Iii Renaissance Architecture in France

Etienne du Mont. The nobles, with the necessity for security de creasing as the king's power grew, abandoned their old fortresses or transformed their family seats by large windows pierced in the towers, and by the addition of new wings. The plan of city resi dences remained Gothic, however, with the master's dwelling standing between the garden and the courtyard in front ; the serv ices were arranged at the sides of the courtyard, and the house faced the garden side ; this disposition entre tour et jardin re mained a favourite in France as late as the 19th century. Within the dwelling, the walls—unless covered with tapestries—still showed their masonry, and the rooms still had Gothic timber-work ceilings, but the huge fireplaces were adorned, on their pilasters and niches, with the new arabesques (e.g., chimneys of Blois and Hotel D'Alluye).

By the middle of the 16th century, the Gothic finally dis appeared from domestic architecture, although in religious archi tecture—where evolution is always slower—the planning still remained flamboyant Gothic (e.g., Brou, Troyes, transepts of Beauvais, and St. Nizier at Lyons). Then, in the period from 1547 to the beginning of the reign of Henry IV. (1589) there was an amazing development—the antique system of proportions was mastered. The use of the Roman orders became general, but they were adapted to conditions so different from those prevailing in Italy that they acquired a character peculiarly French. Such in novations as open stair-wells, alternation of ordinances of pilasters and projecting columnated motives, and the French order of Philibert de l'Orme, are contributions to the architectural reper tory that were widely used later. The giant order, embracing two storeys, was developed simultaneously in France and in Rome.

The names of three architects dominate this period : Philibert de l'Orme (1510-7o), who built the Chateau d'Anet, part of Chenonceau and the earliest portion of the Tuileries ; Pierre Lescot ( ipo?-78), who built a portion of the Cour du Louvre; and Jean Bullant (1525-78), who built at Fere-en-Tardenois, at Chantilly (Chatelet), additions to Ecouen, and a part of the Tuileries. With the passing of this generation of great architects, the brilliant period closes,—having lasted for only 20 years,—and is succeeded by a period of sterility, due to religious wars and anarchy.

Reign of Henry IV. (1589-1610).

The architecture of the short interval between the time of the entrance of Henry IV. into Paris and his death (1595-161o), may be called the architecture of a reconstruction period. It is characterized by a simplicity and effectiveness attained, not by the use of expensive ornament, but by brick and stone employed in the old French tradition, the facades being decorated by quoins of rustication instead of by the orders—a somewhat severe treatment which was softened by the mellow colour of the walls under the firm silhouette of the slate roofs. The outstanding contribution to architecture, however, was the king's great undertaking to remodel the city, which had grown up haphazardly—an undertaking such as had not been attempted since the days of imperial Rome. To achieve his end, he made laws

regulating the heights of buildings and the paving and widening of streets, and prohibiting the overhanging upper stories of the middle ages. Finally, by the contribution of such schemes of civic planning as the place Royale (now the place des Vosges) and the place Dauphine, he inaugurated a school which, after reaching its apogee in the i8th century, furnishes models for city-develop ment to-day. Examples of this period are the important addi tions to Fontainebleau, the chateau of St. Germain en Laye and portions of the Louvre.

Seventeenth Century.—At the beginning of the century, there was an unprecedented activity in building; the long period of wars had brought about the usual changes in private for tunes, and the "nouveaux riches" had to provide themselves with splendid habitations. The architecture of this time excels in the planning of town residences (hotels), with their admir able arrangements of the cour d'honneur, service courts and noble garden elevations. The larger houses retained the "galeries" of the earlier Renaissance for the display of art treasures. The country estates are notable for their fine gardens, decorated with statues, basins and balustrades. In ecclesiastical architecture, the Jesuits cast the weight of their influence in favour of the adoption of Renaissance forms, and the churches and chapels designed by members of their order are inspired by the Gesu and the 16th century Italian examples (e.g., St. Paul and the Novitiate in Paris). To the influence of the Jesuit architecture and that of the Italian Baroque, rather than to the Flemish, may be ascribed the exuber ant ornamentation prevalent in the early part of the century. Ar chitects of the first rank were numerous, among whom the first is Francois Mansart (1598-1666), by far the greatest architect of his time, and, according to Blondel (a competent critic of the 8th century), "the most skillful architect France has ever pro duced." Among other notable works he designed the wing added by Gaston d'Orleans at Blois, with its magnificent stairway, the additions to the Hotel Carnavalet with their exquisite refinement of detail, the Chateau de Maisons and the Val de Grace, a master piece which one has only to compare to St. Eustache, built 5o years before, to realize that French architecture had reached maturity. The palace of the Luxembourg, by Salomon de Brosse, the magnificent composition of the town and palace of Richelieu, the chapel of the Sorbonne, by Le Mercier, the Chateau of Tanlay (Burgundy), by Pierre le Muet, with its beautiful park, antedating the compositions of Le NOtre, and finally the work of Louis Le Vau, who created the style of Versailles and Vaux le-Vicomte, of the hotel Lambert and the college des Quatre Nations, and who represents the transition from the period of Louis XIII. to that of Louis XIV., are some of the outstanding compositions of the early 17th century.