. The remaining secular buildings. 73. Chateau of Ancy-le-Franc. Of the series of important private buildings, whose architects are unknown, but which adhere to the basal tendencies establish- ed by the fashionable architects of the time, we first emphasize the chateau of Ancy-le-Franc. It lies in old Burgundy in a plea- Sant plain bordered at one side by hills, and #t #&s commenced about 1545 by count Antéine de Clermont, forester general of France, apparently after plans by Primaticcio. The building is one of those best preserved of the time, and exhibits the regu- lar arrangement of four wings surrounding a square court and angles flanked by four projecting pavilions. A broad moat recelves its water from a little river Armancon and surrounds the building on all sides, The plan (fis. 97) presents the mod- el of a clear and regular arrangement. Around the moat extends @ nish terrace, that affords a fres visw on all sides. Over a drawbridse one passed to the principal entrance A and at the rear to the gate N, that forms the connection with the extessi- ve gardens. A wide hall D corresponds to a similar one in the upper story and then leads at both sides into the court, which S a squars of 34 ft. In the angles are placed four winding Stairs, and in the distribution of the rooms it occrrs that fre- guéntly smaller chambers ars placed in two stories over each o other. The living apartments however lie in the upper story. Ff / hey consist of a number of larger halls and rooms, particularly | r the room 0 lies an important hall 62 ft. longs by 26 ft. w J wide; in the pavilion L is the chapel, in the wing adjoining it left is a magnificent sallery, that occupies the entire % ¥ fede er Co tt is a more solidly built chateau enclosing dark rooms”. But he continuss, “quite the contrary is known; ndthing is wanting re- quired to serve for a building, whether heisht of stories, emb— rasures for the windows, of in beauty of lighting. On my part I find this residence very charming and to ny liking”. The architecture of the chateau has great simplicity and clar— ity. The external facades exhibit a plain subdivision by a sys- tem of pilasters of the Doric style, alike in both stories as iB geo enci veg. 968 eet syd tilige rg visialg Bearcis stent0k m We del on Wo de “bilod edd Yo yiiasiluos (/ Sedwence freq ffs -efieveng oelsg osed 2< - ofed feidiaisod ata 2 pobivib ete modi fabsode, aso0. GL anovais to beviees: _ Belwodit i 189 py itavers f 0085 eeens te. aelgne olden eit. ot pnefed doenevse? nk Beck ¢ hk Sqedo edd sien edt sdedetnge! ) o at Ney ‘ou Ag dedt aa. pabbuitin 2 enioli Wh abe be ei yooton Ka re ov & et & a EE wd re i: Bate be nesno ont bonots Beqnosy Ww es i | bebte aciivines gxdicugn yd hekdetebh wiliey Pes 324 LOR a my ebhis owl £0 hevofone': ve halete) rm i 220 well as in the upper story of the pavilions carrisd higher. The stecp roofs, pyramidal on the pavilions and ending in lanterns, the hish chimney caps and the small dormers crowned plainly by antiaue gables, continue the national peculiarity of the build- ing. A bold cornice with consoles crowns all parts. Somewhat ticher are the court facades (Fis. 98), yet here also prevails. simplicity and clarity. coupled pilesters are Corinthian below and Gomposite above, the wall surfaces between them are divided by niches, and enclose the arches of the windows in both stori- es. The upper story is only somewhat depressed because the con- gols cornice is placed directly on the architrave. Otherwise the fluted pilasters exhibit a true artistic execution by.their finely wrought capitels, elegant profiles, the mouldings, part- icularly the consoles of the crowning cornice being decorated | by the acanthus. This entirely noble architectures can be termed @ Simplification of the magnificent court facades of the Louvre. Of high worth is the treatment of the interior, preserved in great part. Precious wood panelings on the walls and likewise paneled csilings with ornamental painted arabesques partly in gold, sive proof of the refined artistic feeling that prevails hers. Rouyer & Darcel sive in their work exemples of these deco- ovations, especially of the ceilings, that belons to the noblest © and most beautiful of their kind. Others are found in Sauvaseot. Particularly the so-called chamber of the cardinal, the chapel and the room of the “faithful shepherd”are distinsuished. The latter has its name from the paintings on its walls, that repr- ent scenes from that well known tale. The building with its aipment could scarcely have been completed later than.1569, which was the year of the death of its builder. 74, Chateau Vallery. Still more severe and not sven free from monotony is the arch- A itectaral style in the chateau of Vallery located 22.5 miles f from Fontainebleau and almost as far from Sens. There stood here — an important castle from the middle ages, that marshal S. Andre caused to be torn down in part about the middle of the 16 th c¢ century and to be extended by a building. in the new style. To the old portions, that were grouped around two outer courts and | were enclosed by walls defended by numerous towers, he added a | Sreat rectangular court, enclosed on two sidés by the new buil- 1 ae & ‘ye botstonos =4ev sboin cecin ‘ttes antitiod ine Teosg won A ek mefiadg vide te Statoesidous off | é alds fant de sexetvebar exvge) e62 Yo Bndbitnd ead sand ad uaeivoteaeg ei sat ,oadsoetitiona yrerogmednco no Aecuoxs 26 seed ¢nemtesct atedd nt Geis .ei%eq Laatetxe odd) to ona Savrod ait Yo sbhsosi e*soneed 63 ywaireligia, ef¢ j eves elier cit Yo aeguam sid Vids aagiqeord tevin a ai {fis wetztw. odd to ddadig isin edd shin ,edoiad “f “sc ‘Bas soldae ode 20 eotwectoas boteoksens yar ond eNIors P ends dod si bedagexe ote ssoknies Sei, ee {lax va .ancd > bevane yd bsdeniuied cre yadda. banow eid of ewobakw: Finan teipbaes Saaved octi Lived od3 to yiode ssqqn eat of ‘oss Seivedid) .eefoance no soritee: Blod 2. ddéiw snifne eek B atedd te setulov hadennels odd bas agao heyave skedt doin Se ton et elotwiedt foe ,tnendaaxd sooites sever s coved Sit Yo eallizorg Hlod sa¢ tk seve .xcoctomom sieFaeo & aa te tacmovem betamine os% Sus aacisweqesg vateoons Aebsteno dass t¢ quads edd th ievke a ink one: seeron this edd ceve bel eaybisdnar’ opsak féeed? 20 .san0d te finco oat o3 alonte ond edt Sax 6-64 02 bepaciod Guth Gazit act to Ans edd te Bes fi oft: té.nece ube nis e@ jpebs ety : Rist eaktiats tienes batios © oothiiod.2a7 OS p eae Wea * tie as hag prec 3: sete 2 bokas dreds taide ned? .beosiges od co: § i @ignstoes a Gabnctai gen: osn0ed brs ors e209. @ diin sonatas sedto. saf .eetocn gs vag hes .iniv ¢toL add to Sibbin Oxt xf) oll eaptina asd elie ed nt setoia yd beeezooeh Lled deerh » ognd dt nord |) @ip0o edd cici easig ac garter eedess svil diiw bepege Se64 no Sorsougze et teiots to wadern wise to, ano doah) lbease eat to septoedidoag SUT .eitays getancas & yd obap seat bet edt dil noiigeoned:. leoleeals sieves eaitt enoliod fa sfcesioe go bes .bosentgare ered) ci aciizelisnt dead seisge ) OSA tote seqqu edt, Bo) Gefletn odd ox yleolvoisrzeg, B98. om sebbs taemense Eonttes {sonel cit to signe Law boeo Belvsfesedd arin sou £16 ybebrie: nedored v0 .roldedoemsnxe fy enattch: daeq ot nolliveg pis?” +ceyes of Das. seve) sat bab Smemepastis emas ood ef eltt tans ton ,otwacs: edz ® eno et, appease: seusosd iad: jeonsinevecs emae ods 30) aiiaee 77 eh } ) | bee baa sohthates: oud ab = re *, j ; | : . i. bt ere hae |. va MU ih. et RS aia fo ae oy ae wi iahs nn, | aR a A ee oe Pe fe 221 | buildins, both whose wings were conasetedsby a hish pavilion. The architecture of this portion is a new proof of the influence, thet the building of the Louvre undertaken at just this time, exerted on contemporary architecture. This is particularly. true of the external parts, that in their treatment bear an undenia- ble similarity to Lescot’s facade of the Louvre lying next the river. Excepting that the masses of the walls here consist of bricks, while the high plinth of the window sill in the sround story, the dry rusticated enclosures of the angles and the win- dows, as well as the cornices are executed in cut stone, The windows in the Sround story are terminated by curved caps, those | in the upper story of the pavilion having angular caps, otherws's ise ending with a bold cornice on consoles. Likewise the dormers with their curved caps and the slongated volutes at their sides have a severe antique treatment, and the whole is not free from a@ certain monotony, sven if the bold profiling of the forms, the imposing proportions and the animated movement of the masses s give it the stamp of fresh energy. (4: Thares drawbridges led over the wide moats, one to a side court and the two others to the court of honor. Of these the one pla- ~~ cod at the end of the right wins belonged to the mediaeval buil- ding, as already seen by the round towers flankias it. Evidently © the building was to be extended farther hare and the entire med- | iasval arrangement was to be replaced. Then as at the Louvre, in Ancy-le-Franc and Hcouen, was intended a rectangle with hish pavilions at the angles. The other entrance with a portal like the antique lies in ths middle of the left wing, and one passes from it into a graat hall decorated by niches in the walls,that opened with five arches resting on piers into the court (Fig.99). Bach one,of this system of arches is expressed on the inner fa- cade by a crowning gable. The architecture of the coutt side f follows thes severe classical conception like the facades, exc— spiing that rustication is here suppressed, and on suitable pla- ces, particularly in the niches of the upper story and the encl—- osed wall panels of the lower, refined ornament adds a noble ornamentation. Du Cerceau already did not miss the relation to the Louvre and hs says:- “This pavilion in part follows that of the ;ouvre, not that this is the same arrangement in the enrich- ments or the same convenisnes; but because thers is here nothings : Bat beautiful ona good”. a 3 fetnemenie dsexg oft ef tanotiingen yllaioed at eobie iiseesels ‘Qo ehed doka ddim somphbkest ed¢ to ywintsiv sdé Mg Viietivoved bas beets satesd seten tecuy © hated dnkin pewedid s yd Sezcions .sebie iin 20 #& Agnowtse eocesiey mobic diteoe edd co sonetine of? etivoaq® sasBeove boiled q ybede s Rated semmde al .@edo7e OS-yd neha odd a _ tata ek enolliveq-eds baa shsows eds to sartossixocs sit ea eusgtsdo edt lo isdd es sense: tsotaselo elomie suas ae | sligents¥. te saetedd 2% donest esitos edi. to sncitseso sagbaags sit to en0 Sigh ot sno’ sw doldn tc ok sbelwond 8 ,diwenasy oaecedo et -Btaee sapitue odd to hatbnstssebow Blot ¢ ddiv besuoex® » Sdieicg: tad? .tacavecas Io mohesat a nk eidt encde tt Mi fone ch ,omii edt to toetidows Jaadcogut ra to nods ekgmor w8y ton ean bolblindes teeth ag4 soeeosd «how od end Benoe8 to. seotais edt ta beyolame tosliss Al .36er aie P pe ass | aed é innate waht ey : ants s. get oo . # os expitas. @dd Seottigose teak ds sntO*{ ab tt ee ies Wile astnen ond jeashr Kones® to esitivetines vow Beshal doldn-,snemtesot oe moheest dbid dace Bex 2 {enoiser ea¢ ehotad tnd arsed 20. eforts éooktas edd h@ttag nicvcse ai heshat tenn st ,noteevagee toatace “tonnes Fon finoic on sod yee easeig jot udacasls oocoxes ner ee jagigabaaiin to seodagan ytaw ylstl at nodt cele : Istosticota esas F ebince iat bert Gb: pnendiag: to yetlev gainsedo 2 aT: ab tee geewh ci otmsonste ylotates \s \linenisV to elteen Blo peered setiftvatefood ef gilidd dokde ,ecgs elbhin odt mort b dead Sidon. sist .yasdaso. dt SE edt Yo slbbim sit trode yidows to mwnotdus teeth & een Teds asa” s sawsd ove xen @ 55s Bigow sx: diag bio ede baigistes dadé Sebic ‘Tinea e, Sofdu...sobica [le wo. nlbltud woo sit baecosns tees natant nites oW .2tavocatz ‘edt ‘oe eaose sibnery vit 1 iso 2 ot etdsen lusveused: are 2 an Jaded ; /Ba0ilivag dbid ont agoutod ootsuog begeves ae Bao a0) ia ge Pied teks. nt ytoesecos bibsalge « es ylerom edvenele, dt shised {iid s dcod od totds wor sPatbltud garoltin “otpsobl sey deon ‘eideesdgetiai edd ayinovtd seltens edt to. i Gpaiteaxs sonthasde ‘ai Bavet BSH Osens tedt .shatnevis s 222 Bxtremély extensive were the parks, gardens and vineyards, t that surrounded she beautiful estate to a great distance on all sides. Especially magnificent is the great ornamental garden in the vitinity of the residence with rich beds of flowers; in the midst being a great water basin. Broad and beautifully paved + terraces surround it on 411 sides, enclosed by a brick wall with blind arcafles. Opposite the entrance on the south side was pla- ced a covsred portico between two high pavilions, opening to t the garden by 29 arches, in summer being 3 shady promenade. The architecture of the arcade and the pavilicns is executed in the Same Simple classical sense as that of the chatean. 75. Chateau of Vernenil. One of the grandest creations of the entire French Bonatenenlin is chateau Vernenil, a knowledge of which we owe to du Cercean. axecuted with a full understanding of the antique world of forn, it shows this in a freedom of treatment, that permits the assump— © tion of an important architect of the time, As such is mentioned to us J. Brosse: the great rebuilding was not yet completed in 1585. If Bullant employed at the chateau of Heouen the antioue glemoezts merely as a splendid accessory in order to prove his studies, if de 1’Orms at Anet sacrificed the antique to many p peculiarities of French ideas, the master of Verneuil has atta— ined that high freedom of treatment, which indesd moves within the antique circle of forms, but brings the national stamp into perfect expression. We must indeed in certain parts ellow sone Barocco slements toaplisase us; but we should not forsst, that also then in Italy many caprices of Michelangelo had pene into architecture. Tn a charming valley of Picardy 4.8 miles from Senlis lay the old castle of Verneuil, a stately structure in great part dating from the middls ages, which Philip de Boulainvillisr possessed about the middle of the 16 th century. This noble that du Gerc- eau terms 2a “man that was a great amateur of architecture”, de- cidsd that retaining the old parts, he would add a new and mag— nificent building, for which he took a hill beside the old parts of the castle. Likewise the indisp&nsable moat was cut, that must surround the now building on all sides, which afforded the 2 advantage, that there was found in abundance excellent and eas- ily wrought stone for the structures. We give according to du “AG DESO L208 rot enctti le to a bx fg tin $i Soenro: 0d telernssse: — Beguoz et Bald ‘enoilivas 5 pie? eT Perel GP a me ee ee ed “a “2 i hay yr * r* fj a ~ ae ee be bie: 2 = Fy meee as 223 Cerceau the original plan of the aouilding, that personifies the programme of the French chateau of that time in a grand way (Pig. 100). Over the drawbridge one passed through ta splendid entran- ce hall, charecterized as a rotunda with additions in niche form and a high domical vault, indeed the earliest example of its k kind in France. Qpen arches on coupbed columns connect it with the side wings of the chateau. One now enters a rectangular co- urt of imposing extent, 108 ft. square. About it are grouped the separate wings, flanked a$ the corners by two pavilions, and not by the usual sinsle one. These projecting masses are covered by cylindrical roofs (Fig. 101) --- perhaps one of the first axamples ---, which give the building an extremely anima- ted eifect. Then the duke of Nemours later acquired the building, he changed this arrangement, so that instead of the two pavili- . ons only one, but of sreater extent rose at each corner. Accord- ing to the custom of the time ths pavilions were further divid- ed into separate living apartments with cabinets and were mostly furnished with a separate stairway. The other living rooms lay in the wing on the right of the entrance, while ths left wing in its entire extent contained an open portico belaw and a gal- lery above, the favorite part of the plan of the French chateau of the time. The principal stairway lies in the axis of the bu- ildins opposite the entrance. It ascends from a wide vestibule in two curved branches and @ double flight, besides the princi- pal stairway of the Tuileries being one of the earliest in France. But with this important composition the whole did not pass in- x to completion. Tks duke of Nemours caused not only many altera- 4 tions and enrichments in the main building, but decided to add toward the garden also 2 projecting mass of buildings, that for- med at the middie a colossal niche as 2 termination of the plan of the garden, and flanked at both corners by projecting pavil- ions, likewise with cylindrical roofs. In the plan in du Cerceau’s drawings, this buildings is connected by a Sreat hall with the pear of the chateau, but in the perspectives view a clear space lies between them as a continuation of the terracs, that surro- ands the entire chateau. A double flisht of steps leads from there down to the lower garden. At the left wers the court atid the buildings of the old castle; but in fact was ssen & magnif—- 4 icent ornamental garden with a flowing fountain at the middle; . igh *s fiLt eldnch a ek ir a8 waeig yd ey eer ite ts & brooss “shod ai a0 =%q. 903 00 , ent enoili Lv Bt evode bea ol e bitty. Sshco ti doidn he ba Fe Ps P eo rd 4 santoik baba } estes: i Heep Fis te he Fe " 3 &: av Ts, Va os ate pat beteeto reve n= wf & ail ns seuss $2 baak +8 , ‘i mere De al leg seat ‘yd Dadeennco oe oe ae eat n0 eyorde. Sop sewol yidere beeofons 216 neat & rc ot, GS a a? ae ho ‘ s£e50S © ae ais che 3.0 “Sat ted aod} bike ne We odnretd te bbw ed = ey oe « re Fe tee Pees e 9 ae IE ed ob 224 at its end and always on the main axis a double flight of stsps led to a second considerably lower garden, which consisted of flower beds in the middis, enclosed by plantations at both ele~ vated sides. A moat Si ceoieaue this second garden and was furth- er repeated in two parallel branches, so as to form for its en- tire length two transverse alleys enclosed by water, on the pr- incipal axis of the chateau being connected by bridses with tri- umphal gateways, and terminated at the end b: a pavilion. The view from this backward over the. canals, the arbor walks, the two flower gardens rising above each other to the colossal sen- icirculah nicas with its pavilions, the whole still dominated by bhehttchly subdivided masses of the chateau, must never have had its equal. In any case it was one of the earliest designs © to take into account in an slevated ideal sense the formation of the ground itself. Let us return to the chateau to glance finally at its ~ atiokeehen ecture. In this first arrangement the exterior chiefly produced its effect by eisht Borner pavilions (fis. 101). It had above the hish ground story an upper story, above which it ended witha a bold cornice with consoles and a terrace adorned by a balust— rade. Prom this rose an upper story with a considerable diminu— tion and crowned by cylindrical roofs. The architectures is at the same time dry and rich; the former by the bold tastitcation at the plinth and the corners, the latter by the wall panels covered by ornaments, foliage, masks and helmets, that fill the surfaces beside the windows, as well as. by the richly desi- Sned trophies, that ara piaced over the curved caps of the win- dows in the upper story. It is notable, that we here find one of the first examples of separately rusticated ashlars, which intersect the snclosures of the windows, the round portal of the front, like the one story connecting building, is elevated piece of magnificence by coupled Sorinthian columns and zr y decorated frieze. Above a balustrade the middle build- s terminated by an addition in semicircular form and is wned by a lantern. Thus certainly much in the forms bears t the ugly stamp of caprice, yet the whole is still created in @ teuly artistic spirit on the whole, so that it makes an imposing impression. The internal court facades (Fis. 102) are also hers suitably a 7 r) on date E8CtEe inte TASQs fa ae ae as rimmed exe yrote esiaret ont Be £ a bs. “gets Raters | + stontbSsos ee oat mr - ‘eguwpeg 2s: a et ee ee te Jeni ages oP 26 200i! : Y f My r de: a ’ aan Po, mae aK eg =a i : kare ; , rae - q ri Be Pep. Ss BO: ‘stew gros “9 «ti . eeu OLX peiaccts ‘etac vy io | -s fino fad? ,éonce!? footy eg? .acilie® eee tod! eolco qd feta i re, de : ar Pm. c ~ oo we 7 ¥ am fre i ee ~ w ies ny a ay é Le ae wr oF sy Lah & na a tail a na ip hiv ee eae ey We eas i Ano characterized by a more refined and ornamental treatment. In the lower story rise on high pilasters elagant fluted and conl- ‘ led Doric pilasters, that in the upper story are continued as broad vertical bands broken by niches with statues. The termin- ation is formed by an attic with a splendidly ornamented parap- et, above which the pilasters are crownéd by trophias. In both stories are arranged high windows with crossbars, but. on the contrary the roofs of moderate:neisght have no windows. Especial- ly rich and noble is the left wing, that in the ground story is opened by arches instead of windows (Fig. 102). The laurel bran- — ches in the spandrels, the masks on the keystones, the trophies — and the broken frieze, the arabesques on the pilaster frieze of the uppsr story, the refined treatment of all members, particu-— larly the foliage on the cornices and the enclosins mouldings, all this gives this facade an ornamental abundance, that compe- tes with the treatment of the internal facades of the Louvre. At the middles of each of the three court facades are further. arranged portals, in the sround story with coupled Doric colunms, © flanked in the upper story by two caryatids at each side. Above | the main cornice rises a curved gable with a termination, richly — oenamented anf crowned by two seated fewiale figures. Du Gerceau is correct, when he says; “If I could say to those who know in such cases, that this court will scarcely find its second”. ; The changes that the duke of Nemours undertook at the building © chiefly concerned the simplification of the plan afid of the ex- ternal facades. Since at the corners the two pavilions were com- bined into one, then ths lantern added at top must be omitted and changed into the complete upper story. Thereby the proport— ions bacome more slender, the outlines more quist. and harmonious. Agreeing with these the windows were more simply treated and the ornamentation wascplaced senerally at a few points, limited to the original crowning of the facade and the middle entrance. Tf a The latter also lost its attic and became a substrictarsoofcihe domes, with a single but tolerably colossal order. Whikhe thus all was simplified and changed in the sense of a srander effect, there was developed on the early added projecting building next the garden a capriciously absurd magnificence, that only finds. its like on the white house of chateau Maillon. The great semi- circle and the angle pavilions ars arnamented by colossal Gorin- . * Pate peer tie wi i " vr ' J han ‘- KY é vr, ae mi ‘ , d Ee , ; is: asi r ar ane se - . il ao bh wir i. 8s an e =0t a ease sowol & eves enoiliveg sit inc ,ebattentfed « xd acds P-tevoe esedesiig bacsd ed! hetootte et setetvibdye sendin .xe te enzo Segoe Ulstasheow esx eteseetta cisid a0 .etawlos 7 ges ih? egittetsed beldcoh Sap eecereh baod nakigyad. atte aay ] pam 7 Pont ene Phe Fy 2 u B guitecirere vis, Liieeiocs fepsdne: vecigiee oft of ¢iev eat no Rrdtse% pl hghh en} .eiseg Reise fis to mokess yee t¢ eemsector® aii al- dest vyigte huncap ead to agen ; eee face hin ,zaupectiata S1ie otnk Ooetxo reobaby Sidana2to% te Batieivd! dotesevo end .es: eu ae ti Aeeeeioo. snot ois) yi lenit ia waeg O00 pcieolon’ Exe ecidosendm Sac: : e-O2-p70l Jo Teylnses. e'eted taas ashen Sno) eens. 3 . ons Re Rap okt eyecsed Bike Its Atin rewanod ¢ lov netekd son ded bobk take SHOo? 28; BO. chot 1e7626' Fig; “nw 06% Ronen ee ee a. 7 4 uy ine “ee j — wy ’ : sab oa wmetso acs neve@onh A it eiat Te. noted terse ee ate 2 A , ee aes anne ee xed etd nd) visel: tsq , flier snes Tiree ef * , ‘ + Ve e ah ‘s Se base senteston ed) og sa pn es 18 tovcogrh tite Sbetree fp Mavhee gt Cals Yudmatg. hi ylee ca sot VE abtect( seeks it * + ~ > ' - + . | i. 6 si¥) cack CEENEG 389009 Ghd) To eleos leoiwbative em pats rated tnedssorat. oe gaia yviieucash eiccs beyeus Sak Eeban: ot surpeuaae ide PE oles a i dascaniie Fe neiusize ons ae ae eenens cnooied istinget oid “ot cavs. coe. .enb teed f Pte *99620 ainonolog” aat et Laiisaty ve Bhat? scxlivsd es tieexts sen fon soot aa sett. { Sl ee down Lado Nall ARF m tip “eo ive evitebod oe retot oo $tnnes eee add to age © S Sdt Yo. eioetiuoss’ ent 9 sdaegn seve \levvens of ee — bose bed filds svad yar anid sagt ocnts ylidsag . owed pate otai daa’ ier Dis pina TiGso. and gO agen Ste i sh PX Dp Ae yp eres eS eer tee Pleduabsr apie | no. fosters set ,eeetaatte aetdcakeod, | p abso gothiind elthig sdf seeetet Sotenoeeh Kisaetomrnl 4, otaatadgal S86 on Soich neonted etsaios to sual brows "Bit Eswots. tect ; Tevaolce aeech Sted nhed?d £0) shasone: tot ustiusfints. babioss 's aoeniind sibbin aie ‘evo eldag eof 20 Sly te MOVER FHA Feonrss . clt .aseoren oe Ae’: eG ot mopr eeupces Sa Sonshed. ylineg mid Qe anand” Lot: doetidewe sh? Sntwolle fe peos aibiie edd goed iostomeeak on See Gneee tT inshigh edt ro tee ~oseved eh 8 qied od. Pre Brcemse gescish of. .2 .G dads ovetdin o th ae . a Soi) pee: 4 226 Corinthian pilasters, that project on high pedestals and bear 2 luxuriantly decorated frieze. The middle building ends above them by a balustrade, but the pavilions have a lower upper sto- ry, whose subdivision is effected by broad pilasters over the columns. On these pilasters are wonderfully squat forms of sat- yrs with Egyptian head dresses and doubled butterfly winsgs,and spread legs of animals, between which the arms extend to the ground. On their head dress colossal leaf crowns rise excessi- vely to the cornice. Combined therewith the overloading ornamnen- tation of all other parts, the figures resting on the window c caps of the sround story, that in the enclosures of the upper windows extend into wild arabesoques, and that ares covered b: broken volute gables, the overrtch lavishins of foliase on frie— zes and other surfaces, finally the four colossal atlantes, rep- resenting the four great monarchies and enclosing the portal, thus must one confess, that here a carnival of form.is.loosed, that however with all this betrays the hand of an important artist. Hho was this master that on the front building was so massive- ly severe, and on the garden facade was so extremely luxuriant? I believe that J. A. du Gercean himself is to be recogniged as the originator of this part. Whoever compares the designs in h his different works, particularly in tha book of architecture of 1582, will discover a great affinity in the artistic tenden- cies. Design 87 has not only in plan bat also in slevation, in the cylindrical roofs of the corner pavilions, the semicircular gable over the middle building a decided similarity to Verneuil. Fhe curved roofs generally play an important part in those works q of du Gerceau. Ths sarnest and severe style of the architecture” on the exterior at Verneuil finds its parallel in most of the designs. But sven for the fanciful Barocco growth of the garden ~ pavilion finds an analogy in the “Solomonic order” of the triun- phal arch (p. 238). That he does not name himself as the origi- nator of the building cannot be taken as negative evidence, sin- ce he scarcely ever speaks of the architects of the chateaus drawn by him, partly betause he assumes them to be generally known, partily since that time may have still had the custom from the middle ages of allowing the architect to retire behind his work. On the other hand if we cast into the balance, that ee wee eo sere il i i le arith i ee reo ees: ane ™ j ud arose vs eteownt te: SAP ens s8ee een veeesow ah: 4 (Od etntoatace une itiw i Adon desl sin to motte) a | sWeilidedotg a \ »fevelrei3 nASTELS roky ezel nit ox Seeiiesesl ator cae neds ‘tehpeth te? Weaees AI welxza? fotde jisvelees0 wsetsid 0 cytech - hee: sdotin ted eVhasa tok ge agtohns tae8 betexde od of eared a noroasd sLisprre’ nsgpads add solietancs of emao vend: # to anos bawet eds bisl ved ‘ot beews> Del ‘ef ,2eeuct. ads nth), bie hisete goa Bemen ins .sonsth af yveve eodohiess drveque dete bak f stones owe ers ie fos. yeifey 8 at notesses Sib. to sausoed oe Deskieeh cd ot fecites Smid. edt? -:eerete t anges Pas Tek fetes od of Fi henna Ane .dotanom ¢. io: vad Rented acktebunct eid faa :fep00 seve! ont te base lip Pcrenisto Os Bren? Letebiceieo fhe ecose: tert ons botps neeedévid Gloow dt tedd evetiad I .begactrvee seed Ged { bivon PO, geee OntG She cet .fonkTe. Io aanthited ait Yo eae te ecenin Ae DE .browte Cod dce cae cbuon oEsHe d 63 woqe lind ed ot go%5 nS ayoge. tes? , eaenvatk Gs ods Yo’ “pets fentgiag abd. deve Lentene ayes Slog axdines le SRoure wa fc aorizg 5 cxcsad even bisow, by aha: BOs hetiue ~aaowenon Letnsizs fo. steoe Shee b sont SosmeRae 13: S35pao. Sxns Fey one . eI layor Spaned Waheea esevEse ent eine 20 Bescers: cc Sleew coltesee ‘sfgnetces eisuse wioecs if maet. ce ose cocks dt Loonkhe meneno. Std secicae oF peer ko pg5eh. .32 CSCL hos of be. ce? ¥OB le teor odd od Hey phorie bol inpbin . f) ne. a a of’ Hemost @hottdwesh beccoa c apes +022 Posse ‘< ‘ight ¢ ra ‘ses eons. od? rn eye saitac os ead vino. ote Gisdd yd vod: ent. ass e bilson shegaans coro bok og ee ) snemlecorce peat od Oe - deed ddozz he! xd ‘eeoatice a nO patisese | Hoes: es Sa2798 gt. ea Lien ee ws ee Wik LAL Sta tM Re ad el Se a el é | bank sbastz: % Ss bho 4 ae yy to noite 1602: vantinsio « odds 9: Sede: te sotéieogs i Dad Hboediiisan os 2 brid st, wHESOTE - War AP A oe Gee‘ bur POR tabhe 800209 86 “a ong ; : 1 ES 3 pe Ey 1M : j ~- a b: & we Ss oes ae : gaemabat eid Safe i ge Ah F at ty DO i A < = le te 4 an te Red Leneclee eddy Ic sen est .engis Pah Bos 4 1 : : ” ar. eae is a. we ce ahs i. ; ' ; - ce yr “ oe Ye eS | ae See it SS “ Zen: alternates a high arch, above it being a likewise very high win- dow of the upper story, besids it in the succesding system is a low rectangular doorway partly closed by a balustrade, over wh- ich is placed a slender niche with a status. This entire systen is based on a deception, on the illusion that one only has to do with a single story, wherefore even the niches by their est- imats lead the sye above the line at which one would seek the floor of the upper story. But the principle being once sranted, the composition has an eminent effect anf betrays the hand of & naster of the first rank. Yean while ths archited must play an intellectual concealment of the main lines of the internal construction, and so he rises on the external facade to a treatment, against which architect-. ural losic can say gothins. He subdivides his wall surfaces by sreat Doric pilasters sxecuted in rustication and Standins on a high lower story Jike 3 plinth. Between these he arranges each two systems of windows, indeed in the lower as well as in the parapet of the upper, and also there carries throush, the Srsat vertical lines. The windows are likewise enclosed by rus— tication, while the filling walls consist of bricks. This comp- osition is therefore so rational, since the great pilasters are to be accepted as not merely an expression, but in their funct— ions as buttresses, that accordingly without reference to the internal division into stories form a unity from the plinth to the roof, within which the internal errangsment is shown by the windows and med& sufficiently clear. Also the forms in detail ars peaceful and are yet treated with tolerable severity, even if the caprice of the taste of the time appears in the broken gables and window caps. Likewise the richer decoration of the court facades breathes the same spirit of energetic clarity, the same great sense of proportion, rhythmic alternation and monious effect. In a word, the whole is 4 composition of the first rank. | Also here we know nothing of the person of the architect, if | some indications do not point again to du Cerceau. We find again © the wealth of imagination, the Srandeur of the composition, the Living sense of the effect of the masses and his judsment of contrasts in his,numerous designs. The use of the colossal Doric : iV a3 9; y ‘ sabi o« o fy et B aed eaoétetcey ‘ » ton & he 4) eee oP 1 Hy t , if \ gisee tans fA tabtecnto » 26. foes ens ‘pdt Meosabr0 ed eh etep7 em: cel - bereaR a Sose Sie ed. ca a0 5 ey eg WL et fe ona esti aa sfitve. , yrenseas’« : bi HOUS Set ei, notiw oc Be ¢ eoiot i i. che osiiy as: ots: ‘eienswee ec4 ed ot osts eyes eins edt ‘$oa9h iF Lerasixe. \f. 4. °5 230 ‘ pilasters we find in design 23 of his book of architecture of 1582; he émploys rusticated pilasters in No. 20 as at Sharleval. Perhaps more important is the fact, than in his description of Charleval he adds @ great sheet with actual variations for the { development of the external facades, between which the designing ~ architect had evidently left the choice to the owner. Still we add, that in this casé we only have to do with conjectures. We might only emphasize this, that ons must well believe him capa-— ble of such a design on account of his other works. 77. Chateau of Pailly. fe now pass to the consideration of two chateaus, that merit attention less by their extent than by their noble classical a architecture. In both is believed to be recognized the hand of the same architect, sinee both were erected at the order of the same owner, marshal de Tavennes. Gaspard de Sauizpcmargaks de Tavennes, plays a very important part in the history of prance in the second half of the 16 th century. Bold and brave, he da- ped to appear at the court of Henry IT as a sworn enemy of Dia- na of Poitiers, and yet he knéw how to obtain the marshal’s ba-— ton by his warlike services. In the civil wars he beéame promi- nent as a violent persecutor of the Humuenots, and his fanatic- ism went so far, that he gave his approval to the murderous plan of the night of S. Bartholomew, and according to Brantome’s tes- timony at that horrible catastréphe, he rushed through the str- eets with the ery:-“Kill= Kill! Bleedins is as good in the month of August as in May!” Im the year 1568 he suffered the loss of } his eldest son, and “belisving the peace lastins, he engaged in 4 building the chateau of Pailly, in which he employsd his good household and exercised himself in the chase”. | The chatean is located in the little place Du Pailly at two ~ hours from Langres, and exhibits an irreguler form, that evid- ently is explained by the use of the foundations of a mediaeval ~~ structure, perhaps also by the rocky sround on which it is erec-= ted. Three sides, cne of which is destroyed, are placed at right » angles, the fourth forming an oblique angle. Where it joins the 4 facade, there projects a great rectangular pavilion, which con= | tains the principal entrance. At the other three corners are p placed round towers, whose arrangement is perhaps also.te be attributed to the middle ages. The external sides of the chateau ~ é 1 fade ii »e«SLOak “ent Satie: eohetics geniois snextxs déiw be emt sseldgs in etedd .eiteq E bathostor: va | Mobain de v, )) @abke -aiog end neve redo 60 eendide issulootve y “-@akwi02 gai HCO é& - nage Sit: seseis) leds: 2 to envste az ae nade 3e -nen. r Ice ho ’ il hp Toes Gatvee ade e eH: te ge) eclsote a Oya aS fatiorante 2 aii 2 7 iy ob ie as ay o> Sf ed ab OS Ne ' ae agg oe . mated a a isd yiove becoes edd at dote poodd nb Bed - ~% % 3 ee vtreacse'oe Pn . * 2 Ste ae Ge wht GP ah. tns be a yn eae avedtzen | rite fove. he ee oP, Ps, 231 are entirely simple and without architectural importance. A moat over which lead two drawbridsges and a broad stone bridge for the principal entrances, surrounds the whole. In contrast to the ent- ire plainness of the other parts, the entrance pavilion at the southwest angle of the building is treated with extreme richness. Above a high ground story, whoss pointed rustic aphlars form 2 transition to the plain masses of ths adjacent parts, there rise two storiss of stately proportions and decorated by projecting coupled columns. These are Ionic.in the second story, Corinthian in the third, all with very slender fluted shafts, nerely rest- ing on Simple plinths. In the middils they encose a high window with double crossbars, while the wagl surfaces at both sides ars adorned by rich framed marble salbs. The frieze in the prin- cipal story is dscorated by elegant flowers and is broken over the columns, but is continuous on the intercolumniations. On ¢ the contrary ths second story terminates in a crowning cornice. with great consoles that take the place of a frieze. The upper endins was formerly a niches with an equestrian statue of the marshal and flanked by pilasters. All parts of this splendid composition are brought into a harmonious whole by elegant men bering and fine ornamentation. The existing frames of the marble slabs consist of foliase, volutes and masks, the slabs having @ noble and picturesque sffect, the friezes in both stories and finally the enclosures of the windows with their ornamental ban— ds exhibit a result of that mode of ornamentation, that about q the middle of the 16 th century again splendidly blossomed again. In the interior the building enclosed a resular court TOxfG¢ Squares. The eastern wing has disappeared; the adjacent northern one in sreat part consists of a colossal keep from the middle , that by its heavy masses crushes the effect of the other ts, and sven ths main portal placed beside it scarcely per- s all its richness to appear. The opposite south side cont—- ains at the eastery angle a round stairway with winding stairs~ Openings to the coubt by arches, that is connected with the ent=— rance pavilion, and between both stairways extends an arcade on round arches, above which in the second story beins a narrow , gallery. The living apartments ars chiefly distributed in the western wing and in the adjacent angle of the northern one. In the upper story is arranged a passage projectins over three ft. ig _aespiabehioa ¢ ntodéaea ont nats to: ban bah yeibi ice ovis Sdiw eanct 1 ~aedal ore getetice b ighacd niaicg rt a oh : -Yroge 7500 py bay en wm s tow pa eel wile lee 24 2 ie ee oY : oy ‘Bebivin baad elseit 76 i | Weekes ; ‘eathen robert y. cam edd 4 ta eae “ ly o Bled 8 evods cis . “OG 2 ate: fe yd gat xitst & $i +e sendosh ok qiege. %p “s os -abne! | L saet 2, ’ M sat ssJary ayn © rm WOSLeI YE HetoTone® Jeonstén> cies 0 ai ee I ip Buoots Ny. vane 232 on colossal consoles, for connecting the northern and southern wings. The entire construction in massive solidity is made of . a hard stone like sranite. The architecture of the separate court facades exhibits 8 cer- tain diversity and perfect harmony in noble classical forms with modsrate treatment, and merely occasional cartouches are inter-— mingled with more fanciful elements. Simplicity and solidity p prevail, and they have also determined the use of plain Doric pilasters in the sround story and of Ionic in the upper story. With this is connected in Sood harmony the rusticattioniof the masonry, that by regular pointing appears refined and elegant. Gp to the impost of the arch is this rustication carried on the bilasters of the ground story. Particularly beautifully is arr- anged the proportion of the apenings to the mass of the wall. Betwesn the separate arches the wall surfaces are each divided by two pilasters, between which remain spaces for little hand- some framed slabs. Otherwise the effect of this noble facade @d depends on the contrast of the pointed rustication with the smo- oth surfaces on the pilasters, entablatures, plinths and window paravets. The termination is formed by an attic above a bold ¢ cornice with consoles, that is crowned by gables over the syst- en of separates arches, whose tympanums exhibit a filling by car- touches. The open staircase, that in the upper story is decora- ted by Corinthian pilasters and ends in a round dome, lends to this facade an especially picturesaue charm. An allied treatment makes itself felt on the western facade’ (Fis. 108), except thet here instead of the arcade the ground story also shows great windows with cross bars, and that bet- ween these project those sreat consoles in pairs, on which rests the connecting passage. These cosoles rise from the plinth, at nidheight have energetic masks and from thence above a effecti- vely ornamented by flutes. With good reason the distinguished master of this building has reserved the greatest magnificence for the narrow portion of the northern facads, that beside the old keep contains the entrance, to the main stairway. Three portals, the two smaller at both s sides, ons of which leads to a round side stairs, between them being ths great portal arch of the main entrance, enclosed by coupled Doric pilasters, open the ground story. In the upper ~ ae a ay gf ane ewe Pint glee Ae ser * A dhe at, 7a ” ' s Aut) ats ma ors “ TAM CM res ye A ¥e '~ iy , j ie ert {. hy oat . li a “> ] i ) i « a @ ae6s boo olstejen enefic? evedA .ebie done sa aso Lhequnbt tia suchoin fedowa bas Selopos. seode .nohntin ae )aRebwo, onee ed to eammloo tctce bone exetealig attece eaen Siasoutie nid? of encivehic sbfa Baa. siday bolo Galiveggze wooii bos ticoh .eeeev bas uilotoe .zex pomifeivel ci gaxtoesifoxs Yo ,sosiguess Bid? .gaiquosy ¢ ysede howe sae to stedselig 26700. ond Aetceg Ile od s wobsin 6% Ene sedote [gisog ent .eevecs Leapel tc eff agli fetesused Jeon odd at begednes ee Set @ » gkeeccs o¢ binetacg | Site ae0etsg wes en Elade ¢ agit ies tori 200. eénuop ott aed? en dk jatalelcs a. fea nf egw o att vd Ui qed ah GONO +4: 234 to the little chapel that lies in the northwest tower. It was covered by a dome, that rested on still existing fluted columns, between which are placed the forms in relief of six virtues. At present ths chapel unfortunately serves as a dovecot. 