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THE
ARCHITECTURE OF THE RENAISSANCE

IN FRANCE

THE

ARCHITECTURE OF

THE RENAISSANCE

IN FRANCE

A HISTORY OF THE EVOLUTION OF

THE ARTS OF BUILDING, DECORATION

AND GARDEN DESIGN UNDER CLASSICAL

INFLUENCE FROM 1495 TO 1830

BY

W. H. WARD, M.A.

ARCHITECT. ASSOCIATE OF THE ROYAL INSTITUTE
OF BRITISH ARCHITECTS. AUTHOR OF "FRENCH
CHATEAUX AND GARDENS IN THE XVI. CENTURY"

VOLUME II

LONDON
B. T. BATSFORD, 94 HIGH HOLBORN

NEW YORK
CHARLES SCRIBNER'S SONS, 153-7 FIFTH AVENUE

KA'

Library

533

CONTENTS

CHAPTER v.— STYLE OF LOUIS XIV. (i 640-1 710).

Barocco-Palladian Compromise— "The Grand
Manner."

PAGE
REIGN AND ART POLICY OF LOUIS XIV. AND HIS MINISTERS — THE ACADEMIES
— ARCHITECTURAL LITERATURE — VARIOUS ORIGINS OF THE STYLE —
ITS SUMPTUOUS CHARACTER — EARLY DOMESTIC ARCHITECTURE: F. MAN-
SART, LE VAU — PARISIAN HOTELS — CHATEAUX : MAISONS, VAUX, ETC.
— DECORATION : LE BRUN, LE PAUTRE, ,J. MAROT — GARDEN DESIGN :
LE NOTRE — PALATIAL ARCHITECTURE : LE VAU, BERNINI, PERRAULT,
J. H. MANSART — COMPLETION OF LOUVRE AND TUILERIES ; VERSAILLES,
MARLY, ETC. — PUBLIC WORKS AND MONUMENTS — LATER DOMESTIC
ARCHITECTURE AND DECORATION : BERAIN, DE COTTE — CHURCH
ARCHITECTURE — BASILICAN AND DOMICAL TYPES : ST SULPICE, SOR-
BONNE, VAL-DE-GRACE, INVALIDES, VERSAILLES CHAPEL - - 267

CHAPTER VI.— STYLE OF LOUIS XV. (1710-70).
Rococo Palladi AN Compromise

REGENCY — REIGN OF LOUIS XV. —SOCIAL ATMOSPHERE — COMFORT AND ELE-
GANCE— DECORATION: " REGENCE," ROCOCO, " ROCAILLE," " CHINOI-
SERIES"—DE COTTE, WATTEAU — CURVILINEAR AND ASYMMETRICAL TEN-
DENCIES: OPPENORDT, MEISSONNIER — ACADEMIC TRADITION : BOFFRAND,
J. J. GABRIEL — ARCHITECTURAL EDUCATION— J. F. BLONDEL — DOMESTIC
AND PUBLIC ARCHITECTURE— PARISIAN HOTELS— CHATEAUX — FRENCH
INFLUENCE ABROAD — TOWN PLANNING : NANCY, PARIS — CHURCHES - 356

CHAPTER VIL— STYLE OF LOUIS XVI. (1730-90).

Puristic Reaction — Beginnings of Archaeo-
logical Tendency.

end of louis xv.'s reign and reign of louis xvi. — causes of french
revolution— arch.*;ological discoveries— influence of rousseau
— anglomania — servandony, j. a. gabriel, soufflot — straight
lines and symmetry restored— classical purism — palatial and

DOMESTIC ARCHITECTURE :'COMPIEGNE, PETIT TRIANON —THE ENGLISH
GARDEN — HOTELS — DECORATION — TOWN PLANNING — PUBLIC BUILDINGS,
THEATRES— ANTOINE, LOUIS— CHURCHES : PANTHEON - - - 407

G89342

vi CONTENTS

CHAPTER VIII.— STYLE OF THE EMPIRE

(1790-1830).

Arch/Eological Classicism.

I'AGE

the revolution and napoleon — break up of institutions and tra-
ditions— increased interest in classical antiquity — percier and
fontaine — public works and monuments : arches, columns :
madeleine, bourse— town planning — tombs — churches — charac-
ter of restoration period — revivals — decline of classicism - 466

Bibliographical Note ....... 495

Index to Illustrations ....... 501

Index to Text ........ 508

26l.

Versailles: Panel over Door in Salon de l'Abondance (1683)
Sculpture in Gilt Lead.

CHAPTER V

STYLE OF LOUIS XIV. (i 640-1710)

Mono-

KING. QUEEN.

Louis XIV. (1643-1715). Initial — L. Maria Theresa of Spain.
Emblem — Sun. Motto — '■'■ Nee plu7-i- gram — MT.

bus iiiipar.'"

CONTEMPORARY ENGLISH SOVEREIGNS.

Charles L {1625-49) ; Conuitomvealth (1649-60) ; Charles IL (1660-85) > James IL

(1685-7) ; William IIL (1687-1702) ; Anne (1702-14).

HISTORICAL SKETCH.

The " Grand Siecle." — The reign of Louis XIV., who, at the age
of five, succeeded his father in 1643, was to be the longest in history
and to bring the French monarchy to its culminating point. The
personality of the sovereign and the ideals for which he stood
give this period of seventy-two years a unity which is reflected in
contemporary art. When the style of Louis XIV. is stigmatised as
bombastic and artificial, fit setting for the periwigged Court of a cruel
and pompous libertine, the description contains a little truth and much
exaggeration. The "Style Louis Quatorze," in its glories and in its

19

267

268 RENAISSANCE ARCHITECTURE IN FRANCE.

defects, is the true picture of an age which, with all its faults, is a great
one. The phrases, "le grand siecle," "le grand monarque," convey
real facts, and the artistic expression they found is no more and no
less than a truthful one. During the best years of Louis XIV. 's
reign, while Spain was in decadence, and Italy, Germany, and
England distracted by internal divisions, France had attained a state
of unity, and her government an efficiency, which made her the
arbiter of Europe. The French were the most populous, wealthy, and
powerful nation in Europe. Their armies and diplomacy were almost
uniformly successful, their frontiers constantly extending. Their industry
and commerce displayed immense activity. French society by its
brilliance and urbanity gave the tone of good manners to Europe, and
led its fashions. It was the Augustan age of French literature, illus-
strated by such names as Pascal and La Rochefoucauld, Boileau and
Bossuet, Moliere and Racine, Madame de Sevigne and La Fontaine.

First Period of the Reign. — The age of Louis XIV. both
in politics and art falls into three sub-periods. The first is preparatory.
The work of Sully and Richelieu was at first endangered by the
troubles of the Fronde, but Mazarin gathered up the threads again,
and at his death (1661) the work of consolidation was almost com-
plete. The life and administration of France had been moulded into
a coherent organism with the whole national forces at its command.
The monarchy was the keystone of the structure, the driving power
of the machine. Louis' words, " L'Etat c'est moi," were literally true.

Second Period of the Reign. — The second or culminating
period then began. The young King, hitherto immersed in pleasures
and gallantry, became his own prime minister. The splendour-loving
but frivolous Fouquet had hoped to rise from the ministry of finance
to Mazarin's position of omnipotence. But an ostentatious entertain-
ment given to the whole Court at his chateau of Vaux-le-Vicomte
imprudently advertised a fortune acquired at the public expense,
and sealed his doom. He was replaced by the less show^ Colbert,
conscientiously devoted to the interests of his master and country,
who in a few years of careful management placed the finances on
a sound footing. While Louvois created the armies which made
France the premier military power, Colbert put the finishing touches
to the work of making the State supreme over all, and a participator
in everything that took place in the kingdom. These first twenty-
five years of Louis XIV.'s personal reign were a period of almost
unclouded success. The ideals which it represents in the world's
history had been established in every domain, in politics, in administra-
tion, in society, in literature, in art. The achievements in each were
great and splendid. But the climax had been reached, and in the
years between 1680 and 1690 there were indications that the tide

THE STYLE OF LOUIS XIV. 269

was beginning to turn. Great and imposing and, in many respects,
beneficent as was the structure so laboriously erected, its uniformity
was too artificial, its system too inelastic, its foundations too narrow
for permanence, and from this moment the fortunes of the reign fell
into relative decline.

Third Period of the Reign. — Colbert, who died in 1683, had
lived to see his policy compromised by the growing prestige and
reckless extravagance of Louvois, " the brutal minister whom all men
hated." The enforcement of unqualified obedience and uniformity
entailed the Revocation of the Edict of Nantes (1685), and the
inhuman persecution of the Huguenots lost France untold numbers
of industrious citizens, whose skill and enterprise went to the enrich-
ment of her rivals. Louis' aggressive foreign policy drove Europe
into a hostile coalition, and involved France in disastrous wars and
humiliating treaties. The drain on her resources was enormous, but
though the chased silver furniture of Versailles was sent to the melting
pot, no serious attempt was made, amid industrial stagnation and
famine, to restrict expenditure on Court fetes and journeys, and Louis
could never rest from building or altering what he had built.

His failure to understand the needs of his people, and to lighten or
equalise their burdens, brought his government into detestation, while
the scandals of his life had given a pernicious example, which the
bigotry of his later years could not efface. The beautiful and arrogant
Madame de Montespan, in whose honour the most brilliant festivities
had been organised, fell into disfavour, and the King's disillusioned
old age was saddened by repeated bereavements. After the Queen's
death he married Madame de Maintenon, the governess of his
illegitimate children, under whose influence the Court became more
decent, but lost its gaiety, and the multiplication of religious
observances and the stiffness of official entertainments became a
burden to the younger generation of courtiers. One by one the
great authors passed away, and the age of the masterpieces of classical
perfection was at an end. After 1685 few works of permanent value
appeared. And in the exceptions, such as those of Fenelon and
La Bruyere, the expression of accepted ideas in polished form has
ceased to be the dominant motive. They are no longer under the
glamour of the " grand siecle " ; they begin to see its seamy side ; they
criticise and condemn.

Three Architectural Periods. — In architecture and decoration
the threefold division also holds good. The preparatory period is
marked by the growth of the classical spirit and the increase of
refinement and concentration, the decline of the Flemish barocco
influence and the formation out of conflicting tendencies of a new
style, assisted by the policy of the crown in regard to the arts.

270 RENAISSANCE ARCHITECTURE IN FRANCE.

Again, as a time in which the aristocracy were making their last
for power, it is notable for the lavishness of private art patronage,
and for the splendour of its domestic architecture.

The culminating period is that in which the matured style of
Louis XIV. receives its most brilliant expression. The finishing touch
is put on the classical influence by the acceptance of the unitary con-
ception of design. The whole energies of the period seem absorbed
in the creation and decoration of palaces and public monuments.
Versailles is the centre of interest.

The third period, that of political decline, is attended by a decline,
not in the quality of architecture, but in the unity of its aim. There is
a reaction against a uniformity artificially imposed. Free, unclassical,
naturalistic tendencies, temporarily repressed or brought into line with
the official style, once more raise their heads. The activity of royal
works hardly diminishes but loses some of its popularity. Paris begins
to regain the first place, and is the scene of a new outburst of private
architecture.

State Intervention in Art Matters. — Before describing the
so-called style of Louis XIV. which grew up in the first, flourished in
the second, and began to wane in the third of these periods, and the
works of the artists who practised it, it is important to explain the
action of the State in directing and consolidating artistic movements. In
this Colbert developed and systematised a policy initiated by his prede-
cessors. The intervention of the State in the world of art, had a double
object : first to obtain the same control there as in other departments
of activity, and secondly, to foster brilliant results which should redound
to the credit of the State. The first is obviously consonant with the
whole trend of the age, and in regard to the second it may readily be
conceived that, in the eyes of Louis XIV. and Colbert, to give splendid
outward expression to the power and prosperity of France was to increase
her prestige and ipso facto the efficiency of the government. What the
French call representatioti thus became an integral part of their
policy. This belief, reinforced by the current doctrine of political
economy, that a country's wealth was measured by the amount of
precious metal retained and circulated in it, was largely responsible for
the fabulous sums spent by the Court on entertainments, works of art,
and buildings. The whole statecraft of a reign as well as the spirit
of a brilliant society is expressed in the Colonnade of the Louvre, the
Dome of the Invalides, the Gate of St Denis, the Palace and Gardens
of Versailles.

It was, therefore, characteristic of Colbert not only to build roads,
canals, harbours, and fortresses, and to regulate commerce and naviga-
tion, but to foster artistic production by reviving or founding royal manu-
factures, housing and protecting native artists or sending them to study

^

THE STYLE OF LOUIS XIV.

271

abroad, by importing artists and models
for imitation, by painstaking industry
in the conduct of the royal building
operations and of the decoration and
furnishing of palaces and public edifices.
The Savonnerie was amalgamated with
the private enterprise of the Gobelin
family, and developed, under the name
of " Manufacture des meubles de la
Couronne," into an institution for the
making of every kind of artistic object
for the royal palaces — tapestry, carpets,
furniture, coaches, plate, china, glass —
with a school of design attached.
Artists continued to receive free quar-
ters in the Louvre with exemption
from the oppressive regulations of the
" Maitrise des Peintres Imagiers,"
which comprised every grade from sign-
painters upwards, and whose members
alone enjoyed the right of plying their
craft or selling their works.

The Academies. — As the French
Academy had grown out of a private
literary coterie by receiving an ofificial
status from Richelieu, so an association
of artists (founded 1648) including
sculptors, painters, and engravers, in
revolt against the "maitrise," was recog-
nised by Mazarin as a Royal Academy
of Painters and Sculptors (1655) and
Colbert became its Chancellor (1661).
Thus a blow was struck at an indepen-
dent corporation, art became a dis-
ciplined force and State control was
secured over art education. Later on
the Academy of Inscriptions, whose
duty was to compose inscriptions for
royal and public monuments, and the
Academy of Architecture developed
out of an informal committee sum-
moned by Colbert to aid him when
he became Commissioner of Works
(1664).

262. Versailles : Door in
Salon de l'Abondance
(1683).

272 RENAISSANCE ARCHITECTURE IN FRANCE.

^

So long as the King's First Architect, Louis le_Vau, lived, he had
charge of virtually all the royal buildings and the functions of the
committee were nominal, but on his death in 1670 no architect of equal
eminence was at hand, and the need was felt for a more authoritative
body. An Academy was created in the following year consisting of
Le Vau's brother Frangois, his son-in law Francois d'Orbay, Liberal
Bruand, Daniel Gittard, Antoine le Pautre, and Pierre Mignard, nephew
of the painter, with Francois Blondel as professor, and Felibien, the
historian, as secretary. In the next few years Claude Perrault, Jules
Hardouin_Mansart, and Andre Le Notre became members. Owing,
probably, to the growing influence first of Le Brun and later of J. H.
Mansart, the Academy as a body was seldom consulted on matters of
real importance and its discussions seldom had more than an "academic"
interest. Apart, however, from its educational influence it did some
useful work, as, for instance, in the report it drew up at Colbert's orders
on the nature of the building stones of Paris and the surrounding
district.

Richelieu's minister of public works. Sublet des Noyers, Baron de
Dangu, had sent Roland Freart, Sieur de Chambray, to Rome on a
mission to collect drawings and casts and to engage artists. Among
the results of this mission were the return of Poussin, and Frearl's own
work on the Orders. Such isolated attempts were systematised by
Colbert in founding the French Academy in Rome (1666) to facilitate
the studies of young Frenchmen and form a centre for the collection of
models of Italian and ancient art to be sent to France. It seems to
have been intended from the start, when Errard was appointed first
director, that architects should be among the prize students, but in
fact they had to wait over fifty years for this privilege. The official
recognition of the French Academy and the King's patronage of
Moliere and Racine added nothing to their literary merits, but it
gave consistency and authority to the ideals they stood for and
opportunities for their expression. In architecture and art generally
the foundation of the Academy and other institutions created no
style, but it contributed to the moulding of one by the ostracism
of certain tendencies, the encouragement of others, and the pressure
brought to bear on the fusion between conflicting ones ; while the
royal works and the State intervention involved by them afforded
opportunities for artistic work on a greater scale than would otherwise
have occurred, and prevented divorce between industrial production
and artistic design.

THE STYLE OF LOUIS XIV. 273

ORIGINS AND CHARACTER OF THE STYLE OF
LOUIS XIV.

Formative Influences — Elements of the Style. — No govern-
ment, however powerful, and no monarch, however good his taste — ■
and within certain limits that of Louis XIV. was excellent — can create
an art or a literature to order. Success was achieved in virtue of a
coincidence in aim with the artistic tendencies of the century and a
skilful choice of agents. In art, as in literature, the age of Louis XIV.
was characterised less by new ideas than by a reasoned co-ordination
of commonly accepted ones, and concentration of effort on perfecting
the form of their expression.

The elements out of which the style of Louis XIV. was built
up were various. These were first, as an underlying substratum, the
rationalistic idea which had been a strong influence in the architecture
of Henry IV. In more monumental architecture there was a drift
towards pure classicism ; but classicism had hitherto been understood
in France purely as a code of forms combined with balance and
symmetry, without real grasp of the root idea of classical art that
a. design should be a unit. Group effects in classical detail and
symmetrical complexity were aimed at rather than a single clearly
expressed idea. A symptom of this analytic bent is the preference for
small superposed orders. No important instance of the giant order
occurs in France for half a century after Henry IV.'s additions to the
Louvre and Tuileries, or of a logical use of it by a Frenchman at any
time before 166.5. ^^ the preparatory period, however, some architects,
and among them Mansart, were feeling their way to the goal of unity,
zxidi, pari passu, to purer classical detail.

Meanwhile in decoration France turned alternately to Flanders and
Italy for inspiration, but the Flemish influence, with its naturalism or
its licence, declined, and the Italian increased. The influence of Italy
was composite. On the one hand the ancient monuments and the
Palladian school helped the puristic current. But on the other in
contemporary Italy the Roman barocco school was predominant. The
French under Louis XIV. did not follow this school in its contempt
for classical traditions, but borrowed first some of its fire and bigness
of conception, secondly a few decorative motives, and lastly that sense
of unity with which, like all Italian schools, it was animated.

Both the strict and the free classic influences thus had in them
something congenial to the absolutist, centralising trend of the age and
something in opposition to it. On the one side was respect for law and
to some extent severity, combined with diversity; on the other was law-
lessness, but splendour, majesty, and unity. The third or rationalistic

274 RENAISSANCE ARCHITECTURE IN FRANCE.

influence acted usually as a moderating force, but allied itself now with
the one school in encouraging simplicity, now with the other in giving
rise to bizarre forms.

Architectural Literature : Mauclerc, Freart, Bosse. — The
relative predominance of pure classicism was greatly due to the literary
and educational influences throughout the century. It opened with
J. Mauclerc's "Premier Livre d' Architecture " (La Rochelle, 1600),
followed by the re-issue of works by du Cerceau and BuUant. Later on
came one of the most thorough treatises on the orders yet published in
Freart's " Parallele de 1' Architecture Antique et de la Moderne" (Paris,
1650), with drawings by Charles Errard. Freart, like all his con-
temporaries, found his ideal in ancient architecture, but he uses it with
great discrimination. Alive to the deficiencies of Vitruvius he bases his
conclusions on the very best examples extant, and rejects all the inferior
ones. Among the architectural works by the engraver and teacher of
drawing, Abraham Bosse (1602-76), are several on the Orders, based
chiefly on Palladio, and while his earlier designs show the coarse
extravagances familiar in Barbet and Francini, the later are so puristic
that they might be mistaken for Louis XVL work.

F. Blondel. — The Academy of Architecture contributed not a little
to perpetuate classical traditions by the instruction in its school based
on the study of the antique and of the works of Vitruvius, Alberti, Serlio,
Palladio, Vignola, Scamozzi, and de I'Orme. Its chief spokesman was
Francois Blondel, an architect and civil and military engineer, who had
travelled extensively and was an accomplished classical scholar. The
view expressed in his "Cours d' Architecture" (Paris, 1675 and 1698) was
more rigid than Freart's. In his eyes Vitruvius and the Italians gave
an exhaustive presentment of Greek, as well as Roman, architecture.
They had deduced the laws of beauty from the measurements of ancient
buildings. This beauty depended on a harmony consisting in the
right numerical ratio between the whole and its part and of the parts
to each other, as measured by a unit or modulus. The slightest deviation
introduced a discord like a false note in music. His aim was to purify
architecture from barocco perversions due to ignorance, or ignoring, of
these laws.

Perrault. — But compromise was in the air and soon found
expression in Academic circles. Claude Perrault, though equally
desirous of keeping alive the spirit, as well as the forms, of classical
architecture, differed from Blondel in teaching in his " Ordonnance des
Cinq Especes de Colonnes" (Paris, 1683) that though general principles
of proportion can be derived from antiquity, the ancients had no
absolute authority, that no rules of universal application can be deduced
from monuments which differ amongst themselves, as well as from
Vitruvius, and that in the last resort the architect must be guided by

THE STYLE OF LOUIS XIV. 2/5

his own taste. The essential differences between these two schools of
thought continued to divide French architects so long as the Vitruvian
system remained in vogue, and though the majority seem to have sided
with Blondel, in practice they usually availed themselves of the loophole
for escape with which Perrault provided them,

D'AviLER, &c. — This is illustrated by Charles Augustin d'Aviler's
" Cours d' Architecture," which preach the importance of Vitruvius and
Vignola, and combat the aberrations of Michael Angelo, but only apply
the laws of proportion to the main architectural members of a building,
and allow considerable freedom in the design of features. Subsequent
editions contain most of the variations in decorative fashions of the next
fifty years. D'Aviler's work was the fruit of a journey which he
made in 1674 with Antoine Desgodetz (1653-1728), and another to
Rome. The path of study was not always a primrose one in those days.
The ship in which they sailed was captured by Tunisian pirates, and
they only obtained their liberty two years later, and, it is said, after
designing a mosque for the Bey. Desgodetz' " Edifices x\ntiques
Romains," published at Colbert's orders (Paris, 1682), was long con-
sidered the best authority on the subject. Jean Marot also engraved a
number of sheets of the buildings at Baalbek, though how he obtained
the materials for them is not clear.

Results of Classical Influences. — The three points in which
the growth of classical influences are most marked during the first
Louis XIV. period are the more correct use of classical elements,
the attempts to increase unity of composition, and the refinement of
decoration. These points can be illustrated from the works of Francois
Mansart. The purely designed flat-topped columnar gateway of his
Hotel de la Vrilliere (later de Toulouse, now part of the Bank of France)
(Fig. 263) has only to be set side by side with the same overloaded feature
in Metezeau's Hotel de Longueville (Fig. 216) for the change to be
appreciated, while the charm with which the orders are used at Maisons
(Fig. 260) cannot be paralleled by anything earlier in the century.
Mansart's strivings after greater unity are seen in the quieter sky-line
of his continuous roofs, as at Blois (Fig. 235), and in the diminution of
vertical, and emphasis on horizontal members, such as the main cornice,
which at the Hotel de la Vrilliere is reinforced by a balustrade. Other
architects added continuous attics and wide-spreading pediments, re-
duced the projection of pavilions and revived the giant order.

Mansart's taste in ornament also advanced. The leather motives,
the grotesque figures, the bossy treatment of moulding and ornament,
proper to Louis XIII. work, still characterise the finely designed but
clumsily carved stonework of his church of Ste Marie, while the extra-
ordinarily effective decoration of his staircase at Blois (Fig. 236) still
bears traces of the same feeling ; but except for the boldness of its scale

2/6

RENAISSANCE ARCHITECTURE IN FRANCE.

263. Hotel de la Vrillieke, by F. Mansart, on the site of the
Bank of France (1635-38).

From a Print hy J. Marot.

and an occasional weightiness of touch, the decoration at Maisons
might belong to the time of Henry II. Again, if a series of successive
buildings be compared, such as the churches of the Oratoire, Sorbonne,
and Val-de-Grace, in all of which Mansart's contemporary Le Mercier
had a hand, it will be seen that the decorative carving shows progres-
sive advance in refinement.

Colbert's Aims and Agents. — For the success which attended his
efforts to combine these various influences at work into a single force,
Colbert, not himself a man of artistic culture, was in no small degree
indebted to his predecessors, Chancellor Seguier, President Lambert
de Thorigny, Cardinal Mazarin, and above all his own fallen rival Nicolas
Fouquet. Their discriminating patronage had collected a group of
artists, whom the death or disgrace of their patrons left at liberty to
enter the royal service. Among Fouquet's proteges were three men at
whose hands the decorative setting of the age received the character
of impressive splendour which befitted it — the decorator Charles Le Brun,
the architect Louis Le Vau, and the garden designer Andre Le Notre.

Le Notre. — Le Notre (1613-1700) was the son of the superintendent
of the Tuileries gardens under Louis XIII. and was trained in the
painter Vouet's studio. He developed existing tendencies in garden
design and gave it the magnificence and co-ordination which the age
demanded. His success at Vaux-le-Vicomte recommended him to the
notice of Louis XIV., and he became the creator of almost all the royal
gardens and many private ones.

THE STYLE OF LOUIS XIV. 2/7

Le Vau. — Louis Le Vau (1612-70) was a man of considerable and
versatile talent, which readily adapted itself to new conditions. Reared
under the influence of Mansart, he later fell under that of Le Brun
and acquired a more grandiose manner. He carried out a large
number of hotels and chateaux for private clients, among whom were
Fouquet and Colbert. On Le Mercier's death (1654) he succeeded
him as architect to the Louvre and Tuileries, where till his death he
carried out important works. In the last ten years of his life he twice
remodelled Versailles. In addition he designed the College des Quatre
Nations and two important churches in Paris. As Architect to the King
he first received 3,000 1. and later as First Architect 6,000 1. ; he
also held the post of" Intendant et Ordonnateur General des bastiments
de sa Majeste."

Le Brun. — Charles Le Brun (1619-90) early attracted the attention
of Chancellor Seguier and Cardinal Richelieu. He was enabled by
their patronage to travel with Poussin to Rome, where he spent four
years (1642-6), at a time when Pietro da Cortona was the leading
influence in decoration, and he there acquired that declamatory
manner which was more suited to the age of Louis XIV. than the
restrained classicism of Poussin and Le Sueur. On his return, Le Brun
received many commissions. One of his earliest works was in the
Hotel Nouveau in the Place Royale (now in the Musee Carnavalet).
He decorated some of the apartments in the Hotel Lambert de
Thorigny (1649) ^"^ ^^^ complete charge of all the decorative
works, including the statuary in the gardens, at Vaux-le-Vicomte.
He obtained the favour of Mazarin, and Colbert soon recognised in
him one who, by combining a remarkable talent for organisation and
inexhaustible activity with high and varied artistic gifts, was admirably
fitted to give shape to his own ideas. He held an influential position
in the Academy of Painting and Sculpture, and in that of Architecture ;
he was given a post at the Board of Works, appointed Director of the
Gobelins, and entrusted with the decoration of all the royal palaces.
In 1664 when he had reached the height of his fortunes he was ennobled.
For the rest of his life, but more especially up to the time when
Colbert's death (1683) exposed him to the hostility of Louvois and
his protege, the elder Mignard, he controlled, through one or other
of the many posts he held, everything that was done for the royal
service. He thus exercised a dictatorship over the arts surpassing
even that of Primaticcio under Catharine de' Medici in completeness,
and was enabled to leave his imprint on all that was produced in
France during his lifetime. Wherever possible he made the designs
himself, though this was less the case in architecture proper, and always
superintended their execution by men of his own selection, for he
gathered round him from different countries a concourse of accom-

278 RENAISSANCE ARCHITECTURE IN FRANCE.

plished artists of all kinds. The one fatal bar to employment under .,
him was, as in the case of the great sculptor Puget, a too independent
spirit.

Pali-adian Barocco Compromise. — The general character of the
style of Louis XIV. as we find it in the works of these men may be
summed up as Palladian Classic widened by barocco influence. Le
Brun himself, more of a decorator than an architect, was obliged to
employ architects generally trained in the strict classic school, so
that in general terms his works show a free decoration within a severe
architecture ; yet even in decoration l.e Brun, with his serious cast of
mind influenced by the sober Poussin, was so far in agreement with
the purer national traditions that he always used a well-defined
geometrical pattern or architectural framework as a foil for the riot
of swirling lines and the movement of painting and alto-relievo. In
architecture the compromise was sometimes even more complete, for
while the treatment of the orders under Louis XIV. has a certain
fulness, roundness, and warmth, which distinguishes it from the
clear-cut refinement of Henry II., the clumsiness of Henry IV., and
the chilly correction of the Empire, yet there is a general conformity
to Palladian rules. Even when, as in the case of Perrault, architects
showed a disposition to emancipate themselves, the revolt turned on
rather abstract points. If they adopted something of the rhetorical
manner of Bernini, they expressed it in correct terms, while the
extravagances of Guarini, who was in Paris in 1662 designing the
church of the Theatine Fathers, had no following, and his canted
piers, amorphous windows, spiral turrets, and curved walls, met with
universal reprobation.

EARLIER DOMESTIC ARCHITECTURE.

Causes of its Brilliance. — The first achievement of the period
1630-65 is a great development in private domestic architecture.
Perhaps at no other time were mansions of greater splendour or in
greater numbers built in and around Paris than during these years.
At the beginning of this period the aristocracy, both feudal and legal,
enriched by a long spell of peace and progress, were striving to assume
the foremost place in the State. It was one of the most brilliant
periods of Parisian society, when as yet the Court was not divorced from
the capital, and the nobility, whether siding with or against it, could
lay claim with some justification to be the leaders in arms, manners,
and thought. On the victory of the monarchy they were deprived of
active participation in civil affairs, and either subjected to the discipline
of the camp, or reserved for purely decorative functions, as satellites
encouraged to contribute by lavish expenditure to the royal lustre, and

THE STYLE OF LOUIS XIV.

279

revolving in circumscribed orbits round the roi soleil. This gilded
captivity soon became second nature, so that no greater punishment
could be inflicted than banishment from the Court. Consequently,
nearly all the great houses of the period are in or near Paris, which
was also the home of the wealthiest families of the bourgeoisie and
magistracy. Though a minor aristocracy, both of the sword and robe,
centred in provincial capitals and had their hotels in them side by
side with those of the rich burghers, as a rule the only provincial
buildings which can compare with those of the Court belonged to
the State or the municipalities.

Plans and Elevations. — The growth of refinement in society
and of a desire for comfort had brought about important changes in
planning about the third decade of the century. Of the further
developments which followed, one was greater specialisation in the
uses of rooms. Thus the term
salle a manger begins to appear
on the plans of this period. A
new apartment of Italian origin, the
saloon, also began to be introduced
(Fig. 275). This salon, as the scene
of the public life of a great house,
was the equivalent, not of the
modern withdrawing room, but
rather of the mediaeval hall. Occu-
pying the position recently held by
the grand staircase in the main axis,
and forming the starting point of
two suites, it served partly as en-
trance hall, partly for concerts and
balls. It usually ran up through
two storeys, and was often elliptical
in plan, and covered by a dome.
Another step was also made to-
wards compactness and comfort.
It had hitherto been the practice
to plan each wing one room deep
with light on both sides. It now
became usual to plan them two
rooms deep, with light consequently
on one side only (Fig. 269). The
completeness of the equipment of

mansions at this period is shown by ^ tt r. t a/t. ^.^

^ ' 264. Hotel Roland, by J. Marot

the provision m some contemporary (now destroyed). Plan. From

plans of a room for sick servants, j. Marot.

38q renaissance ARCHITECTUPvE in FRANCE.

raiNOBJ. P/ICAIIE TO COVRT£A.8J)

NORTH SEffi OF COVKTYAM

f . . . , ?

'P METRES

265. HOTEL D'AUMONT: ELEVATIONS. BY F. MANSART AND

L. LE VAU.

Measured and drawn by V. O. Rees.

THE STYLE OF LOUIS XIV.

281

SCALE OF

266.

Hotel Carnavalet, as
altered in seventeenth
Century, Plan. From
Ma ROT.

In some of Le Vau's houses a
decorative, if comfortless, feature is
made of the state staircase, which is
an open loggia occupying a central
pavilion between two suites of apart-
ments (Fig. 268). This was not a
new idea, but an old type, exempli-
fied at Chateaudun, rendered in
seventeenth century forms. In the
Hotel Roland by J. Marot there was
a novel and more convenient arrange-
ment (Fig. 264). The staircase wns
at the junction of two wings and
approached through an elliptical
vestibule from the main entrance
situated in the angle of the court.
Large dormers begin to give place to
continuous attics or small dormers
behind balustrades (Fig. 263). Win-
dows reach their maximum size, and
even wooden mulHons are dispensed

with. The elevations show a tendency to decorative pomp with
increased scale and much sculpture; at the same time, in spite of
simplified and more refined detail and less dependence on rustication,
they retain much of the massiveness of the age of Louis XIII. Courts
of hotels were often decorated with colour as well as sculpture, and
perspective views, painted on blank walls, increased their apparent size.

In chateaux the court, if not entirely open, was closed by a decorative
stone screen as at Brecy or Sorel, or by one consisting partly of metal
railings as at Vaux, and later at Clagny and Versailles.

Hotels by F. Mansart. — Among the earliest hotels to show a
more classic and refined feeling were the destroyed Hotel de Bellegarde
(Rue Crenelle St Honore), remodelled in 1630 by Jean du Cerceau for
Chancellor Seguier, and the H6tel d'Aumont (7 Rue de Jouy) (Fig. 265),
the front of which is by Le Vau and the back by Mansart. The culmi-
nation of the movement may be seen in Mansart's remodelling of the
Hotel Carnavalet (1661) (previously known as H6tel de Ligneris and
d'Argouge). His work here (Fig. 267), which was doubtless influenced
by a study of the exquisite distinction of Lescot's detail and Goujon's
sculpture, consisted principally in substituting a full upper storey with
an order of pilasters for the attic over the galleries round the court.
The vermiculation, too, was cut on the rustication at this time. With
infinite skill he succeeded in welding together the chief features of the
older work with new ones which bear comparison with them in refine.

282

RENAISSANCE ARCHITECTURE IN FRANCE.

^ ^

< J*

THE STYLE OF LOUIS XIV.

283

ment, and, in do-
ing so, to produce
a result in harmony
with the taste of
his day, and a
worthy home for
a Madame de
Sevigne.

Hotels by Le
MuET. — Among
the mansions built
in Paris by Pierre
Le Muet was the
stately Hotel de
Luynes (Rue St
Dominique, now
destroyed) in which
a balustraded attic
was interrupted by
a large heraldic
panel, the only or-
nament in a well-
balanced scheme
of tall pedimented
windows and
simple rusticated
coigns. In his
sober Hotel de I'Aigle (16 Rue St Guillaume) there appears a feature,
soon to grow common, in a pediment the full width of a pavilion. In
the Hotel d'Avaux (later de St Aignan, 71 Rue du Temple) he intro-
duced an arcade treatment with happy effect with a giant Corinthian
order of noble design. This mansion and the contemporary Hotel Sale
(5 Rue de Thorigny), by an- unknown architect, are among the most
imposing houses to be found in Paris.

Hotels by I.e Vau and J. Marot. — Much younger than Le
Muet, Louis Le Vau, one of the most fashionable architects of the day,
passed like him through various stages of development, and his work,
though always typical of its period, has individualities of its own. The
open staircases above referred to are almost peculiar to him at this
period. Anxious to obtain increased scale and unity he experimented
with the giant order, but not daring to break altogether with the national
practice, invariably followed by Mansart, of applying one order to each
storey, he combined great and small orders in one design, retaining
the latter in intermediate positions and emphasising the total height
20

SCALE OF
SCALE OF

268.

Paris: Staircase of Hotel Lambert de
Thorigny, Rue St Louis-en-l'Ile, by L. Le
Vau (r. 1645). Elevation.

284

RENAISSANCE ARCHITECTURE IN FRANCE.

of the building by a giant order on the
external and more salient blocks (Figs.
274 and 276).

A beautiful example of his open stair-
cases with two orders of columns occurs
in the Hotel Lambert de Thorigny {c.
1645) (2 Rue St Louis-en-l'Ile) (Fig.
268), a dignified and extensive mansion
which was decorated by Vouet, Le Sueur,
Le Brun, and other celebrated painters
of the day. Two neighbouring houses,
one of which is still partly standing (24
Quai de Bethune), and the destroyed
H6tel de Lionne illustrated Le Vau's
use of large and small orders and of
broad pediments, and the tendency of
the attic to grow into a regular storey.

Jean Marot (born c. 1619, died
1679), a prolific engraver, whose works
are one of the principal sources of
information about the buildings of his

time, was also an architect of merit. Some of his designs differ little
from the contemporary work of Le Vau, as, for instance, the stately
Hotel de Mortemart (14 Rue St Guillaume). The plan of his Hotel

269.

SCALE OF PEET

Hotel de Monceaux,
liY J. Marot (now de-
stroyed).
Marot.

Plan. From

SCALE OI^METRES

270. Paris: Hotel de Beauvais, Rue Francois Miron, by A. Le Pautre
{1656). Ground and First Floor Plans. From Marot.

THE STYLE OF LOUIS XIV.

285

de Monceaux (Fig. 269) combined convenience and spaciousness with
symmetry in an unusual degree. In the main block, which is two
rooms deep, it is connected by open loggias on each side with the
street block, which is devoted entirely to stable and service accom-
modation.

Hotels by A. Le Pautre, J. Bruand, and Cottart. — In the
work of the three architects which now remain to be mentioned the
decorative tendency is strongly developed. They are Antoine Le Pautre
or Le Paultre (1621-91), whose brother Jean is celebrated as an engraver
and decorative designer, and who himself published a book of archi-
tectural designs (Paris, 1652); Jacques Bruand (died 1664, brother of
the better known Liberal Bruand), and Pierre Cottart (died after 1686).
The most original of Le Pautre's executed works is the Hotel de
Beauvais (1656) (Rue F. Miron), of which the greater part is intact,
though the facade
in which sculpture
played an import-
ant part is now un-
recognisable. Its
very irregular site
has given rise to a
plan of peculiar in-
genuity and beauty
(Fig. 270). Since
it abuts on two
streets and there is
no garden, the
principal block is
placed on the more
important street
and includes shops
in its lower storey.
The main coach
entrance passes
between these
and reaches the
court through a
circular colon-
naded porch or
open vestibule,
communicating, on
the right, with the
kitchen offices,
and, on the left,

271.

Bureau des Marchands Drapiers, by J.
Bruand (1655): Rebuilt in Second Court
OF Hotel Carnavalet.

286

RENAISSANCE ARCHITECTURE IN FRANCE.

272.

Chateau of Maisons [-Laffitte], by F. Mansart (1642-51)
Entrance Front.

with the grand staircase. At the back of the court the lower storey
containing the stables is arranged as a hemicycle, and the upper forms a
terrace between a little chapel on the left reached by a separate stair-
case, and a corresponding screen wall concealing a roof garden on the
right. The geometrical forms of the plan combine with finely treated
elevations to produce a result of quite unusual charm.

To Pierre Cottart is due the Hotel Amelot de Bizeuil (1657-60)
(47 Rue Vieille du Temple), which has always enjoyed a deserved
reputation. Formed by the junction of two existing houses, it has a
rather peculiar plan. The court of honour is reduced to the smallest
possible limits, and the stable buildings are placed behind the second
or service court, which takes the place of a garden at the back. The
treatment of the
arched coach en-
trance and of the
first court with
good sculpture is
the most remark
able feature of this
house.

The fagade of
the Hall of the
Drapers' Company 273. Chateau of Maisons : Plan. From Mariette.

THE STYLE Ot' LOUtS XlV. 287

(1655) by Jacques Bruand, rebuilt in the second court of the Musee
Carnavalet (Fig. 271), is a very rich composition in which the orders
combine with sculptural enrichments to make a piece of characteristic
decoration. The Hotel de Ville of Beaucaire may be mentioned as
another pleasing example of buildings of this character.

Chateaux. — -There is a surprising family likeness between the
country houses of this period. The principal point in which they
differ from each other is in the treatment of the centre of the mansion.
The simplest and most traditional form was not to break the main
block by any important central feature ; and this is what is found
in the chateau of Fayelle by Jacques Bruand, and that of Chaville
by Chamois, the residence of Chancellor le Tellier, father of Louvois
(finished 1660). Frangois Mansart, though he never seems to have
adopted the new fashion of a central saloon, liked a central pavilion
generally of such importance as to occupy more than a third of the
main block and exceed in height the end features, which he treated
as short return wings telling as a single elongated pavilion in the side
elevation. This is the arrangement both at Bernis and Maisons,
the former one of his simplest, the latter one of his most elaborate
designs.

Chateau de Maisons. — The chateau of Maisons (Fig. 273) was
built (1642-51) for Rene de Longueil, a finance minister under Richelieu
and Mazarin. Its pedigree is easily traceable to Coulommier and
the Luxembourg, and if it be compared with the Orleans wing
at Blois, the boundary line which divides the styles of Louis XIIL
and Louis XIV. will be appreciated. Though much more refined as
regards detail and ornament, Maisons yet somehow fails to make quite
the same overwhelming impression. There is less concentration, and
unity is a little sacrificed to the perfection of the parts. Yet shorn as
it is of many of its adjuncts — the lodges and princely stables which
surrounded its forecourt, the terraces and stairs which led up from the
river, its gardens and the open air baths designed by J. Marot — this
noble pile of creamy stone and silvery slate, towering up on a gentle
eminence, is one of the noblest monuments of its century. Each of
the three blocks of which the building consists has its separate roof,
and importance is given to the central pavilion by a finely designed
pedimented attic carried up at back and front more than half its width.
The lofty pyramidal mass, thus formed, is balanced in the wings by
various devices. Towards the river (Fig. 260) they have an important
dormer above and a columnar portico below. Towards the court
(Fig. 272) the upper storey is emphasised by a pediment over an arched
recess, and the lower by a projecting porch, planned elliptical internally,
and with a curved recess on the outer face. The same general system
of coupled pilasters is used at Maisons as in its predecessors, but there

288 RENAISSANCE ARCMlTECtURE IN FRANCE.

274.

Chateau of Vaux-le-Vicomte, by L. Le Vau (c. 1656-60)
Garden Front.

is more variety in their grouping : some of the intercolumniations are
relieved by niches, and delicate carved ornament is freely introduced.

Chateaux by L. and F. Le Vau : Vaux-le-Vicomte. — Four of
the chateaux designed by Louis Le Vau are known either by their extant
buildings or by engravings: Vaux-le-Vicomte for Fouquet {c. 1656-60),
Seignelay for Colbert (1662), Le Raincy for M. d'Effiat, and St Sepulcre
for M. Hesselin ; that of Bercy (built in 1670 and pulled down in i860)
was by his brother Francois. They all show in their elevations the same
long low lines, and most of them the idiosyncrasies above described
(see p. 279), while their plans, though illustrating different stages of
development, are all of an elongated type with central saloon.

cA,cEi Le Raincy was

S-S^ IS,

PCMtl

-I P L J ^ 3— <

W CHAMBER I AITE-CHAraa^^ ^^ AITE-C-A-KsT ;-»-5l-- ' f'

I WARD ^
^ RCSF ^

• r

275-

Chateau of Vaux-le-Vicomte.
From Mariette.

Plan.

the most primitive.
The moat, the
enclosed court,
the high separate
roofs and large dor-
mers, the great stair
interrupting the
suites, the ubi-
quitous rustica-
tions, were all remi-
niscent of the
Luxembourg. A
large central
saloon with semi-

THE STYLE OF LOUIS XIV. 289

276. Chateau of Vaux-le-Vicomte : Entrance Front.

circular ends was introduced, it is true, but it merely serves as a vesti-
bule. At Vaux (Figs. 274-276) rustication is largely replaced by pilasters ;
the roofs are lower and less divided ; the dormers are small ; the ellip-
tical saloon lies towards the garden with its long axis in the line of the
principal suite, and is approached through a square columned vestibule
with a staircase on each side. At Bercy and St Sepulcre the saloon was
rectangular and similarly placed, while the stairs were relegated to the
side. Both, too, had continuous roofs, and at Bercy the moatless
court was level with the garden, and merely indicated by a balustrade.

Vaux-le-Vicomte, which is fortunately in an almost unique state of
preservation, is of very noble design though marred by some clumsi-
nesses. The bulge of the saloon with its sprawling dome is an unsatis-
factory feature on the garden front, and the central pilaster in the
pavilions on the entrance front, while the great and small orders are
not very happily related. The side elevations, however, could scarcely
be improved upon. The forecourt closed by a massive railing and
hermse, and flanked by monumental base-courts, forms a most impres-
sive approach. The stately gardens, Le Ndtre's first great work, and
the gorgeous decorations executed under Le Brun have both been
restored to something approaching their pristine splendour.

Chateaux by Cottart and J. Marot. — The chateau of Villacerf
by Cottart conformed in all essentials to the same type as those by Le
Vau, and so also did those of Lavardin and Turny by Jean Marot. In
the latter (Fig. 277) he displayed greater skill than Le Vau in the
combination of the domed saloon with the traditional chateau design.
Instead of protruding unhappily from a mass of building with which
it seems out of harmony as at Vaux, at Turny it gives the keynote

290

RENAISSANCK ARCHITECTURE IN FRANCE.

of the design, occupying as it does the whole central pavilion, which is
decorated with a giant order, sculpture, and vases, and has a columnar
portico towards the court, and a semi-octagonal end towards the terrace,
while all the rest is kept sobec and subordinate.

DECORATION AND GARDEN DESIGN.

The artistic aims of the age of Louis XIV. and the men who gave
them concrete form being what they were, it will readily be understood
that buildings alone are merely one element, if the most important, in

their scheme of things, and cannot be
considered apart from their setting and
their contents. Some account, there-
fore, of the growth of the arts of decora-
tion and garden design in the first period
of the reign, which played so important
a part in the second, is necessary at this
stage.

Painters. — Decoration was de-
veloped under the same conditions as
architecture. The Flemish barocco

tendency gradually died out under the

LTi '"kliLtof retT ^ I'ZJt influence of artists bringing from Italy

[^■fj V^wi PU'"G classic or Roman barocco ideas.

There was, however, an admixture of
Flemings with a tendency to naturalism.
There thus grew up a decorative style
in which a modified classicism pre-
dominated over a variety of other
elements. Simon Vouet (1590-1649),
who returned from Italy (1627) to be
First Painter to the King, was long
supreme over the decoration of the
palaces. He also worked for Richelieu (1632-4), and in the Hotels
Seguier (1634-40) and Bretonvillers. His manner, which is a sort
of summary of the various Italian schools, is surpassed in purity by
that of Eugene Le Sueur (1616-55), who executed decorations for
President Lambert and Anne of Austria. The small proportion of
all this work which has survived consists rather of the figure subjects
than of the setting to them which formed an integral part of the schemes.
But some of the strictly decorative portions, e.g., of Vouet's work, have
been engraved, and in the Cabinet de Sully at the Paris Arsenal and
in the Hotel Sully early examples may be seen of a style which retains
little trace of the coarseness of the Louis XIII. manner, and reduces

277. Chateau of Turny, by
j. maror(no\v destroyed):
Plan. From Marot.

THE STYLE OF LOUIS XIV.

291

the importance of the cartouche motive to a minimum. Vouet's
arabesques (Fig. 278), while based on those of Raphael, are less open
in design, and consist of more massive elements. Nicolas Poussin
(i 594-1 665), who spent most of his life in Rome and was of all his
contemporaries most penetrated with the ideals of antiquity, was invited
to Paris to take part in the
decoration of the Louvre
(1640-2), and composed a
severely classical scheme for
the long gallery, incorporating
casts of ancient reliefs. He
did not, however, hit it off
with Le Mercier ; Vouet in-
trigued against him ; and he
returned to Rome. The
naturalised Fleming, Philippe
de Champaigne (1602-74),
who was much influenced by
Poussin, worked in Riche-
lieu's palaces and many of
the Paris churches, and
Charles Errard (1601-89),
who had studied in Rome,
painted a gallery at the
chateau of Dangu (1645) ^'or
M. des Noyers, and later
worked at the Louvre and
Tuileries and in the Palais
des Etats at Rennes.

All these men were, more
or less, directly imbued with
classical traditions of a fairly
severe character. Even
when, as in the case of
Charles Le Brun, who was
influenced by Pietro da Cor-
tona and Bernini, there was
an admixture of barocco ten-
dencies, these never completely predominated. Le Brun's enormous out-
put was in part carried out by a numerous staff of assistants of various
nationalities. Mazarin often employed Italians, including the painter
Francesco Romanelli (1610-62), and the stucco worker Pietro Sasso, who
decorated the new galleries in his palace, and also Anne of Austria's
new apartment in the Petite Galerie of the Louvre (1554-6).

278.

Arabesque by S. Vouet.
From Dorignv.

292 RENAISSANCE ARCHITECTURE IN FRANCE.

279. Design for Side of Room, by J. Le Pautke.

Sculptors. — Among the sculptors the same gradual predominance
of Roman over Flemish influence took place. Jacques Sarrazin
( 1 588-1 660), who long stood at the head of the French sculptors,
had spent eighteen years in Italy. He worked at Maisons and many
of the Paris churches. His masterpieces are the tomb of Henry H.
of Conde at St Paul, now in the chapel at Chantilly (begun 1646),
and the Pavilion de I'Horloge at the Louvre. His principal assistants
here were Gilles Guerin, and the Flemings Buyster and Van
Opstal, the latter of whom also worked at the Hotel Carnavalet.
The brothers Anguier each spent some years in Rome. Francois
{c. 1613-69) executed the Montmorency Mausoleum at Moulins, and
other tombs; Michel {c. 1614-86) helped his brother and worked for
Fouquet, and at the Louvre and Val-de-Grace. Even Laurent Magnier
{c. 1619-1700), whose work was principally in wood, such as the
ceilings and wall decorations in the Palais des Etats at Rennes, the
Louvre, and later at Versailles, spent five years in Rome.

Characteristics of Louis XIV. Decoration. — Louis XIV.
decoration retains the sumptuousness and the massive character of
that of Louis XIII. with even increased scale but greater refinement
in the profiles and enrichments, and it dispenses with its complications
and intricacies, its multiplication of similar members and repeated
breaks and ressauts. With the fatiguing fussiness the coarse and grotesque
elements also disappear.

The sun, the symbol of the Roi Soleil, and the Gallic cock

THE STYLE OE LOUIS XIV. 2^3

are largely introduced with many other emblems, especially military
ones. The human figure neither elongated as in Primaticcio's
or Goujon's work, nor fleshy as in that of Rubens, but robust
and of normal proportions, is largely employed as a decorative
motive. The favourite animal forms are the lion, eagle, and griffin.
The full and leafy vegetation conforms to a few classical types — oak,
laurel, and olive — in serried be-ribboned wreaths, nervous scroll-work
of acanthus, massive swags and garlands of fruit and foliage with few
flowers. Motives derived from leather work are less common. Scrolls
and volutes suggest a less pliant material, or assume a semi-vegetable
character reminiscent of the coiled fronds of palm or hart's-tongue fern.
The cartouche has no longer such a characteristic type as under Louis
XIII. ; architectural mouldings and pediments are introduced into it,
as well as the acanthus and other foliage, and it resumes its original
function of framing a shield or panel. Backgrounds and spandrils are
sometimes filled with a reticulated pattern with flowers in the interstices.
Architraves and other members forming frames to panels and openings
are broad and bold, and carved with close packed foliage or other
enrichments. In the mouldings there is a predilection for full convex
sections, and the projecting members are often deeply undercut.

Internally the use of permanent decorations for walls and of plastered
ceilings became more general. If tapestry was used, it was often
stretched like a painting in a fixed frame. The main beams were often
concealed as well as the joists. Doorways increased in size, but the
great chimney-piece reaching from floor to ceiling became rarer, the
breast being often disguised. Large use was made of modelled stucco,
of gilt metal ornaments and fittings, and stair balustrades in wrought
metal made their appearance. Marbles of various colours and enriched
with inlay were employed, not only for floors and chimney-pieces, but
also for pilasters, dadoes, and wall coverings. Full rich colour schemes
with gilding in different tones are general.

The decoration of a room is a clearly thought out symmetrical and
carefully balanced scheme, distributed into large well-defined divisions,
and these sometimes subdivided into smaller compartments. There is
a masculine squareness about the design as a whole, and the panels are
usually of simple geometrical form. The barocco influence manifests
itself, apart from the character of the paintings and sculpture, chiefly
in such things as the rounding off" of the top of a panel or the softening
of its angles into quadrants, the breaking of a lintel or arch by a shell
or scroll, a wreath festooned across the angle of a frame, a cherub
peeping over a string, a cartouche or a genius disguising the mitre of
a coved ceiling. But, however luxuriant the ornament, the main lines
are never obscured.

The subjects of the paintings and enrichments contribute to the

294

RENAISSANCE ARCHITECTURE IN FRANCE.

symbolical meaning of the whole scheme as much as their form and
colour to its decorative effect. There is an intellectual quality, a spirit
of order and organisation in Louis XIV. decoration which is as char-
acteristic as its pomp and sumptuosity.

J. LE Pautre, J. Marot, Le Brun. — The style in its maturity,
which may be said to have lasted approximately from 1650 to 1685, is

summed up in the works
of three men, Jean Le
Pautre, Jean Marot, and
Charles Le Brun. Jean
Le Pautre (1618-82),
brother of Antoine, had
studied in Italy and
was an accomplished
draughtsman prolific in
invention. He engraved
and published innumer-
able designs for door-
ways, chimney - pieces,
ceilings, alcoves, panel-
ling, friezes, arabesques,
pulpits, altars and
screens, grottoes and
fountains, and also for
furniture and plate. It
is uncertain how far his
designs were actually
carried out, but for a
century at least they
were studied by decora-
tors. The architect,
Jean Marot, also en-
graved a number of
designs very similar in
character. Le Brun,
whose practice as a
decorator was greater
than that of any con-
temporaries, not only designed and superintended his vast works, but
himself painted a considerable portion of them.

Character of their Decoration. — In a room designed by one
of these men (Fig. 279), whether or not an order of pilasters is used,
the walls are divided into compartments consisting of motives reaching
from the floor or dado to the cornice; these panels are rectangular

i

280. Design for I Doorway,

By J. LE Pautre.

THE STYLE OF LOUIS XIV.

^95

281. Versailles : Chimney-piece of Salle des Gardes de la Reine,
BY C. Le Brun (c. 1675).

and almost always broad, with enriched borders, the centre either
plain or containing a tapestry, a picture, a relief, a carved or painted
arabesque, or else they are more elaborately subdivided with a circular,
elliptical, or octagonal panel in the centre. The doorways (Fig. 280)
are surmounted by a cartouche, trophy or other ornamental feature of
more or less pyramidal form. The decoration of the chimney-piece, at
any rate in the earlier part of the period, still generally reaches to the
cornice, and consisting primarily of a large enriched panel (Figs. 281

296

RENAISSANCE ARCHITECTURE IN FRANCE. .

282. Design for Chimney-piece, by J. Le Pautre, with Alternative

Treatments.

and 282). In an alternative and less lofty type, already exemplified
under Louis XIII., the surround of the fire opening is immediately
surmounted by a pediment, attic or pedestal, the whole feature being
about a third of the height of the room, and the space above fol-
lowing the general scheme of the walls. Mirrors began to be used

THE STYLE OF LOUIS XIV.

297

283. Design for Ceiling, by J. Le Pautre, with Alternative
Treatments.

extensively in decoration and were introduced in small sheets in the
wall-panelling and in or above chimney-pieces. The ceiling (Figs. 283,
296, and 306) is flat, coved, domed, or of barrel form, or shows some
combination of these types. It springs from a bold cornice . clearly
marking the top of the wall. It is heavily coffered, or divided up
by enriched bands into geometrical painted compartments, often it
resolves itself into a frame round a large central compartment, painted
according to barocco practice to represent a vista of architectural or
aerial perspective. The angles, spandrils, and other portions of the
ceiling are often enriched like all the principal features of the room
with figures modelled in the round.

Examples of Louis XIV. decoration outside the royal palaces are to
be seen at Paris in the Hotels de Gruyn (later Lauzun and Pimodan),
and Lambert-de-Thorigny in the He St Louis, and the galleries of the
Bibliotheque Nationale, the chateaux of Vaux-le-Vicomte, and of Jean
d'Heurs, the Palais des Etats at Rennes, and Dijon.

Character of Garden Design. — The way in which the "Grand
Manner " affected garden design is very characteristic. Before the reign
of Louis XIV. the garden had consisted of at most a few acres in the
immediate neighbourhood of the house, and usually on one side of it
Only, and the main approaches were sometimes marked by avenues.
The entire park, vast expanses of forest were now included and treated
as integral parts in the design. The advance introduced by du P^rac

298 RENAISSANCE ARCHITECTURE IN FRANCE.

(see p. 231) was thus carried a step further. This is already visible in
the gardens of Maisons laid out by F. Mansart between 1640 and
1650, but the system was carried to its greatest perfection by Andre
Le Notre who had given an earnest of his talents at Vaux-le-Vicomte.
Royal patronage, by providing a wider scope for his powers, brought
his methods into such prominence that they reigned without a rival
in the greater part of Europe for a century or more. His chief merit
lies in the breadth of his grasp; under his hand an estate became
an organic whole in which every individual part took its appointed place
and fulfilled its well-defined function in the total scheme. Apart from
the broad stretches of woodland through which he cut a network of
vistas converging upon the house or other point of interest, the elements
were much the same as before. But fountains, tanks and cascades,
grottoes and terraces, enclosed parterres, orangeries and topiary work,
statues and garden houses, were used in more skilful subordination to
the general scheme. Trellis walks and arbours were largely employed,
though sometimes replaced by walls of foliage and structures of stone
and marble, such as colonnades, temples, and closed pavilions. Here
the avenues would be narrow and shady leading to some concealed
work of art or to enclosed spaces cut, like themselves, in groves of
elm and hornbeam — cabinets de verdure ; there they would be broad
enough to embrace lawns — boulingrins and tapis verts — parterres or
pools and fountains. Hydraulic tricks and surprises passed out of
fashion under his rule with other puerilities of the early seventeenth
century. Water was now used to more artistic spectacular effect. A
canal was a frequent feature, as for instance at Vaux, Tanlay, Versailles,
and Fontainebleau. Parterres d^eau were sometimes introduced — as in
the early days of Versailles, and on a larger scale at Chantilly — in which
curiously planned basins took the place of flower-beds in parterres de
broderie or grass plots in parterres de decoupe. Among the various
water effects the most striking were the cascades in which water fell in
sheets and jets down flights of steps in an architectural setting. Two
such were the glories of Marly ; that at St Cloud, of which the upper
portion was designed by Antoine le Pautre and the lower by J. H.
Mansart, still exists and may be seen in action on fete-days.

Le Notre's Works. — Le Notre's works fcr the King included the
gardens of Versailles, Trianon and Clagny, and the remodelling of
those at the Tuileries, Fontainebleau, and St Germain where he
created the great terrace. He designed for the King's brother, the
Duke of Orleans, the gardens of St Cloud ; for the Prince of Conde,
those of Chantilly ; for Colbert those of Sceaux, and many others in
France, but most of the foreign gardens attributed to him, except
perhaps two Roman examples, are only indirectly due to him, for he
seems to have declined to make designs when he had not visited the

THE STYLE OF LOUIS XIV.

299

site, and, but for one brief journey to England and another to Rome, he
does not appear to have travelled abroad. His methods were, however,
continued by pupils and imitators, among whom were his two nephews
Claude des Gots and Michel Le Bouteux, who worked, the former
for William III. of England, the latter for John V. of Portugal, and
Alexandre Le Blond who was employed by Peter the Great.

PALATIAL AND PUBLIC ARCHITECTURE.

College Mazarin. — The great age of palaces and pompous public
works was fitly heralded in by the last of Mazarin's buildings (Fig. 284),
The so-called "College Mazarin" or "des Quatre Nations " (now the
seat of the French Academy, and known as " Palais de ITnstitut ")
was built (1660-8) as a college for gentlemen's sons from the recently
acquired territories on four frontiers, from designs by Le Vau, carried
out principally by his pupil d'Orbay (1624-97). The pavilion system,
the steep roofs, and the clear definition of each component part in
the design speak of the past, while the stateliness of the lay-out,
planned in some sort as a pendent to the Louvre across the Seine,
and in the axis of its new river entrance, together with the pomp of the
giant order, proclaim the 'Grand Reigne." A domed church (Fig. 331)
is set back in the midst of a crescent of galleries terminating in rect-
angular pavilions. The giant order by emphasising the square central
and terminal masses increases their effectiveness by acting as a counter-

284. "College des Quatre Nations," or "Mazarin" (now
"Institut"), Paris, by Le Vau (1660-68).

300

RENAISSANCE ARCHITECTURE IN FRANCE.

poise to the curves of the galleries and dome, which have small orders
only, while the pavilions are themselves picturesque in their combination
of high-pitched roofs with Corinthian pilasters and vases.

Le Vau's Work at the Louvre. — The same clinging to national
traditions was shown in the various schemes made for the completion
of the Louvre, an object dear to Colbert, who wished to make it a
palace worthy of the greatness of the French monarchy. Since Le
Mercier's death (1654), Le Vau had been carrying on the works, and
the palace only lacked its eastern facade and main entrance. Le Vau
had followed his predecessor's design almost unchanged. He had
duplicated Lescot's front on the south of the quadrangle, intercalating
a central pavilion of his own as Le Mercier had done on the west.
This southern entrance (Fig. 286), which stood, not in a narrow street,
as the Pavilion de I'Horloge then did, but facing the whole width of
the Seine, obviously required bolder treatment. Keeping the general
lines of the angle pavilion with the substitution of a square dome, he
introduced a giant order of columns ranging with the two storeys, and
surmounted by pedestals, ranging with the attic, to carry statues. It is
probable that Le Mercier, too, would have adopted a giant order, though
he would perhaps have placed it above the ground storey as he did in
his design for the east front. Le Vau also prepared a design for this
last remaining portion, but Colbert felt that the right note had not been
struck by either of them, and interrupted the work (1664).