78. Chateau Sully. The second building that the warlike marshal caused to be er- ected is chateau Sully, located in Burgundy 4.5 miles from Autun. ‘ It was begun in 1567, yet further works on it are mentioned in the years 1596, 1609 and sven 1630. The narshal died here in the year 1573. With the two splendid buildings left behind by hin, a statement in his memoirs is in strange contradiction. He says:-— “Buildings cause an honorable impoverishment and a species of illness: scarcely can those who have commenced recover from it. If this be to leave a memorial of us, it turns more to the arch-— itect; hs is a stranger to us, like those that have horses, st- one guarriss and money, who must acquire reputation to possess : them. And the worst is that he builds nothins to suit posterity, that often makes doors whers were windows, and few persons will seo those buildings without finding some fault. Where shall ne sesk beauty, symmetry, and what vauit is more beautiful than the sky? What sarden or alley is more beautiful thar the count- ust More intelligible to us would be these complaints, if we accept them as not being the expressions of the owner, but of his heirs, who edited the memoirs. Ghateau Sully forms a tolerably resular rectangle, nial wings are grouped around a nearly square court of 125 by 115 ft. The exterior is without architectural importance. Ai the angles rise pavilions set diagonally, perhaps a later addition; in the mid- dla of the north facade projects a later Cothic chapel. The en- trance, to which one passes over a moat, lies in the middle of ths east side. All architedtural interest is concentrated on the four facad- ss of the court. Besides those of chateau du Pailly they belongs to the purest creations of this epoch. Déesignsd in a sinilatly ‘severe spirit of classicism, they adhere more closely that those to the Italian conceptions, Hence the strong accenting of hori- zontal lines, the simplification of the roof story, that is in- dsed retained but is subordinated and not even once is happily treated. Charcataristic before all is the moderately earnest m menbering and dscoration in the plainest forms of the antique. dim awed besse ISI9Ttib ese eves eebeort etesegse sks | i200 bn avedtooe 94 | apesred 8 absoet desw oti fanistros solcn ‘ah n8e gedo --aedto edt eat aoilives ee: peldnoe 2o cubis tal ob vaste i ote deniase: g tusaeis nce Lad a09 Bedox: ett noiiiv shen ts Shoat ne Ww a » - 6 ? v i 29 rt i 2 Dest iy ‘e , Seekic ORS, Yd guc ome bedanina vi. ned (8h SUS% Att ap ey v ~ Pee bee ey 9a Wa & hs sin scree. beansteso gad) wretedo! ens ny es sie st ti ‘ “¢ any , a 235 the separate facadss hsre are differently treated, though with a thoroughly unified basal harmony’ only the southern and north- ern correspond to each other. In the axis of the west facade a and opposite the sntrance projects a pavilion, which contains ths principal portal and stairway. But while in the chateau du- Pailly this part of the plan rises by a story above the other masses of the pbuildins, here also prevails for the pavilion the Strictly horizontal Lines of thse common main cornice. The arrangement of this facade.is based on a system of coubled pilasters, but which are placed closer than on chateau du Pailly. As there here also in the sround story the Doric, in the upper the Ionic being employed, the former, like the story 68 which they belong, being treated with plain rustication. Deep arched recesses, within which lie the windows, open between the pilas— ters. In the upper story are sreat round-arthed windows are pka- ced doubled berossbars. On their parapets is ssen in relief an imitation of a balustrade. A crowning cornice with acanthus con- soles coupled in pairs forms a bold and as elagant a termination. © The middle building has at each side of the arched portal smalier ” rectangular windows, above which are placed medallion heads en- closed in rich Barocco frames. Similarly here is also treated the upper story. This facade is distinguished by beautiful proportions, fortu- nate contrast of the openings with the wall surfaces a lgvins rhythm, and this is true in a still higher degree of the south-— ern and northern facades. Likewise here are arches in the lower ; story, in the upper story being arranged round arches to enclose ~ the windows; but. the openings are connected in pairs by a pilas- ter, but are sapérated from the succeeding group by two pilast- ers and a broad wall mass, so that an unusually animated chythno, appier contrast and stili more noble proportions resuit. Doubs— y less this facade is indeed one of the noblest, that the french | Renatssance of this epoch has produced. The broad wall surfaces in the ground story are adorned by busts in medallions, in the upper story by rectangular flat recesses over which are placed heads in relief in oval medallions with elegant enclosures by cartouches. In the axis of the southern facade ths two middle arches lead to the principal stairway. | The interior of the chateau has experienced numerous alterations | = tes jonny smote: 4odmede od ow a & id waew Ww el ma gutorsonsc 7D a es of the 16 th century. For the antique orders ars indeed trea— 236 Only one chamber shows unchansed its old decorations, the paint— ed ceiling beams, the stately firsplace, and even the splendid hangings of this time. Further there is preserved in one hall a great fireplace with luxurious ornamentation in relief. Its str- onsgly projecting mantle rests on columns of extremely fanciful form and ornamentation. ginally is seen in the apse of the chap- el a costly ceiling, that contains in painted carved work, arab- eSques, masks and figures, mingled with cartouches of elesant design. 72. Ghateau Ansgerville-Bailleul. How generally was accepted the sround motives once found for q plans of chateaus, and how it was carried out with various trans- formations, is proved by a number of buildings of the epoch. As one of the most interestins of the smaller ones published by Sau— © vaseot we here regard that of Angervilie. Located near Fecamp in Normandy, it belongs to the smaller bat also the more elegant chateaus of this epoch. Nothing has been obtained concerning its Origin, but the chamcater of its forms indicate the lest decad- J ted with good understanding and in all purity, but in the common use of partly dry and partly eccentric cartouches and in many ether slements alrsady undeniably expresses the trasese™ to ne art style of the 17 th century. Ths plan of the little building (Fis. 105) shows a pes inhi without a court, flanked by four pavilions. It is the form air-— eady established for guch plans, such as for example we found at Martainyille, except that the earlier round towers have now: become pavilions, and that the utmost possible regularity of the plan is striven for. The antrance is flanked by columns and liss in the middle of the facade leading into a vestibule, that is covered by cross vaults and deccrated by niches in the wails. In the extension of this one reaches the comfortably arranged stairway, that in a straight flisht ascends to 2 landins ofnam- ented by niches and covered by cross vaults, and returning back=— ward from it leads to the upper story. The distribution of the rooms is the same in the lower and upper stories, only that in | the ground story the projecting part of the pavilion is. separat- ed as a little cabinet. Hour rooms in the principal story, all of equal size except that dimkRished by the arransement of the / Ps Ps ee ~~ enaoaL ic i be al 7 237 stairway, and four side rooms in the pavilions form the whole. The chambers in the main building receive their light through wide double windows, thas in the pavilions through narrow single q windows. ; a Particular care is devoted to the artistic treatment of the facade (Fis, 106). And indeed the richer ornamentation is cone- entrated on its middle portion, which contains the portal. In she ground story are elegant fluted Doric columas, that project free with bold entablature and enclose the portal. Over the lat- ter is seen the arms held by old men in a richer than tastefal conception, and an odd mixture of opposed forms in a capricious connection. Usly fabulous beings like sirens, senii with festoo-— ns of fruits, trophies and shéelds are combined in a wonderful mannsr, and by the scrolls of the cartouches entirely receive the stamp of the Barocco time. To these are added the separate ashlers, that just as rudely as without motive intersect the architraves of the portal and of the windows. In the second st-— ry follow Ionic, and in the bhird are Corinthian columns, all ed and ornamentally wrought. Abovs rises a slender bell ¢ur- =) ret crowned by a lantern and flanked by Gorinthian columns, wh- ich rest on elongated consoles.It is also here very Barocco, yet it cannot be denied, that the composition of this middle portion — t S an original and. animated impression. This was he original arrangement of the roofs. Wot only the angle pavilions hav® stsep pyramidal roofs, but also the r rcof od the main building was divided into two independent high roofs, so that the bell turret with its ornamental lantern more q effectively appeared against the sky. To this was added the un- usually rich figure and ornamental decoration in hammered lead ornaments, that crown the roofs and likewise the already capri- cious but boldly composed dormer windows. } Of the initial equipment only remain frasments of the elegant- ly wrought wood paneling of the walls, Barocco in design and 1 lean in drawins. 80. Ghateau Maune. The animated use of geometrical forms and constructions, to which the architects of the Renaissance devoted themselves by preference, cecasionally led them to experiment with compliga-. ted ground plans, instead of the naturally rectangular arrangement © : whole make . ty ctr ws t ee wo, «> ce [em t} gS tp Lae) oe i se} me’. “ we 4 t ea a ae Al 9 F “ott bas slorts es poltay feta mel az Se lwre “fencises os e nent “8 TEs we oe 6. ee ge aA . a fae Fe be dtd ae te bet dy 4 peeas “ie ee 4 A 4 4 5 i woennce ze As a’=n&@ eB | 7. =) ee. Shi ley AK. CLAN 2) fae See Se a ee ea aS a en ke / * yr . 238 The circle and the various kinds of polygons in manifold use and combinations play a chief part in this, and it is as if in such composition is echoed at the cost of the otharwise so rational spirit of the architecture af time. In Italy the viilas@agearo-— la is a notable example of this tendency. For France du Cercean at least on paper sives sufficient models in a number of sketch- 8s in his book of architecture. He freely remarks occasionally there, when he presents too eccentric inventions, that he gives them “more to please and diversify than for anything else”. In reality one building of this sort has been preserved till our day as a proof, that sometimes even here from such sports come the power of development of monumsnteal earnestness. This is the little chateau Maune (Mosne) near the railway station of Tanlay on tae line from Paris to Lyons, located in the department of Yonne in old Burgundy. The duke of Uzes caus- ed to be erected in the form of a resula Ppentason, at whose an gles rise external projections like towers, partly serving as bays and partly as stairways (fis. 107). In the middle of the building du Ceresau'says, there is placed a fountain below, ar- cund which a pentagon ascends forming a doubis windins stairway to connectithe few large rooms into which the separate stories | are divided. The stairs are entirely opened so that the fountain ~ is always seen in ascendins or descendins. The same authority praises the utili ile of the arrangement:- “In this buildings are > he » very well arranged because of the foun- ; together with rit a chambers, wardrobes and all conveni- S ; esidence, so that a story Supplies what is nsedea”. The roof of the pentagon forms @ pyramid, from the le of which rises a little lantern. Du Corcsau devotes 2 dstailed description to the construction of the beam ceiling ¥ with its rich ornamentation. An enclosing wall with arches surrounds in horseshoe form the building, and opens on the garden with fishponds and fountains, which at the opposites side again ends in a secicirecle. At the other side a connecting passase leads from the chateau, consis— tins of open arcades and a roof story, to the farm court, that . exhibits an oval form, really two semicircles, that are connect- ed by projecting rectangular structures. The semicircle toward b # * thas chateau contains open arcades in the lower story and services ei) goons, enidne pats sofaedxs \ parol oivaiss “wonseedis 738 abiver Ex Br cf : ipORE ee “aA sd Aol evieole Xa Bi Prpan ae he ims Beltngige axe prensa, otieti- Sehintecat e A ae ’ rime eh Oe a why A ae ee I ik L a Morey es Ye rN sot ie ne 4 ~ T) ‘ 239 SS decllings in the attic. The other semicircle merely consists of ~ an enclosing wall, that is broken at the middle by the entrance Satemay. Halls like a fortress are arranged in a rectangle and a are surrounded by wide moats, extending around the sntirse group yl of the chateau and garden. The architecture of the exterior ig absolutely monotonous and without a vestige of artistic forms. .- We mention the wonderful building only because it is character- istic of one tendency of the tima, and otherwise speaking with du cerceau, “more for pleasures and change than anything else”. a 81. The gardens of the Renaissance. : il Wea should now only possess an imperfsct picture of the French Renaissance chateau, if we did not slance at the sarden designs. Wherever space permitted, the mediaeval castle already possessed a garden, in which besides kitchen vegetables and fruit trees, 4 it has flower beds of roses. and lilies in particular, alleys nf 4 grapes, trimmed Lawns with shady trees, sometimes with a fish- pond and a fountain, if space existed. In the gardens strutted peacocks and swans were reflected in the fishpond. Under Gharl- es V the accounts of the Louvre mention one “J. Baril, maker of vine arbors, for having made a great lawn in the said sard-. ens and mads ofewood a lozenge entirely around it, with fleuar- a@-lis and batthements”. Still the space for such arrangements was always restricted, life itself was too unguiet and warlike, the care for fortification and defence was t00 exclusive to af- ford for those gardens & sreater importance. But in the 15 th century when the feeling for nature was ever mors strongly ar- oused, and found in art an animated echo, when the Flemish mas— ters first released their forms of saints from the golden srou- nd and placed them in the midst of the blooming Life of spring, then also garden design became an object of artistic study, of aesthetic treatment. It is characteristic of the enhanced feel- q ing for nature of the time, that we so frequently see im the m 3 most charming paintings of the masters of the 12 th century, & ‘_ that the Medonaa is sean as represented within a hedge of roses, and that in all pictures a ground of natural lawn sprinkled wita — flowers extends beneath the figures. — But also here the decisive impulse vas given by Etaly. Already in the campaigns of Charles VIII against Naples the chroniclers were enraptured by nothing more than the magical gardens of Ttabian ul a e546 bd ~ ae een €h bet so4 083308 fo ne ase bes1o sedi “fo qdaced ed? to s10 “io fie ge dtectsene epoldaeg ctikw ack grinelic® edd Bev: 200 edt Yo yiiat tory j ie Bosd en0 eat = er cobb edt 4 EY Ey noite: nek: eit oi “eae. ‘bubo? ei yin : sent Eatieb: 2 ef? 3 exoolt ¢ Ric Peairiien hina 2: vt! ‘od 240 villas, The nobility of the garden of Possio reale captivated the king and his cavaliers mors than all other creations of art, ind likewise Jean d’Autan speaks with rapture of the beauty of saus the arrangement of the gardens was cared for with particu—- lar energy. In agreement with this may be observed the following Sround principles in all changes. The close vicinity of the cha- teau, i.e., of the livins apartments of ths master, is reserved for the arrangement of a bed of flowers, so that one not only enjoys the view of them, but could also quickly pass into it by a flight of steps. The arrangement of such steps as a connecti- on with the garden is expressly prescribed in the documents of Fontainsbleau, for example. Characteristic of the sentiment of the time is the severely symmetrical and regular treatment of this bed of flowers, that was even retained where in building a chateau restricted by older parts, the regularity and symme- trey mast be omitted. Gaillon pressnts a notable example. The separate flower beds have varied designs, not merely in rytha—- ically animated ornaments, but in all sorts od sports with in-. itials, emblems and devices. In the varied ornamentation of this infinitely varying world of form, that on the one hand ~ recalls the patterns of glazed floors, on the other the decora- tions of the ceilings, the loves of ornamentation in the Renais— sance again retains its inexhaustibility. gommonly is found one or even two of such beds of flowers as labyrinths or dedaluses a8 then called, a shape that refers to the mages in the floors of mediaeval churches. What there designated to the penitent needing indulgence as a reward for his pious penance, here ob= tained the character of a merry sport. Such labyrinths are shown in du Cerceau in the garden of the Tuileries, and they occur in doubled designs in Gaillon and Montarsis. Hor a better oversight of the gay entirety, an elevated terr- ace extended around the flower ped, connected with it by a fli- Sht of steps, and sufficiently broad to serve a festal society aS 2 promenade. Of the care with which these parts were also f furnished, the building accounts of Gaillon afford numerous pr- oofs. Particularly the pavements receive rich patterns by glag— ed tiles of varied colors. A fragment of such pavements has been found at Anet in recent times. As @ Puls the terraces were ext— A the parks of Pavia (S. 1). No wonder that henceforth at all cha- coving 926 soneans ii athaw vd Le deed | ‘pide al ine wmevoo yd 2 sable f iperes cm TA oe £ ei pee ak dt 2D eecbesome? Bet 2649 este Les bexevoo ~é bbe Bont to eibbie eds ac ido 2 “2 aa e pe noted ii: =. tates bea te pees a! we i % ea 8 ag 4 oe ‘ - SUA SUNS ee, tL Adperd a Sere ont Bist. bnete jones 2 slabs ‘ al a rs ; i : - =a 88s ‘ge Bad * es : :.. ‘to. e5 gaktfen: vol : AP a r* a ae wn see bea: . | Vx rs in -. 4 Ley iv ; SP ot ie 4 : 4 : : ora! 241 externally enclosed by walls, but already early they were surr- annded on several sides by covered arcades, to obtain at pleas- ure shaded or sheltered sunny promenades. Already in faillon two sides of the garden are enclosed by covered galleries, that ter- ninate at pavilions. Thus were obtained on the middle of the ¢ garden spaces for quiet retreat and peaceful meditation among — the most beautiful surroundings. Likewise it is seen at one side of the gardens at Vallery and Chantilly, and in yet more compl- ete manner at Aampierre. But the most beautiful example offered by Anet, where at three sides the great garden was surrounded by Salleries with arcadss in rustication, which as du Cerceau says, “Sives to the garden e marvellous splendor in the view”. Sometimes were connected therewith little oratorios, like the still Gothic chapels in the garden at Bury and at Gaillon. Like- wise at Blois, where a long covered leafy alley extends from the chateau around three sides of the garden and finally ends at the chapel. On the contrary we later see de l’Orme erect in the park q of Villers Cotersts a chapel in severe antique forms. A breath of peaceful reverence of nature misht play around this little oratorio is such surroundings and harmonize the recluse in the collection of his courage. | Ml Bus also otherwise is care taken for shady walks. Light wooden — galleries covered by ivy or grape vines are distributed in suit- able arrangement between the flower beds, either crowninm the @ middleof:thexlawn or extending alongs tts sides. And these are not merely the modest structures of lisht vine trellises of bent © strips,for the roof Like a tunnel vault, but the art of the car- sm soon elevates these structures to higher importance, Si~ s them the forms of stone construction, so that the long gal- was are interrupted at the ends and the middle by raised pa-— vilions. The most beautiful example of this kind was at montar- gis (Fis. 108); others were seen at Verneuil, Charleval and Beauregard, here in severe antique treatment with entirely str- aight entablature and gables on the pavilions, on the contrary more free in expressive wood construction at Bury. a There prevailed in this nucleus of garden plans the merely ar- chiteotural principle, and so appeared in effective contrast t thereto the broad enclosure by extensive parks, in which greater © freedom was allowed to rule all nature and all vedetation. Ind- a f J p AD ; ’ BER AE est att tr ‘Saonone ta) eit Sse! cay rae ine aft c ‘ot vis: + Hewerbs soest tf ta» £ "D bang st 4 Aw teeeey ae ak St dew Bist o> > oe @ Se ae a Siingoetisozs ‘ges vere eLbb im iEistnebiocs has “sdustee wiods of co: ; ‘edeentgne olinerhys ‘ as @eisetaensnto Sevan! # Botend ieaecT to eonsia' eC ‘Bebhtss aaz sot entavan iis phones? sinvodosa + (Baw atseres 6B nt bere ead at aissanc’ <08 gedto Matha cncions ‘ore Spud ad son.le heen 2 gtots OR un ie WA te ‘weno eR wee fw ee DO s Boe. ds Ser bot: onan ¢ Wp ae femele bedss < ad ea? fa 30 fad ae tiger edt sted sate ptetretiss > bac ebstosge te qaen cosy cf baa sis feet? : . Sf é a ee v Aya. S 2 242 Indeed the fruit orchard witha its lawns and regularly spaced f fruit trees adhered firmly to the law of symmctry, but still formed a transition to the freer movement of the great leafy masses of the adjoinins park. This was itself intersected in all directions by broad alleyu of trees, with its lawns and shrabb- ery finally formed the transition to free nature, with which it connscted the cradSion of the human mind. fo these two slements of vesstation and architecture was join- ed a third and no less important factor, In the middle ages men st utilize in this matter what nature freely and accidentelly offersd. But the architects of the Renaissance in their scient- ific trainings were at the same time skilled hydraulic engineers and knew how to give the garden an animated ornamentation by flowing water. In Gaillon we find P. Valence of Tours busied in conducting water and plannins the fountains for thse sarden of the court of the chateau. In the building accounts Francis I expressly remembered the fountains arranged in S. Germain and Villers Coterets. The Isast least requirsd is s fountain in the middie of the garden lawn, which is there transformed often in- to 2 comfortably cool and half enclosed place by 2 light ‘wooden pavilion enclosing it, as in Gaillon and Blois. Where the unus- ual width of the garden requires it as at Anet and Chambord, two fountains are placed at equal distances. Richer waterworks with a grottos and cascades scarcely occur in this time. Only at chen- onceau end at Gaillon are found examples, yst both ars only from the second half of the century as additions of a later tims. Phischuchcmorevattive part ccchrted forsthbss elements, owhére thes victnityvofea reveryaffopded: water: jnorichercabundancetsfhen botomerelyiwasigccanai bxtendedtasoind:theosardeny but sometimes énofrequent népebitionitheblife=sivingiclementlintérsécteds théy garden by parallelcobranchés, as°in:thecmagnificent arpangémenbé oe eter Vallery and at the white house at Gaillon. Whers the water thus gurrounded the garden on all sides, men there sought to brings it directly near the syes of the observer. Therefore here the enclosing walls were omitted and instead of closed salleries were arranged lisht leafy alleys through whose many openings was visible the surface of the water, bringing fresh air and a ple- ip) yo. 2 re ay a: fetta. vet xe fap’ ave ws5° ofat teentcoo trarass i” Ooo ot fos afl te ream) ee StISigGTZaU FB eee eve fr wha tad ade Lee ie me i SA Fe hy et wi 'S , e +e nce sin & ow eet, eoL Luv Hears i We) we ‘$f leuedanaed « ab as peaidentess id ck vo. sbeeasc “a vie eateas003 baithadge as rs ~? faemano Siw. O10 oo. ec3 or? ne ie eth od Bees hI od ai ws . 5 on a & Ps ? “> ‘¢ a Li y se t : Py aA b > pleasant coolness into these PAM Rie otherwise easily damp. Thus it is seen at Dampierre and at Chantilly, but especially at Verneuil, whers the water plays a direct part in the well branched canals, basins and great fishponds. On the other hand sculpture more rarsly coes to aid, which in Italy wins such promingat imporbance in the gardens. Only at the hermitase at Gaillon is made an exception, and in Fontainebleau in du Gereeau the Diana of Versailles occupies the middle of the ‘smaller garden at the south side of the chateau. Tndsed the most perfect, that the garden architecture of this epoch in France produced is the garden of Verneuil, that we have described in S. 75,in the description of the chateau. Fis. 109 exempts us from a more extended explanation. Moreover the utilization of the rising sround produced important effects. Remarkable that it is exesptionally arranged according to t | the irregular form of the chateau (dating substantially from e middle ages) is the garden of Montargis. In a wide semicir- le forming two concentric wings, the inner one surrounded by be encloses the building within a great arc. The two labyrinths a of the inner garden were already mentioned above as well as = 9 @ the magnificent double gallery, whose woodwork had @ coverings 7 of ivy, partly represented in Fig, 108. With the rich flower bads alternate alleys of grapes, mowed lawns and fruit treet of all kinds and meadows, far intersected by alleys. Rene of France, daughter of Louis XIy and wife of Hercules of Berrara, caused this garden to be arranged, when Montargis was assigned to her as the seat of a widow. Of unusual extent wers the gardens at Blois, to which one p passed from ths chateau through a concealed passage over the treet. The main portion consisted of an area 600 ft. longs by 250 ft. wide, surrounded on three sides by a wooden sallery, that ended at a pavilion and a little chapel. In the middle of the garden a doned structure rose over a paniing fountain. Fur- | ther at both sides were two other gardens, one with ornamental ~ flower beds surrounding a fountain, the other intersected by alleys of trees and by two shady galleries crossing it at the middle. Du Cerceau says:- “There are beautiful and grsat gard- ons, differing from each other, some having wide alleys around 7 PAD Ln’ Pea Ss5eve0 ay washing ps M8399 Gs ibesouszene0 at Haz qd Season ci 7 " feensco eebseste acgeo ¢ a. ie Scolé .asbaes JOR E16r te, cebrsh BOL & Fo pate « ed. iesen LB mene eaK aseq edd 4 i. E ay plata: pees pee Lh seule soiay repitst % ait eS eeany ottnw evel ia srike he oe od Gurna td OES 244 them, some covered b: carpentry, others by trellises for shape vines. By a Sreat abundance of nater is characterized the plan of chateau Dampierre, where three gardens ars all surrounded by canals and wide basins, and connected together by bridges. The middle bedsignin the akis of the chateau and is constructed on an island, extending in a triangular point, that is marked by threes pavilions. covered galleries with open arcades connect the pavilions and surround the entire garden. 4long the .canals extend wide shady alleys with double rows of trees at all sides. Also the garden of Anet is large and regular with two fount— ains, and as we have seen, is surrounded on three sides by sal- leriss with arcades, was enclosed by water, which at the extr- 7 eme end formed a great semicircular fishpond. Here was arranged ® bath house, from whese rooms steps led down to the basin. E Blswhere were seen mowed Lawns with fruit trees, flower beds, fishponds and dog kennels, all ssparated by canals and border- ~~ ed by alleys. Also aviaries and orange trees were not lacking. ‘ Likewise Chenonceaux was distinguished by a rich garden arr-— ansement, in which a developed system of waterworjks came into use. At the right of the euwtrance to the park was seen a rock grotto with cascades surrounded by a water basin. A terrace q with flowers enclosed this and further above was placed another terrace, that was covered by leafy alleys, whose enclosing wall was adorned by niches, columns and statues as well as benches ~~ for seats. Also for surprise tricks was the water already emp- loyed here, for in the middle of ths smaller garden was placed an opening closed by 4 wooden plus. When this was drawn out unseen, a jet of water rose 18 ft. high, “which is a beautifal and pleasing invention”, says du pfercean. But the greatest diversity was shown by the gardens at Gail- | lon acco aie to the embellishments, which cardinal de Bourbon 4 added ods the originally very rich plan. Here the hilly site aw was connected with the various gardens, and care was taken that ~ the view always comprised the lovely vallcy of the river. At a tolerable distance from the chateau and its sardens, the card- inal had caused to be erected a Carthusian monastery, to which — one passed through the park on terraces and through covered and ascending alleys with trees. He came first to a chapel that a els Gain cones asain mentets its, : ebte rode sbusowie niesd < ' ~ ' ‘ at, - : 7 : J r ; 3 cB hd J “ ¥ 5 - . be pe y es ae ae «a vieoetx we ieee Soraatg 8 petned cticy val Ne ~ meer ape beta BO" ‘athe 2 os aap vib ‘Bir = mebersanied BAe kc 3 mar enoned sitindsc n ‘ yA ae nh | Som ce Bose fs mye ~~ * a an) snobnext P Pisw t oe t mip Of; o dod bono avoen a hie’ yw he ig BS. tsote tegqn one make me § w stadia ewoboin a W P) Ft ~~ ww he: 4 ’ ak rand a og sahba Avis ua i gute weelid ‘selubundoes ‘Boveence Be fe née ‘aly os (ae ~ mo ever ok 245 was connected with a little dwelling an a hermitase plaged on a rock, enclosed by a rectangular basin of water. Beside this ay at one side a little enclosed .flower garden with alleys and covered passages. Around the area rose statues three or J four fest high on a number of pedestals. On the other sides of the hermit’'s grotto one passed to an extensive basin surround- ed by a broad terrace, to the so-called white house, 4 pleasu- rs house of the most luxurious design surrounded by water. It contained in the sround story a great hall opening by arches, adorned on the closed wall by noches and caryatids as well as statues, besides. being animated by three basins with. fountains. q A stairway at the rear led to the upper story, which was’ divi- éed into several apartments. 4 platform with open balustrades -afforded a free view of the whole. oie Nowhere does the gayer life of the Renaissance become so pre- © sent to us,as when we attempt to restore again these masnific- ent garden designs from the drawings and descriptions of du ~ Gerceau, and we enliven them by the splendid, intellectual and proud socisty of those day. 82, ity dwellings in Orleans. a The srection of the citizens’ dwellings in the cities oeubkay q ued in this epochin the path previously struck out, not merely for the form of plan, but also for the treatment od the facades — did the sarlier developed principles prevail, except that the 4 chatcater of the forms in detail follows the stamp im vosue-at this tims. From the beginning of the spoch we mest with a nom ber of city residences, whose architecture bears the impress” q of noble, quiet and classical purity ef forms. Gradually then ~ also here the endsavor for simplicity and grandeur leads to: severity and even to dryness, in which are mingled alse soon | certain elements of @ capricious and Barceco treatment of fetails Orleans is also still rich in interesting private buildings, fe begin with the so-called house of “iana of Poitiers, thas bears this name with as much right as the ealry mentioned house ~ of Agnes Sorel and of prancis I, or rather of the duchess of © a Rtampes. It exhibits that dignified arransement, which contei- ~ ned in the ground story clnsid wall masses pierced by a few small windows instead of shops. Likewise the upper storics | have large wall surfaces beside the sreat windows, thereby anita eS Ma Slate sniaebred feor ey; * - eakste eat as wa f or ee ee Se gnades os3 my TE | dom ereda bis: 16.2 yt ey ak eheost ent f hes en Beno sec Wat ay “te Pa iat a Pom ne ‘ eg } " ‘ at eo NS te X, aor Go Se Ph. fo ed Gig UY wt. mM Ct wa Ww salies 4 S oe we litod a: seat fe ® Bors erat ines ) pecstese dante 6 Be ert end net had edd al iy, tues “es eae rey ok | aaa os 1 es ee gs ee 246 character of sarnestness ¢ns quiet, of dignified seclusion. In the principal story the windows are enclosed by their frames and a flat arched sable cap. The latter contains a little fen-— ale bus&. Slender Gorinthian columns are fluted for two thirds and subdivide this story, while in the upper,short bordering pilasters of the same order are placed at the angles. The nid dle window of the upper story is circular and enclosed by int- erlaced cartouches. The plan of the house follows the arrange— ment usual in Orleans; as always. in thésecnarrow buildings, t the entrance lies at one side, a passage leads to the stairs and the court, that is here made more spacious and is treated with more stately architecturs, than is usually the rule. To the most attractive buildings then belongs a narrow house located on the poultry market, which is designated as the "how- se of J. d*Alibert”. This prominent leader of the Protestant patty of Orleans must have built it, and have held there not the first assemblies of his fellow believers. The facade is n narrow, opened in the sround story by the great arched opening of the shop, beside which is the ornamentally enclosed round- arched portal, above it being a charming little coupled windon on little columas for lighting the passage in the house and flanked by hermes resting on masks at the angles. The two upper | stories exhibit fine Corinthian flanking pilasters and sreat ; rectangular windows with crossbars. The corridor is expressed in both stories by small arched windowr with slesanté architra- ves. The uss of masks and folé#ase scrolls, the borders of int- a erlacing cartouches, the magnificent lions” heads on which rest 4 the pilasters of the second story, indicate the epoch from 1550 ~ to 1566. There is further to be included here the so-called “pavilion of Boan of Arc”, which denotes ths transition from the chose a of the time of Francis I to the spoch of Henry II. It is a pa- vilion like a tower thet adjoins an sarlier building as a pro- jecting part. On a plinth of pointed rustication it rises in two storiss, above which the high walls indicate that in both © 4 mere vaulted. Tablet as if for inscriptions is inserted and ; adorned by festoons and masks, animating the great surfaces. q Plain Ionic pilasters effect the division of the masses in the lower, fluted Corinthian in the upper storya In the interior : ptaesele Intioust “sadyse. apedcsse _ edd at titige 4 aod eek $08 Bo senr09 2 a: asi, ers Sopa yltacn " sepaense enoibvsdmes deed .qoie seazce Hid) Leven ea a8 woven, we eit eoaiges hi ‘+08 bes in 15 ett eldon eit Ree a '> mews at leas: Ns fei" be teert eta Ma fas bem = ee ee me bee tA > ee i we “Popp ath avy | PROWs i he ete me 7 Lhe eats i )atae npendgpege te MAO SGt ewe ole: TG EES ED Oe ts y i rakc pass = OTTO es i oe 205 is executed with sreater virtuosity. But that the architect of this facade was rather a brilliant decorator than a stronecoeil poser is also pfoved by the heavy manner, in which above the — widely projecting main cornice he terminates the whole by a se- ries of angular and murved gables. “inally also a remark on & a the form of the portals; instead of being covered by an arch they have os broken polygonal covering, a proof how eager one .. was there for the new and unusual. . In the interior is found the nearly square court with wide and very stately arcades in front and at the left; but the pro- portions suffer by a certain heaviness and the forms of the I Ionic pilasters, a3 wéll as the rich ornamentation in Barocco 4 extravagance. The surfaces are here also constructed of brick. Tn the wing lying at the rear a magnificent parccco portal op ens at the middie, flanked by mighty hermes, whose legs are 6 enclosed in those wonderful cases, which were a favorite in t the French architecture of that time. As the dats of erection of the still imposins palace is siven the year 1612. — Particularly fantastic in form in this architectural style /_ in the house of the nurses at Narbore. The facade must be des- 7 ignated as one of the rare examples, in which architecture fa- lls into the witty and the comic. A coupled window is flanked by female hermes, that with inconceivable fullness bear true and masoificent examples of mothers” breasts swelling strongly for show, and extend downward in swelled and almost Hindooll | forms, richly adorned by the acanthus. The same forms are rep- gated in @ still greater scale on consoles as a second enclos— © ure of the windows, combined with a richly decorated frieze w ~ with consoles, whose intervals exhibit lions’ heads with rings, 9 from which hang wreaths of flowers. Tae elegant architrave for- ms the upper termination, together with a frieze with acanthus leaves and a richly ornamented cornice with dentils. kes The game incomparably magnificent cornice with consoles and similar splendid development of the windows, only without the i mother caryatidss is found én the house of chevaliers at Vivi- ers, Above an entirely bare sround story rise two upper stories with @ smaller half story as termination. The windows divided by cross bars are flanked by projecting Ionic and | Gorinthian * colums, over which a frieze with consoles and adorned by the Ae ‘a am Aa aay - y OMT sennedtek tee idee. aarek, saseecon feds loved saeay oe ensoed) maod Bibrolgs stad.) b dsesh qalinte boanecen esen viote bnooee) sit to erebi pag detlon fed al etand sicn ecotiietenm atin eeLoence f benno. asin eats beoatg Soied efbhia edd nk. .elavie 33 Botelien w cheosxs astrose loqicniva owt sit reondes ies yrote usqqp edd evede bon qatmieged to edodece fet] Sat to swobats eise2t: oat neve .Asee Locter otal {oo netdiotsed bas eeloeaoo Atiw exetst sisdt aves pile ¢evecxe ot Sos \eemied baa ishiteyres aw000 cals 8 ; eh soinwes kotawose)-cd? .anmufLop hateing ylieactae | A meqth tedgeq s ok vedora hone to.endy belisdrcy covdt peer secsdra s& to isew yd OGGL saeds Flitd een ansiiiod Mean ,adew fivito edd at atoneuget 2ac# to sebseal. ca be RS eHergnad ont %6, basd edt » ae | sae Seeee thd).,eviegsn O05 batcs © stew beakai p lend! tow sefdes oft ta3' .noleeenqut anete Soe asye Ciiw ,golisoitans to witoseedo ef: On26 bas steeqge dotcs aohbs Beanies at” «Sade iD: A edd .mtot ai. vat jseasoozae: eran Ginn tir 2H? c hagite sto ohh at ese ote Peonsestanes edy tad ent Hi *@4hso07 .. netnr: Ib Pas evondtonom edd \c¢ ISeot0 BES | pe sth Stoted x5005
& or ~ Ld , 4 iy 5 ie o> © u 4 ve ie OE mae) on: YY rs +) PR FF JB109 “ee +8. ~otd : ai, . a } i 4 a be: | 261, . inner facades, and at the same time to recall by certain prin- cipal forms the Tuileries of de 1°Orme. The last is especially : truz of tke pilaster system of the ground story, which is con-— ; binsd with fresly projecting columns at the prominent parts. This is the “French”order of de 1’Ormein the full ornamental splendor and charm of treatment, as it was already found on . the principal buiidins of the Tuileries. The richly dscorated rustication, which is connected therewita, corresponds to the artistic endeavor in the epoch in question. A luxuriant frieze © with foliage, emblems and genii (fig. 89) forms the termination — of the ground story. a Still richer and more elegant are executed the two upper sto- ca fhe windows of the mezzanine have fine pilasters, the ® wall panels between them have gracefully treated frames. A fp= 7 ieze with lugurious leaf scrolls beneath a bold cornice slab q also terminates this half story as independent. Then follows 9 the main story with its great windows, that lie so far apart,- that not Brg: for double pilasters, but alternatins with the windows still remains sufficient spaces for niches with statue Thereby as well as by alternating angular and curved pediments that crown this system of windows, the elongated building pro-= a duces the gmpression of rhythmic movement and beautiful diver- sity, all monotony being most happily averted. To us this fac- ade with its finely treated Corinthian pilasters, the group of trophies between them, the rich frieges with sculptured leaves — and the sculptures in the gables, appears as one of the most succassfnl compositions of the French Renaissance.: ©: This ae can on also finds an echo in es teeabaeal of the adjacent pavilion wes and the adjoining portal Lesdiguieres. | tas western half of the sallery denotéd nl Fig. 85, which with the part joinins the duces the connection with the latter. If thal siento with those ‘soko bes above, one would | scarcely believe, that both belons to the same time. And yet the Latter like ae former wers executed under Henry IV. If we knew something mors accurately of the artists, who were there employed, we should haves a starting point for explain- ing this striking contrast. The architect of the western gall- ery has indeed freed himself from the arrangement that dominates — # a, -. oe \ a Aas Tas a Le & .t ize! tot odd, eet Baianor 2 gad: Mtaktseses : 3 “e380 Yost: “danas ediag ay etd eix &¢ Awa SL cbst as © id te oa * mors ol, heh eit abi m <8 “vue aot Si Seacot oc DPivar 262 the other parts of the Louvre like the Tuileries, and instead of the smaller independent orders for cach story, kas chosen % Single colossal pilaster order for the decoration ef his fa- cades. Zach pairtof fluted Sorinthian pilasters stands on a. high stylobate and rise to the cornice, where they are connec- ted by a heavy entablature. Heavy gables are alternately angu-- , lar or circular and aes filled by trophies to form the crowning. This is the only motive borrowed from the castera part, but by the heavy proportions produces ugliness. Likewise not beautiful ¥ must be termed, that the great windows of the upper story care- essly intersect the entablature and dire ctly abut against the | crowning cornice. The striving for grandeur has not merely mis- | ed the architect thus into an annately false decoration, but to ugly proportions end 2 likewise monotonous as well as & neavy tra atment, which further also bears the stamp of a te- dious monotony. If he would avoid this, he must before all cre- ate ue effective grouping an animated rhytha. 4 a Ths question concerning the orisinator of these parts cannot : ns ae with certainty. That Baptists du Csreceaa was the - ae architect. of Henry IV is established. Since he was no longer’ 9 9 living in 1602, he was sacceeded by his brother Jacques, who was employed tibl 1614, thus still for some years under fouis XITI. It is probable that both worked on the Louvre galleries; but which parts are to be attribated te one and which to the other can scarcely be ascertained. But further two members of id the Metezau family ars also designated as architects of the 7, king in the same epoch, and old traditions would likewise pro-= -. ve their participation on the bouvre galleries. There is 7. tegau, who however was no longer living in 1526, and had his 7 son lb. yotezau as successor on the building of the Louvre, who died in 1615. But also of these artists we know nothins more ; exact concerning their part in the work. Yet probably we may) © attribute one half to ths two Metezaus, the other to the two Gerceaus. But which half is doubtful. Under Louis XIII the buildins remained dormant for a lons e) time, till Richelieu again undertook it. But men turned nor. the still unfifiishdd bailding of Lescot, and the skilful archi- tect Lemercier was entrusted with the execution in 1624. Bat to transform the work in accordance with the requirements chang ‘ee - i kina Bist * sec bs cit sbisine | Baw eo Sas g ‘oui Sad iene) a ae got f Py s aver © & a Piss be yd rl ‘ te ey tart od t gee: et 3 oo. - ehteR. guest 1223 b Badeace . 2 ~{ind. gidhic iy fed. '¢ ae Ma P pS pba sake ast ys Baloy, petay py Btbatot Es. = we ™ on FA We ee “oneal ¢ i209 “we % ed a VUOw 263 in the meantime, the plan of Lescot was enlarged about fourfold, the northern corner pavilion (clock) was made the middle of the western facads that was twice as long, and there were executed the parts of the western and northern wings denoted by (42) on © our plan. The merit of Lemercier is that thersby the arrangem- ent and decoration |éfifescot’s bailding were retained, and for the court of the Louvre was preserved as a result its artistic harmony. fhe upper termination of the pavilion by ths caryatias, that support three pediments over each other, and with the high © domed roof are not blameless, but are yet always to be acknow-— ledsed in relation to the caprice of the art taste of the time, © For it is not to be denied, that the caryatids, the prized wor- ks. of the talented sculptor Sarrazin, are indesd concsived ' somewhat too picturssauely, but in comparison to so many fant- q astic parocco creations of the period, are yet always to be d designated as modsrats, nobis and graceful. In place of jemercisr appeared under Louis XIV after 1660 who began the other facades of the court (#8) and again 7 red ths gallery of Apollo destroyed by fire. At the same :. bime he completed pavilion Marsan and therewith the north wing ~ the Tuileries (14). Then was erected after 1665 and accord- © ing to Perrault’s plan the east side (15) with the colossal 4 portico, that was added inharmoniously to the rest, but flatt- ered the love of Louis XIV for the majestic. After these works 7) he Louvre fell into decay, as it was yet unfinished, shaming | the fate of royalty, and when the latter fell, the mighty buil- ding looksd like a fallen ruin. Napoleon first caused the pal= © sec to be again restored and further constructed by Percier andl Fonteains. The western half of the north gallery, which joins the Tuileries (16) and the portion at the same side adjoining the Louvre and intended for a chapel (16) originated at this tine. The termination was made recently by the parts erected under the second empires (18). The desisns of Visconti unfortu- nately then suffered great alterations, and all was executed = in an exaggerated and quack’s style, which seems to be the ex-— a pression corresponding to the business circle in 1868 dominat-— ing Hrances 38. forks in Pontainsblsau. ; Wore than on the Louvre, where a regard to the earlier parts a A ¥ tale rete if : ; . rt i ne 20087 2! ; WAUSL Ody be: 7 = nO j Lind es? ao Vi, yanes to dooge ed? 3 ~geeld siete che - MS A ; ; BATH ah hatter ; +s e ~seh a 2 oa “weve vantct Rotax a Bs bn eic os seetéscve74 o oqgee ais Setias o) om & - oe Se wie scien “eto as a Dice te ant? am hs pel yieliss 264 dominated the lateroconstructions, may be recognized the char- acter of the epoch of Henry IV on the buildings, which he added to the chateau of Fontainebleau. Here first belong the parts designated by 4 on the general plan (Pig. 36). Surrounding in taree wings a great court, these buildings are intended for s subordinate service purposes and accordingly bear the stamp of severe simplicity, that in the spirit of the time is not expr- essed without monotony. The combination of brickwork with ash-— lars, the plain and even stupy enclosures of windows and door- ways, the absence of all refined or more animated forms gives these buildings a dry expression, although the whole makes a disnified and substantial effect by the skilful proportions a and the happy subdivision of the masses, especially supported by the pavilions at the principal points. The great ‘s@micircu— lar niches that cut into the main facade at the middle also c contribute to this (fis. 115). In any case these parts belong - to the models, which men then anderstood ander the rural char- acter of the tine. On the contrary greater masnificence was developed on ths portal, which under the neme of “baptistery of Louis XIEI” clo- s the niage court of the chateau at the eastern side. Its name was re ad because the baptism of the dauphin occurred in its Hallo upper sata The buildins has the imposins form of a tri- umphal arch, yet in an entirely free and original composition. A wide arch opens at the middis, asia at the sides by niches, which are enclosed by short pilasters with fanaifal capitals like Corinthian. Over the niches are placed medallions with busts, enclosed by heavy garlands of foliage. The forms seek to follow the much varied examples of the early Renaissance, the dry members and the luxuriant crisped foliage plainly ate tha late e, Over the middle building then rises an arched structures open on the sides and covered by an ogee domed roof. This form is not free from Barocco caprice, but the whole still makes a fine impression and gives the court an imposing termination. Furthermore under Henry IV. were added the gallery of the stag d the gallery of Diana gatenn over it, the former of these be- ing transformed into living apartments under Louis XV. These arts (Fig. 116) very decidedly bear the stamp of this epoch but hay indi i ait » ia ' 2 Pas y As ne S-} cone A ’ Meet 0-5; »? ie ee 4 " i , a pa és oo a4 ; 1 ea Lae ‘ : , jak f oa i -) tm esi: 8 vodhoett i ‘ Ee ae at o% Sah } yeeree! ‘fo noovect @ tkned’ dotsw mort .elesiqaso etpl ined peads So. tootidors eh ,wohath efbbia. est eroloné ackbude bit eben fai ode .eneebte9 Yo oavagnd .2 bencisnen | Bed .xevs7 edt been Yicamtd nssoxsd yh exit bee ,ylert . K Peas to kwety snopeinsotg Eo@ O00 Yo eeitivpictas. | dozndto e*seted .e Yo anoigetnessages ca ifen ee .tfovit | iB 9th tag & enis enee e439 ite caw eb .Letiase reach aft 20 ‘ not 36 moon dyad etd 30% abnitnieg Seinoetoyino von Eas prt eid Yo enottercesh edd oels yldaderq dnd .veedd dhead ‘to yrolind eft wid vd sew eteds eabised -boncid y arol 0% OST twode to sksceag beroun' me yd fesego . has wega2cebna! igin hevatag ssw fae eared te ret ies ee Mizar? -beyoutaeh tedal asx yrsiiah einy .eeneoe | ome | ri days ; io éuece i } a Misi d ES se: fop tp Tues os: — - a iM ir & sme we On auG ne 4 Se ed ae Bae vi ~ Ao edt et ee Ra r ea ei ciom as alt oh i » oa . ov oAtpha gs, CL 9 ia , 2 *n uh uu ebRBE y & 4! Btveon octane aes) Fa palit asidog eB espe ba Bide) 266 formed a broad rectangle surrounded by resular buildings, that opened by 144 arches in the ground story. A railed lewn surro- under by groups of trees, two fountains and the cauestrian st- atue of Louis XIII srected recently instead of the old statue destroysd in the Revolution, occupies the middle of the Place. The architecture is a combination of briéks and ashlars, makins ® severe and sloomy impression, that is even increased by the 85 high pavilions into which the mass of the roofs is broken. Beauty here recedes behind the rules of cere suitability, but the latter is emphasized in a vigorous way, so that the whole in its way with all its severity acquires the stamp of clear propriety and fitness. The second creation of this kind is Place Dauphiny, steel in 1608 on two former islands of the city. The buildings bear the same character,that results from the combinatiennof brick- work and ashlars. But the impression is here somewhat stronger and more monotonous, and the uss of fustication is even more prominent than on Place royale, The Place forms the actual point of the island and has a trianguler forn. | | Grander was to 02 2 third Places, that should extend as Plads ~ de France instead of a marsh, and should terminate these under- ~ takings for beautifying and improving the city. This Place was a deseribed as a half moon in a great circle, whose diameter was” to extend from the Bastile to Rus de Temple. Hisat principal 7 aban ts were to radiate from here and bear the names of the hisf provinces of France, ahile:to tae connectins streets nOres sal ia the names of the inferior French provinces. Between the main streets each of the seven masses of buildings was to rise above the ground story with arches in two stories of bri- cks and ashlars, each covered by a high roof as a separates pa= © vilion. The plan for this grand arrangement was alreadr decid- ed, when the murder of the king put an end to this like so many other plans. Of the numerous other structures for public usss we oibee the completion of bridge Pont Neufl whose construction the king Gaused to be executed from 1602 to 1807. With this was connect= ed the lengthening of the island of the city on the western Ss © side, which was effected by the connection of two sualler isl- — ands. The bridge theebpayoinédethe Cite and was divided into two separate parts. Further the king caused the water conduits i z + ‘ Pry me ee vee i & a ee ty = ; ; ii he ae ~ rf} = ee ae the NOTES ve ee ae Bama se gh thee oe a a a a i! be Crimea Pe : Pig : . 267 from Belleville and Pres §. Gervais to be restored, which sup- plied the northern part of Baris with water: he also restored tke fountains fed by these and erected a number of new ones. Likewise different quays were rebuilt and the walls and dates of the city were improved. It is characteristic that this period of the citizens and of the people was the first of the monarchs of prance, that caused 50 be erected structures for public use and not merely magnifi- cent works for his own pleasure... In proportion to the brief + time of his reign allowed to him, the number and importance of those erected by him must be termed important. . . 90. Palace of Lbaxemburs, q After the death of Henry IV, Maria de Medici appeared as pat- 1 roness of the arts, and this love of art was an inberitance f from her father’s family, and was perhaps caused to be forgot— ten by the repusnant.character of this intrisuing and imperious Florentine, even if in her relations to art 2 cooling and fros- ty air had not penetrated. Frosty in a high degree is also then the principal work, that architecture produced at her instiga— — tion. In the year 1612 she purchased the mansion and garden of the duke of Luximburg, as well as several adjoining pieces of Sround, and there in 1615 cansed to be erected for herself by . S. dé Brosse, a nephew of the younger J. A. du Gerceau, the i existins palace which yet remains. In the strikingly brief for the sallery. Of the master of the building we only know that he was born at Vernsuil, yet without sivins the year of his birth. It may be conjectured, that according to the custom of ths time, hse had made his studies in Italy. At least his work itself indi- cates this, for the architecture of it recalls Ammanati”s court of Palace Pitti at Florence, excepting that there single and here coupled pilasters divide the surfaces. Otherwise the fre- 7 quently asserted similarity of the Luxemburg with palace Pitti is a myth. The plan tather shows an entirely French scheme, and likewise in the elevation thse high roofs and the dominating pavilions. Already in the arrsnsement of the sround plan and entirely | ve , 2 z y | La ae |) Ret’ x a eh “sete des nh 9 .Sebile ee9dt “no 2 ebteling ae en? to2° — 2 iIL09 i i ha res Ba ‘ Re BetS bor ‘ya0d: fsg tort: gat ye! 4 $4evo hoes: Reese, eietealig 2: ripe Beene evhtzess dant "5 DP sacorbigdeni eles moidcesp focddLk A vt. a & Sa lone snekvactoaes a ate abate: ag cet ; edt of betasy on edd to noiaestoxs se 68 bowed ¢ 4 > awe Tot Me dry Pr ge Omen eCfi Cae xoisgeonrsy ¥. Be, Sh¢g Eee B bees imaog ef Motistal: ea? mont Le y bia p38 aA eet Tapss gto % SB ee ak ey tn Ea a 269 economy, chiefly on the pediments of tha angle pavilions. It is striking that the architect has erected the garden side in the same earnest style as the city side, and #ith his wanifest 3 endeavors for complete unity, even for uniformity. aes a Without question this insbpiddconception makes a rather cold impression. it is an architecture that only affects the intel- { ligence and not the imagination. Such a design is based on this, _ that we know the Renaissance period in the rustication, and be- q lieve that the Doric style is found as an expression of the ru- ral. But these limits of the conception and the more reflective than fanciful talent being once granted, one must admit that a more important and trae artist is he that ersated this work, and who in a time that cherished cabrice in Barocco excesses, and knew how to adhere to such purity and severity of style. 7 The charm of the design may however first be judged, mhen tb the incomparably beautiful garden is recalled, which unfortun- ately a few years since was nearly destroyed by the never sat- isfied love of change in the French. The flower beds with their — basins, fountains and statues, enclosed by mighty groups of t trees, the beautiful combination existing between the sarden and the architecture, producing an animated alternation; abl = this gave first the completion of the whole. The grotto design at the left side of the park is characteristic of that rustic- _ ation passing into natural srowth, which the Renaissance loved tala employ for such purposes. ) a 91. Other works of de Brosse, Several years before the erection of his principal building, Brosse who was himself a Huguenot, erected the house of pr- yer of the Protestants, for the building of which permission 4 cite een granted at Charenton by Henry IV. It was begun in 1606, but was destroyed in 1655 after the revocation of the ed- ict of Nantes. The building must have presented particular in-= | terest, for the architect there had the model of the antique ~ basilica in mind, and erected the building as a colossal rect-— ~ angle surtounded on all sides by theres galleries. The lower 4 colonnade followed the Tuscan, the second the Dorié, and the upper ons the Ionic order. Theee portals permitted access and yl 31 windows gave abundant light to the room. The interétor like ’ the exterior in Protestant simplicity was restrained from Bb _— x As wh et - - a ” © wes ‘~ reaeny rT ad ot Nl wo) 6 4s J te, tee ay pobtooa? eros p Sedols ef roz: “ae dw act i — “~? th nm +e 270 ornament and exhibited the same monotonous severity, that forms A the gsneral character of the buildings of that time. Therefore bhis plain treatment was no offense to contemporaries, and de 4 Brosse earned general by so grand and snitable construction. iSanwhile that he also understood how to execute richer com- positions, he proved on the facade of 3. Gervais, for wh ch Louis XIII laid the corner stone on July 24, 1616. Without re- gard to the Gothic character of the building; he phaced the facade as an independent piece of decoration before the build— ing and adorned it by three antiqus orders of columns. It was 4 the first example of this use of classical architecture in Fr- | ance, and therefore this facade lon¢ continued in high respect. — Some years earlier in 1818, de Brosse had his opportunity to erect one of the Sreatest utility structures. The entire south— ern half of the capital already had lone lacked a sufficient — supply of sood water for drinking, and therefore Henry IV. had : planned to restore the aqueduct of Areusil datins from the Re- i; naissancs. The dagger cf Ravaillac had also not ahbosddthis p plan to come to execution, and the people of Paris must still have long been deprived of the benefit of fresh drinking water, unless palace Luxemburg had shared the same need for this water works. Hence the queen caussd in 16138 de Brosse again to under- take the plan and to restors the Sreat work of the Romans. The a Roman conduit chiefly had to supply the baths, brought for a 4 distance of 10 miles water from Rungis to Paris. pestroyed by the Normans, and abandoned to ruin for centuries, it still ex= | isted as ruins in separate places,.so that the work of de Bro- | o& be termed an entirely new creation. He impressed on wwacter of massive grandeur}ishich characterized the s of this kind. The aqueduct crossed the valley a on 25 arches at a height of 272 ft., end thus pelo- d onstructions of the kind. The work was com— 7 Save opportunity for the sreection of numet- southern part of the a od 4 ds Brosse had to restore the great hall of the: pal- ace of justice at Paris, destroyed in March of 1618 by a fire. staining the old foundations, he adhered to the two sisted plan of the earlier hall, withont the least regard to the style of the other parts. He save to the hall stone round-arched vaalte = @ 90, set. oF dt bea’ ,Tissy ane apes * SY LOCE eee Ge dee ez f ~ Sxrooatw 4%: ABD. taebouse ad ee ? febtaes « | ora j e tq a ‘e aor i ® ve oP ‘ioe fe eoaezceacs Lane iineds tence2 ests y ankaec * ede ai sad: beedt of eonorstetc wy t/ ? be £6" at. Ag 21 ie r re y BL: ROBE Itore! eli aihi SHG az - deGT ‘ i eng “ee nal oo thac eve theitoxe! we he gon foots m7 Vo Ae i355 yf Wold Babes oP 64 ace ee Ae eM ited is pet? a aust “4 271 that formerly had a wooden ceiling is the form of 2 Gothic tun- — nel vault, and thess rested on a row of middle piers. The lat- ter received a decoration by Doric pilasters. Two wide semicir- cular windows with two round windows over them in the ends gave _ abundant light to the room. The arlhitecture is not without @— dignity, but stiil has a cold monotony. Like the other creati- ons, it shows that de Brosse belongs to those architscts, who became prominent more by reflection and rational conceptions than by imagination. : 92. Private chateaus of this time. irom the rather important series of chateaus, that were erec- ted during the first decades of the 17 th century, we emphasize some peculiarly characteristic, in order to represent by them ) the faurthsr development of the French chateau architecture. As a common basis is to be retained, that always still the national customs connected with the traditions of the carlier epock are determinative in these designs, that the distribut- a ion of the rooms, the arrangement of the stairways, the regular © grouping about a rectangular court,form the fixed standard. Especially characteristic is it for the general appearance of these buildinss, that indeed after the Italian manner then str- ove more for quiet and simplicity of lines, but in the beginn— ing of the epoch they firmly adhered by preference to the angle © —— —s pavilions and thereby to the picturesqus division of the masses, and that even round towers and moats with drawbridges in nowise entirely vayished from the programme cf the building. On the a contrary the great galleries, the pride of the 16 th century;. | are now adopted, and the life of the occupants of the chatean a res as morc intimate into comfortable chambers and halls. 5 He : opposed types. One is based on an > a almost intentionally removal from show, @ simplicity often car= | ried to an extreme degree, that knows nothing but the blainest | combination of brickwork and rusticated ashlars, with a dryness of profile that often leads to stumpy weariness. The other as-~ sumes the same ground elements, but knows how to obtain a rich=— er ornamental effect, that indeed as a rule inclinés to Barocco — forms and to luxuriant overloading. In both cases the lack oft ma an artistic development must be compensated by the truly nation- o ue 4 J ly ae —= a ay : ine ‘qllcor ne iss) ne sich o | ‘eelqaexe jodedebeiaett Me “0 “ray segntbt ted one myn ptt apa ai snbuer ved tc Teisoud ,ywrif{cd | | nq gnooetbe intra qewod i ‘ “haepen gD gatbiinc $s Snteq edd etote of vmeonin w netteot: aor tnain , Ha Gotan oi presents vy ne. enzc3 (Gin f ain eis eelic s a iaibbtsc o6h D Nek 20 Betonstescs ule a 4 to aeden Sas avin phei'y es as te: ant to Heth tc Baily +s At shite ne ~ mh + oy he ome vy e $a did 2 Je Re - ~ * > ~ r aS sin “BESBLEL 88 oy is Aseottitror 4 p ILsme vd esltne iis pesos Bio: ¥éi0! 02 e dee om edd shee De Lhe Malo Lgl uta Oe 1 ee ae! is ae 272 national .and often really original stamp. Characteristic examples of both types are offered by shat Tanlay in Burgundy in its different buildings. The main build-— ing was commenced in 1559 by F. de Goligny, brother of the fa- mous admiral, but only a round tower with.the adjacent parts of the two wings was completed. A new owner, J. Chabot, marquis de Mirabeau, added in 1610 the so-called“little chateau”, a pa- vilion rising independently before the principal building. This exhibits in the sround story ths most luxuriant rastication w with a truly fankastic and overloaded decoration, in which all ¥ sorts of plays of Lines alternate with plant forms.69erathis rises the upper story with elegant Corinthian pilasters, rich 5 indow gables and a magnificent frieze entirely decorated by foliage. This luxurious buildings is entirely constructed of ashlars, and was calculated for a contrast with the water of the surrounding moat. On the contrary on the highest monotony is the fants exten- " sion of the main chateau, which was erected by the finance in- tendant d’Hemery in the first years of the reign of Louis XIV ¥ after 1643, Since this no longer belongs to this epoch, we pass — over it, since another chateau of the time of ,ouis XIII pres- a ents an example of similar monotony. a This is the chateau of Wideville tot far from Versailles, te was built by C. da Bullion, whd filled high offices of state 4 under Henry IV and Louis XIII. The plan forms a rectangle of! a littls depth, 30 ft. by 125 ft. wide. At both sides project s small pavilions with round roofs, and the middle forms e lar- ger and likewise projecting pavilion, that rises by a story above the remaining one story stracture, and contains the.ves- tibule with a rectangular hall. At the right beside this is 4 arranged the staifway rising in a straight flight, white #&¢ % the left lies a smaller side stairs. The entire distribution . is convenient and suitable. The building is surrounded by 2 moat, and rises on an island with a high substructure, that flanked at the angles by small towers like a fortifications The extremely high windows, the angles as well au the belts ¢ consist of ashlars, all else beins built of bricks, and the entire buildins exhibits the sreatest simplicity and monotony. — Of the anternal equipment the beautiful glazed floors are to , > i , hk Ae y Hebe Bb dIeg rye Yo nokistin . Lt 4 “#a80 eltircgen eee He welgns ods bi fod d ab paiage aan edit sim jerome + yisenit 0 nabinda’s $ on dotdy bebbo ek ‘ehda y) Of +SORR TE geeddree to atae ~ oh se i on - bia ? > # f ePewrnece owe so Pyoette vest ‘yd ravit : ‘bene bsievey, at: Sifiw sevo M6 ondase gein i mee sit ‘i pevin f 5 en ry gee te yom ‘ S28. Yuc paki {nbon “bor Sotdorce: mane S me = 5S RSS te Peat), ' wee . coors aetats Gyiibstitexat bac peeatet eat Pati. nektarciee “ fa f ie re * os D AN Orn a Sa tae ‘a eae St is) aie ry ee ON a a ee mA LR ey Te ALON Leen tre) teen a BAe Fatt ak Na Gack. he ky VAD Oe Fell MC Sy ie oa ; ; : 3 7 ee eee ee ; Py hole 4 this, which in its abundance of power recalls the Roman monum- ents of southern France. To this is addad that the architectu- ral forms ere rather purely and nobly treated with few Barocco | fantasies; further that the entire building is constructed of ashlars, an advantase which it shares with the city halls of Paris, Rochelle and Rheims. 4 The facade again follows the arrangement given by the city hall of Paris; at both sides are bold pavilions covered by bins 4 round roofs, with the entrance at the middle, over whichsin ss, @ the upper story is a flat niche with the cauestrian statue of , houis XIII, behind it rising the clock tower with the elock, terminated by a rich lantern. great richness is given to the Facade by the relief ornament; in the ground story are masks 4 on the keystones of the window arches and portrait medallions in the tympanums, in the principal story beings crouching lions on the window gables, in the upper story are garlands of fruits q on the windows, trophies in the pediments of the pavilions, on 4 whilh rest the allegorical figures of the four cardinal virtues, — and finally similar figures as crowning the middle niche afd the bell tower, 220 For the interior is an arrangement withhgreat charn, that the — magnificent principal court lies considerably hisher that the (- svel of the street, an arrangement already found in allied i form in the city halls of Orleans and of Paris. The internal ‘ decoration in sreat part belongs to the recent restoration at a considerable expense. - do ne donne Rea “yy Pklecrovics ieapsostidose “obdetice | pot wit: “gaoteons Sid nI +R | Odd eotiiess i$ resend “won: * . t, ~ yee O wet loev. oti Edd Beilies (sisorised al sds Siw dee edd, Tie. exctsé eSE r aaa cnet froe% Nee ent p> Yas | we mt: ee) ix om ft ve ~ oO dank, ta ae Leta 4 Madasteac € al ‘ “a ww ok hake rs; I 7) gw st ™ A Perle Soe 18 aw » ht el ok Oh eel tel WA ow > dad ue gaonse ° 4 eat Ce cor ee Mme ATOR Ti aly a ¢@ ie ate oe Be Sti 279 Chapter IX. Church architecture of the Renaissance period. 95. Its stases of development. In Italy,the Renaissance by the energy of its universality of its sndeavors assumed in its programme church architecture. as well as secular, and also sought to exemplify its artistic ideal in buildings for religious requirements. In the greatest diversity we meet with this tendency~there; the basilica, the nave with a single aisle with horizontal ceiling or with vaults, _ Systens of domes or tunnel vaults, or exclusively with the lat- ter, and no less do cross vaults come into use. Before all the céntral building is employed in combination with the dome, and is developed in many transformations as a circular structure, & polygon, square or Greek cross. From the earliest beginning | goes hand in hand the endeavor to give these works the stamp of antique temples by subdivision, construction and decoration in the spirit of classical antiquity. Ne find nothing of Abisthis in France. After the beginning oa of the 13 th century church architecture had taken with unex-_ ampled energy the material and artistic powers of the nation, and covered the land with such an abundance of church buildi- ngs of every rank from the cathedral to the smallest chapel and willege church, that after this tendency scarcely anything fur- ther remained to be dons. Where in certain cases buildings of a one sarlier time were to be completed, or new ones to be erec- ted, this occurred intirely in the mediaeval manner in that = sag Gothic flamboyant style, that indeed in France developed re richness and ornamental fullness. We have siven in $. 12 examples of these Gothic stragglers, and have found by. them that this national style of architecture remained in force un- til late in the 16 th century. A still astonishius example of the strong adherence to the Gothic style and of its indestract- | ible life force is the cathedral of Orleans, which after its destruction by the Huguenots, by the arransemsnt of Henry IV after 1601 was entirely restored-aeco#dis to the mediaeval plan and in the Gothic styis. It is seen by these facts, that the old buildings lodges longs remained in power, and that the masters of Gothic art were supported by the attachment of the citizens’and church corporations to the styles of the middie SS E49 end oedr 120) Gavhnes fick eit to etiag fis ni eoectedo © ae rife? to * : “von teom ed? $c . ile Mogw sclauccas _ beapoze neve €=r Io eat & : ) elyge at eid to adetdve edt ddiw edegqmoo ot eriugmt ats gnodh . bE edt Qo ee he 7 - . o OSel ssa Cd : = ty Ee my Leth tae ee - amr t shaw Wt ae RS oe r 8 = o x NOR, geneons god | stad eecigs cea eB! Fok toe .benisden gers! ( pabeak | beoives ene Geedd gesol th .ems0d won yd enottonautence f ‘ ab | — ‘ ‘ eee » bow *% 2. ah Oh as te 955 we ee Wh deg ad bas daiebuso Le mxok add edad eclniad? ocd (eoseda? eee + “> & OF Ne Oe oe gore nw = oe me ey “i a ans, ,ticedsento tant bas okie Stiinta syitzoe a rs itg ; er ve ' ) : ¥ eILg E j ¢ BRIO zt a) eneeer eouste "Rk ey 280 ages, and understood how to maintain it against the penetrating Renaissance. | ‘ But when the princes and the high nobility began to erect co chatcaus in all parts of the country, which brought the news style into use in 2 splendid manner, it could not fail that the ornamental charm of these buildings in a time of the most iner- eased love of decoration soon made a deep impression upon all circles. Among the old masters of the works was even aroused tke impulse to compete with the artists of the modern style and to give proofs of their knowledge of the antique. About af- ter 1520 evidence of this can be found in their buildings. Yet bhe antique elemeat but modestly occurred at first and mostly in ornamental details, for tradition was so powerful that not erely the mediaeval plan with three or five aisles, polygonal choir with choir aisle and chevet, but also -thérentire systsn of Gothic construction, the ribbed valuts and the great windows with pointed arches, the buttresses and flying buttresses,were © firnly retained. aut in the details men began to express these ‘a constructions by new forms. At least these are noticed in the interior? yet alrcady occur piées}etkat are decorated by anti- gas pilasters, and the pendant keystones of the vaults go fav- ered in this epoch were treated in antique forms with arabesq- ues and fisure ornaments. Much more sen¢eral is the use of Renaissance details on the exterior, Here the buttresses ars covered by antique pilasters, | and even cofnices ave connected with antique architraves and friezes, tke finials take tte form of candelabras, and the fly- 4 ing buttresses also receive a decoration in Rengissance forms. Mast fully this compromises ne tween mediaeval design and antiq- | ue expression is made om the portals and gensrally on the ent- ire facade, First are the antique details, orders of columns; niches, coffered valuts, as well as manifold ornaments, that quite capriciously are added to mediasval design and lend to | such facades the character of harmlessly sportive magnificence. | But about 1540 a stronger and more scholastic treatment of an— tique forms wins control, and soon men applied antique orders F of columns with entablature and pediment to Gothic constr without peresivins the innate contradiction of such an arranger It is striking in all this, how long prance resisted these inl , or: LA. ele qed eng pea séoeunsvedaten: Sou endd a. ie seve tod wees &) s adh sgetsonds eons nebre! , bas: Zeytesnes ” mae PE wi ah 20 ‘gtanob ‘ ‘Seon esd Score © yedebo7g pained! pexta elds sobs is Fc 281 innovations. ven incRenaissance,chateaus the chapels for a 1 long time remained entirsly Gothic, thus not merely in Geillon (S. 16) and in Chenonceaux (S. 32), but even in Scouen, where J. Builant erected the chapel in the Gothic style (S. 72). on the Contrary it was again first the chateau chapels, that 240 p— ted the severe antique style, and it was P. ds L’Orne, who in the chapels at Villers Coterets (S. 29) and at Anet (SG. 68) brought classical architecture into use. But in larger ‘church- 68 this example was first followed in the 17 th century, and after S. de Brosse had commenced in 1616 the facade of S$. Ger-— ais, soon afterward at the church of the Garmelites and of P the Sorbonne (1635) was the Italian dome introduced into France, 96. Churches at Caan. | Normandy, whose magoificent undertakings in the domain of s Secular architecture, we have learned to know amons the most important creations of the early Renaissance, likewise produces q in church architecture a series of works, im which this mixed transition style is developed to the hishest splendor. The mas— _ terpisce of this epoch, that nowhere finds its equal, is the choir of S. Pierre at Caen, begun in 1521 by H. Sohier. The p. plan shows a polygonal ending after the Sothic custom with a a low choir aisle and a chevet. The construction and form of the a piers and vaults ave still mediaeval throughout, but the orna- sntation consists of a mixturs of late Gothic forms with det- ails of the early Renaissancs, in which the fanciful luxuriance — of both styles unite in an effect of incomparable charm © g In the interior the star vaults consist of the richest inter- _ lacings, and the boldly profiled ribs are besst for their ent— 4y ire extsnt by freely perforated scroll ornament, meet in keys— tones, that in the form of pendants are freely she pena and | are decorated by Renaissance formsin a brilliant manner. Byven greater magnificence is developed on the fanciful canopies of the niches with statues, everywhere formed in the angles of 7 © choir aiske and of the chapels. Theres is developed in them q from a Gothic base the slender crowning in manifold wat a forms by a sportive early Renaissance. But the climax is reached by this excessively laxuriant arch itecture in the exterior (Fis. 120). Since Gothic construction © is here translated entirely into Renaissance forms, es candelabrs ( < EY 4 7 + oS = Fs: ye : P ’ na A bintecent a ps a ieee 5 iq) (eotpicoiteow) eae BE Lisod Yo 7 wit a, eoete 28 seo eoreen i cbene oits foe i: . ; VU aks er Con exidus ed : } e~ me ot ee Barar Uw ~ + > ~ bre star fia an! eiitvoos*! a Sweat ae Lota ordi ae oh te Ww : oostaiell areting ww a8 pea lig yaatddats R he rl We | itt encio: jo a3 tpods Btletnda ts aor on er i ro. 282 or niches crowned by graceful canopies are placed in the butt- PSssés, as the most original plays of fancy form the termina—- tions instead of Gothic finials, as playful arabesaques fill t the balustrades of the roof salleries, and similar composi ti- ons cover the remaining surfaces, the spandrelssabove the wine dows, the friezes and ths enclosures of the upper round windoms, j this belongs to the most spirited and graceful of the entire 1 Renaissance. The composition is free from pedantic severity and here results in an excess of genius, that alone justifies. such creations, is so sparkling with life, the execution is go elegant, that the whole exists as a true masterpiece not excel- led in its way. A second creation of an allied kind is seen in Gacn in the little church S. Sauveur. It is an irregular late Gothic struc- ture consisting of two aisles, that terminates in two polygonal choirs beside sach other. One is a fine work of the late Gothic flamboyant style, and the other competes with it in the ornan— ental forms of the early Renaissance. Likewise here elegant p pilasters are employed externally, and also the entire Gothic system of buttresses and finials is charmingly composed of Re- naissance forms, like a yery sportive parody of Gothic ornamen- tation. This magnificent work recalls in its manner the no less distinguished architecture of mansion a’Bcoville (9.47). . 97. Other churches of Normandy. To the earliest works of this transition style belongs the church at Treport, whose portal is a work of slesant early Re- naissancs. It opens with two entirely flat arches beneath a great semicircular arch, whoss jambs with a aothic profilésis partly décoratead: byznatubalisticsfoliase of the late mediaeval style, partly by shells and scrolled bands in ornamental Rena- issance, Betwoon these two openings a niche has found its place, covered by an antique gable. andiflankediby Corinthian pilasters. The upper part of the tympanum exhibits a capricious filling of late Gothic canopies and tracery. How dimly the masters of that epoch groped about in church architecture between both styles, and then even dismounted the Gothic style without firmly adoptins the new style, is shown i the facade of the church of Gisors. This is a building. of ery irregular Gothic design, consisting nf 2 main portal and sD at dons bax edt. Yo. Ve SE i: a Ges at , ? es me Fen basctaych + ¥ i ~~ ) : oe ae Gala ke hn Ions ered AOFPrane Ab ad De bd om ue be i “M4 ens nc 8B: Fe Rr 8 Wy Paieees eee en S$) tee . 