Competition for Completion of Louvre. — A competition was
held, and the criticisms of architects invited on the designs it produced.
Among those who submitted schemes were Francois Mansart, Jean

PAVILLOM DE MAR3AH

Ci'Nf OF PCFcr.

DE- FLORE

Louvre and Tuileries in 1815 : Plan.

THE STYLE OF LOUIS XIV.

301

302 RENAISSANCE ARCHITECTURE IN FRANCE.

Marot, and Pierre Cottart. Another competitor was Claude Perrault,
one of the most eminent savants of his time, distinguished for his works
on mathematics and natural history, who had made a study of archi-
tecture, and was introduced to Colbert's notice by his own brother
Charles, a confidential clerk in the minister's offices. The reasons
•which led to the rejection of Mansart's otherwise acceptable scheme
have been mentioned (see p. 226). The criticisms on the remainder
proved inconclusive, and intrigues in favour of this or that competitor
-were rife. The King was too much taken up with Versailles to bestow
much interest on the matter. Colbert in this dilemma sent the draw-
ings to Poussin to obtain the opinion of the Roman Academy. They
thus came under the eye of Bernini, who condemned them all.

Arrival of Bernini. — The Cavaliere Giovanni Lorenzo Bernini
{1598-1680), then at the zenith of his fame, was the chief exponent of
the barocco school, and was considered the first architectural authority
in the world. It was decided to invite him to Paris to give his advice
on the spot. Received in France with almost royal honours, such as
never fell to the lot of an artist before or since, he soon produced a new
scheme which he attributed to divine inspiration {1665). The founda-
tion-stone was laid by the King with great pomp, but the design was
not really approved by anyone in France, and it soon became evident
that it would not be carried out. Bernini returned home the same
year in high dudgeon, but royally paid, leaving the field clear for the
Frenchmen. The King was induced to believe that he preferred a fresh
design prepared by Claude Perrault ; and this with minor alterations
was carried out (1667-80), though the work remained under the charge
of Le Vau, and later of d'Orbay.

Such, briefly, was the course of events which led to the erection of
the world-famed Colonnade of the Louvre. On the surface it is a series
of personal rivalries and petty intrigues ; and as so often happens in the
world's history, a momentous decision, the outcome of deep underlying
causes, is apparently the result of accident. Perrault's design repre-
sents French thought of that age with a fidelity which both those of
his French rivals, so far as we know them, and that of Bernini, were
equally far from attaining. It combines the grandiose spirit of the
times, which in Bernini's design was clothed in a barocco dress, with
the pure classical forms in which the Frenchmen had embodied their
semi-mediaeval conceptions.

Earlier Designs for East Front. — Le Mercier and Marot in
their designs (Figs. 288, 289) adopted the arrangement, usual in French
chateaux, of a front wing lower by a storey than the rest. Thus lowered,
the galleries between the central and angle pavilions were felt to be too
long. This was obviated by Le Mercier, as at Richelieu, by the intro-
duction of subsidiary pavilions flanking the main ones, making seven

THE STYLE OF LOUIS XIV. 303

in all. Marot's device was to widen the angle pavilions, and to place
additional ones in the centre of the galleries, making five in all. Le
Mercier treated the ground storey as a rusticated basement, and left
the upper one plain, as on the other elevations, except in the main
pavilions, which had a giant order of engaged shafts embracing this
storey and the attic or mezzanine. The composition is a very artistic
one on the old lines, leading up by progressive increase in height and
richness to the main block. Marot struck out a new line by repeating
the order of the court on the outside, and making his central pavilion
circular with a dome. Le Vau's design has not survived, but there can
be little doubt that it was of the same general type as the above,
though his angle pavilions were a repetition of the western ones,
and he would probably have used a giant order in the same manner as
at the south entrance. This was the treatment adopted in Cottart's
design in combination with several original suggestions. In order to
make the court longer than it was wide, he introduced covered galleries
along the sides and brought them out with a curved sweep to the
entrance pavilion, and placed his new front further east than the eastern
angle pavilions instead of between them, with an arrangement of the
angles similar to that of the first scheme for Verneuil. This device
had the additional advantage of avoiding excessive length in the new
elevation. The domed entrance pavilion was connected with the
new angle pavilions by galleries of the height of the giant order,
with flat balustraded roofs. It is unfortunate that Mansart's sketches
are lost, since a solution of the problem by the architect of Maisons
and Blois could not fail to be of great artistic value. Though it
satisfied Colbert, it is difficult to imagine that it broke entirely with
the national tradition of group-building. It would be instructive to
know how far Perrault's first design, which is also lost, did so.

Bernini's Design. — About the tendencies of Bernini's scheme (Fig.
292) there is no doubt, and therein lies its chief, if not its only, merit.
It proclaimed literally from the house tops that it was a single building
representing a single idea. It consisted of a lofty rectangular mass
with very shallow projections, and a colossal order carrying a massive
entablature, above which ran a balustrade and a line of statues. The
plan (Fig. 290), which involved the virtual destruction of the old palace,
comprised a square court, which was reduced to a Greek cross by pro-
jecting stair blocks in the angles, and narrow courts of the width of the
palace to east and west, each divided into two by a central gallery. The
gigantic mass was to be approached from the west through an equally
gigantic forecourt, of which the Grande Galerie and the Tuileries formed
part. It is not surprising that dissatisfaction was aroused. It was easy,
but inconclusive, to pick holes in the design on the ground of breaches
of Palladian laws: the irregular spacing of pilasters and consoles, the

304

RENAISSANCE ARCHITECTURE IN FRANCE.

THE STYLE OF LOUIS XIV.

305

incorrect proportions of the parts one to the other, and so forth. Such
experiments stand or fall, not by their degree of concordance with
academic rules, but by their success in producing the desired effect.
But the defects of the plan, which failed to give the accommodation
required, or the comfort and convenience to which the P>ench had
become accustomed, the smallness of the windows, the darkness of the
court, the insignificance of the main entrance, the gross untruthfulness
of the elevations, the inordinate cost, the destruction of existing beauties,
all these presented more vulnerable points of attack. Bernini had in
fact forgotten that he was in Paris and not in Rome. He ignored
the practical requirements of the palace, the exigencies of the chmate,
the affection of the French for the work of their sixteenth century
architects, " ;X deep-rooted belief in the need of some degree of

correspondence between internal arrangements and external appearance.
The sections (Fig. 291) reveal how totally the scenic effects aimed at
were divorced from reality. The outer walls of the palace and those
of '-' "ourt each rise some 20 feet higher than the rooms behind
tbeu), and are mere screens. The French critics, however, were blinded
by the undeniable defects of the design to its real greatness. Its
colossal order with r,ll its ungainliness, the long line of the massive
cornicione, the rugged masonry of the plinth, the very monotony of
the elevations, the gaunt baldness of the total mass, would have pro-
duced an astounding effect of arrogant power. The French designs
with all their excellences differed in nothing but extent from that of

290. Bernini's Design for Louvre
Plan. From Bi.ondel.

291. Bernini's Design for
Louvre : Section. From
Blondel.

306 RENAISSANCE ARCHITECTURE IN FRANCE.

THE STYLE OF LOUIS XIV. 307

a nobleman's mansion. Bernini's by its scale, by its Titanic force,
proclaimed itself without question the palace of the greatest king on
earth. The barocco quality of terribilitd required to be softened into
a suave majesty, and to be brought into some degree of harmony with
academic rules to be a true expression of French feeling ; and this
Claude Perrault now prepared to do in his new design, which surpassed
Bernini's in refinement of detail, in delicacy of feeling, in harmony of
spacing and proportion, as much as it did those of his French con-
temporaries in dignity and breadth.

Perrault's Design. — Perrault's design (Fig. 293) owes much to
Bernini — its colossal scale, its giant order and the subordination of the
ground storey into a stylobate, the long, flat line of balustrade and
cornice, the simplicity of the mass, the unity of the conception.
Neither did he altogether avoid the faults criticised in Bernini. His
fagade hardly corresponds more closely with what is behind it. But
Perrault had a far better grasp of the problem before him ; he realised
that what he had to provide was a screen to an existing palace, which
was to express not so much the actual arrangements of this palace
as the majesty of the monarchy it symbolised. Whereas Bernini by
proposing an entirely new building deprived himself of any excuse for
resorting to ignoble stage tricks, Perrault in giving expression to a
greater truth might feel justified in ignoring smaller truths ; in making,
for instance, his fagade both longer and higher than the older buildings,
and thus necessitating the destruction of older work, which, if unfor-
tunate, was infinitesimal in comparison with the damage demanded by
Bernini.

He originally intended that the fagade, which is about 565 feet long
and 95 feet high from the present ground level to the top of the
balustrade, should rise from a moat upon a battering basement with
rusticated coigns below the present ground line. He divided it in the
traditional manner into five vertical divisions, as even Bernini had done,
but instead of the usual pavilions, the narrow compartments at the centre
and ends are merely solid masses to counterbalance the voids of the
long intervening colonnades, which form the leading motive in the
design. Pediments and other features were at one time contemplated
for the crowning members of the end blocks, but were eventually
omitted, so that the balustrade runs from end to end broken only by
the central pediment. The two ranges of fourteen fluted Corinthian
columns (Fig. 294), nearly 40 feet high, standing out against a wall
treated originally only with niches and low relief ornament, are full
of stately dignity, and derive an unusual appearance of strength com-
bined with play of light and shade from the coupling of the columns.
But the setting back of the wall above the basement to permit of the
colonnade is a weak point in the design, for the eye is not satisfied

308 RENAISSANCE ARCHITECTURE IN FRANCE.

that it has anything to rest on. The end blocks with their pilaster
treatment and great round-headed windows in a deep recess are finely
conceived, but the central bay (Fig. 295) is a less successful feature.
Not only has Perrault fallen into another defect in trying to avoid the
insignificance of Bernini's entrance by springing the arch from the
main string, and thus breaking uncomfortably into the principal storey,
but the superstructure is not sufficiently clearly defined, being flush
with the colonnade and having merely a single order of detached
columns ; and further the excessively wide central intercolumniation is
not justified by the occurrence in it of any important feature. When,
however, full allowance is made for all faults that can be found with
the Louvre fa§ade^and after all, such criticisms are mainly academic
— it remains one of the noblest pieces of architecture in the world.
For combined repose and majesty it is not surpassed by any building
in France, and by very few in other countries. At the same time its
influence on French design can hardly be exaggerated. It brought into
fashion the practice of using the ground storey as a podium for a giant
order embracing the two upper storeys, which became the accepted
formula for all buildings of a public or palatial nature, and was generally
used with the same spacing of two wide and three narrow divisions.

Consequences of Perrault's Scheme. — The acceptance of
Perrault's design involved certain modifications of the existing fabric.
It projected some 45 feet beyond the southern front, and some 40 feet
beyond the northern. On the north this was not of great importance,
since it was not then expected that this side would ever be much seen,
and by the adoption of a simple but effective treatment, with rusticated
coigns instead of an order, the new was adjusted to the old with slight
modifications of the latter. On the south a more radical treatment was
needed, and a new fagade was built in front of the old, obliterating both
Le Van's work, just completed, and the older portion by Lescot,
including the Pavilion du Roi. Le Van's dome long survived, and was
visible over the new front. Traces of the outer front of his south
entrance are still visible in the archways of the present Pavilion des
Arts. The treatment of the new south front (Fig. 287) is a rather tame
prolongation of the pilaster treatment of the eastern angle-blocks, not
indeed without dignity, but lacking in the play of light and shade,
which might so easily have been obtained with a southern exposure
by a columnar treatment.

The great height of the eastern outer front made it visible from the
court, so that it was necessary to heighten the inner elevation behind
it, which had recently been completed wnth two orders and an attic to
match Lescot's building. The proposed substitution of a third order
for the attic created an unexpected difficulty, for the second order being
Composite no order was known which could legitimately be placed

I

294- NORTH END OF COLONNADE OF THE LOUVRE, PARIS.

295. CENTRE OF COLONNADE OF THE LOUVRE, PARIS.

THE STYLE OF LOUIS XIV.

309

3IO RENAISSANCE ARCHITECTURE IN FRANCE.

above it. A prize was offered for a design to supply one. Many archi-
tects, both French and Italian, competed, but, as may be imagined,
their designs proved to be merely variants on the old orders embellished
with new emblems, such as cocks, fleur-de-lys, &c., or else on Gothic
types. It is uncertain if the prize was awarded, but it was decided to
steer clear of untried experiments by falling back on the trusty
Corinthian, and risking the disgrace of placing it above the Composite.

The G.\lerie d'Apollon. — -The most important work of decoration
carried out under Louis XIV. at the Louvre was on the upper floor of
the Petite Galerie, built and decorated as the Galerie des Rois for
Henry IV., and all but destroyed by fire in 1661. Its redecoration, as
the Galerie d'Apollon in compliment to the " Sun King," was Le Brun's
first work in the royal palaces (Fig. 296). It was not finished in his
lifetime — not indeed till its restoration by Duban (1848-51), in which
Le Brun's designs, which are still extant, were followed in the main.
It measures about 200 feet by 31, and 37 feet in extreme height. It
has thirteen square-headed recesses on each side the full height of the
walls, twelve of which on one side are windows. Pilasters occur only
at the ends, but the piers crowned by trophies, and sharply defined by
the bold architraves of the openings, constitute a sort of order of the
requisite sturdiness to carry with apparent ease the barrel vault which
springs from the cornice. This vault has five main painted panels of
various shapes at the crown, and smaller ones at the sides ; and among
the wealth of figures and architectural features, which decorate it, strong
horizontal lines carry the eye along the vista and lighten the effect.

The Tuileries : Le Vau's Earlier Work. — Since the death of
Henry IV. building operations at the Tuileries had been at a standstill.
In 1659 Colbert entrusted their continuation to Le Vau. To realise the
difficulties of the task set him of bringing the existing portions into some-
thing approaching uniformity, it is necessary to glance at the state of
the palace when work was resumed (Fig. 297). A spectator standing
in the Gardens and facing east would see on the right the great mass of
the Pavilion de Flore with a giant Composite order and tall attic. Next
it, and set some way back, was a long gallery ("Galerie de Diane" or
"des Ambassadeurs ") with the giant order, but with projecting stair turrets
with two orders at each end ; then BuUant's building with two orders and
an attic whose cornice ranged with that of the giant order ; next again
de rOrme's southern gallery with its projecting loggia of one order and
an attic ending at the central pavilion, which had two orders, an attic,
and a dome. Beyond this to the north was de I'Orme's similar northern
gallery and the first courses of a pavilion to match Bullant's. Le Vau
began operations by building (1659-63), on the north, the Pavilion de
Marsan to match the Pavilion de Flore, a gallery, the " Galerie des
Machines," containing a theatre to match the Galerie de Diane, and a

THE STYLE OF LOUIS XIV.

311

312 RENAISSANCE ARCHITECTURE IN FRANCE.

pavilion to match BuUant's block. At least, it seems that this was the
course of events, though it is not clear how far this scheme was put into
execution.

The Tuileries : Le Vau's Later Work. — If it had not occurred
to them before, it now became evident to Colbert and Le Vau that two
long ranges of buildings running down by steps to meet each other
gave an unsatisfactory sky-line, and reduced the central tower to insigni-
ficance. The elevations were then completely recast (1664-70) (Fig.
298). The bulk of the work seems to have been done at Le Vau's
death, but it was not absolutely completed till 1697. An important
central building was formed, taking in five bays instead of three, coming
forward to the front of the loggia, and having a third order, an attic,
and square dome, de I'Orme's central stair being at the same time
destroyed, and replaced by one at the side. A continuous balustrade
was carried through from this block to the end pavilions at a level
determined by the giant order, the intermediate buildings being
levelled up to make this possible. It is certainly regrettable that
de I'Orme's and Bullant's enriched attics and delicate ornament, and
du Cerceau's domed stair-turrets should have disappeared in the
process, but the taste of the time may not have been altogether astray
in deeming them too slight and fussy for a palace of such proportions
as the Tuileries now became, a palace comparable by its mass and
dignity with the other buildings erected to the glory of Louis le Grand.

Vincennes and Versailles. —Louis XIV. never forgave Paris the
indignities and enforced flights from his capital inflicted on him as a
child during the disturbances of the Fronde, and acquired the habit of
living in various country seats, while all Colbert's efforts failed to rouse
him to interest in the Louvre or Tuileries. At one time, in the early
part of his reign, the King's choice fell on the old castle of Vincennes,
and Le Vau was employed to bring it up to the requirements of the
Court, which he did by adding a pair of wings and joining them by a
monumental screen with a gateway in the form of a triumphal arch.
Vincennes was soon, however, eclipsed in the royal favour by Versailles,
as Louis' early liking for that hunting-box of his father's grew into an
absorbing passion. It not only became his habitual home and the
scene of Court life, but eventually also the seat of government. Thus
Versailles is the most characteristic and splendid product of the age ;
but the actual buildings of the palace proper, however impressive, are
only one among the factors which made the residence of Louis XIV.
the cynosure of Europe and an artistic centre of world-wide influence.
It was surrounded by stately dependencies and minor royal dwellings.
It was the centre of the most splendid example of a new type of
garden design. Its decoration was on a scale of magnificence hitherto
unparalleled, including works of painting, of sculpture, and of furniture

THE STYLE OF LOUIS XIV.

299. N'eksailles : Garden Front by S. de Brosse(?) (1624), as First
Remodelled by Le Vau (1661-67). From Perelle.

by the greatest artists of the century. In judging the palace it is futile
to consider it as if it were the deliberate scheme of a single architect.
Versailles was a gradual growth keeping pace with the needs of a Court
ever increasing in power and splendour, and influenced at every stage
by the not very consistent caprices of a sovereign, whose commands
admitted of no evasion. Louis XIV., for instance, while forbidding
any alteration in the old chateau-front, in other respects loved constant
change, so that works were no sooner finished than they were trans-
formed, or removed altogether to make way for others. The most
obvious faults of Versailles, as it now stands, are nearly all due to this
cause, or to eighteenth century alterations. Though no extension of
the old brick chateau was undertaken between 1661 and 1667, yet
during that time it was repeatedly decorated internally, and modified
externally (Fig. 299) by the alteration of the dormers, the addition of
iron balconies, busts, and, in the court, of a giant order of pilasters at
the angles, and of an arcaded stone screen. New kitchen and stable
btiildings were also put up to the right and left of the forecourt.
The main lines of the gardens were laid down, and the great terrace
formed on the west side, an orangery built to the south, and the
splendid grotto of Tethys to the north.

Le Vau at Versailles : First Transformation. — It soon,
however, became evident that the accommodation was becommg
inadequate, and plans for a general scheme of enlargement were
invited, not only from Le Vau, who had hitherto had the sole charge
of the buildings, but also from Le Pautre, Perrault, and Jacques
Gabriel. Le Vau's scheme was eventually adopted, but he was
instructed to omit circular or elliptical rooms, and to include sugges-
tions from his fellow-competitors. It had been definitely laid down
that the existing building was to be preserved intact, and this Le Vau
effected by enclosing the old brick chateau on three sides in a larger

314

RENAISSANXE ARCHITECTURE IX FRANCE.

Stone one, and ex-
tending the brick
buildings on the
fourth (Fig. 300).
Begun in 1668, the
works were carried
on after Le Vau's
death (1670) by
d'Orbay, and com-
pleted, as regards
the exterior, in
1674, and the in-
terior, including the
great staircase, in
1680. The moat
and screen disap-
peared, the fore-
court was re-
modelled, the
eastern angle pav-
ilions were con-
nected up by
arched vestibules
with the service
wings, which were
prolonged and
made to end in
pavilions with lan-
terns and columned
porticoes (Fig.
302). The main block, as altered, presented a rectangular mass to the
gardens with thirteen windows to the north and south, and twenty three
to the west (Fig. 301). The central portion of the new west front,
with nine windows, i.e., that corresponding to the space between the
projecting pavilions of the old chateau, was recessed so as to form a
covered loggia below and open terrace above. Between the old and
new wings on the north and south were internal courts. The scheme
of the external stone elevations consisted in a rusticated lower storey
with arched openings, a lofty upper storey with an Ionic order, and
tall square-headed windows surmounted by sculptured panels, an
attic with square windows and an attic order, and finally a balustrade
with vases and trophies. This system is enlivened by a rhythmical
grouping of features. The windows occur singly or in threes, and,
where single, are flanked by pairs of coupled columns in front of the

500. Versailles : Plan.

THE STYLE OF LOUIS XIV.

315

301. Versailles : Garden Front, as Remodelled for Second Time by

Le Vau (1668-74). From an Old Prnit.

N.B. — The nutnher of tuindo'ivs is incorrectly shown.

302. Versailles: Entrance Front, as Remodelled by Le Vau (1668-74).

From Perelle.

pilasters, the entablature breaking forward over them and supporting
statues. At intervals, too, where broader wall spaces occur, niches and
statues are introduced.

Most of the criticisms commonly made on Versailles do not apply
to Le Vau's buildings. In front, the central part had not been
dwarfed by ihe lofty chapel and pretentious '* Ailes Gabriel" (Fig. 401).
Towards the garden, what is now reduced to a disproportionate pro
jection in the middle of a long line of buildings was then the entire
palace. Though the picturesqueness of the old brick pavilions and
high-pitched roofs was gone, the elevations were not monotonous,
because in the first place there was much less of them before the huge
wings were added to north and south, and secondly, the great central
recess before it was filled up to form the " Galerie des Glaces " broke
its lines and gave an agreeable play of shadow. The new Versailles
of that day, as seen from the gardens, expressed a single stately
conception, in elegant, yet simple and truthful language.

The Gardens. — The gardens had by this time reached a state
not very different from their present one. The main features of the
22

3l6 RENAISSANCE ARCHITECTURE IN FRANCE.

scheme were a wide terrace carried round three sides of the palace
with a parterre d'eau to the west under the royal windows, and broad
strips of open gardens stretching westward between two equally broad
strips of wood-garden, from the foot of the terrace to the head of
the grand canal. This lies in the axis of the palace and is in the
form of a cross, with Trianon at the end of the northern arm and the
Menagerie at the end of the southern. In addition, the gardens of
Versailles have a considerable lateral extension. From the great
terrace the eye ranges southward over the Orangery and its sunk
garden to the " Piece d'Eau des Suisses," and northward down the
" AUee d'Eau" to the '■ Bassin de Neptune." Every portion of the
gardens was adorned with monuments or works of art of appropriate
design and almost uniform excellence. -

J. H. Mansart. — The later history of Versailles under Louis XIV.
introduces a new figure in Jules Hardouin (1646-1708), a grandson of
a sister of Fran9ois Mansart, whose name and fortune he inherited.
He had been trained partly by him and partly by Liberal Bruand,
and, while working under the latter at the Hotel Vendome (on the
site of the present Place Vendome) in 1672, he came under the
King's notice. He soon succeeded to the place in the royal favour
held by Le Vau, and the waning supremacy and subsequent death of
Le Brun (1690) permitted him to advance to a position of authority
over all the royal works, such as Le Vau had never enjoyed, and
even Le Brun had scarcely aspired to. He was ennobled, and after
holding various royal appointments attained to that of Inspector-
General of the King's Buildings (1699), a post which had long been
held only by ministers. One of the earliest works carried out by
him for the King was the enlargement of the old chateau of St
Germain (1675) which he effected by adding large pavilions at the
angles, following the lines of Francis I.'s work very closely and
adopting them with considerable skill to new requirements. This,
however, is no criterion of the character of his usual work, which is
the fullest and most characteristic expression of the barocco-Palladian
compromise. If he did not equal his great-uncle in that perfect refine-
ment of taste which distinguished him, he had all his scholarship
and perhaps an even broader monumental feeling. Though he never
scrupled to break the letter of Palladian law when it suited his purpose,
as when he used a Corinthian order immediately over a Tuscan at
Clagny, his work was generally so correct that he could be regarded by
the Academy as a standing protest against the school of Borromini.

Versailles : Second Transformation by J. H. Mansart. —
The palace of Versailles, vast as it was when the works designed by
Le Vau were completed, soon ceased to be adequate for the require-
ments of the Court, and J. H. Mansart was instructed to carry out works

2 o

o

w «
H

THE STYLE OF LOUIS XIV.

317

304. Versailles : Cour de Marbre, as Remodelled by J. H. Mansart

{c. 1680).

which within ten years
(1678-88) more than
doubled the extent of
the chateau and pro-
foundly modified its
aspect. In these alter-
ations the King's own
apartments were placed
on the first floor in the
centre of the entrance
front, and to give this
portion greater dignity
Mansart arched the
window-heads and
added a picturesquely
designed attic (Fig.
304). In modifying
the garden fronts he
also adopted arched
windows for the first
floor with happy effect
(Fig- 303)- He con-
structed the " Grande
Galerie," or " Galerie

305. Versailles : Part of Cour de Marbre.

3l8 REXAISSA^XE ARCHITECTURE IX FRANCE.

des Glaces," over the western loggia, and a long wing to the south
(1678-81) (Fig. 306). The wing to the north, involving the destruction
of the grotto of Tethys, followed later (1684-8). It is these additions
which cause the defects of the present garden front ; for the central
block, now an unrelieved square mass, projects so far that when not
viewed directly in front it hides one of the wings and renders a satis-
factory general effect impossible.

The Decoration : Great Staircase. — Before Le Brun's death
the most important works of internal decoration were completed. These
were to be found in the suite of State apartments which run round the
three outer sides of the central block including the Ambassadors'
Staircase, by which they were approached at the north-east, and the
Queen's staircase, which still leads to them on the south-east. Much of
this work remains intact, but one of Le Brun's most complete com-
positions, the " Degre des Ambassadeurs," the State staircase of the palace
(1672-80), was destroyed under Louis XV. to make room for Madame
de Pompadour's theatre. It occupied an oblong hall. A first broad
flight led to the centre of a landing in one of the long sides with a
fountain facing those ascending. Thence other flights went up right
and left to a gallery running along the ends and opposite side. The
stairs and wall decorations were in coloured marbles. The upper part
had an order of Ionic pilasters between which were painted recesses
containing bronze trophies. The hall was lit by a sky-light, and the
deep cove below this was divided into three tiers of panels, the lowest
of which had a rich decoration comprising ships' prows, the scheme
commemorating Louis' campaigns and especially his naval victories.

The "Galerie des Glaces," &c. — Le Brun's most important sur-
viving work at Versailles is the "Galerie des Glaces" (1680-4) (Fig- 3°6).
Its similarity of shape and proportions suggest a comparison with the
" Galerie d'ApoUon," which it surpasses both in the richness of its
materials and in its dimensions — it measures about 240 by 34 feet, and is
43 feet high to the crown of the vault. The ceiling, which is of barrel
form, is decorated almost entirely with painting. Only the gilded frames
of the chief subjects and a row of trophies over the cornice are in wood
or stucco. This deep-coloured vault, divided into large panels and
lacking in longitudinal lines, seems a load too heavy for the substructure
to bear. For the walls are treated in light tones — white marble panelled
with soft colours — and are pierced by seventeen arched openings forming
windows on one side and filled with mirrors on the other, so that the
order of slender Corinthian pilasters of green marble with gilt bronze
capitals appears to carry the whole burden. Notwithstanding this
defect this gallery, denuded though it is of its rich appointments, its
curtains of white brocade, its orange trees in silver vases, its chased
silver tables and chairs, its Boule cabinets loaded with works of art, is

<'

THE STYLE OF LOUIS XIV.

319

306. VERSAILLES

GALERIE DES GLACES, decorated by
Le Brun (1680-84).

320 RENAISSANCE ARCHITECTURE IN FRANCE.

307. Versailles : Palace from South-West and Orangery,
; BY J. H. Mansart (1681-86).

i

Still one of the most splendid apartments in the world, and worthy of
the magnificent monarch whose apotheosis is figured forth in the
paintings of the roof and every detail of the decoration.

Other examples of Le Brun's work may be seen in the rooms at each
end of the gallery, the Salons de la Paix and de la Guerre, and in the
suite which leads from the latter to the Salon d'Hercule, as well as in
the Queen's Staircase (Figs. 261, 262, 281, and 342). They exhibit the
same harmonies in white, mauve, and green marble, with enrichments of
gilt bronze, pewter, and lead, combined with painting and carved wood-
work in white and gold, and, owing to their smaller extent, the effect of
excessive ponderousness in the ceilings is not so much felt. Among
the army of assistants employed under Le Brun in the decoration of
the palace and its gardens were several painters of the families of
Audran and Coypel, Jean Jouvenet and Houasse, the sculptors Coysevox,
Lespagnandel, Tuby, Marsy, Lehongre, Girardon, and the metal workers
Philippe Caffieri and his son Jacques, Ladoireau, and Gucci.

Minor Works at Versailles. — In addition to the works already
mentioned, Mansart built the two great stable blocks (1679-85), the great
service block, "Grand Commun " (1682-4), the present chapel (begun
1696, but not finished till 1710, after his death), and, in the gardens,
the monuments known as the " Domes " and the "Colonnade" and the
present Orangery. Mansart's orangery (168 1-6) to the south of the
palace superseding an earlier brick one by Le Vau is by its simplicity and
Titanic scale a most impressive work (Fig. 307). It consists of vaulted

THE STYLE OF LOUIS XIV.

321

./({!»«rilSs

aiJiltr^i

[c*

322

RENAISSANCE ARCHITECTURE IN FRANCE.

galleries — they are 39 feet wide, and the longest over 1,000 feet long —
carrying a terrace, and opening by tall arched windows on to a sunk
parterre, which they enclose on three sides. The wings terminate in
straight flights of 103 steps over 60 feet wide. The plainly rusticated
elevations have in the centre a portico of colossal Tuscan columns.
The sense of immovable strength conveyed by these cliff-like facades
fits them to form the base on which the huge palace appears to stand
when viewed from the south. The Bosquet des Domes has disappeared,
but the Colonnade survives. It consists of a circular arcade, whose
arches spring from Ionic columns alternately of red and grey marble,
each buttressed by a square pilaster, while under each arch a fountain
rises out of a raised marble basin. If these creations exhibit J. H.
Mansart in a mood of playful fancy, and the Orangery in one of almost
rugged severity, the housing of the various services of the palace, the
stable, the kitchens, and so forth, afforded him an opportunity of showing
how such utilitarian building could be invested with dignity by a
monumental grouping of masses with the judicious addition of good
sculpture at some crucial point (Fig. 308).

Smaller Royal Houses. — Even Louis XIV. himself sometimes
found the splendours of Versailles oppressive, and experienced the
need for intervals of comparative privacy. Hence there grew up
in the neighbourhood several smaller houses to which the King might
retire with select society of intimates, or which he could present to one
of the princesses or mistresses. Among these were the Menagerie, whose
central feature was an octagonal building containing a grotto on the
lower floor with a domed saloon over it, and surrounded by radiating
courts containing foreign animals. It was built probably by Le Vau
(1663-5) ^"d later enlarged by J. H. Mansart. Another was Trianon
(Grand Trianon), first built by Le Vau in a pseudo-Chinese style
(1672-4) (see p. 363), and then superseded by a building by Mansart
(1687), comprising two separate blocks, later connected by an open
loggia or "Peristyle"
by Robert de Cotte.
It had but one storey
and a flat roof, and
its elevations were
treated with an Ionic
order with pink
marble shafts and a
balustrade with urns
and sculpture. The
wing known as
Trianon - sous - Bois
was added later. A

SCALE 0PP6ET

SCALE OP METRES

309-

Royal Pavilion at Marly, by J. H. Mansart
(1680-86): Ground and First Floor Plans.
From Fer.

THE STYLE OF LOUIS XIV.

3^3

310. Marly.

From an Old En^ra

ving.

third was the chateau of Clagny, north-east of the town of Versailles, by
J. H. Mansart (1675-80), built as a residence for Mme. de Montespan
and her children by the King.

Marly. — A later royal caprice was the so called Hermitage of Marly
(1680-6, destroyed at the Revolution). Though it was originally intended
as a modest and inexpensive retreat, and though its buildings were
never very extensive, it grew into one of the most important royal
residences, and by the magnificence of its statuary and paintings, its
gardens and water works, swallowed up almost as great sums as
Versailles itself. It was the creation of J. H. Mansart and Le Brun
— and its gardens of Le N6tre — and is unique in its conception, con-
sisting of a royal pavilion, twelve smaller isolated pavilions for the
courtiers, and three others for the services. The royal pavilion stood
by itself on a terrace between four " Salles de Verdure " in the centre
of the lay-out. In the short axis lay on one side the entrance between
twin guard-houses, on the other the office block. In the long axis
(Fig. 310) the chateau looked out in front down a sunk and terraced
garden containing a chain of ponds along each side of which stood six
of the small pavilions, and, behind, on to a splendid cascade. The
chateau itself was square, each side of nine bays being identical. It
consisted of two storeys, with a flat balustraded roof. Its elevations
had a giant order and a pediment over the three middle bays. It was
planned round a central octagonal saloon running up through both storeys
and top-lit (Fig. 309). The twelve pavilions, which each contained two
apartments, were connected with each other and the service blocks by
alleys of pleached limes. They were square with flat balustraded roofs
and plain rustication on the angles, but the faces were embellished with

324

RENAISSANCE ARCHITECTURE IN FRANCE.

311-

Paris : Porte St Denis, by F. Blondel

AND Le BrUN (1672).

painted architecture
and figure subjects
designed by Le Brun
and varied in each
case.

Arches, Gate-
ways.— Outside the
royal palaces the
government of Louis
XIV. sought to im-
press the public
mind by pompous
monuments. The
triumphal arch was
a form greatly in
favour, and there
are many examples
among the designs
of Marot. An im-
portant one, in-
tended to carry a colossal statue of the King, was erected on the Place
du Trone, on the road from Vincennes to Paris (1670), to celebrate
the conquest of Franche Comte and Flanders. It was the work of
Claude Perrault, whose design had been preferred to those submitted
by Le Brun and Le Vau
in competition with it.
Le Vau's design is not
known. The two others
were based on that of
the Arch of Constantine
at Rome, but with
coupled columns. Per-
rault's arch was much
larger than its prototype,
being nearly 180 feet
long and 75 feet in total
height as against 82 feet
and 68 feet in the
Roman example. Ex-
cepting the plinth it was
executed in plaster, and,
becoming ruinous, was

soon removed. Fran9ois .j^. Montpelmer : Porti: du I'kvruu,

Blondel, after remodel- by F. d'Orbay (1691-1710).

THE STYLE OF LOUIS XIV.

325

ling two of the gates of Paris, those of St Bernard and St Antoine, to
give them a decorative character, designed the gate of St Denis anew
(1672). It is curious that this protagonist of the Palladian proprieties
should not only have broken new ground to such an extent as he did in
this case, but have been convinced that he was conforming to the purest
classicality ; for while it shows no actual breaches of the letter of the
law, no building of the time is more inspired by the magniloquent spirit
of barocco, expressed in terms of French rationalism, than this arch.
Its architectural elements are reduced to a minimum (Fig. 311). There
are no orders, no pediments, no rustication. The elevation consists in
a plain square mass, 78 feet high, crowned by a bold cornicione and
pierced by a single arch. Its whole decoration consists in a sort of
engaged obelisk on a pedestal on each pier. The obelisks bear trophies
in high relief, the pedestals, the spandrils of the arch, and an oblong
panel above it have low relief panels. Everything in the design, from
the scale of the sculpture (executed chiefly by the brothers Anguier
from designs by Le Brun) and of the laconic inscription " Ludovico
Magno," to the minuteness of the openings for foot passengers through
the pedestals, which by contrast make the arch look even more colossal
than it is, conspires to produce an overwhelming impression of irresist-
ible power.

The neighbouring Porte St Martin (1674), whose height and width
are both about 60 feet, by Pierre Bullet (1639-17 16), and the similar
Arc du Peyrou at Montpellier (1691-1710), designed by d'Orbay and
carried out by d'Aviler (Fig. 312), in both of which rustication is
largely used, though more satisfactory compositions from a strictly
architectural point of view, are less effective decoratively. The Porte
de Paris at Lille (1690) and the Porte de Brisach at Belfort (1687)
are examples of other forms of gate treatment. As an example of bridge
design, the Pont
Royal in Paris, by
Jacques II. Gabriel
and J. H. Mansart
(1685), is a worthy
rival to the earlier
Pont Neuf.

The Invalides,
&c. — Another grand-
iose creation of this
reign was the Hopital
des Invalides, to ac-
commodate 6,000 old
or disabled soldiers. ^j^_ j>aris : IIgsfice dks Invalides, uv Likkkal
It was built (167 1-4) Bruand {1671-74). Principal Court.

326 RENAISSANCE ARCHITECTURE IN FRANCE.

from the design of Liberal Bruand, and is clearly and practically
planned round sixteen rectangular courts. It is chiefly remarkable for
the manner in which an effect of grandeur is obtained by plain masses,
with ornament reduced to a minimum. The central court is surrounded
by two tiers of plain arcaded loggias breaking forward in square projec-
tions in each angle (Fig. 313). The only decorated features are the
trophies on the oval dormers and the two orders of engaged columns
which mark the entrance to the church. In the outer facade, about
670 feet long, the sole decoration is that applied to the dormers, which
are similar to those in the court, and to the main entrance, where the
cornice breaks round a great semicircular arch, as at F. Mansart's Ste
Marie, and contains an equestrian relief of the King. The Salpetriere,
a hospice for aged and infirm poor, an earlier work by Liberal Bruand
(begun 1656), is very similar in its character.

Town Planning. — The autocratic, organising, spirit of the age
manifested itself in the control of town planning. Under Louis XIV.
the private house was forced to merge its individuality even more
thoroughly in the comprehensive administrative schemes of which
it became a mere item. Like Richelieu, Louis wished to have a
regularly planned town at his gates. The whole district round the
palace at Versailles was cleared and laid out on a rectangular scheme
intersected by the radiating approaches from Sceaux, St Cloud, and
Paris, and all the roads of France might be conceived to converge
by these three great avenues on the dwelling of the sovereign. Sites,
with peculiar privileges attached, were granted to those who undertook
to build in conformity with a uniform scheme, which in its main lines
was the work of Le Vau. J. H. Mansart did much to give it shape,
and, had funds permitted, would have rendered it still more complete.
His principal contribution was the Great and Little Stables (1679-85),
the two noble blocks so ingeniously planned for the fan-shaped sites
opposite the chateau. It was Mansart's wish to link them up with
it by arcades, thus reducing the vast "Place d'Armes" to a mere fore-
court for the palace.

Less ambitious in conception than this were the two schemes which
he carried to a successful issue in Paris — the circular Place des Victoires
(1684-6) and the Place Louisle-Grand (or Vendome) (1699) in the
form of an elongated octagon. In both, private houses are grouped
behind a fagade of uniform treatment. In both, the lower storey
is a rusticated arcaded basement ; the first and second floors are
embraced by a giant order of pilasters, and the steep roof above the
entablature broken by dormers of two patterns alternating, and in both
each of the openings of the "place" is arranged, as far as possible, to
lead up to an important building. The Place Louis-le-Grand (Fig. 455)
was diversified by the introduction, in the diagonal faces and the centres

THE STYLE OF LOUIS XIV.

327

314. Chateau ok Choisy, by J. H. Gabriel and J. H. Mansart (1680).

From an Old Print.

of the long sides, of engaged columns carrying pediments. Though
there is nothing specially original in the design of these " places," they
afford instructive examples of the breadth and monumentality which
may be obtained in city architecture by well-considered combined
schemes.

LATER DOMESTIC ARCHITECTURE AND DECORATION.

Relative Unimportance of Domestic Architecture in Second
Period. — ^It is perhaps not altogether accidental that the private resi-
dences which can be certainly set down as built during the middle period
of Louis' reign are fewer than in the earlier and later ones. The
vastness and splendour of the royal works seems to have exhausted
the building activity of a whole generation. With Louis' assumption of
power ended the heroic period of the nobility, and Court life exercised
an irresistible attraction over them. Overjoyed to be lodged in a
garret or entresol at Versailles, if only they could bask in the rays of
the Sun-king, they lavished their wealth in display and dissipation, and
had perhaps little left to sink in stately houses in which they could not
live. The principal exceptions are more or less ofiEicial residences built
by members of the royal family and ministers, rather for the purpose of
entertaining the Court than for themselves. Thus St Cloud was rebuilt
for Louis' brother, Philip of Orleans, by Antoine Le Pautre and added
to by Girard (1680); Choisy was built for Mademoiselle de Mont-
pensier, Louis' first cousin (1680), by Jacques II. Gabriel in collabora-
tion with Mansart (Fig. 314); St Maur was completed and enlarged
for his more distant cousin the Prince of Conde by Gittard ; Sceaux
was built or transformed for Colbert {c. 1675) ; Meudon and Dampierre
were remodelled chiefly by Mansart for Louvois, whose hotel in Paris
by Chamois was remarkable for little but its vast extent.

328 RENAISSANCE ARCHITECTURE IN FRANCE.

Severity of Character. — The principles of unity and uniformity
expressed in Perrault's Louvre began to triumph in domestic archi-
tecture, and, after 1665, variety, picturesque grouping, and sumptuous
external decoration tend to disappear under the influence of the
standardising and classicising influences at work. The system of
disconnected roofs is largely relinquished. " Mansard " and flat roofs
are almost universal, and, while dormers and chimneys become
more and more insignificant, their place is taken by continuous attics,
balustrades, or parapets. Pavilions are represented by the shallowest
possible projections. Orders, if used, are generally confined to these
portions, and sometimes to the principal storey, the lower one being
treated as a basement to it and the upper as an attic, as at St Cloud ;
but there was an increase in the use of giant orders embracing two or
more storeys and standing on a basement, which itself sometimes
included more than one storey. This is illustrated in the Places des
Victoires and Louis-le-Grand, and in the musician Lulli's house at the
corner of the Rues Ste Anne and des Petits Champs, designed by
Gittard (<r. 1680).

The proportion of window to wall space became greater than ever,
and the openings were treated with the plainest architraves, sometimes
reduced to unmoulded bands, but a certain amount of variety was
obtained by contrasting round-headed openings with lintelled or
segmental ones. The spaces between were often still treated as panels
of a scale as large as that of the openings. Almost the only orna-
ments left on the facade were the carved key-stones and the richly
wrought ironwork of the balcony with the occasional addition of
sculpture in a pediment, a trophy on a panel, a bust on a console,
or a vase on a balustrade. The most striking characteristic of the
houses of a splendour-loving society thus becomes the growing reticence
of their external architecture. Sober and all but unadorned they
impress by good proportions and the sure taste with which simple
elements are combined. The proprietor, if in town, aimed not at vying
with his neighbour or astonishing the passers by in external display,
but at providing a serviceable and dignified receptacle for the art
treasures reserved for the delight of his guests. In the country, where
the mansion itself was but one factor in a complex design extending
to the bounds of the property, it was perhaps felt that the scale of the
lay-out and the length of the converging vistas demanded that the
house should be on broad and simple lines, a solid rectangular mass
without any pretence to picturesque sky-line.

Desire for Privacy and Comfort. — Certain architectural changes
accompany the period of political and literary decline, though it cannot
be seriously maintained that they were the beginnings of a decadence
reaching its climax in the next reign. There was no decline either

THE STYLE OF LOUIS XIV. 329

in quality or fertility. Social conditions brought about a change in the
types of building erected and in the character of their fitting. In
Louis' later and gloomier years, when the edifying and didactic
Madame de Maintenon held sway, Court entertainments lost their
gaiety but not their formality, and courtiers, weary of etiquette and
multiplied religious observances, fled to the unconstraint of their own
homes. Domestic architecture thus revived at the very time when
the royal works were being cramped by the exhaustion of the treasury.
Even Louis XIV. had at times been oppressed by the publicity of
great palaces and taken refuge in the relative privacy of Trianon and
Marly. His courtiers, who suffered more than he from the comfortless
splendours of Court life, followed the fashion he had set for small
houses. No country house was complete without its Trianon. These
peiites maisons were small and more or less secluded houses in the
grounds used for temporary residence, or pleasure parties of a few
hours' duration, and were modelled on the smaller royal houses. They
often had but a single storey, and consisted of a central saloon often
top lit a ritalienne and a few rooms grouped round it opening direct
into the garden, while such servants' offices as could not find room in
the basement were accommodated in separate blocks. In the mansions
themselves the suites of stately apartments for ceremonial occasions
were supplemented by suites of smaller and more comfortable rooms
side by side with them, whither the family might retire with their
intimates, and where privacy was secured by vestibules and passages.
A dining-room, planned ad hoc, though often a surprisingly small one,
was now general.

School of J. H. Mansart. — These changes were hastened by
changes in the personnel of architecture. Many names pass from the
scene within the years which saw the turning point in the King's
fortunes. Jean Marot died in 1677, Jean Le Pautre in 1682, Frangois
Blondel in 1686. In this year Daniel Marot was exiled, and Cottart
is not heard of after it. Claude Perrault died in 1688, Errard in
1689, Le Brun in 1690, Antoine Le Pautre in 1691. Before his death
the supremacy of Le Brun was already passing to Jules Hardouin
Mansart, who, for the rest of his life, held a dominating influence in
the architectural world. Many of the ablest of the rising generation
were trained under it, but his rule was not so stern as Le Brun's, and
the new tendencies which begin to appear towards the end of the century
and developed later were largely due to his pupils and assistants, Robert
de Cotte, Cailleteau, nicknamed " L' Assurance," Pierre Le Pautre,
and others. But the only decline that can be traced in them is a
decline of the unity of aim. Symptoms, faint as yet, begin to show
themselves, as in the political and literary world, of a revolt against a
too rigid uniformity, of a cleavage, to be accentuated later, between

330

RENAISSANCE ARCHITECTURE IN FRANCE.

the free and strict tendencies established under
Le Brun. While architecture proper tends to
greater severity, decoration grows gayer and
emancipates itself more and more from rule.
Though it maintains as yet its general char-
acter its somewhat emphatic solemnity begins
to be mitigated. Even Louis XIV. sometimes
thought the palatial manner " too serious," and
wrote on the margin of a scheme submitted
to him for the decoration of the Menagerie
that it should be enlivened by scenes from
childhood. Jean Berain (1640-1711), who
had been employed under Le Brun ; Daniel,
son of Jean Marot (i66i-r. 1720), who par-
ticipated in his fathers work and continued
it till the Revocation of the Edict of Nantes
drove him to carry his talents to Holland and
England ; and Pierre, son of Jean Le Pautre
(died 1 7 16), who was employed as an engraver
and draughtsman by J. H. Mansart, and is
said to have collaborated in much of his later
work, all published volumes of decorative de-
signs in which, as well as in executed work of
the period, new departures may be observed,

Berain and later Decorative De-
signers.— As the irresponsible, nature-loving
La Fontaine could never subject himself to
the Procrustean rules of Boileau and the
Alexandrine, so Berain and his artistic kin
refused to be bound by the prevailing for-
mality. A gayer, lighter feeling pervades their
designs (Fig. 315). Slim sphinxes in rakish
feathered caps and playful genii with butterfly
wings, humorous figures in contemporary
dress, natural birds and beasts, and natural
sprays of flowers and foliage make their ap-
pearance among the conventional vegetation, the mythologies and
allegories. Straight lines are mixed with curves in running or inter-
lacing ornaments which had hitherto been composed either of one or
the other exclusively : rectilinear stems, breaking hither and thither
after the manner of a fret, appear in arabesques, and straight portions
interrupt the flow of volutes. Sharper contrasts are sought between
curves of contrary flexure, and curves are more varied. Where two
curved members, or a curved and a straight member, of a frame

315-

Arabesque by
Berain.

THt STYLE Of LOUIS XIV.

316. Versailles: Chimney-piece in Louis XIV.'s State Bedroom, in
THE Manner of P. le Pautre, c. 1701.

or volute meet, one of them runs past the junction, ^o as to form a
horn-like flourish ending in a bird's head or knot of foliage. By all
these means a new and more piquant flavour began to enter into
decoration.

Later Decoration. — At the same time the fittings underwent
modification. Improvements in the manufacture of mirrors now made
it possible to obtain them in large sheets, and, on the initiative of
J. H. Mansart, the ponderous chimney-pieces began to be replaced by
a mere surround and low shelf, in order to fill the whole space above
23

^2>2

RENAISSANCE ARCHITECTURE IN FRANCE.

it with a mirror in two or three sheets (Fig. 316) ; large panels in other .
parts of the room being also filled in the same way. Coved plaster *
ceilings and two-leaved doors became general. Staircases, whose
balustrades were by this time as a rule in metal, began to be laid
out in curved sweeps and with steps curved in plan. Madame de
Maintenon's suite at Fontainebleau and some of the rooms at Trianon,
Louis XIV. 's state bedroom at Versailles and its antechamber (named
the (Eil-de-Boeuf from its elliptical borrowed light) retain decorations
of this period. Other examples are offered at Dijon by a drawing-
room in the Hotel de Vogiie and the Mairie Staircase in the Palais des
Etats.

Later Hotels in Paris. — In the opening years of the eighteenth
century much building was done in Paris, especially in new quarters
then being developed, the Faubourgs St Honore and St Germain.
Several of the architects most in vogue, who took part in it, belonged
to Mansart's circle. Among them were his brother-in-law, Robert de
Cotte, one of the ablest architects of the period, who carried to a
conclusion several works left unfinished by JNIansart : his cousin Jacques
Jules Gabriel, and his draughtsman L' Assurance. Malicious tongues
insinuated that for many years Mansart and de Cotte exploited the
talents of L'Assurance and Pierre Le Pautre for their own benefit, and
that the real credit of much of their work is due to them. Most of
such houses, as, for instance, the Hotel d'Estrees (1704), now the
Russian Embassy (79 Rue de Grenelle), by de Cotte, and the Hotel
de Rothelin (17 10), now Ministry of Commerce (loi Rue de Grenelle),

by L'Assurance, need no
further description than the
general one given above.
Their charm depends almost
entirely on proportion, and
they must be seen for their
merits to be appreciated,
since they are of that un-
obtrusive character which
tends to evaporate in a draw-
ing. The Hotels de Tunis
and Thiers, built together
by Pierre Bullet {c. 1707) in
the Place Vendome, have
some points of interest (Fig.
317). The facade being
already provided by the
scheme of the "place," the
architect's skill was concen-

SCflLt OP FEET

317. Two Houses in Place Louls-le-
Grand (Vendome), by P. Bullet.
Plan. From Blonpel.

THE STYLE OF LOUIS XIV.

33:

318. Paris: Hotel de Soubise (now "Archives Nationalks"), uy
P. DE LA Maire (1706). Entrance.

trated on the plan. Each house is so arranged as to be divisible into
two separate dwellings. In the Hotel de Tunis the main block is on the
street front and of considerable depth. The carriage-way is in the axis
and bisects the house and the garden, at the back of which are the stables,
with one dwelling in each half. From the street it passes into an open
vestibule giving access to the two staircases ; right and left of the court
are identical wings ending in terraces over low buildings forming a henii-
cycle. In the Hotel de Thiers the carriage entrance is through a circular
open vestibule into one side of the hemicycle ; a corresponding entrance
leads through the other side of it to a stable court. The two dwellings
are at the opposite ends of the court, but are connected by wings.

At the other end of the town the architect Pierre de la Maire
(1676-1745) was building an hotel for the wealthy family of Rohan-
Soubise (1706). Erected on the foundations and retaining the walls
of the old Hotel de Guise, this mansion has a straggling and unsatis-
factory plan, but its very remarkable court is far richer in treatment
than most of its contemporaries, while equally dignified. It is enclosed
in balustraded screen walls (Fig. 318), divided externally into panels by
rusticated piers carrying trophies. Internally it is surrounded on three
sides by a cloister formed by coupled columns. The principal facade
facing the entrance is very effective (Fig. 319). The lower storey is
rusticated, and the Composite order of detached shafts is carried across
it. In the upper a Corinthian order is applied to the centre portion
only, which has three arched openings, and is crowned by a broad

334 RENAISSANCE ARCHITECTURE IN FRANCE.

319. Paris: Hotel de Soubise. Principal Front in Court.

sculptured pediment. The composition derives additional value from
the plainness of the sides with their broad rusticated coigns and the
unusually wide spacing of the square-headed windows.

Episcopal Residences, Monastic Building. — Charles d'Aviler
had a considerable practice, especially in the south of France. He had
been a draughtsman in Mansart's office but appears to have quarrelled
with him. He went to Montpellier (1691) to superintend the building
of d'Orbay's Arc du Peyrou and spent ten years there. Among his other
works were the Archbishop's Palace at Toulouse and the Bishop's Palace
at Bezier. The contemporary Bishop's Palace at Blois is by J. J.
Gabriel, and those of St Omer and Arras (1680-1 701) and of Castres
are attributed to Mansart. Such buildings as these are admirably
adapted by their extent and simple dignity for the public purposes to
which they are now often turned to account. Throughout the reign,
monastic or quasi-monastic buildings were erected on a large scale,
partly owing to the general interest in religious matters, but also to the
facts that education was largely in the hands of the religious orders,
and that nunneries often provided a residence for ladies, who frequently
brought with them their servants and the habits of secular life. The
buildings were often, therefore, of great size and splendour. As examples
the following may be mentioned : the Val-de-Grace in Paris, by F.
Mansart (1645-50), now a military hospital ; the Benedictine nunnery,
by Royers de la Valseniere (1659-65), at Lyons, now " Palais des Beaux
Arts " ; Mme. de Maintenon's foundation of St Cyr, by J. H. Mansart
(1685-6), now a military college.

THE STYLE OF LOUIS XIV. 335

CHURCH ARCHITECTURE.

Two Types of Plan. — Church architecture under Louis XIV.
is characterised not only by a change in the decorative system but also
by the consummation of the various developments set on foot in the
early years of the century. Two types of church plan occupied the
field : the Vignolan basilica type (see pp. 257-260), which may or may
not comprise a dome of minor importance, and the radiate type, which
embraces all those churches in which the dome provides the guiding
principle of the plan. The first is almost universal in parish and
cathedral churches. The second occurs chiefly in chapels attached
to institutions. The churches of the religious orders incline now to
one type, now to the other.

The basilican type was capable of considerable variation without
losing its essential character. Its fagade, though usually conforming to
the Gesii type, might be varied in different ways, as, for instance, by the
introduction of towers. Its plan might be simplified by leaving out
the transepts. The dome over the intersection might be omitted
altogether, concealed in the roof or raised above it on a drum.
The idea of making the dome the keynote of the plan was slow in
developing in France, and, with rare exceptions, this feature bore a less
intimate relation to the design as a whole than is usual in Italy. The
desire for an important dome was satisfied in some cases by the attempt
to combine one of greater diameter than the nave with the basilican
plan. In other cases this plan was abandoned, and the dome-space
formed the centre of a square building. The instances of a true
radiating plan are rare.

Basilican Type of Plan : First Invalides Church. — In the
first church of the Invalides, which forms the centre of the whole
scheme, and was built with the rest by Liberal Bruand (1671-8), the
basilican type is reduced to its simplest expression. Its facade is
indicated in the court by orders and a pediment placed in front of
the piers of the arcaded loggia. It consists of a nave of nine bays
ending in an apse with aisles and galleries but without transepts or
dome. Its unbroken perspective, emphasised by the somewhat unusual
feature of a ridge rib, is distinctly impressive, and the fact that the
sober merits of this interior are generally overlooked is probably due
to the superior splendours of the later church.

Notre Dame des Victoires, &c. — Notre Dame des Victoires
(or Eglise des Petits Peres), begun by Le Muet (1656) and continued
by L. Bruand and Le Due, though without dome or galleries, is of
the usual conventual type, but its retro-choir with its semi-hexagonal
apse is curiously mediaeval in. plan. The interior is well proportioned,
the arcade finely detailed, and the slightly stilted vault springs from

336

RENAISSANCE ARCHITECTURE IN FRANCE.

a good Ionic order.
Another example of the
type, smaller and simpler
in plan, but with an
interior dome, is the
chapel at Moulins (now
chapel of the Lycee),
designed by J. Marot to
contain the mausoleum
of Henry 11. of Mont-
morency. It consists of
two bays with chapels
and single bay transepts
and choir. The circular
dome over the inter-
section is lit by large
semicircular windows
between the pendent-
ives, and owing to the
shortness of all the arms
assumes an unusual im-
portance in the interior.
Very similar to this in
arrangement was the
church designed by
Antoine Le Pautre for
the community of Port
Royal.

St Sulpice, St
RocH, &c. — Two of the
great parish churches of
Paris date their incep-
tion from Louis XIV. 's
minority — that of St
Roch in the Faubourg
St Honore by Le Mer-
cier (begun 1653), and
that of St Sulpice (Figs.
320 and 321) in the
Faubourg St Germain by
Le Vau (begun 1655). They are almost identical in plan and section,
both being fully developed examples of the accepted type, with concealed
domes (timber at St Roch and stone at St Sulpice) and aisles and chapels
both carried round the apse. Each has in addition an elliptical Lady

320.

Paris : St Sulpice, by Le Vau (begun
1655). Plan. From Blondel.

THE STYLE OF LOUIS XIV.

337

Chapel. AtStRoch
an aisle runs round
this Lady Chapel,
and opens into a
small circular chapel
with a coved ceiling
beyond it, and the
transept - ends are
treated internally as
shallow apses with
flat semi-domes. In
both cases the vaults
spring from pedestals
above the order.
St Sulpice being on
a rather larger scale,
loftier in proportion,
and with more im-
portant transepts,
its interior gives a
sense of stately
spaciousness rather
lacking at St Roch.
St Louis-en-l'Ile,

I'ARIS

Interior looking

begun

by Le Vau (1664) and finished by
J. Doucet (1726), differs from the preceding in little but the arrange-
ment of the east end, which is square with an aisle carried across
the back of the choir. St Thomas d'Aquin, designed by Pierre
Bullet as the chapel of the Reformed Dominicans (begun 1682), is
a scholarly version of the conventual variety with chapels, but no
aisles.

ViGNOLAN Facades. — In all the churches mentioned there is either
no fagade or one added at a later date. St Elizabeth {c. 1670) offers an
example of the usual basilican front, and Notre Dame de la Gloriette
at Caen another. The latter church, which was designed by Pierre
Bullet, is a particularly elegant and complete representative of its
class, and remarkable for its fittings.

The churches of Notre Dame (c. 1685) and of the Jacobins (1707)
at Bordeaux both have basilica facades treated in a florid but effective
manner, and with the central portion projected in front of the wings.
At Notre Dame, Versailles, J. H. Mansart gave yet another version
of the prevailing type. The detail is very pure, and the interior severe
and devotional in effect, though of rather squat proportions, but the
fagade is peculiarly unsatisfactory, giving the impression of a two-
storeyed temple with a lantern on the apex of the pediment. A

338

RENAISSANCE ARCHITECTURE IN FRANCE.

sprawling eifect is also
produced by the addi-
tion of towers beyond
the aisle fronts.

Nancy Cathedral.
— When designing the
cathedral of Nancy,
which he did not live to
complete (it was begun
in 1703 and finished by
Boffrand c. 1740), he
placed the towers in the
same manner, but at-
tained far better results
by increasing the height
both absolutely and rela-
tively (Fig. 322). The
nave front, crowned by
a curved pediment, has
three tiers of boldly
projecting coupled
columns, round which
entablatures and pedi-
ments break, thus giving
strong vertical lines.
Its upper storey is con-
nected with the towers
by wing-walls of concave
outline. The towers which, like the aisle-fronts, are treated with pilasters,
are square and surmounted by well-designed lanterns consisting of an
open octagonal storey and a graceful cupola. The play of light and
shade, and the rhythmic flow in the outline of this front render it
an unusually attractive example of its class. One can but regret that
an ample external dome does not crown the intersection as was
Mansart's intention. This would have had the additional result of
distracting the attention from the poverty-stricken rear elevations,
which were merely intended as a pedestal to it. In this case the
transepts terminate in apses as well as the east end, but, as usual in
this type of plan, they are included within the rectangle. The pro-
portions of the interior are unfortunately obscured by a general coat
of light paint, contrasting harshly with the heavy and disagreeable
colour of the decoration in the low internal dome.

Other Types of Facade. — Unlike the churches referred to up
to the present, that of the Minims in Paris, opposite to the north

322. Cathedral ok Nancy, 1!v J. H. Mansart
AND G. Boffrand (1703-c. 1740): West Front.

THE STYLE OF LOUIS XIV.

339

323. Design for Completion of Church of the Minims (near Place
DES VosGEs), Paris, by F. Mansart (never fully executed and
NOW destroyed). From an Old Prmt.

entrance to the Place Royale (now destroyed), remodelled by Franc^ois
Mansart, was to have had a dome — octagonal in plan — rising on a drum
well above the roofs (Fig. 323). His scheme, which was never finished,
comprised a variant on the basilica-fagade, followed later in the second
church of the Invalides, and in that of the College des Quatre Nations :
the side compartments being of equal height with the central. Low
wings also projected on each side ending in domed pavilions, the space
between which formed a forecourt to the church. Other examples of
facades differing even more from the stereotyped type are occasionally
found. For instance, the desecrated church of St Louis at Rouen has a
charming front in which a giant order of four Ionic pilasters, with capitals
linked together by garlands, carries a curved pediment filled with good
sculpture and surmounted by reclining figures. The wide central bay
contains a wreathed circular window over the door, and the side bays
plain spaces over niches. Again the church of Notre Dame at Pontoise
has a west portal, designed on the lines of a Roman triumphal arch. Of
the double tower fronts an important instance is the cathedral of Auch,
where the west end was built in 1662 with Louis XIV. detail, but
otherwise in accordance with a design laid down a century earlier.

Intermedi.\te Types of Plan: The Sorbonne. — The churches of
the Sorbonne and Val-de-Grace in Paris illustrate attempts to introduce a
dome wider than the nave into churches of approximately basilican plan.

340

RENAISSANCE ARCHITECTURE IN FRANCE.

ti

<

. o

- o

5 5

D Q
U <

-9^

THE STYLE OF LOUIS XIV.

341

326. Church of the
SoRP.ONNE : Plan.
From Legraxd.

At the former (Fig. 326), built by Le Mercier
(1635-53), the problem was complicated by the
fact that the church formed part of a group of
college buildings, and the dome had to be in the
axis of the side as well as of the front elevation ;
this explains the equal length of the eastern and
western arms, which each consists of one narrow
and two wide bays. The design with all its
merits fails to overcome completely two of the
chief difficulties involved. First, the wide dome
is very imperfectly combined with the conventual
plan. The dome being only slightly wider than
the nave, it was not possible to pierce the aisle
through into the dome-space, so that the church
appears to contract rather than widen out at this
point, and there is no variety of vista ; the nave
is too short and the choir too long to admit of
the advantages of the Latin cross plan where the dome space virtually
terminates the long vista ; nor are the advantages of the radiate plan
present, where all the arms are equal and subsidiary to the dome space.
Secondly, the problem of relating the internal and external treatment is
very unsatisfactorily grappled with (Fig. 327). The timber dome springs
almost at the level of the crown
of the stone dome, and the inner
openings of the windows in the drum
correspond so little with the outer ones
as to constitute an absolute deception,
while the internal and external orders
both in the drum and in the body
of the church have n.o connection
with each other. It may further be
objected that the adoption of the
Mansard roof is not very happy for a
church. In spite of all this, how-
ever, the church possesses an austere
dignity and much beauty. The west
front (Fig. 324) with its vigorously
drawn volutes is one of the best of
the Vignolan type. The north tran-
sept front, which terminates in a
horizontal balustrade, and has a large

semicircular light in the upper storey =,c-ut 'J rcVr *

and a hexastyle pedimented portico 327. Church of the Sorbonne :
in the lower, is both appropriate and Cross Section. From Blondel,

342

RENAISSANCE ARCHITECTURE IN FRANCE.

unusual for the period. The dome is excellently managed externally.
The circular drum, pierced by eight round-headed windows, rises from
the square central mass between four slender turrets, and is flanked
by eight groups of pilasters in lieu of buttresses. Above it is a low
attic carrying the graceful curve of the slated dome. The height and
form of the inner dome (which is about 44 feet in diameter, and 94
feet high from the floor at the springing) are happily calculated, the
lighting well placed, and the simplicity of the decoration, which, apart
from the Corinthian order, is confined to a little carving in the pen-
dentives and the coffering of the ribs, combines with severe and noble
proportions to produce a highly impressive interior.

The Val - de - Grace. — The
second example of a mixed type is
in the Abbey Church of the Val-
de-Grace, founded by Anne of
Austria (1645) in gratitude for the
birth of Louis XIV., and, both
for size and beauty, one of the
most important domed buildings in
France. Francois Mansart was the
architect in the first place, but it is
impossible to say how far the merits
or demerits of the design as it now
stands are due to him except as
regards the plan (Fig. 328), since
he retired from the conduct of the
building when it was only 10 feet
out of the ground. Le Mercier,
who carried the work up to the
springing of the dome, and Le
Muet, who completed it, may have
introduced modifications of their
own. Mansart consoled himself by carrying out his intentions on a
smaller scale in the chapel of the chateau of Fresnes, where, however,
the dome is relatively more lofty internally. The church forms the
central feature of a stately lay-out of conventual buildings comprising
several rectangular courts. Its west front is in the axis of a spacious
forecourt whose angles are accentuated by pavilions of effective design.
This court is closed in front by an iron railing, and opposite to it it was
intended that there should be a crescent of houses of uniform character.
The conventual plan of nave and chapels is retained, but beyond
them the church widens so as to form a kind of Latin cross ; the nave,
in fact, leads into a square block containing the dome-space and all its
essential appurtenances, while the three dissimilar buildings which project

328.

Church of the Val-de Grace ;
Plan. From Blondel.

THE STYLE OF LOUIS XIV.

343

from its three other sides are in the nature of annexes. The nave has
one narrow bay flanked by sacristies and three wide bays flanked by
domed chapels. The dome-space is octagonal with its cardinal sides
pierced to correspond, on the west with the barrel vault of the nave, and
on the three other sides with the semi-domes of the apses, while the short
diagonal sides are solid, with only narrow openings into the elliptical
chapels in the angles of the square. Beyond the apses are square chapels
on the north and east, and an oblong nuns' choir on the south. The
dimensions are greater than at the Sorbonne, the dome being about 56
feet in diameter and 105 feet high at the springing, and the difficulties
on the whole more satisfactorily solved. The defect of contraction at
the junction of nave and dome-space remains, and the openings out of
the dome-space are too insignificant to afford a variety of vista; but the
dome-space becomes the culminating feature of the interior, and the
nave forms a dignified approach to it. Again, the proportions of both
nave and dome-space are relatively broader and the decoration less
sparing, so that, without loss of solemnity, the effect is richer

and more spacious. S The lack of correlation between ex-
ternal and internal I arrangements, though less glaring, is

still great — the way, for
the dome are
pleasant (Fig.
though excel-
too lavish for
mass of the
the nave roof,
der cupolas,

instance, the flat-headed windows below
managed is particularly un-
329). The decoration, again,
lent of its kind, is perhaps
complete repose. The square
central block is carried above
and from it, between four slen-
rises the tall circular drum of

iCALt OF 4-

329.

Church of the Val-de Grace : Long Section. From Blondei.

344

RENAISSANCE ARCHITECTURE IN FRANCE.

the dome, pierced by sixteen windows and strengthened by sixteen bold
buttresses ; these support statues and reversed consoles leading the
eye agreeably upwards. The dome, which stands on a richly panelled
attic, and whose curve is one of the most gracious and majestic in
France, groups equally well with the fine fagade in the western view
(Fig. 325), and with the lower dome of the Lady Chapel, if seen from
the east, and forms one of the chief ornaments of Paris.

Radiate Type of Plan : the Salpetriere. — Liberal Bruand, in
designing the chapel of the Salpetriere Hospice, provided for the needs
of the institution as regards the ])lan in a more coherent manner than
Mansart at the Val-de Grace (Fig. 330) An octagonal dome, 65 feet
in diameter, on a drum, rises above a space of like plan forming the
choir and enclosed in a wall of great thickness pierced on each side

by an equal arch, which widens outwards
from the centre. In the main axes these
arches open into rectangular arms, and in
the diagonal axes into elongated octagonal
chapels. The church accommodates, it is
said, four thousand persons, to a great
majority of whom the ceremonial of the
mass under the dome is visible. The in-
genuity of this plan, which is the chief
feature of interest in the design, has, how-
ever, a utilitarian rather than an artistic
origin, and there is little attempt to give
artistic expression to it externally.

Designs by J. Marot. — This was more
efifectually done by J. Marot in an unexe-
cuted design based on F. Mansart's Ste
Marie. The vestibule and three semi-
elliptical apses form the four arms opening out of a circular dome-
space, and the four angles are occupied by elliptical chapels. The
site is regularised, and orders applied internally and externally. In the
church of Notre Dame des ArdilHers near Saumur {c. 1650), which was
partly carried out from his designs, and betrays the influence of the
Valois mausoleum, the circular dome-space is enclosed in a square of
the same diameter as itself, so that there is merely room in the angles
for apses little larger than niches.

The " AssoMPTiON." — The church of the Nuns of the .A.ssumption
(Rue St Honore), by Errard (1670-6), bears a superficial resemblance to
Notre Dame des Ardilliers in plan, but here the dome-space constitutes
the whole church, the remainder of the square being occupied merely
by subsidiary annexes, while the nuns' choir outside the square is only
connected with it in a haphazard manner. The inner and outer domes

330. Paris: Church ok
THE Salpetriere, by
L. Bruand. Plan.

THE STYLE OF LOUIS XIV.

345

are timber, close to one another, and spring from the same level. The

dome suffers both internally and externally from the lack of something

to lead up to it. The church is, however, detailed with good taste, and

the orders, the carving, and the coffering of the dome are all excellent.
Church of College Mazarin.— In the church of the College

des Quatre Nations (Fig. 331), built by Le Vau for Mazarin (i66o-8),

which, likewise, is rectangular with a dome, the relation between the

whole church and the dome-space is again a different one. The latter,

which is elliptical, forms the nave, and

is preceded only by a projecting narthex.

It opens on either side into an aisle,

and behind into a square choir which

contains the cardinal's tomb under a

circular stone dome and is flanked by

chapels. It is, therefore, a very imper-
fect example of the radiating, or Greek

cross, plan having no diagonal vistas

and lacking one arm. The main dome

stands on a drum ingeniously planned

so as to be elliptical internally and

almost circular externally. As at the

Assomption, both domes are timber and

spring from the same level.

Theatine Church. — The Theatine

church, St Anne-la-Royale (begun 1662,
and now destroyed), by Camillo Guarini

(1624-83), an Italian father of the order,
had a true Greek cross plan, but was in
no sense an example of French archi-
tecture, containing as it did every vagary
of the most debased type of Italian
barocco, and being designed on a very
ambitious scale was left unfinished. The
arms consisted of irregular octagons with

the longer sides convex, the four piers carrying the dome being set
anglewise. The dome, which was never executed, was to have exhibited
a pleasing feature in an internal arcaded gallery round the drum.

Second Invalides Church : Plan and Section. — It was reserved
for J. H. Mansart to give complete expression to the radiate type, and
it is his crowning achievement to have done so on a really monumental
scale, and in such a manner that, while the dome is the determining
and dominating factor, it does not overwhelm the rest of the edifice.
It being felt that the Invalides lacked a feature of conspicuous interest
such as that supplied to the convent of the Val-de-Grace or to the college

331. Church of the Col-
lege DES Quatre Nations
(" Institut"), by Le Vau
(1660-8). Plan. From
Blondel.

346

RENAISSANCE ARCHITECTURE IN FRANCE.

of the Sorbonne by their churches,
Mansart was commissioned to make
good the deficiency. It may have been
intended that he should do so by adding
a domed choir to the existing nave, but
__, _ he preferred to give the addition the form
ttB of a distinct church, having nothing in
^ common with the old one but the altar
(Figs. 332 and S33)- This is placed in
an elliptical domed sacrarium open to
both churches, which are back to back,
the new one facing the country and
having its state entrance on that side.
The limitations imposed by the sur-
rounding buildings were thus reduced
to a minimum, and it is therefore not
surprising that, with the example of the
Val-de-Grace to study, an architect of
Mansart's genius was able to produce a
design which in plan and section shows
a great advance on its predecessors and
in elevation at least rivals them. Begun
in 1693 the Dome des Invalides, as the
new church was called, was practically
finished in 1706. With the exception
of the sacrarium the whole is contained
in a square block. The octagonal dome-
space, which is about half the width of
the square, forms the centre of a Greek
cross with arms each approximately
First square, while the angles are occupied
BY by circular chapels opening not only
into the central space but into the
arms as well. There is much closer
correspondence between the internal
and external arrangements of the dome
than at the Sorbonne and Val-de-Grace. The stone inner dome,
placed over a drum well-lit and pleasantly treated with an order
of pilasters, is so designed as to be visible from every point of
the cruciform area — the span is 80 feet and the height at the
springing 140 feet. It is open at the crown, disclosing the painted
surface of a second dome, likewise in masonry, and independently
lit. This is a somewhat theatrical barocco device, which, however,
has the advantage of increasing the loftiness of effect without

332.

The Invalides :
Church (Nave),
Bruanu(i67I-4). Second
Church ("Dome"), by J.
H. Mansart (1692-1704).
Plan. From Leg rand.

THE STYLE OF LOUIS XIV.

347

disturbing the proportions. The chapels, too, have domes carried on
an attic and thus reaching the same height as the arms of the cross.
The church contains no blocked aisles, no ill-connected annexes, no
wasted height : everything is utilised and effective. The result is that
this interior has few rivals among buildings of its class, for while on the
one hand the general coup d'ceil produces a highly impressive effect of
spaciousness and unity of conception, on the other the design of the
chapels with its variety of vistas adds a touch of complexity, which is
yet in strict subordination to the main idea and enhances its effect.

Elevations. — Externally the scheme is equally concentrated, re-
solving itself, without disturbing adjuncts, into the simple elements
of the dome and the almost cubical mass of the church, which forms,
as it were, a pedestal to it (Fig. 334). This simplicity in the main lines
gives great monumentality to the church as a whole ; at the same time
the dome is of pleasant outline and decorated in an effective manner
by enriched ribs and hanging trophies between them, and culminates
in a graceful timber lantern. Designed to be visible from the north
over the tops of the existing buildings, the dome of the Invalides has
a character of soar-
ing elegance rather
than of solidity, but
combined with its
comparatively plain
substructure it forms
a pile of singular
beauty, and one of
the most striking
monuments in a
capital which is by
no means poor in
them. Yet pre-
eminent as are its
merits, they cannot
altogether obscure
its defects. These
are most serious ex-
ternally. First, as
regards the body of
the church, two
methods of treat-
ment are suggested
by the plan, either
one which should
express the cruci-
24

333-

The Invalides
Section.

Second Church ("Dome").
From Blondel.

348 RENAISSANCE ARCHITECTURE IN FRANCE.

form arrangement and reduce the angle chapels to a complete sub-
ordination, or a quasi-cubical treatment, in which the chapels should
be equally important with the rest. The design, as built, rather falls
between the two, for the cubical treatment, once adopted, demanded
that the angles should be vigorously emphasised as might have been
done, for instance, by placing cupolas over the chapels, or at least that
the facades should be of uniform height throughout. Instead of this
the treatment becomes balder and weaker as it approaches the angles,
while in front the centre is emphasised by a commonplace portico sug-
gesting a non-existent nave and aisles, and gratuitously raised above
the rest of the fagade. This high portico, so far from removing
difficulties, actually creates them. A side view shows its summit to be
a meaningless sham ; its upper storey necessitates an order higher than,
and without relation to, the rest of the building, and a great niche
awkwardly combined with a window fills its central bay. It should,
however, be said in justice to Mansart that he had in view the forma-
tion of a large forecourt by means of quadrant wings, which would have
mitigated the defects of this front.

In considering the dome it becomes obvious that both plan and
elevation have features which militate against their complete success.
The drum has twelve windows so arranged that they occur in the
diagonal, but not in the main, axes, and its eight buttresses carrying
consoles are placed in pairs over the piers which carry the dome. This
arrangement, however desirable from a structural point of view, has
more than one disagreeable effect. One is that a pier comes where an
opening is appropriate, in the centre of each fagade. Others are that
the sweep of the curve is interrupted at irregular intervals and its effect
thus partly destroyed, and that the silhouette of the dome seen from
certain points of view is unsymmetrical. Again the vertical proportions
of the storeys of the dome are not quite satisfactory. The heights of
the attic and of the drum are too nearly equal. A previous design for
the dome actually shows a much lower and unpierced attic, the light
for the intermediate dome being obtained by a row of dormers round
the base of the outer dome. Diminution in the height of the attic
would have been all the more desirable since it tends to merge in the
curve of the dome, and to give it an unduly upright line. Finally
the lantern, being surrounded by a balcony, appears to rest on an
insufficient base. There is little doubt that, with the same advantages
of size and position, and with the same restraint of decoration, the
dome of the Val-de-Grace would, owing to its avoidance of these defects,
be even more greatly admired than that of the Invalides.

Interior.- — In the interior it may reasonably be objected that the
piers supporting the dome, pierced as they are only by relatively low
and narrow openings, appear too wide in relation to the intervening

THE STYLE OF LOUIS XIV.

349

334. Second Church of the Invalided, i;v J. II. Mansart.

arches, and necessitate awkwardly shaped pendentives (Fig. 336). The
detached order of columns carrying nothing, which is placed in front
of the piers, perhaps to disguise their excess of solidity, is so obviously
useless, that it merely introduces an element of confusion. To these

350

RENAISSANCE ARCHITECTURE IN FRANCE.

criticisms must be added the more general one that the edifice is
deficient in devotional character. This is due partly to the secular type
of its decoration and the use of windows with segmental heads, recalling
domestic work, partly to an excess of uniformly distributed lighting, pre-
cluding the half-tones and mysterious glooms of contrasted lights and
shadows. This nmndane elegance and prosaic glare are suggestive of
what is indeed the true intention of the building, the glorification of the
"Grand Monarque"and his armies far more than of humble thanks-
giving to the Lord of Hosts.

Chapel of Versailles : Plan, Interior. — Before leaving the
subject of church architecture under Louis XIV., there remains to
describe one of its most successful works, which though non domical,
and indeed nearer to the basilica-type, has been reserved for final
mention, as being the latest carried out for the King, and as fore-
shadowing some of the changes which were adopted in the next reign.
The present palace chapel was the last of the many buildings with
which J. H. Mansart beautified Versailles. It is not only conceived
on a more magnificent scale than any of its four predecessors, but is one
of the architect's most successful compositions, and one in which the
richness and dignity befitting its purpose are obtained by the directest
and simplest means. The design, indeed, flows immediately from the
requirements, and is a truthful expression of the construction. In prin-
ciple Mansart adopted
the arrangement tradi-
tional in castle chapels
—a two-storeyed build-
ing, the upper part for
the master and the lower
for the servants — and
the section customary in
contemporary churches.
He introduced, how-
ever, important modifi-
cations and made artistic
use of the consequences
which they entailed.
Starting with a nave of
five bays with an apse at
the east end (Fig. 335),
he enlarged it by adding
an aisle which he carried
round the apse, and a
western vestibule to the
nave between two spiral

T nn

-J-i4-

scAiE Of 1.
335. Versailles

-i METRE*

Palace Chapel, by J. H.
Mansart (1696- 17 10). Plan. From Blondel.

336. SECOND CHURCH OF THE "INVALIDES," PARIS.
UNDER THE DOME.

THE STYLE OE LOUIS XIV.

35t

stairs. The addi-
tional accommoda-
tion thus provided
enabled him, with
splendid gain for the
internal effect, to
throw the upper and
lower chapels into
one by simply omit-
ting the floor of the
upper nave, and
consequently con-
verting the upper
aisles and vestibule
into galleries, which
being level with the
piatio nobile of the
palace were reserved
for the King and
Court (Fig. 338).
Thus, as compared
with an ordinary
church, the interest
is shifted from the
lower to the upper
storey : the lower
windows are insignifi

337. Versailles : Palace Chapel. Interior.

cant,

338. Versailles : Palace
Chapel. Cross Sec-
tion. From Blondel.

and the main lighting of the building is done
by the tall round-headed windows in the
galleries and clearstorey, while the nave
arcade with its low arches and massive square
piers is reduced to little more than a stylo-
bate to the main order which carries the vault
(Fig. 337). This order consists, not of pil-
asters, but of detached Corinthian columns
which not only are of a purity and nobility of
design seldom exceeded, but afford probably
the first instance in France of such a use for
a colonnade. Without giving any suggestion
of weakness, this arrangement imparts an im-
pression of lightness fully carried out by the
brick vault, which is of the usual barrel sec-
tion, but intersected almost to the crown by
the round-headed windows of the clearstorey,
and thereby acquiring something of the

352

RENAISSANCE ARCHITECTURE IN FRANCE.

airy effect of Gothic
vaulting. These
graceful and well-
proportioned forms
are clothed in an
appropriate decora-
tion of quite surpris-
ing sobriety, and the
interior as a whole is
a deh'ghtful harmony
of tender and sunny
whites blending with
gold of many shades.
Below the springing
of the vault all the
structural parts are
in cream - coloured
limestone; the walls
and arcade are cut
with finely designed
sculpture of very low
relief; the woodwork
is painted white, and
relieved by delicately
wrought carving
picked out in gold ;
the gilt bronze balus-
trade of the gallery
carries a purple
breccia rail; the
marble floors are patterned in soft colours on a white ground ; the gilt
iron window-frames are glazed with white glass in a border of yellow
and blue ; in the roof only, painted by Antoine Coypel and others, is
a full colour scheme employed. Its effect may be somewhat theatrical,
but the figures being small in scale, and the colour pleasing, the roof is
neither overweighted nor out of tone with its surroundings.

Elevations. — The chapel, communicating duectly with the palace
on the west, has no fagade on that side, the north side also is enclosed
in buildings and invisible, but the elevations of the south flank and
chapels are in every way worthy of the interior (Fig. 339). The quiet
solid substructure, the principal storey with its slender pilasters, its
beautiful cornice and balustrade, its tall lights with angels grouped
round their arched heads, the retreating clearstorey with its vases and
gracefully outlined flying buttresses are admirably designed individually.

339-

Versailles : Palace Chafel. View from
Fore Court.

THE STYLE OF LOUIS XIV.

353

and equally admirably proportioned to each other. Excellent, too, is
the effect of interposing a rectangular block between the curve of the
apse and the rectilinear side, and of flanking the group of five openings
by solid masses. While the detail and ornament is of the best classical
tradition, the loftiness of the proportions, combined with the steep roof,
give the building something of the soaring character of a Gothic design.
This roof, a beautiful object in itself, richly decorated with elaborate
lead ornaments and originally culminating in an elegant lantern, is
perhaps the feature most open to criticism, for its existence is justified
by no necessity, and rising as it does above all else in a non-central
position, it upsets the otherwise complete symmetry and balance of the
great palace. There is reason, however, to believe that it was intended
at that time to re-roof the entire palace in a similar manner.

Church Fit-
tings AND Decor-
ation.— The decor-
ation and fittings of
sacred edifices were
marked by the same
sumptuousness as
those of secular
ones, as may still be
seen in many of the
churches described.
The high altar of St
Wulfran at Abbe
ville, though rich and
dignified, is an ex-
ample of the quieter
type of Louis XIV.
work, as also are the
altars and stalls of
the abbey church at
St Mihiel and parish
church of Ecouis,
the stalls and panel-
ling of the Minims
church at Tours, St
Maximin, St Riquier,
and those at St Jouin
de Marnes, where
there is also a good
lectern oi the period. ^^q^ Design for Altar and Reredos, by

The altar and j. Le Pautre.

354

RENAISSANCE ARCHITECTURE IN FRANCE.

reredos of St Nicolas-des-Champs is almost the only remaining example
in Paris of the more elaborate reredoses, many of which were put up in
the early part of the reign, in which sculptors and painters collaborated
with the architect. Simon Vouet contributed two pictures, and Jacques
Sarrazin four statues to this example (cf. Fig. 340). Examples of reredoses
in the pronounced barocco manner may be seen at St Maximin, and in
the chapel of the Grey Penitents at Aigues Mortes. In the more im-
portant churches the high altar stood free, under a baldacchino more or
less closely modelled on that of St Peter's in Rome, as at the Val-de-
Grace and Invalides.

Specimens of Louis XIV". pulpits are to be found in innumerable
churches, among which may be mentioned Versailles (Notre Dame),

Rouen (St Vincent).
Panelled and decorated
sacristies such as those
of St Vincent at Rouen
and the Lycee at Poitiers
are well worthy of remark.
Many of the Breton
churches, as for instance
those of St Thegonnec
and Guimiliau, are pecu-
liarly rich in wood fittings
of this period, profusely,
if coarsely, carved and
painted. The font-
canopy at Lampaul (Fig.
341) is an interesting
specimen of this rustic
work. The substitution
of metal work for stone
or marble, which was
taking place in castle
screens and balustrades
occurred also in church
screens — cf. those of the
Val - de - Grace and St
Riquier.

In many cases drastic
schemes of internal decor-
ation involving structural
alterations were carried
out in mediaeval churches
341. Lami'aul: Font and CANorv. with a view to obliterate

THE STYLE OF LOUIS XIV.

355

their "Gothic barbarism," as was done at St Germain I'Auxerrois in
Paris, and late in the reign by Mansart and de Cotte, in the choir of
Notre Dame. A treatment of this kind applied to Notre Dame des Doms
at Avignon (17 lo), including a balustraded gallery at triforium level,
breaking round the Romanesque piers on rich corbelling, has resulted
in a decidedly picturesque effect.

The style of Louis XIV. vividly expresses, by its uniformity and
splendour, the pomp and glamour of a single irresistible authority ; it
has the merits and the defects of the political and social system with
which it was bound up. By the combination of largely conceived
schemes, bold lines and masses, gorgeous colour, choice material and
consummate craftsmanship, it achieves great artistic effects. It calls
up the pageant of a great people, ruled by a mighty king, of victorious
armies and resplendent courtiers. But it moves on a plane of high
statecraft and courtly graces, too remote from common human life to
awaken widespread sympathy. It is devoid of phe intimate fascination,
the individuality, the delicate shades of feeling which give charm to
other great periods of art. The natural and the na'ive are notes it does
not strike, and the self-conscious environment which gave it birth drives
it not infrequently into bombast and theatricality.

342. Vkrsailles : Panel over Door in Salle des Gardes de la Reine

(1680).

343. Decorative Panel by Watteau.

CHAPTER VI

STYLE OF LOUIS XV. (1710-70).

KINGS.

Louis XIV. (a^. 17 15).

Phii.ii', Duke ok Orleans, Regent

(i7i5-23^-
Louis XV. (1710-74).

QUEEN.

Marie Leczinski.

CONTEMPORARY ENGLISH SOVEREIGNS.

Anne (d. 1714) ; George I. (1714-27); George IL (1727-60);

George IIL (1760).

INTRODUCTORY-

DECORATION AND ARCHITECTURAL
TENDENCIES.

Reign of Louis XV. — The long reign of Louis XIV. came to an end
in 1 7 15, and with the figure of the monarch, in whose person the glories
of a great epoch were embodied, there disappeared much of the glamour
of his life's work. When the crown passed to his great-grandson, a
child of seven, and the executive into the hands of his nephew, Philip,
Duke of Orleans, a man of enlightened views but weak and dissolute
character, the insufficiency of the foundations, on which this splendid
political and social edifice had been reared, began to appear. The
system of absolute centralised government, after reaching its highest
pitch of efficiency, had begun to show its defects even during Louis

356

THE STYLE OF LOUIS XV. 357

XIV. 's lifetime. The frivolous Regency, checkered with well-meaning
but impracticable reforms, was followed by the long reign of Louis XV.,
a cold and selfish sensualist, indifferent to his people's welfare, and even
more tenacious of his prerogatives than his predecessor, but without his
statesmanship. The cumbrous machine of government, incapable of
adaptation to changing conditions, increasingly out of touch with national
needs and aspirations, went creaking on towards bankruptcy and collapse.
For half a century no attempts at reform were made. Costly and useless
wars succeeded one another, resulting in the loss of almost all the
colonies. An extravagant and dissipated aristocracy had all the privi-
leges and none of the duties of the State, the professional and middle
classes were excluded from the political influence to which their growing
wealth and enlightenment seemed to entitle them ; the lower orders
were ground down by taxation and restrictive customs, and sunk in
ignorance. Meanwhile the vicious example of the Court, the corruption
and incompetence of the government, were undermining old-fashioned
ideas of loyalty, morality, and religion no less than the influence of the
philosophical and political writers of the Encyclopsedia, the witty
scepticism of a Voltaire, or the sentimental and Utopian republicanism
of a Rousseau.

Social CoNDrnoNS. — The first result of Louis XIV. 's death was
to hasten the tendencies already at work. No longer restrained by
a priest-ridden Court, society flung off its veil of hypocritical piety, and,
with a sigh of relief, plunged openly into a whirl of amusement and
profligacy. Keen witted and polished, but sceptical and frivolous, it
gave rein to every mood and caprice. Weary of the splendid pomp and
tedious ceremonial of the Court, oppressed by the centralised systema-
tisation of life, thought, and art, it sought entertainment in all that had
been of little account under Louis XIV. The country, animal life, the
doings of the common people, the customs of foreign lands, became
fashionable subjects of literature and art, less from a desire to under-
stand their real nature than because they provided unexplored sensations.
The subject was indifferent, provided it was novel in itself, and that
its artistic presentment had esprit and invested it with le bel air. If
in the social sphere morals were optional, wit and the manners of good
society were indispensable. All known rules of architecture might
be set aside with impunity, if the result had but style, piquancy, and
perfect technique. But the analogy between art and morals may be —
and often has been — pushed too far, and the style of Louis XV. has
been the target of moralists and academic critics, who inveigh against
it as the last word of bad taste, the climax of reprehensible licence, and
regard its excesses as bound up with those of a society justly condemned
as corrupt to the core. This, however, is a confusion of ideas of which
it is well to clear the mind. The age of Louis XV., in the rebound

358

RENAISSANCE ARCHITECTURE IN ERANCE.

from the formality of the Grand Reigne, undoubtedly pushed defiance
of classical traditions further than any other period since the Renais-
sance ; it reached a climax beyond which no further advance in the same
direction was possible and necessitated a fresh return to the sources.
But to say this is not to condemn it, and an impartial student of its work
cannot but recognise that it has never been surpassed for finish, both of
design and execution, for sparkling elegance and coquettish playfulness,
in a word for complete adaptation to the life of an age which, with all
its faults, had many delightful qualities. The chief of these was the ease
and polish of its social intercourse. It was, par excellence, the age of

" Salons," where conver-
sation was raised to the
rank of a fine art, and
cultivated with a brilli-
ance never attained in any
other time or country.
The movement, which
had been initiated a cen-
tury earlier by Mme. de
Rambouillet, both in its
social and its architec-
tural aspects, and had
been growing in force
ever since, now reached
its climax. The influence
of woman was everywhere
felt, and after the mascu-
line vigour of the style
of Louis XIV., those of
Louis XV. and Louis XVI.
have, at least as regards
decoration, somewhat of
a feminine quality.
Changes in Planning and Decoration. — The chilly splendours
of the vast and imposing halls, which had persisted in the last century,
might be an admirable setting for state pageants, but they no longer
answered the wants of society, whose chief requirement was a congenial
milieu for intimate gatherings, combining cosiness, daintiness, and
gaiety. The age of the withdrawing-room and boudoir had arrived.

At Versailles and other palaces large apartments were broken up
into suites of small ones — pelits appartements, petils cabinets — just as in
the Q.QWx\\.xy petite s fnaisons were preferred to chateaux. It is precisely
in such apartments, devoted to pleasure and social life, that Louis XV,
architecture finds its most characteristic expression, and to the decora-

344. Panel Centre by J. Vekherckt jn

EOUIS XV.'S AfARTiMENTS AT VER-
SAILLES {1753).

THE STYLE OF LOUIS XV.

359

345. Frieze and Head of Mirror-Frame by J. Verberckt in Louis
XV. 's Bedroom at Versailles (1738).

tion lavished on them that the term Style of Louis XV. can most
properly be applied. Many of the chief monuments erected at this
period might, except for relatively unimportant details, belong equally
well to the periods which preceded or followed ; the majority of its
buildings betray their Louis XV. character externally — if at all — only
by the few features which were carved or otherwise enriched. Just as
disintegration appeared in the State when a strong hand was no longer at
the helm, so opposing tendencies in architecture and decoration, which
had been forced into temporary reconciliation under the rule of Le
Brun and Mansart, now diverged more and more. If a definition of a
style could be devised to embrace both the court and the drawing-
rooms of the Hotel de Soubise (Figs. 318, 319, and 352), it would be so
elastic as to be unmeaning. This is still more patent if one compares
examples of architecture of the classical tradition, such as Servandony's
design for the west front of St Sulpice (Fig. 434), with the rare cases
where the principles which guided decoration were extended to building,
as in Meissonnier's design for the same fagade (Fig. 387).

Diversity ok Style. — Even confined to decoration, the term
Style of Louis XV. is a generic one, embracing a number of sub-styles
or fashions, which flourished during the greater part of the eighteenth

36o

RENAISSANCE ARCHITECTURE IN FRANCE.

1

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century, often simultaneously, and shade off imperceptibly one into the
other. They have been known by a variety of names, usually vaguely and
often inappropriately applied, as for instance the " Regence," Watteau,
Boucher, Pompadour, du Barry, " Rocaille," and Rococo Styles.

Certain general characteristics are common to most of these : neglect
of strict classical rules, avoidance of the formal and ponderous, of deep
shadows, of straight — especially horizontal — lines and of right angles,
delight in caprices and surprises, playful forms and piquant combinations.

Rococo. — The
orders were regarded
as too formal an
element for decora-
tion and were either
so modified by fan-
tastic treatment as
to be hardly recog-
nisable, or omitted
altogether. The
place in decoration
of pilasters and rect-
angular architraves
was taken by the
frames or borders of
the panels and open-
ings, which, with all
their enrichment
and complication,
acquired an equal
value in vertical em-
phasis by the sheer
height of the single
panels, or mirrors,
running from dado
to cornice. Projec-
tions were reduced,
sculpture in the
round and high relief trophies were replaced by paintings, massive fruit-
swags by dainty wreaths of roses with fluttering ribbons. Mouldings
became flatter, slimmer ; cornices and pediments casting bold shadows
were replaced by gentle coves and graceful volutes. The bottom as well
as the top of panels were curved and broken, angles and junctions of all
sorts were managed by means of scrolls, flourishes, and other softening
devices. There was a tendency to bound spaces and even openings,
not by geometrical figures, but by a series of curves, and to retain only

346. Lower Half of Panel by A. Rousseau in
Council Chamber at Versailles (1756).

THE STYLE OF LOUIS XV.

361

347. DKCORATION OF THE DUCHESS OF MAINE'S MUSIC ROOM
(Now Library) at the Paris Arsenal.

362

RENAISSANCE ARCHITECTURE IN FRANCE.

their main vertical lines, while consoles and pedestals were diversified
by gentle swellings and taperings. In the plan of features there was
the similar tendency to round off corners, to adopt curved outlines,
simple and compound, and to introduce variety by setting piers at all

sorts of angles.

The architectural
elements seem to
have acquired a
pliant consistency
and to ripple as it
were in the wind, or,
like the latest phase
of Flamboyant, with
which the rococo has
many analogies, to
resemble vegetable
growth. But among
this mass of curved
lines the greatest
care was taken to
avoideither luscious-
ness or insipidity.
Curves were in-
finitely varied and
cunningly con-
trasted, curves of
contrary flexure
being everywhere
opposed or com-
bined in a play of
coquettish advance
and retreat.

"RoCAILLE" AND

Palm Motives. —
The elements em-
ployed in the enrich-
ments of framing
members were not
newly invented, but
developments of older ones. Prominent among these is the so-called
"Rocaille" motive. " Rocaille " originally meant rock-work or rockery,
and though rock-work is occasionally imitated in decoration of this
period, the " rocaille " motive seems rather to be the development of the
shell motive common to all Renaissance styles, and to have acquired its

•8, Chantii-ly

Panel from
Singes."

.bALON DES

349- "GALERIE DOREE" IN HOTEL DE TOULOUSE, PARIS.
NOW BANK OF FRANCE.

The style oE Louis xv. 363

name from the use made of real shells for the decoration of grottoes
and rockeries. If into the scallop-shell a head or other ornament be
introduced, or if its centre be pierced, there remains a ribbed and
indented border, and if, further, a thicker, more laminated and irregular
shell of the oyster type be substituted for the scallop, most of the char-
acteristics of the "rocaille" motive are obtained {if. Figs. 344 and 345).
It emerges from and disappears into foliage, fills hoUow.s, softens the
collision of contrasted volutes, fringes frames and enriches scroll-work.
With its frilled edges, its fluted or pierced surfaces, it assumes forms at
times not unlike the undulated leather-work of the Louis XIII. style,
at others it resembles foliage, bark, coral, or rock. In this last type
it enters into the decoration of garden vases, fountains, and grottoes.

The tops, bottoms, and centres of pilasters and narrow panels,
and the angles of broader ones and of ceiHngs, often show an ornament
resembling a pierced and foliated shell, from which sprigs of slim
and spidery foliage escape (Fig. 346); both the foliage and the
" rocaille " sometimes take spiky and contorted forms, which recall
seaweed waving in the water or branches bristling with icicles. Back-
grounds and spandrils are commonly decorated with reticulated or
trellis-work patterns (Fig. 351).

Another common element is the palm motive, not merely palm
branches, which had been in use for two hundred years as decora-
tions of spandrils and so forth, but the whole palm tree used con-
structively to form a column or frame, and sometimes entwined
with wreaths (Fig. 347). Le Brun, borrowing the idea from Bernini,
had formed an arch, for the triumphal entry of Louis XIV. into Paris
on his marriage, of naturalesque palm trees supporting a rocky mount,
but it was not till the time of Louis XV. that it became a common
feature in decoration.

Chinese and Pastoral Motives. — The arabesque panels of the
period carry Berain's style a step further; they are even more open,
their forms are more slender and their subjects more modern and
naturalistic. But a fresh element had entered into them. The Far
East had gradually become known to Europe during the seventeenth
century by the narrations of Jesuit missionaries, as well as by the Chinese
embroideries, lacquer-work, and porcelains imported by Dutch traders.
Under the first impression of these novelties Louis XIV. had caused
his short-lived "Trianon de porcelaine" to be built in what was supposed
to be the style of a pagoda, and decorated inside and out in blue and
white with enamelled tiles and earthenware figures made at St Cloud.
This was an isolated caprice, but forty years later China became the
rage. An art so far removed from European traditions was not
indeed taken seriously, but was looked upon as something agreeably
bizarre, furnishing quaint and novel motives for decoration. After
25

3^4

RENAISSANCE ARCHITECTURE IN FRANCE.

350. Arabesque by F. Cuvillie;s, Sen.

the gross or puerile grotesques
of the sixteenth century, and
the sinister and leering ones of
the age of Louis XIII., the
eighteenth century found a
more genial and playful type
in " Chinoiseries " ; and since
in the ideas of the time " there
was but a step from the Sons of
Heaven to apes," " Singeries,"
in which monkeys in human
costume play their pranks,
were an equally popular motive
(Fig. 348). To these must be
added humorous episodes in
high and low life, scenes repre-
senting sport, pastimes, and
gallantry, and, to a less degree
than formerly, of mythology ;
fetes chavipetres in which ladies
and gentlemen in modern
dress picnic or dance minuets
in landscapes of elaborate
naturalness (Fig. 343), and
bergeries in which they mas-
querade as shepherds and
shepherdesses in an artificial
Arcadia.

Style of the Regency.
— The " Style Regence " is
the name given to the short
])hase which forms the transi-
tion from the Style of Louis
XIV. to that of Louis XV.
It flourished roughly during
the first quarter of the eigh-
teenth century. Examples of
it may be seen in a rather
restrained form in the decora-
tions of the choir of Notre
Dame in Paris (1700 10) and
of the chapel at Versailles
and its vestibule (1709-10)
(Figs. 381 and 388), carried

THE STYLE OF LOUIS XV. 365

out under Robert de Cotte, and with greater exuberance in the splendid
Galerie Doree of the Hdtel de Toulouse (previously de la Vrilliere),
which are now in the Bank of France (1713-19), by the same architect.
In the latter many of the characteristics of the Louis XV. style may
already be seen, but accompanied with a fairly severe architectural setting
with pilasters and cornices of strong projection (Fig. 349). The panelling
of the Library at the Invalides and the Council Chamber at Fontaine-
bleau afford other examples of this transitional style of decoration.

Painted Decoration. — It was in accordance with the taste of the
day that the colour schemes should be kept light and gay. White with
gilt mouldings and enrichments was the favourite scheme, but it was
varied by such tones as citron, light green, and tender pink, and even
graining was sometimes used for the panelling, while the ceilings often
represented blue skies where birds, butterflies, and cherubs hovered
among rosy clouds. The love for mirrors and light-coloured panelling
was accused of having a prejudicial effect on painting, little room being
left for pictures. They were usually confined to the panels over doors
and mantel-mirrors, but arabesques, grotesques, and similar decorations
were freely applied to the main panels and ceilings.

Watteau. — Work of this kind done about the time of the Regency
by Claude Audran (i 658-1 734), a decorative painter in the royal
palaces; by Claude Gillot (1673-1722), a designer of grotesques; and
by their more famous pupil the half- Flemish Antoine Watteau (1684-
1721) is classed under the head of "Style Watteau." It surpasses all
that preceded it in daintiness (Fig. 343). The rocaille and scroll
motives figure largely among the conventional forms out of which their
arabesques are constructed, and to these are added slender curved
grilles or lattices, and a curious ornament, whose shape is now that of a
wing, now that of a fluttering pennant, but always ribbed like the sail of
a Chinese junk or a fish's fin (Fig. 389A). Mingled with these are trees,
particularly poplars, and creepers, birds and various animals, all treated
with greater naturalism than ever before. The central positions are
occupied by scenes of the various types described above, in which thin
and elegant figures disport themselves in a setting of clipped limes,
trellised arbours, and formal fountains, or amid the artificial disorder
of the Chinese garden with its pagodas and steep-pitched bridges and
its flights of steps meandering among rock-work.

Other Designers. — The rather later arabesques of the Cuvillies
(Fig. 350) are of the same order, but have not the same harmony and
repose. Worried and contorted rocailles of a rather heavy type enclose
wild or sombre landscapes and are contrasted with sprays of excessive
gracility.

Side by side with these was a whole tribe of animal painters, such
as Desportes (1661-1743); Jean Baptiste Oudry (1686-1755), director

366

TRE in FRANCE.

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THE STYLE OF LOUIS XV. 367

of the Royal Manufactures at Beauvais and the Gobelins, and cele-
brated for his hunting scenes; and Christophe Huet who painted the
" Chinoiseries " and " Singeries " in the Hotel de Rohan, and perhaps
also those at Chantilly. Frangois Boucher (1703-70), engraver, painter,
and designer of theatrical scenery, and Oudry's successor at the Royal
Manufactures, was the leader of a school of another sort, which adorned
boudoirs and salons with voluptuous mythological and erotic scenes,
and from him that extreme type of rococo furniture and panelling,
which forms their appropriate setting, has acquired the designation of
"Style Boucher."

Style of Louis XV. — The terms Louis XV., Pompadour, Rocaille,
and Rococo are applied more or less synonymously to all free decorative
work after the Regency. Rococo may fairly be used — in speaking of
France— as synonymous with Louis XV., but Rocaille should be confined
to the type of ornament above described. " Pompadour " can have no
definite meaning as the name of a style. Madame de Pompadour, the
beautiful and clever woman who, after being the King's mistress,
remained for many years his friend and adviser, and was herself an
artist of some talent and an enlightened patroness of the arts, exercised
her influence at least as much in favour of the classical reaction as in
that of the free manner. " Du Barry " is even more devoid of meaning
as applied to Louis XV. work. The reign of the low- born courtesan,
who kindled the King's senile passion, occurred at a time— 1768-74 —
when the reaction was in full swing. She was in no sense a leader of
society, and her vulgar taste had little, if any, influence on the progress
of style.

Examples of Rococo. — The rococo tendencies, first clearly appear-
ing in the work of the Regency, continued to increase in intensity
till about the middle of the century, when the tide of free design began
to ebb, but throughout this period many designers observed a certain
degree of restraint, and stopped short of the extremes of licence, especially
in the royal palaces, where its examples are often remodellings of earlier
work. The decoration is bounded by the straight lines of an unbroken
cornice and dado, and by the vertical sides of the main divisions of the
room, the curvilinear treatment being apphed chiefly to the inner frames
of the panels, and the decoration of their surfaces, while the sides even
of the inner panels are themselves also largely straight.

Among the examples of this class at Versailles the following deserve
mention: Louis XV. 's Bedroom (Fig. 345), the Dauphin's Bedroom and
Library, the King's Cabinet, or Cabinet du Conseil (Fig. 346), Madame
Adelaide's Cabinet, or " Salon des Medailles," the two dining-rooms in
the " Cabinets du Roi." Their exquisitely designed and carved wood-
work were executed mostly by J. Verberckt, who also did much work at
Bordeaux, and by Antoine Rousseau, at different periods between 1735

368

RENAISSANCE ARCHITECTURE IN FRANCE.

352. Paris : Great Oval Saloon in the Hotel de Soubise (now
Archives Nationales), by G. Boffrand (c, 1735).

and 1770. The "Salon de Musique"in the Paris Arsenal (Fig. 347)
and the great drawing-room of the Bourse at Bordeaux belong to this
category.

A slight difference of tendency may be traced in the work of
Verberckt and Rousseau, who often collaborated ; the taste of the
former was towards the more complex forms of rocaille and restless
types of foliage, while the latter preferred quieter lines such as may
be found in boughs of olive or sheaves of rushes. The Rousseau family
thus naturally became prominent exponents of the Louis XVI. style of
decoration.

In private houses the decorators seem to have felt freer than in
the official palaces, and to have been impatient to escape even such
slight restraint as they there put on themselves ; here curvilinear forms
play a preponderating part, either by breaking into the limiting lines,
or else by being so strongly emphasised as to eclipse them. Traces
of this tendency are to be found even at Versailles, for instance in
the "Salon de la Pendule" by Verberckt (decorated 1738, remodelled
1760) the cornice is caught up at intervals into the swirling winged
cartouches of the ceiling (Fig. 351).

A similar stage appears at Bordeaux in the bedrooms of the Hotel
of the Governor of Guyenne, 17 Rue Vital Charles, once (1860-1905)
the Archbishop's Palace, and at Paris, in the bedchamber of Mme. de

THE STYLE OF LOUIS XV.

369

Rohan in the Hotel de Soubise. This last example forms part of a
suite of rooms decorated by Germain Bofifrand (1735), with paintings
by Natoire, Boucher, C. van Loo, and La TremoUiere, in others of
which the rococo manner is even less restrained.

The little oval drawing-room in the Chateau de Rambouillet,
rooms in the Hotel de Rohan in Paris (built by de la Maire, 1706,
now Imprimerie Nationale), the suite in the Chatelet at Chantilly
(decorated wnth ''Singeries" in deep enriched borders) — all works of
about 1740-5 — show a restlessness of line and a complication of
contorted curves, which arrest the eye and obscure the few straight
lines (Fig. 348). The coved ceilings usual in this type of work, over
which decoration creeps up from a very slightly indicated cornice, un-
checked by horizontal members, help to emphasise the feeling of free
upward growth. This is the case in a supreme degree in the oval
saloon of the Hotel de Soubise (Fig. 352), where there is only the
slightest trace of a dado, and none at all of a cornice, but instead a
deep undulating frieze of panels
and scroll-work running round
the head of the arches, with a
lace-like tracery above converging
towards the centre of the dome.

Other examples are offered
by the Elysee Palace, originally
Hotel d'Evreux decorated by
Nicolas Pineau (1684- 17 54), who
published a series of designs of a
similar character.

Oppenordt. — One of the
earliest and most vigorous ex-
ponents of the curvilinear manner
was Gilles Marie Oppenordt
(1672-1742), son of a Dutch
cabinetmaker in the employ of
Louis XIV., who, after working
in J. H. Mansart's office, spent
several years in Italy, where he
became thoroughly imbued with
the spirit of the late barocco
masters of the Roman School.
On his return he was employed
by the Regent Orleans to deco-
rate the new gallery of the Palais
Royal, built by Mansart. Op-
penordt's designs show none of

353. Design for Entrance Door-
way, BY G. M. Oppenordt.

370 RENAISSANCE ARCHITECTURE IN FRANCE.

354. Fantastic Design for Garden Grotto, hv J. A. Meissonnier.

the restraint which kept Le Brun's work within bounds. They avoid the
severity of geometrical patterns and straight lines ; clouds and draperies,
grotesque or natural figures overstep and disguise the architectural lines,
and structural functions are symbolised rather than expressed by luxuriant
plastic forms (Fig. 353). At the same time he steers clear of misappli-
cations of architectural forms, such as the reversed pediments or inverted
capitals with which Borromini bedizened his work.

Meissonnier. — Wild as are some of Oppenordt's designs, they
are surpassed by those of Juste Aurele Meissonnier, a native of
Turin, who practised in France, originally, it would seem, as a
designer of plate and china, but also of decoration and, in some
cases, of buildings. In his designs for the silversmith and the
potter he affected, like Palissy, the forms of fish, lobsters, and shells.
Mingling them with game and vegetables, he built up his composi-
tions out of a series of swirling lines, and seems to dispense with
straight ones of set purpose. It is by this characteristic, and the re-
sulting effects of plasticity and motion, that he exhibits Borrominian
influence rather than by wilful perversions (Figs. 354 and 387). His
decorative foliage is swept upwards as by a whirlwind. His architecture
appears to have passed through a semi-fluid state, during which it was
agitated by a violent swell or convulsed by an earthquake, before solidi-
fying. Piers, entablature, steps, and balustrades bend backwards and
forwards, surge up and down, like the crests and troughs of a billowy
sea. No element of chance, however, enters into these effects, they are
the calculated result of a conscious art seeking its effects by an elaborate
system of balance and grouping. The whole trend of the age was

THE STYLE OF LOUIS XV.

371

towards naturalism ; nature contains few straight lines or regular cuives;
art, it was thought, should imitate her methods. Few periods indeed
have approached nearer to nature in the outlines of its compositions.
Since the Renaissance, design had deviated from classical precedents
at different times to a more or less degree, but except in very rare cases
it had hitherto clung to the principle of symmetry, the chief exceptions
being where similar, but not identical, figures were introduced on
opposite sides of
a composition.
Nature, however, is
seldom symmetri
cal, perhaps never
absolutely so,
though in the front
or back view of
human and animal
figures and in
certain plants she
approaches it.
Usually natural
beauty is the result
of a balance or
harmony of another
kind. In the ex-
treme development
of the rococo style
the principle of
balance or com-
pensation was ex-
tended from the
decorative figures
to the design itself,
and features were
made whose right
and left halves were
dissimilar (Fig.
355). Not only is

an irregular curvilinear panel, whose lines incline to the right, opposed
to another, where they incline to the left, as in the two leaves of an
arched double door, or as on each side of a chimney-piece, but single
doorways and chimney-pieces occur in which the two sides are actually
dissimilar. These extremes are, however, exceptional in France. The
instinctive moderation of French taste exerted a restraint on the rococo
style as it had done on the barocco, which was not always observed else-

355-

Dksicn kor Room Decoration,
J. A. Meissonnier.

RENAISSANCE ARCHITECTURE

356. Nancy : Place Stanislas : Wrought-Iron Grilles by J. Lamour

ic. 1755)-

where. It is noteworthy, on the one hand, that some of its principal
promoters were of foreign origin, and on the other that some of the
wildest designs, though published in France, were for execution in foreign
lands — Portugal, Germany, Poland — and that several of the French
rococo architects had more extensive practices abroad than at home.
The two Frangois Cuvillies, for instance, father and son (i 698-1 768
and 1 734-1805), spent most of their lives in various German states.
Finally, while actual buildings in definitely rococo style are common in
Italy, Germany, and Spain, not a single example exists in France.

Metal-Work. — The curvilinear character of rococo design was
peculiarly suited to the technique of wrought metal-work, whether it
were the bronze and steel of door and window furniture, or the wrought
iron of grilles, balconies, stair and window rails, railings and gates in
courts and gardens (Fig. 356). The grilles of the Place Stanislas
and the staircase of the Hotel de Ville at Nancy, the railings of the
Hotels-Dieu of Troyes and Besangon, and many church screens are
examples.

Architects of the Academic Tradition. — If such prominence
has been given to the peculiarities of decoration during the reign of
Louis XV., it is because they are its most characteristic feature. The
free tendency, which they represent, was never in full possession of the
field ; on the contrary, it is positively startling to observe that the lively
and fantastic decorations above described were in the majority of cases

THE STYLE OF LOUIS XV. 373

enshrined in buildings of a comparatively pure classical type, if not of
almost forbidding severity. That architecture should not have swayed
more definitely towards the methods of Borromini is the result partly
of the fact that during the first half of the reign the chief practising
architects belonged directly or indirectly to the circle of J. H. Mansart
and adhered to his tradition, and partly to the restraining influence of
the Academy.

Mansart's brother-in-law, Robert de Cotte (1656-1735), succeeded
him in 1 708 as First Architect to the King, and completed his unfinished
works. Till his death he was unquestionably the leading architect of
the day, with an immense and varied practice in town and country, at
home and abroad.

Jacques Jules Gabriel (1667-1742), great-nephew of J. H. Mansart,
had also a very extensive practice, and was particularly in request for
bridges, public buildings, and schemes of town planning. From 1 709
onwards he had charge of all the internal works at Versailles, and in
1735 became First Architect to the King. Though not gifted with any
special originality, and, on the whole, conservative in his tendencies, he
did some of the best and most representative work of his time.

Germain Boffrand (1667-1754), another pupil of J. H. Mansart,
shared the prizes of the profession with de Cotte and Gabriel, and
survived them both, dying at the age of eighty-seven. Gifted with
greater originality than either, and a marked predilection for experi-
menting in novel forms, he leaned without excess to the freer school
of design.

Other practitioners were Cailleteau, called " L'Assurance," J. H.
Mansart's draughtsman ; Le Notre's two nephews, Alexandre le Blond
and Claude des Gots ; A. C. MoUet, Jean Courtonne, Jean Aubert,
Jean Sylvain Cartaud, Jean Francois Blondel — the last named was not
related to the Francois Blondel who flourished under Louis XIV. — all
imbued with the traditions of the Grand Reigne.

Attitude of the Academy. — Officially the Academy threw the
weight of its influence, at least in theory, into the scale of Palladian
tradition, though in practice the Academicians often fell under the spell
of the rococo movement or made some concessions to it. Boffrand, who
represents the less rigid wing, adopts in his " De Architectura " (Paris,
1 745) a position akin to that of Perrault in limiting the absolute authority
of antiquity by the considerations suggested by aspect or site, the claims
of modern comfort, or the dictates of the architect's common-sense and
good taste. He upholds Greece and Rome as the great models, but
admits rococo ornament as a legitimate development of classical
traditions, to meet cases where antiquity had left no models for the
guidance of designers.

This attitude is quite intelligible. But when a writer of the more

374 RENAISSANCE ARCHITECTURE IN FRANCE.

orthodox wing like Jacques Frangois Blondel is found insisting in his
early work, " De la distribution des Maisons de Plaisance" (Paris, 1738),
on the necessity of following the noble simplicity of antiquity, and
inveighing against the decadent licence of contemporary architecture,
yet, at the same time, giving as models for imitation designs which
differ in no detail from the practice of the day, it is a little difificult to
understand what is meant. The explanation seems to be that the object
in view was not the extirpation of rococo, but to confine its operation to
the sphere of decoration — mainly internal— and to prevent liberty of
design from degenerating into licence, as it was conceived to have done
in the hands of men like Oppenordt and Meissonnier.

Beginnings of Puristic Reaction. — Their audacities profoundly
shocked serious thinkers on art, and were vehemently attacked by
them. In the Mercure de France (December 1754), the etcher Cochin
ironically belauds Meissonnier's art, in which " balconies and handrails
were no longer suffered to pass straight on their way," but " were
compelled to meander snake-like at his bidding," while "the most
stubborn materials became pliant under his triumphant hand," and " he
cast away all those square, round, and oval shapes, which, with accurately
repeated ornaments, produce such a formal effect, and replaced them
by his beloved S outlines."

Charles Etienne Briseux, a prolific designer of rococo decoration,
at the end of a career devoted largely to theoretical work, felt it necessary,
in summing up his experience in his "Traite du Beau Essentiel dans
les Arts" (Paris, 1752), to state again in the most uncompromising
manner the strictest Palladian doctrine, as taught by the elder Francois
Blondel, and to refute Perrault's lax views, which he held responsible
for the deplorable extravagances and lack of monumental feeling of his
own day.

Palladian-Rococo Compromise. — The net result of all this was
that, in spite of the strong current setting towards free design during
the first half of Louis XV. 's reign, the old modus vivendi of Le Brun
and J. H, Mansart — free decoration and strict architecture— was main-
tained. Decoration was in fact regarded as the safety valve by which
exuberant spirits, chafing under the restrictions of authoritative rules,
could let off steam ; and again, the architects who, in theory, upheld the
immutability of Vitruvian laws, and, in practice, respected them in their
elevations as a whole, once past the threshold, seem to drop their
allegiance and give rein to the freest fancies, or even, at times, allowed
the capricious forms of rococo to overflow into the sparsely distributed
external enrichments.

This is very much the position exhibited in the designs of P.
Nativelle's "Traite d' Architecture " (Paris, 1729), a splendidly drawn
and engraved work on the orders, containing a critical comparison

THE STYLE OF LOUIS XV.

375

of the treatises of Vignola and Palladio, de I'Orme and Scamozzi,
and giving examples for contemporary use based upon them, and
indeed in the works of the bulk of the architects practising during
the second quarter of the eighteenth century.

Younger Architects of the Academic Tradition. — The
principal architects of this period stood in the direct line of Academic
tradition, and represented in many cases the younger generation of
architectural families who had been prominent in the first quarter.
Among them were Jean and Jacques, grandsons of Jules Hardouin
Mansart, the younger L' Assurance, and Jacques Francois Blondel, son

PANEJL MOULD

LM. GOTCI-I

357. BESAN90N : Entrance Doorway of Hotel de Clermont.

Measured and Drawn by L. M. Gotch.

-i^-jG RENAISSANCE ARCHITECTURE IN FRANCE.

or nephew of Jean Francois. At their head was Jacques Ange
Gabriel (1699-1782), who on the death of his father, Jacques Jules,
in 1742, succeeded to the latter's posts and practice, and was largely
employed by the Court and in public works.

The puristic reaction, which with its causes and results forms the
subject of the next chapter, is observable at this time only in the work
of one or two exceptional men. Servandony, its protagonist, produced
one work of first-class importance, but otherwise was but fitfully in
practice, while Soufflot, in whose hands the reaction eventually became
even more radical than in those of Servandony, was at this time still
engaged in maturing his style. In the third quarter of the century
the reaction rapidly gained ground.

Architectural Education. — The reign of Louis XV. is remark-
able for the work it accomplished for architectural organisation and
education. The Academy was formally incorporated in 1717, and
its members increased to tw^enty-four. Later in the reign they seem
to have grown to forty, who were all architectes du roi. The system
of the "Prix de Rome," involving a five years' course of study in
Rome at the expense of the government, was extended from painters
and sculptors to architects. The first architectural student, as
such, was sent to the Palazzo Capranica in 1720, and five years later
the school was transferred to the Palazzo Mancini. The year 1743
was marked by the opening in Paris by Jacques Frangois Blondel, who
held the professorship at the Academy, of the first of those private schools,
or ateliers, which have ever since been such a prominent feature in
French architectural education. This institution, which obtained the
approbation of the Academy and the financial support of the govern-
ment, had a staff of teachers in various branches of design, construction,
and engineering. Blondel also published a series of works, one of the
most important of which was " L' Architecture Frangaise " (Paris, 1752),
a development of a work begun by Jean Marot. It attempted to do
for the early eighteenth century what Marot, Silvestre, and Perelle had
done for the seventeenth, and du Cerceau for the sixteenth. The
portions published illustrate and describe the architecture of Paris and
Versailles, but the author's intention of including other royal residences,
suburban and country houses, gardens, decoration, &c., was unfortun-
ately not carried out, though some of the material was utilised in his
"Cours d' Architecture " (Paris, 1774-7). This work, completed by
Pierre Patte, contained the substance of Blondel's lectures, and became
the standard handbook, superseding to a large extent those of F.
Blondel the elder, and of d'Aviler.

THE STYLE OF LOUIS XV. 377

DOMESTIC AND PUBLIC ARCHITECTURE.

Growth of Paris. — The temporary removal of the Court and
government from Versailles to Paris during the Orleans Regency
made the capital once more the social and political, as it was the
intellectual, centre of France, and promoted the return of the nobility
to the capital, where, especially in the new western quarters, building
was actively carried on. Their houses were often rivalled by those
of legal magnates, tax-farmers, army contractors, or men suddenly
enriched during the wave of speculation, which swept over France at
the time of Law's Mississippi System, and ended in the financial crash
of 1720.

Elevations. — In reviewing the general run of these hotels, mostly
built between 1710 and 1750, one cannot but be struck by their fidelity
to the type evolved towards the end of the last reign, and described in
Chapter V. (pp. 328-9). The same general methods are adhered to in
the lay-out of the plans and composition of the elevations. The latter
were often of great severity, but rich ornament, generally of a " rocaille "
or other rococo type, was usually applied to a few points. Such were
the woodwork of the door and of the fixed tympanum over the great
coach entrance (Fig. 357); such, too, were the stone vases on the
balustrades, the keystones of the windows from which a spray of
foliage often trailed down the extrados of the archivolt, the cartouche
bearing the arms of the owner, the rails and supports of the balconies,
the grilles across the lower parts of the windows.

Development of Plan. — The changes are confined chiefly to
the character of this decorative scheme, and to improvements in
internal distribution.

"Some authors," said Vauvenargues, the contemporary writer on
ethics, " have treated morality in the same way as the new architecture
is treated, where convenience is the first object." Comfort was studied
more than ever before. Greater care was bestowed on the con-
venient arrangement of rooms — distributioti ; facility of communication
between different parts of the house, without the necessity of passing
through one room to reach another, was secured by passages — degage-
ments — and concealed staircases ; additional light and ventilation by
small inner courts. Sanitary arrangements, too, were improved.*

* The earliest W.C.'s, lieux a sottpape or ct Fanglaise, appear to have been
introduced about 1730. They had a wood, stone, or marble seat pierced with
a round hole, under which was a trough, sloping to one side, cleared by jets of hot
and cold water from taps fitted over it and turned on by hand, the lead plug closing
the soil pipe being held up at the same time by a knobbed handle. The apparatus
was sometimes arranged for use as a lavatory. Bath rooms with hot and cold water
were also much in use.