2 4 re r fous Ye rae al ‘ ye a4 7 , a iow Se. Gabe cs : : a as -' “ mae 283 two side dogrways, that are separated by massive buttresses. The northern angle of the facade is flanked by a tower dating from the middle ages, while at the south in a very oblioue pos ition, wonderfully enough a colossal tower rises in the form “ of she. beter, Renasissante;:fhat however remain unfinished. Vita this exception the entire remaining facade exhibits a stranss a and misunderstood mixture of late Gothic forms with Renaissance _ motives. The main portal with its colossal round arch is filled — by) niches between Corinthian pilasters, and in the tympanum is a relief of the dream of Jacob. In the ornamentation of the j jambs of the arch and of the side walls prevails the most won- derful mixture of the stylas. Gntirely without skill are deco- rated the upper part of the middle structure. Over the portal arch is constructed a low arched gable filled by rude Sculpta- res, and above rises a shrine formed like an open logsia betw- een Corinthian pilasters, in its way the best and most ornancn— tal part on the entire building. aut if seen as nerley planted “ on to mask the magnificent pointed window of the middle aisle lying behind it, one recognizes the entire stupidity of the architect, who knew nothing more of the ob@ifermfoand nof even how to commences the new ones. The same confusion appears on ell rae of this srotesque fecade, particularly On the upper story | d the octagonal crowning of the northern tower. This indsed appears absurd and excessive enough, yet belongs with all a améntal splendor of the most wonderful kind. As arthitects are , mentioned 8. Grappin and his son Jean. Rather better keeping — is exhibited by ths facade of the church of Vetheuil. Choir soil tower construction belong to the middle ages, while the sactis-_ ty, sisle and portals were completed in 1533 - 1550. If thee consecration of the church first occurred in 1588 as stated, | this has good reason,for ths upper part of the fecade was maa- ifestly not finished carlier. Ons recognizes this by the more $A severe style in which the antique elements are here employed, ‘a and alrcady the triglyph frieze with console cornica termina tes the main building, and is crowned with a classical podinent, that cannot have been executed before the epoch of Henry II. © Otherwise both on the main portal as well as on the great ioctl way of the transverse aisle, that opens on an elegant porte ths combination with Gothic forms is simplified, and the endear a. eat heli > al te , eiintsebnen ab - fue sm eg waniaagt odd | wonteD Q¢in so et voted oly ow . dense? ars ena de ed me * ance rt 4 185 Ratt /@ siotser B tae DES BO eeidey Fe en care een ae my ’ - I Aly Boar vs 284 is evidently devoted to grandeur and clarity. Yet here also the helplessness of the architect is wonderfully expressed, especi- ally in the niche crowning the main portal. ] On the contrary truly salutary is the sreat facade of church S. Clotilde at Andelys. Here the usdiaevel arrangement is also retained, but with the well understood slements of antique ar- chitecture is so happily combined in such an eminently artistic Spirit, that a great and harmonious although certainly a merely decorative effect results. Two principal stories are enclosed | by massive coupled columns, Ionic below and Corinthian above. . 7 Between the columns remains safficient Space for elegant niches and othsr filling accessories. In the sround story opens the a portal flanked by Ionic columns and divided into two smaller | arched openings, that rest on slegant caryatids. The great tyn- panum has been intelliBibly also filled here by only niches b between columns. Over ail parts extends a luxuriant ornamenta-— tion of partly figure and partly plant forms, and the termina— tion is formed by a magnificent Corinthian cornice with conso- les. A splendid wheel window fills the upper story, below it being a very slesant gallery, whose window openings are enclo- ed by oorinthian columns. The whole is a creation of high ar- tistic value. ee In the same style is also completed the transformation of the y interior. The Gothic arches are seen to rest on piers that are . decorated by Renaissance pilasters; the clearstory pises over , an antique cornice with fluted gorinthian pilasters; and even 4 the triforiun is decorated by antique columns and satablatures, although the windows above exhibit flamboyant patterns. For. t q the time of the building is not determined by the date*1540, 0 that is noted on a Slass window, but the ontire artistic char- acter spsaks for the splendid epoch of Henry II. 3 ; Finally the same developed classical taste is also shown by the portal of the church of Aumalc. It is a composition entire- — ly in the character of the arch of Titus, a sreat semicircle resting on Corinthian columns, between which are placed niches with statues of ansg&is. In the spandrels otherwise soar snsels like Victories, while the frieze is deworated by laurel branch- ~ es .nd ox skulls. A shrine forms the uppsr termination, enclio- - sed by Corinthian columns and classical pediment, within which ~ ¥ pane in 4 ; 4 y 0) 9 jox AUER KONO bee 3% scsete) L *. i. ” cupet athe stdotn 12 ¢, atinotas wh hérearn St. Sed - rk ha sa ie GORE AS » ee oat ‘to ‘ated an ane 4 ike r F, ‘pala oe ” LL eee : okie es shin *Be esitonor aoe =o he a n ebiaioon i wets. “Be repr: Le apes a a vx 4 be Seno #eedats ; Mii 4 2 we > She eek ob e etka stil 64s eile ‘Barer bes! fi ante ail ; pape) i ee LN Lees a teas a Fi OL AEE, any OR AY Pee bie oh ee ‘ Oe AR AL oF 2 ee ‘aoe 1 p "| ie “ti \ AT Pie Me 285 ' is a statue of the yadonuna with knelling angels at both sides. At the angles are smaller nichss with figures of saints, still : @ Gothic sense but crowned by canopies in Renaissance forms, This late exchangs of musdiasval motives is the more remarkabla, Sines the portal bears the date of 1608. « . Very mach rarer are the. axamples of thorough treatment of the interior in the forms of this mixed style. But one of the most remarkable is the little church of Tillieres, that was bailt s between 15438 and 1546 (for both dates are found on the monument.) This concerns the interesting vaults of the choir, that ends in 2 polyson and is covered by Gothic pointed vaults. The ribs ex hibit elegant Renaissance ornaments on the broad surfaces, and the suspended pendants are decorated in the sreatest megnific- ence by little pilasters and niches, masks and arabesques, lit= tle figures, mingled with volutes, acanthus leaves and ever % with some Gothic foliass. The complete character of an already luxuriant Renaissance is borne by the luxurious stone reliefs, by which all the compartments of the vaults are covered in th- eit entire extent. Nude figures im ali foreshortenings and mo- vements play a chief part here. Sometimes these are senii,some— ~~ times fabulous bsinss with busts of women, sometimes srsat mas— a ks with winged beings of various kinds, that with heavy and : much scrolled cartouchsjwork, as well as flower scholls and 4 emblems of different kinds, composins a varied sort. This styis 7 is not merely unsuited to the church in the highest degrees, sl but what is worse --- is inartistic. It is the offensive orn= aa anentation of the school of Fontainebleau grown into flower, here bearing its fruits, and #hab no longer divides the surf- a aces in its ingenious olay, but desires to attract ak ayes in its broad glorification of itself. ¥ | . Extremely numerous are also slsewhsre the church buildings, | 4 which then oriSinatsd in Normandy. Thés: we find on the cathe- f edral of Evreux that the north facade was executed about 1531 by J. Cossart in the characteristic style of this early period. Later under Henry II was the main facades completed in the dey—— eloped Renaissance style. Very remarkable are then on the abbey church of Valmont lyins in suins, the stilted round arches on Doric columms, the triforiums with their Ionié columns, over which is a terminating antique frieze with consoles. On the . ee eS 4, Be, to. esiwoRiat ont. wu3e ‘84 aah at, Mir © Py i ronagenes da Sabiben ent walnzadic ‘rheale woe sed jewerxo consents " Pd ., elt pprcted. gnois-ei ted? yewkt eidd: cl. seegge m bere ee Hetuae. te0 0: : hi) evertacc 2 tn pasate SEE: © stato got “atin eszecit ae ge fick 2s . mate at soltoga: ea sovat CB aGi ted seetnc _" eee: pew dosan Pa yee ia Aednenehs . ois 6ved B: Pie ROI ons Fess r a. Th ry he te! thee WS S#: xbe opto Bees ‘Be the .- te Gee ak olen PmGX eT yi ppodotHAe Saas G SSC carsoa a" , 2 Wey ay 286 | contrary, the triforiums of the church at Pont-Audemer are Go- thic; but otherwise the mediaeval construction is animated by luxuriant Renaissance ornaments. How singularly does this mix— ture of styles appear in this time, that is shown before all : in the interior of the charch S. Germain at Arsentan, in whose } choir aisle the two story piers decorated by Doric and Ionic columns contrast very strangely with the ribs of the net vaults with their mediaeval sections and their luxuriant pendants (Pig. 4240. .ihn Se Nata elegant decoration of the hishest rsfinement is exhibited by the church of Notrs Dame de Pitie in Longni, built 1545 - 154u. particularly rich are the buttresses with their double nichss and ornamental terminations, as wel] oe the charming main portal. On the contrary the interior is sim- ple and there ere especially absent the keystones so favored a elsewhere. Asa@in the church of Almeneches near Argentan, that. } was completed in 1550, shows this peculiarity richly employed. How there still frequently mediaeval and Renaissance there jos-— tle each other is shown by the church of Mortasne, which was completed in 1535 in the Gothic style, but received a Renaiss- ance tower 7 years later. A developed facade in the new styles is found on S. Marie at Caudebec, while S. Remy at Dieppe, er-— ected 1522 - 1531, combines the pointed arches with Renaissance PHBLNS: S. Jacques in ths same city and of the year 1535 shows | on the exterior the buttresses decorated by ornamental shrines, q nev on the contrary in the Ramee the vaults have rich pend- j ant keystones. Sometimes the high tower over the crowning gen- | erally common since the Romanesque epoch,in the interior is a brought under the sway of Bhs new style; one of the most rem- q arkable examples is S. Pierre of coutances, whose central tower : is elegantly subdivided by the orders of antique architecture. The upper story of the masnificent lantery was only completed under Henry III. 98. Ghurchss of Paris. , q The city of Paris in alliance with the Sorbonne during the a 16 ta esntury played an snergetic reattionary part in all spir- ~~ itual contests, especially in those of the religious domain, and this is expressed also-in ibscarbisti¢cundértastagsss. The _ numerous and important churches, still entirely erscted in the Gothic style in this epoch, have been mentioned already in $.12. 7 Spe ) ei, uEbLE ud Yo ever ° ue ered oes fe tant “ cispate. enntaes ». Penseron! yi _Beogeace Baw ars Eisoo essiis en stz00 itis 2 ) gaksorg 90 _ btsegae “edie. Yo ebnses Sek: bee nelg. Al .e: - ttodo faaody! » xfevisesoxrs tatelzenss et sedating fon 2 igh iia te =m | ~wi83 Sof ab ee joao ne og g alessea edd > wee Ale Tow qb Si 39 sakotba bk cu ‘ > 10% eupica yet ote ‘ ris a ke) Pee ee (oot) ‘wD Os. 7 Rs Ae 287 Meanwhile the love of building of francis I still had so mach infcuence, that also here under his reign: some churches origi- nated, that bear the stemp of the new time in a very prominent manner. To these first belongs S$. Etienne du Mont. peside the old abbey of 5. Gensvieve had risen since the 18 th centwry 2 parish church, which at the end of the 15 th century urgent- ly required enlargement on account of the sreatly increased number of psople. But first in 1517 the building was commenced and in 1537 was completed the choir, in 1541 the altars conld be consecrated, but still in 1563 the construction still cont— inued, and the facade was first begun in 1610. | The church presents in the interior a wonderful compromise between Gothic and Renaissance, yet so that the latter appears only on the balustrades of the galleries, bhé beaded rounds of the pier capitals and similar subordinate details. In.plan ahd construction still entirely Gothic, it shows 2 polygonal choir with aisle end chevst, a high middle aisle with excessively high side aisles and low chapels. The impression is unsatisfac- tory, Since the misproportion of the heights is not suitable. The round piers in the choir are connected by pointed Gothic moulded arches, that like the broad ribs of the vaults start from the shafts witaout capitals. In the nave the advanced Renaissance is expressed in round arches with architraves, th- at however more unpleasantly contrast with the loft arrange- ment of the building. A remarkable arrangement is the plan oof a se that as 3 beaten at the midheight of the middle aisle connects the piers and i Rey around them at the back, . affording a communication around the entire building. The Goth- @ ic star vaults all have pendant keystones, very elegant in open work and forming the favorite masterpisce of the entire design. In the other hand the windows are heavy and broad with § ugly tracery, the upper being pointed, the Lower round arched. | Usly is also the rood scisen with its flat arch and perforated b winding stairs. (7). On the contrary the portals to the choir a sisle are elegant pisces of decoration in Renaissance taste. q In & word, it is Gothic become mechanical, which seeks to deck itself with certain antiaue ornamental parts. ; It is otherwise with the facade added after 1610 (Fig. 122), Its steeply rising general form adjoins the nave, but seeks to employ the elements of the antique for divisions yee ornamentation fos vy! ea! tee oe’ ot £ Be heise suet ld istevee e pai eae Teed ower hn a _ fakganised | dhe siento vidos 2 Hs t s i Gi ww &b4 Pei | Teh ge hes wb nd yostneie 7 . ~~ nm oe r,t 288 That has not been executed here in an entirely scholastic way, yet the interesting work can be regarded as a path-brseaking precedent for the soon afterward occurring severe’y antique f facades. It is characteristic, that the tall windows according tn mediaeval custom are retained, and even the wheel window f finds acceptances. The middle part with its elegant Corinthian columns is inode 1’Orme’s“French order”, and the richly ornea— ented pediment with the second curved gable over it, all parts being covered by tasteful ornament, is evidence of the endeav-— or made to adapt the antique system to church facades. Of much greater value is the beautiful and great church S. Bustache, the richest and larsest parish church on the prisht bank of the Seine. It was entirely rebuilt after 1582 under the direction of a master David, indeed beginning first with the nave. The erection ppoceeded slowly, the choir being first completed in 1624 and the whole somewhat later. oa Likewise we fiyd here 2 strictly mediasval plan, that was adhered to with rars consistency in such a lete tims, and #as carried out on beautiful harmony. The interior exhibits impor- tant proportions and that tendency to too great slenderness, 4 which again breaks oat in the late Gothic art of France, Tae | middie aisle rises little above the four high side aisles,but 7 has a complete triforium bensath its windows. how chapels enc- qq lose the aisles and continus as an aisle around the hish choir. y The impression of the interior is extremely light, free and s satisfactory. All devslopment of forms extends in the round arches and in the finest Renaissance style, that are ornamented by rich Renaissance forms. On the exterior (Fis. 128, the buttresses and arches, corni- ees and windows, the sables of the transverse aisle with their portals, are entire translated into Renaissance forms; but th= ere is wanting that inspired free treatment of S. Pierre at Gaen, and instead of it appears a rather Barocco classicisn, thet most decidedly suffers shipwreck On the flying buttresses and the windows. On the contrary, a beautiful and very effect- ive composition in rich ornamental sarly Renaissance was the principal fecade with its three portals, that later and while | Still unfinished were torn down and replaced by the architects | Mansart, de Jouy and “orsau, by a clumsy work entirely unsuited poe a JG i a / Ae } ch HoPaw BAS bnths: awe & 0 ee ee iyhete: 212 “nan é erw Lise sikers ee Se SY “ 1 ide bas ie - o¥bea edt ci PA LA m ae 0% Bae OF Segnace sates uote , bag TIRY Nats ‘Ba bass a areata . 6ai > , Soman ~ whe he & i. 289 to the rest cf the building, and which is now seen, 99. Churches in Isle de France. Of that attractive mixture of mediaeval construction and plan F with Renaissance ornamentation, many examples are presented by @ number of churches in tehe province of Isle de France, then again so active in building. We name the church at yontjavoult with a portal in splendid early Renaissance, whose rather heavy and wide coffered arch rests on a wall with ornamental niches enclosed by finted Gorinthian pilasters. The whole is flanked by freely projecting Corinthian columns like 2 triumphal arch and presents @ very original composition. The most intimate mixture of styles is shown by the choir of Notre Dace at ba Ferte-Milon, whose Gothic windows exhibit very lete vertical { tracery, while the subdivision of the walls is effected by Dor= ic pilasters and a high frieze. The number of the year 1568 proves how late this mixed arghttecture maintainsd itself. On the contrary S. Aspais at Melun was built after 1506, end still entirely follows those churches that are entirely in the medi- | aval manner, but in details belongs to the first changes to Renesissance forms. The same is true of the church at Monterau- Fault-Yonne, thet in 1584 still shows the same mixed style, but with a stronser addition of Renaissance forms. An extremely el- egant facade of the new style, luxuriant and richly executed, we find on the church at Othis, ahose portal is decorated by Doric columns and a fine trislyph frieze. The buttresses have a fluted Ionic pilasters an ars no less slegant and splendid. 7 yg The building was first completed in 1573. Similar treatment is | shown by the @aurch at Bric-Comte-Robert, except that here prée- | vails the Corinthian order, which always indicates a somewhat earlier time. Entirely in the Renaissance style is built the church at Etrepilly. One of ths most beautiful examples is the church at Belloy, whose facade originated in 1540, and is’ now attributed to J. Bullant. Here belongs also the church-of Sar— colles, somewhat later and simpler, but treated in the same spirit. About the same is trae of the church at Villers—le-— es Bel with its antique buttresses, likewise desisnated as the work of Bullant. It bears the dates of 1545 and 1550. Also a considerable number of church buildings all bear the character of Bullant’s art stwle, as S. Damian at Luzarches, that at ig -. ee ct Pest oro Aeqios id’: ei oe ov bbe +r ed het oT = ; M0; 70820, bi c ‘Ss: 833 | eepteecen ¢ en > Ww ee peppntdiicd Stas basteos we We 6%) An or, ‘ ee oe | J U #es oe es bauer Se ee ee ee ee Be ee hy ‘ f a ey ; t 290 Gousseinville from 1559, that at Isle-Adam completed in 1587, farther those of Maffliers and of Mesnil-Aubry (about 1582), so that one can at least recosnize his influnce or his school in them. Of himself it is scarcely to the thought, on the con- trary. Tke building last named in spite of the late date of igin still shows pointed arches on Doric columns with entab- iature and high frieze. An attractive building is then S. Maclou in Pontoise, where the northern side aisle was erected about 1525, and is attrib— uted to P. Lemercier, who in 1552 received the commission to complete the tower, From 1556-1578 was then added the southern - Side aisle in a more severe style. Somewhat earlier, from 1548 to 1561, were built 6m the church at Magny the southern side aisle and Bhe transverse aisic, the former with Ionic on the exterior, the latter with half columns of the sams order on pilasters instead of buttresses, The windows are indeed spann- ed by round arches, but still have Gothic tracery, though of very ugly form. On the transverse aisle rise two ornamental a i additions like gables with niches, enclosed by Corinthian pil- asters. These parts are attributed to J. Grappin, the architect q of the church at Gisorsa To the same master is believed should ~ be referred the church of S. Gervais, whose portal of the year . 1550 was erected in a very elegant manner like the antique. : We find a mors severe facade of the year 1549 on the church | 5S. George at Villensuve, and particularly remarkable ars the - two Doric side portals. | q 100. Churches at Troyes. . a A devastating fire attacked the city of Troyes in the year “4 1524, and destroyed entire quarters of the city afiidiseyen thur- thesyogivingiopportunity for niw buildings of all kinds, that :. in a general way came to benefit also the church buildings. Troyes is still ons of the most attractive and ancient cities of France, and therefore presents a series of church nonuments, in which the mixture of the Gothic styls with the Renaissance is variously expressed. Mostly located in narrow and crooked streets of i denssly polupated city, these buildings ars of moderates ent and in their plans exhibit intesestins experi- ments te pte to the needs of the church in conflict with the extremely limited conditeitions nf space. Thus for example side te elbbia ets napa | * 2 6, ip Saris" vic eneig. ‘fako3 - > Stivas bai saduen ‘” ae ors: x i ot betove! HD $790 ol ets) ay pt ed 3s u 1g, ‘bate? oiddot fn 2 evan dd to (vrelisy gasort: etd to estwodid étoq iam on: eae ola qidazs iY eS hin oe! one is dot Son TN Og fe > *.6 38 a6 . v pate expees au Bid 2 to ageience as yaa , . Ce cai edo fas pbasé i age ys 7 + m4 — 0: “A a. isa: 55 det Ban eee a ae an ere: oa are 7 pepe iikioet * onkh | at Ym. me Aa ee od . —_. Tete ge] “4.4 ~ a ge tet & ome ye o int Gue& — Fore Oo om ni a nd My teerte ot 291 the choir is éften rectilinear , to utilize the entire depth» bo the next street, but in the interior the middle aisle also ends in a polygon, and the side aisles with their chapels, wh- en these exist, seek to combine the rectilinear termination F ; with the internal polygon by means of artificial -plans of vaults. Such is the church of S. Nicolas, that was-entirely rebuilt in 1526-1600. It consists of a hish middle and two low and nar- row side aisles, all with rich star vaults, that are decorated in the choir bays by luxuriant perforated ornaments. The point- ed arch still prevails in the arches of the choir, while the . nave exhibits the round arch. Most care was here devoted to the windows, for their great round archédcopenings are filled q by bracery, partly consistins of ugly late Gothic forms, partiy q of dry Renaissance motives. At the western end of the nave a great stairs at the south side leads to a nasnificent gallery, whose srand arrangement is truly astonishing. Likewise on the exterior are mixed the two styles, and of thé two main portals ; at the north and south sides, the former still entirely belongs to late Gothic, while the other moves in the tolerably free a | fanciful forms of the Renaissance. | Still nore strongly does ths Renaissance with its rich orne- mental forms grapple with Gothic construction and plan at S$. ie aleon, where the interior has a very picturesque effect by > abPupt alternation of forms. The church consists of a high die aisle with narrow and low side aisles and chapels. As . at S. Nicolas, the ending of the choir is entirely rectangular, 4 et in the interior has a polysonac or rather a semicircular a ending of the middle aisle. In the arches, vaults and the win- dows of the side aisles still belongs the Gothic and the poin- ted arch; on the contrary the piers of the middle aisle are treated as colossal Gorinthian columns, that produce a discord oy their broken entablature. Just as ugly is the wooden tunnel vault by which the middle aisle is covered. Likewise the round arched windows of the clearstory with drm tracery in Renaissa— nee forms are distasteful in effect. The exterior is character- ized b: hri rich ornamentation of the choir in late Gothic forms. Of the portals, the southern is still a work in Gothic, while Bi: the northern bilongs to the developed Renaissance. 1 On the little church of S. jean the nave was Peft substan : ) ; “s, el a bye j 4 i f ot naw a2 bod ots russ ett iste F rotsth mt WN aia Sioa: 80 “basona afoge : awe ine em «ah oy ale Nines wo . at a a) 019. daonis (ise Byersed : f oR ay od ee i aeer 4 ca eo) otasts. hme * » He * » ifie Of Aa , ebaoat Me) = me + 4 ti a4 etndon sieeb 6 ,a7esesiia wsiy , Z353 Ao i $e% tet ale on > et s2idinai me | % Baus sit nS ef un > =] edad » eon oh SiOFz es ate oa & 2A wee nee om we Ae et he SH “my oheackde & VW aes fe ae ee me be wie ‘ ; to be: tam -yigui -golgagexe soic gaiaselg oc¢n ani ag fovorn ext 3 yee hah noite loa pees, at baa th 7 + > wes yr as er ‘ 5 av. a en Dol - SGu wa B44 ee to, acigond Stags tee & oe $ eaRe BES. vd se idea hd “ ~~ —_— 8Oltsv: 295 by the elegant facade of the northern transverse aisle. The h high and narrow gabled structure is flanked by polygonal towers and shows in three stories a decoration by Corinthian, Ionic and then again Corinthian pilasters, a magnificent cornice with consoles, an slegant portal and finely membered niches, all ex~ ecuted in noble and fluid treatment with good artistic fesling. It is one of those examples, wheres the form of the antiaqus is mere decoration, but has taste and refinement and is adapted to . an entirely different mass of building. i These isolated examples to which might be added many others, suffice to sive us the model of a little village church of this time. This is the church at Chambord (Fig. 90). The otherwise unpretending building is characterized by a facades, executed in the light and graceful manner of the time of Francis I, Al- though merely a decoration, it still is in pleasing proportions, an unusually happy clevation and the graceful execution is for consideration. 102. Towers. The less the Renaissance in France knew how to commence with the interiors of churches, the more immovably the arrangement and construction of the Gothic maintained itself against the a now forms, and the mors zealously occurred the endeavor to en- 7 sures to the exteriors of the churches a part of the expression a cf the new style. This was the case already on portals, facades and other details, as we have seen, and this attempt reached its climaz on the towers. Independent works as they are, at 7 least in their uppar construction, they easily allowed then- selves 60 be treated according to a definite system, and pern- itted the dscorative use of antique members in a tolerably free, indssd often in @ very successful manner. The plancvand constr— . uction then remains mediasval, in so far as a system of strong buttresses and lighter filling walls opened by sound openings formed the basis. but meanwhile on the separate storissnwere | placed the antique columnar orders as a decoration, and by | a boldly projecting cornices were obtained sharply marked horiz— 4 ontal divisions, and instead of the unbroken extension and dim- inution of Gothic towers was opposed that more pleasing moven- snt by caythmic divisions, which forms ths ground principle of ths antique elevation. Frequently the solution of the problem is unusually happy, truly artistic, and in such cases one recalls 7 ¥ a i 20 wal ® nes ish t - ¥ 4 n seo ttaae. » % ; . 4 a : : t : sae ed «24 Aéfatt bess & “eng: ‘Qo rolts ; ec. veaeo San baat ° ao exci? geeeng" toc! 6 % tue mt: " OMe - i eo mee ok Gees ok “ aso) Hebt Blsetl sieos hot: wSointco eid! pioo etteat 296 the beautiful towers of the Romanesque time, which follow the same law of horizontal division. : | But the most difficult point od the problem is found in the termination of such towers. Against the slender spires of the. Gothic time the Renaissance has an easily understood dislike, — that was seen in the deliberations on the completion of the ¢ tower of the cathedral of Rouen (S. 78). As in that case men sometimes decided for a flat terrace roof, so that the termin- ation was made horizontal.in the antique sense. Still ths old custon was still strong cnough in most cases to make a more . | slender ending desirable, in which the aspiring tendency app- : eared and provided an artistic sdhution. Yet svin. here the an-— tique convictions made themselves felt, so that iz & pointed ! gable roof, but a softiy curved iins of a dome thus came into use. The most beautiful ekample of such towers is indeed presented : by the towers of the cathedral of Tours, whose northern one was already completed in 1507 according to an inscription on the ‘ keystone of the lantern, which the southern was finished ini i547. — Still Romanesque in the lower parts, they exhibit above the nave -ix elevation in the splendid forms of the Renaissance, indeed | in the most charming and piguant way. Orisinal is made the tran- sition to the octagon, when at the four angles stand elegantly membersd piers, from which flying buttresses extend over to the middle structure. A perforated gallery extends around the base of this story, and a second one indicates the besinning cf the néxt story. From thence the structure diminishes, concluding with 16 ribs like a dome, then later rising vertically like a lantern to finalln end’ with a little dome. Ths decoration is of inexhaustible variety and full of graceful invention. The . antique forms, fluted pilasters adorned by lozenges or arabes— jues, the cornices with their dentils and consoles, the friezes | witah their arabesques, the vase-shaped additions, all is empl- oyed in a spirit of fres genius, and likewise the mediasyal el- ements are freely combined with them, the coffered flying but- tresses, the luxuriant crockets, that are added to them as well as to both domes, the sound openings with their little dividing columns, and finally the water spouts of the cornice. To theses are added free sportive motives, like the 8 little columns with caps likes vases, that surround the lower dome. In brief, it is Es ae a Reh ll intiogs? wiuae to -an0. abeeet ai3 od 9 fobs ea eae enieinc? to Eeodon sat 'dodde ett yo ‘denos ddaom edd scdtscY .eonsecianss rine I sagetbttad to tedaun {lesa edt oF egacted ot2h vines pseomest wt sgn o@at enso sesh? eonesefenoh: eat OM Sx negnoige # s2n900 yeu tratsogak egol on 6 ot. er ces 466 20 etenot, eds .olgeare saddens of node $ ot Snole® yisrkiee nofelvibdse bas nolo ect covodtia oo Ieupe taomf. Yo elsdnoqytdhis sem? seek oh a.qeoh yarm se otal sedow feect soteutes al. cage yo dad ,eepdede avin, eedoin ni femset ose el lew’ picks fme nrettoo bedssit yisoit deiw muro? Loney a eas Sotacyo io sebi edt 2i Leatsiaoe yasV stokieg o g2O0. ong otegashl daisvota aii tady oa .erob 2 sAGs : @ mh piota, seuel eid? te. neiteactmed, Lasrog iron Miee tach eng. (oe! HEE) ompWod) tlt Yo gaodmem Abt AE Rad nb sete ce lite deere dtin Seyolqne sie seugien, Te Seeneeeet eo? .iebox 2 ac bohsages ed ned 2uihl iad’ edt dopey. capa 4% gaat .ntedusl fencpedco Ileme s yd bemted of Meader Bhaobt gas to iveq est .yxose togon oid wont ybtoa. mateosioinse baild dee13 ¢nd enote vetsoste amd, net ies ego: nwa: Io. soiganimies # 2& tod vison) ob ie efbbin eid to elds sdf dasm od easafeo sees Gal 20h 21n sonei? io vtonivesg aeido. ot Pines | “eet Vd svode si elqarxe guiseowstni ah sevonad ny Hi 18 _ Pugh. ods asits e1eD eer ta, | REM of a6tCBRUsi | te tod saqwed shdtod edef s elete cerevensct eds ac sends ee et by & i iw aw abot ‘bbensed ve: aces souoh a ai ebno votdw eetiore teqqs Lenabaton ‘one. L$veds enculcd natdtatsoO déin exetesfaq yd bobie ks ae exete. ve ferostic ab slgmefous edd nost coitiedest gdh. : waReigneh ai tod, (aniceet faveeibes nf) eseaovsiad: bik: eo oct oe gebe sibbim) edt gost eyneio esd aeingooe: ef . eds. to Aston ylotedn & .bts08 fo dogode detasg odd co ca hou pows to doupdo sit to. grthiituden edt te sogt doo ose bs ud nsked: nem Qrbee cf Bewwsterss? oxves ‘gondtia | aed asad soutien edged RSV’ od! Oto dkined Jostacgmi gh: Sa sadeem Lercver extn cody aehoy ,BISL to .oed ot sefesa AN pe bse nea eae ale at { i er 63 ot Eedootdea ek shaost taeay sritns edt.) | aene. seingqueioes reteetd S,ebnata cheoes? ed? to ae aig tnex iS bap tocesdaraah sdaon 26d Bedndore ytio of Ye ASK au ye | ae ” 297 again one of those fanciful and highly original crsations, in which the school of Touraine was so rich at the tims of the carly Renaissance. Further the north tower by its unusually early date belongs to the small number of buildings, in which the Renaissance first came into use in France. In @ no less important way occurs a stronger antique concep- tion in another examplis, the towers of S..Michel at Dijon. Here the entire great facade is subjected to the Renaissance style, althoush the plan and subdivision entirely belons to the midd- le ages. Three nighty portals of .lmost equal height and width open in serrate round arches into as many deep porches. Their wails are formed in niches with statues, but the vaults are in tunnel form with freely treated coffers and rich ornament in relief, Very original is the idea of opening the middle vault like a doms, sco that its crowning lantern projects beyond the horizontal termination of this lower story in a wonderful way. In the members of the towers (fis. 125) the four antique orders of columns are employed with sreat skill, so that in this res- pect the ‘buildings can be regarded as a model. The termination is formed by a small cctagonal lantern, that freely rises dir- ectly from the upper story. The part of the facade between the two storiss shows two sreat blind semicircular windows with tracery, but ds a termination of an open gallery between Gorin— thian columns to mask the gable of the middle aisles, Likewise in other provinces of France are not lacking Renais— sancs towers. An interesting example is shown by the church of Argentan in department of Orme. Here after tas Norman way thers fises on the transverse aisle a late Gothic tower; but at the north of the facade stands a greater rectausular tower wita two octaganal upper stories, which ends in a dome. Then are divided by pilasters with Corinthian columns above them, and the transition from the rectangle is effected by piers and fly- ing buiteesses in mediasval fashion, but in Renaissance formsa We recognize the change from the middle ages to the new style on the parish church of Bours, a stately work of the early ep- och. When at the rebuilding of the church of Brou the parish offices were transferred to Bours, men began the erection of an important parish church. Lb. vag Boghem was sppointed head master in Dec. of 1514, under whom were several master masons of the city executed the work. Arrangement and treatment plain- 3 & Aas 08. 953 stan! Re cod ‘edt. BL 3st ot Beth bfeds fog! otentoc ak eis ee bd tind ad Kk be eine 2 Apis a Ce. ne per ot Pibe hs ad we & i. kh? re ee a . a a * ae te Be Se a ed " i \ 298 plainly recall the church of Brou, only that all is made Simp- ler, changed from the princely to the civic. The high middle aisie is there accompanied at cach side by two lower side sis-— les, all being again covered by star vaults, except that the proportions are more slender than there. The choir has five sides of an octagon, also free pendant perforated keystones in the vaults with a fantastic effect. Skilfully wrought. choir stalls with great figures of saints in low relief on the backs: exhibit skilful treatment, and in the ornaments are again infl- uences of ths Reneissance. He see here 2 wavering between Gothic and Renaissance, yet the latter has finally attained the victory by a very stately | facade with a tower crowned by a dome. Indeed there still play mediaeval ideas in the form of the portals, particularly in the i méembéring recalling Romanesque portals; but the three systems | of coupled pilasters and half columns, that animate the buttre- esses, as well as the octagonal dome Shab terminates the tomer, | entirely belons to the Renaissance. On the southern portal is read the date of the year 1545. A composition of an original stamp and executed entirely in a classical sense, is then shown by the tower on the facades of | S. patrics at Bayeux. The substructure is flanked by buttresses, which end in Doric columns. A cornice with consoles forms the : termination. Then follows an upper story with Ionic columns, that includes clearly divided opsnings for sound. The tower t then diminishes first by a story with Corinthian pilasters, ab- ove which rise two round stories on piers and opened by arches, crowned by a dome and small lantern. This is a successful exp- eriment to competes with the diminationsin the elevation of G Gothic towers. ! To the most original of these buildings belongs the bell toyw- er of the church at S. Amand. (Nord). The facade rises as a mighty mass in five stories divided b: systems of luxuriantly dscorated pilasters and columns, also by strongly Barocco nich- es of the most varisd forms. Bold projeotions at both sides are crowned by octagonal additdons with classical endings, while on the further reduced middle:cstracture; rises:an octagonal mass in three stories as & massive main tower, first endings in ad dome, then terminating with an upper part. The sntire building retigte pata to Sigqgize oa svig: ‘cals on ylisakt” a ovodh shotgeten0 ta dety pboiisy .2 dowdo, edt. to r8wod ‘0 Onttareque [snogedpo ne esely yeete Legioniag ofdt im weseeianch evitioge a torqusde ed? eved ascot ed? .eaok ee ') geleqedd s8er zeigt ofoa neve baa Laotessio etom s ot) nottiesss? ed? efal ¢ wih o¢ eldiezoq. san th dofdw ot .elegedo ylaeleoidasg ets Ledd Yo notsioarsenco bos agiach edd sort yftaobueg | ptog eta cacdd snows $eY .enact won of niasia of fae ae): . ecivia oolvianary bexitn bedkeoash abd te eavitsinenougeas Raideetsint geen add of j doyseifem .ewoda aidt ef -weiv & aevdy S8L 2528 cee ei dows Eanot odd tnd jewobate saz fg.gnetine 90 teed etfony edt to edia b9b [nem S ibelguee xd hedzeggas age gedit .cesnteidates bos i nt fue baisneo ed gon yidadtra ‘Binoo tedt sonny BEG asec ® enoissocorq [feme s8Iont eomonsd ered ene LS0Rey. 220% Yo nolsaeegxs odd fs8-faratno0o. tnagpt¢ a post at qaete Isctkiso yidgid to goktiaogmos & # fi tne een seat .(NSL 8k) semoh va atamof® .2 to lecads setsett 6 ei tT .nekfet bes Casi eco Bio ka to sosiqeal peda baived yrote) beeoss) ots) ot) (dors Jedenigt « sitl 8 et evoda sateego atshse yaots [cqionizq eat . yer . BE ssitsirs Belqmo® -enetq no dote na dtinv gebia Lip vt notisainie?, sat ykoled: bas svodse exsiq edt ebivit : fh mi antl ‘i RY ya Reathlind nqncel eaedd goome betab saciiase of? Yo: 200 vabhdan: sideraanan “a begolevsh evom. [Less°) Na ba4 Rereee (te ih hie du Ie ae apa ar Rotel ooh gehi€o biheogue: ios Gi Se enc. ae | | 68a nk Beseigacs, tarts agdscozel bur } seouse4 disitaes of entioocy 46 tedd crewod yaks gf beans Baa svetnel noqo ce déiepotteataved ,acicode — my anigenge fesever yd homz0% et soaseéianes edt to joom | | 13 ybssils edt to eelqaexe af nlycw. Intscasg ysev ast 5 olde ha outed ge eenposh .2 at Legeds eiteil a anedted ” es: sfinev edi fo neoltonatanco .nalaq add enimreted hepeoio ecodwm gave: ,eddet supitns as yw sbie dcac te. eb dP vectzore bensqgo° ows cf ovetas!: Istaenanio ss 308. xv! eignoo fae vissng: ot mt to ss hah Isoleaale edt sok ay. an ae »beeee. @ feabesiso ead si eioest tf te Loqado, fnaptttenes - Ae NN Oe ie , . yi y \ ‘ < 299 ‘is one of the most imposing of its kind, truly Flemish, dry and luxuriant, first completsd in 1633. 3 Finally we also sive an example of those mighty Norman cros- Sins towers, that are peculies to northern France. This is the tower of the church S. warie du yont at Charenton. Above a Go- thic principal story rises an octagonal superstructure in two Storics, terminating with an open lantern and crowned by a dome. The forms have the stamp of a sportive Renaissance. 