578

RENAISSANCE ARCHITECTURE IN FRANCE.

358. Paris : Hotel Moras (later Biron), 77 Rue de Varennes, by
J. Aubert (1728). Elevation to Garden. From Marif.tte.

The saloon now approximated rather to a modern drawing-room than
to a hall of state, but the chambre de parade containing the state
bed still appears as one of the reception rooms, though the hostess
no longer lay upon it when receiving company. In town houses the
court is nearly always rounded at the end next the street, and the
entrance often set back in a curved recess, designed to disguise any
lack of parallelism between the frontage and the main buildings.
When space permitted, the buildings round the court were kept low,
the house alone rising to two or three storeys. Only in the more
crowded quarters has the street front more than one storey.

As if from a desire to smooth away all the asperities of life, the
internal angles were rounded off, and external right angles replaced by
a splay, a convex or concave quadrant ; and the elliptical, or other
curved forms, used in the planning of rooms were matched by the

gentle sweeps and sinuous treads
of the stairs ; while a restless search
for variety is expressed in the
adoption of less usual geometrical
forms and quaint ingenuities, oc-
casioning projections which were
utilised to vary the monotony of
the elevations, and constitute the
nearest approach in French archi-
tecture to the English bay window.
Thus the grave stateliness of the

u „, TVT^ T> ^., Hotel Moras (later Biron, 77 Rue

Hotel Moras, or Biron : * ' ' '

Ground Floor Plan. From de Varennes), by J. Aubert (1728),
Blondel. is diversified at each end of its

359-

THE STYLE OF LOUIS XV.

379

garden front by the projection formed by a
room of a form midway between a circle and
an ellipse (Figs. 358 and 359).

Some Parisian Houses. — The Hotel de
Matignon {57 Rue de Crenelle, now Austrian
Embassy), by Courtonne (1721), has an ellip-
tical vestibule, whose curved projection forms
the centre of a five-roomed front towards the
court, while by a skilful arrangement of the
plan the garden front, which is also five rooms
wide, has a different axis in which lies the
projecting end of the octagonal drawing-room
(Fig. 362). De Cotte, in the Hotel le Gendre
d'Armini (Fig. 360), (17 13, now destroyed),
and Tannevot, in the Hotel des Vieux (15
Rue des Capucines, 1726), obtain additional
window space in narrow sites by cutting off
re-entering angles of the court with a cant.

Boffrand's Hotel d'Amelot (i Rue St
Dominique), whose garden front is designed

on the

360. Paris : Hotel i.e
Gendre d'Armini,
Rue des Capucines
(now destroyed), by
R. DE Cotte (1713).
Ground Floor Plan.
From Blondel.

■IoBINEtIJ .^'°\l 5AL00N ifc' '''°"'J|i

l-BOBE p J W IZ^l^ -^^ ^\

TIsSAgP^f^^ '; jiVDTIBWE,'; // FIRST \\

DINING 1!
ROOM

m<^

STABLE •
COURT V'.^

_.• COACH HOWE
//' COURT

fiTAau^

/

COACH HO03ES

10 ; 0 10

20

Ml «

_2?'feet

5 0

5

10

15
■METRES

.^61.

Paris : Hotel d'Amelot (later
DE Montmorency), i Rue St Domi-
nique, BY G. Boikrand. Ground
Floor Plan. From Blondel.
26

usual lines, has an
eUiptical court (Fig. 361).
This beautiful arrangement is
not obtained by any sacrifice
of convenience, for the plan
is contrived in such a manner
that the interior is commodi-
ous and well lit, and the
rooms have the appearance of
regularity ; for instance, the
staircase-well and ante-
chamber on either side of the
vestibule are quasi-pentagonal.
The front of the house towards
the court, which is five win-
dows wide, derives an unusual
monumentahty from the use
of a giant order of Corinthian
pilasters whose bases are on
the ground floor level, a
treatment unusual in private
houses.

The Hotel d'Evreux, now
Palais de I'Elysee, and a

38o

RENAISSANCE ARCHITECTURE IN FRANCE.

362. Paris : Hotel de Matignon, 57 Rue de Crenelle (now Austrian
Embassy), by J. Courtonne (1721). Garden Front.

number of others in Paris, especially in the Faubourg St Germain, also
at Bordeaux, Strasburg, and other cities exemplify this type of dignified
aristocratic architecture.

A four-storeyed house designed by Meissonnier in the island of
St Louis at Paris, on a small four-sided but not rectangular site open
on three sides, is an example of the best achievements of the rococo
school (Fig. 363). The exterior is, as usual, very plain, but all the
rooms are decorated in the rococo manner. By means of panelling
and other devices the rooms are given regular but varied shapes, and
access is provided to the windows, which, owing to their regular spacing
externally, come in awkward places, by ingeniously planned recesses,
without breaking the design of the room.

In houses such as those inhabited by the bourgeoisie where
there is only a narrow front to the street, the external decoration is
often relatively more profuse, as, for example, in the Maison des
Chimeres (133 Rue St Antoine), 10 Rue du Petit Pont, and several
in the Rues de Rennes, du Bac, and du Cherche-Midi in Paris, also
at Nantes, Nancy, Lyons, and other cities. This is also often the case
in provincial hotels, such as that at Laon, whose coach entrance is
illustrated in Fig. 372.

The Palais Bourbon. — Another type of house brought into fashion
by Trianon and attaining great popularity at this time, especially for
suburban residences, has a single storey, and a flat roof. Its most
sumptuous example is the Palais Bourbon (Figs. 364 and 365), now
partly incorporated in the Chambre des Deputes, begun by an Italian,
Giardini or Girardini (1722), continued by L'Assurance (1724), and

THE STYLE OF LOUIS XV.

381

added to by J. A. Gabriel and Aubert {c. 1 750). It is sometimes quoted
as the first instance of the new type of architecture, but can more justly
be regarded as the most splendid expression of the type of suburban
mansion called into being by the ease-loving and luxurious habits of the
Regency. Standing, as it then did, in its own grounds, outside Paris,
overlooking the Seine, it was approached first through a large forecourt
with canted angles, which is entered from the street, between two-storeyed
pavilions, connected by a screen concave both inside and out, and then
through a court of honour, the upper part of which is embraced between
the three wings of the main building. The latter comprised all the
newest devices — conveniences of all sorts, a perfected system of
intercommunication and subdivision, curved and elliptical rooms —
and is arranged on a single floor to avoid the fatigue of stairs (that

363. House in the Ile St Louis, by J. A. Meissonnier : Plans of
First and Second Floors.

is for the masters, for all the servants' offices were in the basement),
while in addition to the two main entrances all the principal rooms
had French windows opening on to a terrace raised eight steps above
the garden. The building was roofed a Vltalienne, i.e., with an unseen
roof behind a balustrade, permitting the use of top lights where required.
The elevations, which were of exceptional richness, had an order of
Corinthian pilasters, reinforced, at the curved projections, which flank
the outer sides, and the square ones, towards the court and river, by
detached columns. Over the central bay, on the north elevation,
the entablature was formed into a high curved pediment culminating
in a group of sculpture. The balustrade was surmounted by vases
and, at the angles, by groups of cupids. Rich cartouches crowned
the windows, and elaborate panels enlivened the wall-surfaces. No

382

RENAISSANCE ARCHITECTURE IN FRANCE

SCALE OFluuliul

10 20 50 4^ 50

'METRES

00

J FEET

•364. Paris: Palais Bourbon, by Giardini (1722). Elevation to Court.

From Mariette.

harshness or severity clashed with the soft and luxurious effect of
this composition, and though incorrections in detail, mostly theoretical,
are open to criticism, its main lines are of a strictly architectural
character.

Villas and Chateaux. — Other examples of the type are the
adjoining Hotel de Lassay, also by L'Assurance, with rustication
instead of orders, and a villa at St Ouen built by Boffrand for the
Prince de Rohan. The use of a flat balustraded roof for a house of
the chateau class with several storeys, such as one designed for
M. Crozat at Montmorency by Cartaud, seems to have been excep-
tional, but it occurs sometimes in smaller country or suburban houses
of a type brought into vogue by Marly, and ultimately traceable to

Palladio's Villa Rotonda, viz., a
V symmetrically planned house with

g

^ **^" "-^ * * t " "l^ **'^ ' central top-lit hall carried up above

■:% ^J .. R». /\fc, f^i ^^^ other apartments.

^- ;»- -^ |"1IJ^' T"*^^! 4 for a villa near Geneva,
liPk Jl iji * j Blondel, is a good exa

365. Palais Bourbon : Plan.

A design
by Jean F.
example (Figs.
366, 367, and 368). The plan is
square. A small central elliptical
hall, carried up through basement
and ground floor, expands on the
first floor to a larger ellipse, with
a gallery round it giving access to
the bedrooms, and is covered by
an elongated octagonal lantern.

The enclosed, or partly en-
closed, court of honour was by
now very rare, but survived, for
instance, in the chateau of
Bagnolet, attributed to des Gots.

THE STYLE OF LOUIS XV.

383

J FEET

15
(METRES

366.

Design for Villa near Geneva, by F.
Blondel, Jqn. : Plan of Principal Floor.
From Mariette.

The screen, now
almost obsolete in
chateau design, was
here represented by
a colonnaded loggia
with a terrace above
it. As a rule,
chateaux were de-
signed on similar
lines to those of
the hotels in the
Faubourg St Ger-
main, and consist
of a single oblong
block with but
slight central and
terminal projec-
tions : such were
those of Stain by
Mollet, Petit Bourg
as remodelled by
the elder L'Assur
ance, and Sable by

des Gots. Like the hotels they are generally of the greatest sobriety of
design, sometimes as in the chateau of Bellevue, built for Mme. de
Pompadour by the younger L'Assurance (1748), of absolutely barrack-
like baldness, the most sparing use being made of orders, or of any
external decoration to mark the main divisions.

The chateau was always the centre of an extensive scheme of laying
out, while the skill with which gardens in confined town sites were also
turned to artistic account, and made to afford a sense both of space
and privacy, is quite remarkable. These designs were often made by
ordinary architects, such as Blondel and Cartaud, as well as those who
made a speciality of this subject, such as Le Blond and des Gots.

Stables, Chantilly. — The subsidiary buildings were as a rule
kept separate, and even at some distance, from the main block ; in most
of the above examples the court is enclosed only by a dry moat or rows
of chestnut trees.

If anything could be simpler in treatment than the majority of
chateaux of this period it would be their outbuildings. The stables of
Chantilly (Figs. 369, 370, and 371) are, however, a notable exception, and
at first sight one would be tempted to class them as one of the pompous
products of the Grand Reigne, were it not that Louis XIV. would hardly
have tolerated such megalomania in a mere subject. These stables,

384 RENAISSANCP: architecture in FRANCE.

367. Elevation. From Mariette.

'Lcrdffib

nHir

368, Section. From Mariette.

DESIGN FOR VILLA NEAR GENEVA, by Jean F. Blondei.,

THE STYLE OF LOUIS XV.

385

which are actually larger than the castle itself, were built by Aubert
(1719-35) for the Uuke of Bourbon, Louis XV.'s first Prime Minister.

It was said by a wit of the time that this great hunter must have
believed in the transmigration of souls, to house his dogs and horses in
such palatial style. The principal building is 590 feet long and accom-
modates 240 horses. In the central pavilion is a riding school with a
monumental entrance. On each side stretches an expanse of rusticated
wall 50 feet high pierced by ten huge arched windows and with terminal
pavilions. This range of buildings and the roadway converge at an
acute angle, and a circular building is cleverly placed at their junction to
form the transition between the end pavilion of
the stable and a similar one, set at an angle to
it, which acts as the gateway of the village.
This roofless rotunda, forming a riding arena
130 feet in diameter, is entered through three
giant arches framed in an order of detached
Ionic columns carrying an immense trophy.
Though no considerations consistent with
common-sense can justify its colossal propor-
tions— no beast smaller than a megatherium
could require vaulted halls 50 feet high with
doorways 25 feet high by 14 feet wide — the
simplicity in the distribution of its bold masses,
with rich ornament concentrated on one or two
points, and above all by its sheer scale, this
design is one of the most impressive of the
century.

Palatial Architecture. — In palace
architecture the earlier half of Louis XV.'s
reign was not productive. The King con-
tented himself with modifying and re-decorat-
ing his existing residences, and sought to cheat
his chronic ennui by varying the round of his

predecessor's chateaux with stays at Choisy, inherited from la Grande
Mademoiselle (Fig. 314), Petit-Bourg, bought from the Due d'Antin, or
Mme. de Pompadour's house at Bellevue. At Fontainebleau a scheme
drawn up by de Cotte for closing the fountain court by a new wing
at the edge of the lake with a stately double outer stair was not put
into execution, but a stone block — le Massif— z.didL&& later at its south-
western angle in the manner of Jacques Ange Gabriel (T on plan.
Fig. 61), deserves that its merits should be recognised, although it
supplanted the old Pavilion du Roi, and breaks the symmetry of the
court. The celebrated gallery of Ulysses was pulled down to make
room for a range of courtiers' apartments of careful but unexhilarat-

10 0 10 20 M) 40 W

u-._l 1 1 1 1 1 M Eir.ss

369. Chantilly: The
Stables, by J-
Aubert (i7I9-35)-
Plan. From Mari-

ETTE.

386

RENAISSANCE ARCHITECTURE IN FRANCE.

w «:

THE STYLE OF LOUIS XV.

387

ing design, matching the brick and plaster architecture of the White
Horse Court.

French Influence Abroad. — The great pageant of Louis XIV. 's
reign had so long held the European stage that the life of other
countries had to some extent become moulded to the French pattern.
Every sovereign, down to the pettiest German princeling, sought to
model his court on that of
the " Roi Soleil," and more
or less successful imitations
of Versailles, Trianon, and
Marly sprang up here, there,
and everywhere, while
French fashions in litera-
ture, etiquette, and dress
spread to neighbouring
lands and beyond them.
As had been the case
hitherto with Italians, so
now French architects,
decorators, and garden de-
signers were everywhere in
request. Louis XIV. was
the means of unintention-
ally aiding this dissemina-
tion of French art by the
Revocation of the Edict of
Nantes (1685), which made
life in France impossible
for Protestants who refused
to abjure their faith. The
first important swarm of
French designers working
abroad consisted of
Huguenot emigres includ-
ing Daniel Marot, who
went to Holland, and the
Du Ry family, who settled
in Cassel. They were

followed into a voluntary, and sometimes only temporary, exile by
many others throughout the eighteenth century, such as Le Blond,
Cuvillies, or Ixnard. Others again like J. H. Mansart, de Cotte,
Meissonnier, Boffrand, and Jean F. Blondel sent their designs from Paris
for execution abroad, with or without paying a preliminary visit.

Geneva. — French influence was naturally supreme in the border

372. Laon : Coach Entrance to an Hotel.

388

RENAISSANCE ARCHITECTURE IN FRANCE.

lands of French speech. Blondel, for instance, carried out several
houses at Geneva and in the country round it. A letter accompanying
plans sent by him to Monsieur Ami Lullin, the proprietor of one of
these — the Chateau de Saussure at Genthoud (1723) — shows that the
anxieties of the absentee architect were much the same then as now.
"I request that you will have everything carried out exactly as drawn, or
not at all, because if anything is altered, the whole beauty will be lost."
Several patrician houses in the Protestant city, such as Nos. 2, 4, and
6 Rue des Granges, built on a uniform design (17 21), and the Hotel

de Saussure (Rue de la Cite,
1707) by Abeille (Fig. 373),
attest the spread of French
teaching, as also does the
hospital, now Palais de Jus-
tice, by Venne (1707-12), an
example of an admirable
composition of Puritan aus-
terity with no other decoration
than its smooth rustication.
Lorraine. — Lorraine,
though often occupied by
French troops and very open
to French influence, re-
mained till 1730 an indepen-
dent duchy, and it was not
till 1766 on the death of
Stanislas Leczinski, ex-King
of Poland, and father-in-law
of Louis XV., who had been
appointed to succeed the
native line on the ducal
throne, that it became a
French province. The bril-
liant little court of Nancy
and Luneville did much to
encourage the arts ; the last
three dukes were great builders, and their buildings illustrate the ten-
dencies of contemporary French work.

Duke Leopold (1679-1729), first called in J. H. Mansart (about
1700), who designed his chateau of Luneville (now barracks) and the
cathedral of Nancy. Mansart was succeeded by Boffrand, who
completed these works and made a design for a new palace to replace
the old castle of Nancy, with its court on the site of the later Place
du Gouvernement, and the Louvre motive for its external elevations.
It was to face the tourney ground or Carriere, on either side of

373. Geneva : Hotel li: Saussure.

THE STYLE OF LOUIS XV.

3^9

which, at the further end, he built a pair of hdtels of similar design
to the palace front, but on a smaller scale (a and b on plan. Fig.

375)-

BoFFRAND AND Here. — The ducal palace was barely begun
when financial and political circumstances caused its abandonment.
A country house near Nancy, " la Malgrange," designed for Leopold
by Boffrand, was for the same cause never completed. One of the
designs for it is interesting as illustrating Boffrand's taste for curious
planning (Fig. 374). It consists of a large circular domed saloon in
the centre, surrounded by two tiers of galleries divided from the
central space by twenty-four coupled columns. From this radiate
four diagonal ranges of rooms eti enfilade, forming two V's, between
whose legs and in the main axis, were at one end the vestibule, and
at the other a staircase and gallery. This building was evidently

374. Design for "La Malgrange," near Nancy, by G. Boffrand: Plan.

designed as the centre of a radiating garden scheme, and in this
respect resembles Boffrand's design for a hunting lodge which was
begun, but never finished, for the Archduke Maximilian Emmanuel
at Bouchefort, or Boisfort, near Brussels. This was octagonal with
a central circular saloon and tetrastyle porticoes on alternate sides.
It stood at the centre of a circular open space on which seven avenues
converged, the auxiliary buildings being placed in the angles between
them. Both these designs were exceeded in eccentricity by the
smaller buildings carried out for Stanislas in the gardens of Luneville,
Boffrand's pavilion, known as the "Trefle," with hardly a single
straight line in its trefoil plan, is not only an extreme instance of
rococo planning, but, like the so-called " Kiosque " by his successor,
illustrates the fashion for Oriental art. The "Trefle" is decorated

390

RENAISSANCE ARCPIITECTURE IN FRANCE.

Jjri

internally in a pseudo-Chinese style and had a convex pointed roof
with wavy eaves. A roof of similar form is the only Turkish element
— unless it be a tile-lined bath — in the " Kiosque," which was supposed
to be built a la Turque. Its internal decoration, in its attempt to be
Oriental, merely achieves a kind of hybrid between the Louis XV. and
Louis XIIL styles. The square pavilion of Chanteheux, closing the
vista of the gardens of Luneville, consisted of
three storeys of nine, seven, and three bays
respectively ; each had a flat balustraded roof,
and the buildings thus formed a pyramid of
three steps, whose walls were almost entirely
covered with rococo decoration ; whether this
was carved or painted does not appear.

Here's Work at Nancy. — In Chanteheux,
the Kiosque and other works, some of which
were quite puerile, Emmanuel Here de Corny
(1705-63), who succeeded Boffrand as architect
to Stanislas, was satisfying the lighter caprices
of a master whose taste was not always of the
best, but he showed capacity of a high order
in tackling the more serious tasks entrusted to
him, and it is to the works carried out by him
(1750-7) that Nancy owes its unique charm.
He followed closely in Boffrand's footsteps in
the design of the edifices with which he em-
bellished the city, while his masterly treatment
of the site of the derelict fortifications and
tourney-ground was also a development of
what Boffrand had begun (Fig. 375). He com-
pleted the sides of the Carriere with symmetri-
cal rows of houses, and laid it out as a public
garden bordered with balustrades and statues.
At the north end, instead of the ambitious royal
Boffrand and palace with a closed court, he placed a smaller
Here de Corny, one for the Governor with an open forecourt,
Plan. From Patte. formed by connecting it at each end with the
pavilions of the Carriere by a screen en hemi-
cycle (Fig. 376). The quiet and dainty architecture of the Governor's
hotel with its three orders seems to have been suggested by the court
elevation of Boffrand's palace. A colonnade forms a portico the
full length of the front and is carried round the screens inside and
out. At the south end of the Carriere, a triumphal arch leads be-
tween two blocks of low buildings into the Place Royale, now Place
Stanislas, in the centre of which stood the statue of Louis XV. On

SCALE OCFCeT

375

Nancy : Lay-Out
OF New Town, by

THE STYLE OF LOUIS XV. 39 1

either side are a pair of symmetrical hotels with a street between
them each leading to another triumphal arch (the Fortes St Stanislas
and Ste Catherine). Two more start from each of the southern corners
at right angles to each other and on either side of the H6tel de Ville,
which occupies the whole southern side. A scheme of this kind
might have been intolerably monotonous, and the open angles might,
as they so often do, have produced a very disagreeable effect. It is in
the manner in which he has avoided these pitfalls that Here showed
his originality. The former is avoided by a crescendo in the size of
the building from north to south, the latter by half closing the angles
by means of elaborate wrought-iron grilles of quadrant plan (Fig. 356) ;
the two northern ones forming frames to stone fountains. These
grilles, whose design and workmanship are equally admirable, were
made by the ironworker, Jean Lamour of Nancy (1698-1771), who
beautified innumerable buildings in his native city with his light and
fanciful works in the form of railings, grilles, balconies, window
and stair rails. The most ambitious and elaborate, if not the most
successful, of these works is the continuous stair balustrade at the
Hotel de Ville, nearly 80 feet long, which sweeps up in an unbroken
curve dividing right and left after the first landing to meet again in
the gallery above.

For the architecture of the Place Royale Here took his cue from
Boffrand's Royal Palace and private mansions. Like them its build-
ings have a rusticated arcaded ground floor, and above an order of
Corinthian pilasters embracing the round-headed first floor and
segmental second floor windows, carrying a balustrade and vases of
fantastic design. The setting out of the long facade of the Hotel
de Ville (Fig. 379) reminds one of the colonnade of the Louvre, but
the central pediment is crowned, not very felicitously, by a clock turret
composed of scrolls, rather a favourite device with Here.

In addition he carried out a number of works both for the duke
and for private persons in Nancy and Luneville and in other parts of
Lorraine. Among others was a new and much less imposing house at
Malgrange, of which all that remains is the commu?is, now used as a
hospital.

It is noticeable that the whole of Stanislas' work in Lorraine is still
in the full rococo manner at a time (viz., after 1750) when it was
steadily declining in France proper and especially in Paris.

Public Works in France. — Works of the kind carried out in their
capital by the dukes of Lorraine were rather the forte of Louis XV. 's
not over efficient government. Municipal and other public buildings
and monuments were erected in many of the large towns, usually at the
instigation of the royal " Intendants," often as part of a scheme of
improved laying out, for which the nucleus, as at Nancy, was a Place

392

RENAISSA^'CE ARCHITECTURE IN FRANCE.

Royale with a statue of the King. There was quite an outburst of
these schemes to celebrate the Peace of Aix-la-Chapelle (1748), which
concluded the war of the Austrian Succession, but was not quite so
glorious for the King of France as his still admiring subjects seem to
have imagined. The architect Pierre Patte published a collection
of engravings and descriptions of such schemes, which are of great
interest as illustrating the ideas of the architects of the time. Those

later than 1750
show, as a rule, the
effects of the classi-
cal reaction. Many
of them remained
incomplete owing to
the growing financial
straits of the govern-
ment, and the wan-
ing popularity of a
king once known as
le Bien-ahne.

Bridges, Foun-
tains.— A large
number of bridges
were built at this
period, and some
are of considerable
architectural merit.
In some cases they
constituted part of a
scheme of town
planning, as at Or-
leans, where the
bridge forming the
approach to the city
is guarded by sym-
metrical gate-
keepers' lodges, and
prolonged by a street of uniform design, cut through the crowded
mediaeval quarters, beginning on the quay between a pair of twin build-
ings, and ending in the Place du Martroi between another pair (i 751-61).
Several of the leading architects took up bridge design. Boffrand
designed the bridge over the Yonne at Sens, and J. J. Gabriel among
many others those over the Loire at Nantes (1726) and at Blois (17 17).
In the latter instance he placed a sort of obelisk at the crown, enriched
with sculpture by Guillaume Coustou. On a bridge at Juvisy (1728),

377. Rouen : Pontaine de la Grosse Horloge.
From the Cast in the Musee de Trocadero,
Paris.

THE STYLE OF LOUIS XV. 393

on the road from Paris to Fontainebleau, a little monument of a similar
outline with charming sculpture, also by a member of the Coustou
family, is set in the middle of the parapet on each side. In this case
they are not merely decorative, but pour forth a jet of water through
a mask in the base.

Among monuments of the fountain class erected at this time in
Paris was a chateau d'eau opposite the Palais Royal, />., a reservoir
with an architecturally treated fagade. It was designed by R. de Cotte,
and depended for its effect mainly on the playful alternation of plain
courses with others of boldly vermiculated rustication.

The type of surface treatment imitating icicles, stalactites, or water
mosses, known as congelations^ is a favourite device of the period in
works of this class. In the Fontaine du Vertbois at Paris it is
combined with vermiculations, and is used with charming effect in a
fountain at the manufactory at Sevres, and also in the Fontaines des
Augustins and de la Grosse Horloge at Rouen (Fig. 377), and the
Fontaine de la Bourse and several others at Bordeaux.

City Improvements : Rennes, Dijon, Lyons. — Rennes, after a
great conflagration in 1720, was rebuilt on a rectangular plan, and
embellished by Gabriel, who surrounded the square in front of de
Brosse's Palais des fitats with uniform hdtels, and formed another,
opening out of it, one side of which is occupied by his new Hotel de
Ville. Between two plain blocks of three storeys, and five windows wide
is a broad, curved recess. In the centre of this was the royal statue in
a niche between rusticated piers, carrying coupled giant Doric columns
with a pediment ; above this rises an open circular campanile in two
storeys. At Dijon, Gabriel made important additions to the Palais des
Etats, including the great staircase (1735-7). At Lyons, the great
square Place Louis le Grand (now Bellecour) was built from de Cotte's
designs (1713-28).

Bordeaux and Nantes. — Bordeaux, which had preserved its
mediaeval aspect, and was a mass of tortuous streets crowded within
fortifications, was transformed between 1730 and 1760, in accordance
with the designs of J. J. Gabriel, into a handsome modern city with
open spaces, wide streets, and imposing public buildings. The Place
Royale may be described as half the Place Vendome placed on a quay,
with its side pierced by two streets, leaving one house between them.
Its elevations, too, are followed with the substitution of a balustrade
for the unsatisfactory row of dormers, and of a majestic Ionic order
with hanging garlands for the Corinthian. It is terminated at each
end by the fine block of the Hotel des Fermes (now Custom House)
and the Stock Exchange (Fig. 378), enriched with sculpture in the
pediments, panels and key-blocks by Verberckt, the decorator of
Versailles. This group of buildings is connected with the semicircular

394

RENAISSANCE ARCHITECTURE IN FRANCE.

378. Bordeaux: Bourse, by J. J. Gabriel (c. 1740).

Place de Bourgogne and its triumphal arch further up stream, over
three hundred houses of uniform design being built along the quay
(1743-6), thus constituting one of the most stately water frontages
possessed by any seaport town. Gabriel also laid out the public gardens
and decorated them with appropriate screens and pavilions, of which

THE STYLE OF LOUIS XV, 395

the portico of the Riding School is a relic ; several of the six town gates
built at that time still remain. At Nantes, Gabriel also made a scheme
for laying out the new quarters to the west of the city, including houses
along the quays similar to those at Bordeaux.

Toulouse, &c. — At Toulouse the great square was regularised,
and one side of it formed by a new front 400 feet long, added to the
Capitole, or Town Hall (Fig. 380), by a local architect. Gammas
(1750-3). This majestic facade is a rendering of the Louvre motive,
like its contemporary at Nancy, but in a pilastered instead of a columnar
architecture, the order being Ionic. The three projections are much
more strongly marked, and break forward with curved sweeps, concave
at the centre, convex at the ends. The pediments of the latter are
curved, and all three are surmounted by massive sculpture. The use
of brick, in alternate courses in the lower storey, and as walling in the
upper, give a local colour, and a warmth somewhat lacking in the
northern example, but the delicate detail and graceful rococo fancies
of the latter are absent, and the whole treatment is in a more emphatic,
almost barocco, spirit.

In an age when one formula was followed everywhere for monu-
mental facades, the ground storey acting as a pedestal to a giant order
embracing the two upper ones — and when it was applied to public
buildings, palaces, and even private houses, not only in great cities,
but even to the town hall of such an insignificant country town as
Aire-surla-Lys, it is refreshing to meet with any departure from
the rule, such as the return to the large trophy panels, carrying a
pediment, loved by J. H. Mansart, in the additions to the little
Hotel de Ville of Abbeville (1747). This motive was still of fairly
common use in lesser monumental architecture, as in the Porte
Guillaume le Lion and the entrance to the Lycee at Rouen.

The Hotels, Dieu of Troyes and Besangon, built about this
period, are of even greater simplicity, but not devoid of a certain
severe grandeur, their only ornament being very rich wrought-iron
railings.

" Place Louis XV." Competition. — The culmination of the
movement for monumental planning was the competition held by the
city of Paris for a design for a place pour le rot (1748) without any
specific programme, which resulted in over fifty designs, suggesting
among them about a score of different sites for the King's statue.

Patte's book gives a plan of Paris on which are marked nineteen
of the schemes submitted, accompanied by fuller illustrations of nine
of them, and one of his own combining different points in several of
the others. From a study of these documents one cannot but derive
a very high idea of the general level of architectural talent available
at the time. The uniform magnificence of these stately architectural
27

396

RENAISSANCE ARCHITECTURE IN FRANCE.

THE STYLE OF LOUIS XV. 397

dreams, and the ingenuity in utilising them for the practical needs of the
city there revealed, are positively startling when one considers that most
of the competitors are not otherwise known to fame. Among the ablest
submitted were no less than three alternative designs by the veteran
Boffrand. In one he proposed to recast the Place Dauphine, so as to
form an approach to the Palais de Justice. His second was an attempt
to meet one of the most crying needs of the capital, the remodelling of
the congested and ill-built quarter of the Markets. In a third he
suggested a solution of the old problem of the junction of the Louvre
and Tuileries, providing at the same time an opera house and an art
gallery in a pair of symmetrical buildings.

Other architects also took the Louvre as their point of departure,
but proposed to lay out a square in front of the Colonnade. Other
designs again proposed a circular or quasi-circular place at the
meeting of several streets ; or again, a square or crescent opening on
to the river; and some involved the junction of the islands of the
Cite and St Louis. Most of them had an Hotel de Ville or other
public building as their chief feature. One design, submitted by
Servandony, was quite different from the rest, and consisted of a sort
of open amphitheatre or circus, to be used for popular spectacles.
Most of the schemes, necessitating as they did the destruction of large
and populous quarters, were judged impracticable, and a free site,
such as that contemplated by Servandony, being found in the waste
land beyond the Tuileries gardens, a new competition was held for
laying it out, the outcome of which, belonging stylistically to the age
of Louis XVI., will be described in the next chapter.

CHURCH ARCHITECTURE.

Religious Conditions. — The religious state of France under
Louis XV, was not calculated to inspire a really great church architec-
ture, though large sums were continually being spent on places of
worship. Catholicism, it is true, still maintained its hold on the mass
of the population, but the bulk of the upper classes was divided into
sceptics or deists, who, like Voltaire, conformed to a minimum of
church observances because it was the custom, and libertines, like
the King, who compounded with Heaven for their excesses by spasmodic
fits of devotion or costly sin-offerings ; while the religion of the
remnant, who like the Queen, Marie Leczinski, were sincerely pious, ■
was devoid of any real intellectual basis, and consisted largely in
external forms, ascetic and superstitious practices, and indiscriminate
almsgiving. The decreasing part which religion played in the lives
of the nobility is illustrated by the fact that in private mansions the

398

RENAISSANCE ARCHITECTURE IN FRANCE.

chapel had been reduced to an elegant niche in a dining-room or
" salon," if it had not disappeared altogether.

Character of Church Architecture. — Under these conditions
it is not surprising that religious architecture, by applying the fashions
of the day, should produce results which, if interesting from a
monumental or decorative point of view, seldom have a devotional
character as it is understood to-day.

The architecture is, as a rule, severe, and at times even gloomy, but
the decoration conforms to the fashionable rococo style. Unsuitable
as that may appear to modern ideas, it must be remembered that

it would, at the
time, have no in-
congruity even in
the eyes of the
devout. Never be-
fore the nineteenth
century was it
thought necessary
that religious art
should differ in
character from secu-
lar, and it was as
inevitable that the
design of churches
should be influenced
in the eighteenth
century by that of
the drawing-room as
by that of the bath
or the law - court
under the Roman
Empire, or oy
Humanistic ideas in
the sixteenth. Yet
there wt re found
writers who, from a
purely sesthetic
point of view, pro-
tested against the
introduction into
the church of orna-
ments appropriate

Paris : Notre Dame, Stalls, uy to the boudoir or

R. DE Cotte (1700-10). the theatre, and it

381.

THE STYLE OF LOUIS XV. 399

was precisely in church design that the reaction against rococo hcence
first asserted itself.

Monastic Architecture, &c. — One result of the spiritual deadness
of the eighteenth century was the decay of the Religious Orders. While
their membership steadily declined, the value of Church property had
greatly increased, and since laws against mortmain prevented the
Church investing her superfluous wealth in land, abbots and bishops
devoted it to renovating or enlarging their buildings on a scale com-
mensurate with the secular splendour with which they surrounded
themselves.

These edifices partake of the general character of domestic work,
and are usually of very sober aspect, but at the same time imposing
by their great size. Among these were the Abbeys of Premontre,
with a giant order of pilasters running through its three storeys ; of St
Etienne at Caen (finished 1724), by the monk G. de la Tremblaye,
with richly decorated panellings, which is now used as a hospital and
lycee ; of St Denis by R. de Cotte ; of St Ouen at Rouen, with
two stone staircases remarkable for their design and construction, now,
with an altered fagade, used as Hotel de Ville ; of Brantome, which
also has two fine staircases, and a dormitory with an ingeniously
designed open timber roof; the episcopal palaces by de Cotte at
Toul (now Hotel de Ville), at Strasburg (now Museum of Antiquities),
and at Verdun. Many of the great sacristies, which are a distinguish-
ing feature of the Breton churches, and are often planned in some
curious geometrical figure, as for instance at La Martyre, Guimiliau,
and Sizun (Fig. 182), date from this period.

Traditional Types of Churches. — In church architecture the
same phenomena are observable as in secular. Till the middle of the
century the compromise between academic classicism and current
fashions, the combination of a fairly correct classical architecture with
rococo decoration, is almost universal, and the formulae of plan, section,
and elevation established in the seventeenth century are usually followed.
At the same time there were here and there architects feeling their
way after new types, and this occurs more especially in provincial
centres where the Academy's influence was less powerful.

Instances of the traditional arrangement as regards the interior of
churches may be seen, amongst many others, in the cathedral of
Versailles, by Jacques Hardouin Mansart de Sagonne (grandson of
J. H. Mansart), and in that of La Rochelle, by Gabriel (Jules
Jacques ?).

Colonnaded Interiors. — The system introduced by J. H. Mansart,
the elder, at Versailles, of a vault springing from the entablature of a
colonnade, and not from that of an order of pilasters, was followed
by Boff'rand in the chapel of the chateau of Luneville, which was little

40O

RENAISSANCE ARCHITECTURE IN FRANCE.

382

Paris : Chapel in St
Jean-en-Greve (now
destroyed), by
Blondel(i733).
From Blondel.

J. F.
Plan.

more than a reduced edition of its proto-
type. Something of the same kind was
done by Jean Francois Blondel in a chapel
he added to the church of St Jean-en-
Greve at Paris (1733) (Figs. 382 and 383).
The nave was oblong in plan with rounded
angles and was separated from the raised
aisles which ran round three sides, and the
vestibule on the fourth, by an arcade with
columns standing in front of the piers and
solid convex pilastered blocks in the angles
aligning with the columns. The frieze in
the entablature of this order took the form
of a deep cove, thus reducing the area of
the ceiled timber clearstorey, by means of
which the chapel was lit, no sidelights being
obtainable. The decoration throughout,
and especially that of the cove and the altar,

was of the fashionable rococo type, similar to the contemporary work

in the drawing-rooms of the Hotel de Soubise.

In another group of churches the vaulting is also made to spring

from a colonnade, but

the naves and aisles

being approximately of

the same height, and

the arcade springing

from the same level as

the vault and thus in-
tersecting them, the

effect is quite different.

In the Madeleine

Church at Besancon

(1766), a large and

remarkable cruciform

church with aisles and

chapels, whose severe

exterior contrasts

oddly with the rococo

surface decoration of

its vaults, the arcade

and vaults spring from

a blocking course over

the entablature of an ^83. Paris : Chapel in St Jean-en-Greve.

order of coupled Ionic Section. Frcm Blondel.

THE STYLE OF LOUIS XV.

401

columns (Figs. 384
and 385). The
church is lit partly
by the chapel win-
dows, partly by cir-
cular lights above
the chapel roof in
the tympana of
wall arches, corre-
sponding to the
nave arches, and
by others in the
drumless dome
over the intersec-
tion. The arrange-
ment at St Jacques
at Luneville, by
Boffrand (begun
1730), and St
Sebastien at
Nancy, by Jean
Nicolas Jennesson
(1720-31), are simi-
lar, but in these
cases the columns
are single, and the
vaults and arches spring direct from their capitals.

ViGNOLAN Facades. — In Paris there was little occasion to build
new churches, but many of the unfinished seventeenth
century churches received new fagades between 1715
and 1755. VVith one or two exceptions, such as the
Church of the Capuchin Nuns, opposite the north
entrance to the Place Vendome (1722), by an un-
known architect, which followed the type introduced
by F. Mansart at Ste Marie, they are more or less
skilful studies in the familiar two-storey basilica type.
Such are the fronts of Notre Dame des Victoires by
Cartaud, of St Roch (both 1739), designed by R.
de Cotte and carried out after his death either by
"''iT". . . ^HrlT^ his son, Robert Jules, or by J. J. Gabriel; that of
the Oratoire, also attributed to de Cotte and carried
^ ^ MAr^ELMNE ^^^ ^y Caque (1745). and Boffrand's completion of
Church the chapel of La Merci, whose lower order with
(1766): Plan, elliptical shafts was by Cottart. The best of these is

384. Besancon

Madeleine Church.
LOOKING East.

Interior

402

RENAISSANCE ARCHITECTURE IN FRANCE.

that of Roch (Fig. 386), which, however, has since been altered for the
worse, notably in the statuary on the outer angles, which, as originally
designed, gave an excellent example of rococo methods, not only by
the balance between dissimilar forms, but by the care with which their
graceful and lively movement was made to carry on and complete the
rhythm of the pediment and volutes. It is curious to note that there
is much more rococo feeling in this composition than in Oppenordt's
two transept fronts at St Sulpice (1719-36), where this master of the
violent and contorted suppressed his usual proclivities and produced
rather frigid results.

Meissonnier's Facade for St Sulpice. — Very different from these is
a design prepared by Meissonnier for the west front of this church (i 726),
in which the same formula, with the addition of one-storeyed pavilions on
either side in a line with the chapels, is expressed in terms of rococo art
(Fig. 387). He contrived to invest this extraordinarily clever scheme with
the sparkling vivacity, the rhythmic swing, the plasticity characteristic of
his work as a whole, without resorting to any extreme methods. An exami-
nation of it reveals that its elements are preponderatingly pure and even
severe: its straight lines, both horizontal and vertical, are strongly marked,
the entablatures run through uninterrupted, the openings and panels are
rectangular, the orders follow classical models, the pediments are simple and

unbroken, "rocaille"
ornament hardly
makes its appearance
at all. But typical
rococo effects are pro-
duced by elaboration
of the plan and of the
sky-line, where com-
bined and contrasted
curves together with
frequent breaks are
introduced. The
nave front is concave
and terminates in a
sort of curvilinear
gable, containing a
glory, and rich with
volutes and flaming
vases, giving the
effect of a great
niche, into which the
386. Paris : Facade of St Roch, by R. de Cotte convex porch nestles.
(1739). Elevation. From Blondel. In the pavilions the

THE STYLE OF LOUIS XV.

403

treatment is reversed,
for the concavity is con-
fined to the lower part,
while the upper consists
of a feature of circular
plan with angle but-
tresses. On these stand
bescrolled clocks
guarded by fluttering
angels with garments
blown about by the
wind. Meissonnier also
proposed to touch up
the older parts of St
Sulpice into harmony
with this facade, by
adding curvilinear dor-
mers to the transepts
at the foot of a roof
shaped like a great wave
surging up, with a ges-
ticulating angel on its
crest, to a florid open
lantern over the inter-
section.

Other Facades. —
Neither this nor any
building of so pro-
nounced a rococo char-
acter was carried out,
and the front of the

aisleless church of St Louis du Louvre was the nearest approach to it.
It was built (1740) by Thomas Germain, more celebrated as a goldsmith
and sculptor than as an architect, to replace the old Gothic church of
St Thomas du Louvre which had collapsed the year before during
mass on the heads of the canons, kiUing seven of them. The whole
of its front was convex, but in the lower storey the curve swung out
again into concave wings.

The cathedral of St Louis at Versailles (1743-54), where, as at
St Sulpice, the tower was in the line of the chapels, by Jacques
Hardouin Mansart de Sagonne, follows all the established practices of
plan and arrangement, and is distinguished from the ruck only by its
happy proportions. The architect closely followed his grandfather's
work at Notre Dame in the same town, even to the squat proportions

387. Paris : Design for Facade of St Sui.pice,
BY J. A. Meissonnier (1726). ■ No Scale.

404

RENAISSANCE ARCHITECTURE IN FRANCE.

of the domed towers. But his interior is better lighted and less
ponderous. The central portion of the fagade, which, by being set
forward a little, detaches itself better from the towers, is very similar
in its design to that of St Roch ; but with columns of bolder pro-
jection and closer grouping it obtains a stronger vertical emphasis,
and is one of the most pleasing, as it is among the latest of its class.

The church of St Martin at Langres has a fagade of this type of
great simplicity, but with a tower on one side only. This is a good
three-storeyed structure with buttress-like diagonal angle piers, carrying
vases and a graceful open lantern.

The facade of the aisleless church of Notre Dame de Bonsecours
at Nancy, an early work by Here (1728), built to contain the tombs
of Duke Stanislas and his wife, has an order of four engaged columns

carrying an attic,
from the centre of
which rises a tower
of three storeys, the
lower flanked by
volutes, the upper
treated with an
order and capped
by a bulbous coni-
cal roof.

A rococo ver-
sion of the twin-
tower fa(;ade with
towers in the line
of the aisles is that
of Here's St Jacques
at Luneville (1745).
The lower part is
rather severe : the
nave front has a
giant order and
pediment, and the
towers are square ;
but above they be
come unusually
florid, the central
storey being circu-
lar with engaged
angle columns, and

Versailles : Palace Chapel. Organ Case '■"^ upper one
DESIGNED BY R. DE CoTTE (1710). carrics 3. highly

THE STYLE OF LOUIS XV.

405

enriched pointed cupola. This strange composition is, however, quite
exceptional.

Church Fittings. — The churches of this period exhibit the
various rococo types of decoration in their embellishments and
fittings. Something of their character may be judged from the fittings
of the chapel of Versailles, especially its organ case (Fig, 388), and of
the choir of Notre Dame (Fig. 381), both of which date from the first
quarter of the century, and are exquisite examples of the transition from
the Louis XIV. to the Louis XV. style. Specimens of fully developed
Louis XV. wood fittings may be seen in the stalls of Verdun Cathedral,
and a church (now Protestant) at Dijon, and in the pulpits at St
Maximin. Louis XV. altars with baldacchinos are frequently to be
met with, for instance
in the cathedrals of
Angers and Cambray ;
the church of St Bruno
at Lyons contains a
very fine example de-
signed by Soufflot.
The design reproduced
in Fig. 389 is a typical
one. There was a
tendency to replace
architectural reredoses
and baldacchinos by
compositions made up
chiefly or entirely of
"glories" of sun-rays
and clouds mingled
with figures of saints
and angels with flutter-
ing draperies, as at St
Maclou at Rouen and
Chartres Cathedral.

A strong desire was
manifested at this time
for having churches
with clear, uninter-
rupted vistas, which
accounts for the prefer-
ence for iron screens,
many examples of
which are extant, e.g.,
in Nancy, Amiens, 389. Design for Altar (c 1730).

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RENAISSANCE ARCHITECTURE IN FRANCE.

and Toulouse Cathedrals, St Wulfran at Abbeville, St Ouen at Rouen.
This fashion had the unfortunate result of bringing about the destruc-
tion of many fine stone screens, such as that in St Germain I'Auxerrois
by Lescot and Goujon. Sometimes a rood-screen was dispensed with
altogether, and a curved rood beam such as those of St Maclou and
St Vincent at Rouen, the former composed of scrolls, the latter of palm
branches.

The Age of Louis XV. produced a style, which, like the artificial
society of the day, has much that is attractive, and is far from deserving
all the abuse so freely levelled at it. Even in its monumental work,
when at its best, it falls little short of austerer periods. But if it can
occasionally impress, it seldom fails to charm or to amuse. The
sprightly badinage of a Voltaire was its literary expression, not the
sonorous eloquence of a Racine; and it is in a dainty playfulness and
in finished elegance that its architecture excels.

389A. Decorativk Panel 1!V WATU.Ai

390. Decorative Composition by J. C. Delafosse.

CHAPTER VII.

STYLE OF LOUIS XVL (1730-1790).

KINGS.

Louis XV. (1774).
Louis XVL (1774-1792).

QUEENS.

Marie Leczinski of Poland.
Marie Antoinette of Austria.

CONTEMPORARY ENGLISH SOVEREIGNS.
George IL (1727-1760), George IIL (1760-1S20).

INTRODUCTORY: STYLISTIC DEVELOPMENT AND
CHARACTERISTICS.

Historical Sketch. — The later years of Louis XV. were a time of
political stagnation, but of great intellectual activity. The infiltration
of English political ideas, the works of Montesquieu and Voltaire, the
Encyclopaedists and Rousseau, were producing a great ferment of ideas
among the educated middle classes, whose importance was steadily
growing, and even among the aristocracy, with the result that the
existing social and political system was coming to be regarded as an
anachronism. The selfish and vicious life of the King rendered him
increasingly unpopular, and when, regretted by none, he fell a victim
to the small-pox in 1774 all eyes were turned hopefully to the new

407

408 RENAISSANCE ARCHITECTURE IN FRANCE.

reign. His grandson, who succeeded as Louis XVI., though virtuous
and well-meaning, was of limited intelligence and at once obstinate and
unstable. The incapacity and vacillation of constantly changing
ministries, their inability to cope w'ith ever recurring deficits, the
frivolity and extravagance of the Queen and Court, the factious conduct
of the nobility, the sympathy aroused by the revolt of the American
colonies, economic depression and a series of bad seasons were some
of the causes which precipitated the cataclysm called the French
Revolution in which the monarchy and the whole fabric both of the
State and of society was engulfed.

Puristic Reaction. — This period is marked architecturally by a
reaction towards antiquity and simplicity ; and though the reign of
Louis XVL covers but a small portion of it, the style which resulted
from this reaction has by common consent received his name. Its
beginnings may be traced in the second quarter of the century when
the Palladian-rococo compromise was generally accepted in France,
and barocco and rococo held undivided sway in Germany, Belgium,
and Spain. Meanwhile a severe classicism was practised in England
and Holland, and in Italy herself a reaction against Borrominianism
was in progress, due rather to a new appreciation of the spirit of
the ancient monuments than to a revival of Palladian doctrines. This
movement, which soon spread to France, received a great impetus
from the recovery of long lost and unsuspected treasures of ancient art.
The discovery of the buried cities of Herculaneum (17 19) and Pompeii
(1748) and the rediscovery of the forgotten temples of Pjestum (1750)
were followed in the second half of the century by a series of similar
events.

Works on Antiquity. — This revived interest in antiquity was
stimulated, and intelligent appreciation extended, by the appearance
of critical works on ancient art like those of Winckelman and Lessing,
which were rapidly translated into French, of archccological books like
that of Dandre Bardon on ancient costume, of travels like those of
Caylus in Greece and Asia Minor, as well as of architectural works
containing measured drawings of ancient buildings such as Cochin's
and Soufflot's on Paestum, J. D. Le Roy's on Greece, Wood's on
Palmyra, Stuart and Revett's on Athens, Adam's on Spalato, Houel's
and d'Orville's on the Sicilian temples, and Piranesi's engravings of the
ruins of Rome with his designs based on them.

Collapse of Vitruvian System. — Antiquity began to appear in
an entirely new light, and architectural thinkers realised that they had
hitherto been accepting a mere fragment of the performance of Rome
as fully representative of the whole architecture of the classical ages.
They now saw that the departures from Vitruvian canons already
observed were not isolated aberrations; but that the ancient archi-

THE STYLE OF LOUIS XVL 409

tects, and especially the Greeks, had been wholly unconscious of such
canons. Instead of handing down to posterity the vivifying principle,
which had brought the whole glorious art of antiquity into being,
Vitruvius was seen to have nothing to offer but a sort of pemmican,
compounded out of a few specimens, and those not all of the first quality.
It was nothing short of a revolution, a revolution such as that brought
about in theology by the recovery of the Scriptures in the original
tongues, or in astronomy by the discoveries of Copernicus. The whole
edifice of rules and orders, proportions and modules, so laboriously
built up by a long line of writers, stretching from far away Alberti to
Briseux in their midst, was seen to be raised on phantom foundations,
and down it came about the ears of the architectural world like a house
of cards, leaving heretical rococoists and orthodox academicians alike
homeless and abashed.

Promotion of Archaeological Study. — These revelations, far
from discouraging the study of antiquity, only convinced men that much
more might be learned from ancient monuments than the academic
school had supposed. More than this, it was the opinion of many
thoughtful persons that the restoration of a simple and noble style
could only be attained by such study. An ardent exponent of this
view was the Comte de Caylus, scholar, traveller, and collector, who
went about preaching it in learned and artistic circles.

Of great importance, too, owing to her influential position at Court,
was the conversion of Madame de Pompadour to classical purism.
She sent her brother, afterwards Marquis de Marigny, in company with
the engraver Cochin and the architect Soufflot, to study " true beauty "
in Italy (1748-51) as a preparation for filling the post of Director-
General of the Royal Buildings, Gardens and Works of Art, with the
result that during his long tenure of ofiice he constantly exerted his
influence in the direction of Classicism.

Rationalistic Attack on Palladianism. — The old academic
position was, however, also attacked from another quarter. Appear-
ing at this moment, the " Essai sur I'Architecture " of the Jesuit
Abbe Laugier (Paris, 1752), though expressing views not altogether
new, struck with special force. His attitude is ruthlessly rationalistic.
Nature, and not the practice of the ancients, which is full of sins
against common-sense, is the only safe guide. Architectural design
must be based on logical principles, and tested by reference to the
primitive type of construction, the timber hut. It must admit none
but functional elements, and only those which perform their apparent
functions, and are best adapted to that purpose. He banishes almost
all ornament, almost all curves ; the pediment, except as the termination
of a roof of like pitch ; pilasters, giant orders, ressauts, volutes.

Influence of Rousseau. — Other influences operating on society at

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RENAISSANCE ARCHITECTURE IN FRANCE.

large contributed to the mould-
ing of a new style. Among
these was the popularity of the
writings of Jean Jacques Rous-
seau. He preached the doc-
trine of a healthy mode of life
in accordance with the dictates
of nature, and freed from the
artificialities of an over-refined
civilisation. He proclaimed
the virtues of an open-air exist-
ence and of rural pursuits. He
opened men's eyes to the
beauties of wild landscape,
and to the picturesque and
romantic aspects of nature,
and inaugurated the age of
sensibility. The tastes thus
created found expression in
design by a greater simplicity
in the architectural line, by
the introduction in decoration
of sentimental emblems (Fig.
391) and rustic objects (Fig.
390), and by the substitu-
tion of informal for formal
gardening.

English Influence.
— Another influence was the
Anglomania which had in-
vaded French society, precisely
perhaps because English ideas
tallied in so many points with
those which were in the air in
France. The puristic bias of
English classical architecture,
the tearful sentiment of Rich-
ardson's Clarissa, the English
cult of country life, and the English invention of the so-called landscape
garden were among these points of contact.

Resulting Stylistic Development. — Under these various influ-
ences persistent efforts were made to expel what were regarded as the
excesses and bad taste of the rococo fashion, and to make architecture
and decoration simpler, severer, more classical. Architects exhibited

j9i. Arabesque by J. P. Cauvet.

THE STYLE OF LOUIS XVL

411

an increasing submission to the guidance of antiquity, with whose
monuments there was now a wider and minuter acquaintance. Yet
the old academic methods, though shaken, on the whole maintained
their sway, and the new ideas influenced detail and ornament more
than composition. This was the trend of the teaching, conservative
in the main, of Blondel's famous "Atelier," where many of the
architects of the new school, such as M. J. Peyre, Charles de Wailly,
Mique, Ledoux, and Cherpitel, were trained.

The resultant style is characterised as regards the main archi-
tectural lines by a four-square sobriety, as regards decoration by
great refinement, and generally by classical purity. Further, it is a
more completely homogeneous style than any of those which had
obtained since Henry II., and usually bear traces of a struggle between
an architectural tendency pulling in one direction, and a decorative
tendency pulling in another, only appeased through a compromise
forcibly imposed by a Le Brun or a Mansart.

The period dur-
ing which the new
manner grew up and
flourished extends
over some sixty years
( 1 730-90), which may
be divided into three
sub-periods of twenty
years each. In the
first the reaction to
classicism makes its
appearance in a
sprinkling of build-
ings which break with
the rococo fashion.
By 1 750 the new style
is formed, and begins
to receive official
support ; for the next
twenty years the old
and the new run side
by side, occasionally
mingling, but the new
rapidly gains ground
and triumphs in the
twenty years which
precede the Revolu-
tion.

28

SECTION.

FEET1

METRH5 fnmTmh—

FRONT BLEV\TION

392. Amiens : Portion of the Ecole des
Beaux Arts.
Measured and Drawn by P. Hepworth.

412 RENAISSANCE ARCHITECTURE IN FRANCE.

Servandony. — The style of Louis XVI. was in a large measure
the creation of two architects, Jean Nicolas Servandony (1695-1766),
and Jacques Germain Soufflot (1714-80), both citizens of Lyons, a city
always in close contact with Italian thought,

When Servandony went as a young man to Florence to study under
Giovanni Paolo Panini, a painter of the Campagna and of the Roman
ruins, and afterwards to Rome itself, he fell under the influence of
the new Italian Classicism. Returning to France in 1724, he, soon
after, became the designer of the decorations of the Paris Opera. An
enthusiasm for ancient art inspired his work there, as well as that of
his master Panini, who was employed to design the decorations in
honour of the birth of the Dauphin (1729). The uncompromising
simplicity and lofty nobility of their Roman temples and porticoes
could not fail to strike eyes accustomed to twirls and flourishes and
elaborate prettiness, as something altogether new. It was a fresh
breeze from the garden bursting in on the oppressive atmosphere of
a conservatory. The admiration excited, if not yet very widespread,
was sufficient to secure the first prize in the competition held for the
fagade of St Sulpice in 1733 for Servandony's design (see pp. 454-6),
which was almost as far removed from the academic tradition, by its
departure from established methods of composition, as it was from the
rococo by its virile simplicity and absence of affectation. Within the
same decade as this fagade, the rising power of the classical reaction
was exhibited in several important works, among which are the Fontaine
de Grenelle (Fig. 393) by the sculptor Edme Bouchardon (1739), and
the new buildings of the H6tel-Dieu at Lyons by Soufflot (1737).
Servandony himself seems to have carried out no other work of
importance. The staircase in straight flights, which he added to the
Hotel d'Auvergne by L' Assurance, was in strong contrast to the pre-
valent practice of his day, and the design he submitted in the com-
petition for the " Place pour le Roi " had a more Roman character
than the rest. But he worked as much on theatrical and other
temporary decorations as on architecture, and being of a roving
disposition was only fitfully in practice in Paris.

J. A. Gabriel and J. G. Soufflot. — The death of Boffrand and
most of the chief exponents of the rococo manner occurring before or soon
after 1750, the leading positions in the profession were left to Jacques
Ange Gabriel and Soufflot, who were both by this time well advanced
in life, and had therefore grown to manhood during the height of the
rococo movement. Their works are the most important in the new
style, but the difference in their methods is typical of the tendencies
of the day. This difference is largely accounted for by their circum-
stances, Gabriel was the descendant of a long line of architects, and the
representative of a family long connected with the Academy and the

THE STYLE OF LOUIS XVL

413

393- PARIS: FONTAINE DE CRENELLE, BY E. BOUCHARDON

(1739).

414 RENAISSANCE ARCHITECTURE IN FRANCE.

royal works, and received his training on the buildings carried out by
his father. Soufflot, the son of a provincial merchant, after studying
in Lyons and Rome, travelled widely in Italy and Asia Minor.
Gabriel was the depository of the old French tradition ; Soufflot had
little tradition behind him, and came early into direct contact with
antiquity. Both felt the new influences, but they were differently
affected by them.

Gabriel's Conservatism. — Gabriel was no pioneer, but adopted
what Servandony and Soufflot had introduced. His style underwent
no change till he had reached the age of fifty, and then the change,
though drastic as regards the minor points which go to the making of
a style, involved no break in essentials with Louis XIV. and Louis XV.
traditions. He reformed on conservative lines, eliminating the bombast
and heaviness of the one, and the frivolity of the other. He allowed
classical study to tell in the tranquil nobility of his lines and masses,
the purity of his detail, and the good taste of his ornament.

Soufflot's Innovations. — Soufflot, on the other hand, developed
as early as 1737, in his additions to the Hotel-Dieu at Lyons, a style
indistinguishable from the most mature Louis XVI. Yet even after
this period he occasionally returned to the more fashionable rococo
methods, as in the decoration of the Archbishop's Palace. There are,
however, few traces of such hesitation after his final return to France,
and from this time onwards he shows a definitely latinising, and even
grsecising, tendency. His profiles, his enrichments, sometimes entire
features or compositions, are modelled on ancient examples. His
detail is cast with an almost Greek sharpness. His work has all the
nobility of Gabriel's, perhaps more than Gabriel's ; it lacks his pondera-
tion and geniality. Gabriel's method was to purify an existing tradition
in the light of wider knowledge, while retaining its best elements and
enriching them with others derived from newly recovered portions of
antiquity. Soufflot's, being based on an individual reading of antiquity,
and especially of recent discoveries, tended to the formation of a new
style by the overthrow of national tradition. Thus, in a sense, Gabriel
is the last great figure in the long line of architects of the French
Renaissance, and Soufflot is the first of the Moderns, for by paving
the way for individual eclecticism he helped to cut architecture from
its old moorings and to plunge it into the anarchy from which it has
not as yet entirely emerged.

Their Influence and its Results. — To attempt with Soufflot to
wed Greek ideas with French architecture, or with Turgot, Louis XVI.'s
wisest minister, to inoculate the ancien regime with modern methods of
government, was perhaps to court failure. Yet under a more patriotic
king than Louis XV., or a wiser one than Louis XVI., the monarchy
might have been brought into harmony with the nation's aspirations

The style of louis xvi. 415

and weathered the storm. Had the attitude of Gabriel been more
general among architects, the old Palladian-academic system might
have taken a new lease of life, and been widened into a more intelligent
and elastic synthesis, based on Greek, as well as Roman, antiquity.
But as the State and society were precipitated into anarchy by too
sudden and too radical reforms, so, when Andre Chenier attempted to
infuse a Greek spirit into the metrical system of Racine, and Soufiflot into
the architectural system of Mansart, the new wine burst the old bottles.

Transition from the Louis XV. to the Louis XVL Style. — -
Although the style of Louis XVI. may be found completely developed
in a few cases soon after 1730 in the work of Servandony and Soufflot,
and in Gabriel's work, the change from Louis XV. to Louis XVL work
was accomplished suddenly and completely about 1750, there are many
examples, especially between 1750 and 1770, which form a transition
between the two. These are of two kinds ; the first method of transi-
tion consisted in taming the rococo, as in Contant d'lvry's early work.
At the Palais Royal, for instance, in a pavilion between the Cour des
Fontaines and the Rue de Valois, the severe rectilinear treatment is
already marked, and the rococo motives which persist are confined to
a few unimportant details, which do not overstep their architectural
framework. Other buildings which present a mingling of the two
styles are the Bibliotheque de la Ville at Versailles, formerly Hotel des
Affaires Etrangeres, by J. B. Berthier (1762); the Hotels Sanson, Rue
St Gilles, at Abbeville ; and the charming Loge du Change at Lyons,
by Soufflot (1747), now a Protestant church. The wrought-iron screens
of the cathedrals of Toulouse and Amiens (Fig. 394) retain some rococo
elements, but their wayward lines are counteracted by a sturdy rect-
angular framework and an intermixture of quiet meanders and
geometrical patterns. The same combination of elements is found
in many of Roubo's designs for trellis-work (Paris, 1769-75), and of
internal decorations by various designers, as in the antechamber to
Marie Antoinette's apartments at Fontainebleau, and in rooms
decorated by Soufflot in the Archbishop's Palace at Lyons.

The second mode of transition was the resumption of the Louis XIV.
manner in a somewhat chastened form. This is Gabriel's more usual
method, and is commonest where its broad and rhetorical character is
most appropriate, that is, in public buildings, such as the Ecole Militaire
and Hotel des Monnaies (Figs. 424 and 425). The deep enriched
cornices, pyramidal trophies, the massive swags and cornucopias, all
reappear. But the real date is apparent, nevertheless, from the puristic
treatment of the orders, the lessened emphasis on every part, and the
admixture of distinctively Louis XVI. motives.

Arch^ological Tendency. — But meanwhile the influence of
Soufflot's magnum opus, the Pantheon, increased as its walls rose

4l6

RENAISSANCE ARCHITECTURE IN FRANCE.

from the ground {1758-80), and was reflected in the work not only
of the younger men but eventually even of the older generation. An
impulse was also given to the application of the archaeological
method to domestic architecture by Etienne Louis Boullee (1728-99),
who had an extensive private practice, and whose Hotel de Brunoy
in the Faubourg St Honore(i772) (Fig. 410) created a great impression
by its departure from tradition. His contemporary, Jacques Denis
Antoine (1733 1801), whose early work was almost indistinguishable
from Gabriel's, ended by pushing the archaeological tendency to an
extreme, which even Soufflot would scarcely have approved. His
introduction of a Greek order in a gateway at the Charite Hospital
(1790) marks the end of the Louis XVL and the triumph of the

yf/proz.-Ji-afe gu^

i

394. Wrought-Iron Screen in Amiens Cathedral.

Measured and Drawn by V . Hepworth.

THE STYLE OF LOUIS XVL 417

Empire style. The teaching given in A. F. Peyre's school, which was
opened soon after J. F. Blondel's death in 1774, and attained a celebrity
almost equal to that of its predecessor, largely assisted the movement
in this direction.

Characteristics of Louis XVL Style. — The main characteristics
of the developed Louis XVL style are the re-establishment of the
principle of symmetry and of rectilinear and rectangular treatment
(Figs. 392, 408, and 420). Both in plan and elevation curved forms
are avoided, except such simple ones as the circle and ellipse, and
these are subordinated to rectangular surroundings ; all lines are carried
through with the least possible interruption. Thus, while rotundas and
semicircular porticoes are rather favourite features, plans are otherwise
usually rectilinear. Recesses and projections, piers, steps, staircases,
canopies, balconies, and mantel-shelves drop the flowing curves recently
so universal, in favour of right angles and parallel sides ; when arched
forms are used, they are set back, as a rule, in a square panel or recess
(Fig. 395). Angles are no longer rounded off or disguised; except that
the frames of panels and openings sometimes have square re-entering
angles, the space outside which is filled by a rosette. Pediments are
no longer broken ; cornices and friezes, balustrades and lintels are no
longer interrupted by cartouches, elaborate key-blocks, or sculpture :
the only interruption permitted is that of a rectangular tablet. The
sky-line is but seldom broken by statuary or vases ; the flat roof is
very general, though not to the exclusion of the Mansard and square
domed forms ; pediments are of low pitch. The features and ornaments
are such as to emphasise the sobriety of the architecture. Columns are
often unfluted, and pilasters without entasis; the latter are sometimes
replaced by plain strips. Architraves often take the form of unmoulded
bands or sinkings. Rustication is smooth-faced and of slight projec-
tion, and large expanses of fine-jointed masonry are left unadorned.
The horizontal lines are accentuated by cornices of strong projection
and enriched bands. Consoles no longer swell and taper ; sometimes
they are merely square undecorated blocks. Even volutes are often
composed of straight lines like those of the Greek fret (Fig. 394),
which is one of the commonest enrichments, varied by many kinds
of guilloche and meander, especially that known in England as the
"Vitruvian scroll" and in France SiS postes (Fig. 396). Friezes are
also treated with regularly looped up festoons, or a single motive such
as a garland or patera repeated at equal intervals, or with vertical
fluting. The cartouche is now largely ousted by the oval medallion
(Fig. 432) or rectangular tablet, but when it occurs it has the appear-
ance of being composed of several thicknesses of parchment or card-
board (Fig. 390), and is of much less contorted outline than under
Louis XV. Statuary abandons sprawling, gesticulating attitudes and

4ii

RENAISSANCE ARCHITECTURE IN FRANCE.

fluttering robes for
quieter poses, and the
draperies of correct
classical costume hang-
ing in dignified folds.
Low relief panels of
classical subjects or of
floral ornaments in
rectangular frames are
frequently introduced
(Fig. 427); in the place
of vases with writhing
convolutions from
which issue wind-swept
sprays or flames, there
appear urns of simple
classical outline bear-
ing massive wreaths
(Fig. 395), whilelooped
up drapery sometimes
takes the place of
swags (Fig. 423).

On the outside of
buildings, and in
monumental interiors
such as those of
churches, and State
halls or staircases,
whose decorations
were executed mostly
in stone, the natural-
esque trailing sprays
mixed with rocaille of
Louis XV. work give
place to massive wreaths of imbricated foliage of the types specially
sanctioned by classical tradition, such as oak, bay, and olive. These
wreaths, of nearly equal thickness throughout, and with pendent ends,
are looped up under window-sills, or repose on pediments (Fig. 430).
A characteristic feature is an elliptical panel or window with a wreath of
this kind suspended from its summit and hanging heavily down each
side (Fig. 421).

The design of ironwork follows the same rules as decoration in
general. Its lines are more geometrical and structural, and it affects
the same types of ornaments — the frets, guilloches, paterae and so forth.

395-

Design for Town House by
J. F. DE Neufforge.

THE STYLE OF LOUIS XVL

419

Since the Louis
XVI. treatment lent
itself much less to
the technique of
wrought iron than
the Louis XV., and
approached rather
that of cast iron,
many works of the
period are, in fact,
wholly or partly cast.
Examples are to be
seen at most of the
buildings referred to
in this chapter.
The following may
especially be noticed:
the railings and gates
of the Palais de
Justice and Ecole
Militaire in Paris, of
the Hotel Dieu at
Chartres, a gate at
the Bourse at Bor-
deaux, the stair rails
of the Palais Royal, the Ecole Militaire and the Petit Trianon, of Com-
piegne, and of the Hotel d'Assier at Toulouse ; a triumphal arch at
Rheims ; screens in the cathedral at Amiens, St Wulfran, Abbeville ;
balconies passim at Bordeaux. Among the most noted smiths were
Corbin, Bigonnet, and Fayet.

All the characteristics of the style of Louis XVL at its period of
maturity are illustrated in " Recueil Elementaire d'Architecture" (Paris,
1757-60) by the architect Neufforge, the du Cerceau or Le Muet of
his day, containing designs for edifices of all kinds together with orna-
ment, decoration, and furniture. Figs. 395, 408, 416, and 442 are
reproduced from it.

396. Amiens: House at ii Rue Delambe.

397. Arabesque by Cauvet.

420

RENAISSANCE ARCHITECTURE IN FRANCE.

PALATIAL AND DOMESTIC ARCHITECTURE,
GARDEN DESIGN AND DECORATION.

COMPIEGNE. — The most important piece of palace architecture of
Louis XV. 's reign resulted from the rebuilding of the old castle of
Compiegne (c. 1752-72). The space available forming roughly a right-
angled triangle necessitated a rather peculiar plan (Fig. 400), which,
however, was so skilfully handled by Gabriel that its awkwardness is
hardly perceptible. The almost square court of honour (Fig. 399)
(about 140 feet wide) is entered through a pedimented gateway in the
centre of a very tasteful colonnaded screen (Fig. 398).

The elevations consist on this side of an attic and two storeys.
On the garden front, which is over 630 feet long, the lower storey
is omitted and its place taken by a raised terrace. The combined
restfulness and delicacy of the architecture throughout is its most
striking feature. Cornices and strings make uninterrupted lines from
end to end; the roof balustrade is broken only by the larger pediments
marking the central features, which consist in tetrastyle porticoes of
giant Ionic pilasters or engaged columns. In these the square attic
windows are, as a rule, replaced by bewreathed oval or circular features ;
otherwise the subdivision of the great building is indicated only
by a sober type of rustication. The treatment of the openings
is of the quietest : only in the piano nobile are the windows sur-

398. Palace of Compiegne, rebuilt by J. A. Gabriel (1752-72) :
Entrance Screen.

THE STYLE OF LOUIS XVI.

421

399. I'ALACE OF COMPIEGNE: COURT OF iJONOUR.

mounted by a shallow pediment or a wreath. Such are the means
by which Gabriel at his best could achieve an effect at once tranquil
and monumental.

Versailles. — In the external additions to Versailles he was not so
happily inspired. A master in his own manner, he had little sympathy
with that of a previous age. The two blocks by Le Vau (r. 1668)
enclosing the inner forecourt of the palace (see plan, Fig. 300) having
become ruinous, he was not content to restore them, but proposed, like
Mansart before him, to recast the whole eastern front of the palace in
stone. The scheme was fortunately aban-
doned, but he rebuilt the right-hand block
in conformity with it (1770-72) (Fig. 401).
The corresponding left wing was built under
the Empire and Restoration. Treated in the
conventional manner with a giant order upon
a basement storey, though devoid of special
distinction, it is a meritorious piece of work
such as would have given dignity to a place
at Paris or Bordeaux ; at Versailles, where its
order and great pediment are out of scale with
everything else, and its ashlar architecture in-
troduces an alien note into the warm rose
and ivory tones of the old palace, it is a ^qo. Palace of Com-
disastrous intrusion. piegne: Block Plan,

4^2 RENAISSANCE ARCHITECTURE IN FRANCE.

401. Palace of Versailles: "Ailes Gabriel" (begun 1770).

Petit Trianon. — Louis XV., who shunned publicity and loved to
live retired in the midst of a few intimates in greater seclusion than that
afforded even by the private apartments of the greater palaces, commis-
sioned Gabriel in the latter years of his reign to design him a small
residence near his botanical garden at Trianon. Begun in 1762 and
finished in 1768, this house, which came to be known as the "Petit
Trianon," was presented to Madame du Barry, whose star was then in
the ascendant.

The plan is almost square (79 feet by 73 feet) (Fig. 402). The roof
is concealed, and the elevations almost identical. Whether this uncom-
promising scheme was imposed on him by the king, or was of his own
choosing, Gabriel had but little elbow-room wherein to display his skill.
It is all the more admirable that within such narrow limits he should
have produced a masterpiece. The Petit Trianon is a gem-like work
summing up in a small compass the art of a whole age.

The elevations (Figs. 403 and 404) are surmounted by an entablature
and balustrade ; below this is a low upper storey with square windows,
and below again the principal storey, not divided from it, but with very
tall windows forming doors where they open on the terrace ; both sets
of windows have architraves, the lower a pulvinated frieze and cornice
as well ; on the two sides, where the ground is lower, is a rusticated
basement. Diversity is introduced by the fact that the Corinthian order
appears in the form of pilasters on the north and south sides and of
columns on the west, but not at all on the east. The ornament is

THE STYLE OF LOUIS XVL

402. Petit Trianon, by J. A. Gabriel (1762-8): Plan. From
Arnott and Wilson.

sparsely distributed and is confined to the order and a delicate enrich-
ment of the mouldings round the windows. The whole charm of the
design resides in the perfection of its proportions, aided by great refine-
ment in the detail, and the beautiful colour and texture of the building
stone.

The interior was much altered in Louis XVI. 's reign, but enough
of the original work remains to show Gabriel's skill in planning it, and
his excellent taste and fertile fancy in decorating it. The stone stair-
case hall, for instance, with its splendid wrought-iron balustrade is a
piece of virile design, entirely in the Louis XVI. style. Some of the rooms,
on the other hand, e.g.., the antechambers, retain more than a trace of
the rococo manner. A curiosity of the dining-room, which has a rich
decoration of carved fruit and flowers, was a mechanical device to avoid
the presence of servants at the royal supper parties. The centre of
the table descended into the basement after each course to be relaid,
its place being automatically filled in the meantime by a metal rose.

Gabriel also arranged dignified approaches to the house. From
each angle project quadrant-shaped wing-walls, ranging with the base-
ment, to mask the differences of the ground levels. On the west they
are prolonged to enclose a terraced parterre, and the windows look
between walls of clipped elm down a perspective of lawns and fountains
towards the Grand Trianon, which is concealed by the charming Concert
Pavilion, an octagonal room with projections on the four diagonal

424

RENAISSANCE ARCHITECTURE IN FRANCE.

403. Petit Trianon : View from South.

sides builtin 1705 by Gabriel's
father, Jacques Jules. On the
south is the main entrance
through a walled forecourt
with lodges and a wrought-
iron grille.

Revolution in Garden
Design. — To turn to the
two remaining sides of the
house is to become conscious
that one is on the boundary
line of two ages. Here is no
trace of the old French garden
design, but a wild disordered park, a symptom of the widespread change
which the reading of Rousseau had wrought in men's outlook on the
world. Civilisation was according to him the root of all evil, and a return
to what was conceived to be a hfe in accordance with nature the first
desideratum. The supply of caves being inadequate for the population,
and this form of residence presenting other drawbacks besides scarcity,
his disciples were obliged to fall back on houses like their fathers. But
their fathers, in their ignorance, had always interposed an artistically
ordered garden between wild nature and the inevitable artificiality of the
house. This the follower of Rousseau made haste to sweep away, so as to
let wild nature end only at his doorstep. Such at least was the theory,
but in practice other considerations influenced him. He was above all
things a man of sensibility, and it was not to be expected that he would
find matter for his mild ecstasies and lachrymose effusions in any bit of
untouched nature that happened to lie at his door. So nature had to
be arranged after all; in fact, another art with new but ill-defined
principles and uncertain aims took the place of the old with its established
tradition and definitely realised goal. The methods of Le Notre had
been followed so long as his pupils lived, but after the death of his
nephew des Gots, their last important exponent, the art began to decline,
though good formal designs still appear in the pages of Neufforge. In
the garden of an Hotel Conti* laid out by one Le Clerc about the middle
of the century, though the main scheme is in Le Notre's manner, the
walks inside the " bosquets " are drawn in weak serpentine lines.

The Anglo-Chinese Garden. — Then came the reign of Anglo-
mania. English books, English dress and equipages, English horse-
racing became the rage in French society, and with them the " Jardin
Anglais." In England, garden design had undergone a pseudo-naturalistic
revolution some fifty years earlier, and acres of stately gardens had been
ravaged to produce picturesque effects. More recently Sir William
* Now Hotel du Ministre de la Guerre, 14-18 Rue St Dominique.

THE STYLE OF LOUIS XVL

425

426

RENAISSANCE ARCHITECTURE IN FRANCE.

Chambers had, perhaps ironically, proposed Chinese methods as an
antidote to the reign of chaos. His remedy was an intensification of
the malady. The Chinese method consisted, according to him, in
exaggerating natural peculiarities and emphasising them by appropriate
buildings with the object of producing effects provocative of various
emotions — gaiety or love, pity or meditative contemplation, melancholy
or terror. Thus the French, accustomed to " Chinoiseries " in the
boudoir and to English liveries on their grooms, welcomed, by an easy
transition, an Anglo-Chinese blend in their garden. At the same time,

under the influence
of a new interest in
botany, the French
garden passed at one
bound from a rela-
tive neglect of
flowers and varied
foliage to the ideals
of a museum, in
which specimens
from every clime
were jumbled con-
fusedly, and thus a
final blow was struck
at any remnants of
unity or design.

R. M I Q U E. —

Shortly after Louis
XV.'s death (1774)
Gabriel, then over
seventy-five years of
age, resigred his post
of First Architect to
the King, and was
succeeded in his
functions by Richard
Mique (1728-94), a clever and versatile designer who had little marked
individuality, but followed the fashions in style as they arose. He had
early acquired a reputation in his native Lorraine, and succeeded Here
as architect to Duke Stanislas. He then passed into the service of the
latter's daughter Queen Marie Leczinski, and eventually into that of
Marie Antoinette, whose favour he retained for the rest of his life, but
paid for it with his head on the scaffold.

Louis XVL, on his accession, presented the Petit Trianon to his
wife, who employed Mique to make alterations and additions to it. He

405. Petit Trianon : Decorative Panel in
THE Salon.

THE STYLE OF LOUIS XVL

427

EAJR10.

also carried out works in her apartments at Versailles at the same time,
and later on extensive alterations to the chateau of St Cloud, which
she purchased from the Duke of Orleans in 1785.

Petit Trianon Gardens. — With the assistance of the landscape
painter, Hubert Robert, Mique laid waste Le Notre's gardens at Trianon,
dug a picturesque lake, dotted trees singly and in clumps over undulating
meadows, and laid out meandering paths and rivulets. In such a
garden no style of architecture came amiss. All countries from China
to Peru, all ages from the Pyramids downwards might be represented
with equal propriety. If the visitor, pursuing his sinuous course, is dis-
appointed in not meeting the ruins of Baalbek, or of a Gothic abbey, he
must not lay the blame on Mique, but on the embarrassed state of the royal
finances, and console himself with a Roman temple in excellent repair. A
little further he comes upon a fantastic look-out tower, " Tour de Marl
borough," and a

rustic hamlet with
manor-house, par-
sonage, mill and cot-
tages complete, like
nothing else on earth,
but accepted at the
time as a facsimile
of an old-fashioned
French village. Here
were the farm and
dairy where the
Queen spent months
at a time with her
children and friends,
playing at the simple
life, and helping to
destroy the prestige
of royalty by neglect-
ing etiquette and
the public duties of
her position.

The gardens
would have been
incomplete without
Oriental importa-
tions, but it is no
longer possible to
feast one's eyes on
the painted stone
29

406. Paris : Chancellerie d'Orleans. Elevation.
New Front by C. de Wailly.

Measured and Drawn by L. M. Gotch.

428

RENAISSANCE ARCHITECTURE IN FRANCE.

11

seats designed by
Mique in the form
of cushioned Turk-
ish divans, or his
Jeu de Bague, a sort
of merry-go-round
in the Chinese style
on which the ladies
sat to tilt at rings
hanging from posts.
But the best of
Mique's work in the
gardens survives in
the charming Bel-
vedere, a small
octagonal pavilion
in a pure Louis XVI.
style.

The park of Tri-
anon is typical of
most of those laid
out at the time in-
volving the destruc-
tion of many a fine
work of the school
of Le Notre, though
the devastation did
not reach the same
proportions as in
England. The
Prince of Conde,
for instance, built a
village at Chantilly,
and the Duke of
Orleans transformed
his park of Mon-
ceau in a similar manner. Sometimes extravagances even greater
than at Trianon were indulged in. For instance, a seeming barn with
dilapidated thatch and broken leaded panes would contain a magnificent
saloon with marble columns, mirrors, gilding, and rich upholstery.

Bagatelle. — Part, too, of the park of Bagatelle in the Bois de
Boulogne was laid out for the Comte d'Artois, brother of Louis XVL,
in the same style as that of the Petit Trianon, which the house itself
also resembles. It is a small, almost square, building of two storeys,

SCALE OF

407.

Paris : Galleries of Palais Royal, by
V. Louis (1781-6). Elevation,

THE STYLE OF LOUIS XVL

429

with an unpierced attic, decorated with reHef panels. The circular
drawing-room projects half its diameter, and is covered with a dome.
There are no orders, but the angles are emphasised by pilaster strips of
shallow rustication carrying pairs of consoles. It was built in sixty-four
days, in fulfilment of a wager made by the Comte d'Artois with the
Queen, a feat only rendered possible by the commandeering of all
building materials entering Paris at the time. The architect was
Francois Joseph Belanger (1 754-1818), whose facile talent scarcely
justified his extreme popularity in fashionable circles before and after
the Revolution. Somewhat similar to Bagatelle was the pavilion of
Louveciennes (or Luciennes) built by Ledoux for Madame du
Barry.

Chateaux. — Side by side with examples of chateau design, which
are in every way characteristic of the new style, — such as the noble
Chateau du Marais, — are others, which, while detailed and decorated
in the Louis XVI. manner, hark back to older types of plan and eleva-
tion. Thus Belboeuf (1765) seems to borrow its polygonal projections
from the age of the Regency; Moncley (1770) its square-hipped angle
pavilions from Ancy-le-Franc, and its central domed pavilion from
Vaux-le-Vicomte ; and Menars {c. 1765) its scheme of stone rustication
and brick walling from the age of Louis XIII. Other contemporary
examples are Pinsaguel (1745); Fontaine-Fran9aise (1755); Plassac,
attributed to Victor Louis (1777); Talance (near Bordeaux).

Hotels. — If the chateaux of this period offer no example of special
pre-eminence for its dimensions or architectural treatment, there are a

^<r~T>~~^

408. Design for Hotel by J. F. de Neufforge.

430

RENAISSANCE ARCHITECTURE IN FRANCE.

large number of hotels and smaller town houses of considerable merit.
While these lack the ingratiating charm of their predecessors, they
surpass them in structural appropriateness ; they are always dignified,
and the larger ones have great, if frigid, majesty. As population
increased, the old hotel plan, with only low buildings towards the street,
became rarer and, in general, street fronts ran to greater height, and
include four, five, or even more storeys.

Palais Royal. — The Palais Royal, at that time the town residence
of the Dukes of Orleans, underwent a restoration which amounted to
a rebuilding (1763-70) after the fire which destroyed its opera house.
The architect for the southern court and new opera, both on the Rue
St Honore, was Louis Pierre Moreau Desproux (1727-93). Pierre
Contant d'lvry (1698-1777) had already begun alterations to the inner
court (1758). The transitional character of his earlier work there has
already been alluded to ; the north facade of the main block, which
is also his, has the characteristic detail of Louis XVL work without
its repose. Moreau's work towards the " place " is treated with better
taste and in a quieter manner, more in harmony with the detail.
As at Compiegne the two wings are connected by an open screen.
A further addition to the Palais Royal belongs perhaps rather to the

domain of town planning
than to that of palatial
architecture. The garden
at the back of the palace
had gradually become
surrounded by houses.
The Duke of Orleans
caused galleries to be
built round the garden,
inside these houses, so
as to give them a uniform
facade, and this was done
in the teeth of strenuous
opposition on the part of
the occupiers (i 781-6).
Victor Louis (i 731-1800)
was the architect. He
perhaps felt that the
adoption of a giant order
was imposed on him by
the extreme length of the
facades to be treated,
but it proved rather an
unmanageable device

o^fi^itiSfiiMH

409. Caudebec-en-Caux : House.

THE STYLE OF LOUlS XVl.

431

410. Paris: Hotel Brunoy, by E. L.
BouLLEE. Elevation to Garden.

(Fig. 407). The closely

spaced composite pilasters

are so huge as to dwarf

the small openings between

them ; and the bays are so

narrow as not even to give

room for an archivolt to

the ground floor arcade ;

while the frieze, though of

exaggerated depth, has to

be yet further deepened

to provide room for the

second floor windows by

dropping the top member

of the architrave where they occur. The detail and ornament, however,

is beautifully designed, and infinitely varied, and in spite of the defects

mentioned the court has a grand air.

Examples of Town Houses.— Some examples of the average

Louis XVI. domestic archi-
tecture deserve mention. The
following are hdtels with fore-
courts or standing in their
own grounds : — at Paris, 1 1 o
and 127 Rue de Crenelle
(now Government offices),
both by Cherpitel (c. 1775),
Hotel de Fleury (now Ecole
des Fonts et Chassees) by
Antoine, the Italian Embassy,
72 and 73 Rue de Varennes,
15 and 24 Rue de I'Universite,
Hotel Roges in the Champs
Elysees. At Bordeaux, the
Hotel Labottiere (1770-3) by
Laclotte, 9 Cours d'Albret by
Lhote (1778) ; the hotels now
used as Prefectures at Dijon,
by Lenoir (1759), and at Besan-
gon, by Louis; the former Arch-
bishop's Palaces at Bordeaux

(i 771-81) by Etienne and La
411. Hotel de Salm (now Chancel- ^j^^^^ ^^^^ j^.^^l ^^ Vijl^)

LERIE DE LA LeGION D HoNNEUR), , Vt, / \ j u «.

BY P. ROUSSEAU (1782-6). PLAN, and at 1 ours ( 1 755), and that
From Krafft. at Cambrai by J. F. Blondel.

r w y-4f » — T -

432 RENAISSANCE ARCHITECTURE IN FRANCE

n H**" yif^ !!!'"!! wijiwi fitffTtrnrnTtT

412. Hotel de Salm : River Front.

413. Hotel de Salm : L n

]\I o s t towns
afford examples of
hotels or bourgeois
houses with high
street fronts : — such
as the Hotel d'En-
tragues (12 Rue de
Tournon), 20 Rue de
rUniversite, 7 Rue
Cassette, and the
front of the Chancel-
lerie d'Orleans, 19
Rue des Bons En-
fants (Fig. 406),
added by de Wailly
to an older hotel by
Boffrand in Paris ;
26 Place Vogel, and
1 1 Rue Delambe
(Fig. 396); at Amiens
{c. 1780), a house at
Caudebec (Fig. 409).
The four houses by
Victor Louis forming

THE STYLE OF LOUIS XVL

433

the four angles of the block behind the theatre at Bordeaux, one of
which is used as the Prefecture. I'he designs for house fronts by
Neufiforge, reproduced in Figs. 395 and 408, are typical of the period.

Hotels of the Archaeological Tendency. — In most of the
houses hitherto referred to — and these are representative of the mass
of pre-Revolutionary work — there is no definite break with tradition.
Boullee's Hotel de Brunoy (Fig. 410) (1772) seems to have been the
first to inaugurate the reign of archaeology. Its front towards the
court, which has several storeys, is ordinary enough, but the garden front
is transformed into a temple of Flora. On a high flight of steps stands
a hexastyle Ionic portico crowned by a stepped pyramid with the
statue of the goddess at the apex. On this side the house appears to
have but a single floor, and the portico, running up much higher than
the only visible storey, seems inexplicable.

Hotel de S.-vlm. — This type of design soon became fashionable.
It was imitated, for example, by Boullee's pupil, Alexandre Brongniart
(1739-1813), in his Hotel St Foix, Rue Basse du Rempart. Often,
however, common-sense prevailed, and the porticoes and colonnades
were so contrived as to allow the internal arrangements of the house
to tell their own tale. One of the best examples of the type of house
fashionable in the last years before the Revolution is the Hotel de Salm
(1782-6), now Palais de la Legion d'Honneur, designed by Pierre
Rousseau (born 1750 — died after 1791), and finished by A. F. Peyre
(1739-1828). It is a near neighbour to the Palais Bourbon built sixty

414. Paris: Hotel Thelusson (now destroyed), by Ledoux (1780).
From Krafkt.

434

RENAISSANCE ARCHITECTURE IN FRANCE.

years previously. A comparison of these two aristocratic riverside
dwellings, each a compendium of contemporary architectural and
decorative art, is instructive, as showing the extraordinary transforma-
tion of taste which had taken place in the interval.

The absence of straight lines in the earlier house is not more
marked than the uncompromisingly rectilinear and rectangular treat-
ment of the latter. Girardini gives as much window space as possible :
Rousseau seems to aim at reducing it to a minimum. The allegiance
of the former to classical models is as nominal as the latter's is literal.
Indeed here, as in the whole type of houses inaugurated by the Hotel
de Brunoy, one is conscious of an uncomfortable feeling that the
classical features do not really belong to the building to which they
are applied, but are borrowed from some temple or thermae of antiquity.
This impression, which with the rarest exception had never been
produced by earlier buildings, became common in the succeeding
period. Again, the plan (Fig. 411) as compared with earlier ones shows
considerable modifications. The great forecourt surrounded by offices

is indeed retained,
but the house proper
instead of present-
ing the widest pos-
sible front to court
and garden is here
made comparatively
narrow and deep, so
as to be surrounded
by its garden and
have as many free
elevations as pos-
sible.

The entrance
from the Rue de
Lille is through a
great flat - topped
triumphal arch (Fig.
413), v.hose impost
is the entablature of
an Ionic portico
forming the screen,
and returning round
the court. At the

r^ T, If A . upper end it meets

415. Decorative Panel from Marie Antoinette s '■ ^

Private Apartments at Versailles, by the ^ taller hexastyle

Brothers Rousseau (1783). Corinthian portico

THE STYLE OF LOUIS XVL

435

436

RENAISSANCE ARCHITECTURE IN FRANCE.

417. Bordeaux: Chimney-piece at 9 RfE Jean Jacques Bel.

which, though it suggests the front of a temple rather than that of a
dwelling-house with several floors, forms the main entrance to the man-
sion. This pretentious feature and the blank- unpierced walls produce
a frigid air which no purity of style or beauty of detail can quite dispel.

THE STYLE OF LOUIS XVL

43/

inM

Versailles: Louis XVI.'s Library. DEbiwNL;^ ;,v J. A. Gabriel.
Executed by A. Rousseau and his Sons (1774).

How much more hospitable an aspect — though with inferior detail — is
presented by the Hotel de Soubise, built sixty years earlier, and
approached through a similar court, where, however, the colonnades
lead up to a front honestly revealing its floors and windows !

One of the most attractive portions of the Hotel de Salm is the
wing nearest to the Seine (Fig. 412). Almost the whole of the elaborate
and beautiful internal decorations perished in a fire lit by the Commune
in 1871.

Hotel de Thelusson. — The Hotel deThelusson (1780), a sumptu-
ous mansion in the Rue de Provence by Ledoux (i 736-1806), now
destroyed, enjoyed great contemporary celebrity (Fig. 414). It illus-
trated most of the same tendencies in style and planning as the Hotel
de Salm, and had a pronounced example of the English garden with
which the frigid classicalities of the day were usually combined,
approached through a colossal rusticated archway 40 feet high. Eccen-
tricity, the naturalist tendency in garden design, and the archaeological
in architecture, all signs of the' break up of the old traditions, are
found here combined in one example.

Decoration. — Interiors show the same tendencies as external eleva-

438

RENAISSANCE ARCHITECTURE IN FRANCE.

tions. A definitely architec-
tural treatment reasserts itself
(Fig. 416). The walls are
once more finished by an
unbroken horizontal cornice ;
they are divided into tall
rectangular panels (Fig. 420),
and enriched bands of the
types above-mentioned, or
with some variant on the
honeysuckle pattern, are much
used. Ornament is symmetri-
cally disposed and strictly
confined within its frames of
regular geometrical shape.
Chimney-pieces remain low
and small, a mere shelf and
frieze supported on consoles
of slight projection, terms or
term-like columns, and are
surmounted by large mirrors
(Figs. 417, 418, and 420).
The already small fire space
is further diminished by intro-
ducing inside the marble a
decorated metal coving. Even
in smaller apartments, with
wood panelling, and ornament
executed in wood or carton-
pierre, the half conventional
foliage of bay, olive, and
myrtle is common, but here
it is mingled with a freer more
naturalesque vegetation than
where the material is stone.
In the more formal manner an upright oak bough or lily stem forms
the centre of a circular panel (Fig. 405) ; crossed sprays of myrtle or
jasmine are spaced out along a frieze ; narrow panels are decorated
either with a pair of light sprays of myrtle or ivy so interlaced as to
form a series of vesica-shapes, or else with a series of tassel-like knots
of foliage or bell-like flowers issuing one from the other (Figs. 417 and
418). But besides these are dainty swags and garlands of tiny flowers,
roses and anemones, marigolds and daisies, treated with as great delicacy
and freedom as in the rococo style.

419. Arabesque by Ranson.

THE STYLE OF LOUIS XVL

439

420. Versailles : Louis XVI.'s Cabinet. Decorated by the
Brothers Rousseau (1788).

Flowers, too, are represented cut and carelessly thrown down, as in
Japanese art, with hovering insects and flights of little birds. These
motives alternate with others due to Jean Jacques Rousseau's influence,
and his apotheosis of rustic life and sensibility, such as bee-hives, wheat-
sheaves, or bundles of vegetables, rakes, hoes, wheel barrows, or hay-
makers' hats, and sentimental emblems, such as burning torches, quivers,
pierced hearts, and billing doves.

Ribbons, which are constantly associated with floral decoration,

440

RENAISSANCE ARCHITECTURE IN FRANCE.

421. FONTAINEBLEAU : DOOR IN jMARIE ANTOINETTE'S BOUDOIR.

have at this period the peculiarity of being closely pleated throughout
their length. They are largely used also in frames ; sometimes a single
ribbon is coiled spirally round a staff; sometimes two are intertwined
round a ribbed torus.

In arabesques the reign of symmetry was reinstated as elsewhere.
They often betray close study of Roman models, ancient and

THE STYLE OF LOUIS XVL 44 1

modern, and reproduce the Pompeian type or that of the Vatican
Loggie (Figs. 415 and 421). In figure subjects, ancient rather than
modern dress prevails. Medallions and tablets painted in mono-
chrome, to represent cameos or reliefs, are introduced. All the stock
classical elements (particularly sphinxes, tripods, and lyres), treated with
much taste and refinement, mixed with those characteristic of the age.
Lighter than the arabesques of Louis XIIL or XIV., more restrained
than those of the Regency and Louis XV., they are without the vigour
of the former though they rival the latter in delicate and fertile fancy
(Fig. 419). As the style advanced they tend to become loose and
weak in composition, and deficient in that feeling for structure which
their predecessors seldom lack (Fig. 420).

The colour schemes of interiors were prevalently of soft and cool
tones, white and gold, silver rose and pearl-grey, tender blues and pale
greens.

Fine examples of Louis XVI. decoration are to be found in Paris,
at the Ecole Militaire, the Hotel des Monnaies, the Ministry of Public
Instruction, and the Italian Embassy ; at Versailles, in Louis XVI.'s
Library and Dressing-room, the Salon de la Meridienne, and the
Queen's private apartments ; at the Petit Trianon and Compiegne ;
at Fontainebleau, in Marie Antoinette's Boudoir (Fig. 421) and Concert-
room ; in the Museums at Dijon and Lyons, and the Victoria and
Albert Museum, South Kensington, and in innumerable private houses.

Among the exponents of Louis XVI. decoration, in addition to the
principal architects of the day, were the following designers :— de la
Fosse, Boucher ^A, and Cauvet (Figs. 391, 397, and 433); L. Prieur,
Salembier, and Lalonde; the flower painters, Ranson (Fig. 419), Pille-
ment, and Hubert Robert ; the wood-carvers, Antoine Rousseau and
his sons ; the sculptors, Pajou, Clodion, Pigalle, Berruer, Falconet, and
Jean Jacques Caffieri ; the metal-workers. Forty, Philippe Caffieri and
Gouthiere ; and the cabinet-makers, Riesener, Roentgen, and Oeben.

TOWN PLANNING AND PUBLIC BUILDINGS.

Second "Place Louis Quinze." — The middle of the eighteenth
century was marked, as above stated, by great activity in city improve-
ments, culminating in a competition for an open space in Paris to
contain the king's statue. Since the competition for the fagade of the
Louvre, no event had created such general interest in architectural
circles, while both the character of the designs submitted and the final
result are as symptomatic of the stylistic trend of the age as they had
been in the former instance. The greatest divergence appears in the
designs eUcited by the first competition, ranging between the opposite
polls of the rococo-academic school, as represented by Boffrand, and

442 RENAISSANCE ARCHITECTURE IN FRANCE.

neo-Roman classicism as represented by Servandony. The second
competition, held soon after 1750, brought in twenty-eight designs,
including some by the original competitors, for a Place Louis XV.
between the Tuileries Gardens and the Champs Elysees. None of
these, however, completely satisfied the authorities, and Jacques Ange
Gabriel, First Architect to the King, himself one of the twenty-eight,
was appointed to combine into one scheme the features most admired
in the whole set. This revised scheme was approved, and the laying
out commenced in 1753, and, though the buildings were not erected
till 1761-70, the Place de la Concorde, as it now stands, is the ultimate
result.

Gabriel's Design. — The designs of the second competition not
being extant, it is uncertain how much Gabriel owes to his competitors.
But to judge from his contemporary work they had little to teach him.
Be this as it may, his appointment gave official support to the puristic
movement. The scheme was as follows. The statue, flanked by two
fountains, stood on the site of the present obelisk — a position occupied
during the Reign of Terror by the guillotine — in the axis of the Tuileries
to the east, of the Champs Elysees to the west, and of a new street in
the Rue Royale leading north to join the Boulevards and terminating
in a new church to be designed by Contant d'lvry. Round the monu-
ment an oblong space, about 810 feet long by 565 feet wide, was formed
by enclosing it in a border of sunk gardens surrounded by balustrades.
But two of the main approaches being diagonal, viz., the Cours la Reine
on the south-west and a projected avenue to correspond with it on the
north-west, the angles were cut off at a cant. The eight angles of these
diagonal sides were occupied by lodges forming pedestals for allegorical
groups, which were never executed, but have since been replaced by
seated figures representing eight great cities of France, while the oval
windows of the lodges have been filled with marble panels.

The Twin Palaces. — Behind the sunk gardens on the north side,
the square is closed by two stately buildings, one forming the Garde-
meuble de la Couronne (now the Ministry of Marine), and the other
divided up into private residences (Fig. 422). The inspiration, as in
the case of so many public buildings at the time, came from Perrault's
Louvre, which Gabriel was engaged about this time in restoring. That
he got much nearer to the spirit of Perrault's design both here and
elsewhere, as, for instance, at Compiegne, than was often the case, will
appear from a comparison of these buildings with the contemporary
Hotels de Ville of Nancy and Toulouse (Figs. 379 and 380). If
Gabriel's work has a slightly less impressive and monumental character
than Perrault's, this is partly a question of size and site, for though the
frontage is 700 feet, as against 565 feet in the case of the Louvre, the
building is here broken up into two, and the total height is only 75 feet

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THE STYLE OF LOUIS XVL

443

422. Paris: Twin Palaces in Place Louis XV. (now Place de la
Concorde), by J. A. Gabriel (1761-70).

as against 95 feet, with columns about 33 feet high, or nearly 7 feet
shorter than those of the Louvre; the open space in front is also incom-
parably more extensive. Again, while Perrault's facade is a bit of pure
architecture more or less in vacuo, a screen with little reference to
what lies behind it, Gabriel's facades belong to buildings intended for
practical use, and correspond with their internal arrangements. Lastly,
Gabriel aimed, no doubt, at an effect of festal, if stately gaiety, rather
than of majestic solemnity. Each building, which is 312 feet long, and
forms, as it were, one half of the Louvre facade, has three instead of
five divisions. The end blocks (Fig. 423) are finely treated, their
centre being slightly recessed between broad unpierced piers, and
having in front of it a tetrastyle pedimented portico, whose columns
project one diameter beyond the angle piers. Between these angle
blocks runs a colonnade of eleven intercolumniations, which is not a
mere decoration as at the Louvre, but provides a covered gallery for
viewing ceremonies in the square below. The order in both cases
is Corinthian, but here the columns are not coupled, an arrangement
which contributes to a lighter effect. The lower storey, too, differs in
being rusticated, no doubt in compensation for the loss in solidity due
to its being pierced by an arcade and forming an open gallery. This
feature makes the substructure of the wall behind the colonnade visible,
an arrangement more satisfactory than that of the Louvre.

In the decoration the trophies on the angles alone recall the manner
of Louis XIV. The garland-hung oval medallions so frequent at this
period trace their descent through Perrault's outer elevations of the
30

444 RENAISSANCE ARCHITECTURE IN FRANCE.

Louvre to those by Lescot in its court (Figs, i and 295), their detail
in each case being characteristic of the century which produced them.
The square-headed openings, the niches in square recesses, the archi-
traves breaking up into the frieze, the massive consoles, the drapery
swags, ^the lavish use of heavy wreaths are all distinctive of the
Louis XVL style.

The scheme of the Place was completed by a new bridge across the
Seine (now Pont de la Concorde) in the axis of the Rue Royale (1787-
90) by Perronet. This period is rich in bridges, many of which are
of considerable architectural merit, e.g., those of Lavaur (1769), and
Navilly (1782), and that of St Laurent at Chalons-sur-Saone (1784).

Place Louis XVL — But for the Revolution, there was some possi-
bility of Paris possessing a Place Louis XVL, as well as a Place Louis
le Grand and a Place Louis XV. Belanger (1744-1818), architect to
the Comte d'Artois, published a new scheme in 1781 for solving the old
problem of uniting the Louvre and Tuileries. It comprised an opera
house placed between them on a large square, with semicircular ends
connecting the Rue St Honore with the quays, and is not without a
certain grandeur of conception, but the poverty and frigidity of the
architecture show the hand of a designer inferior to Gabriel, and belong
to an age when the decline was beginning.

Provincial City Improvements : Tours. — Much the same may be
said of the scheme put into operation at Tours, where the straight Rue
Royale was built with uniform elevations, in the axis of a new bridge,
at whose head it widens into a small square containing the Hotel de
Ville (now museum), and another building symmetrical to it. At
Nantes the laying out on uniform lines of the Cours Cambronne and
Place Royale came to complete the works begun a generation before
by J. J. Gabriel.

Rheims and Rouen. — ^The most important examples of the later
town planning schemes under Louis XV. were those of Rheims and
Rouen. They differ in feeling very widely from similar contemporary
work at Nancy and Toulouse. At Rheims a " Place Royale " (begun
1756) was designed by Le Gendre in the axis of the Rue Royale and of
the older Hotel de Ville. Its uniform elevations are composed in
accordance with the usual system, but on severer lines. The order is
Doric, and columns are only used in the pavilions, while elsewhere mere
strips are substituted for pilasters. At Rouen, on the razing of the
old walls, Antoine Le Carpentier (1709-73), a native of the city who had
a large practice in Paris and elsewhere, was appointed by the King to
draw up a scheme of improvements (1756). He proposed to turn the
old market-place into a " Place Royale," planned almost exactly like that
of Nancy, and in such a manner that his new Hotel de Ville on its west
side should lie in the axis both of the old Rue Grosse Horloge and of

THE STYLE OF LOUIS XVL

445

425. ECOLE MiLlTAIRE: FACADE TOWARDS ChAMP-DE-MARS,

BY J. A. Gabriel (begun 1752).

the recently built Hotel-Dieu. His fagade is in some respects closer to
that of the Louvre than most of its contemporaries, for it has detached
columns and a lofty single piano nobik, with panels over the square-
headed windows, and high arched windows in the three projections. It
differs, however, in reverting to the system of high independent roofs
over each division, the central pavilion being marked by a square dome,
raised on an attic and carrying a lantern. The design is one of the
most attractive, best proportioned, and least conventional of its type, and
it is to be regretted that it was abandoned.

Metz and Strasburg. — In 1764 and 1767 respectively schemes
for improvements began to be carried out at Metz and Strasburg from
the designs of J. F. Blondel, providing new arteries, open spaces, and
public buildings. They were, however, but partially put into execution.
At Strasburg little but the dignified Place d'Armes was attempted. At
Metz the lower storey of the cathedral was recased, and its approaches
remodelled so as to form a series of connected " places " round which
various important buildings were grouped. The planning is skilful and
effective, but the elevations are treated with a baldness for which lack
of funds is partly responsible, and have little charm. Amongst pro-
vincial public buildings of this period the Hotels de Ville of Chaumont
and Chalons-sur-Marne and a wing of the Palais des Etats at Dijon
may be mentioned.

EcoLE MiLiTAiRE. — Bcfore the Place Louis XV. had emerged from
the stage of official discussion, Gabriel had already been commissioned

446

RENAISSANCE ARCHITECTURE IN FRANCE.

426. Paris: Palais de Justice: " Cour du Mai" (rebuilt 1776).

to design another important building in Paris, the Ecole Mihtaire
(begun 1752). About 1769 Brongniart was appointed to continue the
work, which was not completed till 1787. It is a vast institution, com-
prising, like the Invalides, a number of rectangular courts, of which,
however, only the central one is of special interest. The main block
is of E plan with its back to the Champ-de-Mars (Fig. 425), and its front
to the court of honour. The centre is occupied by a pavilion which
has a pedimented portico on either face with a giant Corinthian order,
whose entablature runs round the building and accommodates a row
of oblong windows in the frieze ; above the order is an attic storey and
an enriched square dome. Across the inner face of the block between
this pavilion and the return wings runs a two-storeyed loggia with two
orders of coupled columns, Doric and Ionic. The pairs of columns
do not stand free but are joined by a wall so as to form a solid pier.
This peculiar arrangement corrects the weakness of effect which might
result from the collocation of two small orders with a large one equal
to their combined height. The court is screened on either side from
subsidiary ones by similar but single-storeyed loggias. The pavilions, in
which these terminate, have pyramidal stone tops carrying sculpture,
and are linked together by a monumental iron grille and gates. The
treatment throughout exhibits that restrained good taste in proportion,
detail, and ornament which is characteristic of all the best work of the
time, and notably of several of the public buildings of Paris.

Hotel des Monnaies. — Chief among these is the Mint or Hotel
des Monnaies (1771-75). Several of the best known architects of the

THE STYLE OF LOUIS XVL

447

day took part in the competition for this building held in 1768, but
the design selected by the assessor was that of a contractor, Jacques
Denis Antoine (i 733-1801), the son of a joiner, who had been appren-
ticed to a master-mason. He seems to have been largely self-trained,
and to have modelled his style on that of Gabriel. His Hotel des
Monnaies at any rate seems much influenced by the Ecole Militaire.
Built on the site of the old Hotel de Conti it has only two outer fagades,
one on the narrow Rue Guenegaud and one facing north to the river,
a fact which accounts for the scant attention usually paid to its virile
architecture.

The main block on the quay (Fig. 424) has a rusticated basement
and two storeys, with a console cornice, which in the central pavilion
is supported by giant Ionic columns and surmounted by statues with
a panelled attic behind them. The court is reached through this
pavilion by a central carriage-way with a coffered barrel vault carried
on Doric columns, behind which are aisles for foot passengers with flat
stone ceilings. From one of these aisles a splendid stone stair ascends
to the Monetary Museum, a rectangular hall with a flattish dome, and
a Corinthian order carrying an octagonal gallery with four semicircular
recesses.

Palais de Justice. — After a fire at the Palais de Justice in 1776
extensive repairs and alterations were put in hand. Guillaume Martin
Couture (1732-99) was first entrusted with the work, but finding it
impossible to get on with his colleague Pierre Desmaisons (17 13-1802)
he retired, and was replaced by Moreau Desproux, who was forced to
withdraw for the same reason and was succeeded by Antoine. The
principal parts of the building resulting from their joint labours are
those surrounding, on three sides, the Cour du Mai, which contains the
main entrance, the
fourth being formed
by a massive
wrought-iron grille
(Fig. 426). The
central pavilion with
its great order, attic
and square dome, is
of a type which ap-
peared perhaps for
the first time in Le
Vau's south front at
the Louvre (Fig.
286) and was par-
ticularly fashionable ^^-j. Old Ecole de Medfxine, by J. Gonuoui.n
at this period. It (1769-86): Entrance Screkn,

448

RENAISSANCE ARCHITECTURE IN FRANCE.

occurs for instance at the Ecole Militaire and on a smaller scale in
the court of the Mint.

Other Public Buildings. — At the old Ecole de Medecine (1769-86)
by Jacques Gondouin (i 737-1818) the most effective portion is the screen
across the front of the court (Fig. 427), which consists of colonnades
of the Ionic order forming an open portico and carrying an attic storey.
The columns are equally spaced, but arranged two deep both at back
and front. In the three central bays the attic is filled by a long bas-
relief panel.

Soufflot's Ecole de Droit (1771) with its quadrant front, is ingenious
in plan and an effective piece of street architecture, curiously enough
more nearly akin to Gabriel's manner than to that of the Pantheon
opposite to which it stands. The interest of the Corn Exchange (Halle
aux Bles), built by Legrand and Molinos (finished 1783) on the site of
Bullant's Hotel de la Reine, is structural rather than architectonic. Its
circular hall, about 125 feet in diameter, was covered by a timber dome
of semicircular section, in the construction of which De I'Orme's system
was successfully applied. This dome was shortly afteirwards burnt down,
and the present one designed by Belanger, which replaced it in 1802,
is one of the earliest examples of iron construction, its trusses being
built up of wrought-iron bars of flat section.

City Gates. — Several ornamental city gates illustrate the Louis XVI.
style, such as Gabriel's Porte de Bourgogne at Bordeaux (1751-55):
Mique's Portes St Stanislas and Ste Catherine (1762), and Desilles (1785)
at Nancy ; the Porte St Pierre and St Guillaume at Dijon, a triumphal
arch at Chalons-sur-Marne. Of the octroi gates in the new fortifica-
tions of Paris (1782), fantastic and costly products of Ledoux' ill-regulated

imagination, only three now remain, the
Barrieres du Trone, de St Martin, and
de Fontainebleau.

Fountains. — The Fontaine de
Crenelle (Fig. 393), erected in 1739 from
the designs of Edme Bouchardon, and
embellished by admirable sculpture from
his chisel, was one of the earliest works to
herald in the classical reaction by its pure
detail and quiet lines. It is over 100 feet
long and 43 feet high, and consists of a
soberly rusticated podium on which stands
an order on a pedestal with a low attic.
The water flows from an advancing block
of the podium on which rests the principal
group of figures. Behind them rises an
Ionic portico

SCALE OF -L-i-
5CALE OF W

-1 FEET
^ METRES

428. Versailles : Royal
Opera, by J. A. Gab-
riel (1753-70)- Plan.

The concave wing walls

THE STYLE OF LOUIS XVL

449

450

RENAISSANCE ARCHITECTURE IN FRANCE.

are divided by plain pilaster strips into bays containing niches alternately
square and round-headed. The sober cartouches introduced and the
wreaths hanging from them are almost of the Louis XVI. type.

The fountains in the Rue des Haudriettes, Paris, by Moreau Desproux
(1775), in the Place St Louis, Versailles, by Pluyette (1766), and in the
Place des Precheurs, Aix, by J. P. Chastel (1758), and the charming
chateau d'eau at Montpellier are good examples of the Louis XVL style.
Theatres. — One type of public building, the theatre, now comes for
the first time into prominence. Dramatic performances had hitherto
with few exceptions been held in buildings of a more or less temporary
character, or not primarily erected for the purpose. Of the few buildings
designed ad hoc, most formed part of a palace or other great house such
as the Tuileries and Palais Royal, and the remainder, as for instance the
Comedie Frangaise built by d'Orbay (1680), Rue des Fosses St Jacques

in Paris, had few pretensions to
external architectural treatment,
while internally, everything being
sacrificed to the auditorium and
stage, they were deficient in all
other convenience for the per
formers and public. Theatres
being of all buildings the most
liable to fire, none of an earlier
period have survived. In the late
eighteenth century, however, inde-
pendent and permanent theatres
were frequently built, and some
of these are too important archi-
tecturally to be passed over in
silence.

Opera, Versailles. — One
of the last of the great private
theatres, that designed for Louis
XV. at Versailles by J. A. Gabriel
(1753-70), and destined for the
performance of opera, is the most
perfect example of the type. It
occupies the extremity of the
north wing of the palace, whose
elevations had been designed, in
their main lines at least, by J. H.

„ ^ „ ,, Mansart. The auditorium is of

430. Bordeaux: "Grand Theatre," . .

BY V. Louis {1777-80). Plan of the U plan, at that time universal

Second Floor, in France (Fig. 428). Above the

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THE STYLE OF LOUIS XVL

451

431. Bordeaux: " Grand Theatre."

parterre are two galleries with solid fronts, and a third with an open balus-
trade and an Ionic colonnade. Above the entablature is a great cove
divided by vertical ribs into panels, each pierced with an oval opening.
Above again was a flat dome of elliptical plan. A glazed sky-light was
substituted for this in 187 1, in the alteration of the theatre for the sittings
of the National Assembly, when the colour scheme was also completely
changed. The transition from the auditorium to the stage is managed
by the introduction of a giant order of engaged Corinthian columns,
with a cornice ranging with the whole Ionic entablature (Fig. 429). The
proscenium is formed by two pairs of columns, coupled in depth with
their entablature. On either side two more pairs, more widely spaced, en-
close three tiers of boxes. The theatre itself, with its delicate ornament
carved in wood, chased in bronze, and modelled in stucco, with its figure
groups by Pajou, its painted wreaths and trellis backgrounds, and the sub-
dued harmony of gilding in several tones, the soft blue of the hangings,
and the greys and greens of the architecture painted to imitate verde
antique, is a gem of the first water, and a miracle of restrained, yet rich,
decoration ; and the rather severer forms of the oblong vestibule with its
creamy reliefs in a setting of dark marbles forms a worthy prelude to it.

The theatre erected for Marie Antoinette at the Petit Trianon by
Mique (1777-79) is ^ pretty but less restrained rendering, on a smaller
scale, of the same scheme. Externally it has no pretensions to archi-
tectural treatment.

Theatre, Bordeaux. — The Grand Theatre of Bordeaux (1777-80)
by Victor Louis has generally been regarded as inaugurating a new era
in theatre design, because in several important points he made a distinct
advance. The building is independent and isolated ; it has elevations
of becoming dignity ; it is provided externally with covered galleries,

452

RENAISSANCE ARCHITECTURE IN FRANCE.

1

432. Theatre at Amiens, by J. Rousseau (1778-80).

and internally with spacious accommodation, comprising a concert hall
and reception and administrative suites, with well-arranged means of
circulation ; finally, it has a more completely artistic solution of the
internal treatment, auditorium and proscenium being combined into a
homogeneous scheme.

The plan (Fig. 430) is indeed a masterpiece, in which all the multiple

THE STYLE OF LOUIS XVL 453

requirements of the building are fitted into an elongated rectangle, and
set out on an axial system carried to its utmost limits. As regards the
elevations, however, Louis can hardly be said to have been so successful,
or to have done much to relieve the monotony of the nearly cubical mass
by giving it giant order of Corinthian pilasters, with a balustraded
attic, and by placing a colonnade of the same order across one end
(Fig. 431).

If externally Louis' work, though both imposing and finely detailed,
does not escape dulness, internally he redresses the balance. The
decoration throughout is admirably designed, and is of a very similar
character to that of the Opera at Versailles. The auditorium, which is
approached by a stately columned vestibule and a noble staircase, if
not the first to break with the traditional U plan, — for that of Souffiot's
theatre at Lyons (1756) was planned as a truncated ellipse, — was the
first so designed as to permit of a symmetrically planned ceiling. The
" parterre " is three-quarters of a quasi-circle in plan, and the surround-
ing podium which forms the first gallery carries an order of composite
columns embracing two tiers of balconies. From the two columns
which frame the opening towards the proscenium and the two diagon-
ally opposite them, spring four depressed arches, which, with the
pendentives between them, carry a circular saucer dome. On the three
sides of the auditorium the pair of columns intervening between these
angle ones carry flattened semi-domes. On the fourth side the straight
cheeks of the proscenium converge towards the stage, which is framed
in between another pair of columns.

Other Theatres. — The influence of the Bordeaux theatre is
strongly felt in the design of the Odeon Theatre in Paris (1779-82) by
Marie Joseph Peyre (1730-85) and Charles de Wailly (1729-98), which,
though smaller and plainer, is more successful as regards the elevations.
The roof is steeper and better visible; circular openings enliven the attics;
in the absence of an order the arcaded galleries tell more effectively in
the composition ; and the columnar portico, occupying only about two-
thirds of the front, avoids the sprawling effect of its prototype.

The success of Louis' work at Bordeaux was so great that he was
commissioned by the Duke of Orleans to design a theatre to replace
the opera house of the Palais Royal built by Moreau Desproux in 1763
and burnt down in 1781. The new house was placed on the west of
the palace and is the present "Theatre Frangais" or "Comedie Fran9aise"
(1786-90), which, however, has undergone many alterations since. It
is not entirely detached like the theatre of Bordeaux, and is not externally
so ambitious or effective, but it resembles it in its covered galleries, its
columnar entrance hall, which here is circular, and the arrangement of the
auditorium, which here is elliptical with the long axis parallel to the stage.
Of the theatre at Amiens (1778-80) by Jacques Rousseau (1733- 1801)

454

RENAISSANCE ARCHITECTURE IX FRANCE.

nothing now remains but the street front, a small but very successful
piece of Louis XVI. design without orders, but effectively decorated
with appropriate sculpture (Fig. 432).

433. Arabesque by Cauvet,

CHURCH ARCHITECTURE.

St Sulpice : Servandony and Meissonnier. — The reaction to
classical purism was first manifested, as noted above, in Servandony's

design for the west
front of St Sulpice,
and it is a most re-
markable fact that
two designs so dia-
metrically opposed
in their inspiration
as his and Meisson-
nier's (see pp. 402-3)
should have been
produced within six
years of each other
by architects of the
same age and similar
training, both in
revolt against aca-
demic teaching.
The difference lies
in the fact that,
while Meissonnier
was merely up to
date, Servandony
was ahead of his age.
He saw that the
flowery by-path of
rococo art was an
impasse leading no
whither, that if pro-

434. Paris: St Sllimce. Facade by Servandonv
(1733-45): South Tower by Maci.aurin:
North Tower by Chai.grin.

THE STYLE OF LOUIS XVI.

455

435-

Paris : St Eustache. Design for Facade
BY J. H. Mansart de Jouy, as altered

KY MOREAU DeSPROUX. FrOM LeGRAND.

gress was to be made, it
was necessary to return to
the straight high road of
Antiquity.

Servandony's Facade.
— Servandony broke with
all the accepted rules of
church design. In particu-
lar he made no attempt to
express the internal arrange-
ments or to emphasise the
vertical element by frequent
ressauts. He placed a
stately pillared hall, or
narthex, of five inter-
columniations in front of
the church, occupying the
whole space between the
towers, and thus of such
importance as to constitute
the leading motive of the
design (Fig. 434). This
narthex is in two storeys

with two orders, Doric and Ionic, and the fagade being intended for
a narrow street, not for a large square as at present, the pedestal of
the Ionic order is raised on a plain band, which, in perspective, would
have disappeared behind the projection of the Doric cornice. The
towers have a Corinthian order, and an attic. The majestic effect of
the design is in part the result of its scale^the heights of the columns
of the two lower orders are about 46 and 38 feet respectively, and that
of the balustrade from the ground, 134 feet 6 inches-— but largely also to
the simplicity resulting from the reduction in the number and variety of
the main divisions. Its unity is attained by a skilful distribution
of horizontal and vertical emphasis. The former is marked by entabla-
tures unbroken from end to end, and the reposeful effect enhanced
by the quiet attitudes of the statuary and by the reinforcements of
the colonnades ; for the lower one has a second colonnade, and the
upper one an arcade behind it. At the same time the aspiring
character of the towers is marked by coupling the engaged columns
in their lower storeys and gradually diminishing their upper stages. The
bulk of the work was carried out between 1733 and 1745, but the
architects' design was constantly interfered with by the church authorities,
and it is difificult to determine exactly how far the design published in
Blondel's "Architecture Fran(;aise," and in the main carried out, was

456

RENAISSANCE ARCHITECTURE IN FRANCE.

the result of such meddhng. It is, however, not unreasonable to
suppose that it represents Servandony's final ideas, and that he had
abandoned his original intention of erecting a great pediment between
the towers on aesthetic, as well as structural, grounds, since no prepara
tion is made for it in the executed work.

The towers were built by a certain Maclaurin (1749) substantially
in accordance with Servandony's design, but the intended conical roof
was omitted, and the decoration was left uncut. Later on Chalgrin
was commissioned to substitute new towers of his own design, but only
the northern one was thus rebuilt (1777).

St Eustache : New Fa^iade. — in the earliest important piece of
church architecture in the second half of the century, the new front of

St Eustache by Jean Hardouin Mansart
de Jouy, grandson of Jules Hardouin

J^^^^-^T^ Mansart, and brother of the architect of

;|- I'l^ St Louis at Versailles, the influence of

: I I ; A . . ji Servandony's work is clearly traceable.
Though the fagade of St Eustache (Fig.
435) belongs to the old twin tower type,
it differs in several respects from its pre-
decessors ; a colonnaded loggia in two
storeys and three intercolumniations is
introduced between the towers, and the
horizontal lines are more strongly em-
phasised. As at St Sulpice the tower
orders are coupled, the lower entablature
runs through unbroken, the upper one
only breaking at the towers, and the por-
tion between the towers terminates hori-
zontally. In this last respect, and indeed
in its general scheme, the front strongly
resembles that of Notre Dame. Though the classicism of the detail,
the square panels and drapery swags are in accordance with Louis XVI.
practice, the restless statuary and a general pompousness of feeling recall
the age of Louis XIV. The further history of this facade, begun in
1754, but not completed according to Mansart's design, illustrates the
evolution out of this transitional age. Moreau Desproux, under whom
the works were resumed (1772-87), dislocated the design by bringing
forward the centre portion and giving it a pediment, without which by
this time a church front was not considered complete. In execution the
groups of statuary at the angles, which gave a raison d'etre to the
detached columns, were omitted, and only the northern tower was built.
A scholarly and well-considered alternative design by Patte made even
further concessions to contemporary ideas, which insisted on breadth

436.

Paris : Ste Genevieve,
OR Pantheon, by G.
SouFFLOT (begun 1757).
Plan. From Legrand.

THE STYLE OF LOUIS XVL

457

437-

Pantheon : Section through Transepts.
From Legrand.

and reduction in the
number of parts. He
replaced the three
vertical divisions and
the two lower storeys
by a single Corinthian
portico, nearly the full
width of the building,
with a pediment stop-
ping against an attic.
Above the level were
one-storeyed octagonal
towers with circular
unpierced cupolas.

Pantheon. — The
greatest achievement
of the whole century
in church building was
Ste Genevieve, now
known as the Pan-
theon, by Soufflot. In
his design for the rebuilding the church of the patron saint of Paris,
which was selected by competition, he attempted to reproduce the portico
and dome of the Pantheon at Rome, giving the latter the proportion of
that of St Peter's. The desire to accomplish this feat, and to eclipse
the existing domed churches of Paris, and more particularly the In-
valides, seems to have prompted him far more than that of providing
a building suitable for Catholic worship, with the result that his
church has proved well adapted for the totally different purposes of a
Valhalla.