103. Chapels. ‘ _ The transitiou to a more classical and even scholastic treat— ment of the Renaissance is formed by several smaller works, p particularly chapels, in which it was possible to diverge inds- pendently from the design and construction of the middle ages and to attain to new forms. Yet among these are not wanting of- ten very graceful works in examples of the already frequently described mixed transition style. To the most interesting representatives of this mixed species belongs a little chapel in S. Jacques at Rheims, of which our Fis. 126 sives a view. As this shows, mediaeval motives still Setermine the plan, construction of the vaults and the form of the windows; but the round arch is everywhere used, the Gothic moulded ribs of the vaults rest on antique abacuses, cornices and entablatures, that are supported by coupled Corinthian col- umns. What could probably not be carried out in great dimensi- ons, here. becomes in the small proportions a both graceful and piquant contrast and the expression of frac grace. A composition of highly original stamp is then the little chapel of S. Romain at Rouen (Pig. 127), that was built in 1642 in place of an old one that had fallen. It is a little building like a triumhal arch, in the ground story having merely a door- way, the principal story again opening above as a rectangle at all sides with an arch on piers. Qoupled Corinthian pilasters divide the piers above and below, the termination being formed at each side by an antique sable, over — crossed roofs ri- Ss8s an ornamental lantern ia two opened storics. It is indeed one of the earliest dated among these lesser buildings, on wh- ich the classical world of form is purely and completely expr- essed. Still more developed and thereby more richly exe cuted is the masnificent chapel of S. 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Bes S$ $ta ict davesitbes af $oide tats .stoenécagace Bona th dec 2020 otenpe 2d sfinn yea? ssofous, eo0%s # bac BSI tucds sacannekes siodw eat. .sch olvdil aixd ee . ait baa teagele t aeare! add ‘ebised bieiaess Resseny ae pt seafood zd 088 ek tt ceusosd yloo vad? mort eqstlit sl .sodal fons 7: ‘te eind Efe-. vdbifyde bose dfiesv Escogeto0 .nslo Lat ©. cagaeist Goylgiss coined se oein bedelnzs? ted cotteceds...” g enp hice ener odtiad boynelod eidadony agarfoo sigag ee - omg ” ee otudn %: wi 4 goon fof nen Paes eone78 = oels “AN 010 bed poneeriesss® © apeeses folate vs _— taemever ‘Rat to aot ee .tise BLi wry Y44 ae . SAL i. ime Ul 4 ATMS: ee 24 )/ ot Lted eyed. pent 7) tp 5 suid atseges ap dolday 4 | & bi XY s pi! Bs at ct Aa~te ob we ed ~ ws las . omod ont areien? Bbewolfo? nacd > ee 22) ohe Bio legs atte 4 ~ Hee " sets Wy 3 ec kh ona ove arsaloe svede , Peace to ding to 46 sbac ae ad 2 a >) | tnd elds. batces: fo bas eolinegnso s. ie teeap 8 ro baddail yitsebuuda | bd ldxe Hy or : ; sy AY 302 built. On the facade again appearcthres orders of columns, but they have exclusively corinthian forms, that in combination w wilt luxuriant ornamentation, especially on the friezes, intro-— duch that coqusttish style, which is cheracteristic for the J Jesuits. Their love of pomp was especially weil claculated, for they sought by all means to corrupt the sense of the people and to win them for themselves. In other directions these churches became epoch-making. they were the first in France that added the dome to their nave, although not in | prominent manner. Soon followed therein the little Garmelite church in Rue de Vaudirand, that however was still built in very moderate din-. ensions. Thereby was also a path broken also in France for the truly sreat and crowning ideas, which the Renaissance had cre— ated for church architectures. In the inexorably strict conseq- uence of the Gothic style, in the sreat trend of ibs movement in height, the dome still finds no place for itself. The Roman- esque style could adopt it and use it for beautiful effects; yet where it occurs in Gothic, the organism always suffers and the harmonious effect of the whole strictly combined together. But where it has full justification, indeed comes to the high- est artistic transfisuration, is in the church architecture of the Renaissance. On the effect of the buildings indeed depends not mersly the understanding, bat far more the imagination, t Ghat wita full risht acquires from every artistically treated interior a definite expression. Who can deny the wonderful ef- fect of the interior of a Gothic cathedral like Amiens, Rheims, Tours and so many others. But who may eStimate as less the im— pression of S. Peter in Rome, the expressions of the smaller and more modest domed churches of the Renaissance in Italy. Where these works have something chilly in tha later epochs, this comes almost never on account of the proportions, the form of plan, the exterior in generally, but only from the neasly al- ways monotdnous or overhoaded form of the details. Thus with the dome was also intriduced the first nore import— ant structure of this kind, thet arose at the ordsr of Richel- isu after 1635 in the church of the Sorbonne (completed 1653). Lemercier erected this building. The dome is accompanied by f four little campaniles and rises over the crossing, its drum being abundantly lighted by 8 great windows. The fagade of the charch exhibits an order of Corinthian columns, above which | ‘ vag s < 4y e | iat a eS etatecs Barns wre hind ous i Go6k toga s4: re wh a ye ¢ swonades put & shdiaia ¥ . L > am Ore wan § 303 rises a likewise Corinthian order of pilasters. A simple pedi- ment forms the termination. In more important dimensions was erected then the dome of the monastery of Val de Grace. Anna of Austria during a lons child- less marriage had vowed a magnificent House of God, im case she obtained in heir to the throne. After she bore fouis XIV, she fulfilled her vow and in 1645 laid the corner stone of Val de Grace, whose church was built from the design of F. Mansard. Yet it was pemercier, who erected the greater portion of-the building, and only efter 1654 was the dome completed under P.. Lemust and G. Leduc. The latter had made his studies in Rome on S. peter, that he utilized in a fortunats way on his crea- tion. The effect in the interios is light. and free, and the exterior, ths beautiful outline and the suitable ornamentat— ion also Sive harmony and grace to the exterior. 105. Ornamental works. | An epoch that like the Renaissance in @ hish desrse pursues decorative tendenciss, will also undertake cxesllence in such works that very properly form the protilem of the art of decora- tion. For our spoch there occurs as an aiding circumstance, t that from the middle ages hed been inherited a sound practics in the mastery of the different technical experiences. This skill in manual work was now developed under the inspiration of classical studiss and the influence of Italy to pure beauty and clevated masnificance. Only the fault was, that even here that luxurious deseneration set in too sarly, which was to bring into powsr the Barocco styls. 4s can emphasize in the Sreat abundance of existing works only a few characteristic examplas. For decoration in stone are chicfly characteristic some choir seresns and chapal enclosurss, of which we first have to oame thoss én Notre Dame at Rodez as works in the finest ornamental taste. The open screens are subdivided by pilasters and arches, the surfaces are all filled by precious arabesques, with @edal- © Lion heads in the spandrels, and on the crowning frieze are sen genii with eens scrolls. These works belons to the un- dertakings of bishop =. d’istaing, who from 1501-1529 erected the western porteion of the cathedral, and equipped the choir d and chapels with a rood scersen, choir stalls, grilles and a "i Ny 6 sods : yore nando - iiexin ond as eee ee Sie G2 S2 x a> si a} : f « ( ey cree Sie et mp = mie een! noes YI ne ae 7 ah “ae ee ey ee ° way 4 ea a vee | ; oe | ra y fy oe { Brarhink > f a " 304 colonnade in gilded bronze. A distinguished native artist, N. Bachelier, conducted the execution. To these also belongs the magnificent organ gallery. | rikewiue in Normandy is there not mantias distinguished works of this kind. Te mention the chapel enclosure of the church at Fecamp (Fig. 129) executed tn magnificent early Renaissance, | the similar enclosare in S$. Remy at Zieppa, but particnlarly the extremely noble and fine chapel enclosure in the cathedral of Evreux, that is indsed the most charming, which of this kind the sarly Renaissance has’ created in France. It assumes still some Gothic elements, and combines therewith 411 the Renaissa- ance ornamentation in the most beautiful design and the finest execution. Notable for their rich sculptured ornament are the choir en— closures of the cathsdral of Chartres. They partly date from the last epoch of the middle ages, and parts bear the stamp of the Late Gothic style. But in the besinnins of the 17 th cent— ury (tke dates 1611 and 1612 ars read) by a skilful artist, T. Boudin, the work was continued and completed, wherein Biba rare devotion he sought to adhere to the style of the older parts. according to his forces. The architectural ornamentation is & a therefore like Gothic in the general conceptiou, but in the | details and especially on the under surfaces, bears the. charac- ter of an extremely fine and pleasing Renaissance, that still bears the character of the early time. The best Renaissance style is then shown by the magnificent — marble snclosure of the chotr of S. Remy at Rheins, which sur-~ rounds tha tomb of S. Remigius. It was erected in 1537 by car— dinal R. ds Ssnoncourt, and in 1847 was completely restored. Among the most extensive masterworks are the snclosures, that screen all chapels of the cathedral of Laon, 28 in all(Pig. 180). ) gxcsptinsg three somewhat earlier ones on which occurs the date of 1522, they are from the years 1574 and 1575. They exbibit sreat diversity, especially in the ornamentation of the lower panels and the upper parts, wherewith the Barocco cartouche work of that epoch strongly harmonizes. The subdivision is made by ornamental fluted Doric columns, between which smaller columns of the same order divide the panels. The termination is formed by an sntablature with a rather dry triglyph frieze. etc easow bat amd ‘owen oe oF X aw suots s2q ad j sabyeliee nap Ene of : -H a Sau 1G a16ei8 Yo Ieabeddeo odd to w nS ote beus: eer ra te ER ee ; - & ,BE @ + neaent ‘te Pe $8 et vo at 3 Peer | hee yes c aS oe ban evince Le rs on +4 % hi anote . ee hor Fy red a IBSsLSN9~ edoif:.c pertone: is slaves a a “eitecs: en 'r A ae ti ee $4 axons 6 oie ade ae elocd to pat ede Se Sas , " te fo oF Otay ‘ea et qonertd yd felssod eIe ea stel eds ob seve vil: yd Bsvotq cast et kascioink ne) BEL gesy odt mod} jxweyes to ai ii 2 fo fais A co + * ald — ro) ye ¢ 305 Theseinterestins works area partly painted and silded. Of organ galleries is particularly to be named the very rich- ly sculptured one of the cathedral of Gisors, and as further evidence of the ornamental richness of the Norman school, we finally emphasize the magnificent stairs in §. Maclou at Rouen, A splendis altar of 1549 is found in the church of Ravenel (Isle de France), rich bat rather heavily treated. Another al- tar in the chakeh at Plessis-Placy is adorned by the legend of S. Magdaisne by a master Theodore. In S. Gsorsge in Cambray is seen a finely wrought rood screen of 1545, which is distinguis— hed by its fine ornamsnt. A magnificent baptismal font with Charming sculptursd decoration is found én the church at Magny. Yet more luxuriant is the love of decoration of this time in the wooden work, in which the art of carving inherited from the middle ages is combined with the entire wealth of ornamental forms of the Renaissance. We first name some choir stalls, am- ons which those of Auch still chisfly belongs to the Late Gothic styic, but in the details of the consoles and of the misereres aS in the ornaments of the cornice, adopt the forms of the Ren— naisance. From the year 1685 date the chotrcsteabis in Sz.cBerés- itional Gothic elevation with its canopies and shrines, f finials, flying buttresses and pendent keystones, with spirited fresdom is translated into the forms of the Renaissance. Of gs special masnificencs are the two bishop’s seats. Richer carved decoration i: added thersto, on the arms beins fanciful crouch- ing figures, on ths backs ars sibyls, prophets and apostles. — A still mors luxurious show pieces is the high alter adorned by sirens and other fanciful forms, and crowned by five high canopies. In these works prevail something of the exuberance of contemporary Spanish ornamentation. Also the arrangement of the high choir in the middle of the navs recalls the cust— oms of that country. These works with the likewise splendidly treated organ were founded by*bishop J. de Mauleon. That occasionally even in the late tims elegant works of this kind were executed is then proved by the choir stalls of the cathedral of Bayeux, @rom the year 1589, and those aa S. Pierre at Toulouse, which fall in the time of Louis XIII. By a stronger ‘bos easel jos mate eloesg ent. 7. ee? i nme OSoO Ts ; =F) o> ee * | erst > te elise eneg eacnoten oe com Tom eT te Lo festpe | sore ‘ segsoees one r =. e Toews ee ™ * "7 ™ a * . - “ RI KEGAS exseotd pi BS) mM Rainvon wound 306 classicism are distinguished the former by ths noble elevations the sracefal little Corinthian columns end the rich ornamenta— tion of their members, while in the panels of the backs of the unsuitabls fantastic crownings in the 2arocco style with its lack of proportion all is overgrown. The choir stalls of S$. P Pierrs on the contrary have in thsir backs a monotonous pansl-_ ins, by which the magnificent open leaf scrolls of the sides are injured. Amons the carved church doors, those of the magnificent north portal of S. maclou of Rouen merit the prize. Within beautiful— ly conventionalized frameworks aro a number of Biblical scenes. Anothsr show piece is the southern portal of the cathedral of Beauvais in that sportivs easy Renaissance, that just in orna- mental works develops the most precious charm. The crowned sal-— amander in the arabesques of the lower pansls denotes the time of Prancis I. | A splendid work is then the portal of S. Wulfram at Abbeville of the year 1550, by its statues of saints in Renaissanes nich- es, by scenes from the life of the Madonna with gracefully sp- ortive crownings and adorned by a frieze with a representation ’ battles. Very richly carved in the style of the early Rena issance ars also the portals of the churches of 3. Antoine and of S. Jacques in Compiegns. Splendid choir stalls are seen an- ong others in the church at Goupillieres in Normandy from the year 1582, then in the church of Shampeaux, for which a master falaise was called from Paris. Slesant works of this kind are also seen in S. Crepin at Chateau Thierry, 20 niches with stat— ucttes of sibyls and virtues, enclosed by ornamental pilasters with arabesaues. Finally here is to be S. Nicolas at Troyss ment strikinsty r scion the noble marble pulpit of B. da Majano in S. Sroce at Florence. Graceful Corinthian columns with ans-— els’ heads on thsir shafts, that hold in their mouths little sgarlandr, stand at the angles. The ornament throughout is with Sreat charm, but is treated in a certain modast simplicity. Likewise the sounding board is finely arranged and nobly decorated. fe know nothing of works in bronze ornamentation to be nentioned, 106.. Tombs. tioned also the beautiful pulpit in ; im-exterior, UIP AE and treat— om ay 9h énetan Py a “gw eta pa f Tohile vai sal Uae oes F8woioD 4 Lg ‘ fy eyes a eine royoooa oar Ae as ge hae et RM Re oe Ae Se i 307 106. Tombs. fo the most splendid undertakings of Renaissance art belons the monuments for the dead, in which prevail relisious feeling and love of worldly fame, a refined love of splendor and an e elevated art feeling. What the transition epoch created in this espect was described in S. 20. That also occasionally Gothic traditions played a great part herein, isppoved by the incomp— arable mausoleum of the church at Brou with its magnificent tombs. Yet after the reign of Francis I, also in tombs the Ren-. aissance soon attained to its rights, and there arose everyah- ére in competition monuments, in which the new art reached its full development. the two principal types transferred from the middle ages are the wall tomb, of which a masnificent example was already given by the monument of the cardinals of. Amboise, and the isolated tomb, that consists of a more or less richly ornamented sarcophasus (tumba). The Renaissance developed from the latter the conceivably richest and highest form, when above the sarcophagus rose a kind of shrine as a canopy. On the form end dscoration of these tombs a determining influence was exer- ted by Italian art. A stately wail tomb of the early Renaissa-— nes is the monument of duke Rene II of Lograine, the victor over Charles the Bold, in the Franciscan church at Nancy. It exhibits a childish and helpless application of the new style, but remains én wwe free from Gothic tendencies. There is seen in a rectansular flat recess the deceased in the ducal cantle kaseling on his prayer desk before the Madonna, whdcstands én. & pedestal and daeaein her Child opposites him. Arabesaues, sheils and other Renaissance ornaments decorate the borders, which are enclosed by two short pilasters with free Corinthian capitals. On the upper frisze appear trefoil arches as the last isolated scho of the middle ages. Above is an attic with 6 little fisu- res of saints in shell nichss between fins pilasters. An incon— ceivably rude and ugly cavetto with angles holding arms and w wonderfully curved acroterias form the termination. Between is God the Pather with two angels prayins to hin. A somewhat simpler monument of the same kind is that of bish- op Hugues des Hagard in the church at Blemod-ies-Toul, depart- ment of Meurthe. Yet according to the custom of the middle asses the deceased here Lies stretched out on his cushion, and above ; 14) Othe ee as la Se Cee, el EAN tes aR i» ee a ee) ee Sy oe nee oe =, Bn WAG Ng : ui ne ae abit ‘ott .290e fq dove nk eonecsnece eet 6 feoal at at obs V0 Mespbit bovsig ea dinitg edd no oltdw ete cost YS sat wot edt niddiw et eumedlons Leandgevtdors eat s*eIB gamma ods seteucd dotae nt\,sonseetane® ylose eeyela Iftta P eat aM eaves Lex e8ens ‘to sionaxs Iniitosed’ b: A te These de odt of Shor ussy sat Yo bremek feaibsas Te wetisuataiec stin evods ‘bre uretaslig scinw wolod vidgia Bae. [enizin®..de88 awsyedq nid: onoted alsent Pied dostht?t. Io dwot aid ek tam .6 to Lasbedsao ond $ave: heosig ei 3] .1sicoov .o yd obar ,S8Si seey ont eben & yo Sefioggua ef hua eftte ‘thede eds Io ancig 0 men tusgsls y1ev 2d? scaufoo # oO eteor tent .eloe Pi etetdecets: Lente elise ei? to setonteds edi snodguotns nike Veca eds Yo! nO spouses! ‘gi .6 seszea a Yo ia” aie Loo otacl ae co'esioausoo tosdale ont wo sbnade Phy ‘scape } yisee feentt eft to elyte oldon ond ni dood bello eet etn encoun Sit ni Seisied sb eelasdo to tnempnom etd at (98 heee ei Bud: aeoudod enci{laden atin e162 reetig exe unci({ebes odd of .fehagixe terest moot eiede toad ~fedsous seondaiv edd to cade th lestsoseiia to etend Nee Ieabesdssc. edt te tfala ttodo sit si beyieecng eh fgodeid iisne e tind ef Xicds eft Io esstq evedtsos odd ons ¢echor e0k nk dokty: consésizes? yises’ Gat Yo: i ate Gnet Ilew o eso begnpeen .(26L .8rt) oviktoastsa- ehh ‘ow? .tiodo. od% Roi Liaw Quteolone edt os bodoedis: es ve val ‘ae oa Fa anted nedé, meowted .elestigee nalddnieod. agin scnoloo ie ‘ae eg veri « cands ,espdeldeine ae tesd bas etatonrtedua 77 «:nottgivoent ed? soln beed 8 Hick tect exontsop § hie dotdy nidtin vertedestig ‘ed Betnelt etokn ebia edt y .B8Gr SBLY eas. to youxO ob. stoazend qoaeid to Gmot suki - mish te doando end. si daod [fav ods ak etnempnda! etnsgos aotiqsoncs fone7t yiowt s ot .cemQ 18 to teue fend ce Mebivthie: babeoh shoes Seléad vokegtsoent eae Ket .Btet "soy edt To -eesd eb yodde oct nf yinsetot - nia SeLIsIT ys Sestobs oldaan eficwu tne doald to en}. fabnle eins Yo edsow tnsgele teon oud ct ednofed dotdy, ) Nitois 8 00 baste ,intigao: shliete 2 asin setq bs3 - im paidenicsie alegns nis abner sean vag 4 aisha 308 him is seen a rare occurrence in such places, the figures of the 7 free arts, while on the plinth are placed figures of | mourners that hold a band with the inscription:- “Born, labor, die”. The architectural enclosure is within the forms of the early Renaissance, in which however the nediasval pitagsti cs still plays. | A beautiful example of these wall tombs is the monument of cardinal Hemard of the year 1548 in the cathedral at Amiens, below with pilasters and above with statuettes of pirtues in the wide niche flanked by pilasters, within which the deviondun kneels before his prayer desk. Original and riéhly executed in the cathedral of S. Omer is the tomb of Sidrach de fLalains of the year 1534, made by G. Monoier. It is placed between two ° piers of the choir aible and is supported by a magnificent con- sole, thab rests on a column. The very elegant monument bears throughout the character of the carly BimeicAlsosthere is the ‘fine tomb of bishop Sustachs de Croy of the year 1588, ths work of a master J. du Brosucq. One of the most ornamental of such monuments ig the wall tomb in the church of Maimnelay, and it stands on two elesant consoles on an Ionic column, not unlike that of S. Omer. In 8 truly Prench conception appears above the inscription tablet two grinning skeletons as busts, A deta— ched tomb in the noble style of the finest early Renaissance is the monument of charles de Lbalains in the museum at Douay, formerly in the abbey de Pres of the year 1558. On a. sarcdpha— sus of black and white marble, adorned by littic Corinthian pilasters with medallions between them, is seen an expressive knightly form lyins extended. In the medallions are represented busts of allegorical figures of the virtues. Another monument is preserved in the choir aisle of the cathedral et Narbonne, which belongs to the most elegant works of this kind. Between the northern piers of the choir is built a smail bishop’s tomb of the early Renaissance, which in its modest grace is very a attractive (Fis. 131). Arranged as a wall tomb, its back is attached to the enclosing wall of the choir. Two slender ringed © columns with Corinthian capitals, between them being a decora- ted piscr with a similar capital, stand on a richly ornamented substructures and bear an entablature, whoss frieze has between Little columns winged heads of angels alternating with skulls itin bednesetge: exe ebsed “elegans edt .nokseddemente Ioteabacn dos edt. p'ddnilc edt epiwodtd sadesdo sldimecg teeiddndo odd od | Bae ebaed to enotelote .elinde etidicxe smtounde * vata sosuted sntetnod dotdy betescosh engeigns GdT..*aseqesu” to egan odd tobra etnomncos donett eomeeeianss eu So duos odd hegoleved sow sdbied Liat ati ef. 4G to each etin eid bos 11k gieo) to tasapnow edd at or Beeigeoo ten doidy .(SSt .2t2) eiaed .e te dotodo ect cb yas ib dadt eincT to etant .b yldsderq aan 31 -816L dnode $oe to asetenod 4] .Arom Lolitvesd rift hedweese bas Masi No pesote 10d diin eebia edd te ,owd doin ere a oe miedos off .c0 .oldsan edition nk betacexg 2h deou eaid | wmas 4091 683,H082 deneon ots eteiies Betsocd ylespasyatola any a3 20 1 edt One Tobemga to ol¢ted odd yiteinotiasa yobied a a ane: eudoes edd lo ekalnvqo sid 22 .nontd cfak poh BG weieiiels edd oO smekdeoga GL sit Se eentede olden aon peaiebttl edd edeok seyetg tess! cxcled Lecnd yoo : te enn Tutédete? so etl eed ren? .sisy. Levot: adv ogy el dolin ,2okscqoouse edt ao Sebadize eoaqueo cham a dneen ncn edt to emto? fewoicetidons edi .secons sat ead pyfgatarsco: ton cost dtin exetesitg eft yoossh oridas “on edeis Inchslo ddin adiese aiedd yelatiaas catdteisod a) eneldas Bas, dfaep chen seco ecs to elerbasge Foti Poooltiogsl segetieo ye: howschs, bated geodon end Baetttee lentetni. edd ebtivibdue oie: msdtseon Istiteasd in Sanzonids: aliiif enoisetg De ieabnp att beviedot goon trot? Maw edt ceiwedid . A ane > iar nets vod. eessd ch «J baadect borecodd tec oF BMED-GESE ak oot 20 efete elbbim edt at Soret 913% .zeucé Bo Lack /enpizos tc sap tezcorte bas. nokevesgxe: doastog £ bos AEA: ig ac tom aR pret sig to noltiao Pugerenated hat econ CF th ah beet oad i: oat qitnivecly o1cl saoktatnomenve ylovolan na batero$ * »qidneupest as dove .etoatsom: 4a: eedtontese enn lon | oan azelsdyob anpedqootes cf doidw \benseosh eft” | oisulovel eas ab. beqoutael. xis ¥) p aninocc .ateifq spkd a evéda eeeit tend .yocnso B edtl ed ‘of Beasse atoisiod te aneld geet .snemnnc@ of2> ak. pale eyst elyte: edl, sdwod eetodms ocd etieogge ji eh teat nies od soneseieso® yiteo and to metgetsen - Pas ’ ie aN > , ; suet J en, : weeny ee i ie 7 2 > ye. whe 309 ; of the dsad. As if to more sharply accent the contrast of this wonderful ornamentation, the angels” heads are represented with the chubbiest possible cheeks. Uikewise the plinth of the sub- Structure exhibits skulls, skeletons of hands and similar bones forming an uulovely ornamentation. More pleasingly is the sar- cophasus decorated, which tontains between graceful baluster columns statuettes of mourners, such as frequently occur on H#rench monuments under the nade of “weepers”. The fisure of ¢ the deceased, which the sarcophagus doubtless bore, was proba- bly destroyed in the Revolution. Ta its full height was developed the tomb; of the Renaissance first in the monument of Louis XII and his wife Anne of Britt- any iu the church of 3S. Denis (Pig. 182), which was completed about 1518. It was probably J. Juste of Tours that designed a and executed this beautiful work. It consists of a structure like a canopy, that rises above a high plinth, openings at the ends with two, at the sides with four arches on piers. The en- ive work is executed in white marble. On the substructure in turesquely treated reliefs are scenss from the Italian can- paign, particularly the battle of Agnadel and the entry of the king into Genoa. In the openings of the arches are seated the marble statues of the 12 apostles. On the platform of the can- opy knesl before their prayer desks the lifesize fisures of ¢- the royal pair. Then these lis on frightful truth to life as nuds corpses extended on the sarcophasus, which is enclosed by the arches. The architectural forms of the monument are of entire grace, the pilasters with free and charmingly varied Corinthian capitals, their shafts with elegant arabesjues, the spandrels of the arches with Senii and emblems, ths soffits of the arches being adorned by coffers. Masnificent eoffers with beautiful rosettes also subdivide the internal cciling of the precious little structure. Likewise the wall tomb soon received its gre in the monument, that Diana of Poitiers caused to be erected in 1535-2544 to her deceased husband b. de Brege in the cathe=— deal of Rouen. It is found in the niddle aisle of the choir and Opposite the Amboise tomb. Its style lays aside the free orna- mentation of the sarly Renaissance to gain effect by a mors im- portant expression and stronger use of antique forms. The comp- cSition of the whole is not without srandeur, and is elegant atest development yD, om Gi ~ nw C mk 7 sa. ot We L60) peat. sbncrse Be ; anottg: 20% uy 1 nag 2% cam rr , j . sey . ie a beioes: Pee hae ,ol¢chies evom somnoad) nore . yebge2s One yeiass pbaoguexsos teed i somaddog 310 and showy. It consists of a flat recess in the wall, that is enclosed below by coupled Corinthian columns on high plinths. These bear en sntablature decorated by masks, festoons of fru- its and eagles. Above this cornice rises a second order compo- sed of caryatids boined in pairs and picturesquely treated, + that enclose a great arched niche with the equestrian statue of the deceased. In the spandrels ars carved victories with palms and laurel garlands, and the frieze consists of a compo- Sitiou of victoriss bestowing garlands, winged lions and vases. Over the cornice is erected as a termination of the whole a shrine enclossd by Composite columns, within which sits the allegorical form of Virtue. Acroteras at the angles with weap- ons form the crowning, connected by ogee volutes with the mid- dle shrine. After the custom of the time and the country, there also seen here an the sarcophagus filling the niche, the nude extended form of the dead only partly covered by a shroud. The surface above it is animated by two tablets with inscriptions in Barocco frames of cartouche work end festoons of fruits. At the head of the dead and behind the columns of the enclosure kneels his praying wife in widow’s weeds: opposite her on the other side stands the Madonna, holding forth the Ghild congol- ingly in her arms. The entire work is executed in alabaster a and black marble with the use of rich sildins. Nothing definite is known of its master, but much speaks for J. Goujon. We are better instructed on the origin of the grand monument, t ich Henry II caused to be erected after 1555 for Prancis I and his wifs Claude in the church of S. Denis. It is ons of ths fi est works of P. de 1’Orge, who not merely designed it, but also supervised its execution. Entirely constructed of white acteristic for the change in views after about 1540, for inste- ad of covering all its surfaces by ornamental arabesques as in he early Renaissance, it develops the architectural forms and Lines in severer purity and rejects the aid of sculpture except in the domain of independent fisure ornament. Thereby with all richness the impression becomes more esthetic, and the general effect gains in disnity and Srandeur, that best corresponds to the monumental importance of a sepulchral monuaent. eb ibis Od:selieie aia es hapdxe dé tv raiir. pA whl ak as of Gs ney Scant & en b beaneaue £58 gol ats vd hat senn0o ar ee BES & za Y Ant - oe f oa aGgaats ve om to PS oe ee iW Si sete a a rs, Ps » Ss on oe ee f aw win rey edz sci BeLeiTeRgiss YC 2 Beldises gnegg con > oe Seal ets rae hase. gate en fit tary: 6H a i wes eA ae gies L&C gideag ‘edenegee add ek o «tl or RYOoReAL hed tee ob me 7 oh te ey Me 3 | he eg ee SRN OE AL ok a & ous Tae - i fa Sey’ one ee’ Cee ian & 4 i O es a ae? Oey se en ARTA i « he Py oy 311 The Sround form is similar to that of the monument of Louis XIT; two sarcophasuses with extended corpses of the royal pair, enclosed and ¢overed by an arched structure like a canopy. Sin- ce its ceiling is not flat but consists of a tunnel vanlt, th- ere is required stronger abutments, which are arranged in the form of massive piers with projecting colums. Four main piers are arranged in a rectanshésgnd connected by great round arches that form the middle portion. At lesser distances correspond to theses in the length and breadth of the monument the angle piers, connected at the ends by balustrades, with the middle picrs by small and lower arches, so that the monument exhibits @&@ cross shaped plan, with the form of a triumphal arch on all Sides. The columns as well as the entablatures and cornices are executed in the richest Ionic style, the slender columns are fluted, all members being adorned in a refined anf animat— ed way by the corresponding antique ornaments. put the fisure Sou aN re APS the chief part in the recher effect. The plinth of the re monument with the stylobates of the colugns is be nails ad miniatures in @ fully picturesque style, of repres— entations of battles of Francis I, particularly those of ari- Snano and of Gerisolles. On the spandrels of the great arches ara carved goaring Senii, but especially the great tunnel vault is ornamented by low reliefs of the evangelists as well as of allegorical virtues and soaring Senii, and the separate panels receive a framework of wide interwoven bands in the noblest s style, with rosettes in the openings. These reliefs were exec— ial uted by G. Pilon, and ths reclinins forms of the royal pair w _ were by P. Bontemps. On tae top of the monument kneel in prayer 4 the lifesize figures of the King and queen with theirotwe sons. According to the model of this srand work natherine de Bedici caused a similar monument to be erected for Were it and her de- ceased husband Henry II, also at S. Denis. tike that it is en= tireln executed in marble, and the na it is sometimes attributed to de 1’Orme, sometimes to Bullant or even to Prima- ticcio. The arrangement is the same; on a sarcophasus are seen the extended corpses of the royal pair. Twelve columns of dark marble with Gomposite capitals bear the arched structure, on top of which are placed Henry II end catherine in lifesize br- onze figures and kneeling. On the whole the architecture is dryer, colder and of heavier forms, the entablature is broken ’ | ae , ‘ Ml re Jinks ’ (ner eh | ' yy my 7% sn ' i" = Ga ; 7 iy’ seid Hautes all el booalg ete usd odd 20 voluaag eteiaget end nk NW essoees Git Me selgce edt te bak aelit 12 YO > apot 24% to wespai? cxnowd sad Elstesbeg yni? | Wan cite Yo Sunahiicay deb Vie AE Pang! Ws EN ae ‘ah - do ioq vintabs oe st sat to gatediged odd adit 008 Rotdie: dgot edd texan tad” (aersqestos Sopserodoly taut. M Snivit gsied eese Heed cag af. .zoneng Iectatsods cade $ to ) Bowmeds odd ak poltiodoth to duof sd? et Bribe dose tO is out: Beosse odd no betandsg uk fevibyso. sit ‘exodw .osndd Fe on {Tide (ctie® to oxpyet evs Yd sHatuoy Wed bomtesens or belie tone IO .foet etd Yo etavest ‘contd side. ee to sinh oat To taseuros edt eelfiseis) Yo axes “a: eri eld aaltcogyce weds to ere .besstas ess Fitey ont A) Engots eivnem (donb sid soscte .actinsce! dedse ond oe, cs Sucfed ylteids dokdu ,evottrevat enoinosad sbedalivan spabaed rece Sid at emid Sid. . ; a \ ~ ‘ i es y ’ With ai, oF) “oo a Ae en BS.) tot A re ae ee Ts | Cee a ‘ est aie ) Ra ee ; ihe, ' ; Wiens (a i oa j } ig ie y A Mild { 9 as, ie Ae ; ie ? ts +e Wr C i ae: 6 On ae ee, Pm) - i . id P b i re ‘% : a F, j iv ie f ‘ 4 sii ba) +7 ’ my 7) ee nS hy ae t i ian Li aia 312 b a over the columns; between the latter are openings like windows in the separate panels. On the base are placed marble reliefs by G. Pilon, and at the angles of the structare rise om projec-_ ting pedestals the bronze figures of the four cardinal virtues. — This is the last great tomb monument of the Franch Renaissa- nes. With the beginning of the 17 th centure penetrates here that picturesque conception, that makes the tomb nothing more than theatrical scenes, in the best case being living portraits. Of such kind is the tomb of Richelieu in the church of the Sor- bonnes, where the cardinal is extended on the sarcophasus and sustained half upright by the figure of Faith, while inconsol- able Frances laments at his feeb. Of such a kind is in the mus- sum of Versailles the monmuent of the duke of Rohan, about whom two genii are engaged, one of them supporting his head, while the other lamenting, wraps his ducal mantle around him, By such — ingenious inventions, which chiefly belong to the painters of the time, is the architectures mutilated. -#00es edd te sobsseubs! T%h oR GOsgens | : : gretosiado Lerened .VOL ots: & seun tthe gasd .Soosershan yitkee: 24 és: ee ? bebnelqe eel on s ,beqofevob eonszeiencs dogett |e & to evel od? -betoonsoo een acinteniat t1s ancizey eft ae fab ested ebhosia ‘sedmodtl geety aid yd bes donco sis nl a pad eved I eiones® bas .evitom goiileqet ne ex anid || bhesce edd ee Ifew es Ti yrneR .abatbancaise esitas edd” bom ni meven eqedieyy suqetatcod cid at antwolfct asozancm $ daidsols nf nem Jo sonasseqge Llantosro cit oad epmist eerd cesd esd. .emoor baivil edt to m1ct edt af ,ednems © mee f ed? soom yitsy wok .nodt es olftta.te Lint bas yiden, . ale wncleserqah edt vod) .eid? besimzsteh yLodl te and e ct fof, ITX ekved bn ITIV eelusdd acbav asedt beds iicset 2 en Bat teoe cedt dotis .enwety dorest ab ID tazit edd of mucte weed ead ,acetias netisi? te piston? esoit eaptoeticorzs to roll tones ont 96% won. “eas sonia (duadicani yaw yoa ui yloowsos eisn Bao ¢ gustan Vigaesss god betoass .wiidsd Dos emodano eeacink eo8 Oss af beineh od tomnss eiedt .emiet npieiod oi t [ Qeotds « aelateshai due odt ct ylletoegue 58 ki i168 vat ; aatt Agteca 8 to galifeo edd AtoR 2*dtineblog tow. Hottotct ,80tetiognk Leflooge to noifeonn scodiiw saw nee pital .© lo Railido edt yd setngnt teatt s bat et0el2 to ealidadtos sedet bes alg foe Dexokes goss Mo sisttoo edf ea flaw se .aebsora tc enolidshes #not fs yeltel oate fos Bishalh oeetado te ebatiteo y taeold! ingse ef9 3207 smotdatoosh tet wid os beveucdas t eels word ov dod :8idime seonsliv evonsd edt feyolons Sead vd feyolans yidaenpett. eter domme To etetam namied ie ‘Sey Aopsdencl Ic 1etodneaved Ae niletoeges tedd .das0. qa + eel doLiBl .H opfe egqedteq tadd bea .I etouey? vd TT. giaeh boa I atenasy 102 enbived Pacer: RB estodos? Yo gsedogesd yosm 202 bevesg ef ext i Seowaes Sd ot culwedif- sk saedt oe ydtow sbierot to sone, ) Bae. steitas evidsa to goiteregece tecuges? beveag (4 8 ~aeagradaa tae Yo easosead yhem oi Ietensy at ted’ mie done1t (hesasnes sd teango fnemsae23d dovess tenge@ esse edt at Setnoexe bas het gyroo tan est.) ele eas .efengne ferofoo to agado ostice add ddiw : ; } " ’ 3 ; : of ; Si 4 f : , 5 wh A } 7 5 iy in , : P . ‘ Sie x 1a ha ; ; me. / ade at ¢ L fan ere e Bal ie ie | Pye oe | way” si a eee > vale hee hs ae j > salle 313 Chapter X. Art industries of the epoch. 107. General character. t is readily understood, that with such a rich bloom as the French Renaissance developed, a no les splended treatment of the various art industries was connected. The Love of splendor in the court and by the great likewise stends kere in the first line as an impelling motivs, and Francis I gave the tome for the entire surroundings, Henry II as well as the succeeding monarchs following in his footsteps. Serhaps never in modern times has the external appearance of men in clothing and orn-— anents, in the form of the livins rooms, has been treated as nobly and full of style as then. How very much the influence . of Italy determined this, how the impressions already received there under Charles VIII and Louis XII led to a transformation in French views, which then soom had as a result the invitation of [Italian artists, has been shown in the first Chapter. While now for the development of architecture those foreign influen-— ces were scarcely in any way important, since thse national op- inions, customs and habits, reacted too strongly against the forsign forms, there cannot be denied in the accessory arts, . and especially in the art industries a strong Italian influence. ~ aor Soldsmith’s work the calling of a master like B. Gellini | #28 without question of epochal importance. Majolica received a first impulse by the calling of G. dalla Robbia, who by his colored and slaged terra cotta tiles of floors, frieges end medallions of arcades, as well as the coffers of the portico ceilings at chateau Madrid are also later at Fontainebleau i iecoration. For ths magnificent armor were ilanese fC Ea but we know also, that G 3 frequently employsd by the French court, that especialln J. Ssussnhofer of Innsbruck was called by Francis I, and that perbaps also H. Milich also supplied d designs for prancis I and Henry II. Thus is proved for many branches of technics a foreign influ- enes of forsign work, so there is likewise to be assumed and proved fregusnt cooperation of native artists and mechanics. But in general in many branches of art industry a spscifically French treatment cannot be asserted: French ornamental artic- les wers composed and executed in the same manner, and especially. with the sntire charm of colored enamels, the gleam of pearls, a] er ob ei oa Us Ga soste Sap om re - a u Tame ‘wa a im bad We ' rel ep ne Pisces hha mB ne } ae ys al rae rh ~ wo Sh oc. an bi ee We Losi pies dee © as Lk Oa Pt al ie ok et et Se et Se al oh em Ase a 314 the sparkle of gems, like the German works; weapons and armor aS in Germany received by etching, niellos anf inlays, the in- comparable Stamp of the most perfect ert and of ornamental sp- lendor. Qaly one thing is to be noted, that onder the influence of the buyer, of an art-lovins court and splendor-loving prin- cess with the aid of the special French sense for perfection of form, grace and refinement of thess works, and particularly a distinguished also the graceful character was obtained, and that also the figure has full freedom and charm. But for the ornamental composition in the most diverse domains was Italian av& most influsatial by the school of Fontainebleau, that first introduced the so-called srotesques of Italian hish Renaissance into the north, which then with its strange, frequently saudy and overloaded combinations of garlands, festoons of fruits, masks, fantastic fabulous beinss, emblems, instruments and ths like, soon found its way into Germany. In France also the har- monious and noble ornamentation of the earl Renaissance, sub- stantially based on beautifully drawn foliage with sparinsly scattered figures, was earlier supplanted by that varied mixt- ure then slsewhere in the north. Bxamples of these tendencies and of the contests of them with each other have been already sufficiently shown above in the consideration of book illustr- &@tions in S. 7. Where then the French industrial arts are carefully compared with those of other countries and especially with those of Ger- any, since only a reference to what is stated in Chapter III of the hist— ry of the German Renaissance; I shall limit nyself here to those branches of activities in the art industries, wherein Feance has succeeded in its own undertakings. 