Plan. — The church is on a Greek cross plan (Fig. 436) so arranged
that the arms and the central choir form five equal squares. This cruci-
form space is enclosed in a colonnade, between which and the outer wall
runs a narrow aisle. The squares are five intercolumniations wide, but
in the sides of the central square the two middle columns are omitted,
and the group of three columns left at each of its angles are built up
solid in a triangular pier as a preparation for the dome, thus reducing
the central space to an octagon. In the four arms an additional column
is inserted in each angle, opposite the second and the fifth column, thus
turning the square into a cruciform space. It was Soufflot's intention
to make the arrangements of each arm identical, but he was forced to
make concessions to clerical conservatism. Accordingly, at the west
end a sort of narthex is substituted for the aisle, and a hexastyle portico
is placed in front of it. At the east end the aisle is similarly widened,

45^ RENAISSANCE ARCHITECTURE IN FRANCE.

SO as to form a kind of retro-choir with a shallow apse and chapels to
right and left, while a small square tower is added to north and south
of these, outside the main line of wall.

Section. — The aisles are raised five steps above the general floor
of the building, and have flat coffered ceilings at the level of the entab-
lature of the colonnade (Figs. 437 and 439). In each of the arms, which,
as explained, are themselves individually cruciform, the central square is
covered by a round saucer dome on pendentives, while the arms of each
arm are spanned by semicircular barrel vaults or deep arches springing
from the entablature over the group of four columns in each angle. On
the outer sides, and above the colonnade, a semicircular window fills the
whole tympanum of the barrel vault, except at the east end, where there
is a semi-dome, and at the west end, where there is a blank wall. On
either side of each of these large windows is a tall narrow light, for which
small vaults interpenetrate the barrel each way, so that the pendentives
spread from a slender pier, like a groined Gothic vault, and an open
tribune or gallery fills the space behind them.

The central hall of the church, originally intended for the choir,
is brought by pendentives to the circular form at the height of an
entablature placed above the barrel vaults, which open into it from
the four arms. Above this is a circular drum with twelve square-
headed windows and four similar recesses over the piers. Internally
there is an order of sixteen, and externally one of thirty-two columns,
the inner standing above the inner face of the barrel vaults, the outer
above their outer face. These orders are of equal height, but the
outer one stands higher by about the depth of its entablature.

The dome (Fig. 437) consists like that of St Paul's, London, of
three shells, one within the other. But, unlike Sir Christopher Wren,
Soufflot constructed them all three in stone. The inner dome, which
is hemispherical with an oculus, springs from the blocking course of
the inner colonnade; the intermediate one — elliptical and closed at
the apex — springs from the same level and carries the lantern ; the
outer one — hemispherical like the inner, and covered with lead — rests
on an attic which stands upon the wall of the drum, and is pierced
with sixteen windows to light the intermediate dome.

Elevations. — Externally the whole church — exclusive of the dome
— consists of a single storey corresponding with the order of the western
portico, whose entablature runs round the building, and is surmounted
by a balustrade except at the four principal faces where pediments
occur (Fig. 438). The walls, which but for the doors are unpierced,
are so high that they conceal the clearstorey windows placed on the
line of the internal colonnades. The roofs are low pitched and
hipped at the ends, and they butt against the substructure of the
dome, which is square with recessed splays at the angles. Above

THE STYLE OF LOUIS XVL

459

3^

460 RENAISSANCE ARCHITECTURE IN FRANCE.

this rise the colonnaded drum, the attic, the outer dome and lantern.
The orders throughout the building are Corinthian.

Interior Criticised. — Taken as a whole the Pantheon must be
pronounced one of the finest domed buildings in the world. Yet it
is impossible to see it without being conscious of faults, for which it
would be easy, now that it is built, to suggest remedies. The plan,
while presenting some features of great beauty — the junction, for
instance, of four colonnaded halls with raised aisles round a central
space, is a graceful idea — is marred by the fact that they are too large
to be the mere adjuncts of the dome-space, or in other words, that
the dome is not important enough to be the dominant feature, as
it is at the Invalides, or in Wren's abandoned design for St Paul's.
Again, while the clear view along the aisle from end to end of the
church is effective, the projection of the dome-supports inside the
colonnades, and the consequent contraction of the nave-openings,
and also the cross views obtainable from one hall to another behind
these piers are confusing. Finally, the nave vaults, while they have
both the slender supports and the intricacy of a mediaeval system,
lack their appearance of combined lightness and solidity, and the
unity derived from a long succession of similar bays, which are among
the secrets of the beauty of a Gothic nave.

The detail and carved stone decoration of the interior is designed
throughout in a pure and refined taste, but lacks variety, and is not
exhibited to advantage in the cold white light, which pours down
from the dome and clearstorey and pervades every corner of the
building. The omission of the lesser clearstorey windows would have
mitigated the glare, and given alternations of shade in the roof, and
at the same time simplified the vaulting system, while the introduction
of colour into the remaining windows would give a warmth which
is sadly lacking. The building up of the windows, with which the
aisle walls were originally pierced, was no doubt an advantage inter-
nally, since their light is not required, and the unbroken wall makes
an effective background to the colonnade.

The dome itself has several excellent features. The relative, but
not excessive, slenderness of the piers, the easy transition from octagon
to circle, the honesty of the relation between the interior and exterior
of the drum, are points in which it has the advantage of its great
Parisian predecessors, but it is less happily proportioned internally than
any of them, its height being considerably greater in proportion to
its width.

Exterior Criticised: Dome. — Externally, while effective when seen
from a distance — which is often the case since it occupies the summit
of a hill — it loses on a closer view. In reposeful majesty it lags far
behind, not only St Peter's, but its own neighbours at the Val-de-Grace,

THE STYLE OF LOUIS XVL

461

4

and even at the Invalides. The rather steep curve of the dome,
cuhninating in an insignificant lantern, rests on a high bald attic which
is obviously nothing but the continuation of the drum; so that the
structure appears, what in fact it is, a rather slender tower surrounded by
a peristyle which stops for no obvious reason at two-thirds of its height.
There is, in fact, no inevitable relation between the dome, the peristyle,
and the substructure, with whose solid mass the slender columns
contrast painfully. It is a little extraordinary that Soufflot should not
have resorted to one, or both, of two obvious devices to overcome these
uncomfortable effects. The reason perhaps is that there were no ancient
precedents to be found for either. He might have used some feature,
whether buttress, console, or statuary, as at the Val-de-Grace or in
Michael Angelo's design for St

Peter's, to carry on the spreading ;

line of the dome to the outer
face of the substructure, and he
might have given the peristyle
the requisite appearance of
solidity by utilising the turret
staircases over the four piers as
integral parts of the design. As
it is, these only project enough
to appear excrescences on the
drum, when they might have ful-
filled the purpose of Wren's solid
blocks at St Paul's in preventing
a view of the sky through the
colonnade.

Portico. — The most pro-
minent, and indeed almost the
only, feature of the lower part of
the elevations is the western

portico (Fig. 440), which, from its scale and monumental character, is very
striking, but it is marred by several defects. The pediment is too steep.
The columns are by no means as well designed as those of the interior,
the capitals being of excessive depth, and the shafts having a pronounced
double entasis and a disagreeable system of reeded fluting ; and finally
the supernumerary pair added at each end beyond the pediment, in
a line with the two inner ranges of columns, though they may be needed
to counteract the thrust of the concealed arches which carry the
entablature, fulfil no aesthetic purpose, but merely introduce an element
of confusion.

Walls. — The remainder of the elevation consists in huge blank
walls not relieved by any features except the doorways, the pilaster

440. Pantheon : Western Portico.

462 RENAISSANCE ARCHITECTURE IN FRANCE.

strips at the angles, and a band enriched with swags ranging wuth the
capitals of the order. The row of arched windows at the base of their
walls, now built up, can have added little to their charm, and the present
effect of these elevations is one of chilling aridity, which has not even
truthfulness to justify it. For in his efforts after classical correctness
and simplicity, Soufiflot was driven to an expedient which became char-
acteristic of his age, and has been pointed out at the Hotels de Salm
and Brunoy (Figs. 410 and 412) — the concealment of the storeys and
openings. A church with aisles and clearstorey has, in effect, at least
two storeys, and this was usually expressed in the elevations of Gothic
and Renaissance churches of all ages. But here the church is made
to appear as if it had no windows, or at least no clearstorey windows,
and but one storey, by the use of blank screen walls and of a colossal
order. The latter is quite a different thing from the traditional use of
the giant order, the purpose of which is merely to give unity and
monumental scale to a building whose storeys are frankly exhibited.

Construction, Dimensions. — The most remarkable feature about the
Pantheon is the boldness of its construction. A comparison of its plan
with that of other domed churches shows that the area covered by
walls and piers is smaller relatively to the voids than is usual. But
the excessive cleverness displayed in the design incurred the penalty of
instability, though it must be admitted that the danger which once
threatened the dome is attributable to other causes than the slender-
ness of the supports, or any defect in Soufiflot's calculations.

The building was begun in 1757, the whole of the substructures and
the crypt were complete when Louis XV, laid the first stone of one of
the dome piers in 1764, the base of the drum was reached at Soufflot's
death in 1780, hastened by the worry caused by the numerous attacks
made on the design, of which those of Patte were the most virulent.
The work was continued by Soufiflot's nephew Fran9ois (died 1802),
nicknamed " Le Remain," his pupil Rondelet, and others. After the
building of the dome, all the supports began to be riddled with ominous
cracks. On examination it appeared that among the chief causes of
failure were defective masonry, due to the ill-timed parsimony of the
clergy, and the brittle nature of the stone in the piers, which, among
other remedial measures, had to be repaired and thickened. The
principal dimensions of the Pantheon are approximately as follows : —
Total length from outside of rear wall to front of portico, 360 feet ;
width over all across transept, 272 feet; width over all across nave,
118 feet; internal diameter of dome, 66 feet. The diameter of the
opening in the inner dome is 31 feet, and its height from the floor,
188 feet. The height to the top of the lantern from the floor is 265
feet. The diameter of the columns of the portico is 5 feet 9 inches,
and their height 62 feet.

THE STYLE OF LOUIS XVL

463

First Madeleine Church. — In Contant d'lvry's design for the
Madeleine — the church begun in 1764 to close the vista of the Rue
Royale — the influence of the Pantheon is immediately traceable in at
least two points : the substitution of colonnades and flat ceiled aisles
for arcades and vaulted aisles, and the planning of the dome supports
as a group of three columns built solid in one pier, and aligning with the
nave and transept colonnades. The plan (Fig. 441) forms a Latin
cross in which the nave has seven, the choir three, and the transepts
two bays, each with aisles and chapels.

The most original feature is the planning of the intersection. The

SCALE CF

441. Paris: First Madeleine Church, by Contant d'Ivry (begun 1764).
Plan. From Patte.

colonnades of each wing stop in a line with the outer wall of the limb
at right angles to it, and are connected with the dome piers by arches
equal to those under the dome, a span double that of the intercolumnia-
tion, the vaults of the four limbs being joined up by quarter domes.
Thus the high altar, standing in the central point of the cross, has the
dome and its piers as a sort of colossal baldacchino, set in the midst
of a great hall the full width of all the limbs of the church, a very noble
arrangement. On Contant's death, the church, which had made but
little progress, was handed over to Couture, who recast the whole design.
Both architects' work was swept away under Napoleon to make room
for the present edifice.

464

RKNAISSANCP: architecture in FRANCE.

Other Churches. —
The more or less com-
plete concealment of
windows, the absence of
projections, a pedimented
portico on the main
facade the full height and
width of the building, or
at least of the nave, and
the consequent single
storey treatment, the
colonnade replacing, the
arcade ; — such are the
usual characteristics of
churches of this period,
in addition to those com-
mon to the whole style.
They are all present in
St Philippe-du-Roulebuilt
from the designs of Chal-
grin (1769-84), and ex-
hibiting a variant on the
primitive basilica plan,
which now began to
supersede the cruciform
and Vignolan basilican
plans. The barrel vault
of the nave is executed in timber according to de I'Orme's system.
Somewhat similar but without aisles is the Carmelite chapel at St Denis,
now Justice de Paix, by Mique (1767). The facades of the Beaujon
Chapel (1780) by Girardin, and the chapel of the Charite Hospital
(1786) by Antoine are even more severe, and have no porticoes. The
chapel of the Ecole Militaire by J. A. Gabriel has a masculine and
effectively treated interior with a depressed stone barrel vault, pierced
with ceils de-boeuf.

St Louis d'Antin (formerly the chapel of a Capuchin monastery)
by Brongniart, St Pierre at Besancon, St Eloi at Dunkirk, both by
Louis, St Vaast at Arras (1755) by Contant d'lvry, and a chapel (now
Protestant) in the Rue Hoche at Versailles by de Wailly, are examples
of the church building of this period, of which the design by Neufforge
reproduced in Fig. 442 is typical.

The style of Louis XVL constitutes one of the most homogeneous
and least strained adaptations of classical architecture to modern

30 40 50

jFerr

15

jMETRES

442.

Design for Church Eroxt by
J. F. DE Neufforge.

THE STYLE OF LOUIS XVL

465

requirements, and, if erring on the side of frigidity, usually satisfies the
eye by its tranquil sobriety and massive proportions. Its decoration
is as elegant and refined as that of the age of Louis XV,, but tamer and
less piquant. The generation for which it was devised, though no less
frivolous or artificial than the preceding one, had read Jean Jacques
and preferred sentiment to vivacity and wit.

The style of Louis XVI. is the last true scion of the Renaissance in
France, the last, at least, which followed the old quest of recapturing
the inspiration of ancient architecture and clothing modern construction
in forms derived from it, but adapted ad hoc by a process of selec-
tion and generalisation. A new ideal, both intellectually and artistically
inferior, now began to replace the old, aiming at the accurate reproduc-
tion of particular monuments or of as large portions of them as could
by any possible means be made to accord with modern requirements.
Thus the letter took precedence over the spirit, with the usual unsatis-
factory results, and, while the details and composition of antiquity were
more accurately copied, they were used to less purpose.

443. Decorative Composition by G. P. Cauvet.

444- Design for Chimney-piece by Percier and Fontaine.

CHAPTER VIII.

STYLE OF THE EMPIRE (1790-1830)

RULERS.

Louis XVI. (1774-92).
National Convention (1792-95).
Directory (1795-99).
Napoleon Bonaparte, First Consul
(1 799- 1 805).

Napoleon Bonaparte, Emperor (1805-

14 and again 1815).
Louis XVIIL, King (1814-15, and again

1815-24).
Charles X., King (1824-30).

CONTEMPORARY ENGLISH SOVERELGNS.
George IIL (1760-1820), George IV. (1820-30).

HISTORICAL SKETCH.

Political Events. — Although in essentials the line of Renaissance
styles came to an end with the old absolute monarchy, that which
flourished during the generation succeeding the Revolution is, super-
ficially at least, so closely related to the style of Louis XVI , that this
book would be incomplete without some reference to it. The styles in
vogue from 1790 to 1830, which, while introducing a new era, still
have much in common with the old, will therefore be briefly described
in this chapter under the heading of the Empire.

The summoning of the States General in 1789 marked the opening
of the great drama of revolution, in which the unrest of an outworn
society culminated, and all existing institutions were cast into the
melting-pot. A period of republican forms of government under
various names followed the fall of the monarchy. Power fell into the

466

THE STYLE OF THE EMPIRE. 467

hands of new and untried men, of more or less capacity, and often of
bloodthirsty instincts. Under these auspices the era of reform was at
first accompanied by much bloodshed and disorganisation, and Europe
was plunged into a series of wars which covered the lifetime of a whole
generation. The task of bringing order out of chaos, and of turning a
new page in French history, which, under similar circumstances, two
centuries earlier had been carried out by Henry IV., now fell to the lot
of Napoleon Bonaparte. The military and political genius of the
Corsican general gave France the hegemony of Europe, and re-
organised her institutions on a basis which in essentials has lasted to
the present day, and withstood the shock of repeated revolutions.
But once more, as under Louis XIV. a hundred years earlier, an
arrogant and aggressive policy was answered by a combined effort of
the European powers. On Napoleon's overthrow the late King's
brother was placed on the throne as a constitutional sovereign. But
the Bourbons and the aristocracy "had learnt nothing and forgotten
nothing " in exile and misfortune. They hoped to revive the Ancien
Regime, and after the astute and comparatively moderate Louis XVIIL
(1814-24) had been succeeded by his more narrow-minded brother, the
bigoted Charles X. (1824-30), attempts were made to restore absolute
monarchy. Their only result was to bring about the Revolution of
July, the King's abdication, and the accession, in the person of Louis
Philippe, of a younger branch of the Bourbons with more liberal
tendencies.

Stylistic Evolution. — The years 1789-94, during which events
marched so rapidly and so tragically, were too full of perils and
uncertainty to be propitious to building ; but with the return of com-
paratively settled times the style of Louis XVL re-emerged in a modified
form, taking the name successively of the Directory, the Consulate, and
the Empire, but continuing unchanged in its principal characteristics.
The name Style Messidor is also sometimes given to the work of the
decade 1 790-1800, which constitutes a transition from the Louis XVI.
to the full Empire style. Since, however, Napoleon was the dominant
figure of the age, and since the Neo-Classic style culminated when
he was at the zenith of his power, the designation "Empire" may
appropriately be applied to the whole period, including the Restoration
(1815-30), during which Neo-Classicism was in decline.

An upheaval so colossal as the French Revolution could hardly be
unattended by changes in the domain of art. To a superficial view the
immediate effects on architecture may appear strangely slight. But
though the styles of Louis XVI. and of the Empire have obvious
points of contact, they were inspired by different ideals. Till the
Revolution the majority of architects had remained more or less
under the influence of a national tradition built up on the Vitruvian

468 RENAISSA^XE ARCHITECTURE IN FRANCE.

foundation by many generations of their predecessors, and maintained
by the authority and teaching of the Academy. Greatly undermined
under the two preceding reigns by archaiological discoveries and the
reaction against the rococo licence, with which it had compromised,
the academic tradition received a shattering blow from the Revolution,
which abolished the Academy, and cast discredit on all that savoured
of the old order. National ideals, backed by royal authority and
immemorial tradition, began to give way before a current of individ-
ualism and eclecticism. The spirit which produced the Declaration of
the Rights of Man manifested itself in the architectural world in the
claim of every architect to the right to choose his own style. That at
first most of them still chose their models m classical antiquity is a
circumstance due to causes to a large extent extraneous to architecture,
and not to the desire to continue the traditions which had hitherto
governed their art. This is clear from their abandonment of this
source of inspiration in favour of others, as soon as classical antiquity
went out of fashion in society, and lost official support. But the
practice of individual selection penetrated even within the limits of the
classical school, for whereas classical design had hitherto been based
on principles derived from the study of all antiquity, so far as it was
known, the neo-classic school, overwhelmed by the multiplicity of
models now open to it, began to copy individual buildings, or at least
classes of buildings, and the Renaissance sank in their hands to the
level of a Revival.

Fate of the Academy. — Technically it was only for two years
that the architectural profession in France was without an official
organisation and educational system. The Academies were abolished
by the Convention in 1793, and the Institute, which embraced them
all, created by the Directory in 1795. But the Academy of Architecture
with its forty members and long-standing prestige had been effectually
destroyed, and its schools dispersed. The new organisation was for
some time little more than nominal, and, especially as regards its
architectural department, never quite reacquired the preponderating
position held by the old Academy. In its final form, after several
remodellings by successive regimes, the Institute comprises five
academies, and the fourth of these, the Academy of Fine Arts, has
five sections, one of which, consisting of eight members, is devoted
to architecture.

Soon after the closing of the Academy School, David Le Roy,
famous for his antiquarian researches in Greece, a professor in the
old school, and one of the original members of the Institute, opened
a private school, in which he was joined by A. I>. T. Vaudoyer, L. P.
Baltard, and, later, Percier and Fontaine. This school was held, first
in a private house, then in a damp and gloomy hall in the Louvre ; but

THE STYLE OF THE EMPH<E. 469

445. DESIGN FOR A ROOM IN THE PALACE OF ARRANJNEZ
FOR THE King of Spain, by Percier and Fontaine.

470 RENAISSANCE ARCHITECTURE IN FRANCE.

on receiving the recognition of the Institute, and being incorporated with
its other art schools, it was removed to the College des Quatre Nations,
which had been assigned to that body as its headquarters. The art
school was finally removed in 1816 to the Petits Augustins, on
whose site it now stands under the name of Ecole des Beaux Arts,
but to a large extent freed from its dependence on the Institute.
In 1803 the Government school in Rome was transferred to the Villa
Medici (or as the French call it " Medicis ") on the Pincio, which it
still occupies.

Effects of the Revolution. — The Revolutionary era not only
built virtually nothing, thus already producing a hiatus in the progress
of architecture, but it demolished or defaced many existing monuments,
especially in the case of churches and aristocratic mansions. The
destruction of the entire city of Lyons was even decided upon, to
punish it for its counter-revolutionary tendencies. It was partly carried
out under the superintendence of Couthon (1793), and the Directory
had to repair the worst damage done by rebuilding the facades of the
Place Bellecour.

The emigration, ruin, or death of the aristocracy, and the overthrow
of royalty, deprived architects and decorators of their best patrons.
Some had to choose between employment abroad and starvation.
Others did not pass scatheless through the Terror. Antoine was
incarcerated on the charge of having constructed subterraneous
passages from the Mint to the Seine, so as to facilitate the exportation
of specie to England, but was released at the request of the contractors
working on the new fortifications, who stated that his presence was
indispensable for the checking of their accounts. A. F. Peyre, who
as keeper of the Palace of Fontainebleau devoted himself to protecting
the works of art it contained, was himself confined in it, on its being
converted into a prison. Belanger, who was imprisoned in the
Luxembourg, met there an old flame, whom he married on their
release. Chalgrin was detained in the same building, and survived
to adapt it for the use of the Directory. Hubert Robert employed
his time in sketching his fellow-prisoners at St Lazare, and owed his
escape, after being condemned to death, to a mistake of the gaoler,
who put another man of the same name in the day's batch of victims
in his place. Others were less fortunate : Moreau Desproux was
beheaded in 1793 as having served the Duke of Orleans, while Mique
and his son suffered for their services to the Queen. They went to
the guillotine on 8th July 1794, a fortnight before the fall of Robespierre
brought the Terror to an end.

Causes of Change in Style. — Of the greater architects of the
Louis XVI. period, Gabriel, Soufflot, and Contant d'lvry died before
the Revolution ; Antoine, Louis, and Couture soon after. Those who

THE STYLE OF THE EMPIRE. 471

survived, like Belanger, Chalgrin, Brongniart, and Ledoux, were mostly
men inclined to the new individual reading of antiquity ; and archi-
tectural education was reorganised, as already mentioned, under the
auspices of a classical archaeologist. These facts would have been
enough to account for a change in the character of architecture. But
changes in the clientele were almost equally influential. The ruling
class under the Republic and Empire was in the main composed of
parvenus^ who, after their kind, liked pretentious display, and were not
restrained, as the old aristocracy had been, by hereditary culture and
a mode of life Avhich amounted to a continual training in elegance
and good taste. The result was a coarsening in the tone of the
work carried out for them.

Another disturbing factor tending to upset traditional methods was
the introduction of iron as a building material. The dome of the
Corn Exchange was rebuilt in wrought iron (1802) (see p. 448), and
the arches of the Pont des Arts (1803) and the Pont d'Austerlitz
(finished 1807) were constructed in cast iron.

Popularity of Classical Antiquity. — One cause which contri-
buted to keep design in classical channels for a time was the spread of
an interest in antiquity from art and literature to the political and social
world. A somewhat ill-founded belief prevailed that the ancient
republics enjoyed a regime of pure democracy and individual liberty,
and that their citizens were models of all the austere and simple virtues.
Plutarch's heroes and his Stoic philosophy were in all men's mouths,
and everything was expressed in a pedantic phraseology compounded
of classical allusions, generally misapplied, and Rousseauesque senti
mentalities. Nor was there any great change when Napoleon assumed
the imperial crown. Aristides and Cincinnatus were merely replaced in
men's imaginations by the Caesars, and republican virtues by the glories
of imperial Rome. David painted his " Sabine Women " and his
" Brutus." People of fashion lived in windowless temples and were lit
by Pompeian candelabra. They had Etruscan vases on their chimney-
pieces, and breakfasted at tripods, seated on curule chairs. Cadets
were arrayed in the chlamys, and the Elders of the Council of Five
Hundred in the toga. These classical fashions were sometimes a little
more than the ordinary public could swallow. Madame Hamelin was
hooted when she appeared in the Champs Elysees in the diaphanous
and more than decollete garb assumed by the modistes of the day to
have been the ordinary attire of a Roman matron ; and the statue of
a contemporary general had to be removed from the Place des Victoires
because his classical nudity was thought excessively realistic. The
Graeco-Roman fashion was, it is true, disturbed, even during this period,
by an outbreak of sphinxes and pylons, a consequence of the Egyptian
campaign (1798-1801); but these importations from the Nile could

4/2 RENAISSANCE ARCHITECTURE IN FRANCE.

easily be absorbed into the prevailing style. Other revivals, however,
which began to show themselves about the beginning of the nineteenth
century, were successful in establishing themselves in hostile rivalry with
it, because they had genuine currents of opinion at their back.

Catholic and Royalist Reaction, Medlevalism. — Carried out
under the influence of the phi/osophes, the Revolution had been
hostile to revealed religion ; and the persecution which the Church then
had to face proved a wholesome discipline, well calculated to rouse
her from the lethargy into which she had sunk. A Catholic reaction
followed, accompanied by the rehabilitation of Christianity by brilliant
writers like Joseph de Maistre, Chateaubriand, and Lamennais, and
proved so powerful that Napoleon found it politic to take it under his
patronage. This did not, however, prevent Catholicism from assisting
the royalist reaction with which it was in closer sympathy. A revulsion
in favour of the old historic monarchy, encouraged by the excesses of
the Terror and the rigours and exhausting wars of the Empire, for a time
at least after the fall of the latter, submerged both Jacobinism and
Csesarism. Meanwhile an evolution was taking place in literature.
Madame de Stael had revealed Germany to France ; German philosophy
and the writers of the " Sturm und Drang " period began to be read ;
and about the same time Shakespeare and Ossian, Byron and Sir Walter
Scott became popular. The collection of monuments of mediaeval and
Renaissance times, gathered from the wreck of palaces and churches
by the pious care of Alexandre Lenoir at the Petits Augustins, showed
Frenchmen what unsuspected treasures their own early art had produced.
Interest was thus aroused in a variety of ways in the first centuries of
Christianity, the Middle Ages, Feudalism, and Chivalry, the Italian and
French Renaissance, Teutonic lands, modern Greece and the Levant.
In a word, interests became more cosmopolitan, more universal, and,
at the same time, more personal and vivid. The accepted forms of
writing and design, with their sober traditions and conventions, came
to be regarded as too cold and formal; every age and clime was
ransacked for substitutes more in harmony with the mystic or stirring
themes, and the gorgeous tints of mediaeval or Oriental pageantry, which
it was desired to express.

The intensified classicism of the generation preceding the battle of
Waterloo was too much bound up either with Revolutionary and Anti-
catholic or with Imperialistic ideas to be palatable to the Restoration,
which inherited it in an enfeebled form, and did little with it but copy
or fitfully continue the works of the Empire. The fall of the imperial
regime deprived it of its last support, and left it powerless to compete
with the turbulent young rivals of the day.

THE STYLE OF THE EMPIRE.

473

CHARACTERISTICS OF THE EMPIRE STYLE.

General Tendency. — The general character of the style of the
Empire period, as above defined, is sufficiently described when it is
said that the most literal classicism of the Louis XVI. period was
carried yet further, and that it introduced into architectural design the
frigidity which characterises the sculpture of Canova and the painting
of David. Its lines, especially in decoration and furniture, are even
more exclusively straight, stififer, more comfortless, its spirit more
grandiose and pre-
tentious, while much
oftherefinementand
elegance which had
lent charm to pre-
revolutionary work
had evaporated.

The report of a
commission ap-
pointed by Napoleon
to inquire into the
state of the arts, and
presented in t8io,
is significant of the
architectural ideas of
that generation. It
is clear from this
document that bald-
ness was in itself
regarded as a merit.
One passage eulo-
gises the architect
Mathurin Crucy for
having created a new
era by abandoning
the taste of the school of Blondel, which affected "coupled or superposed
columns, balusters distributed everywhere, multiplied pilasters placed
even behind columns, or on the angles of recesses and projections " ;
while from another passage it may be gathered that the highest commen-
dation that could be bestowed on a design was to recognise that it was
composed of elements directly copied from ancient examples ; thus the
new Hall of the Tribunate (destroyed in 1827) in the Palais Royal is
praised to the skies because the architect, Claude Etienne Beaumont, had
included in it sundry details borrowed respectively from the Roman Pan-
theon and from the temples of Peace, of Concord, and of Jupiter Stator.

446. Paris ;

Mirror Top in Hotel de Pologne,
65 Rue de Turenne.

474 RENAISSANCE ARCHITECTURE IN FRANCE.

447-

Napoleon I.'s Study at La Malmaison : Decorated by Percier
AND Fontaine.

Characteristics. — Colonnaded porticoes and bare walls undivided
by strings, so far as possible unpierced, and decorated, if at all, only by
niches for antique sculpture, were deemed essential to the dignity of any
building of a public or palatial character. In smaller houses the use
of the orders is very sparing, and the whole architectural treatment
consists in the introduction of a few strings, and in varying the sizes
of the openings in the different storeys.

Walling is sometimes faced with brick, pebbles, or artificially

THE STYLE OF THE EMPIRE. 475

roughened ashlar, or even with rough-cast. A pecuUar form of
pediment, without any horizontal member, came into vogue, often of
enormous span and very low pitch, and sometimes with an arched
opening within it. The so-called " Venetian " window is occasionally
used, and in this, as elsewhere, semicircular, or even very flat
segmental, arches spring direct from capitals (Fig. 463). Large semi-
circular windows divided by vertical muUions, and large shallow arched
recesses are common ; and within the latter, arched windows concentric
with them often occur, the intervening space being decorated with a
series of paterae or other recurring ornament. There is a tendency to
reduce features to their simplest expression, for openings to have no
architraves, columns and pilasters no bases and a mere apology for
capitals, and to carry lintels only, instead of entablatures, and for windows
to be divided into fewer panes. The supports of a chimney-shelf and
the sides of a mirror-frame are often formed like very elongated slender
columns, which, if Corinthian, have capitals of the Lysicrates Monu-
ment type and bases with similar foliage.

Decorative Elements. — A certain fondness is displayed for diagon-
ally intersecting arrangements of bars in balconies, railings, and even
windows, lozenge-panels in doors, and lozenge patterns in ornament
(Fig. 462). All the classical types of foliage reappear, but in an
excessively stiff and regular form ; sprays of palm, myrtle, and olive,
imbricated bands and festoons of various leaves, are set out with a
hitherto unknown formality and precision ; great use is made of a stiff
type of acanthus and palmette varied by fern-leaves, of regularly spaced
out circular wreaths and paterae, of antique urns and cornucopias, torches,
lamps and lyres, of winged figures of various kinds, especially Victories,
Psyches, Pegasi, and sphinxes, also swans, sea-horses, and mermaids.
Mseanders, frets, and other Greek enrichments, and the Greek orders
are popular. The greater part of the decorative schemes and motives
are borrowed from Greek and Etruscan vases, and the frescoes of
Pompeii, but they are chilled and stiffened in transit, while the amiable,
if frivolous, doves, rose-sprays and ribbons of the old order were banished
(Figs. 446, 448, 452, and 465). There is a less delicate taste in
colour ; cruder tints and more violent contrasts were admired in the
upstart society of the Consulate and Empire, such as diapers of stars,
crowns, rosettes, marguerites, lattices of palm-branches, or key-pattern
borders, in gold or silver on bottle-green, or terracotta, yellow, violet,
or crimson grounds, ormolu ornaments on mahogany and rosewood
furniture, or on verde antique and porphyry, or coloured inlays on
white marble.

Exponents of the Style : Percier and Fontaine. — That the
Empire style, however inferior to its predecessors in refinement and
charm, is yet invested with a certain dignity and attractiveness, and
32

47^ RENAISSANCE ARCHITECTURE IN FRANCE.

448. CHIMNEY-PIECE OF NAPOLEONS STUDY AT COMPIEGNE.
By Pekcier and Fontaine.

THE STYLE OF THE EMPIRE. 477

the interest inseparable from any consistent style, is largely due to the
work of two men, whose unbroken and lifelong friendship is one of the
most pleasing episodes in architectural history. Charles Percier (1764-
1838), son of the lodge-keeper at the revolving bridge of the Tuileries
Gardens, and Pierre Francois Leonard Fontaine (1762-1853) met in
A. F. Peyre's school; both obtained prize studentships, and spent some
years in Rome. On their return in 1792, the state of public affairs
being anything but propitious to building, Fontaine at first sought his
fortune as a decorative designer in London, while Percier was doing
similar work in Paris, but they soon obtained a joint post at the, oppra
at Paris, giving them the control of the scenery and costumes, and
were employed by the cabinetmaker, Jacob Desmalter, to make designs
for the furnishing of the Hall of the Convention for which he had con-
tracted. The two friends soon became noted for a pure classicism
which exactly suited the taste of the hour. They were presented by the
painter David to General Bonaparte, and became architects to the First
Consul and to the Emperor ; nor were they disowned by the Restoration,
though after 18 14 Percier, whose health was unsatisfactory, withdrew from
practice to devote himself to their innumerable pupils. Like Prima-
ticcio and Le Brun in other centuries, they became the arbiters of taste
in matters great and small. Besides a large amount of architectural work
they gave designs for furniture and upholstery, bronzes, plate, glass and
china, stuffs, wall-papers and frescoes, as well as the costumes, decora-
tions, and illuminations for State ceremonies. They may be regarded
as the creators of the Empire Style, which in their hands always attained
a high level of merit {cf. Figs. 444, 445, and 465).

Among the other artists whose work helped in the formation of the
Empire Style, the painters Jacques Louis David (1748-1825) and Pierre
Paul Prudhon (1758-1823), the engraver Charles Normand (1765-1840),
the cabinetmaker Lignereux, and the bronze-worker Thomire may be
mentioned. What excellence of execution the work carried out in it
can still boast is due in large measure to the surviving workmen trained
under the ancien regime. But with the disappearance of the itiaitrises
apprenticeship became rare, and it is often only too evident that the
traditions of craftsmanship had to a large extent been broken, and that
the trade product was beginning to supersede artists' work.

Decorations by Percier and Fontaine may be seen in several of
the royal palaces altered for Napoleon — Compiegne, Fontainebleau,
Trianon— and at Malmaison, the Empress Josephine's country house.
Examples of Empire decoration also exist in the Hotel Beauharnais,
now the German Embassy, the Hotel de Pologne (Fig. 446), &c.

Changes of Fashion. — With each change of political circumstances
came small changes of decorative fashion. The Republic had its
Phrygian caps, its bundles of fasces and lictors' axes, its oak and laurel

478 RENAISSANCE ARCHITECTURE IN FRANCE.

crowns. The Napoleonic wars were accompanied by a flood of military
emblems ; arrows, spears, and short Roman swords alternate with
cannon and bayonets, helmets with shakos, cuirasses with braided tunics,
tubcz with drums. In the place of tablets or cartouches, there appear
several types of ancient shields, especially the short curved pelta and
the elongated hexagon of the clipeus; and rooms were designed to
imitate tents. After the Egyptian expedition came Egyptian sphinxes,
heads of Isis, scarabs, winged globes, imitation hieroglyphics, lotus
capitals and bases, columns with only the upper part fluted. An
ephemeral Turkish fashion also followed the same event, and boudoirs
and bath-rooms were decorated with ogee arches and painted with
scenes from the harem. With the Empire the N of Napoleon and
the Bonaparte bees usurp the places of the L's and fl'eurs-de-lys of the
Louis, while the imperial crown and eagle with outstretched wings
proclaim the revival of the Roman Empire, and winged thunderbolts
the swift destruction likely to overtake its enemies. The reigns of
Louis XVin. and Charles X. restored the royal emblems, and intro-
duced various mediaevalisms, but otherwise continued the Empire types
with less taste and less vigour.

Garden Design. — -The reign of the landscape garden which pre-
vailed throughout this period decUned into confusion worse confounded.
Each turn of the serpentine path brought the enchanted stroller into
view either of a " rustic " farm or a Chinese bridge, a chapel of Straw-
berry Hill Gothic or a Turkish kiosk, an Egyptian swing or a classic
tomb at the foot of a weeping willow, or among waterfalls and rockeries
of ever-increasing naturalness. Yet these importations are as far from
being assimilated to the stylistic character of the age as they are from
being the replicas of their supposed originals.

SECULAR AND CHURCH ARCHITECTURE.

Government Buildings. — The National Assembly, which had
met in the royal tennis-court at Versailles, on removing to Paris in
October 1789, was accommodated in the royal riding-school, along the
north side of the Tuileries Gardens, hastily arranged for the purpose.
The National Convention, which replaced the Legislative Assembly
in 1793, was housed in the palace itself. The theatre of the Tuileries
was gutted and fitted up to this end by Alexandre de Gisors. The
space, which was long and narrow, was ill-suited to the purpose.
The platforms and seats for president, oflScials, and speakers stood in
the centre of one side ; along the other ran the tiers of seats for the
members, curving inwards at the ends, while the public occupied
galleries on three sides of the hall. The decoration simulated panelling
in porphyry and verde antique with bronze enrichments, but like the

THE STYLE OF THE EMPH^E.

479

449. Paris : Portico of Chamber of Deputies in Palais Bourbon,
BY B. PoYRT (1807).

monuments of the time — the column and altar to the Supreme Being,
the temples of Equality and Fraternity— these embellishmeiits were
composed of lath, plaster, and paint, and proved as ephemeral as the
regime they represented. It would appear that the only permanent
monuments with which the Revolution endowed Paris consisted in a
pair of marble seats in the Tuileries Gardens.

The onus of providing for public needs in a more enduring manner
fell on the succeeding governments. The first task of the Directory
was to house itself. For this purpose two houses of the royal family —
the Palais Bourbon and the Luxembourg — were adapted. The former
had been greatly altered by the last Prince of Conde, who had incor-
porated the adjoining Hotel de Lassay with it. It had since been
dubbed Palais de la Revolution. Gisors and Lecomte added to it
a hall for the deliberations of the new Council of Five Hundred.
Improving on the Hall of the Convention they made the audi-
torium semicircular in plan, thus giving an example which has been
almost universally followed in Continental and American parliament-
houses (Fig. 450). From motives of economy the architects were in-
structed to place it inside the old buildings and forbidden to project
the hemicycle or surround it with a colonnade as they wished to do.
The result was a blank wall, too bare for the taste even of that day,
and it had to be remedied, as best it might, by the addition (1807)
of the existing dodecastyle pedimented portico designed by Bernard
Poyet (i 742-1824), a pupil of de Wailly, and a sort of architectural

48o

RENAISSANCE ARCHITECTURE IN ERANCE.

METRE?

450. Plan of Chamber of
Deputies, arranged by G.

DE GiSORS AND LeCOMTE,

IN THE Palais Bourbon
(i795)» and largely Re-
constructed BY J. DE

JOLY (1829-33).

Vicar of Bray, whose political convictions
shifted with every change of government,
and were equally ardent under each. This
new fa9ade (Fig. 449) was placed at an
"y E^^T^Ssfl I angle with the older buildings so as to lie

**.:^ As^MASJv*:! »■ <Lm -* j^ ^^le axis of the Rue Royale and be the

central feature in the south side of the
Place de la Concorde. The hall was so
hastily and cheaply put up that it soon
became necessary to rebuild it. The
present " Chambre des Deputes " dates
from 1829-33, and was designed by J. J. B.
de Joly (1788-1865).

The Luxembourg, which was in very
bad repair, and had recently been used
as a prison, was selected as the seat of the
executive under the Directory and the
Consulate, The necessary alterations car-
ried out by Chalgrin (i 795-1805) included
a new state Staircase in the right wing, involving the destruction of the
Rubens gallery, while de Brosse's central stair was removed to make
way for a vestibule leading through from court to garden, with a hall
above it for the Senate, of similar plan to that in the Palais Bourbon.
The hall was rebuilt and the whole of the central part of the palace
remodelled, being doubled in thickness, by H. de Gisors under Louis
Philippe.

Palaces. — Under Napoleon, Compiegne, Fontainebleau, St Cloud,
and the Grand Trianon were used as imperial residences, and were
restored and partly redecorated by Percier and Fontaine, much of whose
work there is still to be seen, e.g., the Salle des Fetes and the apart-
ments of the imperial family at Compiegne (Fig. 448), and in Napoleon's
apartments at Fontainebleau (Fig. 452). The Emperor, who did not
inhabit or alter the palace of Versailles, had conceived a singular project
in regard to its gardens, namely, to replace what he regarded as the
vulgar taste of their nymphs and other ornaments by panoramas of the
capitals he had conquered, executed in masonry. Happily this scheme
fell to the ground like another, which was elaborated by his architects,
for a colossal palace to be situated, first near Lyons, and then near
Paris, on the site of the present Trocadero, with gardens and accessory
buildings extending to the Arc de I'Etoile, the Bois de Boulogne, and
the Ecole Militaire. He contented himself eventually with undertaking
the completion of the Louvre and Tuileries. Percier and Fontaine re-
decorated the latter as his town residence, and brought to a conclusion
the restoration of the old Louvre commenced in the eighteenth century.

THE STYLE OF THE EMPH^E.

481

451. Paris : Wing of Louvre on North Side of Place du Carrousel, by
Percier and Fontaine, in Imitation of Henry IV. 's River Front
(1806-13).

Their work may be seen in the external and sculptured decoration in
several places, in the eastern entrance, the staircase of the Egyptian
Museum, the Hall of the Caryatids, &c. Innumerable schemes were
once more put forward by various architects for uniting the two palaces
into a single one. That of Percier and Fontaine effected this by means
of several courts disguising the defect in parallelism, and comprised a
public library and an opera-house. The only portions actually carried
out were the triumphal arch, and a few bays at each end of a wing
running along the Rue de Rivoli. In this part of the palace the archi-
tects showed an appreciation of the work of early predecessors, which
was the best feature of the arch geological tendencies of the day. They
contented themselves with reproducing the elevations of Henry IV.'s
Galerie du Bord de I'Eau on the opposite side of the court (Fig. 451),
a very fortunate circumstance at the present day, when the original has
disappeared.

Public Monuments : Arc du Carrousel. — The triumphal arch,
on the other hand, shows their more usual bent towards classical
archaeology. The so-called "Arc du Carrousel" (Fig. 453) is a pleasant
variant on the arch of Septimius Severus, differing from it first by the
greater importance given to the treatment of the ends, which are
pierced by arches equal to the lesser ones in the face, with whose
vaults they intersect, and secondly by the introduction of colour in the
form of pink marble panels, friezes, and columns. These columns were

482

RENAISSANCE ARCHITECTURE IN FRANCE.

THE STYLE OF THE EMPIRE.

483

found ready worked in the royal stores, and determined the dimensions
of the monument, which are less than those of its prototype. The
Roman arch is 63 feet high, 75 feet wide, and 24 feet deep. The Arc
du Carrousel is 47 feet high, 56 wide, and 21 deep. The arches are
14 feet 6 inches, and 9 feet, wide respectively, and the height of the
springing of the main arch is 21 feet. Napoleon placed the bronze
horses carried off from St Mark's, Venice, upon the platform, but the
Allies returned them to their former owners, the Duke of Wellington
personally superintending their removal. If small, particularly in rela-
tion to the large open space in which it stands, this arch is perhaps
the most tasteful of the many monuments by which Napoleon com-
memorated the glories of his rule and arms. For like Louis XIV., but
without Louis' discrimination, he looked upon art principally as a means
for impressing the world with his
majesty and irresistible power.

Arc de l'Etoile. — Another
of them was the " Arc de Tri-
omphe" or "de la Grande
Armee," now generally known as
"Arc de l'Etoile" from the site,
which, after some hesitation, was
assigned to it, at the starlike inter-
section of the Champs Elysees
with two diagonal avenues ; — the
avenues meeting at this point
have since been increased to
twelve. In 1806 Chalgrin was
instructed to design this monu-
ment to the victorious armies of
France in collaboration with Jean

Armand Raymond (1742-181 1), who was a pupil of Blondel and Le Roy,
and had made a special study in Italy of Palladio's works. They were
only able to agree as to the design of the general mass. Raymond
wished to decorate it with columns carrying statues ; Chalgrin preferred
reliefs applied to the walls. Though Raymond's design was accepted,
he retired from the work in 1808, and Chalgrin's scheme was in the
main carried out, though the course of the erection was a checkered one.
At Chalgrin's death (181 1) only the pedestals had been built ; the works
were then superintended by his pupil Goust till his death (1828). They
were, however, long interrupted (1814-23). On their resumption Huyot
was appointed as his colleague, but afterwards superseded by a com-
mission of four architects including Fontaine and Gisors (1825-28). On
Goust's death, when the work had reached the main architrave, Huyot
was reinstated, to be once more superseded (1832), this time by Blouet,

453. Paris : Arc du Carrousel, by
Percier and Fontaine (1806).

484

RENAISSANCE ARCHITECTURE IN FRANCE.

%

who carried it to com
pletion (1836). There is
much in the design (Fig.
454) which is inspired by
Francois Blondel's Porte
St Denis, e.g., the main
arch, with Victories in
the spandrils, set in a
square recess between
great piers of masonry
without orders, but deco-
rated with trophy - Hke
sculpture raised on a
pedestal. But in the Arc
de I'Etoile, the arch
springs from an impost at
the head of the piers, and
is flanked by oblong relief
panels, while the main en-
tablature is surmounted
by an enriched attic.
Further, as in the Arc
du Carrousel, the depth
is greater in proportion,
and the sides decoratively
treated and pierced by
minor arches. Finally the feeling of the detail, if not of the sculpture,
is inspired by ancient models. The use of frets, of lion gargoyles, of
antefixae, and of a deep sculptured frieze are all in accordance with
Greek practice, while the frieze of the attic seems suggested by the
treatment of the attic of the Arch of Augustus at Perugia.

In size the Arc de I'Etoile surpasses every other monument of the
kind in the world. It is 162 feet high, 147 feet wide, and 73 feet deep.
The main arch is 48 feet wide and 72 feet high to the springing. It
is doubtful, however, whether, in spite of its colossal dimensions, the
monument produces as great an effect, in proportion, as the Porte
St Denis. This is due partly to its isolated position on high ground,
where it is visible on all sides from a great distance, and in a vast open
space, where there is no ordinary building near enough for comparison ;
and partly to the fussy treatment of the cornice and attic, and the hard
unsympathetic detail throughout. Yet, when all is said, the Arc de
I'Etoile worthily fulfils its purpose, the glorification of the greatest military
achievements of modern times, and impresses, not merely by its size,
but equally by its unity of conception and freedom from anything trivial.

454-

Paris: Arc de l'Etoile, or de Triomphe,
BY Chalgrin and Others (1806-36).

THE STYLE OF THE EMPIRE.

485

COLONNE VeN-

DOME. — In addition
to the triumphal
arch, Napoleon also
borrowed the me-
morial column and
the temple from the
Romans, as means
of commemorating
the successes of his
arms. Trajan's
column served as
a model for the
" Colonne da la
Grande Armee,"
generally known as
"Colonne Ven-
dome " from the
" place " in which
it stands (Fig. 455).
It is an almost
exact copy of its
original, both as
regards size and
design, with the dif-
ferences, however,
that it is cased in
bronze — from cap-
tured Austrian cannons — and that the figures are in modern dress. The
column, which is about 116 feet high to the top of the abacus, was
erected (1805-10) by Gondouin, assisted by the practical experience of
J. B. Lepere. It was destroyed under the Commune in 1871, but
rebuilt three years later. Another Napoleonic monument is the Doric
column at Boulogne by de la Barre and Henry (1808-40), which is nearly
173 feet high, and has a plain stone shaft with a foliage band below
the necking and a high sculptured pedestal.

The Madeleine : Its History. — The works at the Madeleine
Church had been carried on since Contant d'lvry's death (1777) by
Couture, with an interruption caused by the Revolution, but the walls
had not risen far out of the ground when he died (1799). Napoleon
decided shortly after this to convert the edifice into a Temple of Glory^
dedicated to his armies and decorated with their trophies. A competi-
tion was held, in which Beaumont was placed first, while Vignon,
Gisors, and A. M. Peyre received premiums. But the Emperor, who

455. Paris : Colonne de la Grande Armee, or
Vendome, by Gondouin and Lepere (1805-10).

486

RENAISSA^'CE ARCHITECTURE IN FRANCE.

The Second
Madeleine
Church, by

ViGNON AND

HuvE (1807-42):
Plan.

could find time to examine the designs in the
midst of the arduous campaign of 1807, wrote
from a camp on the Russian border that Vignon's
alone fulfilled the conditions by providing "a
temple and not a church," " a monument such as
could be found at Athens and not in Paris."
Vignon was instructed to carry out the building
l_ - -l n on these lines. He remained in charge of the

^_,^^ ;; work till his death (1828), when he was succeeded

^m.fiiii^ by Huve, who had been inspector of the building

C^^3 under him, and after a long interruption completed

i«fotr_-..j_?rm it in 1842. But the Restoration had quite other

juutrf..- r'-^i-rtttts vicws than the Empire, and insisted on having a

456. The Second church.

Exterior. — The resulting edifice is therefore
externally a complete pagan temple of the Cor-
inthian order, octastyle and peripteral, with
eighteen columns on the side, and internally a
hall, such as might form part of some Roman
thermae, but fitted up for Christian worship (Figs. 456, 457, and 458).
Such buildings as the Madeleine and its compeers mark a standstill, if
not a retrogression, in architectural evolution, but whatever may be
thought of their suitability to modern conditions, they must always have
value as scholarly studies in classical design, and excite admiration in
proportion to the fidelity with which they reproduce the beauties of a
great architectural period. If the Madeleine fails to impose on the
imagination in the same degree as an ancient temple, this is due not to
any imperfection in its details or proportions, which are as good as
they could well be,
but rather to the
nature of the sur-
roundings and
materials. In size
the building is com-
parable to some of
the largest temples
of antiquity — the di-
mensions of the plan,
which, measured
from outside to out-
side of the column
bases, are approxi-
mately 333 feet by .scale; of L_
144 feet, are only 457. The Second Madeleine Church : Section.

THE STYLE OF THE EMPIRE.

487

45S. Paris : The ^Iadeleine from South-West.

exceeded in the case of about half a dozen ancient examples. The
columns, which are about 63 feet high, probably surpass those of all
Greek or Roman buildings, except the great temple of Baalbek. But
instead of standing in surroundings of natural beauty, or among rela-
tively small buildings, such as would enhance its scale, it is situated in
a comparatively insignificant square among many-storeyed houses. It
is the less able to hold its own under these conditions from the fact that
the columns are constructed, like solid towers, of courses of small
stones, and therefore lack something of the dignity and grace of those
formed of monoliths or large drums. Further, since they are less than
ten diameters in height, and spaced only two diameters apart, and since
undue prominence is given to the walls of the cella by a uniformly dis-
tributed rustication, the general effect is less graceful than is usual with
the Corinthian order.

Ifiterior. — The interior consists of a shallow vestibule, an oblong
aisleless nave, and a semicircular apse. The vestibule has a barrel
vault and the apse a semi-dome. The nave is divided into five square
bays by columns standing free in front of square piers, and carrying
semicircular arches ; each bay is roofed by a circular saucer- dome on
pendentives. The great thickness of the walls permits of apses on each
side of the vestibule, shallow rectangular recesses at the side of the nave
connected together by a passage pierced through the piers, and a chapel

488

RENAISSANCE ARCHITECTURE IN FRANCE.

or sacristy on each side of the apse. The widely spaced single columns
have a weak appearance, but in other respects the interior is finely
proportioned and of considerable impressiveness. It is very richly
decorated. In addition to the main Corinthian order, and standing
like it on a pedestal, is an Ionic one, half its size, forming a colonnade
round the nave and apse. Everywhere, too, there is a rather excessive
wealth of panelling and sculpture, marbles, painting, and gilding, but it

is prevented from being offensive by the
dimness of the illumination, the church
being windowless, and the light admitted
only through oculi in the domes and
semi-domes.

Buildings of Public Utility. — The
need for buildings of public utility of the
most varied description, which made itself
felt after the fall of the old monarchy, was
met by the various governments which
followed the Revolution, and in this
respect, in particular, Napoleon was a
great builder. But it would be profitless
to describe, or even enumerate, the town
halls, prefectures, hospitals, law-courts,
prisons, barracks, markets, slaughter-
houses, and bridges which were put up
during this period of reconstruction.
Their architecture seldom falls below a
certain standard of decent attainment, but
it equally seldom rises above it. With
the exception of some of the buildings
already individually mentioned, and a few
others, it would be difficult to find any-
thing worthy of special remark in the
dead level of accomplished mediocrity.

The Bourse : Plati and Section. —
The Paris "Bourse" (Figs. 459 and 460)
is one of the most ambitious of the public
buildings of the Empire. The Stock Exchange had long used a portion
of the Palais Mazarin ; to Napoleon was due the idea of housing it in a
building erected ad hoc. The architect selected was Brongniart, and the
work was begun in 1808. On his death in 181 3, E. de la Barre (1754-
1833) was appointed to succeed him, and the building was completed in
1827. The design, which was an admirably practical one, consisted
of a large and lofty top-lit hall surrounded by two tiers of arcaded
galleries, on to which opened offices and reception rooms. The whole

SCALE OF
jCALE OF

..^

FEET
METRES

459.

The Bourse, by Bron-
gniart AND DE LA BaRRE

(1808-27): Cross Sec-
tion AND Block Plan.

THE STYLE OF THE EMPIRE.

489

building formed a rectangle surrounded by a Corinthian peristyle, under
shelter of which transactions can be carried on in the open air. The
hipped roof, within which is contained the high coved ceiling of the hall,
is constructed of iron, and covered with copper, and no wood was used
in the structural parts of the building.

Elevations. — That the effectiveness of this simple and sensible design
is not greater is principally due to two causes. In the first place it is
virtually a temple design, but the excessive proportion of the width to the
breadth, viz., about 2 : 3 as against i : 2 or 2 : 5 in most ancient temples,
emphasised by a great expanse of hipped roof, gives it an unpleasantly
sprawling effect. In the second place, the austere simplicity of Bron-
gniart's design was lost by the substitution of a Corinthian for an Ionic
order, with a view to obtaining greater height without respacing the

460. Paris : The Bourse from South-West.

bases, which were already in position. To criticise the peristyle, on the
ground that it makes two storeys appear one, is beside the mark. Just
as, in the case of a church, the architect has the choice of making either
the lofty one-storeyed nave, or else the divisions of aisle, triforium and
clearstorey, tell in his facade, so here he had the choice between express-
ing in the elevations either the high central hall or the two storeys of
offices. He very naturally chose the former motive as the more essential
in preference to the latter, which is in the nature of an accessory.

Theatres. — The whole period, even including the years of revolu-
tion, but excepting a few years following 1807, when an imperial decree
limited the number of playhouses, was fertile in theatre architecture ;
but though much ingenuity was shown, little of permanent architectural
interest was produced.

490

RENAISSANCE ARCHITECTURE IN FRANCE.

Town Plan-
ning, — In the
matter of town
planning Napoleon
proved himself a
worthy successor to
Henry IV. and
Louis XIV. Several
of the important
monuments with
which he embel-
lished Paris — the
fa9ade of the Corps
Legislatif, the Arc
de I'Etoile, the
Madeleine — went to
complete the great
scheme of improve-
ment of which the
Place de la Con-
corde was the centre.
He greatly extended
the scope of this
scheme by planning
the Rue de Rivoli
to connect it with
the central quarters.
Along a part of its
course the new

north wing of the Tuileries formed its southern side, while the north
side (Fig. 461) was designed by Percier and Fontaine as a single scheme
of uniform elevations with an open arcade at the street level. Originally
planned to run as far as the Palais Royal the street was eventually carried
on till it joined the Rue St Antoine under the Second Empire, and thus
superseded the Rue St Honore as the main east and west artery of Paris.

As an example of similar schemes in the provinces, those carried out
at Nantes by Mathurin de Crucy (1749-1826) may be mentioned. In
the course of a long career, as city architect, begun before the Revolution
and extending beyond the Empire, he largely altered the aspect of his
native city by laying out the Places Graslin, Louis XVI., and Royale, the
Cours Henri IV. and Cambronne, and designing the Bourse, the cloth and
fish markets, the municipal theatre, and the facade of the Hotel de Ville.

Domestic Architecture. — It is not necessary to linger long over
the domestic architecture of the Empire. Throughout the period —

461. Paris;

The Rue de Rivoli, by Percier and
Fontaine.

THE STYLE OF THE EMPIRE.

491

and indeed beyond it — many
hotels and country houses are to
be found conforming, with but
slight variations, to the type in-
troduced in the last years before
the Revolution, of which the
Hotels de Brunoy and de Salm
were examples. Till the end of
the Empire they form the great
majority ; neo-classical detail and
symmetrical compact planning
are still the rule. The Hotel Ste
Foix, Rue Basse du Rempart, by
Brongniart (1798); a house by
Damesne, Rue Richer (1793)
(Fig. 463); the Chateau of Ste
Assise, near Melun, as restored
by Sobre, will serve as specimens
of detached town and country
houses respectively. The eleva-
tions of the Rue de Rivoli illus-
trate the Empire style as applied
to terrace houses (Fig. 461).
Combined schemes of this de-
scription, frequent at that time,
contributed largely by their uni-
formity and avoidance of eccen-
tricity to the establishment of a
type of street architecture of an
unusually high average of excel-
lence, which till quite recent
times has seldom been departed
from, and gives Paris a physio-
gnomy all her own. Shop fronts
were developed to the greatest
possible size consistent with the
retention of piers of sufficient ap-
parent, as well as actual, strength
(Fig. 462). A new idea was the
introduction of galeries, or as
they would be called in London,
"arcades," i.e., streets of shops
accessible to foot - passengers
only, and covered by a glass
33

462. Paris : Terrace House with
Shop in Rue Grenelle, St
HoNORE. From Krafft
AND Thiollet.

492

RENAISSANCE ARCHITECTURE IN FRANCE.

f^i /^1 ^\ ^t

roof, e.g., the Galeries Colbert and Vivienne, built on the site of the
Hotel Colbert.

As the century advanced it was marked by a restless search for
novelty ; and, especially after the Restoration, picturesqueness invaded
the house, as well as the garden. Side by side with the neo-classic
type, houses are met with reproducing each stage of the Italian
Renaissance, thatched villas of timber and brick, and farmhouses in the
Flemish manner, with crow-stepped gables, while the revived interest

in old French life is
manifested by the re-
building in Paris
(Cours la Reine) of
Francis I.'s house at
Moret (Fig. 57).

Sepulchral Ar-
chitecture.— One of
the minor results of
the Revolution was the
disuse of burial in
churches, and conse-
quently of the internal
monumental tomb,
which was now replaced
by the open-air monu-
ment or sepulchral
chapel, erected in
cemeteries, for families
or in honour of persons
of distinction. The
most notable of this
new class of structure
is the Expiatory Chapel
to the memory of
Louis XVI. and Marie
Antoinette, built
(1816-26), from the designs of Fontaine, on the spot at which they
had been buried, in the Rue d'Anjou. It is approached through a
court surrounded by low buildings, those on either hand forming
cloisters. Opposite the entrance is the square chapel, with a tetrastyle
portico and a vestibule in front, and a semicircular apse on each of the
remaining sides. The chapel has a circular stone dome, coffered within
and imbricated externally, with a central oculus ; the apses have similar
semi-domes. The whole is carried out in the refined classical manner
characteristic of the architect, but with a certain Byzantine flavour. On

463-

Paris : Design for House in Rue Richer.
From Krafft and Thiollet.

THE STYLE OF THE EMPIRE.

493

paper the treatment has considerable charm, which, however, seems to
evaporate in execution, leaving nothing but a frigid correction. In
the same category may be mentioned the chapels at Quiberon and
Orange (1825) both designed by A. N. Caristie (i 783-1 862).

Churches. — The Empire produced no church of note — the Made-
leine, as stated above, was not originally intended for worship. But
under favour of the Restoration, the Catholic revival brought about a
renewed activity in church-building. Its most important examples are
the parish churches of Notre Dame de Lorette (1823-36) by Louis
Hippolyte Lebas (i 782-1 867), and St Vincent de Paul (Fig. 464)
(1824-44) by Lepere and his son-in-law, J. H. Hittorf (i 793-1867).
Both are examples of the basilica
type, reintroduced by Chalgrin at
St Philippe du Roule. In plan
and section, however, they come
much nearer to the early basilicas
of Rome and Ravenna, while
their detail is without the austere
purity of the late eighteenth cen-
tury, and is influenced by various
periods of the Renaissance. Both
have a double aisle divided by a
colonnade, and a triumphal arch
leading into an apsidal choir, and
neither has a vaulted roof, though
they differ in several other
respects. As regards the exterior,
Notre Dame has a tower placed
over the square choir between the
nave and apse, while St Vincent
has towers at the west end of
the outer aisles connected by a
high blank wall, against which

stands a hexastyle pedimented portico three columns deep. This church
stands high, and is approached by an elaborate lay-out of steps and
terraces. A number of churches of this period conform more or less to
this type of design, e.g.^ those of Bercy (1823), St Germain-en-Laye
(1827), and Vincennes (1830). But classical architecture for ecclesiastical
purposes, however much diluted with Byzantine or Renaissance elements,
was beginning to be looked on askance, and the Gothic Revival was at
hand. The restoration of medieeval churches was undertaken with
as great archaeological accuracy as the age could muster, and new
churches in mediaeval styles began to arise. One of the earliest serious
attempts at a Gothic place of worship seems to have been the chapel

464.