108. Joinery and carving. The besinning may be made by a consideration of artistic wood- work, that in France exhibits very remarkable peculiarities. ertainly of the equipment concerned of the chateaus, the pan eled wainscots, carved ceilingr, artistic doors etc., infinite- ly much was destroyed by the storms of the Revolution, yet in public collections, particularly in Cluny museum, is preserved much that is valuables, and the same is tras of the furniture of the time. I recall the wooden stairwan of ths palace of ta 8 +) A ee : bee 4 emt sad atin, ‘ber go wlecis “te ent: tne aon yould ak won doxtaer iwiisnasd odd baz sesidentes com _sneasoo! icc emee edd ok Bas TI vise Yo ows EJ 3 . >. ek weer Sat aa Fd wal wt < wv ed eae ul a ey Sits =O Sen Be = ot ee TP Ae Se 8 nates aegit fs: _) deebea. ; rs MR LG1 me fA 315 justics, richly carved with the arms of Henry IV. and of Maria de Medici, now in Cluny mussum, the carved wardrobe from the chateau of pontainebleau, and the beautiful wardrobe of walnut wood on the time of Henry If and in the same collection. The peculiar preference for French works of this kind is based on the clarity of the composition and the genuine wooden style, which never falls into the imitation of stone consrtruction predominating in German works. Thus to the French works of this kind is peculiar a sound principle and a deeper understandings of the expression of form suited for woodwork. As an illustra- tion we give the representation of a house door from Blois (Fis. 133), that exhibits these advantages in the most charming man- ner. It might be said, that hers the spirit of mediaeval cons- truction was deeply absorbed into the spirit of the nation and reacts here, celebrating its resurrection in the forms of the new style. gor it is clear, how structurally intellisent is the design of the whole, the subdivision and membering by a modest and yet effective framework, how happy is the fillings of the surfaces of the little panels, the frieze, spandreis and the tympanum by ornaments, whose basal harmony is a softly drawz and sculptured finely animated foliage, while the figures at Suitable places appear is the blossom of the whole. fhus the whole has a rich effect yet without overloading, and is also disnifisd. The cartcuche work of the besinning hish Renaissance in @ wiss reserve is only used on the upper pansls of the door. Similar advantages ars throughout peculiar to the furniture desisn of the French Renaissance. Clear design and construction, suitable subdivision, tasteful distribution of the ornaments, with ancalculated for drawins and execution in relief for the technics of wood carvins, compose the advantages of french . furniture. Instead of the dry formalism of late Gothic appears the fully animated ornament of the Renaissance, particularly in its vefined foliage scrolls. -t first still prevails a dryer treatment, that with the then commencing use of oak wood comes from the middle ages. But soon in place of this dryer material the more suitable wainut wood, permitting the greatest refine- ments of the carvings tools. Gradually are also intriduced the anbigque orders of columns with their cornices and friezes, $a- bles, hermes and caryatids, however transformed in a manner ? } wet A ‘ WIAs 7 ” Lae BHORC Tes | ae we be NS a a j ‘Whe r 1 318 corresponding to the wooden style. At first men indeed loved to use Corinthian paneled pilasters with leaf ornaments on the short shafts. Especially in the northern schools, in Normandy, Picardy and Flanders, these stumpy forms prevail. On the cont- rary in Iste de France the influence of pontainebleau made it- self felt, the furniture received a slender exterior, elegant members and fine slightly projectins mouldings. Furniture ever passed mors out of ths hands of joiners into those of archite-— cts and carvers. asters like Gonjon and du Gerceau made their influence felt. To this was added rich picturesque relief orn- ancnt with inlaid work, intassias, marble slabs, enamel paint- ings and other colored accessories, whereby an extremély eis- gant general effect was ‘often produced. As a characteristic example of this kind serves the wardrobes represented in Fis.134, Substantially differsht is‘formed the furniture of the Burg- undien school, en whose general form the treatment of the det- ails penetrates something of southern luxuriance, the exterior is broadsr anf more massive, the membering is more prominent, the fine little column$S are replaced by strongly animated her- mes and caryatids, and even sometimes such fisures occur in t three stories, wherfin is recognized a special Burgundian els- 3 ment. All forms and projections are bolder, the foliage orna- ment is especially with flowins luxuriance, and in the panels are seen relisfs with daringly animated forms of horsemen and soldiers. Of an allied hiknd is the furniture in the South and especially in Lyons, constructed with like massiveness, widely arranged and decorated by splendid richness, yet always in the good period psing subdivided and graduated with refined intel- lisence. Until the end of the 16 th century French furniture substan— tially retained its beautiful and stylish character, remaining far from Barécco excesses, that already early overcame the fur- niture in Germany. First under Louis XIII heavy dryness in the elevation and overloadins in the members, and particularly car— touche work overcame the decoration, the slender columns became twisted, and plan. as well as figure ornaments became stumpy and without feeling. Thereby this epoch reached its ending. 109. Pottsry; terre cottes and stoneware Also in the domain of pottery Prance quite eninge renained \ , i ee be ‘fee .octd Hoe 4 A ob aso anew fo bi : ot 8) novel os Ns beans witeet Satan (SA) 618 Sones’ a RicemnrTe 1697 Sn A Coe 317 faithful to the mediaeval tradition, and when the new forms ¢ gradually entered it from Italy, men adhered yet for a time, to the inherited traditioal technics, so that the sreen copper glaze and the lead glaze for a time prevailed against the tin glazs. On these works, as for example the vessels from Beanvais and Normandy, the green, brown and white produce a harmonious agreement of colors. How long this technics prevailed, among other sxamples is proved by a green glazed hunting jus from the Louvre, that is ornamented by, masks, lions’ heads and the arms of mMontmorency (Fis. 135). A chief locality for the fabri- cation of these works was already since the 14 th century the city. of Beauvais, whose potter: was characterized by a pale ¢ green tone, and occurs until the time of Louis XIII. Bven Rabe- lais mentions in Pantageuel these vessels, and in Panurge the blue vessels of Savignies. Besides those palces, Saintes, Ren- nes, La Chapelle des Pots, and then in southwest France is Sa- dirac near Bordeaux, notable as places of the fabrication of such pottery. wine | The introduction of the Renaissance first occurred bg Italian artists, who settled in France and brought into use the Italian majolica. Thus we already know that Francis I called G. delle Robbia for the decoration of his chateau yadrid. However beside these foreign works there continued ths prench pottern in its : : S, and contemporary taste mads a concession in t £ e new forms. How closely this approached the [talian sometimes is shown by the beautifully glazed tiles, by which the chateau at Hcouen was ornamented, and of which we now know, that they were made by a native artist, m. Abagquesne belongins to Normandy. But it is also known that this master made glazed vessels. A rich selection of French floor tiles is foand in the mussum at Sevres, as well as in the Louvee and Gl- uny muscums. (Fig. 186). In the division and ornamentation of these tiles, which consists of leaf scrolls, garlands and med- allions, appears the scntire charm of the early Renaissance. Here belongs also the Slazed floor tiles of the chateau chapel at Oiron, that have sreenish black linear ornadentsson 2 pale red ground, on which are the brightly colored family arms. A Spichai and characteristic, psculiarity for France are the gabl¢ points, weathercocks, ridge tiles and other roof ornaments, t iis F ig oe a6 . ah a dome§ edt of sae “expres bani le eds bas eduen vi! pay opiga mR eet g ‘eben , pewte® < Reis eeoxgee | PA ndoke «: ett enon 4 .* dion ais nd aseboew, se oi Sh8 ite a M _gokdesns henc . Cad vw ; ee owes EEO: Th me we ao & is tee ‘ om Sie bs ee mn mecernnw F wf or ‘ (7t) tt Se he A a | ee 0 , > YD A geul eS Finr i LEO ae GL ed £ ony J ti to gi C& “ G £ os & a ore A oe - te aes Vit ip von. 318 that lent a very picturesque charm to the French buildings op that time, especially in Normandy. To the chisf places of the manufacture of French faience fur-— ther belongs Avisnon, whose dark brown vessels, mugs and vases, bowls and dishes, table ware etc., exhibit a richer ornamenta- Gion with open reliefs in a yellow tone, especially masks and the like. Similar are the vessels from Clermont-Ferrand, yet their color is darker and the ornaments are netted. Extremely rich and with splendid relief ornament in rich colors are exe- cuted the works of F. Briot, who about the middle of the 16 th century lived in Paris, some of whose show pieces are known. (Fis. 187), French stonewars is in great part similar to the Rerman, made in spay color with blue ornaments. AS the principal sources ars asain designated Beauvais and Sauvigniss. In the ornamentation French stoneware remains far behind the German in the richness and fullness of imisination, and especially scarcely knows the ornamentation by figures so favored there. Mostly there is fo- und on these vessels only flower ornaments, especially lilies, besides sosettes, Sarlands and arms (Fis. 138). 110. B. de Palissy. The most famous among the masters of pPrench pottery, B. de Palissy, was born about 1510 at Ba ghapelle-Brion in Berigord. i istic importance, yet did not satisfy the zealous youns man, who in his leisure hours snsased in the study of secometry and perspective, and sought to develop himself further in drawing] painting and modeling. After his apprentice years Se wandered through France, Flanders and the Rhine provinces, and he even knew how to acquire more extensive knowledse by the study of natural history and especially of chsmistry. Thus as a trues artist of the Renaissance he obtained the basis for that sene- ral scisntifiec education, which he later embodied in his writ- ings. When he returned home in 1839 from his ysars of wander- ing and settled at Saintes, where he founded a family for hia- seif, he was most stronsly impressed jy the sisht of a‘ faience cup, and was induced to make his own experiments, that partic-— ularly lad to the display of a white slazo. Touching is the st- ory of the heavy cares, the bitter disappointments, which res- a _— =e Sa a ll Ee ee ssiosden brs a ire sess Ens Reottidoaa st: sounds ee to (edt Seved .Y2 eos Baso2 « 5 it toto? ger Biot BeOS ic ef fever yes: aindéno2 | Bas % N Trike! a ; ei edd ‘Yo » ie ~~ oF & id eit ‘ial wind .4z Jee ‘Bevei i ! oe fait on nedton ey * wee 2 ee an W wi we Ad ae Yas ‘ at Be | 7 ‘2 dela 4 ayaa naan < ve e ¥ fi ee {Badaogor £T2 y* pence Qo D Bauch’ 2 ac , wort uatvorecco mm pifasnien eidt —eammgnting ee ephte dosed Ls ct a Wwe > C Pat a ie avi Di racaixe fos bane Pare oe Tine oe PR OE Gel yee eg oP A BP F) ‘ Ae ed f , t pry he mia: Wer bed iaces Eotncs ‘en hep ‘3 : u vy ah we Mea 4 iftund Vwse 5 319 resulted for him by all these experiments. In spite of want in which he worked, of the reproaches of his wife and the warnings of his friends, he continued with irom resolution and unbroken ° courage his experiments. After the greatest sacrifices and res-— | ignation, he finally succeeded in the exhibition of the glaze, which thereby bsdan for him the epoch of his glory. hater the : great artist wrote to Antoine des Ponts:- “I. have found grace | before God, who has caused ma to learn secrets, herstofore un— known to men”. His first works were the so-called pieces tern-— | ed rustic figulines (Fis. 189) which by their entirely novel originality quickly sxcited Seneral astonishment, and forthwi- th brought him orders from Henry II and Gatherine de yedici as well as other prominent personeses. Since like several of the most important artists of the time, Palissy was a Protestant, . when the fanatical persecutions commenced he suffered the sev-— erest oppression, which resulted in the destruction of his ho- ase and his workshop and nearly caused his death. Only by his call to Paris in the service of the king was he rslieved fron persecution, and by the command of the queen mother he must erect a workshop for himself on the place where the Tuileries was built later, in which he was frequently visited by Gather- ine de yedici. Besides he opened lectures on physics and gener- al natural sciences, by which he knew how to attract the lear- ed circles of the capital. But in spite of the protection by the highest personages, the faithful protestant at a Sreat age in 1538 was thrown into the Bastile, where Henry III repeatedly visited him in order to convert him, which endeavor the stead-— fast artist rejected with scorn. He was indeed saved from the scaffold, but the weak king permitted him to lansuish long in ‘prison. He died in 1589. | Amons his works are those mentioned above, that as most pecu- q liar brought him the highest fame. They are now closely imita- ted by round and oval dishes (fig. 189), that as show pieces covered by extremely natural imitations in relief of snakes, lizards, fishes, crawfish, shells and the like, on a sround @ decorated by leaves of all kinds and partly representins flow— ins water sometimes. There is no question that this naturalisn opposes severe styls principies, yest the technical execution in the extraordinary truth to not merely the forms, but also Ree ei baa ae oy et lied iy le a i 4 > fae si neat Ve a Pee} ous 7 | O38 - Pasi ibtbaslge: qifsups ed? bos esoloo eat ween ‘gl -tnsndeisotes Beste etirem exes Leseacs excise psx5 eren, ebisdnsd cele nodd 2neadects obtatieanten fea cble Ene .eevsel so eliede yd beteveo ylesidns essen i - AObL .2f8) seitwero bas eyos? .ehsesil oti elemios Bsoosk to shom olgent-1idt ddim gote ton bib yoetlad # tidiaxe veds .eedeib secdd ots Lanci¢zevaco seu 10% ‘,etnerenito soneseisss® iotitused trom edt vd benaobes “hatin olbbia edd si buasil oleate es egedseg sainiad peidsan a ee 4 ; a i098 en: Aa 2% fetter : te et % del ~ ., a ~ she ee ee apes 324 Sives an idea. (Fig. 146;. Besides vessels of this kind are f found in particular in Cluny museum and in the Pountaine collection A particular species ate the splendid imitations of Bersian vasss, that in beauty and technical perfection belongs to the most excellent works of their kind. Instead of figure represen- tations, these are here treated with the most refined feeling for nature, and yet at the same time came into use very stylis- tically conesived flowers of, Persian ornamentation, that rise from a deep azure blue, or sometimes a yellow ground (Pis.147). Most beautiful in effect with their splendid gleam of the glaze are the vases decorated by white on a blue sground. The same c character, but in forms freer and nobler and approaching the Italian Renaissance, is borne by the ghazed floor tiles from | the ducal palace, that are seen in the muscam at Nevers, srand- ly drawn and animated by birds and white scrolls on a blue sr- ound (Pig, £48). Besides these temdencies.is obtained a separate style, that combines Italian motives, sspecially mythological representat— ions with oriental ornaments. Soon afterward the Dutch taste and the Chinese-‘Japanese style enters inte the decoration and leads to developments, which lie outside the scupe of our con-— sideration. 113. Limoges snamels. fo the most precious show pieces, that the skill of the Fre- ie 8 noch @ndustrial arts havev:created, now belons also in the first L a beside each other in a toilsome arrangement. With the beginning £ modern times thers also entered into these species of art a new movement, the endeavor for a freer treatment, from higher purely artistic effects. Hach of these technics then proceeds to become 2 frees art. This occurs in enamels, with fusible co- Lors painted ona fusible sSround, whereby the metal is entirely concealed, only being a sround for use like the wood or linen of easel paintings. No question that this process of transforn— ation was perfect in harmony with and probably even under the precedence of sSlass paintins. Limoges was already famous in the | ] . | ed a <3 eee Mig 7 San teh ol Bau nel: ra) ai? et peoteag ae eres athe , : Y4¥s TSO fy tT »t > cus, : bi betogacs: edacr 843 ESin toloo #4 986 ce > te vir ww Rel We ADAD EEL OF & 5 093 TF, BB ea» fee ant ewe : ow! oe Sop Oe oe | Sige 7 tinge Pes eencie epgoior: ; we me fh Pe ae 5 ~ om, he Ww he ele ee ee o foidy eos te (#6 Ofetsga erat “.eern: y ry ae rt. > x Faayd é hd). he 7? we es ase ’ ee + 3 war ow ; ie bay ’ ‘4 é ol + ft wu) ave . : meg nolzosalf Sat ; De Sus .! ~., ae. oa Lad sins Esveas = x) aleta * 5 j ye 325 middle ages for ibs snamels, was also now the seat of this art and soon became so widely famous, for example that rich famil- ies of Nuremburg ordered from them their costly table ware, agi: then in the Tucher family one of these is still preserved from that time. ; | The course of development hers proceeded the same as in all other arts in the Renaissance time; it began with church works, soon to pass almost sntirely into the service of secular life. In the 15 th century, in the second half of which the enamels | of Limoges experienced this slevation, the chief problems con— sisted of these little hinged altars (triptychs), which in pro- minent circles served as traveling altars. These works competed in splendor, strong lighting and magnificence of color with the famous creations of the Flanders school of painters; bat it is even to be smphasized here, that the works in this technics s scarcely ever, as too well known, could attain the high rank of entirely free art creations, and that rather tas limits of the industrial arts mostly restricted them. As for what concer- ns the technics of this work, the artists incised the outlines of their work with 2 needle in the plats of metal, which was to be covered by @ thin transparent layer of enamel. Then the | outlines were raised by a dari enamel color, just as in glass | painting the drawing is marked by bold outlines. In the char- | acter of the earlier painting the details of the pictures. were Simply Lliffed in with strons colors and without shading, the s alone being mada sffective by inliad sold. The nude- por- tions received a violet tone with applied white lights, and f finally were added little melted drops in the spirit of the earlier art of precious stones and pearls on the garments and other parts of costumes. This archaic style of art, which chi- efly by the works of the older nf Penicaud, but also by those of the younger master of this name, at least mads at the begin~ ing af his course, are nowiss related to the influsnes of It- alian art, but rather and even more in figures are under the sway of the Oe Te particularly of the art of Flanders. At most occurs on the enclosures the Renaissance ornament of the early time. A beautiful example of this tendency of art is rep— resented in color on plate 40 of the collection Basilewsky. As goon as the new style also permeated this art, there was =< x rt G rm ei r : : 4 ; C A " ‘ < FE STSvoo won “a ie ‘ eee! 2 eee ee tn we an ae Aw Le S029 RAS er ene hin T ig f & 5 yo sp et by I ab ah td he 25 iva \ # CA 23 5 Se & e a <= - ; 4 Gens : te SRiteeqe ai swash 225 é ELE Bidatelc. tal ae oh ah Re le We be aN 4, i az \, 2 | 1A el ee ee be ee eS ¥ gn se tae ee a t el k fe a paifes 326 completed a transformation not merely in form, but also in the technics. The copper was now covered by a thick layer of black or dark enamel, on which men now painted with thick white col- or, while the transition in the shaded parts was made partly by more thinly applied white, snd partly attained by hatching. Only the nude portions were laid with a flest tone, and fregq- uently golden lights were inlaid. These so-called srisailles, painted in gray on sray, that are in close alliance with the Similarly treated grisailles of Slass psinting, are artistically ‘without question the most charming and most perfect shat this technics has produced. The effect is still increased when orn- amental bends with golden scrolis on black ground, frequently bordsred by narrower white bands with gold ornaments, enclose. and subordinate the surfaces. Still are not wanting also in this time enamels with full polychrome effect, which by the r rich gradation of theicolors, by light and shade,and the entire Scale of magnificent tones, to which the highest sffect is siy- en by the inserted solden lights, compete on one hand with the fully agi Siass painting of the time, on the other wits the oil painting of the Flanders school. One of the grandest gaow piec svat this kind is the oval shisld of the year 1555 in the wks ry of Apollo of the Louvre, marked by the monogram A. C. In the middle is the form of winerva with spear and the Medusa shield, rather stiff in a likewise stiffly drawn land— scapes, surrounded by a dry cartouche border with precious sto- nes, that is fo Bolts by a frishtfully asly mask with mals and femalc hermes, also showings splendidly painted festoons of fl- owers and fruits. The technical treatment is indsed ons with s transformation of technics goes a change in form and meaning. The enamel occurs almost exclusively in the ser- vice of seculer life, for it is chiefly employed to ornament its vessels and utensils with “perehen™ of its colors. and for- ms. Shields, dishes, mugs, candlesticks and the like ars hence- forth the principal objects of si Splendid art, that on many of these vessels, like dishes, plates, stc., has to sntirely ‘decorate the inner and outer sides. Further plaguss with enamel paintings were employed to ornament little caskets, chests, t ln etc. With & correct feeling for style the vessel is formed ee beivit ddzife doin ¢ aq edt sot ofdtee og ein uu RS, af a+ Bu se sds nest .ue aman’ niegcs Lahey edt ten ent oni ~~ i A ee oe tm ot am sath a lhnsins “aM “ * tm F wat det 5 % G . ow Sob f 10» ena eid Sie adnenenzc asin | jeibuetze we Geren GN _betvende . -- - ef ~ Qs ~ ¥ ® agi i tal ae Ce ab Wor oe (i - ade biel fe XP a © Yat b+ mene te ih Oho Adel UG be s ps8 ons to bes tecvkd te eneiias 1 ong Pe rw ne sito ats tnd , SES eek he ee ee - bo da pe we hae Aes ay wile Lal ©. her if HO - % 7 bt me oe tay var & Siok * del ot ~a F l& ~~ g 3 offal vm y astcors rr & fimo Qa Dp an ; > ae oS ae F £ wl ie) Fy we os 4 4d OD % we | eRe edt avons saciinednt bei aS wees vy JBcH - any “= = ade fae be 5a eats om Be ctta ek vel. sees a sh of esdt ‘om! anv bedinkag expifas odd. O Ruignecca sait @ - is >a my Die Od es A AM Val ale GA NA te 7.) ft 4 enm ? i ‘ * SHisins LeooD ee Ver * ode rj " et 110g § yf Se aie a acldw ebt ee ie aliAenm UG ov eeuMUL a - y hae ; 7 a ; et & hen ce w< De mee f fe om s ee We oe : eae Ps ete tod ) tnd hs Nad he Gil S ef ws OS Ya CA TP ser hae" int " " » . . f a Tot a Fe cs nt iy a= £) HHA ner ret Pio at eo diem } a : ke See eA 2 ie) oe ee ee Ue a ae EB dee ue oP us ~ gags - A ot Pe s0t¥ te hte O56 et baoayes 7 VGeisss ence Boe f. Amine ¥, oe hoe LItd oh i waa Thi of & - hate io. wm ed A. Si bd eh oe WP od end favedd a0 enit pean Pea. ‘dtin veel to eed 8 géin suse aa oflogh rie ) yaellay ‘ia “ie ‘68h Cor nr flan eS fs : ES pe 328 inscription tablets. The transition from this border to the s sunken inner surface always forms a narrow band with noble se- roll ornaments on a black ground. In many cases of round plates of dishes the middle is saved for a portrait, with a narrow whites border decorated by gold, outside which again lies a wi- der black band with gold ornaments, itself being separated fron the other surfaces by a narrow white stripe with gold decorat- ion. Thus on a noble dish by P. Reymond of the year 1558 in ¢ the Basilewsky collection at Paris (Fig, 151). Thersby is how- ever not exhausted by mach the domain of this ornamentation, but rather is drawn upon all that the Renaissance has invented, in order to create for these works the highest decorative prich- ness. Here belongs especially those strange fabulous beings, in which often appear the fantasies of a HSllenbrigel. Thus with the unusual charm of a sparkling imagination on an oval dish . by J. Gomtois in ths possession of Prince [,ichtenstein at Vien-— . na, and further on a splendid round bowl by Pa Reymond from the year 1553 and on & magnificent plate by the same artist in the gallery of Apollo of the Louvre. In all these cases, the repre- sentation of the chief picture may be polychrome or a srisaille, but the alternation of gold ornaments on 2 black ground woth graceful ornaments on a white sround is extremely charming, and proves that these artists with entire safety knew how to domo- nate the entire effect. But as the last and nowase most beauti- ful of these decorative elements is to be termed the cartouche work, that occurs about the middle of ths century. However whe- ro it is combined with figures, masks, hermes and the like, w white is to be happily combined with leaf scrolls and frudt festoons, since frequently = high ornamental charm is attained. Thus on the back of an oval dish by Fs. Courtoys of the year 1558 in the national museum at Munich, which represents Hercu— les in combat with the Nemean Lion in a rich cartouche border (Pig, 152), while on the inside is to be seen Susanna at the bath. Generallw the cartouche work is employed in 2 correct fesling for style more for the outside; thus on the absvs mentioned dish of J. Courtoys with prince Lichtenstein, where the interior contains a representation of Moses with the bronge serpent and many fisures. This is the case with a splendid ro- und dish by P. Reymond in the gallery of Apollo of the fouvre, A Ths rath hay BOUST EST 5.45 ale evel a heme te Oe } y ' / an bd oe ’ ft i ess: MDL, bean i $3 | ae oS BE -q i aseri Anee ee ie a ai. edd wobtecs . ets: ae G2" i crrseey Moe.¢i! - - e Joe ' \ ay - se Bevies t a Ou) ae) 329 of the year 1569, whose interior contains scenes from he ola Testament. , It cannot here be our intention to give more than mere sket— ches, still the chief masters may find mention. Besides the before named artists of the Penicaud family, of whom the elder partly still belong to the 15 th century, as one of the most important is to be resarded the already often mentioned P.Rey- mond, who was continually engaged from 1534-1582, By him exist works of very different values, and indsed from the different epochs of his life it clearly results, that he worked with the sid of numerous workmen, whose works were naturally of differ-— ent worth. His name was so famous, that he even received ord- crs from Germany, and espscially from Nuremberg, since then - the before mentioned service of the Tacher family was obtained at the original place. That he was also highly esteemed in his home, we see by the fact that in 1557 he was chosen as a coun- cillor. Still greater importance and on the whole perhaps hisher ar- tistic worth had L. Limosin, who Senerally passes for the most eminent of these masters, although we also find to be proved in his designated works the assistancs of very few assistants. His earliest certain work, scenes from the Passion after Direr, dates from 1532. In the year 1535 he painted in sgray on sSray & plaque a composition after pictures of Psyche, that is xh ai by precious blending of the tones, especially of whits. Also he knew how to make the most delicata use of ¢ gold ornaments. Occasionally we also find plates by him with portraits of famous contemporaries, thus the portrait of Anne de Montmorency of the year 1536 in the gallery of Apollo of the Louvre, of extreme delicacy and cool coloring, that is still more effective by the deep blues snamel ground. fhe bord— sr consists of volute work with acanthus leaves, and this in Sold, while the panels on black Sround are gray works on Sray, and also contain two splendidly drawn male and female satyrs with playing genii. By their effective muscles and their bold movement, these fisures betray a very carly influence of the art of Michelangelo. Lb. Limosin also destiosguished himself by extraordinary fertility, since then his fame rose ever higher, and in 1551 he could be designated as “page of the was oe sete eis en 2tgor snatas® end eer ot B80 SELL > thee « t oe wht a TH Faas ees ae a oigers . peng ‘ghepe étngostinoss sows. ex ee bas: ,ovods fs2chienes ved e og ao As . , : we Qtetsten Roliniog vests ila: vey | ‘ A is ie a ' oe eH) - 330 king’s chamber”. Henry If and Gatherine de Yedici therefore Snirusted numerous orders to him. In his native city he was appointed councillor in 1571. In the year 1574 he finished the portrait of Henry II as Jupiter and of Catherine de Medisi as Venus. These are the last works bearing his name; in 1577 he . is reported as deceased, Op his most important works we also name the bowl of the year 1536 with the battle of the Gentaurs and Lapithae in the collection of J. Rothschild, a triptych w with the king at prayer of the year 1544 in the collection of. A. Rothschild, then tas unusually large tablets with the pict- ures of the aposties in the church $. Peter at Chartres, nearly 2 ft. high, executed in 1545-1547 at the order of Francis I af- ter the sketches of the painter M. Rochetel. From the year 1553 date the paintings of the cross-bearing and the Cracifixion of Christ executed at the order of Henry II and now in the Louvre. Of the other masters, that worked about the same time, we n- name J. Court, also J. Courticis, as well as ths younger members of the Limosin family, Leonard II, dean and Joseph, as well as tas younger members of the Courtois family, Martial, Antoine and Pierre. Likewise a female artist, Susanne da Court, is men- tioned. Skilful works were also furnished by a master, who des- ignates himself as M. D. Paps, and finally N. Nouailher (or Noylier) deserves mention. 114, Glass paintins, In the splendid development of the art industries, slass pa- intins now had @ part in the 13 th century in a very character- istic way for France. If this magnificent art had already in the 18 th century taken the highest course, and participated in the rich development of the entire church art, now it should pass through a new bloom, in which it causes recognition of 2 later climax of church life. If lay in the general conditions of the culture of the country, that althoush the Renaissance was first a secular art as sverywhere, still also in France a rich impulse was due to the needs of the church. We thereby ecosnize again the orthodox devotion of the land, that obstr- ucted the mighty currents of the Reformation, and finally sup- pressed shen in blood. Thus church architecture again passed throush a revival, that we have considsred above, and all dec-— orative arts and first of all slass painting, participate in Ph 2 7 iw e2gCce8 J + meee bbe A a OG Ae ft: eagebonds fabs ea lt perv mw tohoe Chr te th OY ee a Bera os . * ape a 4 ond eM e-- 268 oan’ 7 ss 331 this impulse. Hers now appear the strongest contrasts to Swit- geriand, where Likewise then rose glass paintings to the hishest perfection, for there was this beautiful art passed as easel painting into the service of private life, while in Prance it smained falthful to the character of the church. But although continuing in the service of the church, it could not isolate itself from the artistic current of the time, and so it wins mustely as free painting the highest artistic effect, but it finally yielded snubiftéky to the domination of Italian art, when at the same time it employed the elesant forms of the Renaiss— ance in architectural enclosures. In spite of so much destruc- tion, there are still preserved in the country so many works, that France can compStecwith Switzerland in the sabundance-of the monuments. A complete history of this later Slass painting, that is naturally scorned by archacolosists of the strict rit- ual, is still to be written. We must limit ourssivessto brief indications. Amons the most famous slass painters of this epoch RB. Pinai- ier takes the lead. He appears to have been bora about the nd of the 15 th century, in 1527 and 1530 he painted several in. S. Hilaire at Chartees, which created such fame for him, that he received an @ntire series of such orders for the churches of Paris. In the later time of his life we find hin at Tours, where also lived his sons Nicolas, Louis and Jean. Nicolas even painted in the besinnins of the 17 th century in 5. Gtienne du jont at Paris a window with the representation ~ of the mystic winspress. From Robert came especially came es- pecially the choir windows in S. Gervais with the life of Ss. . Maria with great decorative and color charm. : To the earliest masters then belongs Nicolas le Pot, of whom we learned by the glass paintinss in the chapel of the chateau of Bcouen. Likewise his brother Jean le Pot was not merely a sculptor but also a slass painitscr. Then is to be emphasized as & prominent master Emsuerrand le Princes, who died in 1580 and whose sons Jean and Nicolas also pass for skilful painters. By jean the church at Tricl (department of Seine and Oise) distr- ict of Versailles) are seven magnificent slass paintings of 1954 and 1557. A prominent place is finall: merited by J. Cousin, one of the * fe : 1 . q a 4 | i ito ase lds r eee {} M eh a2 Or me we ad we MLS oe bi ao ro Li q j . uf Of¥ \ovcsevisne? on: ‘Stalin seods 26 /e00 Ber sete %o nisnch tha edd febsedotosca yew Leese pqeat (oititne ix (a tre to xioeds edt a0dd Am bet Aa ney = we SE “oe vi Sapa . ac o + re $8 sical te : T a HFnol. 607 ar Be aa * j et 1 Se ist i aaeanveoeestbibiste i Oe ae a ee 332 most important French artists of the time. Born about 1501 in Soucy near Sens, dsad in 1589 --- he called himself Semonensis ITT he was ons of those artists of the Renaissance, who in the most universal way comprehended the entire domain of art, and also sought to further the theory of art by scientific deepen- ing. bike Michelangelo and lionardo he was employed as patater and sculptor; but at the seme time he designed as slass painter and copper engraver, and even if he himself was scarcely a pat- ternmaker, he still made many drawings for woodcuts. His scien- tific labors are shown by his book on perspective, as well as his book on portraiture in 1771. Doubtless Cousin made his stu- dies in Italy, and indeed in Rome, for the types of his figures aré those of the Roman school, and in the animated character of his compositions and the preference for bold foreshortenings is recognized the imitator of Michelangelo. The painting of the last judgment in the Louvre, formerly in the church of the Win- orites near Vincennes, exhibits a mass of small figures in an- imated groups executed like a miniature, warm and clear in tone and golden in carnation, and still on the whole with no sreat originality. As sculptor he is well worthy of consideration. by the noble status of admiral Chabot. But his principal fame is dus to the Slass paintings executed by him. In this art the twn masters J. dSympe and fT. Grassot, by whom was the southern ~ portal window of the cathdral of Sens, appear te have instruc— ted him. de himself worked there about 15380 on the window with the legend of S$. Sutropius, then in 1551 in S. servais at Paris on the martyrdom of 5. Laurence, the queen of Sheba, the paral- ytic and the Samaritan woman at the well. Abont 1542 in compet- ition with Nicholas le Pot he executed the windows in the chap- el of the chateat at Hcouen. jinally to his principal works be- longs the five windows in the castie chapel at Vincennes (Pigs. 153), in which the splendor of Renaissance decoration appsars with particular clearness. The visions of the Apocalypse are represented there with extraordinary animation. mba Very beautiful and in the best spirit of the Renaissance are the borders of the paintinss, that are mostly in two divisions above sach other, below with simple arches on Doric pilasters, above executed with richer ones in the Ionic order, in the sp- andrels of the arches, the splandidly decorated friszes and the | Ratincad Preiss [omexe > > omm ” Bs ww St ee Shad am 7 Ww & ate pats ease ove ” sw te iiemesnse: fi ste o} Be nonin Sve Le Pg Aw +» eB Wake PF WHE: es Vogle-hoer > 24 FY ae 4, en qo oe Ae weitws Re ‘f i oh 3 r > ow wf - #* a _ tS 29 s 2: t4 £ i’ ce oO 333 rich cornice with consoles of ths entablature and Sable, stran- sely enough intersected by Gothic tracery, presenting the lLux- uriant abuydance of the developed Renaissance art. Of the still numerous remaining examples of glass paintiags of this epoch we name in Paris those in Sa Sernin, S. Germain i? Auxerrois, S. Merry, S. Gervais, 5. Medard, S. Bustache, S. Btienne du Mont. In S. Martin at Montmorency are seen two slass paintings of 1524, in S. Michel for Orge remain four glass win- dows probably by R. Pinaisgnier. To the most important cycles belong the sever magnificent windows in the church at Triel ( (Seine & Oise}, executed in 1554-1557 by J le Prince, Christ’s entry into Jerasalem, washing of his feet by Magdalena, the death of hhe Virgin, legendary scenes, martyrdom of S$, Stephen, S. Roches, 5. Martin and others, as well as the tres of Jesse, lively and animated, nostly scenes rich in figures. Bat especially is the grand series of 37 windows in the chu- rch of Monfort 1*Amaury (Seine & Oise) from the years 1544-1578; --- representations from the life and sufferings of Christ, the lifes of S. yaria, story of the apostles, in great part of high value, at the same time with magnificent architectureal backs- rounds and rich Renaissance porticos, which sometimes still be- tray the earlier, but mostiy the developed forms of the style. Bxcellent Slass paintings are then in S. Etienne at Beauvais, and preferably amons thom ars the Apocalypse and the tree of JOSS. Gikewise Normandy, especially in its eastern parts, is always still rich in works of this kind. We name in Rouen the cathed-— ral, S. Vincent, S. Parics, S. Godard, then in Hlbceuf are S. Etionne and S. Jean, finally in the church at Gisors the beau- tiful glass paintings entirely under the influence of the art of Raphael, especially the noble window with scenes eens the Life of S. Maria Amons these ate masterworks of slass painting, aiso onaee in the church of Brou assume high rank. Perfect mastery. in composition, drawing and execution in golor are combined with an extremely refined decorative senses for arrangement, distri- bution ofdicolors and ornamental treatment. In the last respect appears at once, that the executing artists have almost ent#re- ly outgrown the Gothic, and it only occasionally appears in spinal PL wey ‘ oe ¥ shea iA 2 aa jo 8 a staitow evotosag eredd Se robeserqaé. Lsoinen yloxd & ht , i tevie sadtsom gid od etasgge ofm .suolve’e sit teeq ‘Bid te elist om -jenelebysit of aonebtep £ ee babaseg ode eI -bauowgioad add: Littrod, déiy somen ond edt off | Pi Antes vend eid éxedal id? woled (naectaon) sted eld te ; i Setegiel o& ,dn28e mowdeg ted yd beivagnosoa baa ‘20.nmaet [even edd of heteles cia teat panottetae > lo sobae foe seinoitusg yd fedeingaise st oie aged nt wolaceze @aiaeels tight ebavow eoid wie no sev adit chlo asin BLod yd bedacoeebh yldoke bes amaod eoneee ct Siepue eis ee Llow es jebnelaed ddiw lined pak a add of Sacied cetwadil enangtt yleosivg add ddaen ‘fedtinetc: sac .geldeg & bled ulazas seeds Yo on? ealsses Gadto edd eftiiu ,duediLide 20 ddesh ant fe p asec oct ig movida ybsotle esu sasg akit dedé - > sevedopbdoss Tinedy: % soatte odd Bopooed: Jago ligahem sacw [Lise | beliis yissivse ete stvisd SoQgs O67 sepeosd ,enobhein Soteoons afedi to eadud: iden ,i6q Yleoning sid tq smep ‘Bniseots encithiasesiges epeddy .eanod tofeo sola oat eines 3 as gedt Iacitiedsid 8 teddaa eves vinietseao reviise ive * +b iene 4 done sot efehom fomsed od ILise degm ‘yous tnd :ieoxstal tae peek ass exchnin shits sento owe ont eonie. -Baeldosq ocb | igs omar te evel yibisow ,yetg Lis to efiga of ei witilg : hat se, Ae pet ile i aN “Alt eth Apc aed Ata ae | gosasis Apa edd yesded T ene > Tye sh ok VAs Am ST) he slVeE* on 40 Ewe Y weld. hie 7 f "4 : : Zz oben aise Sisq edi eonetasggs to scebasiaz a ae . haw = . al Ne ve ys A y - | sy See oy A Ps Li ist os Es he Prim, ponte i $n a Cas idod a 8 BAGUIRa 2 ‘ Of y Pe a : , ; 5 Pe ee Ne Se t ae "te GU we wt | ake AK YU MO Aksoy - vo “+> ek > ~ pee wb fe eee. « egd GHOUTR Bivg aA” mime 7 Mek wr nk er ee - a™ — i iat ie eV ¢ LEV ROBY ng tees , o Gi wd rye wea i Bh wel WS Seas > ren oe ey % ida Pe PK : 2s08 wl ay St th eT Y iaoran * re PE 2% SLITS * 4 r Wa. OC ey FT? Ee Pa * Cee are © PS ooh, 1S ere ge a ey ea ~% f bart ‘ er fal ™ ~m be i p dtacacd * eres +: 3 ic gainnovo was fe) Sh) a so eo Cee ‘ 5 335 Incomparably greater importantcthere is ths principal wimdow o£ the chapel of S. Maria. In five bays with a total width of about 10 ft. , it is filled by a sreat representation of the ascension of the Virgin. In the middle soars the sacred form of the transfigured, humbly bending the head and crossing the. arms on the breast, while God the Father and Ghrist are enthro- ned at each side, and together place the hsavenly crown om her head. The entire representation breathes the plain disnity of tas sarlicr art of Flanders, Beneath the apostles surround then, partly kneeling and partly standins, with tokens of astonishn— ent and view the open sravs. Rntirsly in front on thse contrary knesl in all princely splendor of appearance the pair of found- ees, accompanied by their protecting patrons standings behind them. Art has asain employed on this sroup its entire ornamen~ tal charm. An elesant architecture of Renaissance columns forms the enclosure. Over this rich scene is now arranged a frieze in a remarkable way, that in Littles figures and beautifully executed represents the triomphal procession of Christ. In the middle is seen the Saviour of the world on a chariot with the symbols of the four evangelists and drawn by the four church fathers seiumphantly; before the chariot are the chief representatives of the Old Testament and behind it those of the New Testament. Im the for— mer Adam and Hve begin the march, followed by patriarchs and prophets, and the mother of the Maccabees with her seven sons; n the latter are the apostles, martyrs and other saints, amo-— ns which is prominent the colossal form of the Christ-bearer ¢ ings of the windows, entirely in the senses of the Renaissance, are formed of flower yases,sleafascrolls and dolphins; then the openings of the tracery are entirsly filled by praying, musical and rajoicing angles, wherein the sgilfal uss of the spaces me- reseeved window, adorned by a representation of Christ, who appears to doubtins Thomas after ths resurrection, Beside it knee] Laurence de Gorrevod and his second wifes, Claudine de Rivoire, accompanied by thsir patron saints. Bensath are seen both shields of arms, but above in the crowning of the window 2 In the neighboring chapel of Correved is likewise found a 4) ef iy Mae, a8 aie bis i ohne tee Xé Beecioa: e1a''% bode ede toLoo $e beoose i ~ Saeeeae sé he Pay fe > 2% q te ee o, ‘wo ae al oad 1 eS ry ¥3 mre ab Sr ae Ae A Se -s by ae ot awe Abas Gy 336 ars the arms of Philibert and of Margaret. All these arms like those in the choir are enclosed by garlands of green leaves, WOSe appearance unites the accord of colors in a refined har- mony. The uusaually rich architecture, that encloses these rep- rese¢ntations in niches and canopies is a luxuriant mixture of Gothic and Renaissance forms, more playful anf sportive than on tke other windows. In the cpenings of the tracery are again seen numerous praying angels in a charming diversity of pose and places. We still find two beautiful nit well preserved painted wind- ows on the south side of the church. The first belongs to the chapel of the seven sorrows, which abbot de Montecut, almoner of the princess with her consent, founded for himself in 1516. Christ is seen at the supper at Emmaus seated with the two you- ths and breaking the bread. Below the pious founder kneels ina prayer, accompanied by S. Antonius. The upper part of the win- dow is decorated by scenes from the story of Joseph. in little representations are seen how he was betrayed by his brothers, then is given Pharoah’s dream, he is covered with honors by hin, and hé is recognized by his brothers. The openings of the tracery algo here are filled by singing and playing angels. Thos last window in hri south transept is finally devoted to the chaste Susanna. In the upper division she appears as acceu— before the judse» in the lower the wise Daniel brings to & her innocence and the judgment of condsmnation falls upon he two old criminals. Composition and execution are here sin- pler, but are treated in the same spirit and feeling for style as the other windows. @ corresponding glass painting in the northern transept was destroyed by a hail storm; also the eastern half window of the chapel of S. Maria has lost its former decoration. Yet still existing and well preserved parts of .this rich decora- tion present excellent examples of this highly developed art of Slass paintings. 115. Bookbinding. Since we found in book illustrationn the first vestiges of the besinning Renaissance in France (S. 5), then may some re- marks on the external treatment of books, their binding, close the circles of our investigations. [it is still in this domain (86 bebsegaa. eg ce seers Snediin 3 PION midge ebirh te rane ro ‘ “4 o x ew Se ‘a “ - ~ gala IOV orge 7% Pose sh a 2 > oF Me we ~ we Se ST elven bok aap eat is isc2s% GER Ro % erg: 4 . t _ ee ele ee Ae Ww Set Oe 2» I a’ er ‘4olileb a2 ere ka A I iS, a. an® “se thm Tt Cree ts oe - + a ® LIC of nd ~ Pe er ser ae oe reek em et 2 he! 6 & Md dis, 337 of France of very sreat importance, so that its excellent works of the 16 th century must pe regarded as models aven today in tae maze of bookbinding without style. It was already known in the carly middle ages for the magnif- icsnt manuscript books richly adorned by miniatures, how the Church used as gospels, antiphonaries, ete., making a costly binding indispensable. Plates of carved ivory bordered by-sil- ver or sold, or aven wrousht plates of gilded silver adorned by gems and pearls, formed the covers of most manuscripts on parchment arranged in folio form, In the epoch of the Gothic already occurred leather bindings over wooden boards instead cof these splendid materials, and generally received artistic tesatment by carved ornaments, by punched patterns and stemped forms. The principal means of ornamentation were the ornament- al bands executed by metal rollers. Metal corners and clasps completed the strong expression od these monumental works. Bat bookbinding attained the highest artistic development in the time of the Renaissance. Besides buildings and paintings, books were the great ambition of that sreat and intellectually active spock; to possess costly copies in artistically perfect bindings was the competins endeavor in all cultared circles. The libraries of the Medici and of thesPopes, particularly of Nicholas V, as well as of prominent nobles like the duke of Urbino, and then also the famous collection of king yathias Corvinus of Hungary, were distinguished not merely by the con- tents, but also by the external appearance. The important Ven-— estian printer Aldus caused the bindings of his books to be dons, probably by oriental workmen, wio wers aiways famous in the t treatment of leather, and thus arose the peculiar Moorish char— acter of the ornamentation, which thence forth determined the stamp of the Renaissance binding. For from Italy was soon trans— planted this treatment to France, where it experienced an ssp— ecially fine development. It is first distinctive that the literature wes more flexible, and that on the whole the great and heavy mediaeval volumes, , aside from many exceptions for churck or scientific books ceased. In their places appeared smaller and lishter volumes, by #hich 4 was made a more general and mors accesible and convenient books. © Thus disappeared also the heavy woodin covers of the middle ages én a ae eh be aa ky eigw .atiia Las ie a be : Bi WSases oles oo 1 eee) ee ‘y eh, tena 338 with their metal corners, clasps and buckles, and instead occ- urred a cover made of sheets of parchment, whose fineness and smoothness was important for the execution of decorations stan ped in sold. Where velvet or soldsmith’s work was not used as in certain cases, leather chiefly formed the covering, with that perfect preparation learned from the orientalis and desig—- — nated as cordovan or morocco (frog Cordova and Morocco). It is further characteristic, that these books were made on linen cords, that on the back appeared as strongly projecting ribs, (“bands”), and on the earliest of these books are so numerour, that scarcely space is left for the back title, and rather a middle pansl on the cover was left for the title. (fis. 154). At first was employed a dark leather of the natural color, be- sides which from about 1530 occurred a bleachsd parchment or one variously colored, which in combination with the sold orna- ments often gave to thess works a magnificent polychromé expr- ession. Por the execution of the ornaments BP. Gaillard invented instead of the earlier metallic rollers the so-called tools, crescent shaped irons, by the use of which the refined feeling of the artistic hand came to be employed. As for the ornamentation itself, the deep stamping of the Gothic epoch, which in Germany was obstinately retained for 4 long time, was @radually supplanted by a true surface decora- tion. The motives for this entirely belonged to the Orient, and indsed the Moorish scroll with its peculiar Leaves, completely dominates the character of this ornamentation. Yet there are aiso certain examples, where ths somewhat more natarakistic flower scrolls of Persian art were adopted, as in that magnif- icant Venetian book cover of the library of #. Didot, which is adorned by 4 orecious paintins of Pyramus and Thisbe in the OG» oval middle panel. Yet these are exceptions, since in seneral the Moorish-Arabian decoration predominates. It is that well known from Moorish architecture, a play of plaited and inter- woven bands, as well as of richly developed scrolls, which ex- tend in those specific Moorish leaves and flowers, for which no models are to be found in nature. Thus it is the same orn- amintation, which was transferred from bookbinding to the fan- ous Oiron faience (S. 111). This ornamentation, which brings out the surface character in a most perfect manner, and whose be a wo edd YS, webi i tedtap .ebusd becefzedai to sebted besiisnctoney. Bah .tevoo cit bavcis ehnetxe axon Lewse yd Bezsacned 36 belli J$ta: sc Jnaca¢ #ieL 1edtio Sond eve ecoetine tginin oa Radic evoty ,clenng heagised yLiniisussd to sedaen a od nit sedtc eit ob beyoigne tedd d¢iw atesasnoo niabe node “eeecs to soatic baidetnoies odd doldw no. teandoos cist ne overage asageoi fellec witagota .erolco. sna wttib Yo vy of, feselog yitdhisd fo eysini S1¢ sent) boa géned ag obavess tetanb edd, tc tueatsorg exocood yoxrolpak mete ) Meigniz oes c1e aolgmsxe ssdois easdd eable bay gine ony o102 nent baw ubuad becalssini ylasors rs Mf he bs Ber -Bi% Snemtpent elyte eldon oft yd yttotlosde. (eco doidw gatiald edd to-setdarado edt at eid?) + aa ape Bayt oh ; i : cater es | ip ‘ i. Hand age aw | bis ¢ a. a ws vt ye a ee ft is a he —e 7 i>, Je aT = + eke Ruts. ; vs ‘ } fl bas 6 di al ie vo NaI Ta headlight Oy Sa weig s1.olor ‘8 Vereen nated sPhES oF extéon ‘ sonad 10 ‘daebmegobat teiciach asven (eeye edd Bae io yibnexd negto bas east aii elise eostuee edd save f) xe Sreigasd edd at ovege roviy edd 0% dedqade exe. Bovents edt a0} favacvss 22 Jeneq eihfts 2 ciuy # es ty, Guaed w yd Seaolone ef bas, .docd-sd# Yo eldid. edd soi . ae - >) a ee 2 ar a 2 et mg . —_—_—" = nal ~~ Settwetiav wisvidoette redcenedo Lotooat eecdn ,etnomenng «| Se Missonpss: ef spaisns exizce odT .edreg toddo odd ic tedd feemag olbbin ac? woxt yakbeeoorg wbaed gatoeirsdni yo Lok 7 So ean add. yd foesoront eevee eh ~howad ef wiacw Lod carla i grthaas ye esac? xd beriatdo seit ei tobnsige te, ) Sedesen yiteom cia etawolt Foe reves! ea3 nasa. pean onla ete eced? «(REL .2i) nokverceeh stindeG ww to moltoel ios. edt ‘mex: abet eantvis -conast ni heouboatnk vert? ssilosd .b revel! Pemes ocd of beliso node bag ,nelty ge ncingecté wae” Bett is Bitosed eit vont od plas ak boatesl bed ed .soneay) pe J odok weds beonbownt fae eoneeeiages edt to epsth! ) Laan yas bevios ylovieesoone ed FREL nt Useeb ald [2300 dt ped eeizaicqmotace’ wit Yo sdnemadase edd ot galhioy bi a eaey ; es etd af esye swo hi vehow bowed ad of adood. © feif Yo sxe wbolbnid setlor od® .tiorakd os r8q Mood. . tes & | , yleat? edd to yachaad ni hesesqicenn .soasgels | - | edd. be Qsirolos-Jccokitagam .notioeiasg Lecindoed. at een . ‘oem oe sag \tlndien ah otal eat to shaman | 339 high conventional perfection is based on this, that it is never untrue to this, being merely a harmless play of forms delisht- ing the eyes, never desiring independent importance, extends over the surfaces while its fres and often grandly curved lines are adepted to the given space in the happiest way (fig. 155). As @ rule a middle panel is reserved for the arms of the owner or the title of the book, and is enclosed by a beautifully con- ventionalized border of interlaced bands. Further a wider bord- er decorated by scroll work extends around the cover. The ren- aining surfaces are then cither left vacant or are filled by ornaments, whose graceful character effectively varies from t- that of the other parts. The entire surface is frequently divy- ided by interlacing bands proceeding from the middle panel, in- to a number of beautifully designed panels, whose ornamentation then asain contrasts with that employed an the other surfaces. This contrast on which the astonishins effect of these beauti- ful works is based, is evsn increased by the use of Leathers of different colors, properly: called leather mosaic, when the bands and lines are inlays of brightly colored leather of gre- ater dehkicacy become prominent on the darker ground. The hish- est splendor is then obtained by these by gilding the ornaments, when the leaves and flowers are mostly hatched (fis. 156). Be- sides these richer examples ars also simpler ones, on which va— riously interlaced bands and lines form the sole motive of the decoration (fig. 154). These are also characterized in greater Simplicity by the nobls style treatment. Fis. 154 gives an ex- ample from ths collection of NM. Dutuit. This is the character of the binding which the famous book— lover J. Grolier first introduced in Prance. Living until 15385 as treasurer at Milan, and then called to the same position in France, he had learned in Italy to know the beautiful bookbin- dings of the Renaissance and introduced them into France, where Until his death in 1585 he successively served four ousens. Ac— cordins to the statements of his contemporaries he caused the. books to be bound under his own syes in his palace, and even took part himself. Ths Grolier bindings are of distinguished elegance, unsurpassed in harmony of the finely suited soft to- nes, in technical perfection, nagnificent coloring and the charm of the design. The covers are mostly made of morocco or igen orto. a0 8 le (y ser iz Lanes & Ap ‘ wa . Min ery eee | ry we Sige * pay de. 0 Ae es aur €2 hare Ae halted fut) bye ee ee 4 i ‘ DRG GO? Baesscaxe 349 | 7 brown calfskin, the ornaments in goid or oliva green, also in— desd executed in gold and black on a brown ground. These noble works with the inscription, “for Grolier and his friends”, now cost thousands. Likewise G. Tory already known to us (1p. 20 ste.) devoted hb his ettention to bookbinding. The bindings produced by him are mostly mads onpsheepskin, as a rule are only adorned by ornan— snts stamped in solid, but exceptionally have additions in col- ors. His arabesques show fine sgroll work, which we already know from his borders. As a rule he knows how to combine with. these in the most skilful manner his mark, a broken jug. Also. the edses of the books were not Left plain, but to them were - often siven colored ornaments on ths gold ground, executed with the punch. It is peculiar, that the bindings sxecuted © for francis I are distinguished by sreat simplicity: mostly mo made of black leathsr or velvet of the same color, as a rule then are adorned by plain and broadly treated bands, in whose interlacings already appears the bedinning cartouche. We sive in Pigs. 157 an example from the collection of 4. Dutuit. In &: tha middle panel is then seen endatdotteédosraund the royal arms with the salamander, all in solid. Thess bands make a particul— arly dignified impression. yore magnificent and elegant appear the bindings that Henry II caused to be executed for himself or for Diana of Poitiers. (ts. 158). In chateau Anet were found about 300 of these spl— endid bindings on soatskin or sheepskin. Their ornamentation consists mostly of cartouche work; yet occar also the simple . and refined arabesaques of the sarlier time, mixed with quiv- . ses, arrows and the crossed crescents of Diana. A beautiful example of tke bindings executed for this king is siven im Fig. 159, characterized by the dignified economy of the ornaments. In the middle panel is the richly snclossd royal arms with © the initial of Senry. On another unusually magnificent bind- ing in the possession of M. Dutuit is placed in the middle and of the four corners the protrait of ths king in the form of an antious imperial medallion crowned with laure] (Fis. 160). Bar- ther belongs to the most beautiful of such products of this time a binding executed for Anne de Montmorsacy, given in Tech—- aner, that we give in Fis. 181. The broad interlaced bands in ii my rd { we re We d ) “ 4 Coles ‘ i eke MOS we - ms Re te) at - HE NTC 4 Dos J " ‘4 N ee of Tits ad ee ~ aa L685 = ere & Soe wh “ 20m Lo ne £ 3 5 a * spe an Oa Y ata OSzs Paene Se oe) suse sd Es 3 err wl oO Ga oy ‘ ~ Peps ew2on I i ts: t ee (Dae a Sere on be z ep Ae hf eae ee wp wer ae icod ect id a: Ae, * f * ty oc ff, es i ry - a ~ - 1c 8 ou t & Lae S3ay sods: . PHY We wort + iy wr ae AV) DAT St ee ew a vege qx oxt yf oe8 e a= ads 2 cy B eeoattn - te =. * 5 a ad hej os @ + & y | me a « = - oe aed New ee bit Dy ~~ th Jie ‘ , oy % Sues om ry j- fo ey . ae eS Re fr 2 c8 { ee OM tay a be 15 5 SOoC gui o* 1 “a y Inete TTT ied sig VE 341 their beautiful design form an? animated contrast to the fine ofnansnts of the margin and the spiritedly treated a tanges ones of the Laner surfaces. : About the end of the 16 th century appears a new booklover in the well known French statesman and curator of the royal collections and library, @. A. de Thou, who again devoted his particular care to binding, after under Henry III of Sinister. memory a mode of treatment had occurred, that by its sgeonstri- cally distributed shislds with the implements of the crucifiz- ion stamped in blind work or in silvex produced a a singular and morose harmony corresponding to the character of the king. De Thoa’s bindings, adherins to the precedent of Grolier, again rise to splendid beauty. Mostly made of red morocco and decora- ted by the initial and arms of the owner at the middle, they e divided into separate panels by broad interlaced bands ,ouly ari smaller of these being adorned by Arabian scroll work, wh- ils the larger surfaces are ornamented by beautifully convent- Lonalized laurel, olive and oak leaves. fhe technical execution is of the highest perfection. In the 17 th century is the bookbinder of Anne of Austria, Re Gascon, was busied till 1655, who upheld the great traditi- ons of prance in thi. domain (Pig. 162). Adhering to the earl- ier mode of treatment, he frequently employed interlaced bands as the chief motive for the division of the surfaces. The pan- sls of manifold forms resulting thereby he then filled by a play of lines, that had nothing more to do with Moorish elen- ents, although it was based @n an allied principle of surface. decoration. But the last echo of natural foliage is removed, and consisting of dots (made with the point) arranged beside each other, having spirals and produced by stamps, received new life by certain bolder points. Particularly was it be Gas- con, who had to execute the books for the famous library of ¢ cardinal Mazarin. Tae dignified magnificeace of these bindings was first based on the monochrome tone of the leather and the both rich and noble design of the ornaments and the happy div— ision of the surfaces (Fig. 168). Interlaced bands in firm con- nections form a system of variously designed panels, the middle one being edorned by the arms of the cardinal and the others by ornamental scroll work. All other surfaces are covered by ton ha pnt. J bizo seoa/e4t Yo sopnsdese pa cuesametw tte od rhepretst exode Ceaok i “Bo ob tuo awensoctos ge Hct uetaite a2 paiks, a Racy! Peis id toneee sebiyae te venules datas: deel eat ene geod? |.) aan g to eiron Ils détw yely detupan se bersne00 acoe: oank ae P eonie bus. ,soldetnodante Sidon to Bassent sioatte 10 | Siinern’) ecinets Eas sidasm etatint of us ast ca inom aM 1 b heveten to enaaqacggs eit teddse! ent evin’ ot seve) ae ‘3 ns scat solésinemante odd of gnitadini okedat xtet : P eelctoutsg Sanow edt teol esew yderedt. tedt oe ewok) | Re 7 et0m iii end aeigeresienco a00 .elyga edd ni noht) 7 ee: ’ 0 lyetebroaks oaeiid Pah ae gl ep i Ly , Ses Wwe ee ee ee rv Pea © 1 ee . 4 ¥ s bh OER reg Oh Se en cs er oe a y v , 4 : : han oy, Rey CoS m4 ee ae \ : 342 an arabesque of the most original invention and refinement of lines, whose intervals he animated by innumerable little dots. fhe techoecal mastery of the execution of these ornaments pla- ced in shining gold om monochrome ground is of unsurpassable charm, 3 | . , These are the last undertakings of stylish Prench bookbind- ing. Soon occurred an unquict play with all sorts of novel eol- or effects instead of noble ornamentation, and Since then mea went so far as to imitate marble and granite (“granite calf”), even to give the leather the appearance of watered double taf- feta fabric, imitating in the ornamentation lace and fanlike forms, so that thereby were lost the ground principles of crea— tion in the style. Our consideration has nothing more to do — with these disorders. | Ee i ee eT tre VA so “Jinige soterd Ie LilV¥ a re awn a ee 3 343 TABLE OF CONTENTS. These pags numbers refer to this translation. Page Preface to first edition ---+---+--+-+-+-+-.---.---+. 2 Preface to second edition ------+---+-+-+-+---- 4 Chapter I, Transformation of French spirit- ------- 6 1. Italian campaisas of Charles VIII and Louis XII--- 6 2. Influence of Italian campaigns on the nobility --- 8. 8. Enfluence of antique studies -------+------- 44 4, Jean Fouquet -----------+--+--++--+--4 18 5. Book illustrations ------+--+-----+--+--- nh a 6. King Rene of Anjou -----+--+-----+-+--+-+--+--- . 26 7. Intellectual tendency of Francis I ----+----+--- 29 8. Revolution in the literature --------+---- - 32 9. Rabslais and the abbey of the Thelimites - - - - - - 34 10. Francis I and the artists ------+--+--+--+-+-- 36 11, Foundations of the Prench Renaissance - ----- -— AO | Chapter II. Transition style under Charles VIII and Louis X22 ---------+-- Se 43 12. Revival of church Gothic- ------------- 43 18. Late Gothic secular architecture- - -------- 49 14, Chateau of Amboise- ----~+----.. 29 [gee 15. Chateau at Blois- ------+----+--+-+----+---- 54 16. Ghateau.of Gaillon- ---------+----+--+--- 57 17. Artists of Gaillon- - --- - ere eee ee eee 60 18. Monuments at Rouen- ---------------- 83 19. Ducal palace at Nancy -----------+--+----+ 85 20. Tombs ----------- Bene eee ee ew a6 Chapter III. Renaissance under Francis I- -----+---- 69 A. Royal chateaus --------+--+-+-+-+--++-+-+ fate) 21. Ghateau at Blois- -------- ------ -- + ee) 82, Gbhateau of Chambord —~.-4 -!2 -- 4.5 .-) 45 73 23. Chateau of Madrid or Boulosne -. - ae, ae, Me er ris 24. Chateau of Fontainebleau- - -----+-+-+-+--+---=+ 31 25. Buildings documents of Hontainebleau - - - - - - - — 87 26. Chateau of S$. Germain-en-Laye - -------+--+--- 92 27. Ghateau of La Muette-------+---+--+------- 94 28. Ghateau of Calvaux- --------- eee ee owe 98 29. Chateau of Villers-Coterets -----+---+--+-+--- 38 30. Chateau of Folembray- ------+--+---+--+--+--- 1.00 Fy 1 dees i2octheh Yo waededd pi wt “== aye “= sxoseoncasd> Yo naeted® .86 °° -~ = ee | WIHE Yo wesiehh .88 he i: ae oe et = Bom mm te SORTeT/ Os te saotedd SS. a ¢ ee eye So = + o> mel bvagestal to: nectadd tS ° |) ee ~ oyiitdaedd to seetadO 4a: | 4m aot ne tis - + nakoseten9 20 ceozsda se fee H+ + + + His = wheb tao Loqesa/ to: wabtedd ,8o | -- se halla lr ead at Beli buagesused lo dsetedd .9¢ em osfod edd tc. somivonrg edt sk ecactaio: vadd0 Ob Rie a a me Sy oyster ak eupotedO . tt Se sin + =~ esonkvorg eff! ot. epeedadO 6h sate em es = © tek O85 ‘ck avectedd 6h “+ hime ~ ebm Shepenteod to msssadd .6h a Le eae ghoges® ohne ecreretsres .v mezgedd bee Pim mel ie ROE E tod eto) |.) a + eee oe eenibiind yito to sakosge 2b ME Lee meee ee et ERE Te eosieg a*geseiddowh 638. Setislickak + om = onend de(ellivoo® selenst > vey) Set ee Se yhtseioy ai eathiind sisving sed30 .8s | sme Sim = anoeled ge fes08 g40R4 Yo synch eb): | er ita se = eneehsO fail atonnrt te éeso8 .08 : 20 BS sow dsdwie Sled Bae Boow to assibitns .t2 a. ~~ woasled te wsefies to agekatind edaviwe 482 ‘aaah = =enselo0-te ate dos foe edokad' So agathians .83 if eee » ecae1? Ieatnep mi abathited esavicg roasO be: : ~ + Sa e+ A Sete ee Tietoasdd, to isapod 23 eee. 3 poobsagasd ni pbolilted atevicS 08 Tt A te etal Ga lad tid 688) : mt 4 + +m aoe epomaboees fo Lled git 128 07) ey Sm Sw moe nie iin neReS tail fee yS90 |.08,) 5 a oo ee ie ss -enkatsued Ohida? 6a - os eatii stole¥ tmel tebme eonangtancA .1V sefasi2, 1) h ~puton thed? Sas engtane Legioate? 4a, ie ~ = soudd sdb Yo! auck$ibaco bepmas .f8 09 13 a - ~eandoet iene ‘oat ae ere to i Se ee a re ee 7 oth : ' : t ‘ 4 344 Chapter IV. Renaissance under Francis IT--------- 4102 B. Country seats of the nobility --------+--- 102 31. Chateau of Nantouilict- -------+--------+- 102. 32. Chateau of Chenonceaux- ----------+--+-+-+- 104 33. Chateau of Bury --------+--+--+---------+ 406. 34. Chateau of Le Verger- -------+---+--+--+---- 107 35. Chateau of Varangeville ~------- pe | Shine nen ee 408 86. Chateau of Chantilly- ------------+--- 109 37. Ghateau of Chateaudun ----------+- - - - - 112. 88. Chateau of Azay-le-Rideau -------+----+--- 414 39. Ghateau of Beauregard ---+--------+----- = T5 4). Other chategus in the province of the Loire - - - - 116. 41. Chateaus in Normandy--- -----+-+-+-+--+-+-+-+-- 419 42, Chateaus in the provinces ------+--+--+--+-- “420 . 43, Chateaus in the South -----+--+--+-+-+----- - 18? 44, Chateau of Bournazel- ----+---+---+-+-+--+-+-+--6- 126 . Chapter V. Renaissance under Francis I- - -- -=+-- - — 130. GO. Gity buildings -----+----+-+-+-+----+-+-- 130 45. Species of city buildings ----------+---- 120. 43. Arehbishop’'s palace at Sens ------+-- , wo on ae | ing 47, Mansion Bcoville et @aen- ---------+=+-- = 136 48. Other private buildings in Normandy - - ------ 189 49, Seuss of Agnes Sorel at Orleans -------+--- 144 50. House of Francis I at Orleans ------+------ 144. 51. Buildings of wood and half timber work in Orleans - 146. 52. Private buildings of ashlars at Orleans - ----- 148. 58. Buildings of bricks and ashlars at Orleans- - - - - 150 54. Other private buildings in central France - - - - = 153 55. House of Francis I at Paris ---------+-+-+- 157°. 56. Private buildings in Lbanguedec- ---------- 158 . 57. City: hall at Orleans- ------+---+-+-+---- 180 58. City hall at Beausency- --------+------ 163. 59. City hall at Paris- ---------+--+-+---- 164 60. Bublpenfountainss:-)= elsif os --- - 168 Chapter VI. Remaissance under last Valois kings ----- 179 A. Principal masters and their works- ------- 170 61. Changed conditions of the time- ------+---- 170 62. Transformation of the architecture- -------- 174 63. P.ckescot! ahd: dit Gongoe mim mm) ie ml a 177 .. 64., Pataca of Che, Louvre ys ae i ee .- - 181 - aus rn ii ul : ; i eis 4's y is saa ¥ * ‘-nss0500 by va oy ta i , -- ease ome oe 7 -- eanttL. ef grod 21205. ae a! A ~" ar rere tre one Ce - - wennisign g*omeOtt 60 Vogt y a een ee ek tenn Yo aotety..c9 | Rms tse eet e+ + eetretton one 43 | Bee ne edie A Cdamew 8/20 meeeasy cOe. 0) Be As ag Ki Dinis = - > - a - = 4 + - eeanod edeving wild .8C.. i Pee se ~~ 9 44 eee = minmbaEb Lind ebides .te | ay. se a i ORG Pee ©, (eek a - o- a a ee i «ie non _- - > a) ie -_ su i . * horse, eondeetenss Ye entoed dows. doypdO .X1 iesgedd,. i. “,4.+ + = -peoongnieyeh to eenete atl -B6 o>) ie tee es He = bed to sodoisdd Ae)”: | - rhe oi ~yheens6% 29 BSdousdo tedtc .38. > eal sihelbstiainal ated a yuu te wanna: Sie 65. J. Aw. du Cerceaun- ------l------ ese ns 66. Philibert de 1’Orme - - - -.- - 67. De l’Orme’s writings- ----+-+--+--+---+--- a sail 68. Chateau of Anet -~---------+- ee ee ene S29. The Tuileries -------+-+-------2/---- 70. Ghatean of S. Maur------+--+---+- 2. - - + 71. Je Bullant- ----+--+--+--+--+-+-+--+--+-+- +s ag 72. Chateau of Hocouene--- --------+------- 214 Ghapter VII. Renaissance under last Valois- -------— 219 B. Remaining secular buildings- -----+---+---- 219 | 73. Chateau of Ancy-le-Pranc- - ----------+--- 919 74, Chateau of Vallery- ----------+---- -~ = — 998. j 75. Chateau of Vernenil -----+-+---------+- 992 76. Chateau of Charlevali- ----------+-+-+---- 997 77. Ghateau of Pailly -------+-------+--+-+-+- 930 78. Chateau of Sully- --+---+-----+--+-+--+-- 934. 79. Chateau of Angerville-Baillenl- - -------- = 236 80. Chateau of Maunge -----+----- ee 237 81. Gardens of the Renaissance- ---------+--- 239. 82. Gity dwellings in Orleans - ------+-+-+--+- ~ 246 83. City dwellinss in northern provinces- - ------« 247 84, Sity buildings in northeast provinces - - - - - = =. 252 85. Gity dwellings in southern provinces- - - - - = = = 252. Chapter VIII. Secular architecture under Henry IV and Louis KITI-----+----+--+-+-+-+-+---+-- 257 88. Further transformation of architecturs- - - - - - « 257 87. forks on the Louvre -----+-+-+-+-+-+-+--+--- 260 88. Works in Fontaineblsau- ---------+----- 263. 39. Buildings for public purposes -----+-----+-- 285 90. Palace of Laxemburg --------+----+--+--+--- 267 91. Other works of de Brosse- -----+-+--+---+-+-- 269 92. P¥ivate chateaus of this time ----+---+--+-- Q271 93. Gity private houses ---------+-+-+-+- a 94, Public buiidings- -----+-+--+---- ---- - 278 Chapter IX. Church architecture of Renaissance period - = 279 95. Its stages of developments- -------+-+-+-+-- 279 . 98. Churches at Casn- ----- --- - ee ee ee ee 231 97. Other churches of Normandy- -------+--+--- . 282 98. Churches of Paris ------+----+-+--+------ 236 ng’ v4 fata ae | spdonago 88 | ali Tat clue iy = i boxeemiper eenpred® OL |) pe ~ + - = = = eoneat nit teer ond: bt epaonuaD 0k | RA a le ~ Pe Nr ee) 0 me i lel pe tee ee es erence OL iT Mo te Ry bag ~<- Pi Med a. io EO athe oA oR. 4 eae | sulegedd- . re ny 4 a ‘4 | -+- edete isotesslo vinnoved. nh eobotady | ar et Ss FE OSes eae ee See Jetosmenx0 BOL, a i = cs hoe mae - ” “> = + —ednot Py = 8 at oa Josliotitetited ~sp0g8 oe, to aeiutendst $k, o% sed 560 ie a ee i as ~19S0628H0 Ieseaed, .SOt ied 2 ie i os ; Pett Sade teary ae ae ee Relvass. Bs, yrapiot .fOr, 3 i Wi _, ) :Eodiatiaiiring eaanenode bas etiooenmed sytsies 90k ae cs ee eS RR re ei ma 3 i qneniled eh 98. ORE. a “+ go#t0 to conetee tet) am | | sptevel Yo soneie® “ett a j m= me et ee we et eel ors gesomtd, tekh | >. .f ay a a ; Stee eee eee ie. + dnitated assip .BEEy i — em wie ¢ cRalinidsood: (BLE: if - Jeg a i a we of meee ~_—— — ee ‘bate ¥ ‘ : = ik |p k | ¥ at La 5 ry & > f oe hs ae Pp eal Vea, ~ ke At ore = . ri ; wt ¢ n y ~ 4 1. ce NA - d i ’ ‘ ore ay " { Pik ‘ Bale ee Va Pt , i 4 i rae ts QA an 4 ny a \ i Caaal Ce wee fie | } + ONAN Ae hs ee Th ve poe hae ma 4 ae pe a > 348 99. Churches in Isle de Prance- -------+-.-- Sealine 100. Churches at Troyes - --~- =| + -s2 - +--+ +e 101. Churches in the rest of France -----+--+---- 108. Towers --------- +--+ ---- eee ee 108. Chapels- ------+----+-+---+--+-+-+-+--+--- - 104. Churches in severaly classical style 105. Ornamental works - ----+--+-+-+--+--- -- 106. Tombs~ <( -lejepe = eee ew we ee ee ee ee Chapter X. Art industries of the spoch- --- ------- 107. General character- -----+--+---+-----+--- 108. Joinery and carving- ---------------. 199. Pottery; terre cotta and stoneware ------ a 110. B. de Palissy- -----+-+--+-+-+-+----+---- 111. Faience of Offon - ---- - eet eel ae ent em’ net et 112. Faience of Nevers- -----+-+--+--+--+-+-+-+----- 118. Limoges enamels- -------+----+----+--+--+--+- 114. Glass painting ------+-+----+--+--- 115, Bookbinding- - - - - ong ass ae tpt ray Pasi!) i : Z ic 5: *) A r tb i Lie m : we , iH Ay ih e eo vy ra F Raa il aS, yt ae . A 7 tf , ej if Pa t , yi bs ad re ] y ? ' 4 vy 4 ; a: Bera Ming sesrecur ee eae trot danigize ed? of s9te7 ntedonn ope? Fee ee ew oigtrog seeatlon 142 solitvedéa ie Ebr his saplbane welpadty «s cana - co a = del dened -—- =e & ~- = Senod etevial .§dik | vil ; Ra 4 + sale 4 46 BIg + ©) 6 aim GoseUe ceedoph apts ‘en eo = 4+ = = bastend,(aedd/ te exiog) hasek Je | 47 ee < ee ee ee = = = tomod Med .fbaek) Poems 8 © i Reet tee ee ae wa te opeetetO cemtedad + Sedoas edt to eaned Photon em we we hee ee pok-ortney ete20 | ¥ ~ = ~~ biamel fantixagte dao? (Lexdedted Wee Pah! ~ - = +‘netetedat bS {he seotado -oneti-o14 yous fe ee ee ~ohgos? jehtisel) ok egiabad Rm te ee ee 4 oo pend seen 9 eee me meee ee He ee ee ~io4n00 eOUDaA’’ ‘2 She ,es9- mee ee ee we ee setters Viond j . ee a Se! Se ak i eo Se SS a Ce et ee ee ee we bied ~ eieqedo F 3 3 nested .pasand a) Mee me ee we ee BORA cokerall aie mee me = 0esIadD Lice ll ted-ef Livsayny ee + epaatany seta ee ee ee ee ee Sonbonps Ilauows oS A aS a a wa wm = = “phdseed 42 oainepas ee ee ee ee BE NOT. PodHD A | Ue ee ne ee ee ke lind yet +egyad | Ce Ft on Se re mn ee woEpod eiewiad: |} (es | a ad bsnl rhe 8 0 55 A wa Mo wate Aor ets) ek s0keed 5 iy a Rint = 4 eo oy alfete atody :ianbedded \dogh cee ame eee eee ea = = = oeetees .yeangd al Bt ee Se em + Shataeg sdomndd .eLemed” esis = 4 Seid wim Bebe) 52 ‘vosndd) .abaneen Be A A ae ein ein songed at | ah He ee apetets vuspbif~nl-vesk RR nr et em rhetedS cewettfivotes | RGAE Cail srs irene ate Sod i) hapa adda tiadiedied ian ren aeahia ve t =-_— ee Se Se eee ee ‘ya eee Sean eee ‘ r ¥ bn i } 5 i ‘ meek |,» ra ae ; ‘ Te us ae 5 4 2. eS k LS oe Cg eee mei hoe f 5: > | 347 INDEXES. Localities. Page numbers refer to the orisinal text. Abbeville. St. Wulfram; portal-------+-+--+--+--+-+-2 335. Airs. Balley; ---------------------e 315. Albi. Private hous¢ --------+----+--+-+--+-+--+- 205 - Almemeches. Church- ---------+-+--+-----+--+-- ~ 357 S. Amand (Loire et Cher). Ghateau --------+--226 153. S. Amand (Nord). Bell tower - ---------2+-+-- 28 = 872. Amboise. Chatean= - --° 2 ~°- wee ee ee ee ee + 64. Amiens. House of the archer ---------+--+-+--+--+-+- B14. Gate Montre-f00 -------+--+--+-+---+--+-- - 414 Cathedral; Tomb ofgardinal Hemard -------- 385. Ancy-Le-Pranc. Chateau 58, 274; intarsias - -------+-- 54 Andsiys. S. Clotilde, facade- -------+--+----+--- - 354. Grest house-------------+------- 181. S. Andre. Chureh- ------------+-+-+-+--- = = 365 Anet. Chateau -- --- ----- =e ge ge ee ee 228,245 ,2e0- Intarsias --------f---- fe e- e ee ee ee 54 Gardenj- ---------- ee ke ee ee eH Ke 303, 306 . Chapels -------- eee ee eee He He ee ee 377. Angers. Chateau ------------- ----- - = = 153 Mansion qd’Anjou -----+-------+----+-- 199 Angesrville-Baillenul. Chateau- - --------+--+----- 298 Anizy. Chateag----------- eee ee er ee ee ~ 155. Areueil. Aqueduct - ------------------- 887.. Argentan. 3. Germain- -------+-+------+-+---+- - 397. Church towers ------+-+-+-+-+-+-+-+--+--+-- 370 Arras. City hall- -----------+--+------- 315. Private hous@--------+-- +--+ --- eee 343 Assier. Chateau ------- eee ee ee crete eee 160 Auch. Cathedral; choir stalls ----------+-+--- 382 Aussay. Ghateau ------ - eke ke eee em er ee eee - 155 Aumale. Church; portal- ------+-+--+-+-+-+-+--+-+- SoO- Avignon. Church S. Didier --------------- - 382 Falence- ------ ee eee er eer He te = 400 Avay-le~Rideauy Ghatesaa—-------------- 14%,148 Bainvilliers. Ghateawm im aS SS ae 7344 Chateau-Thierry. S. Grepin; choir stalls- -~------&= 384 Ghaunont.. Chateags 2.5 sso = a SS SS a 61 Chenoncean. .Ghatesair = = a5 a a. Sh 7S tie So 133 COLIinS im. Se aS Se ee eee - 58 Garden- -----------+---- ce 305,307 Clermont-Ferrand. Fountain Delille- ----------- 217 Faienc€ --------f ese er eee 400 Gompeigne..S. Antoine; portal ----------- - - ~383 ~_— = =» -_— } ( -_ e: > -— = - - - _— elon — eee meme Me ~~ _ = eal - —-—-— = - = ae | eo - — _-_— --* - = ‘ t 4 4 , ao - pees ~ = op yo oe _-_—— oe om eS oe ow eee ee be | as - * -~_-— = = = nan e Bie fans 7, -—-—- oo | eer. Riv Pee aclifed ~ -~ - £oibeM eB he a ae bor | Aa frdewcs pan rhs eh ign ween eee allen NERD: tad 1m wt ne He = ueosend eebnod “== 5 = + + Ontotd Le. sacvasined | +A as Si ae epaecedd yond | ~~ - $i> webtsy. oxetag onmokamed sort eliate viedo zdocpd) ude of a0 sited. Io.dacl Pais I siocest Yo deot et entueited tr? Saot i ie ee ee ante 4a pp iad ~fipaky i AN LWisddld snot id - - ~ ~~ ‘to POL, BOL Bot Oohe in ~ - a - ~ = + 4 = metenat /:LekoiN .2 ~~ -—«— = oso eb rolensh mm ee ee ee eke ee AT ed er .haned -— atisisd of veiiedd to dmct taneuny fhe mem eee ee ee ee Hie RSID cxport ee ee te Htedd wy E lie? a “een mere em ee reevedd. .nseont -“s-s =~ Banitnieg aasid. ~vonitnieg tents. ‘enneise 2 tnsod £2 ~ atnitniag CBLI8: :o#06) 16 ii), yew ~~ + £es90g,, 2000 eajok .ysotses le oe hte, om ein Rams eh ite ease i a pbaoe? intbedtad paveser aqweolona- legend. j LL aiae > -~otneoloas loqeno idomeso sqasset | st ae ee ee ie ett esk needed) ~_— mdsetane seionedist-ae-290F + sHotog® .(yboutend): -widnerelt 18. see te es -lsusetedd,. owas los - “Heaedd .cesidartetoo® “he © reakditso | gd i ba AEE pc sist ik Asse 350 S. Jacques; portal - ------+-+-+-+- - - -333 City hall- ------------------ 63 Conds. Chateau- ------- ee eee ee ee eee ee 154. Coutances. S$. Pierre- ~----------- —--- - -357 Coucy. Chateau- - ------ eee ee eee ee = - = ~246 Dampierre., Chateau garden ------+--+----- 303, 305, 306 S. Denis. Church; choir stalls from Gaillon - ----+--- 72 Tomb of Lowis KIT ----------- 336 Tomb of Francis T-----+--+----- 246 fomb of Catherine de Medici - - - ~ - -391 Dieppe. S. Remy ------- et ee ee eee ee ee 357,381 Se JacqueS- ---------k- ke eg eee ee ee Sor Dijon. Library, Miniatures in Virsil- -----+-----=-+ Q S. Michel; towers- ------------+----+ 369 Mansion de Vogue --------------- - -342 Private house- -------- eee ee ee ee 199 Douai. City hall- ----- - ee - ee ee wm ne ee eK ee 83 Mascum; Tomb of Charles de Lalaing -------+- 336 Dreux. Gity hall- ---- ------ ee ee ee ee Me 63 Du Pailly. Chateeu- ----------------- -— -239 Bcoucn. Chateau - ----- Rae Rg mgm ae he 228,254, 267,399 Glass paintings ------+---<-+--- 7419, 420 Glbocuf. S. Etienne; slass paintincs- --------- -422 S. Jean; glass paintings ---------+-+-- 422 Bpernay. Notre Dame;. portal —~-- —-----==- 9 = =e 366 Etrepilly.! Church “jie eee RR ee a ee 362 Evreux. Cathedral; facade -<-.- ---- - + - — = - =e 356 Chapel snelosurs ----------- 381 Fecamp. Church; chapel enclosure- ------+--- .