Paris: St Vincent de Paul, by
Lepere and Hittorf (1824-44).
Principal Facade.

494

RENAISSANCE ARCHITECTURE IN FRANCE.

of Les Herbiers in Vendee (1825). A Romanesque Revival was not
long in following, and the Classical Tradition, at least as regards
church architecture, was effectually broken.

The ultimate outcome of the Revolution was the collapse of all the
classical systems, whether artistic or literary. The attacks, of which
the classical school in literature was the object, culminated in 1830 in
the triumphant production of Victor Hugo's " Hernani," just when, in
painting, the antique Ingres was being eclipsed by the romantics,
Gericault and Delacroix, and a bloodless shade of classicism in archi-
tecture was being hustled from the stage by mediaeval revivals, or
importations from the East.

Classical ideals had reasserted their influence in architecture with
the dawn of the Renaissance, since they were in harmony with the general
trend of civilisation and the march of human thought. They lost their
supremacy when they ceased to correspond with the dominant current.
After 1830 classical design died down to an insignificant glimmer; yet
even under the July monarchy, in an age afflicted with a general lack
of taste and style, it was not wholly quenched, and the strong Latin
element in French culture will probably ever keep it burning.

The Ecole des Beaux Arts began to assume to some extent the
guiding role played by the old Academy. Under its fostering care a
new national tradition on a classical basis has been in process of
formation, and, with some flickerings, the dimmed light of the Renais-
sance has flamed up once more with some promise of its old briUiance.

■I^MW^^I!^^'fM$'^,7M

- 1 zm

465. Design for Vase ky Percier and Fontaine.

BIBLIOGRAPHICAL NOTE

I.— MODERN AUTHORS.

A. General. — In English the only complete survey of the whole
course of Renaissance Architecture in France is still that in Fergusson's
"History of Modern Architecture" (ist ed. 1862, 3rd ed. 1891), now
largely superseded. A more up-to-date but much shorter summary
occurs in Russell Sturgis' "European Architecture" (1896). These
can be corrected and supplemented by reference to the articles in the
Architectural Publication Society's most carefully compiled " Dictionary
of Architecture" (1853-92) and those in R. Sturgis' " Dictionary of
Architecture and Building" (1901-02).

In German, Baron H. von Geymiiller's exhaustive " Baukunst der
Renaissance in Frankreich " in the " Handbuch der Architektur " series
(Vol. I. 1898, Vol. II. 1901 ; Vol. III. has not appeared) covers the
ground to the close of the Rococo Phase; while VV. Liibke's "Geschichte
der Franzosischen Renaissance" (1855) and C. Gurlitt's "Geschichte
des Barockstiles (Rococo und Klassicismus)," Vol. II., both in the
" Geschichte der neueren Baukunst " series, cover it to the beginnings
of the Classical Reaction. The fine photographs in C. Gurlitt's " Die
Baukunst Frankreichs" illustrate work of each phase of the whole
period.

In French, Leon Chateau's " Histoire et Caracteres de I'Architec-
ture en France" (1864), though often out of date in its information,
especially in the earlier periods, gives a still valuable general survey.
Good outline summaries are to be found in Lechevallier Chevignard's
" Les Styles Frangais" (1892) in the " Bibliotheque de I'Enseignement
des Beaux Arts " series, and in the art sections of Lavisse's great
French history. These may be supplemented by such works as Roger
Miles' "Comment discerner les Styles," H. Havard's "Histoire et
Philosophie des Styles" (1S99-1900), H. Destailleur's "Notices sur
quelques Artistes Fran^ais " (1863), D. Guilmard's "Les Maitres Orne-
manistes" (1880), and C. Enlart's "Manuel d'Archeologie Frangaise";

495

49*5 BIBLIOGRAPHICAL NOTE.

^

also by the articles in A. Lance's and C. Bauchal's dictionaries of French
architects (1872 and 1887 respectively), and in Planat's " Encyclopedie
d' Architecture." Fine collections of illustrations accompanied by text
covering the whole period also abound, such as E. Rouyer and C.
Darcel's " L'Art Architectural en France" (1863), A. Berty's "La
Renaissance Monumentale en France" (1864), C. Sauvageot's "Palais,
Chateaux, Hotels, et Maisons de France" (1867), C. Daly's " Motifs
Historiques, Exterieurs et Interieurs" (1869-81), and the "Archives de
la Commission des Monuments Historiques" (1855-72), all containing
measured drawings. Photographic illustrations of all periods will be
found in such works as M. Fouquier's "Les Grands Chateaux de
France" (1907) and C. Brossard's "Geographie Pittoresque et Monu-
mentale de la France."

B. Special Periods. — For special periods the following works may
be consulted : —

(i) Late Fifteenth Century and Sixteenth Century. — In English :
Mrs Mark Pattison's (Lady Dilke) "The Renaissance of Art in France"
(1879), R. Blomfield's "Architectural Studies" (1905), W. H. Ward's
"French Chateaux and Gardens in the Sixteenth Century" (1909).
In German : W. Liibke's " Franzosische Renaissance " (see above). In
French : Leon Palustre's " L'Architecture de la Renaissance," Book II.
(1892), in the " Bibliotheque de I'Enseignement des Beaux Arts" series
(bigoted and ill arranged but full of information) ; L. de Laborde's " La
Renaissance des Arts a la Cour de France" (1850-55) and his "Les
Comptes du Batiment du Roi" (1877); E. Miintz's "La Renaissance
en Italic et en France a I'Epoque de Charles VIII " (1885) ; A. Berty's
"Les Grands Architectes Fran^ais" (i860); M. Vachon's "Les Grands
Maitres Ma9ons" (1910); H. von Geymiiller's "Les Du Cerceau"
(1887); H. Clouzot's "Philibert de I'Orme" (1911); P. Vitry's "Jean
Goujon " in " Les Grands Artistes " series ; Verdier and Cattois'
" L'Architecture Civile et Domestique " ; G. Eyries' " Les Chateaux
Historiques de la France" (1877-79); P- Vitry's "Hotels et Maisons
de la Renaissance Francaise " ; and C Martin's " La Renaissance en
France." The two last-named, which are still in progress, comprise
splendid collections of photographs.

(ii) Seventeenth Century. — -In English : Lady Dilke's " Art in the
Modern State" (1888). In German: C. Gurlitt's " Barock." (see
above). In French : H. Lemonnier's " L'Art Francais au Temps de
Richelieu et de Mazarin " (1873); A. Genevay's " Le Style Louis XIV"
(1886); J. J. Guiffrey's "Les Comptes du Batiment du Roi sous le
Reigne de Louis XIV" (1835).

BIBLIOGRAPHICAL NOTE. 497

(iii) Eighteenth Century and Early Nineteenth Century. — In
English : Lady Dilke's " The French Architects and Decorators of the
Eighteenth Century" (1901). In French: '• L' Architecture et la
Decoration Fran^aises aux XVIII'"^ et XIX"'^ Siecles"(in progress);
R. Pfnor's "Architecture, &c., de I'Epoque Louis XVI" (1865);
P. Planat's " Le Style Louis XVI"(igo8); " Interieurs et Exterieurs
de I'Epoque Louis XVI " (published by C. Schmid) ; M. Fouquier's
" Percier et Fontaine " in " Les Grands Artistes " series, Gourlier, &c. ;
"Choix d'Edifices Publics" (1825-50) ; from the beginning of the reign
of Louis XIV. to the close of the Empire the volumes on each phase
of style in the " L'Art de Connaitre les Styles " series (in progress).

C. Monographs on Towns and Regions of France. — For the
history of Renaissance Architecture in the principal towns of France the
volumes in the " Villes d'Art Celebres " will be found useful together
with the following : —

Paris. — "Paris et ses Monuments," L. P. Baltard (1803-05);
"Description de Paris et ses Edifices," Legrand and Landon (1806-09
and 1818); "Statistique Monumentale de Paris," A. Lenoir (1855);
"Topographic du Vieux Paris," A. Berty, &c. (1866, &c.) ; "Paris a
Travers les Ages," Fournier, Hoffbauer, &c. (1875, &c.); "Das Alte
Paris," E. and W. Hessling (1907) (in progress); "Les Vieux Hotels
de Paris," F. Contet (in progress) ; " Edifices Religieux de Paris,"
A. Bainet (1909) in the "Les Richesses d'Art de la Ville de Paris"
series.

Rouen. — " Les Vieux Hotels de Rouen," E. Delaborde, &c.

Lyons, Dijon, Aix-en-Frovence, and Bordeaux. — In " L' Architecture
et la Decoration " series, L. Deshairs.

Many towns, especially Nancy and Metz, are illustrated by series
issued by A. Guerinet.

North- Western France. — The only three volumes issued of L.
Palustre's great survey of early Renaissance Architecture in France —
"La Renaissance en France" (1881-85) — ^^^^ ^•'^h the north-western
provinces.

Loire Valley. — " Les Chateaux de la Vallee de la Loire," V. Petit
(1861); " Blois, Chambord, et les Chateaux du Blesois," F. Bournon
(1908), and "Tours et les Chateaux de Touraine," P. Vitry (1905), both
in the " Villes d'Art Celebres " series ; " Nouveaux Documents pour
I'Histoire, &c., des Residences Royales du Bord de la Loire," F. de
Croy (1894).

498 BIBLIOGRAPHICAL NOTE.

^

D. Monographs on Individual Buildings. — The following are
among the most important monographs on individual buildings (in most
cases they are illustrated) : —

Department of Seine —

Paris. — Louvre and Tuileries : " L' Architecture et le Decoration
aux Palais du Louvre et des Tuileries," Anon. (1907); "Le Palais du
Louvre," H. Guedy (1907). Palais Royal: " Le Palais Royal, Archi-
tecture et Decoration," E. Dupezard. Luxembourg: " Le Palais du
Luxembourg" (1904) and " Le Luxembourg" (1910), both by A.
Hustin and with text only. Palais Bourbon: Plans, &c., de la Chambre
de Deputes, J. de Joly (1840). Hotel Beauharnais : " L'Hotel Beau-
harnais, Palais de I'Ambassade d'Allemagne." St Eusiache : " L'Eglise
St Eustache de Paris," J. Le Roux de Lincy and V. Calliat (1850).
Hotel de Vtlle : "L'Hotel de Ville de Paris," J. Le Roux de Lincy and
V. Calliat (1846), and L. Lambeau (1901) in "Les Richesses d'Art de
la Ville de Paris " series.

Compare also other volumes in the same series, and albums of photo-
type views by A. Guerinet on the Ecole Militaire, Hotel des Monnaies,
Palais: Royal, de la Legion d'Honneur, de I'Elysee, du Luxembourg,
des Archives Nationales (Hotel de Soubise), Chancellerie d'Orleans ;
" Le Chateau de Bagatelle," A. Guerinet ; " Le Chateau de Bercy,"
L. Deshairs.

Department of Seine-et-Oise —

Versailles, c^c. — " Versailles " and " Les Jardins de Versailles " in
" Les Grands Palais de France " series (int. by P. de Nolhac) ; " Le
Chateau de Versailles " and "Les Jardins de Versailles" (int. by G.
Briere) ; "La Creation de Versailles," P. de Nolhac (1901) ; Versailles
et les Trianons," J. Roussel ; " Les Trianons," G. Briere ; " Le Grand
Trianon " and " Le Petit Trianon," L. Deshairs ; "The Petit Trianon,"
Arnott and Wilson (1908).

St Germain. — " Les Chateaux Royaux de St Germain-en-Laye,"
G. Houdard (1909-10).

Marly. — " Le Chateau de Marly-le-Roi," E. Narjoux.

Malmaison. — "Chateau de la Malmaison," C. Foulard.

Maisons. — "Le Chateau de Maisons," L. Deshairs.

Series on most of the above and on Rambouillet by A. Guerinet.

Department of Seine-et-Marne —

Fontainebleau. — " Monographic du Palais de Fontainebleau," R.
Pfnor (1863); "Fontainebleau" in "Les Grands Palais de France"
series ; " Le Palais de Fontainebleau," G. Roussel.

Vaux-le-Vicotnte. — " Le Chateau de Vaux-le-Vicomte," R. Pfnor
(1888).

BIBLIOGRAPHICAL NOTE. 499

Department of Oise —

Chanttlly, Compiegne, — Series by A. Guerinet.

Department of Eure —

Anet — "Monographie du Chateau d'Anet," R. Pfnor (1867).

Gaillon. — "Les Comptes de Depense du Chateau de Gaillon,"
J. Deville (1835, &c.). Compare also Hesshng's " Das Alte Paris."

Department of Seine Inferieure —

Rouen. — " L'Hotel de Bourgtheroulde," I.afon and Marcel.

Department of Rhone —

Lyons — '''' L'Hotel de Ville de Lyons," Tony Desjardins (1867).

Department of Loir-et-Cher —

Blois. — "Le Chateau de Blois," Duran and Lenail (1875); ditto,
G. Roussel.

IL— AUTHORS CONTEMPORARY WITH THE
ARCHITECTURE.

A. History of Buildings. — The following illustrated works are
among the principal graphic sources for the state of the buildings at
their respective periods : —

Sixteenth Century. — J. A. du Cerceau's "Les Plus Excellents Basti-
ments de France" (1576-79). Also re-issued by Destailleur (1868 70).

Seventeenth Century. — Claude Chastillon's " La Topographic Fran-
gaise" (1612), the prints, single or in collections, of I. Silvestre, A., N.
and G. Perelle, J. Marot, and Aveline.

Eighteenth Century {up to Revolution). — " L'Architecture Frangaise,"
published by Mariette ; " L'Architecture Frangaise," published by
Jombert and edited by Jacques F. Blondel (1752-56); "Les Delices de
Paris et de ses Environs " and " Les Delices de Versailles et des
Maisons Royales," prints by J. Rigaud ; " Monuments Eriges a la
Gloire de Louis XV.," by P. Patte (1767); "Description Generale et
Particuliere de la France," edited by Delaborde, &c. (1780, &c.).

Eighteenth Century {after Revolution) and Early Nineteenth Century.
— Various publications by J. C. Krafft ; " Residences des Souverains,"
Percier and Fontaine (1833); "Paris and its Environs," Pugin and
Heath (1829-31); "Choix d'Edifices Publics," by Gourlier, &c.

(1825-50).

500 BIBLIOGRAPHICAL NOTE.

B. History of Design. — The publications of the following
architects and decorative designers throw light on the history of
design : —

Sixteenth Century. — Ph. de I'Orme, J. A. du Cerceau (Henry H.).

Seventeenth Century {Early).— V. Le Muet, J. Barbet, A. Francini,
Collot, A. Bosse (Henry IV., Louis XHL).

Seventeenth Century {Mid). — A. and J. Le Pautre, J. Marot, C Le
Brun, Cottart (Early Louis XIV.).

Seventee?iih Century {Late) and Eighteenth Century {Early). — D.
Marot, P. Le Pautre, J. Berain (Later Louis XIV.). CI. Gillot, CI.
Audran, A. Watteau, P. Nativelle (Regency).

Eighteenth Century {Mid). — G. M. Oppenordt, J. A. Meissonnier,
N. Pineau, F. Cuvillies (sen. and jun.), Jacques F. Blondel, G. Boffrand,

E. Here de Corny, P. Patte (Louis XV.).

Eighteenth Century {Late, before Revolution). — Contant d'lvry, P.
Patte, Jacques F. Blondel, M. J. Peyre, J. F. de NeufTorge, V. Louis,

F. Boucher (fils), L. Prieur, Delafosse, Salembier, Lalonde, Ranson,
Cauvet (Louis XVI.).

Eighteenth Century {Late, after Revolution) and Nineteenth Century
{Early). — M. Ledoux, J. C. Krafft, Percier and Fontaine (Empire).

Nineteenth Century {Early). — Gourlier, &c. (Restoration).

N.B. — It has not been possible within the limits of the above note to give an
exhaustive list of the large number of books which make up the literature of the
subject, or mention articles in periodicals.

INDEX TO ILLUSTRATIONS.

Scales. — No effort has been spared to ensure the accuracy of the scales appended to the
drawings reproduced, but in view of the discrepancies often to be found in the authorities from
which they are drawn, they cannot be guaranteed in many cases as more than approximately
correct.

Abbreviations. — Ph. —Photograph by; Md. Dr. — measured drawing; W. H. W.=
W. H. Ward. A. P. = Alan Potter; Collo. = Collotype. For general abbreviations see list at
beginning of the Index to Text.

Names begiitning %uith Le or De are indexed under the letter of second portion of the name
e.g., Le Pautre under P.

The full titles of books of reference will in most cases be found in the Bibliographical Note, p. 495.

Pages I -266 are in Vol. I. ; remainder in Vol. II. Figures are of pages, not illustration numbers.

Altars, reredoses, Francis I. , 1 10 ; Louis XIV. ,
353; Louis XV., 400, 405

Ainboise, chat. (gen. view fr. du Cerceau), 7

Amiens Cath., wrought-iron screen (md. dr.
P. Hepworth), 416; Louis XVL h., 11
Rue Delambe (fr. " L' Architecture et la
Decoration aux XVIir»eet XIX'"eSi^cles" :
Ch. Eggimann, Paris), 419 ; Portion of
Ecole des Beaux Arts (md. dr., P. Hep-
worth), 411 ; theatre, fa9ade (fr. " L'Archi-
tecture et la Decoration aux XVin'"'^ et
XIX'"^ Siecles": Ch. Eggimann, Paris), 452

Anne of Brittany, emblem, 33

Ancy-le-Franc, chat, (view fr.du Cerceau), 122;
ditto, balcony, entrance door (fr. Sauvageot),
123 ; ditto, plan. (fr. du Cerceau), 123

Anet, chat, (bird's-eye view fr. du Cerceau),
collo. facing 140; ditto, chapel plan (fr. du
Cerceau), 200 ; mausoleum chapel, W. front,
199; ditto, section and plan (fr. du Cerceau),
199

Arabesques, cartouches, and decorative com-
positions, designs for, Barbet, 252 ; Vouet,
291; Le Pautre, 2947; Berain, 330;
Watteau, 356, 389A ; Cuvillies, 364 ; Dela-
fosse, 407 ; Cauvet, 410, 419, 453, 465 ;
Ranson, 438 ; Percier and Fontaine, 466,

494
Arabesques, &c., executed, Louis XIL, 5, 11,
33; Francis L, 39, 84, 102, 104, 117;

Henry IL, 120, 124, 130, 153, 158, 159,
164, 203, 204; Henry IV., Louis XIII.,
214, 236, 250, collo. facing 2yi, 251 ; Louis
IV., 267, 271, 342; Louis XV., 358-62,
collo. facing 362, 366; Louis XVL, 426,

434, 439, 440, 473

Aranjuez, design for room in pal. (fr. Percier
and Fontaine), 469

Arques, rood screen (ph., W. H. W. ), 205

Auxerre, St Pierre, W. front (ph. , W. H. W. ),
106

Azay-le-Rideau, chat., 62 ; ditto windows, en-
trance bay (dr., G. G. Wornum), 50

Bar-le-Duc, Henry II. h.. Place St Pierre

(ph., W. H. W.), 177
Barbet, J., design for chimney-piece, 252
Beaugency, HI. de V. (ph., W. H. W.), 82
Beaumesnil, chat, (ph., A. P.), 221 ; detail of

windows (ph., A. P), 222
Beaumont-le-Roger, parish ch. choir, 130
Beauvais, cath., doors of S. transept, 102 ;
Mn. du Pont d'Amour (ph., W. H. W.), 139
Berain, J., arabesque by, 330
Besan^on, HI. de Clermont, doorway (md.
dr., L. M. Gotch), 375; Madeleine Ch.,
interior looking east, plan (fr. Gurlitt, "Die
Baukunst Frankreichs " : F. Twietmeyer,
Leipzig), 401 ; Palais de Justice (md. dr.,
L. M. Gotch), 179

SOI

INDEX TO ILLUSTRATIONS.
Pages I -266 are itt Vol. I. : remainder in Vol. II. Figures are of pages, not illustration numdersl

Blois, chat., chimney-piece Louis XII., wing,
31 ; ditto, chimney-pieces Francis I., wing,
84; ditto, chimney-stack Francis I., wing,
51 ; ditto, entrance front, 17 ; ditto, great
stair, exterior (ph., A. P.), 54; ditto, great
stair, interior, 55; ditto, initial, Francis I.,
112; ditto, north front (ph. A. P.), 56;
ditto, Orleans wing, court elevation (md. dr.,
L. M. Gotch), 240 ; ditto, Orleans wing,
external elevation (md.dr., V. O. Rees), 241 ;
ditto, Orleans wing, stone decoration of stair-
case hall, 242 ; ditto, plan, 53 ; ditto, stair
tower in Louis XII. wing (dr., L. Ambler),
18; HI. d'Alluye, loggia, exterior and interior
(ph., W. H. W.), 26

Blondel, Jean Fr., design for villa near Geneva,
elevation (fr. Mariette), 383 ; ditto, section,
383 ; ditto, plan, 384

Bordeaux, Bourse (fr. L. Deshairs' "Bor-
deaux": A. Calavas, Paris), 394; Grand
Theatre, exterior (fr. " Bordeaux " : A.
Calavas), 450 ; ditto, plan (fr. V. Louis),
451 ; 9 Rue Jean Jacques Bel, chimney-piece
(fr. "Bordeaux": A. Calavas), 436

Bournazel, chat., parts of court (ph. A. P.), 153

Bressuire, ch. tower, 98

BrelagnoUes, font canopy, 42

Brie-Comte-Robert, W. front of ch., 97

Bury, chat, plan (fr. du Cerceau), 48

Caen, HI. d'Ecoville, view in courts, plan
(fr. Sauvageot), 76 ; ditto doorway (md. dr.,
A. Stratton), 77 ; St Pierre, E. end, co/lo.
facing 92

Cartouches. See Arabesques

Caudebec-en-Caux, Louis X\T. h. (ph., A. P.),

430
Cauvet, J. P., arabesques by, 410, 419, 454;

decorative composition by, 465
Ceilings, Louis XII., 30; Francis I., 84;

Henry II,, 119, 143 ; Henry IV. and Louis

XIII., 251; Louis XIV., 297, 309, 319;

Louis XV. , 366 ; collo. facing 362, 368 ;

Louis XVI., 435, 449 ; Empire, 469, 474
Challuau, chat., plan (fr. du Cerceau), 73
Chamlx)rd, chat., central staircase, 58; dormer

(dr., G. G. Wornum), 57 ; lantern, roofs, 59 ;

from N.W., collo. facing 44 (ph., A. P. ) ;

plan (fr. du Cerceau), 57
Champigny-sur-Veude, chat, chl., cloister (ph.,

W. H. W.), 91 ; chat, chl., east end (ph.,

W. H. W.), 95; narthex chat, chl., plan

and elevation (md, dr., L. M. Gotch), 195
ditto, long section through (md. dr. L. M.|
Gotch), 196

Chantilly, chatelet, by Jean Bullant, entrance}
front (ph., A. P.), 147; Salon des Singes,
panel, 362 ; stables, plan (fr. Mariette),
385; ditto, entrance (ph., A. P.), 386; ditto,
entrance circular riding area (dr., P. Hep-
worth), 386

Charenton, "Temple," section and plan (fr.
Marot), 255

Charleval, chat., plan (fr. du Cerceau), 172;
variant schemes for elevation (fr. du Cerceau),

Chartres, cath. choir screen, detail, 35
Chateaudun, chat., Louis XII., wing (fr.

Petit, "Chateaux de la Vallee de la Loire "),

9; ditto, stair newel (ph., A. P.), 11 ; ditto,

stair tower (dr., G. G. Wornum), 21 ;

castle, 9
Chemaze, chat., St Ouen, stair tower (ph.,

A. P.), 22
Chenonceaux, chat., view, 146; de TOrme's

scheme, plan (fr. du Cerceau), 189
Chimney-pieces, Louis XII., 31, 32; Francis

I., 84., Henry II., 158; Henr)- IV.; Louis

XIIL, 251, 252 ; Louis XIV., 295, 296, 331;

Louis XV., 366; Louis XVI., 436-7, 439;

Empire, 466, 476
Choisy, char., 327
Compiegne, chimney-piece. Napoleon I.'sstudy,

476; court of honour (ph., A. P.), 421;

entrance screen (ph., A. P.), 420; plan (fr.

Peicier and Fontaine), 421; "Porte

Chapelle" (ph., A. P.), 197
Coulommier en-Brie, chat., front elevation

(fr. Marot), 235 ; ditto, plan (fr. Marot),

235
Courances, chat., entrance paviilion, (dr., P.

Hepworth), 218
Coutras, well-house, plan, section, elevation

(md. dr., W. H. W.), 135
Cuvillies, F., sen., arabesque by, 364

Decoration (interior, see also Arabesques, &c.),
Henry II., 119, 143 ; Henry IV., 242, 250;
Louis XIIL, 242, 250; Louis XIV., 271,
292-7, 309, 319; Louis XV., 360-2, 366,
368, 355; Louis XVL, 426, 434-40,449;
Empire, 469, 473-4, 476, 482

Delafosse, J. C, decorative composition by
407

502

INDEX TO ILLUSTRATIONS.

Pages 1-266 are in Vol. I. ; remainder in Vol. II. Figures are of pages, not illustration numbers.

Dijon, HI. Chambellan (ph., W. H. W.), 177 ;

HI. de VogUe, dormer (fr. Sauvageot),

245; ditto, entrance (ph., A. P.), 243;

ditto, loggia in court, 244 ; oriel, 37 Rue

de la Vannerie (ph., W. H. W.), 164; St

Michel, W. portal, 96
Doors, Francis I., 106; Henry II., 159;

Henry IV. and Louis XIII., 250, collo.

facing 250, 259; Louis XIV., 271, 294;

Louis XV., collo. facing 362, 366; Louis

XVI., 421 ; empire, 469, 482
Doorways, main entrances, Louis XII., 5)

28; Francis I., 50; Henry II., 148, 150,

174; Henry IV. and Louis XIII., 214;

Louis XIV., 321 ; Louis XV., 369, 375,

386; Louis XVL, 406
Doorways, minor entrances and internal,

Francis I., 55, 77; Henry IV. and Louis

XIII., 250 ; collo. facing 250 ; Louis XIII.,

292, 294; Louis XV., collo. facing 362;

Louis XVI., 440 ; Empire, 469
Doorways to churches, Francis I., 96, 99, 100,

105, 106; Henry IV. and Louis XIII.,

259, 265
Dormers, Louis XII., 18 ; Francis I., 50, 57,

59, 81; Henry II., 130, 134, 173, 177;

Henry IV., Louis XIIL, 210, 211, 232,

239, 246, 248 ; Louis XIV., 280, 317 ;

Louis XV., 386
Dreux, HI. de V., collo. facing ^y\

Ecouen, chat., 66 ; organ gallery in chl., 126
portal left of court (ph., W. H. W.), 148
portal right of court (ph., W. II. W.), 148
staircase bay on N. front (ph., W. H. W. )

150
Ennery, interior of ch. (ph., W. H. W.), 90
Epernay, St Martin, S. door (ph., W. li. W.),

99

Eu, college chapel, E. end (ph., A. P.), 256;
ditto, W. end (ph., A. P.), 257

Evreux, cath., chl. screen (md. dr., P. Hep-
worth), 104; ditto, W. front (ph., W. H.
W.), 187 ; St Taurin, triforium, 94

Fontainebleau, cartouche by II Rosso, Francis
I. gallery, 118 ; Cour du Cheval Blanc (ph.,
A. P.), 69; Cour Ovale, W. end (dr.,
P. Hepworth), 70; Galerie des Cerfs (dr.,
P. Hepworth), 232; Gallery of Francis I.,
119; ditto Henry II. (or ball-room), 143;
Grotto of the Pines (dr., P. Hepworth), 121 ;

horse-shoe stair, 234 ; Marie Antoinette's
boudoir door, 440 ; Napoleon's bedroom (fr.
" Les Grands Palais, Fontainebleau": Ch.
Eggimann, Paris), 482 ; pal. in 1576, view
from S. (fr. du Cerceau), 68 ; ditto 1610, plan,
67 ; Pavilion de la Porte Doree (ph., A. P.),
69 ; Porte Dauphine, or Baptisteie de Louis
XIII. (dr. P. Hepworth), 233 ; Trinity Chl.,
interior, S. end, 250 ; door in vestibule
(md. dr. P. Hepworth), collo. facing 2^0

Fontaine-Henri, chat., 49

Fonts and font canopies, 42, 108, 354

Fountains, grottoes and well-houses, 75, 121,
135. 370, 392, 413

Francis I., emblem of, 44

Gaillon, chat., block plan, 15 ; chl. stalls from
(now at St Denis), 34 ; fragment from (Ecole
des Beaux Arts), 20; chateau from N. E.
(fr. du Cerceau), 19

Gates to courtyards and gate pavilions, Louis
XII., 20; Francis I., 69; Henry II., 2, 136,
collo. facing 144, 147, 151, 154, 170, 171,
175; Henry IV. and Louis XIIL, 2, 208,
217, 218, 233, 235, collo. facing 236, 243;
Louis XIV., 276, 333; Louis XV., 387;
Louis XVL, 432, 433

Gates to towns, streets, and cemeteries, trium-
phal arches; Henry II., 191, 192; Henry
IV. and Louis XIIL, 210, 249; Louis
XIV., 324; Louis XV., 372; collo. facing
390 ; Empire, 483, 484

Geneva, HI. de Saussure (fr. "Geneve a
travers les Ages": F. Boissonas, Geneva),
388 ; villa near, see Blondel

Gisors, St Gervaisand St Protais, S.W. tower,
184; ditto W. front (ph., W. H. W.), 106

Grand Andely, Le, chimney-piece " Grand
Cerf," (dr., P. Hepworth), 32; ditto, Ste
Clothilde, N. transept (ph., W. H. W.), 186

Grottoes, see Fountains.

Guimiliau, porch and Calvary (ph., W. H. W.),
192

Guingamp, Notre Dame de Bon Secours, tri-
forium (ph., W. H. W.), 94 ; ditto, W. door
(ph., W. H. W.), 99

Isle Adam, L', parish ch., W. doorway (ph.,
W. H. W.), 96

Joigny, house windows (ph., W. H. W.), 130;
ditto, timber house (ph. W. H. W.), 12

503

INDEX TO ILLUSTRATIONS.

Pages 1-266 are in Vol. I. ; remainder in Vol. II. Figures are of pages, not illustration numbers.

Lampaul, font and canopy (ph., W. H. W.),

354

Laon, cath., chapel screen (ph., W. H. W. ),
204 ; porte-cochere to an hi., 387

Lasson, chat., chimney-piece (ph., W. H. W.),
251

Limoges, cath., part of rood screen, iii

Loches, tower of St Antoine (ph., W. II. W.),
98

Louis XII., emblem, I

Louppy, chat, (ph., W. H. W.), 175

Louvre, design for E. front, Le Mercier (fr.
Marot), 304 ; ditto J. Marot (fr. Marot),
304 ; ditto, Bernini (fr. Marot), 306 ; plan
and section, Bernini (fr. Blondel), 305 ;
S. front, Le Vau (fr. Marot), 301 ; ditto,
Perrault (fr. Marot), 301 ; cresting of attic
in court (fr. "Architecture et Decoration au
Louvre et aux Tuileries" : Ch. Eggimann,
Paris), 113 ; colonnade, N. end, collo. facing
308; ditto, cenlxe, collo. facing '^c& ; court,
S. W. angle, collo. frontispiece ; ditto, W. side,
collo. facing 140; Galerie d'Apollon, 309;
Grande Galerie, elevation, E. and W. halves
(fr. Mariettte), 227 ; Pavilion de I'Horloge,
or Sully (fr. Marot), 229 ; Petite Galerie
(ph., A. P.), 168; plan, P. Lescot (fr. du
Cerceau, &c.), 140 ; vault of great stair-
case, Goujon (fr. " Architecture et Decora-
tion au Louvre et aux Tuileries " : Ch.
Eggimann, Paris), 157 ; wing on N. side,
Place du Carrousel (ph., A. P.), 481 ; ditto,
Tuileries, plan, 1580, 166 ; ditto, 1815,
301

Luxembourg Pal., entrance pavilion (ph.,
A. P.), collo. facing 236; ditto, section (fr.
Blondel), 236 ; ditto, plan (fr. Blondel), 236

Lyons, St Nizier, W. doorway, 194

Madrid, chat., elevation (fr. du Cerceau), 65 ;

plan (fr. du Cerceau), 64
Maisons-Lafitte, chat., ditto, garden front

(ph., A. P.), collo. facing 266 ; entrance

front, 286 ; ditto, plan (fr. Mariette), 286
Malgrange, La, plan (fr. Boifrand), 389
Malmaison, La, Napoleon I.'s study (fr.

" Le Chateau de Malmaison " : Ch. Foulard,

Paris), 474
Marly, view from print, 323 ; royal pavilion,

plans, 322
Marseilles, Chi; of St Lazarus, 2

Meissonnier, J. A., designs, garden grotto,
370 ; for St Sulpice, 403 ; room decoration,

371
Mesnil-Aubry, Le, W. front of ch. (ph., W.J

H. W.), 197
Monceaux-en-Brie, chat. (fr. Perelle), 151
Montpellier, Porte du Peyrou, 324
Moret, villa at, court front, 63
Muette, La, chat., plan (fr. du Cerceau), 73

Nancy, cath. , W. front, 338 ; ducal castle,
entrance, 5; HI. deV.,396; lay-out of new
town, plan (fr. Patte), 390 ; museum, chim-
ney-piece, 158 ; Place du Gouvernement ou
de I'Hemicycle, collo. facing 391 ; Place
Stanislas, wrought-iron grilles, 372

Neufforge, J. F. de, design for ch. front, 464 ;
for gallery, 435; for hi., 429; for town
house, 413

Nevers, Ste Marie, fa9ade, 262

Oppenordt, G. M., design, entrance door, 369

Oriels, 46, 164, 239

Orleans, Mn. du Cerceau, so called (md. dr.,

L. M. Gotch), 132; Mn. de la Coquille, 80;

Mn. de Francois I., plan and elevation (md.

dr., L. M. Gotch), 78 ; Mn. d'Agnes Sorel,

elevation to street (fr. Verdier and Cattois),

25 ; ditto plan (fr. Archives), 24
Oyron, chat., part of garden elevation (md. dr.,

L. M. Gotch), 219 ; garden front (ph., A.

P.), 220

Pailly, Le, chat., elevation entrance bay (fr.
Sauvageot), 174

Paris.

Arc du Carrousel (ph., A. P.), 483
Arc de I'Etoile (de Triomphe), 484
Arsenal, music-room (now library), 361
Bank of France, Galerie Doree (fr. " L'Archi-

tecte " : E. Levy, Paris), collo. facing 362
Bourse, cross section and block plan (fr. Gour-

lier), 488; ditto, from S.W. (ph., A. P.), 489
Bureau des Marchands Drapiers, rebuilt at

HI. Carnavalet (fr. " Arche. Francaise":

A. Guerinet, Paris), 285
Chamber of Deputies, Pal. Bourbon, 479 ;

plan (fr. Gourlier), 480
Chancellerie d'Orleans, new front (md, dr.,

L. .M. Gotch), 427

504

INDEX TO ILLUSTRATIONS.

Pages 1-266 are in Vol. I. ; remainder in Vol. II.

Paris — con tin tied.
Churches —

St Etienne-du-Mont, facade, 258 ; interior,

89
St Eustache, design for facade (fr. Legrand),

455 ; doorway, S., 100 ; plan (fr. Calliat),

86 ; from S.E., 95 ; view in aisle, 88
St Gervais, fa9ade (fr. Legrand), 261
St Jean-en-Greve, plan (fr. Blondel), 400 ;

section (fr. Blondel), 400
Madeleine, first ch., plan (fr. Patte), 463;

second ch., plan (fr. Gourlier), 486; second

ch., section (fr. Gourlier), 486; second ch.,

from S.W., 487
Minims, design F. Mansart (fr. print), 339
Notre Dame, stalls, 398
Pantheon (Ste Genevieve), interior, 459 ;

plan (fr. Legrand), 456 : section through

transepts (fr. Legrand), 457 ; from S.W.

(ph., A. P.), 459; western portico (ph.,

A. P.), 461
St Paul and St Louis (Jesuit ch.), fa5ade (fr.

Legrand), 261 ; lower part (ph., A. P.),

265 ; plan (fr. Legrand), 260
St Roch, elevation (fr. Blondel), 402
Salpetriere, ch., plan, 344
Sorbonne, ch., cross section (fr. Blondel),

342 ; plan (fr. Blondel), 342 ; W. front

(ph., A. P.), 340
St Sulpice, design for fa9ade, by Meissonnier,

403 ; facade, by Servandony, 454 ; interior,

looking east, 337 ; plan (fr. Blondel), 336
Val de Grace, ch. of the, long section (fr.

Blondel), 343 ; plan (fr. Blondel), 343 ;

W. front (ph., A. P.), 340
St Vincent de Paul, fa9ade, 493
Visitation, ch. of the, Ste Marie, plan (fr.
Marot), 264
College des Quatre Nations (Mazarin, now
ch. of the Institut), 299 ; plan(fr. Blondel),

345

Colonne de la Grande Armee (Vendome)
(ph., A. P.), 485

Cours la Reine, front of villa (fr. Moret), 63

Design for house in Rue Richer (fr. Krafft),
492

Ecole des Beaux Arts, fragment from Gaillon,
20 ; de Medecine (old), entrance screen
(ph., A. P.), 447 ; Militaire, fa9ade to
Champ de Mars (ph., A. P.), 445

Fontaine de Crenelle (ph., A. P.), 413

Figures are of pages, not illustration nnnibei s

Paris — continued.
Hospice des Invalides, ch., plan (fr. Legrand),
346 ; second ch., fa9ade (ph., A P.), 349 ;
ditto, interior, co I lo. facing 350 (ph., A. P.);
ditto, section (fr. Blondel), 347 ; court (ph.,
A. P.), 325

Hotels —

HI. d'Amelot (later de Montmorency), plan

(fr. Blondel), 379
HI. d'Aumont, elevations (md. dr., V. O.

Rees), plans, 280
Hi. de Beauvais, ground and first floor (fr.

Marot), 284
HI. de Bouillon (or Liancourt), plan (fr.

Marot), 217
HI. Brunoy, elevation to garden (fr. Le-
grand), 431
HI. de Conde, elevation to court (fr. Marot),

246
HI. Carnavalet, fa9ade, F. Mansart (md. dr.,

C. A. Farey), 282 ; as altered, 17th

cent., plan (fr. Marot), 281
HI. Cluny (museum), chimney-piece in, 158
HI. Le Gendre d'Armini, plan (fr. Blondel),

379
HI. Lambert de Thorigny, staircase, eleva-
tion (fr. Sauvageot), 283
HI. de Lamoignon, view in court, 176
HI. de Longueville (or d'Epernon), view (fr.

print), 217
HI. de Matignon, garden front (fr. " Les

Vieux Hotels de Paris," II. : F. Contet,

Paris), 380
HI. de Monceaux (destroyed), plan (fr.

Marot), 284
HI. des Monnaies, centre of river fa9ade,

collo. facing 444
HI. Moras (later Biron), elevation to garden

(fr. Blondel), 378 ; ground-floor plan (fr.

Blondel), 378
HI. de Pologne, mirror top (fr. "Les Vieux

H6tels de Paris," I. : F. Contet, Paris),

473

HI. Roland (destroyed), plan (fr. Marot), 279

HI. de Salm, entrance (fr. " L' Architecture

et la Decoration Fran9aise au XVIII'"^ et

XIX"»e Siecles " : Ch. Eggimann, Paris),

432 ; river front (fr. ditto), 432 ; plan (fr.

Legrand), 431

HI. de Soubise (Archives Nationales),

entrance, 333 ; front in court, 334 ; great

505

INDEX TO ILLUSTRATIONS.

Pages 1-266 are in Vol. I. ; remainder in Vol. II. Figures are of pages, not illustration numbers\

¥aris— continued.
Hotels — continued.

oval saloon (fr. " Les Vieux Hotels de
Paris," II. : F, Contet, Paris), 368
HI. de Sully, elevation to street, 247 ;

principal front in court, 248
HI. Thelusson (destroyed, fr. Krafft), 433
HI. de Toulouse (Banque de France),

Galeries Doree, collo. facing 362
HI. de Ville, fa9ade (fr. drint), 83
HI. de la Vrilliere (site of Banque de

France), (fr. Marot) 276
House in He St Louis, plans, first and second
floors (fr. Meissonnier), 381
Pal. Bourbon, elevation to court, 382 ; plan

(fr. Joly), 382
Pal. de ITnstitut, fa9ade (ph. A. P.), 299
Pal. de J., Cour du Mai, 446
Pal. Royal, galleries, elevation (fr. Daly), 428
Place de la Concorde (Place Louis XV.), pal.,
end block, collo. facing 444 ; twin palaces,
(ph. A. P.), 443
Place Dauphine, elevation (fr. Berty), 212
Place Royale, or des Vosges, central pavilion,

elevation (fr. Daly), 210
Porte de la Conference (fr. print), 249
Porte St Denis, 324
Rue Grenelle, terrace h. with shop (fr. Krafft),

491
Rue de Rivoli (ph. A. P.), 490

Pautre, J. Le, design for altar and reredos, 353 ;

for ceiling, 297 ; for chimney-piece, 296 ; for

internal doorway, 294 ; for side of room, 292
Percier and Fontaine, design for chimney-piece,

466 ; for vase, 494 ; for room in pal. of

Aranjuez, 469
Perigueux, hs. on quay (ph., W, H. W.), xxiv
Pont-Audemer, font in St Ouen, 108

Ranson, arabesque, 438
Reredoses. See Altars.
Richelieu, chat., bird's-eye view (fr. Perelle),

238 ; garden front (fr. Perelle), 239
Rochefoucauld, La, chat, view in court, 74
Roche Maurice, La, steeple, 191
Roof construction, de I'Orme's system (fr.

de rOrme), 137
Rouen, Bureau des Finances (fr. Sauvageot),

29; cath., tomb. Cards, of Amboise, 109;

cath., tomb, Louis de Breze, 203 ; chl. of

St Romanus, or Haute Vieille Tour, 198 ;

Fontaine de la Grosse Horloge, 392 ;|
Jesuit College, plan (fr. Gurlitt), 260 ;|
Mn. de Diane de Poitiers (dr., P. Hepworth), '
81 ; Pal. de J. , ceiling, 30 ; St Maclou (upper |
part of door), 159

Rougemont, chat., 206

Rue, chl. of the Holy Spirit, vault, 36

St Calais, W. end of ch., 38

St Denis, stalls, from chat, chl., Gaillon, 34 j
tomb, Fran9ois I., 202 ; Valois mausoleum,
elevation (fr. Marot), 201 ; ditto, section
(fr. Marot), 201 ; ditto, plan, 201

St Germain-en-Laye, chat., from N. E., 71 ;
plan (fr. du Cerceau), 72 ; view in court
(ph., A. P.), 72; Neuf, 1594 (fr. print),
230 ; ditto, plan (fr. du Cerceau), 144

St Jean d'Angely, well-house, 75

St Thegonnec, ch,, and ch. yard gateway, 191 ;
ossuary, N. end (md. dr., C. W. Pike), 190;
ditto, E. side and porches, 188

Sarlat, HI. de Brons (ph., A. P.), 134

Screens to courtyards, &c., Henry II., 66,
collo. between 144 and 145, 151, 155, 170-1 ;
Henry W. and Louis XIII., 217, 235, 238,
244, 247; Louis XIV., 276, 315, 333; Louis
XV., 372 ; Louis XVI., 420, 446-7

Screens in chs. and chls., Louis XII., 41 ;
Francis I., 104, 11 1 ; Henry II., 204-5;
Henry IV. and Louis XIII., 89; Louis
XVI., 416

Sens, Archbp.'s Pal., windows (ph., A. P.),
27; ditto, entrance (ph., A. P.), 28; ditto,
Henry II., wing, elevation (fr. Sauvageot),
116 ; cath., altar in side chapel, no

Sizun, churchyard entrance, 192 ; E. end of
sacristy, 191

Solesmes, priory ch., Easter sepulchre, 43

Stairs, stair towers, and turrets, Louis XII.,
9, II, 18, 21, 22, 41 ; Francis I., 54, 55,
58, 72 ; Henry IV., 89, 234 ; Louis XIII.,
89, 234; Louis XIV., 283

Sully-en-Bourgogne, chat., elevation in court
(fr. Sauvageot), 73

Tanlay, chat., general view, xiii ; ditto, outer

gatehouse (ph., W. H. W.), 175
Tillieres, choir-vaults, parish ch. (ph. W. H.,

W.), 92
Tombs, 43, 109, 202, 203
Tonnerre, St Pierre, interior (ph., W. H. W,),

90; ditto, S. side (ph., W. H. W.), 105

506

INDEX TO ILLUSTRATIONS.

Pages I -266 are in Vol. I. ; remainder in Vol. II. Figures are of pages, not illusiration mimhers.

Toulouse, Capitola, 396 ; HI. d'Assezat,
entrance (ph., A. P.), 154; ditto, loggia in
court (ph , W. H. W.), 155 ; ditto, plan (fr.
Berty), 155; ditto, view in court (ph., A. P.),
156 ; HI. Lasbordes, windows (ph., W. H.
W.), 130

Tours, Abbey of St Martin, view in cloisters
(ph., W. H. W.), 91 ; cath., lantern, N.W.
tower (ph., W. H. W.), 40; chl. of Minims
monastery, W. doorway, 259

Town House, Pierre le Muet, 215 ; ditto, plan,

215

Troyes, oriel in HI. de Marlsy (ph., W. H. W. ),
46; St Andre-les-Troyes, W. doorway, ico;
St lean, window, elevation (dr., W. H. W.),
103 ; St Nicholas, S. doorway, 193

Tuileries pal., de I'Orme's design (fr. du Cer-
ceau), between 144 and 145 ; ditto, half garden
front, 1610 and 1700 (fr. Mariette) 311;
loggia (de I'Orme) rebuilt in gardens (ph.
A.^P.), 167; ditto and Louvre, plan, 1580,
166 ; ditto and Louvre, plan, 181 5, 300

Turny, chat., plan (fr. Marot), 290

Usse, chat, chl., west end, 39

Vaulting, Louis XII., ch., 36; Francis I., 55,
58; ditto, ch. 88-92,94; Henry II., 157;
ditto, ch., 196, 199 ; Henry IV., Louis
XIII., 242; Louis XIV., ch., -ifyj, 342-3,
351 ; Louis XV., ch., 407 ; Louis XVI.,
ch., 457, 459 ; Empire, ch., 486

Vaux-le-Vicomte, chat., entrance front, 289 ;
ditto, garden, 288 ; ditto, plan (fr. Mariette),
288

Verneuil-sur-Oise, chat., first scheme, view (fr.
du Cerceau), 170; ditto, plan (fr. du Cer-
ceau), 120; second scheme, view (fr. du
Cerceau), 171 ; ditto, plan (fr. du Cerceau),

171
Versailles, Palace of, Ailes Gabriel (ph., A. P.),
422 ; Cabinet de la Pendule (fr. " Le Palais de
\'ersailles": E. Levy, Paris), 366 ; chl. cross
section (fr. Blondel, 351 ; ditto, interior, 351;
ditto, organ, 404; ditto, plan (fr. Blondel), 350;
ditto, view from fore-court, 352 ; chimney-
piece, Louis XIV. 's state bedroom, 331 ;
ditto, Salle des Gardes de la Reine (fr. " La

Sculpture Decorative au Palais de Ver-
sailles " : A. Guerinet, Paris), 295 ; council
chamber, lower half of panel (fr. " La Sculp-
ture Decorative au Palais de Versailles " :
A. Guerinet, Paris), 360 ; Cour de Marbre,
J. H. Mansart (ph., A. P.), 317; part of
same (ph., A. P.), 317; court of great
stable, J. H. Mansart, (dr., P. Hepwoith),
door in Salon de I'Abondance, 271 ; entrance
front, Le Vau (fr. Marot), 315 ; Galerie des
Glaces, Le Brun, 319 ; garden front, S. de
Brosse (fr. print), 313 ; ditto, Le Vau (fr.
print), 315; ditto, main block from S.W.,
collo. facing 316 (ph., A. P.); Louis XV. 's
apartments, panel centre, 358 ; ditto, bed-
room, frieze and mirror frame (fr. "La Sculp-
ture Decorative au Palais de Versailles" : A.
Guerinet), 359; Louis XVI. 's cabinet (fr.
"Le Palais de Versailles": E. Levy, Paris),
439 ; ditto, library (fr. " Interieurs de Palais
et Chateaux": A. Guerinet, Paris), 457;
Marie Antoinette's private apartments,
panel, 434 ; Orangerie, 320 ; panel over door,
Salon de I'Abondance (fr. " La Sculpture
Decorative au Palais de Versailles " : A.
Guerinet, Paris), 267 ; ditto, Salle des Gardes
de la Reine, 295 ; Petit Trianon, decorative
panel in salon, 426 ; ditto, plan (fr. Arnott
and Wilson), 423; ditto, view, 424; ditto,
western elevation (md. dr., P. Hepworth),
425; plan of palace, 314; Royal Opera,
interior (fr. " Le Palais de Versailles " : E.
Levy, Paris), 449; ditto, plan, 448

Villemaur, rood screen, 41

Villeneuve-sur-Yonne, W. portal of ch., 182

Vouet, S., arabesque, 291

Watteau, A., decorative panel, 356, 406

Well-houses. See Fountains

Windows, Louis XII., 25, 27 ; ditto, ch., 38,
39; Francis I., 50, 54, 63; ditto, ch., 97,
99, 103; Henry II., i, 130, 134, 154, IS5.
173) 177; ditto, ch., 184, 186; Henry IV.
and Louis XIII., 210, 211, 219, 222, 248;
ditto, ch., 256-8 ; Louis XIV., 276, 280,
317, 334; ditto, ch., 349, 352; Louis XV.,
380, 386, 394; ditto, ch., 402, 403; Louis
XVI., 411, 419, 425, 452; Empire, 490-2

34

507

INDEX TO THE TEXT

N.B. — The following abbreviations are used in the Index: — Arch. = architect ; Cath.~-
cathedral ; Ch. = church ; ChAt.= chateau; Chi. = chapel ; Dec. =decorator or decorative designer ;
Dram. = dt amatist ; Engr. = engraver, etcher; H. = house ; HI. —hdtel; HI. de V. =Hdlelde Ville;
Mn.=maison; Sc. = sculptor ; Pal.— palace, palais; Pal. de J. ~ Palais de Justice; Wr.— writer.

The longer navies of departments, placed in brackets after French place-names, are also
abbreviated.

Names beginning with Le or De are indexed under the letter of the second portion of the
name, e.g., Le Pautre under P.

Pages 1-266 are contained in Vol. I., and pages 267 to end in Vol. II.

Abate, Niccolo dell', pr. (1512-71), 144
Abbeville (Somme), HI. de V. ,395; HI. Sanson,

rue St Gilles, 415; Jesuit coll., 254; St

Wulfran, ch., 40, loi, iii, 353, 406, 419
Abeille, arch., early i8th cent., 388
Academy: of Architecture, 271,274, 376, 468,

494; Inscriptions, 271; French, 271, 272;

of Painters and Sculptors, 271
Adam, Michel, arch, (at Orleans mid i6th

cent.), 116, 128
Adam, sc. (1705-78), 266
Adam, Robert, Engl. arch, and wr., 408
Aigues Mortes (Card), chl. Grey Penitents,

354
Ainay-le-Vieil (Cher), chat., 23
Aire-sur-la-Lys (Pas de Cal. ), 395
Aix-en-Provence (Bes. du Rhone), cath. 40 ;

HI. de V. , 253 ; Fontaine, PI. des Precheurs,

450
Aix-la-Chapelle, Peace of, 392
Alberti, L. B., Ital. arch, and wr. (1404-72),

260, 274, 409
Albi(Tarn), cath., loi
Albigensian crusades, xvii
Amboise (I. et L.), HI. de V., 27; chat., 2,

17, 18, 26; chat. chl. St Hubert, 18;

Colony or "School of," xx, 6, 16, 113,

117; George I., Card, of, minister to

Charles VHI. and Louis XH., xviii,

20; tomb, 77, 108; George II., Card.

of, xviii ; tomb, 77, 108

Amiens (Somme), cath., 40, 108; screens,
405, 415, 419 ; 26 Place Vogel, 432 ;
1 1 Rue Delambe, 432 ; theatre, 453

Ammanati, Bartolommeo, Ital. arch. (151 1-92),

237
Amyot, J., wr., 133
Ancy-le-Franc (Vonne), chat., 122, 128, 129,

I35> 150. I54> 164, 429
Andely, Le Grand (Eure), Grand Cerf Inn,

32 ; Ste Clothilde, 184, 185
Androuet, see Cerceau, du.
Anet (E. et L.), chat., 16, 120, 144, 145, 152;

chat, chl., 200; Diana relief, Cellini, 145;

fountain, Goujon, 145 ; garden concert

hall, 137, 180 ; mausoleum, Diane de

Poitiers and her children, 198
Angelo, Michael, see Buonarotti
Angers (M. et L.), cath., 97, 405 ; HI. Pince,

79 ; Logis Barrault, 27
Ango, Manoir d', near Dieppe (S. Inf.), 23, 74
Angouleme, Diane, Duchess of, dau. of

Henry II., 176
Anguier, Francois, sc. (1604-69), 292, 325;

Michel, sc, bro. of above (1612-86), 292,

325
Anne of Austria, wife of Louis XIII., xix,

207, 211, 226, 290, 291, 341
Anne of Brittany, wife of Charles VIII. and

Louis XII., I, 4, 19, 53
Antin, Due d', 385
Antoine, Jacques Denis, arch. (1733-1801),

416, 431, 447, 464, 470
Arcueil, aqueduct, 224, 249

508

INDEX.

Pages 1-266 are contahied in Vol. /., and pages 267 to end in Vol. II.

Argentan (Orne), St Germain, 98, 187
Arques (S. Inf.), battle, 209; ch., 205
Arras (Pas de Cal.), bp.'s palace, 334 ; HI. de

v., 178; S. Vaast, 464
Artois, Comte d', bro. of Louis XVI., 428,

429, 444
Assier (Lot), chat., 75
Assurance, 1', see Cailleteau
Aubert, Jean, arch. (d. 1741), 373, 378, 381,

384
Auch (Gers), cath., 196, 339
Audran, Claude, dec. pr. (1658-1734), 320,

365
Auxerre (Yonne), St Pierre, 185, 194, 256
Avesnieres (May.), ch. 39
Avignon (VaucL), 254 ; Jesuit ch., 260 ; N.D.

des Uoms, 355 : St Didier, 3 ; St Pierre,

n, 204
Aviler, Charles Augustin d', arch, and wr.

(1653-1701), 275, 325, 334, 376
Azay-le-Kideau (I. et L.), chat., 49, 62, 64, 82

B

Baalbek, temples, 275, 427, 487
Bachelier, Nicolas, sc. and arch, at Toulouse
(1485-1572), 75, 79, 80, 128, 133, 139,

154, 155 '
Baduel, master-mason at Bournazel (mid i6th

cent.), 128
Bagatelle (Bois de Boulogne), chat., 428, 429
Bagnolet (Seine), chat., 382
Baillard (or Billard), Charles, master-mason at

Ecouen, &c, (d. 1567), 67
Balleroy (Calv.), chat., 226, 244
Baltard, Louis Pierre, arch. (1764- 1846), 468
Bar-le-Duc (Meuse), 178
Barbet, J., dec. (reign of Louis XIII.), 253,

264, 274
Bardon, Dandre, wr., 408
Barocco style, xxi, xxii, xxiii, 208-15, 222,

223, 245, 230-3, 258, 263, 267, 273, 274,

278, 290-2, 297, 302, 307, 316, 325, 345-6,

354, 369-71
Barre, Eloy de la, arch. (1764-1833), 485, 488
Barry, Mme. du, 367, 422, 429 ; style du, 360
Bastie d'Urfe, La (Loire), chat., 75
Bayard, General, 45

Bayeux (Calv.), cath., 205 ; St Paterne, 98
Beaucaire (Gard), III. de V., 287
Beaugency (Loiret), 27, 80

Beaujeu, Jean de, arch, at Auch, (d. c. 1568),

197
Beaumesnil (Eure), chat., 244
Beaumont, Claude Etienne, arch. (1757-1811),

473, 485
Beaumont-le- Roger (Eure), ch., 102
Beauregard (L. et C), chat., 85
Beaune-Semblan9ay, Jacques de, minister to

Louis XII. and Pran9is I., 33
Beauvais (Oise), cath. 36, loi ; timber house,

14; Mn. du Pont d'Amour, 139; royal

tapestry manufacture, 367
Belanger, Fran9ois Joseph, arch. (1754-1818),

429, 444, 448, 470, 471
Belboeuf (S. Inf.), chat., 429
Belfort (Terr, de Belf ), Porte de Brisach, 325
Bellay, du, family, 45, 131, 161 ; Jean du,

Card., 45, 46, 127, 131, 161 ; Guillaume,

du. General, tomb, 204
Bellevue (S. et O.), chat., 384, 385
Belloy (Oise), ch., 183
Berain, Jean, dec. (1638- 17 11), 330, 363
Bercy (Seine), chat., 288, 289; ch., 493
Bernabei, Domenico, of Cortora (known as

"Boccador"), woodworker and arch.,

(d. 1549), 17, 18, 46, 60, 61, 71, 82, 86
Bernardino of Siena, intarsia worker (i6th

cent.), 17
Bernay (Eure), ch., 205
Bernini, Giovanni Lorenzo, Ital. arch, and

sc. (1598-1680), XX, xxi, 152, 278, 291,

302, 308, 363
Bernis (Seine), chat., 287
Berruer, Pierre Fran9ois, sc. (1733-98), 441
Berthier, Jean Baptiste, arch. (b. 1721), 415
Berthome, Mathurin, master mason at Niort

(early i6th cent.), 79
Berulle, Pierre de. cardinal, 253
Berven (Fin.), ch., 189
Berville-sur-Seine (S. Inf.), ch., 185
Besan5on (Doubs), ch. of the Madeleine, 400 ;

ch. of St Pierre, 464 ; HI. Dieu, 372, 395 ;

Palais Granvelle, 76 ; Pal. de J., 178 ;

Prefecture, 431
Betti, Giusto, of San Martino a Mensola, 21,

father of the brothers di Giusto, q.v.
Bezier (Her.), bp.'s palace, 334
Biard, Nicolas (Colin), master - mason at

Amboise, &c. (b. 1460, d. after 1509), 20, 22
Biard, Pierre, arch, and sc. (1559-1609), 223
Bigonnet, smith (late i8th cent.), 419
Blenod-lez-Toul (M. et M.), tomb in ch., 42

509

^

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

Blere (I. et L.), 107

Blerencourt (Aisne), chal., 224, 234

Blois (L. et Ch.), town, 6; bp.'s palace,

334 ; bridge over Loire, 392 ; cath. , 98 ;

HI. d'Alluye, 14, 24, 26, 30, 83 ; public

fountain, 27, 33 ; St Vincent de Paul (Jesuit

ch.), 262
Blois (L. et Ch.), chat., 20, 160, 202, 226,

275, 303 ; aqueduct to royal gardens, 16 ;

Fran9ois I. wing, 53, 57, 64, 83 ; gardens,

18 ; I>ouis XII. wing, 19, 23 ; Orleans

wing (Gaston Duke), 237, 240-42, 275, 289
Blond, Alexandre le, arch, and garden designer

{c. 1680-1719), 299, 373, 384, 387
Blondel, Francois, arch, and wr. (c. 1617-86),

272, 274, 27s, 324, 329, 374, 376, 484 ; his

writings, 274
Blondel, Jean Francois, arch., not related to

above (1683-1756), 373, 375, 382, 387, 388,

400
Blondel, Jacques Franjois (son 01 nephew

of J. F.), arch, and wr. (1705-74), 374, 375,

376, 384, 411, 417, 431. 445. 473» 483 ; his

publications, 376, 455
Blouet, Guillaume Abel, arch. (1795-1853),

483
Boccadoro, see Bernabei, Domenico
Bodilis (Fin.), ch., 189
Boffrand, Germain, arch, and wr. (1667- 1754),

338, 369, 373, 379, 382, 387-92, 397, 401,

412, 432, 441 ; his writings, 373
Boileau, Nicolas, wr., 208, 268, 330
Bonneau, Mangyn, master-carpenter at Cham-

bord, &c. (i6th cent.), 61
Bonnivet (Vienne), chat., 75
Bontemps, Pierre, sc. (mid i6th cent.), 133,

143, 203
Bordeaux (Gir.), 367, 380, 393, 419; Bourse,

393, 419 ; Bourse drawing-room, 368 ;

Bourse fountain, 393; cath., 264; ch. of

the Jacobins, 337 ; 9 Cours d'Albret, 431 ;

Grand Theatre, 451, 453; HI. des Fermes

(Custom Ho. ), 393 ; HI. Governor of

Guyenne (once archbp.'s pal.), 368, 431 ;

Notre Dame, 337 ; PI. de Bourgrgne, 394 ;

Pal. Royale, 393 ; Porte de Bourgogne,

448 ; Prefecture, 433 ; riding-school, 395
Borromini, Francesco, Ital. arch. (1599- 1 677),

xxi, 316, 370, 373
Bosse, Abraham, arch, andengr. (161 1-78), 274
Bossuet, Bp. of Meaux, 253, 268
Bouchardon, Edme, sc. (1698-1762), 412, 448

Bouchefort (or Boisfort), near Brussels, 389
Boucher, Francois, pr. and dec. (1703-70),

367, 369-
Boucher (fils), Jules Fran9ois, son of above,

arch., dec, and engr., 441 ; style, 360, 367
Boule, Andre Charles, cabinetmaker, (1642-

1732), 318
Boullee, Etienne Louis, arch. (1728-99), 416,

433
Boulogne-sur-Mer (Pas de Cal. ). Doric column,

485
Bourbon, Card., Charles of, 170
Bourbon, Duke of. Prime Minister to Louis-

XV.
Bourg-en-Bresse (Ain), Notre Dame, 40
Bourges (Cher), HI. Cujas, 27 ; Hi. Lalle-

mand, 27
Bourgonniere, La (M. et L.), chat, chl., iii
Bournazel (Aveyr. ), chat., 136
Bouteux, Michel le, garden designer (mid

i8th cent.), 299
Bramant, Francesco, Ital. arch. (c. 1444- 15 14),

XX, 16, 115, 124, 138, 202
Brantome (Dord), abbey, 399
Brantome, P. de, wr., 160
Brecy (Calv.), chat., 281
Brescia, Miracoli ch., 12
Bressuire (Deux Sevres), ch., 98
Bretagnolles (Eure), ch., 40
Breton churches, 188-92
Breton, Gilles Le, master-mason (d. 1552),

67, 69, 142, 144
Breuil, Toussaint de, pr. and dec. (1561-1602),!