- = =380 Chatoan; des Tis - = - mew ie ee mm ee 341 Fere-en-Tardenois. Ghateau- --------- ~- - -156 S. Florentin. (Burgundy). Ghurch- ------------= 367 Fotenbray.) Giateaan pe ee rie 127,246 Fontainebleau. Ghateau- - --- - 190, 102,103, 106,107,113, 829 Gelling-<--—-- ee ee ee 53 Capital- ----------- ‘"- eee = 53 Ballroom ------------- - - - -109 Gallery of stag-----+--+------- 331 Fontains-Etoupefour. Chateau- -------------- 455 “i ; 435 - ens : ‘ ‘ ¢ ey : ee oe oT eri, WO ee tee eat) eae ae koe r : Ae 4 f hy et A ) ree 8 , my 4 » AT. rer : rh i f 4 2 . " ie \ ay) a * hes “i ; aN ‘ ey ja eM 5 | gil Mali) =% a ee al & re y 7 Z ‘et a : ‘ y i i‘ , oh } ; ' (Par. pve " bh a i ¥, (oy 45 : aj . oe te att 4 , - 7 7” le i; Pe fl hs - +. Hose ~ scatgan. stsvek-sciatse® oe BENS. 5 el +4 7s 88 os a a eat a aoe 6 ee mee Se a ae ee ie ae - ee --- i ee we peiedd saeragnct | mee, © <4) 68 od OH atin SesdeindN soial no trotineyt tee mw em oneedeny. oot ied) “ lined ee gsahie8 . shat > needed, cad ieeeebiorth ee oe wh Ssonn dd, selevied ~yr0l fey a0p90 feanbadtey ime mich tm ORROAT + gry sobatinted vontd. 6 Beh on tH tt ee ee 25 pantedd .acentd ae ~~ = - - — ofgningd vied yin nerndainim ,acbnod- Se aia + ~ - = - 30m bolerans reneanm abdgslarck i balls. _—— ee ee eisis 36 ened exgoh tioned A ~~ A ae Rie my me me geesand abou eas Hm 5 es = Beesad sieved .Linoned -° ae fh em ~ “neta oo) eResgIsEe) ee ~se e ee am a ad HLT 8d, gid .aneyd SRG dan, ned aparece ne we hg ay mm mite om me dotadd .egeblt tal me ay uit vi Peis hy ia ae ee PE is orn A De be Sia WS bliss Laer ahi) ~elfate _—~ i a ~~ ew ~ ee aid oo ee | am ad ane ee _“~_—— 6 ~—_ — ww —— = hn Sa nd tkodo Sorntd Eotaliligan® - ~ +» dotesd sell ivetertnod 7 Sieve = =< iw gogey (xneied i % aeenos sieving .ellivniol “ened antod .nelin~stast sd “+ ~ 4 \+o80ted) sedteat ed ++ - = peetedd ,setiised ~ eteaolone feesde . tiewkenss) enced - ~ssegadd .biconctadoc? od - = -itad avi .el fadoo# aa +: Aa ne Se = asetad) |. mogead Oe SP IS th ER mel TRAD ig TORO Gk -'o ~Esvhodtnd jack ed + “88nd -stevits | + ™~ ~oseded) «aeg1e¥ ed * doe o Basned selise ~~ ~ eelenene ettawtd .acposid. nsstai) oll beta-al-yrg, Rie ~_— +doa0nd | -ohbenetat fontaine-Henris Ghatear---- - - ~ eee ee ee ee ~154 Fougeres. Chateau. -— =< - = -—-— <= =e wee ee eee ee 62 Frankfort on Main. Miniatures with H. &. By - c= 9,41518,18 Gaillon. Chateau- --------<+-=+- ~ — =--— 69,72,75,224 Garden +--+ - =~ +s + = = = 802, 208, Oa raee S. Germain-an-Lays. Chateaa ----+-+---+--- ~116,118,119 S. Gervais. Church- ------=-- “1-5 -- - - -362 Gisors. Cathedral; Organ gallery- --- - - -~-- ee ee 382 Facade ----*+---+--+-+---+--- = -3§3 Class paintings- ------+- -— = +422 Goupillieres. Church} choir stallis--- -------<-=- 383 Gouss@inville. Church ---------------+ 6 362 Huleux.. Manor - - = - i+ == ei me ee ae ee 156 Ivry-ia-Bataille. Chateau ------- --e-e eee ee ~155 BSL eA Depress OR a hee fre tite ee te ee - - ~362 Joinville, Private houses ---------=-+= -=- = =200 ba: Porte-Milon.. fotre Danes oe ee OE ba Muette. Chateau- -----+-----+-+- ,~7 = - -120,121, 246 Gandifer. Chateau - -~--<---+ +--+ ++ -+<== SS eee 152 haon. Cathsdral; chapel enclosure ------ ---- — -382 ba Rochefoucald.: Chatesn- - --~+-- ~~~ ok - 51,159 ba Rochelle. City hall- ----<-<+<-+-+--= -~--- - -344 Lasson., Chateau == - he eS ee ee 154 S$, Leger.) Chateau — = Sei Se = ee ee eee 246 be Mans. Gathedral- -----------------5 ~ 32 Private house~ — — <= ee ee 199 be’ Verget.” Ghateau~ =) =< - - e e e ~137 Gilbe.: Bowmmse sy ye: Cee aR ee tee Mes tet a een -317 Limoges. Limosin enamels- ---------=---== 411, 413 hinour. Chateau -- - = = = oe ee ee ee 246 London. Miniatures wity Lady Springle ---------= 9 Kensingstén museum; enameled mug - - ----- == 413 Vongni. Soothe: Dame de. Pitie:-~ — <-> ~~ = Skee 357 Erte, ! Ce Ge Bea a eh eh me ph ed a mr ie ee -152 finxenil. Private noses = 4) } See ee ee ee 200 bagarches. S. Damian- --------------- ee 362 byons. Gity hall- -----------+- +--+ -346 S. Nigier; pottal------+------- 244,245,377 Mafetdeors, Game alia < eh e 7a ne ee me i ee ee 362 > ae ~_-— —_— +) #8? be Se eee ' i ee ee t i i ] ~ ar ae ee eee —£ 4 ot 7* aa 2 aoe , * & < 2 _ i me F “ oS Yi allied ~ - (i Ba a - F 47 ® ~~ - ‘ £..3 7 ‘ai . ~~ bo -_-_- -- -_- ~~ =6 - ert ~ ~_—_— = a a ‘ae — i, j ee i - ” a eae decid Lh A iB af a , rt ane val ka iy } p 7 Pai Pe b vik | rie sf ’ A “1 “* "7 i] ' «aes hie a ed saa o -_. ~ oe : ~~ «a ~~ + “ ~ i ~ cd oo ne aouitniag -—+ = - in| - r -— -~ ~ ads - ~~ el L - p’ ah ~ rt ee a ae ee ee a a P., ‘ue & ems ‘ Ce). Se = Heap ee ney aa + otetaoot feuetiged — + <= + + fomedy eles | ~s anteinaet seetael Wi “ss paetedd saiedoaed wate «' wsetedd’ -ollivotadsa is _——o ee ‘* -eeteso .saca ee — ~heatang Pie aE 3 Pe) ~~ me a besseap. ‘satellig ee matages oe. -antew ea = — 9 ~aaetsd) Leese ines ~~ sfo%rdd Et oh~ lene sy -sasib gdogedd -(onid ts entes) .yansma* i dtotaow Pn Ae ER a Se Pe a ee ee -Latoott Siete ae avinde “eh5 ses nou = = ROb%89 paetadd: -HS1000 .dnnoY-3lostonesed ack ~ sles = dospdd wt lpovat daot Seals cpbduay ef -yonosomzagN - 6840 aoe Istoix .¢- + + + «| & bes -~-— + «fsg pa ‘chunbebu *S006M 258 | Spal oe ~ Bx, ie mais a nei e 5 ~nbetadd: .nailocd + chesozes at eonadatatn RUSSdfL Jeo00 sdotooy : 1: Seren aish todo «TT ‘Bhone2t deot tieabosted .pedcax cetmse necehones? ,yonall Se ae meme test sBOoase mn Sam esgede) “S@ptod To. e608 s8cnodis¥ “ee — ~ ~ \ oe ~ Ro — a - im mt H ~ -_- ~ “hon bu 4 a yi AD Yi alt a} i a, inet: .iesbedted ‘+ + peeteto IssoG .ausvel oie vant CORRLEN + ~ esday :aveauy , ~ $ * -Lied qh norsk | tee yibter: aay ie Beowyen 42 ye eolvack’ syaednerad ca = RRR rent) sagen fase b SA ch ee Sel aeOR EE BOTT: Laks, hi CoRR es aves Re onsen 7a'% ia . eae, unto {4 : 4* Magny. Notre Dame ---------+--- ------ ~ -862 Baptismal fountain ------+--+---+--+-- ++ -339 Maisnelay. Church ------- a 385 Mantes. Fountains ------------- -- - = -215, 217 Marchais. Chateau --------------+--+--+--+- 156 Martainville. Chateau ------- ~—-- -- - ee - - 62 Maans. Chateau- - ------------ - ee ee ee -300. S. Maur. Chateau- ------- = - - ee eee -~ ~245,262 Meillani, Chateau ------- - eer eee eee -~--- 60 Melun. S. Aspais- --- - meee ee ee ee ee eee - -381 Mesnierse. Caateau- ------------------ = 153 Mesnil-Aubry. Chureh- ------ -~-e-e ee ee ee - -362 Monfort i’Amaury. (Seine st Oise). Church; slass- - - - - A214 Montal. Chateaa ------------- - He ee ee - -162 Montergis. Church ---------+-+--------- ~235 Chateau garden ----+-+-+------ 302,304,306 Monterau-Paulij-Yonne. Church- ----+--------+--- -361 Montjavoult. Church ---+---+-----+--+---+--+---- - -361 Montmorency. S. Martin; glass paintings ----- -- - -421 S. Michel sur Orge ----------+-- — -431 Mortasgne. Church- -----------+--+-+---- ~ - -357 Mosne, see Maune. Moulins. Chateau- ---------+--- -~-- e+e -- 152 Munich. Court Library; miniatures in Boccacio - - - =< = 9,11 Nancy. Franciscan church; tomb of duke Renee I- -.- - = = 334 Huval, pabace®: oR ee ee el ee To Nantes. Cathedral; Tomb Francis II- -------+---=- 81 Nantonibiet:Chateas~ - - - ~ ee si Se ea ~129,131 Steps- ---------- “scree ee 53,132 Narbonne, Houses of murses- ---------=-<-<-«+ - -320 Cathedral; temb ------- rere eee - 388 Nevers. Pucalnohateaay-'-) pats) Si" ere ee ee -153 PORGRCR So) 0. pre rm fe ee yee mtd ae 499,410 Museum; vases - -~--<- 4 - ee ee ee = -410 Noyons | Gityi belie ets i eine eS + ee 63 Nuremberg. Service by P. Reymond in Tucher family - - - -417 Qiron. Chatean- - - ---------- ee oe Se -+ =. Chapel; floor tiles- ------------ - - -400 Baleares let i ee hii tek or ay et eee 406 ubtetaeek ,e dnct Leatnorho ig ey yea eb olautaus acdekd Ye dock : i) mn ee tn = Thad W210. -enge lad Pit - eOGk 36 neck Yo mcklived 1 ee ee - horee semba to eench jy) “bate = i +--+ =~ I siomesg to sesed ys ss sino + etebdtod To eneig to easck a mame = > aoeoghIAth peel to seeok a [1 eet nm = ebOOTSO WE to seach |. wee He ae ity ee eae me RORBER Ofer 95 ei ete ee = + o boon Yo sound egavin? ~:) 1 ir $+ ea - ~ecaidae to. enanod edaviss ~ s20ksd Bae ersliee 40. peanos etavisd Ra ee re ee ee ine, DOOD: 6 CLESO a, «44 Mel ea ape etavins fubnoti-ef-youed . | r eauteioig ,fieeiv .endgecol ,yrewil fasciseh .aised ic ~ ~eetooon ef vellivey soged cite abahisna: -- TA Rah = mnt > apsnoy pb snagits ~— ie! - hg Mac dle -pheoet ; ea ae « nbdikickig geeld | ’ wee eee eH m= tifoatee® «eo “a Pee ee ~ ~~ Daetetes exalt spe '- - - + ~ s$ekousexes*l aiented .2 “Biigolag. azcib : | ¥.. bs eee ete tem - Ohno? Qit- ~ +--+ -- - . . © <9 Oricans. City hall------+---- ~-- -- - = = — $205 Pavilion of Joan of Arc- ---------- ~-819 House of Agnes Sorel -------------= 181 ouse of francis IT ------+-+-+-+-+----- 185 House of Biana of Poitiers -------+--- - ~-308 House of Jean a’Alibert- ---------+--- 309 House of du Cereceau- -----+-------- - ~310 Private houses -------+-+-+------- 308,310 Privateshouses of.wood =‘ --------2ne 188 Private houses of ashiars- ---------- =-191 Private houses of ashlars and bricks - - - - - -194 Othis. Ghurch ------ eet er treet er eet -361 Paray-le-Monial. Private house- --------+--+-- -198 Paris. National library; Josephus, Virsil, miniatures -- 9 Miniatures with Baron Feuillet de qonches- - - - - eS) S. Btienne du Monts------------- -~ - -358 Facade- ---------- 3605377 Glass painting-.- - - - = -419,421 S. Bustachs; ---- rt rf tee te ee 2 eS eee 360 Glass painting ---------+--- 421 S. Germain L’Auxerrois;- -----+rr+rs7 ee 57, 226 Glass painting- --- - - —421 S. Gervaisi~-.- mothe eS em tcl 57,377 Pacade@- --------- - - He ee -387 Glass painting- -----+7-7 > 419,420,421 S.-dJacques de.la boucherie;.tower- - - - - - =733e 57° S. bouie- and $..Paul -.- - <7 +--+ rer 7+ + = ee 378 S.. Medard: glass paintings ----rrctrre 57,421 S, Merry; Slass paintings- --------- - 57,421 S. Severin; glass paintings- -----+1-+-+-°- 57,421 Carmelite charch ------+r-*-- er > =Se 378 Church of Sorbonne; dome ------ tor coe 379 tomb of Richelieu- ------ 3g1 Monastery Val de Grace; dome -—- -.-'=)-\- - + +e 379 Bouvre----rr rrr rt er ert ete ee 229,325 Stairs to: gallery of paintings- ------ 56 Museum; marble relief from Saikionsis — -72,77 Relief from S. Germain 1’Auxer. - -226 353 - Omer. Cathedral; Tomb 8. de balaing- ----=-- - - - -385 Tomb of bishop Bustache de Groy- - - - - - - - -385 te crak a De eae Rte tral Dee ese 2 bet betes P4~ need’ xd spnttubag ones, | be mt * “ ObSL 3, Sintae’ ‘ORE Sa A, ao. gael tas Se wih le. fA ae a Morven +S t0) seege. , beh tie 6B So) a ad by ‘Te. ‘Gisaes09 ee ae ae fs: TF a ; ee eee Blom = seer asliot mes am = got DisB: wort “Tatadg, EPMA BOT Lo LOCHSE alas ‘ee De ee Soond, rout whomgegy a a ie =* = Hieae Saowid wwiansitese -ad}ioetios are Bi ie ~* ~deeh tSnens ABT idoedton ok eokdeek toch ie +nogtg ine fegkae bitdcedsor 54 naltestied/ |’ ='- Sate n - t eee “Eipaonh* to rae ee ae mee ht on HOSS faT 0 giant Peers whe Soy owald capes a -+--- api “abit to. Ce BneM - ie = eth micah vad vila. 20, Fugit Bee me = HSL domes? af 9: polagaH! : , a £ i+ ‘ea eles P Sy & a em em IH se S5vart ZO S0eie% Ce oe ee a Lo os EP} es f 2 4 «QJ d bbe ah | SRB LE™ t I ad i- 4 sn > ¢ aid i | ne Ave FD Bhar e ti, rh ” - 4 So ee a ee Wiee aes rss. £ EY ee a Lie ke wee & haad Mi ? Se me cme AES HP a et me a GG . ; wit vw & " — = me oa te me oe mo Ot 7 a oo) nn Ae 4 ah Bi & Nef pen Le a eh tara Pe oe a G wi nts Bee ee ee ee ad shea) Ato oF Bt esc ae AR ~—— = ee we ein Sat tPED: . : Fe | in dain eyaey ieee tien tenet oe ad ii i a ee att pit abseSha~degg) ih aa ae “+r =e GOLORN) Ee .qekodnes a. PN me is lee ot ‘ghee Tt0 sotenkeg .2 °° meee ene eee “noisy Aeongtt oh eleT) fenoges ; eee eR Re s+ + nlbge> feepeost 13 wanton” | Hie elem = montbolons Shogo rye0d 4E i, Mi Ae Ae, ++ 4 Oe Hie Ered. yobs oer n We. 4 - Ha sid - oll stneyoaitaol ‘ob tousT savoR) | ro a on eh Wy o ~ Pos ih . Saal oye “aso edeviagy,” Ni ) | “4 as eae he ie i : 4 *h i i - ' i * Oe as yes. nal th oS ie “- eet 354 fnanels from Limousin - - ----- 4138 Floor tiles ----+---+---+-+--+- 390 Hunting jug ----+--+-+-+---+- 398 Glass paintings by Gousin - - - - - 420 Gallery of Apollo; Shield of 1555 ----- A183 Spoon by P. Reymond- - -416 Portrait of Montmorenty-418 Tuileries- - ------------- - -245, 257,325 School of Fine Arts; portal from Gaillon - - - - - 75 frasment from Anete- - - - - + 208 Collection Basilewsky;: bimosin enamel- ~- - - - - - 416 Collection J. Rothschild; enamel dish- - ---- - 413 Collection A. Rothschild; enamel triptych- - - - - 418 Aqueduct of Arcucil- --------------- 337 Fountain of Innocents- ---------- 217 , 226, 228 House Prancis I---------+--+------- - -202 Mansion of Cluny ------+-+-+-+-+--- 59,394,399 ManSion of Sully ----------+----- te a ~343 Mansion de la Tremoille- -----+--+-+--+-+--+--- 59 Palace of justice; hall- ---------+--- 66, 337 Palecs Luxemburg -----+-+-+---+-+-+-+-+-+-- 334 Palace Royal ------------------- 344 Place Dauphine << =" -e-) - - — = ee 333 Place de FPrancé- ----+-+--+-+--- + -- -- - 333 Place Roysle ------------- == === 332 Pont Nenf- ---------- ee eee eH Hee 338 Pont: Notre Bama Sai) et = 66 Chateau Madrid -----+-------+------ 96,246 City nall- -------- - ee ee eer ee eee 210 Plesgis-Piaeys GRarein ee ae es ie 382 Pont-Andemer. Chutch- ----------------- = 357 Pontoise. 5. 'wacior ——- = = x ide toate Hse Mae dae a .~ ~-362 S. Quentin. City hall ---------------+---- 63 Ravenel (Isle de France). Church- - - - - ----- eee 892 Rheims. S. Jacques; chapel- -------+------+-=-- 373 S. Remy; choir enclosure- -------+---+--- 381 CEE TT ee ee ee me Ad el 346 House Feret de Montlaurent- --------- = -315 Private house << = <= oe Se ee a = 199 baie pe haf he? -— — _—- - = a) ath 1h Silicone + «83006 oh atnod apt hte, haga ten te eee dd . 7 taeda ae “uoLoas’ ie ~—+2t- etiare bier. 4 coven.) Poti g eae “too | ar Rae Md Se Lf beds ee ie eye. ~_ ad am _ A see -— + svaniddiag b2nle stnsoniv’ 3 Yh ta i mimbbattatsg conih Seokedea@ sé” . y J agnitatec: boasy ‘hashed: 2 tee ee enema pened idaceA te | ‘ aoe Be todo eaeaattat ‘al erigse ¥ q * * J * Ly iS ia +) ; eae es, By ; # nu . wy a i i ee SO i) yale al a f g } i Pv tou. « eee a, hae | Bi, ‘ Rocher de Mesanger. Ghateau --------+-----+-- 152 Rodez. Notre Dame; chapel enclosure - - --------- 320 Rouen. Gathedral- ------+---+--- -~ - - = -57,75,227 Tomb ‘Athokees-u+icv~ ay—eliste ss eee mia Tomb Louis de Breze- -------- =- =-338 Glass paintings- -------+--- ~ ~422 S. Maclou- - ----------+------- 57, 283 Stairs -------+-+-+-+-+-+-++--+- 832 Doors---------- eee ee - = -383 S. Romaine- ---------+----- = - + - = = = -376 S. Vincent; slass paintings- -----+------ Epp) S. Patrice; glass paintings- -------+---- -422 S. Godard; glass paintings ------+------- 429 Abbey S$. Amand --------+---+--+---+----+-+- 180 Archbishop’s palace- ------+--------+- 75 Palace of justice- ---------------- 72 Mansion Bourstkeroulde -----+--+-+--+-- 73,181 Hause on cathedral Place -----+---+-+--+---- 79 Private houses ------------ 179,180,318, 348 Mamsion’ de Than]-:- --' +--+ - + - ee Se ee 181 Sansac. Chateau -------- weer ee he Hee er ee ee 152 Sargelles. Chureha= - -— =F w+ << © oo ee ee 862 Sarcus. Ghateaay=\ 7 ee 369 Private houses ------+-+-+-+-+-+-+-+--+-+-6- 200 Fountains- ------------- - ee ee ee 215 freport..Cherch: portelye oe te = oir ie = & = eee - -852 Trisl.(Seine et Oise). (District Versailles). - - - - = -420 Church; slass paintings- ------+---- ~420, 421 Proves. qathedtalye si se bo ee + 7 ree 57 Se dA eH Spc cot RSs SS = See 364 S. Nicolas- -----+--+-+-+-+-+-+-+-+-- - — -883 Pulpit -------+-------- 334 S. Nizgier --------------- cs - - - 364 S. Pantalson- -------+---+--+---+---- 368 S. Remy -- --- eer er er cr er rere ee --- -364 Vansion ds Valuisant- ----------+---- 315 Private house --- cco rt ee ee ee He ee 200 Usse. Chateau - ---- - mk ek terre rr cco oe Ow eS 151 Usson. Ghateau- - -s- eer rer rt err coe ee 157 ,158 Valencay. Ghateag - ---- ce et er ere eee ee SS 153 Valence. -Private house- = - = -i- - *\- + + = > >is ee 205 Vaklery.: G@hatest-\- - oe tie Se See S es SS 224,277 Garden <4 2S isicer Se eer ere wr er ee HS 303 Valmont. Abbeys eharch =< -— «(re ea = os -~- tree eee 356 Varengevilles: Ghatesaesy> -—- 5 er ries ‘oc 5° > 7 138 Verneuil. Chateau - 2 - r sir ere cp eS eS 2 le 278 Garden=- - - === se ees ae ee ee de tae 804,305 Versailles. Museum; Tomb of duke of Rohan - - - - - - - ~-391 ebbnil..,Charch; facade -.-'-3-.- 2 t= tee ee 353 Bie~ <-> oe ee ee ie -+--- . Sm tit Be we ert : Leveito: 30 ‘suced ere Ve We es dented sCiLivebiy ty aig */otabacettea}s senfta Hein. death foward dye kt = Villeneuve. S. Georges- - - Villers-Cotterets. Ghatean- - Garden . : ‘ : Chapel ---------- — f ; Villiers-le-Bel»: Ghurchin= — 3 te oe oo ‘Wkneannes. 2@hateanss Hira ce ye ee ie oe --- I J ' t t t 1 ' ! { ! 1 J Chapel; glass paintings- - - - - Viviers. House of chevaliers- ------- - ~-- Wideville. Chateau- ---------------- Vienna, Enamel dish with prince Sfechtenstein 4 5: neces eas = ea ~ me Sar ; a2 ee = pen ae 2, Pe , wre! Fa See Los rea) A Wee Le en eS 1 MY UL fe if pereon t $e 2amen be. sitet Past pees or" ‘wetee esedaiia | egeq"! rae aes . es = hah bark | te ~— -S6eeesy sie RIE apie Bethe yet cl Osaddh, ad Bo Ae Re Bie SS ree tee Ginegh | Bo Rt tet Hee sa oo Leatiot artoenh) iB | Pak t i i i 3 1 ' ' ‘ i i - ' o~ = = + galoodh .citles Se me ese beard Se ee me “cndgt ,dapoisd | ipeataeeeeaeeeeeer cbaate 86 ~ BO ee me ee eS ED d36 58 Cl =- wien eee ee ~' + 5 odtaotod webacceg -.-- SO SR HH + om ee Swe pied Yodbae - | Pee te ee one ks | eee dnoe Pe a A A BB eee oeiOe q Ag 7) ar tev, aed t ? i i $ 4 i : : é Cie fare = - _— ~~ .~ SI goltie- netesg ee te - Se Sone we ee ee EhOOnRAT toted =-- Ao + fs = = Ob esesoat pegense ee. ~ ne ea Sia ok ~~ “HSOL .38n078 ee me ee em oh pom tas ,eeeord 6 880, WES DBS St) 88 ee Se am ee ioe “ee Sa Ne wee Ho nk ws Sosg Herne .Asitigd dl teltieliedh aaL ewe + 8 ergets teriduary OT Oe me ae ie SETTLERS” anh eae Bae NA sei od kere ae tems 4 ~ #iesost® (telomeres Bry its et Sl ne vel oe ~~ > -- - - >= =e 212 Bhart CORR i) i ee el er a oe 69,76 Boccador, Domenico << - = = = — -.- = - = =e 210,227 Boghen, bowie van <4 - 9 — 403 Se ee - -370 Bohtemps, Plerre- 9 - =) = = i ee - -390 Bony, Jean d@°= =< ~- 9 9 @ 9 39 = eee - 76 Boadin, Te - a ir 381 Breton, Gilles le - - - = <= > 3s) > — 74 ee 115 Betot, Brancois << - -- - -3 390-32 eee 409 Broeuca, Jacques du<- - ~~~ -- = - = -i- - - - -385 Brogse,. Jean- - = = - > = So = =e 279 Broese, Salomon. CG mm a a ae rs 334,388,377 Bullent, Jean ------- - - - 56,156, 254,257, 282, 264, 362 Gellini, BenvenutO- << - ~-—s- 35 3 = = 40,116, 250 ‘Chambigss, Pierrs Sfw--- - ee ere crete 117,121,123 Ghambiges, Pierre JP. ------ - tr terete 230, 231 Champaigne, Philippe- ------------ Terre ee O20 Charpentier, Francoig < <<) <9-7 4 = > 2 ==>) 2 Se 406 Chastellan,!/Jeae- = 2m en te ee - - eee 115 Clouet, father and sOn~ (mi <1 eo a ee 40 Columb, Michel- - - - - - eat lalliadlin 72,76,31, 215 Conrade, Brother or) — Bi iS fe ee 409 Cornedieu, Pierre 9 )-e ot e 77 Gosaart, [dean ~=—- - = 72,76,81,215 Court, Jean (0 sy ele om i ee ee 418 Se ee ee em me a eee ee a ie are | ee SS a ee ae ee te OCi+ ~ = - ote -~ sem 2 ee ea a < ~ pe - a a es ~ wig eS hs ahead tall al wd Hee em ee 2 ee ee et ee ee ar ee eee e ire: Ponca ie te orenod va i a we Ae a oh Liem ee ale | ens 2 8: Se i Be ere ~shscdoks | eoaloriad . MuRde OSS S80. 00l~: +’) « ~ trio + eteedtlind sete lag ES ES a rae Ram meee exser? lamtgted lie Aa a a += + pkoones® \bnatssd. | Stet fr a at a ele ee mabe tet!) eegees RR A He tn ele oo Phen pedal OE TA ee ee ee em le ED qeioded, Rape Re Ra ewe meted wpeebaeD at |’ b. 90S, Sea, dee tes ces 688, 2 pi i +4 4G, pagoaeg bg ee home we Sm 6Tk papa pease at, ll a a a a ae hei e2898780 BO See eee eae eS oona tag obROgRG Pee me et ee oT ~S199e9; | ote a a= Ree Tr eins +4 =e ee Blame Po eer & — RON eee eee Me ee ee nie 2 He eo tsa ie we ele ee ee ee ~ H8ok (Jeupro® ee Te LP OR ee oe oe ol oe ETE G i BRO eA Be a ee ee Heiter®: ,gtoonss® PTT A i ae eo ee etpel: seigonsat Te i te le ee on at seae ce toonest Te Po Ot ee tidile Bie ai lei o) 4 ctenkteed chi eee ee ee Ree 1 or Te ee eee eee aided .vetiad St) OE ie Ee ee eae, | Saker ae mae et eee ee BS cee ki gia chisbaat Ltn eee ~aivouar? .dacuee ik ee ee ee ge ee om roeeen nisvued Sa TRS Ee eS en Me Him + 288 (obposede aed oe Sa eer UR LP ae ds ‘ ee ee ~eneieR \sekiincd: SR A Sie ait aS eae eebaed. deteened: [apy ea. ees Ne yi ane aay oye ulate FE beak a P rv ‘ A i nL D ea) A ‘dic my 2 Bat athe WE | ik i tl Court, Susanne de - ---- meee ee fe ee ee -413 Gourtois, Pierte----------+--=+-- ~- -100,416,418 Courtois, J@an----------- ee ke eg ee - - -416,418 Courtois, Martial ----------+2f2f------ ~ -418 Courtois, Antoine --------=----+-+----- - 418 Cousin, Jehan ------------ * 26,27, 28, 2285278, 420 Davids oer rw rt te er rr rr re ee /=— =360 Delaplace, Richard= -------------- ee -~ - 77 Delorme, Philibert- --------- 100, 227, 280, 248, 2575888 Delorns, Pierre.<.- 50> - 2 Dee Se ws 42,58,71,%75 Derrand, Francois ----"--- 7-7 --- 7 e+ --=s -373 Destre, Julien- ------------------+- - -317 Duban, Pelix- ------+------------ - ee 68,38 Dubois, Jehan -- -------------------- 77 Da Cerceau, Baptiste- - ----------+- +--+ 242,328 Du Qerceau, J. A., 112, 4,855, 080, 231, 295, 257, 272, 278, 284, 236 Du Cerceau, Jacquss ‘JP, ete ee ee ee SS 243,328 ba. Gerceag, d@an= <-> Ss ae ~ -248 Duperac, Et$enne— es ee -~-- - -351 Bsin, Pierre- << - - = - 7-5 => 22> See 74,75 Paleige,-.-3-.- ss ott tt 2S See 333 Bine, Oronce<. = = <= Se 8 ee 19,20, 21,28 Fontaine=.<(- =n > SSS 9,40 Francois, Bastien. ~ - > - = 3 -— => 22s 3 S eee 215 Francois, Gratien ------------ ~~ s)he ee 100 Brandeis, ..deaa-— --> = - elfen tle er cbr se gr - 406 Gouffien, Claude << mR ee ee ee £08 , 389 ~~ in ey we ae ete | Fw eae awe meee 85 .688- = -_-- an x pt pecan, iin ¢ - waee ia eke ba pera “+. ee | alleles Me ed = -— — « - ll Me ed em ' _— we im ~~ SSh5Ih- ee ee 4 L Va 7 » ; peli ew | j i 1 7 yo ee i _— em iy ge eee i + + -eenpoal ,equyft mm ugh bisenell .ysot Ce ee —Snkotns stent ~~ me mm neot. eteah: : i *-- nedeG .eiolgaad ~- + -CoRscane® PESTOGd | ~<- ++ gellid goers 20 ~~ —sesposh .dotesd od + - sbanellind . nogend ad o— = = ~BelsadO yaubt od. ~-- + = sistas? jonbed ~*~ -donpoal .wekotemed - + © + enzold. ssioiessd + + © wie oe aoe ad SS eo ++ eames? ageed ~ +. = = aslooly .d09 sc ot + + + = sageb 209 ed “~~ woglel® .cagesdd ef énatpenbad. ,coahay. ef ory - = osDb (aonted Oo +te-obuaaloody .eonie9 8a - ~~ etoalitoo® .xeo8 ad SyCES OSS 28S NSs., ae BE Bw - = + eouneke Footed = “edonden® (1ae8 3d oP a ee ee oe me DEVS ~ = we9E baenced .oizer td ~\* path bueotod ,eteontd Bp ah e ~ ase, aheonid mit me dgsaoh, , woieontd |. ; r .” t+), alle re i) j OY we Par od RT ee ay ry Ms ~ <= « isch) ob chusaetd ~teee 88 hasote waite Leah) We en ere et " Les) OS nah oh sl, ai Goujon, Jean- - ---- —--- +--+ 225 , 2269227 , 2844272, 3388 GRAV BEM, LER rene eee orate le te ten tin ea ete 353,362 Grappin, Robert ---------+--+------- +--+ -- 353 Grassot, Tassin ------------- eee ee ee ~420 Guerpe, Richart - - ----------+---+-----e re Guillain, Pierre- -----+---------------- 212 Guillain, Guillaume ------+-+--+-+---++---+-+84 117 Hangest, Helene d@---------+ +--+ -- = — + = ~40§ Hympe, Jacqueés- --------s-+---------- - ~420 cuy, Mansard de-------------+--- e+e ee ee 361 Juste, Antoine- -------+-+-+--+-+-+-+-+-+-+-+--+-+-77 Juste, Jean ----------- mercer ee ee ee 81,386 banslois, Jehan --------+---+----+--+- +--+ +--+ - 117 baurana, FPrancescO- --------+--+-++-++e+-+-+-+-+--. 30 be Breton, Gilles ------+---+-+--+-+-+-+-+-+--- 115 be Breton, Jacones-------+--5+----------=-- 125 be Breton, Guillaumé---------+-+-+-+- -=--- = -125 be Brun, Charles- -----------+-+-+-+-----+--6 325 Leduc, Gabriel- -------+---+--+-+-+------ 378 Lemercier, JacqueS-------+-----+-+- 828,332, 343,379 Lemercier, Pierre -------<+--+-+---+++-+-+-- - +362 be Gasconj- - - - - ee oe ee ee ee Lbemuet, Plerre------- eee ee ee ee ee ee ee 379 be Pot, Nicolas ------ ef eer ee ere ee ew 652273, 419 be: Pot, Jeanei-i= - Se RK ee eS ee ee 419 beiPrestre, Blaise- --<-- << + — = = wi = = o = ee 175 be Prince, Bnguerrand ---------+--+--------- 419 be. Prince, Jeans 4 ee ee ee ee ee ee 419 Le Prince, Wicolase------ --------------- -419 feiRoux, Routilant=- - --- - =< = = — es 4 6S aoe 79,81 Lescot, Pisrra- - - - -34,56, 225, 227,223, 229, 230,231}232, 267 beSueut, Rustache- = = “= <= = = =< = es = 2 6 See 325 bevaa aor ee tise ee eR ee ee ee Re eS Se 329 bimosin, feonard Ste- -------- ee eee 414,417,418 Gimosin, Geonard:Jt,- = <= 4 =~ ee ee 418 Limosin, Jean- - - ver = ee ee ee ee eee eK ee 418 bimosin, Josephe- ----s<«=-s-+<«s+ 0 Baga ~.t .,Sseofgesc 6) att ate cor - “4 Aw mn ee ~S oe geg* Coa flW ab ovtears Feta i the a | ~~ =~.8 ,Soltatenis ~ot -, Salesian ks - ~e) te lshiectS => a .olgenod allied sblooks atisd -~=—- = = [oatyax F <'= + <9 /baonyod -sileé -~ ~ #8 :, [otenoog =e a= = » 68868 -aneH of Joslinod +'~ (aecear) x00 ~ += 4 + +asdea a ~ 4% jasdoke ged, 2b 68 ,ofteyaed | wt) eal ROR, Z \ deuubier one itn£y sekoncy - - ee aN OE one tgo’ ~—< -+.9 .neveek ~eotenoeys | : 361 i*Grndy, “Pivden Sa ae + -100, 227,230,243, 257, 388 Lyssorsues, G----- s+ - 2 ee eer he ee Me MW Me KH He 164 MARSADG, Fee ee nel a ee a ne ee ae ae ee 379 Mansard de douy «= — = <= + Se Se ee ee ee 361 MEBESTE SEe0ers we eS ae ee ee ee ee ee 88,95 Mansay 5 0G, — SSP al Se ee ee 72 Metezan, L. -------------- ee ee eee 231,328 Metezau, T. ----- (mee ee ee ee ee ee eee 231,323 Neynal, Becdei= = — =< <= = ee we ee ee Se ee 76 WSdtatop Ber dan t= so ee ee ee ee ee 115 Monoier, Go-----+---=- eee ee meer er er ee eee 338 Moreau- -----+ <5 25-7 =e eee ee ee ee er KK SS 361 WERE Seay i Ey Le ae a ae ee ae 77 NOD Y Bip p Pee eG te sa i a Tl ea) et a 95 Nouailher (Noylier), Nw ----------------- 418 Pacherot) :G.s'siet= +) eS ee ee ee 76 Palissy, B. de- + <= = = = ae ee 228,401 Pape, Me) Doe i Sik ee ae a a ee 418 Penicaud, J.- - ---- - ee er ee rte eee eee 412 Pereier’-.-"-- 9 = +e eee ee ee ee ee 329 Perrault=| 8-0 + = eS Be ee eee 329 Pietro da Milano- ----------+--------- - 30 Pilon, G ---------- ee eee ee ee eee 390,391 Pinaigrier Rie << <<< = se = ee 419 Pinsifriet, iN. AS) eel ee ee 419 Pigaigrier, G.st-e~ = + = = << SS ee eee 419 POUBSID TY canee leh = Se ee i ean laa ton 328 Primaticcis,- ------ 40,100,110,115,116, 280,245, 266,274. RA PRACE) SoS) Suh ee ere eee me ee ee eee 40 Reymond, Paik ee ee ee ee 416 Robbia, G.della+ << ~ <5, Sh) Sire! peep re = 98,100,115 Roghetel, eae = Sieh 6 eee eat ee ee 418 Rosso --- - ee ee oe ee rr rere eee 40,1410, 115,272 Robiiant: Te sear Si ee ee eee eee ee 79, 31 Riots? Lana chery i i Me ee ie te roe 110 BRT) ee ie meet ae Rt aT ne eee 234 Shdbiches;Oi py Ae ee en a ee 210 at 7) ae hoe tahiee ee — 2 » <9 nOnOsee. Te ey Hise “foals id ton ph. sa fondv ~ ~oaG-elddetiony _— ~itgooaty A ae ~§ oneV Sarto, A, del ----------- --------+-- 49 senault, G. -------- ese eee ete ee ee 75 Seplio- ----------+-+--+-+---- 41,108,114, 227 Sobier, Hewett tote ttt a tt = Ht, 152 Bae solario, A~- --- rr te treet rete cc ee 41,72,77 Tesson, We—- ------ eee tee tee tr eK Theodore--- --- +7 te - tee rte et etree es 332 Titian- -------- fs - eee tee ee ee eee 40 TOLg, Cyan eo st cere pm aoe “ae ae i 16,18,20 Trinqueau.-7+-- - - tt ttt tester c eee 95 Valence, Pe ~~ eee cote te teste ee 76 Vaultier, Ree -- - eo ttt ett eee err tote 125 Viart ------- - oe ee ee ee ee eH ee eee 206 Winel, be daa = - totter ae tee er sete tS 39 Viollet-le-Ducq~ ------------ eee ee ee 98 Visconti~ << - = - a ee Ss = ai oe ae 329 Vouet, Ser-m-- - tot te et et see toes ~ 325 ‘ tad a ; ’ ¥ U y c,h 6h a 1.) Pe eee ae ee oe Leads eMOtL Fad: ~ +++ pinto Satbsif welols t5 cesceat! .o8) i a shoot eae avitosqetsq ni WeR¥ .brodmedd waedgad: ste elem ee gk iq’ baaoxd sSaddnens wesisk> .Sé - + eakide to naedaed Mtodmead peetees oe Ca ti i Ss gels Baebes SREY. pegtRdy she, thin Ne htarecee 4 i ~ *e = =) aaly faookd Jeatodes $e: seate 30 08 wom ek ew met bapowd Letcle ds seeded)’ 8S 4-5 = = 4)halg Baues®), abr ted westeny (ee oie a vid be tong nap vel? .tolie® paeteed |, 89 Heeibew .£S of YD Goas ict’ %) preted Bi a: 4 -— B30 a4 30 Hit, Wace te res erate Ds OP ee ae eof oO yd’ eseoea! escent ee wee a ie el ent 6 yd sotaod a. te Segkse@ e*ntegct to’ ensq nfs? 4 tt out Ristifgh sf2_ -govtelig Yo fettoss .o2cldsntacact ,ek peezand Loe’ ere g Mang favose.eliipaes? ef as woken 4% PE Meets bo yoen ts -Inomeedd ysededd bE 15. a1. 22s 25. a7 « 30. 32. 37 363 INDEX TO IGLUSTRATIONSs Pase numbers refer to orisinal text. Page. Veneration of the Madonna. Miniature of Fouquet - 11 Inspiration of the apostles. Miniature by flouguet. 18 Border by G. Tory -------------- Ornamental letters by G. Tory --------- Border by 0. Fine -------+--------+- Initials by 0. Pins -------------- Gartouche vignette- ------+-------- Tnitials with Moorish ornaments -------- From Ovid’s Metamorphoses of S. Bernard - -- - From the sam@ -----+-+-+-+-+-+-+--+---- Title page of Gousin’s Berspective- ---- - - Initials from Cousin’s Perspective- - - --- - Ghateau of Bury -------------- - Chateau of Blois, Dormer- -------+---- Mansion Rooville at Caen, Dormer- - - - - - —- - Arckhbishop’’s palace at Sens. Court facade - - - House of Agnes Sorel. Orleans. ceiling in upper bs ochsfoucald -------- ue. @apital of pilaster- ------ } me 3 pe OC ¢9 Q SS foto f-~ <<} e ry Gallery in Fontaineble Chateau du | Mansion a Chateau GE win oe sok tesa wnt teh earl en se 3a Saud | fx ‘Shateau Gallion. a tal BI agg oman yD. Chateau of Blois, Winding stairs- ------- Chat of Blois. Part of N. facade ----- - Chateau Chambord. View in perspective - - - - - Chateau Ghambord. Ground plan --------- Chateau Chambord. Lantern of stairs - - - - - - Chateau Madrid. Ground plan -- -----7-=--- Shateau Madrid. Part slevation- -------- Chateau of Fontatiiebleau. General plan- - - - - Chatean of Fontainebleau. Detail from oval court—- 103 lois. Ground plan ------+---. lon. Gronga olan----+-+-+-+-+-- ~ 16 - 18 - 19 - 21 - oi - 58 - 55 ~ 102 at me | ‘gd ? hd 4 } Dian " rh, 4 ha " vf oF ie) a? ¢ ; b ony a ub ti, i. 7’ 1" a4 Ak n i. Ka ian ma Bie ctbest taba Makdeebikess hthaghat 2°, ee “ib S = ~ ebeowt eased! ipactcentetacy to eeagadd 668.0 Ve ) erie tone ‘mesldantedact $o geetedd 0b. pie asbic to sal? ,pasldeciataeg to seeded sie, = ael¢ fnaon® .eyed-ot-dtented .o to peated 485. | Bevete fhated soyst-ne-aknose 2 to nestadc 46h Poe Pf mm a +e melg Saved Lotteny 93 deotags bb ee Se A aslg beade® .esetedd pasted 2p. ) | oe ao a ee ~sieont torn? enavied2 oo77eads: Gd a Som lo ms monet budw cyendwote? neadedd we > - e@ulinegetec fisg .telidvos gey vepdedd: 83 ee pele haps? sxupeonosatd -cecdadd 08 SST SS 7 sehbORE sznsecaases csetany! 4 te ee me & ~ ~avisoagets® jvicd eogtadd ohh ~ en oH yelqg booad syliltnads poesedd «88 | + <= + Jasco ai WOEV .ULlisgonsi® acotudly \2S (>. Pi ‘ermal RUMOR Io wotlived .vilidoeds seasadd sa | Cemvpeei tate to nsf? ehihuseteds needenQ | oe se Yewiisde of weil .avheeetade sesdesg’ 8G Pamsee = = bhacn% .gesiit-ol-yexk usededd XB | epee = eS eneig bance? .fteactsca® geetaid o OS! ier: ein cee REY sgh led gcd} BEAT) | - es : io oo = + COneisas wncoe2D to gaetade .O8 ee Se Sy ewelV seiconstadtook 2+ peatede LIS a ats. ret oe ROR Yeededh Ya raotedd && Hm ame ne es efeogt g1e8) \fesnnsded BAT BIO BB) pooe -cbseet g439 jepae of gedetcde-n %6 soetad. KB w= ~ +08f9 brood age te elLivoo} notnask eo b ~\-.> Ghats? fene0 .aheo te ellivoei) codenai) .58 Him aalc Lonow eeealaO pt Leake SOnkh to eevok Na : if > Endlieg .eeneled ak texce compgi to eecok. Be ’ Sie wsle hanna yaseelaO ak Tictocet® S¢ oauek 18 => - -sebacs? eeu0d, bagels? hil AsdHaty Yo sevok .Cv: rie & Ledhrse sengelee at 1 eihnoxs to-egook LY. I Ek ake ba yt ably Bawow \engely0 at gen0!, SY» . ’ } ‘ , 4 P ys ca uke : ‘| va i UV ) @ Be a OL Ps : i: ar : ay ‘ if f i ‘ Di ’ ry p i is a ak é > Pt : : P ) AR hoe See ee eee Fe ae th Th Re Sm. f o Ua har, "i ’ na me) alt wie i - kaa a Als ps y e pl f ae a ex sie * A es Un ‘ OL, ge a | yan hh [ H ig 4 ee a ; +s y rf alt " n Dares. VE, J hy Bota nae ini pe peek | vat? ie Oo VF Ww Ww oS OR 2% co Ww e Oo BG Oo po OL OF Ul Oi e © s Chateau Chateau Chateau Chateau Chateau Chateau Chateau C2 C2 € in sa oe fo & ff BY er 2ee oOo Dd & @ ft 9 Gg os Chateau Chateau Ghateau Chateaz Chateau ; 364 of Fontainebleau. Part of facade of court -106 of Fontainebleau. Theatre facade - - - - - -107 ~ of Pontaineblean. Ball room- - - - - - - - -109 of Fontainebleau. Plan of older parts- - - -113 of S. Germain-en-Laye. Ground plan - - - - -118 of S$. Germain-en-laye. Detail elevation- - -119 La Muette. Ground plan ---------- i404 Chalivau. Ground plan ------ ------ 1238 Shalvau. Front facade- ---------- -124 Folembray. Ground plan.- ---------- 127 Nantouillet. pars perspective- ------- 131 Chenonceaux. Ground plan ------- - « whee Chenonceaux. Facede- --------+-+- — -134 Bory. Perspective- -------+------- 136 Ghantilly. Ground plan -----+------- 140 Ghantilly. View in court - ----- ~~ — ={4i1 Chantilly. Bavilion of Henry TI------- 143 Chateaudun. Plan of stairway - -----=--=-= 145 Chateaudun. View in stairway - - ----- -146 Azveay-Le-Rideau. Facade ---------- ~147 Beauregard. Ground plan- ---------- 150 Chanteloup. View - -----------=- -154 of Ussen. Entrance -------+---+---- 157 ba Rochefoucald. View~ - + - -- = ie -159 of Asaier.; Portal- --i- - --‘— — ==) eee 161 Bournazsl. Part facade? -----+-+----- 185 Palace of archbishop in Sens. Part facade- - - - -— -173 Mansion Ecoville at Gaen. Ground plan- - - - - - - -176 Mansion Hcoville at Caen. Gourt facade - ---- = -177 Jouse of Agnes Sorel in Orleans. Ground plan - - - -182 House of Agnes Sorel in Orleans. Ceilings ------ 183 Souse of Francis I in Orleans. Ground plan -“- - - -185 Souse of francis I in Orleans. Court facade- - - - = 186 House of prancis I in Orleans. Capital ------—-= 187 House in Orleans. Ground plant ------+---; - -188 House in Orleans. Ground plan --------+-- — 185 Jouse @n Oricans. Shop front --------+-+- - -139 House in Orleans. Shop front ------------ 139 House in Orleans. Poultry markst ---------- 130 toe Vie Pia p RGR He - + oe + + Hencbeit censcise ob sedoe Pes e - - - 2 2 + +» nditovele tase eneced nvveeser miele - = - + = -nelV vebeet ni ¥ stoners to sper dete et ne nopaay saase ls, hail {las wy ' i + t ' os + BELG Wools seater sot Ene otreod SSeS ee ews ee OheORT Sano: ety Be’ mea Nadi, Poa 7 de al i “sanloo soneay 2SSes0tL 66 he eee spel Boned vtoan vasseds Sac ihe ne eheosd gases ts linseG , - eo, aoe oe: eee sensi baeoid .{isonzel gestetp im | er. x : a - mt we ee «+ etvitoeqeies.iinvoteV canted). ee eRe ew Lie ead Ohsons Tinos sliseresV oesitanh Gy t = + & = 4 48 SPsoe? facS eel lies of seadadtd |} SERRE OTE Ge aa oe “ dotsave [fyi Int gegdasd “wee Hosdeve ls sleeiliet-ellivaaicds. paetedd See Hee ee He BAlG Sevord (emo saeledd S ma : ae hee -_——-—-—- = a tebisd £6 res »fieonrev Deo any qe in enats BavesE ,eqnvint de pagorso ph Ye sewok | ~ oe ='= pbsoet ines lt0 3m usecdsD oS te ceuck ee sia e.e = eohauet dead ,eastd ge lise weit ee - - = ebsost duet cteserna*s noignay eS cay Read di taendles brant 889000 »1 Ces) chelate all ora shila iat Sas hy uf bss j a 7 ‘3 ) i, * < ee ; Ak MeL al las bis 3 a Wire 7 | a 7 ted 4 i nee epe i ' o> i Se ei me eROREI HT LenseiaG az ether |. e ee i ae ee ~- ee been’ te aisdovot - See < + Sosatek-taorselO se otadasc¥ = <2 + geoete0- 2b yd woiesd eobaped. senod - SS aoe ee =pegoTeD Ob yd ndkeed .skedadd. —s _—— “pt by Phgeoctky pre SBOOk BEOU END”. ce “ aes. eiteig faroth .onsst-el~yoot seetedd: - =m gale baness’ .Losift.e~ol! IODA seated: ae Sm rl i ee a -BEdueteot ta cesnd gebaed |. ~~ rae.) off la Sal badd. 3 Ni dike ai By - 77. 78. 79. 30. 31. 82. 33, 84, 35. 86. 37 88. 89. 90. 91. 32. 93, 94, 95. 96. oi. 98. 92. \ 100. 101. 102. 103. 104. 195. 106. 107, 108. 109. \ 120.; | 111. 112. 113. 114, 115. House in Orleans. Windows- -----+---+-+---+--+- 199 Houss in Orleans, Windows- -----------+- =-193 House in Dijon. Part elevation ----------- 201. House of Francis — in Paris. View- --------- 208 City nail in Otleans, Window ----------+-- 207 City hall in Beaugency. Facade ------+------ 211 Pountain at Mantes ------+-+-+-+-+-+----- 315 Fountain at Clermont-Ferrand ------+---+---- 216 Louvre and Tuileries. Block plan --------+--- 229 Louvre. Gourt facade -------------+--+--+- 933 House facede. Design by du Cerceaun --------- 237 Chateau. Design by du Cerceau- - --+------ = = =-239 De 1’Orme’s french column- -----------=<= 249 Chateau Anet. Ground plan- ------------<- 251 Chateau Anet. Detail of court facade - ------ = 253 Tuileries. De 1l’Ormes’s plan----------+--+-+- 259 Tuileries. Part of De 1’Orme’s garden facade - - - -261 Chatsau S. Maur. Ground plan ---+--+--+--+--+--- 268 Chateau Boouén. Ground plan----+-+--+-+-+-+-+-+- 269 Chateau Ecouen. Perspective- ------------ 2F1 Chateau Ancy-le-Pranc. Ground plana ----+------ 275° Chatean Ancy-le-Franc. Court facade- - - - - = - - -276 Chateau Vallery. Court detail-----+-+-+-+--+--- 279 ghategn Verneuil. Ground plan- - ----- - — = = =265 Chateau Verneuil. Perspective- ------- - -— — -283 Ghateau Verneuil. Gourt arcade, detail - - ----- = 285 Chateau du Pailly. Part facade 42422444232 a Ago1 Chateau Sullyflevation ----+-------+--+--+--- 295 Chateau Ansgerville-B.illeul. Ground plan - ----- 297 Chateau Angerville-Bailleul. Blevation ------- 299 Chateau Maunes Ground plan ----------+-+-- 303 Garden house at Montargis- -----+----+------ 205 Chateau Vernusil. Plan of Garden ---------- 307 House of du Gerceau at Orleans. Ground plan- - - - -309 House of du Cerceau Bt Orleans. Faceda ------ - 3i1- Gity hall at Arras. Part facade- ---------- 318 Mansion d’Assezat. Part fecade ----------- 318 Louvee. Gallery of Henry IV. ----------- = 327 Chateau Fontainebleau. Court of Henry IV ------ 330 385 _~ — beasts, de ey: ru a 1 % Y: _ ae . r a : Mt vain dR coe xadl ocy! iesiehaag ber oe a -Lingemnsed gsodesd + nelq binoss’ rteiiedd te sonzetiol cofagel! - ~tseet 16 weiy: esl fosocg bo: 8a (Lind : WSLE Se ee 9 ~ Rose | ehh te girelF: oe Ne ie ~- ~~ eaSeset: spines nd troy ah ennae isa 8 , ~ bie 4c Listet bined af pga Mined adele HCA Dy SSIVEE oak geri? a w= = mtokyd 68 ed ey ae SO ee wm OBEY SSeranose 3 a ST Pare arene TEE Lied td ge oot } ae Ji _— Hw ee eyerties vg seldea a i i i { We Se Ha = 4 Bonk Bo noneisd ee es MBAR EAE nao nk tal leas fee 5 eo BIO VSe. B60) seeyeo i fopee Sad alee ica * ~+-- ~~ Booms? .9 va S28Stic. bolersna ~+-- - abrowyek .9 ad dath &elemece te es63 erst Pee sere Sromyen 47 ed Werth © to dqa9. ae j= + + s\spioteped) 9 yd gett » Yo ¥oaa Pers -eecasoctV is Legedo veetedo sk gnitnieg exalt et od ~ il Tae des i eee ie +b ig jorhataioge Cy a, Ce hers aw TOM p . bed ) ak Rei 2 iY wae - Hy t : ; on No sohistal snstaoysA gs) RiSNTeS ¢E dosag sts ee - eropeT not £0 da letoiv 16) he bel i ee ey be Yn -“"EEeris? v0 rete. yeeliat YQ -wHsdEs. Le Sa Ty or ewe mett ceey onto? + slonzovil tovsind Ye seeing sev? aefit roclt. a tld 366 116. Chateau Fontainebleau. Gallery of the stag - - ~ - -331 117. Chateau Beaumesnil. View - --------+------ 339 118. Mansion Montescot at Chartres. Ground plan - - - = -342 119. Gity hall at La Rochelle. View of front- ------ 345 120. S. Pierre at Caen. Choir ------------- 251 121. Church S. Germain at Argentan. Interior of aisle-- -355 122. S. Htienne ds Mont in Paris. Facade- -------- 859 128. S$. Hustache in Paris. Detail of side ------- - 380 124, Little church at Chambord. View- - --------- 387 ' 125. S. Michel at Dijon. Tower- ----------+--+---. 371 128. S. Jacques at Rheims. Interior of chapsl - ----- 373 127. Chapel S. Romain in Rowen. View- --------=+ -374 128. Cathedral at Toul. Chapel S. Ursula- - - - -- ~ = =375 129. Chapel enclosure at Fecamp ------------- 320 130. Chapel enclosure in catacdral at Laon- - - - - - - -331 131. Tomb in cathedval at Narbonne- ----------- 337 182. Tomb of Louis XII. 5. Denis- ----------- ~389 1338. House door in Blois-+--------------- 395 184, French watdrcbe---------+----+--+--+------ 397 185. Jus with lead glaze- -------+--+-------- 398 138, Tiles from Sevres Mussum - -----+--+------ 399 187. Mus by F. Brisot- ------------+--+------ 490 188. Stoneware vasé ------------- ee 400 189. Disk by Palissy- ----------------- -401 140, Goblet by Palissy- ----------------- 402 144. Dish by Palissy- --------------+----- 403 142. Dish by Palissy- ------------------ 404 148, Pitcher by Palissy -----------+------ 405 144, Faience of Oiron -------+-------- = - -407 145. Saltcellar in Oiton faience= ----------- = 498 148. Majolica vase from Nevars----------+--+-s6 410 147, Persian vase from Nevers -------------=-- 4190 148. Floor tiles from palace of duke of Nivernois ~- - - -4i1 149. Bnameled pitcher by P. Raymond -+--------- 4i8 150. Bdge of enamsied dish by P. Réeymond- -------- Ai4 151. Part of a dish by P. Reymond ----+---+-----+---= A15 152. Back of a dish by P. Courtois--------+--+=-