251
Breze, Louis de (husband of Diane de Poitiers),i

125, 145
Breze, Mme. de, see Poitiers, Diane de.
Bri^onnet, Bp. , 4

Brie, Comte, Robert (S. et M.), ch. 97, loi
Brienon, I'Archeveque (Yonne), ch., 257
Briseux, Charles Etienne, arch, and wr. (1680-

1754), 374, 409; his writings, 374
Brive-la-Gaillarde (Corr.), 28
Brizembourg (Char. Inf.), chat., 75
Brongniart, Alexandre, arch. (1739-1813), 433,;

446, 464, 471, 488, 489, 491
Brosse, Jehan de, arch., 224
Brosse, Solomon de, son of above and Juliette-

du Cerceau, arch., (b. bef. 1562, d. 1626),

214, 224, 225, 226, 234, 237, 244, 249, 255,,,

260
Brou (Ain), ch., 36, 40, 42

510

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. 11.

Bruand (or Bruant), Jacqiies, arch. (d. 1664),
285, 287

Bruand (or Bruant), Liberal, arcli., bro. of
Jacques (f. 1635-97), 272, 316, 326, 335, 344

Bruhee, Etienne, arch, at Dijon (mid i6th
cent.), 177, 178

l3run, Charles Le, pr., dec, arch. (1619-90),
272, 276, 278, 284, 289, 291, 294, 310, 316,
318, 320, 323, 325, 329, 330, 359, 363, 370,
374, 477

Bruyere, Jean de la, wr., 269

Brunelleschi, Filippo, Ital. arch. {1377- 1446),
12, 80

Bruniquel (Tarn et Gar.), chat., 153

Bude, Guillaume, scholar, 46, 47

Bueil (I. et L.), ch., 40

Bulat (Ces. du Nd.), ch., 98

Bullant, Jean, arch., engr., and wr. (b. c.
1515-25 [?]. d- 1578), xix, 67, 125, 128, 131,
142, 147-50, 163, 164, 169, 172, 174, 194,
198, 202, 227, 310, 312, 448; his writings,
181 ; edited by Salomon de Brosse, 224,
274

Bullet, Pierre, arch. (1639-1716), 325, 332,

333, 337
Burgundian influence, xv, 21
Buonarotti, Michael Angelo, sc, pr., arch.
(1475-1564), xxi, 80, 118, 152, 213, 275,
461 ; his "Captives" at Ecouen, 149
Bury (L. et Ch.), chat., 15, 62, 85
Biissy, Rabutin (Cote d'Or), chat., 75, 244
Buyster, Philippe, sc. (1598- 1688), 292

Caen (Calv. ), Abbey of St Etienne (now hosp.

and lycee), 399 ; HI. de d'Ecoville, 77, 115,

136; HI. de Mondrainville, 77; HI. de la

Monnaie, 77 ; Manoir de Nollent, or Maison

des Gens d'Armes, 23 ; museum, 157 ; N.D.

de la Gloriette, 337 ; St Jean, 93 ; St Pierre,

77, 92, 93, loi, 107
Cafifieri, Philippe I., metal worker and sc.

(1634-1716), 320
Caffieri, Jacques metal worker and sc, son of

above (1678-1755), 320
Caffieri, Philippe H., metal worker, son of

Jacques (1714-77), 441
Caffieri, Jean Jacques, sc. , son of Jacques

(1725-92), 441
Cahors (Lot), Jesuit coll., 254

Cailleteau (nicknamed " L'Assurance "), arch.

(d. 1723), 329, 332, 373, 384
Cailleteau, Jean, arch., son of above (d. 1755),

375, 380, 382, 384, 412
Calvin, Jean, wr., 133
Cambrai (Nord), archbp.'s pal., 431 ; calh.,

405 ; gate, 249 ; seminary chl., 263
Cammas, Guillaume, arch, at Toulouse (mid

iSthcent.), 395
Canova, Antonio, sc. (1757-1822), 473
Cany Barville (S. Inf.), chat., 244
Caque, Pierre, arch, (mid i8th cent.), 401
Caristie, Augustin Nicolas, arch. (1783- 1862),

493
Carpentier, Antoine Le, arch. (1709-73),

444
Carlaud, Jean Sylvain, arch. (1675-bef. 1705),

373, 382, 384, 401
Cassel (Hesse), 387
Cassel (Nord), gate, 249
Castres (Gir. ), bp.'s pal., 334
Catharine de' Medici, wife of Henry II., xix,

71, 114, 115, 131, 150, 152, 159-65, 167,

169, 198, 200, 202, 203, 277
Caudebec (S. Inf.), 432
Cauvet, Gilles Paul, dec. and sc. (1731-88),

441
Caylus, Comte de, wr., 408, 409
Ceilings and boarded or panelled roofs, 29, 82,

93, 144, 156, 189, 197, 251, 257, 297, 310,

318, 365, 369, 400, 451, 453, 463-4
Cellini, Benvenuto, sc. (1500-71), 47, 120,

133
Cerceau, Jacques I., Androuet, du, arch., and

wr. (b. c. 1505-10, d. c. 1585), xix, xx, 30,

47, 79, 85, 95, 125, 128, 129, 131, 133, 138,

140, 147, 152, 161, 162, 169-71, 178, 180,

214, 224, 312 ; his writings, 181, 274, 376
Cerceau, Baptiste, J. A., du, elder son of,

arch. (b. c. 1544-7, d- i59o), 125, 162, 174,

179, 202, 223
Cerceau, Jacques II. du, J. A., second son of,

arch. (b. c. 1544-7, d. 1614), 125-223, 224,

227, 247
Cerceau, Jean du, son of Baptiste, arch. (b.

bef. 1590, d. after 1649), 224, 225, 234,

247, 249, 281
Cerceau, Julienne du, dau. of Jacques I.,

married Jehan de Brosse, 224
Cergy(S. et O.), ch. 183
Chalgrin, Jean Francois, arch. (1739-1811),

456, 464, 470, 471, 480, 483, 493

511

lADEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

Challuau (S. et M.), chat. 73, 74
Chalons-sur-Marne (Marne), 24 ; cath. 256 ;

HI. de v., 445 ; triumphal arch, 448
Chalons-sur-Saone, Pont St Laurent, 444
Chambers, Sir William, Engl. arch, and wr.

(1726-96), 424
Chambiges, Martin, master-mason at Beauvais

(d. 1532), 871
Chambiges, Pierre I., master-mason at Paris,

&c., son or nephew of above (d. 1544), 71, 82,

168
Chambiges, Pierre II., master-mason at Paris,

(?)son of above (d. c. 1616), 168
Chambord (L. et Ch.), chat., 15, 49, 57, 61,

82 ; chl., 93
Chamois, arch, (late 17th cent.), 287, 327
Champaigne, Philippe de, pr., (1602-74),

291
Champigny-sur-Veude (I. et L.), chl., 93,

194
Chanteheux (M. et M.), pavilion, at Luneville,

390
Chantilly (Oise), chat., 64, 66, 135, 136, 147,

204, 367 ; chatelet, 147 ; chl., 292; gardens,

298 ; village, 428 ; stables, 384
Chaource (Aube), ch., 205
Charenton (Seine), first Protestant "Temple,"

224 ;. second Prot. " Temple," 224, 255
Charles of Maine, 3
Charles V., Emperor, 45, 140
Charles of Gonzaga, 249
Charles VII., xv

Charles VIII., xix, xx, i, 4, 16, 17, 41
Charles IX., 159, 161, 162, 165, 169, 171
Charles X., 467, 478
Charleval, chat., 161, 171-74, 180
Charleville (Ard.), 249
Chartres (E. et L.), 155 ; cath., 39, 96, 405 ;

HI. Dieu, 419; HI. Montescot, 221, 245;

St Aignan, 185, 257
Chastel, Jean Pancrace, sc. at Aix (Prov. ),

(1726-93), 460
Chastillon, Claude, arch, andengr. (1547-1616),

223, 249, 254
Chateaudun (E. et L.), chat., 14, 22, 281
Chateaubriand, Francois A., wr., 472
Chaumont (L. et Ch.), chat. 63
Chaumont (Hte. Marne), HI. de V., 445
Chauvigny, chat., 226, 242, 243
Chaville (S. et O.), chat., 287
Chemaze, see St Ouen, Manoir de.
Chenier, Andre, poet, 415

Chenonceaux (I. et L. ), chat. 63, 145, 167 ;

chl., 93
Cherpitel, Mathurin, arch. (1736-1809), 411,

Cheverny (L. et Ch.), chat., 244, 253, 257 H
Chimney-pieces, Louis XII. 30; Francis I.,

83; Henry II., 157; Henry IV. and

Louis XIII., 253; Louis XIV., 295-7,

331 ; Louis XV., 365, 371 ; Louis XVI.,

438 ; Empire, 475
Chinese influence, 322, 363--, 390, 426-8,

478
Choisy-le-Roi (Seine), chat., 327, 385
Church architecture, Louis XIL, 35-43 ;

Francis I., 85-111 ; Henry II., 183-205;

Henry IV. and Louis XIII., 253-64;

Louis XIV., 335-55 ; Louis XV., 397-

406; Louis XVI., 454-64; Empire, 493
Clagny, chat., 281, 316, 323; gardens, 298
Clagny, Sieur de, see Lescot.
Claude, of France, wife of Francis I., 45, 53,

204
Clerc, Le (mid. i8th cent.), garden designer,

424
Clermont-Ferrand (Puy-de D. ), 85
Clodion (Claude Michel), known as, sc. ,

(1738-1814), 441
Clouet, family of painters (early and mid.

i6th cent.), 47
Cochin, Charles Nicolas (1713-90), engr. and

wr., 374, 408, 409
Colbert, Jean Baptiste, minister to Louis XIV.,

211, 226, 268-72, 275-7, 28S, 298, 300, 302,

303, 312, 327
Coligny, Admiral, 153, 159, 176
Collin, Remy, arch, (early 17th cent.), 231
Colombe, Michel, sc. (r. 1430-1512), 17, 21,

33. 42
Comines, Philippe de, wr., xviii, 4
Como, cath. , 12, 116; Thomas of, see Thomas.
Compiegne (Oise), III. Dieu, 264 ; HI. de V.,

27 ; old chat., rebuilt as pal., 419, 420, 420,

430, 441, 442, 477, 480; Porte Chapelle,

194
Conde, Princes of, 246
Conde, Henry II. of (tomb), 292
Conde, Louis II., 298, 327
Conde, Louis Joseph, 428, 479
Cons-la-Grandville (M. et M.), chat., 176
Contant d'lvry, Pierre, arch. (1698-1777), 415,

430, 442, 463, 464, 470, 485
Copernicus, Nicholas, astr., 409

512

INDEX.

Pages 1-266 are contauied in Vol. /., and pages 267 to end in Vol. II.

Coqueau, Jacques, master-mason at Chambord,

&c. (d. 1569), 60
Corbin, smith (i8th cent.), 49
Corneille, Pierre, dram., 208
Cortona, Dominic of, see Bernabei, 235
Cortona, Pietro da, Ital. arch, and dec. (1596-

1669), 277, 291
Cottart, Pierre, arch., (d. after 1686), 285,

286, 289, 302, 303, 329, 401
Cotte, Robert de, arch, and dec. (1656-1735),

322, 329, 332, 355, 365, 373, 379, 385, 387,

393. 399, 401
Cotte, Robert Jules (son of above), arch.

(1683-1767), 401
Coulommier-en-Brie (S. et M.), chat., 224,

226, 234-7, 240, 243, 277, 287 ; Capuchin

ch., 224
Courances (S. et O.), chat., 234, 244
Courtois, family of enamellers (i6th cent.),

47
Courtonne, Jean, arch. (1671-1739), 373,

379
Cousin, Jean, stained glass worker, pr. and sc.

{c. 15CO-89), 47, 108, 200
Coustou, family of scs. (early and mid 18th

cent.), 392, 393
Coutances (Manche), St Pierre, 98, 183
Couthon, Georges, Revolutionary leader, 470
Coutras (Gir.), well-house, 134
Couture, Guillaume Martin, arch. (1732-99),

447, 463, 470, 485
Coypel, family of prs. (17th and l8th cents.),

320, 352
Coysevox, Antoine, sc. (1640- 1720), 320
Cravant (Yonne), ch., 14
Crozat, financier, 382
Crucy, Mathurin de, arch, at Nantes (i749-

1826), 473. 490
Cucci, Domenico, sc. and metal-worker (reign

of Louis XIV.), 320
Cuvillies, Francois I. de, arch., dec, and engr.

(1698-1768), 365, 372
Cuvillies, Fran9ois II. de (son of above), arch.

and dec, (1734-1805), 372, 387

Damesne, Louis Emmanuel, arch. (1757-1822),

491
Dampierre (S. et O.), chat., 85, 327

Dangu (Eure), chat., 253, 291

Daubeuf (S. Inf.), chat., 244

David, Jacques- Louis, pr. (1748-1825), 471,

473. 477
Decoration, Louis XII., 4, 29, 30; Francis I.,

82, 83, no; Henry II., 119, 139, 156, 157,

163; Henry IV. and Louis XIII., 250-3;

Louis XIV., 273, 275, 290-7, 310, 318-29,

330-2, 352; Louis XV., 358-69; Louis

XVI., 417-9; Empire, 475-8
Delaborde, Mathurin, master-mason at La

Ferte-Bernard (i6th cent.), 107
Delacroix, Eugene, pr. (1799- 1863), 494
Derand, Frangois, arch. (1588-1644), 254, 261,

262
Desgodetz, Antoine, arch, and wr. (1653-

1728), 275 ; his publications, 275
Desmaisons, Pierre, arch. (17 13-1802), 447
Desmalter, Jacob, cabinetmaker {c. 1800), 477
Desportes, Francois, pr. (1661-1743), 3^5
Desproux. See Moreau Desproux
Dieppe (S. Inf.), St Jacques, 39, 107; St Remy,

39, 87, 107, 256
Dijon (Cote d'Or), 76, 128, 405 ; Carmelite

ch., 263; HI. Chambellan (38 Rue des

Forges), 178; HI. de Vogiie, 245, 332;

Mn. des Caryatides, 178 ; museum,

441 ; Pal. des Etats, 297, 332, 393, 445 ;

Pal. dej., 177, 178; Pal de J. chl., 205;

Porte St Guillaume, 448 ; Porte St Pierre,

448; Prefecture, 431 ; 39 Rue de la Van-

nerie, 178; St Michel, 96, 97, loi, 187
Dol (lUe et V.), xviii ; cath. , 42 ; hs., 24
D61e (Jura), Carmelite ch. , 194
Dolet, Etienne, scholar, 47
Domes, 13, 93, 156, 199-203, 230, 262-4, 279,

335-48, 401, 429, 447-8, 458-63, 487
Dominic of Cortona. See Bernabei
Doucet, Jacque, arch, (early i8th cent.),

337
Dreux (E. et L.), St Pierre, 38, 256
Duban, Jacques Felix, arch. (1797- 1870),

310
Dubois, Ambroise, pr. and dec. (i 543-1614),

251
Due, Le, Gabriel, arch. (d. 1704), 335
Ducillet, Guillaume, arch, at Lyons (17th

cent.), 263
Dunkirk (Nord), St Eloi, 464
Duprat, Card., 45, 64
Dutch influence, xxii, 212, 213
Duval, Etienne, merchant, 77

513

INDEX.

Pages \-2(i(i are contained in Vol. /., and pages 267 to end in Vol. II.

Ecouen (S. et O.), 129; chat., 66, 67, 83,
126, 128, 145, 149; chat, chl., 110, 204;
chat, grotto, 180 ; chat. Salle des Fetes, 156,

157
Ecouis (Eure), ch., 103, 353
Effiat, Marechal d', 288
Egyptian influence, 471, 478-9
Empire, period, 278, 473-8 ; style of, 466-494
EncyclopEedists, the, 407
English influence, xxii, 410, 424-5, 437
Ennery (S. et O.), ch., 88, 1S3
Entragues, Henriette d', 224
Epernay (Marne), St Martin, loi
Errard, Charles, arch., pr. , and dec. (1606-89),

272, 274, 291. 329, 344
Espine, Jean 1', arch, or master-mason in

Anjou (1505-76), 79
Este, Card. Ippolito of, 122
Estienne, scholar, 47
Estrees, Gabrielle d', 150, 224
Etampes, Anne de Pisseleu, Duchess of, 45,

46, 120
Etienne, arch, at Bordeaux (late i8th cent.),

431
Eu (S. Inf.), Jesuit coll., 254; chl., 256;

Guise tombs, 265
Evelyn, John, Engl. wr. (quoted), 262
Evreux (Eure), cath., 36, 39, 107, 109, 183,

187, 189 : St Taurin, 88, 93, 107

Fain, Pierre, master-mason at Gaillon (early

1 6th cent.), 20
Falaise (Calv.), la Trinite, 39
Falconet, Etienne Maurice, sc. (1716-91),

441
Faulchot, Girard, master-mason at Troyes

(d. 1540), 104
Faulchot, Jehan, master- mason, son of above

(d. 1576), 104
Fauxcreau, Maurice, master-mason at Troyes

(d. 1553), 104
Fayelle (Oise), chat., 287
Fayet, smith (i8th cent.), 419
Felibien Andre, wr. on the fine arts, 272
Fenelon, Archbp. of Cambrai, 269

Fere-en-Tardenois, La (Aisne), chat., 149

Ferte-Bernard, La (Sarthe), Notre Dame-des-
Marais, 92, 93, 103, 107

Ferte-Milon, La (Aisne), Notre Dame, 185

P^iesole, Jerome of. See Pacherot

Fiorentino, Domenico. See Ricoveri

Fireplaces. See Chimney-pieces

Flamboyant Gothic, xv, xxii, 10-12, 37, 42,
362

Flemish influence, xxii, xxiii, 76, 125, 20S-15,
222, 223, 245, 250-3, 263, 267, 273, 290-3,
492

Fleurigny, chat., 75 ; chl., 93

Floors and pavings, 30, 83, 156, 200, 352

Florence, 1 ; Pitti Palace, 237 ; Sta. Maria
Novella, 260 ; S. Lorenzo, 165

Folembray (Aisne), chat., 64

Fontaine, Pierre Francois Leonard, arch.
(1762-1853), 228, 468, 477, 480, 481, 483,
490, 492

Fontaine, Jean de la, wr., 268, 330

Fontainebleau (S. et M.), town, 118, 120, 121 ;
HI. d' Este, 122, 138; HI. de Montpensier,
122

Fontainebleau, School of, xx, xxiii, 117, 124,
129, 133, 208

Fontainebleau (S. et M.), chat., 8, 14, 121,
477, 480 ; Aile de la Belle Cheminee, 165,
142, 152, 164, 201, 213, 222, 231, 245, 470,
169; antechamber, Marie Antoinette's apart-
ments, 415, 441 ; bronze nymph (Cellini),
120 ; chambre ovale, 251 ; concert-room,
441 ; council chamber, 365; Cour du Cheval
Blanc, 69, 143, 165, 233, 234, 387; Cour
de la Fontaine, 120, 143, 165 ; Cour Henri
IV., 221, 233; Cour Ovale, 67, 118, 231 ;
Galerie des Cerfs, 221, 223, 251 ; Galerie des
Chevreuils, 231 ; Galerie de Diane, 231,
251 ; Galerie de Fran9ois I., 118, 119;
Galerie de Henri II. (ball-room), 123, 143 ;
Galerie d'Ulysse (great gall.), 120, 385;
gardens, 298 ; Grotto of the Pines, 122, 138 ;
horse-shoe stair, 142, 234 ; King's Cabinet,
143 ; Mme. de Maintenon's suite, 332 ;
Napoleon I.'s apartments, 480 ; Orangery
Court, 231 ; Pavilion des Poeles, 143 ;
Pavilion de la Porte Doree or de Maintenon,
120; Pavilion du Roi, 385; peristyle, 116,
123 ; Porte Dauphine (baptistery, Louis
XIII.), 165,231,233; Queen's Garden, 231;
Royal Library, 46, 118; St Saturnin, chl.,
69. 93. 123, 143, 183, 264; Duchesse

514

INDEX.

Pages 1-266 are contained in Vol. I., and pages 267 to end in Vol. II.

Gaillon (Eure), chat., 14, 15, 16, 19-22, 83;

d'Etampe's chamber, 120; Salon de Fran9ois

I., 120; Trinity chl., 251, 253, 264
Fontaine-Fran9aise (Cote d'Or), chat., 429
Fontaine-Henri (Calv. ), chat., 23, 50, 74
Fontevrault (M. et L.), cloisters, 107
Fornovo, battle of, 2
Forty, Jean Fran9ois, dec, engr., metal-worker

(late i8th cent.), 441
Fosse, de la, Jean Charles, arch, and dec.

(172 1- after 1768), 441
Foucquet, Jehan, miniaturist (b. c. 14 15, d.

1483), xix
Fouquet, Nicolas, minister to Louis XIV.,

268, 276, 277, 288, 292
Francini, Alexandre, arch, and dec. (reign of

Louis XIII.), 253, 264, 274
Francis I., xix., 8, 44-47, 53, 57, 72, 73, 82,

83, 86, 117, 120, 121, 129, 131, 140, 142,

165, 203, 204, 227 ; style of, 14, 26, 45-122,

220
Francis II., 157, 159
Fran9ois, Gatien, master-mason and arch, at

chat, of Madrid, son of the following (d. after

1561), 64
Fran9ois, Martin, master-mason and sc. at

Tours (d. c. 1525), 33, 39, 64
Fran9ois, Sebastian (Bastien), master-mason

and sc. at Tours, bro. of last named (d. c,

1525). 33. 39
Freart, Roland, Sieur de Chambray, 272 ; his

writings, 274
Freminet, Martin, pr. and dec. (1567-1619),

252
Fresnes (Somme), chat, chl., 342

Gabriel, Jacques I., arch, at Argentan and

Rouen (reign of Henry IV.), 226, 250
Gabriel, Jacques II., arch., grandson of J. I.

(d. 1686), 313, 325, 327
Gabriel, Jacques Jules, arch., son of J. II.

(1667-1742), 332, 334, 373, 376, 392-5, 399,

401, 424, 444
Gabriel, Jacques Ange, arch., son of J. J.

(1699-1782), 376, 381, 385, 412, 414-6,

420-4, 426, 442, 443, 445, 447, 448, 450,

464, 470
Gadier, Pierre, master-mason at Tours (d.

1531), 64

chl., 20, 37, 39; Mn. Blanche, 170, 180
Gallardon (E. et L. ), h., 14
Garden design, 31, 85, 179, 231, 276, 290, 298,

315. 323> 383, 424, 427-8, 437. 478
Gaston, See Orleans, Duke of
Gauvain, Mansuy, master-mason and sc. in

Lorraine (early i6th cent.), 23, 42
Gendre, Le, arch, at Rheims, (mid i8th cent.),

444
Geneva, 387, 388; h. nr., 382; 2, 4, and 6
Rue des Granges, 388 ; HI. de Saussure (rue
de la Cite), 388 ; Pal. de J., 388
Genthoud (pr., Geneva), chat, de Saussure,

388
Gentil, Fran9ois, master-maison and sc. at

Troyes (d. 1588), 104
George of Amboise. See Amboise
Gericault, Theodore, pr. (1791-1824), 494
Germain, Thomas, goldsmith and arch. (1673-

1748), 403
Geymiiller, Baron H. von, wr. on architecture,

16
Giardini. See Girardini
Gillot, Claude, pr., dec, and engr. (1673-1722),

365
Giocondo, Fra Giovanni, arch., (1453H-1515),

XX, 16, 20, 22, 29, 30, 60, 61, 62
Girard, Philippe, arch, (reign of Louis XIV.),

327
Girardin, arch, (late i8th cent.), 464
Girardini (or Giardini), arch, (early i8th cent.),

380, 434
Girardon, Fran9ois, sc. and arch. (16281715),

320
Gisors (Eure), St Gervais and St Protais, 87,

loi, 106, 183, 185, 187
Gisors, Alexandre de, arch. (1762- 1855), 478,

479, 483, 485
Gisors, Henri de, nephew of above, arch.

(1 796- 1 866), 480
Giusto, Andrea di (Andre Juste), sc, bro. of
Ant. and Giov., 21 (work usually recorded
under "Juste")
Giusto, Antonio di (Antoine Juste), sc, bro.

of above (1479-1519), 21, 107
Giusto, Giovanni di (Jehan Juste), sc, bro. of

above, 21, 42, 107
Giusto di (Juste de Juste), sc, son of Antonio,

204
Gittard, Daniel, arch. (1625-86), 272, 327,
328

515

INDEX.

Pages 1-266 are contained hi Vol.

Gobereau, Jean, master-mason at Chambord

(early i6th cent.), 60
Gobart, wood-carver (early 17th cent.), 253
Gondi, Jean Baptiste de, 246
Gondouin, Jacques, arch. (1737-1818), 448, 485
Gothic revival, 427, 472, 478, 493
Gots, Claude des, garden designer and arch.

(late I7t.h, early 18th cent.) 299, 373, 382,

384, 424
Goujon, Jean, sc. , arch., and wr. (b. c. 1505-10,

d. c. 1564-68), 115, 125-28, 133, 141, 142,

145, 149, 162, 200, 204, 205, 281, 293, 406
Goust, L., arch, (early 19th cent.) 483
Gouthiere, Pierre Joseph, metal-worker (1745-

1813), 441
Grappin, family of master-masons at Gisors ;

Robert (d. 1545), 107 ; Jean I., son of above

(d. 1547), 107 ; Michel, son of Robert (d.

^S53)> 107 ; Jean II., grandson of Robert,

107
Graves (Aveyr.), chai. , 153
Greek influence, xxiii, 207, 408, 414-6, 475,

484
Grenoble (Is.), Pal. de J., 29, 155
Guarini, Camillo, Ital. arch. (1624-85), xx, 278,

345
Guerin, Gilles, sc. (1605-78), 292
Guern, ch., 39
Guimiliau (Fin.) ch., 189, 190, 354; Calvary,

190 ; sacristy, 399
Guingamp (Ces. du Nd.), 85; Notre Dame

de Bon Secours, 93, 101
Guise family, 130, 145, 157, 159, 160, 163

H

Hardouin. See Mansart, J. II.

Hattonchatel (Meuse), ch. in

Havre, Le (S. Inf.) ; Notre Dame, 256

Henrichemont (Cher), 249

Henry II. (Valois), xix, 4, 113, 114, 116, 129,
133, 140-3, 147, 152, 157, 161, 176, 202-
4; style of, 113-205, 213, 278, 411

Henry III. (Valois), 133, 159-61, 202, 209,
223

Henry IV. (Bourbon) 69, 87, 131, 150, 159,
160, 162, 174, 179, 206-12, 223, 227, 248,
251, 254, 265, 273, 310, 467, 490; style of,
206-66, 273, 278

Henry, Jacques, arch. (19th cent.), 485

Herbiers, Les (Vendee), ch., 494

/. , and pages 267 to end in Vol. II.

Here de Corny, Emmanuel, arch, in Lorraine,

(1705-63), 390, 391, 404, 426
Hesselin, financier, 288
Hittorf, Jacques Ignace, arch. (1793-1867),

493
Houasse, Michel, pr. (1645- 17 10), 320
Houel, Jean, wr., 408
Huet, Christophe, dec. and pr. (early 18th

cent.), 367
Hugo, Victor, wr. , 494
Huve, Jean Jacques Marie, arch. (1783-1852),

486
Huyot, Jean Nicolas, arch. (1780-1840), 483

Ifs, Les, chat., 222, 244

Ingres, Jean Auguste Dominique, pr. (1781-

1867), 494
Isle Adam, L' (S. et O.), ch. 101
Isletle, L' (L et L.), chat., 63
Ivry (Eure), battle of, 209
Ivry, d'. See Contant d' Ivry
Ixnard, Michel d', arch. (1723-95), 387

J

James, Thomas, Bp. of Dol., xviii
Jean d'Heurs, (M^use), chat., 297
Jennesson, Jean Nicolas, arch, in Lorraine

{c. 1685-1755), 401
Jerome of Fiesole. See Pacherot
John, Duke of Berry, 3
Joigny (Yonne), chat., 136, 176; timber h.,

14; stone h., 139; St Andre, 108; St

Thibaut, 187, 205
Joly, J. J. B. de, arch, (early 19th cent.), 480
Jones, Inigo, Engl. arch, and dec. (1572-1652),

61
Josselin, (Morb. ), chat., 10
Jouvenet, Jean, pr. (1644-1717), 320
Julius II., Pope, xxi, 16, 115, 116
Juste. See Giusto
Juvisy (S. et O.), bridge, 393

K

Kersanton (Fin.), stone of, li

516

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 io end in Vol. II.

Laclotte bros., archs. at Bordeaux (late i8th

cent.), 431
Lalonde, de, dec. (late i8lh cent.), 441
Ladoireau, metal-worker (17th cent.), 320
Lambader (Fin.), eh., 39
Lambert de Thorigny, President, 290
Lamennais, R. F. de, wr., 472
Lamour, Jean, smith (1698-1771), 391
Lampaul (Fin.), ch., 189, 190, 354
Landerneau (Fin.), St Thomas, 189, 190
Landivisiau (Fin.), ch., 189, 190
Landifer (M. et L.), chat., 116
Langres (Hte. Marne), 155, 175; cath.

baptistery, 185, 197 ; St Martin, 404
Langier, Abbe, wr. on architecture, 409
Laon (Aisne), 380; cath., 205
Lasson (Calv.), chat, near Caen, 23, 253
Laurana, Francesco, sc. and arch, (late 15th

cent.), 3
Laure, arch, at Lyons (early 17th cent.), 254
Lavardin, chat., 289
Lavaur (Tarn), bridge, 444
Law, William, financier, his Mississippi scheme,

377
Lebas, Louis Hippolyte, arch. (1782-1867),

493
Leconue, arch, (late i8th and early 19th cent.),

479
Leczinski, see Marie, Stanislas
Ledoux, Claude Nicolas, arch. (1736- 1806),

411, 429, 437, 448, 471
Lefuel, Hector Martin, arch. (1810-80), 228
Legrand, Jacques Guillaume, arch. (1743-

1807), 448
Lehongre, Etienne, sc. (1628-90), 320
Lenoir, ATexandre, archaelogist (i 761 -1839),

472
Lenoir, Nicolas, arch. (1726-1810), 431
Leo X., Pope, xxi
Lepere, Jean Baptiste, arch, (i 761 -1844), 485,

493
Le Roy, Julien David, arch, and wr. (1728-

1803), 408, 468, 483
Lescot, Pierre (b. c. 1500-15, d. 1578), 125-8,

131, 138, 140-2, 165, 174, 205, 221, 229,

281, 300, 308, 406, 444
Lespagnandel, Mathieu, sc. (1617-89), 320
Lessing, G. E., German wr. on art, 408
Lh6te, arch, at Bordeaux (late i8th cent.),

431

Lignereux, cabinetmaker (Empire Period), 477
Lille (Nord), Bourse, 250; Porte de Paris,

325
Limoges (Hte. Vienne), cath., 109
Limours, chat., 137
Limousin, Leonard, enameller {c. 1505-75),

47, 200
Lisieux (Calv.), bp.'s palace (now Pal. de J.),

245, 253; timber hs., 10, 14
Lissorgues, Guillaume, master - mason at

Graves (mid i6th cent.), 128
Livilliers (S. et O.), ch., 194
Loches (I. et L.), HI. de V., 27, 79; chan-

cellerie, 155 ; St Antoine, 98
Lombard Renaissance, xx, 12-14, 52, ii7>

197
Longni, ch., 93
Longueil, Rene de, minister under Richelieu,

287
Longueville, Duchess of, Catharine of Gonzaga,

234
Loo, Charles van, pr. (1705-65), 369
Lorraine, 176, 178, 388-91 ; Leopold, Duke

of, 388, 389 ; Stanislas, Duke of, see

Stanislas Leczinski
Lorris (Loiret), HI. de V., 79
Louis XL, XV, I, 4, 40

Louis XH., xix, 2, 3, 19, 42, 53 ; style of, 1-43
Louis XHL, xix, 206, 209, 211, 229, 234,

243, 247 ; style of, 206-66, 287, 296
Louis XIV., xix, 207, 208, 211, 222, 247,

267-70, 272, 273, 276, 297, 298, 302, 310-

13, 316, 322-4, 326, 329, 330, 341, 350,

356, 357, 363, 373, 384, 387, 483, 490;
style of, 267-355

Louis XV., xix, 356, 363, 385, 388, 397, 414,
422, 426, 450, 462 ; " Place pour le Roi" :
first competition, 395, 412 ; second com-
petition, 441-445 ; style of, 356-406

Louis XVI., 246, 408, 414, 426; style of,
407-65

Louis XVIIL, 467, 478

Louis Philippe, 144, 467, 480

Louis, Louis Victor, arch, in Champagne
(mid 17th cent.), 250

Louis, Victor, arch. (1735, d. after 1810), 429-
32, 451, 453, 464, 470

Louise of Savoy, 45

Louppy-sur-l'Oison (Meuse), chat., 176

Lou vain, 263

Louveciennes, or Luciennes (S. et O.),
pavilion, 429

S17

INDEX.

Pages 1-266 are contained in Vol. /., and pages T.d'j to end in Vol. II.

Louvois, Marquis de, minister to Louis XIV.,
268, 269, 277, 287

Louvre, 15, 16, 82, 108, I20, 129, 152, 157,
165, 174, 175, 212. 223-6, 271, 273, 277,
291, 292, 299-310, 312, 328, 397, 442-4,
447, 470, 480 ; colonnade, 270, 302, 397 ;
court, 136, 229; Galerie de Diane, 227;
Galerie des Rois (Galerie d'Apollon), 251,
310, 318 ; Grande Galerie or Gal. du
Bord de I'Eau, 135, 168, 223, 224, 227,
228, 303, 481 ; Hall of the Caryatids,
481 ; Pavilion des Arts, 308 ; Pavilion
de Flore, 227, 228 ; Pavilion de I'Horloge
(or Sully), 230, 292, 300 ; Pavilion de
Lesdiguieres, 168 ; Pavilion du Roi, 308 ;
Petite Galerie, 139, 168, 227, 228, 291,
310; I^scot's building, 140-2, 161, 221;
Salle des Antiques, 168 ; staircase, Egyptian
Museum, 481

Lude, Le (Sarthe), chat., 63

LuUi, J. B., musician, his house, corner of
Rues Ste Anne et des Petits Champs, Paris,
328

Lullin, M. Ami, 388

Luneville (M. et M.), 388, 389; chat, (now
barracks), 388 ; kiosque, 389 ; Pavilion de
Chanteheux, 390 ; Pavilion du Trefle, 389 ;
Ch. of St Jacques, 401, 404

Luxembourg Palace, 213, 224, 225, 226, 234,
235-7. 240, 245, 287, 288, 470, 479, 480;
central stair, 480 ; Maria de' Medici's
chamber, 251 ; Medici grotto, garden, 221 ;
Rubens Gallery, 480 ; seat of executive
under Directory and Consulate, 480

Lyons (Rhone), 127, 142, 254, 380, 412, 414,
470, 480; archbp.'s palace, 414, 415;
Benedictine nunnery (Pal. des Beaux Arts),
334 ; Hospice de la Charite, 254 ; HI. Dieu,
254, 263, 412, 414; HI. de v., 250, 253;
Loge du Change, 415 ; Mn. Philibert de
rOrme, 135 ; museum, 441 ; PI. Louis le
Grand (Bellecour), 393, 470 ; St Bruno,
405 ; St Nizier, 194 ; theatre, 453

M

Maclaurin, arch. (iSth cent.), 456

Madrid, 45

Madrid, chat (in Bois de Boulogne), 49, 64-6,

135
Magnier, Laurent, wood-carver (1619-1700),
292

Magny-en-Vexin (S. et O.), ch., 194
Maintenon, Mme. de, 269, 329, 334
Maire, Pierre de la, arch. (d. 1745), Z1>1
Maisons-Laflfitie (S. et O.), chat., 226, 275,

276, 287, 292, 298, 303
Maistre, Joseph de, wr., 472
Malgrange, La (M. et M.), 389, 391
Malherbe, Francois de, wr. , 208
Malmaison, La, chat. (S. et O. ), 477
Mans, Le (Sarthe), cath., 3, 265; tomb of

Guillaume du Bellay, 204 ; bp.'s chl., 93
Mansart, Francois, arch. (1598-1666), 218, 221

226, 237, 240-2, 244, 248, 262, 263, 273,

275, 276, 277, 281, 283, 287, 298, 300, 302,

303. 339, 341, 342, 344, 359, 401, 415, 421
Mansart, Jules Hardouin (son of F. Mansart's

niece), arch. (1646- 1708), 250, 272, 298,

316, 317, 320-3, 325-7, 329, 330-2, 334,

337 9, 344-6, 348, 350, 355, 369, 373, 374,

387, 388, 395, 399, 403, 450, 456
Mansart de Jouy, Jean Hardouin, grandson of

J. H. Mansart, arch., (b. 1700), 375, 456
Mansart de Sagonne, Jacques Hardouin, arch.

(grandson of J. H. Mansart, br. of above),

(b. 1703), 375, 399, 403
Mantua, Duke of, 120
Marais, Le (S. et O.), chat., 429
Marcellus II., Pope (Marcello Cervino), 127
Marcillac, Guillaume de, stained glass worker,

(15th cent.), xix
Margaret of Austria, 42
Margaret of Navarre, 45-7
Maria de' Medici, second wife of Henry IV.,

xix, 150, 210, 211, 224, 234, 237
Maria Theresa of Spain, wife of Louis XIV.,

269
Marie Leczinski, wife of Louis XV., 397, 426
Marie Antoinette, wife of Louis XVI., 426,

428, 429, 451, 470
Marigny, Marquis de, minister of royal works

under Louis XV., 409
Marly-le-Roi (S. et O.), Hermitage of (chat.),

298, 323, 329, 382
Marot, Clement, poet, 46, 47
Marot, Jean, arch., dec, and engr. (1619-79),

275, 281, 283, 284, 287, 289, 294, 302, 303,

324, 329, 330, 336, 344, 376
Marot, Daniel, son of Jean, arch., dec, and

engr. (i66i-r. 1710), 329, 330, 387
Marseilles (Bes. du Rh.), cath. chl. of St

Lazarus, 3
Marsy, Gaspard, sc. (1624-81), 320

518

INDEX.

Pages 1-266 are contained in Vol. I., and pages 267 to end in Vol. If.

Mique, Richard, arch. (1728-94), 411, 426-8,

Martellange, Etienne, arch, (i 569-1641), 254,

260, 261
Martyre, La (Fin.), ch. sacristy, 399
Mauclerc, J., wr. on architecture, "Premier

Livre d 'Architecture," 274
Maupin, Simon, arch, at Lyons (d. 1668),

250
MaximiUan Emmanuel of Austria, Archduke,

389
Mayenne, Charles of Guise, Duke of, 162
Mazarin, Cardinal (Giulio Mazarini), Prime

Minister to Louis XIV., xxiii, 211, 214, 226,

268, 271, 276, 277, 291, 299, 345
Mazzoni, Guido, of Modena (known as

Modanino, or Paganino), sc. and dec. (d.

1518), 17, 21, 42
Mecklin, 263
Meillant (Cher), chat., 23
Mercoliano, Dom Pacello ( Passello or Passolo)

garden designer (late 15th, early i6th cent.),

17, 18
Mercoliano, Pietro da, garden designer (late

15th, early i6th cent.), 22
Meissonnier, Juste Aurele, arch, and dec.

(1693-1750), 359, 370, 374, 380, 387, 402,

403, 454
Menars (L. et Ch.), chat., 244, 429
Mercier, Le, family, master- masons, 85
Mercier, Le, Pierre, master mason (i6th cent.),

106
Mercier, Le Jacques, arch. (?) related to above

(1585- 1654), 225, 226, 234, 237, 247, 249,

254, 262, 263, 276, 277, 291, 300, 302, 303,

336, 341, 342
Mesnieres (S. Inf.), chat., 116
Mesnil-Aubry, Le (S. et O.), ch., 185, 194,

198, 260
Metezeau, Clement I., master-mason, at Dreux,

(b. c. 1479, d. c. 1545), 223
Metezeau, Thibaut, son of Clement I., arch.

(1533-96), 223
Metezeau, Louis, son of Thibaut, arch. (1559-

1615), 223, 227
Metezeau, Jacques Clement II., son of Thibaut,

arch. (158 1 -1652), 224, 225, 247, 262, 275
Metivier, family of archs. at Verneuil, 214
Metz, 254, 445 : cath., 445
Meudon (S. et O.), chat., 145, 164, 179, 327
Mignard, Pierre, pr. (1610-95), 277
Mignard, Pierre, arch., nephew of above (1640-

1730), 272
Milan, ch. of St Ambrose, 96

448, 451, 464, 470
Mique, Nicolas, son of above, 470
Miromesnil (S. Inf.), chat., 244
Moliere, Jean B. P. de, dram., 268, 272
Molinos, arch. (1743-1831), 448
Mollet, Claude, gardener to Henry IV. (b.

1563), 231
Mollet, Armand Claude, grandson of above,

arch. (d. 1720), 248, 373, 384
Monceaux-en-Brie (S. et M.), chat., 136, 142,

150-2, 164, .171, 172, 174, 224
Moncley (Doubs), chat., 429
Montal (Lot), chat., 75
Montaigne, Michel de, wr., xix, 160, 208
Montargis (Loiret), chat., 147, 170; chat.

garden, 180; Madeleinech, 125, 183
Montaubau (Hte Gar.), Grande Place, 249
Montespau, Mme. de, 269, 323
Montesquieu, Charles de, wr., 407
Montferrand (Puy de D.), Maison d'Adam et

Eve, 27
Montheroult, Pierre de, master-mason at Gisors

(mid i6th cent.), 107
Montmorency, Anne de, Constable, 45, 46, 66,

125, 128, 130, 131, 147, 149, 161-3, 198
Montmorency, Guillaume de, father of above,

64
Montmorency, town, 382
Montpellier (Her.), Arc du Peyrou, 325, 334 ;

chat, d'eau, 450
Montpensier, Mdle. de "La Grande Made-
moiselle," 327, 385
Moreau-Desproux, Louis Pierre, arch. (1737,

93), 430, 447, 450, 453, 456, 470
Moret (S. et M.), Fran. I., villa (see Paris,

Cour la Reine), 64, 492
Mosnes, or Maulnes (Yonne), chat., 153
Moulins (All.), Jesuit coll., 254; Mont-
morency Mausoleum (now chl. of Lycee),

292, 336
Mourette, Jehan, woodworker (mid i6thcent.),

lOI

Muet, Le, Pierre, arch, and wr. (1591-1669),
225, 242, 243, 248, 335, 342 : his writings,
216, 242

Muette, La (S. et O.), chat., 49, 71, 73> 74.

137
Nancy (M. et M.), 155, 178, 380, 388-391,
444; Carriere, 388, 390; cath., 338, 388;
cath., wrought-iron screen, 405; chat., 23,
388 ; Franciscan ch. , 42 ; HI. du Gouverneur,

SI9

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

390 ; HI. de V., 372, 391, 442 ; Mausoleum
of Dukes of Lorraine, 263 ; museum, 157 ;
Notre Dame de Bonsecours, 404 ; PI. du
Gouvernement or de I'Hemicycle, 388 ; PI.
Stanislas (PI. Royale), 372, 390, 391, 444;
Porte de la Craffe, 249 ; Porte Desilles,
448 ; Porte Ste Catherine, 448 ; Porte St
Georges, 249; Porte St Nicolas, 249 ; Porte
St Stanislas, 391, 448; Porte St Sebaslien,
ch., 401 ; tombs of Stanislas Leczinski and
cath., Opalinska, 206, 404

Nantes (L. Inf.), 380, 490; Bourse, 490;
bridge over Loire, 392; cath., 41, 42;
Cours Cambronne, 444, 490 ; Cours Henry
IV., 490 ; HI. de V., 490 ; PI. Graslin, 490;
PI. Louis XXL, 490; PI. Royale, 444, 490

Nantes, Edict of, 210, 254; Edict, Revocation,
269, 330, 387

Nautouillet (S. et M.), chat., 64

Naples, expedition to, xix, i, 2, 4, 6, 16

Napoleon I., General, First Consul, and
Emperor, 143, 463, 467, 471-3, 477, 48 J,
483, 485, 488, 490

Nativelle, P., arch, and wr. (early i8th cent. ),374

Natoire, Charles Joseph, pr. (i7(X)-77), 369

Navilly, bridge, 444

Nemours, Duke of, 162, 170

Nepveu, Pierre (Trinqueau), master-mason at
Chamboid, &c. (d. 1538), 60

NeuflForge, J. F. de, arch., sc, dec. and wr.,
(late i8th cent.), his publications, 419, 424,

433. 464
Nevers (Nievre), Ducal Castle (now Pal. de

J.), 23 ; Ste Marie, 223, 263
Niort, HI. de V., 79
Normand, Charles, arch, and engr. {c. i8cx3),

477
Notre, Le, Andre, garden designer and arch.

(1613-1700), 272, 276, 289, 298, 323, 373,

424, 427
Noyers, Sublet des. Baron de Dangu, Minister

under Richelieu, 272, 291
Oeben, J. F., cabinetmaker (d. c. 1765), 441
Oppenordt, Gilles Marie, arch and dec. (1672-

1742), 369, 374, 402
Orange (Vaucl.), sepulchral chl., 493
Orbay, Fran9ois d', arch. (1624-99), 272, 299,

302, 315, 325, 334, 450
Orleans (Loiret), 128, 129, 147, 155 ; bridge,

392; cath., 36, 256; HI. Cabu (Museum),

83, 116; HI. de v., 79; Mn. de Jean

d'Alibert, 79, 125 ; Mn. du Cerceau (so-

called), 133, 147 ; Mn. de la Coquille, 24,
79, 125, 134 ; Mn. de Francois I., 79, 115 ;
Mn. des Oves (11 Rue Ste Anne), 178 ; Mn,
d'Agnes Sorel, 24, 25 ; PI. du Martroi, 392
Orleans, Gaston, Duke of, bro. to Louis XIII.,
237, 240, 242 ; Philip, Duke of, bro. to
Louis XIV., 298, 327 ; Philip, Duke of.
Regent, son of last-named, 202, 356, 369,
428, 430; Philip, Duke of, " Egalite,"
great grandson of last-named, 453. 470
Oileans-Longueville, Card., Francis of, 22
Orme, Jean de 1', arch., bro. of Philibert, 164
Orme, Philibert del', arch, and wr. (b. c. 1505-
10, d. 1570), xix, XX, 46, 115, 123-5, 127-9,
131. 135. 137-9. 142-5. 152, 163-5, 167,
169, 174, 179-81, 194, 198, 199, 203, 204,
230, 231, 234, 274, 310, 312, 375, 448, 464 ;
his writings, 181, 182
Orme, Pierre de 1', master-mason at Gaillon

(early i6th cent.), 20
Orville, d', J. P., Dutch archaeologist and wr.,

408
Oudry, Jean Baptiste, pr. (1686- 1755), 365, 367
Oyron or Oiron (Deux Ss.), chat., 23, 244,
253 ; tomb, Gouffier bros. , 204

Pacherot, Jerome (Passerot or Pacchiariti),
probably identical with Jerome of Fiesole,
sc. (late 15th cent.), 17

Pailly, Le (Hte. Marne), chat., 175

Pajou, Augustin, sc. (1730- 1809), 441, 457

Palissy, Bernard, potter and wr. (1510-90), 47,
133, 162, 180, 370

Palladio, Andrea, Ital. arch, and wr. (1508-80),
xxi, 260, 274, 375, 483 ; Villa Rotonda
Vicenza, 382

Panini, Giovanni Paolo, Ital. architectural pr.
(1695-1768), 412

Paris. — Altar and Column to the Supreme
Being, 479 ; Arc du Carrousel, 481, 483 ; Arc
de I'Etoile (de Triomphe), 480, 483, 484,
490 ; Arsenal, 249 ; Arsenal, Cabinet de
Sully, 290 ; Arsenal, Salon de Musique, 368 ;
Barriere de Fontainebleau ; Barriere de St
Martin, 448 ; Barriere du Trone, 448 ; Bois
de Boulogne, 480 ; Bourse, 488, 489 ; Bourse
de Travail, see Halle aux Bles ; Bureau des
Marchands Drapiers, 286 ; Cabinet des
Estampes, 95, 245 ; Chancellerie d'Orleans,
432

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

Paris.-

Churches and Chapels. — Beaujon Chi.,
464 ; Ste Anne la Royale, see Theatine
Ch. ; Ste Chapelle, 29, 1 18 ; Ste Elizabeth,
ZZl '■> St Etienne-du-Mont, 87, no, 223,
256, 264 ; St Eustache, 85-7, 93, 97,
loi, no, 256, 456; Expiatory Ch., in
memoriam Louis XVI. and M. Antoinette
(Rue d'Anjou), 492 ; St Germain I'Auxer-
rois, 127, 142, 205, 355 ; St Gervais, 224,
226, 253, 260-2 ; St Jean-en-Greve, 400 ;
Jesuit Ch., see St Paul and St Louis ; La
Merci, chl. of, 401 ; St Louis d'Antin
(chl. Capuchin Monastery), 464; St Louis
en rile, 253, T,y] ; St Louis du Louvre,
403; Madeleine, first ch., 463, second
ch., 463, 485-8, 490, 493 ; Ste Marie des
Anges (now Prot. ch.), rue St Antoine,
226, 253, 264, 275, 326, 344, 401 ; St
Nicolas-des-Champs, 185, 193, 354; Notre
Dame, 86, 87, 355, 456 ; choir, 364, 405 ;
■de Lorette, 493 ; des Victoires (Eglise
■des Petits Peres) oratoire (now Prot. ch.
rue St Honore), 225, 262, 276, 401 ; Pan-
theon (Ste Genevieve), 335, 401, 416,
448, 457-62 ; St Paul and St Louis
(Jesuit ch), rue St Antoine, 253, 259, 261,
292 ; St Philippe-du-Roule, 464, 493 ; St
Roch, 336, 337, 401, 402, 404; St Sul-
pice, 336, 337, 359, 402, 403, 412, 454-
6 ; St Thomas du Louvre, 403 ; St Vin-
cent de Paul, 493
College de France, 46, 254 ; des Quatre
Nations or Mazarin (Pal. de I'lnstitut), 265,
277, 299, 470; ditto, ch., 339, 345; Colonne
Vendome (de la Grande Armee), 485 ;
•Comedie Fran^aise (Rue des Fosses St
Jacques), 450, 453

Convents. — Nuns of the Assomption (Rue
St Ilonore), ch., 344, 345; Capuchin
nuns, ch., 401 ; Val-de-Grace (now Mili-
tary Hosp.), 292, 334, 339, 341, 344, 346,
348, 354, 460, 461
•Cours-la-Reine, 64, 492
Ecole des Beaux Arts, 20, 21, 22, 24, 145
.470, 472, 494 ; Ecole de Droit, 448 ; Ecole
de Medecine (old), 448 ; Ecole Militaire,
.415, 419, 441, 446, 447, 480; its chl.,
.464 ; Faubourg, St Germain, 380, 384 ;
Fontaine de Crenelle, 412, 448 ; Fontaine
Rue des Haudriettes, 450 ; Fontaine des
Innocents el des Nymphes, 142 ; Fontaine

Paris. —

opposite Pal. Royal, 393 ; Fontaine du
Vertbois, 393 ; Galerie Colbert, 492 ;
Galerie Vivienne, 492 ; Garde-meuble de la
couronne (Ministry of Marine), 442 ; Gobe-
lins, 271, 277, 367; Hall of the Convention,
477; Halle-aux-Eles, 138, 169, 448, 471;
Hopital de la Charite, 416, 464; des In-
valides, 325, 446; its library, 365; first ch.,
second ch. (Dome), 270, 339, 345-50. 354,
457,460,461; Hop. de St Louis, 254; Hos-
pice, de la Salpetriere, 326 ; its ch., 344
Hotels— de I'Aigle (Rue St Guillaume),
283 ; d'Amelot (later de Montmorency),
379 ; d'Amelot de Bizeuil or de Hollande
(Rue Vieille du Temple), 286 ; d'Aumont
(Rue de Jouy), 281; d'Auvergne, 412;
d'Avaux (later de St Aignan), 283 ; de
Beauharnais (German Embassy), 477 ; de
Beauvais, 285 ; de Bellegarde, 225, 281 ;
de Bretonvillers (He St Louis), 247, 290;
de Brunoy, 416, 433, 434, 462, 491 ; de
Chalons, 222 ; de Cluny (now Museum),
10, 23, 24, 66, 83, 157 ; de Conde (on site
of Odeon theatre), 246 ; de Conti, 218,
424, 447 ; d'Entragues, 432 ; d'Estrees
(now Russian Embassy), 332 ; de Fieubet
(later Lavallette), 248 ; de Fleury (now
Ecole des Ponts et Chaussees), 431 ; Le
Gendre d'Armini (destroyed), 379 ; de
Gruyn (later Lauzun and Pimodan), 297 ;
Lambert de Thorigny, 277, 284, 297 ; de
Lamoignon (formerly d'Angouleme), 176;
de Lassay, 382, 479 ; de Liancourt (once
de Bouillon, later de la Rochefoucauld),
224, 247 ; de Ligneris (also d'Argouge, de
Sevigne, Musee Carnavalet), 127, 149,
281, 287, 292; de Lionne, 284; de
Longueville (also d'Epernon and de
Chevreuse), 218, 225, 246, 275 ; de
Luynes, 283 ; de Matignon (Austrian
Embassy), 379; deMayenne(d'Ormesson),
224, 247 ; de Monceaux, 285 ; des Mon-
naies, 415, 414, 446, 447 ; Moras (later
Biron), 378 ; de Mortemart, 284 ; Nouveau
(PI. Royale), decorations now in Musee
Carnavalet, 277 ; de Pologne, 477 ; de la
Reine (de Soissons), 169, 448 ; Roges
(Champs Elysees), 431 ; de Rohan-Soubise
archives, 333, 359, 367, 369, 400, 457;
Roland, 281 ; de Rothelin (Ministry of
Commerce), 332 ; de St Foix, 433, 491 ;

521

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

Paris. — Hotels. — 1

Sale, 283 ; de Salm (Palais de la Legion

d'Honneur), 433-7, 462, 491 ; Seguier,

290 ; de Sully, 225, 247, 290 ; de

Thelusson, 437 ; de Thiers, 332, 333 ; de

la Tremoille, 24 ; de Tunis, 332, 333 ; de

Vendome, 316; des Vieux, 379; de Ville,

61, 71, 82 ; delaVrilliere (orde Toulouse,

on site of Banque de France), 226, 275 ;

ditto Galerie Doree now in Banque de

France, 365

He St Louis, 380, 397 ; de la Cite, 397 ;

Institut (embracing all the academies, q.v.),

468 ; Italian Embassy, 431, 441

Maison des Chimeres, Rue St Antoine, 380

Ministry of Public Instruction, 441

Monasteries, Celestine Monks, ch., 42, 108,

115; Feuillants, ch., 262; Minims, ch.,

338 ; Petits Augustins, 472 ; Reformed

Dominicans, chl., St Thomas d'Aquin, 337 ;

Theatine Fathers (St Anne-la-Royale), 278,

345

Odeon theatre, 453

Palais. — Bourbon (de la Revolution, partly
incorporated in Chambre des Deputes),
380, 433, 479, 480 ; Hall for Council of
Five Hundred, 479 ; Cardinal (Pal.
Royal), 247, 369, 419, 430, 450, 453, 490 ;
ditto Galerie des Proues, 248 ; ditto Hall
of the Tribunate, 473 ; ditto Pavilion, 415 ;
Pal. del'Elysee (HI. d'Evreux), 369, 379 ;
Pal. de J., 249, 397, 419, 447 ; ditto Arc
de Nazareth, 149; ditto Gourdes Comptes,
29, 150 ; ditto Cour du Mai, 447 ; ditto
Grand' Salle, 224, 250 ; ditto Grand'
Chambre, or Chambre Doree, 30 ; Pal.
Mazarin (HI. Tubeuf, now part of Biblio-
theque Nationale), 248, 297, 488
Pare Monceau, 202, 428
Place du Carrousel, 228 ; de la Concorde,
442, 480, 490 ; Dauphine, 244, 249, 397 ;
de France, 249 ; Louis-le-Grand (or Ven-
dome), 326, 328, 401 ; Royale, or des
Vosges, 244, 249 ; du Trone (arch), 324 ;
Vendome, see Louis-le-Grand ; des Victoires,
326, 328, 471

Pont des Arts, 471 ; d'Austerlitz, 471 ; au
Change, 225, 249 ; de la Concorde, 444 ;
Marie, 249; Neuf, 142, 161, 175, 179, 249,
325 ; Notre Dame, 143 ; Royal, 325 ; St
Michel, 249
Porte, de la Conference, 249 ; St Antoine,

Paris.—

249, 325 ; St Bernard, 249, 325 ; St Denis,
270, 325, 484 ; St Honore, 249 ; St Martin,

325

24 Quai de Bethune, 284

Rue du Bac, 380 ; 19 Rue des Bons Enfants,

432; 7 Rue Cassette; Rue du Cherche-Midi,

380; no and 127 Rue de Crenelle (Govt.

offices), 431 ; Rue du Petit Pont, 380 ; Rue

de Rennes, Rue Richer, h. by Damesne,

491 ; Rue de Rivoli, 491 ; 15 and 24 Rue

de rUniversile, 431 ; 20 ditto, 432 ; 72 and

73 Rue de Varennes, 431

Savonnerie, 271 ; Sorbonne, 254; ditto ch.,

263, 265, 276, 339, 342, 346 ; Temple, 249 ;

of Equality and Fraternity, 479

Parmigiano, N., Ital. pr. (1504-40), 118

Pascal, Blaise, wr., 253, 268

Patte, Pierre, arch. , wr. (1723-1812), 376, 392,
395. 462

Pau (Bes. Pyrs.), chat, 75

Paul III., Pope, 127

Paul, St Vincent de, 253

Pavia, 45 ; Certosa of, xviii., 12, 96

Pautre (or Paultre), Le, Antoine, arch, and
engr. (1621-91), 272, 285, 294, 298, 313,
327, 329, 336

Jean, Le, engr. and dec, bro. of above (1618-
82), 285, 294

Pierre, Le, son of Jean, engr. and dec. (d.
1 7 16), 329, 330, 332

Pavings, see Floors and Pavings

Pellegrino, pr. (early i6th cent.), 120

Penicaud, family of enamellers (i6th cent.), 47

Perac, Etiennedu, arch, and engr. (i 540-1601),
223, 224, 227, 228, 231

Percier, Charles, arch, and dec. (1764-1838),
228, 468, 477, 480, 481, 490

Perelle, family of engrs. (17th cent.), 376

Perigueux (Dord.), hs. 79

Perrault, Charles, 302, bro. of following,
clerk in Board of Works, wr. (1628-1703)

Perrault, Claude, savant and arch. (1613-88),
272, 274, 275, 278, 302, 303, 307, 308, 313,
324, 328, 329, T,-]2„ 374, 442, 443

Perreal, Jean, or Jean de Paris, pr., arch.,
and wr. (r. 1463, d. 1529), xix, 42

Perret, Ambroise, master joiner and wood-
carver (mid i6th cent.), 143

Perronet, Jean Rodolphe, arch, and engineer
(1708-94), 444

Perugia, Arch of Augustus, 484

522

INDEX.
Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

Peruzzi, Baldassarre, Ital. arch, and pr.

(1481-1536), xxi, 118, 121, 124
Petit-Bourg (S. et O), chat., 384, 385
Peyre, Marie Joseph, arch, and wr. (1730-85),

4", 453
Peyre, Antoine Fran9ois, bro. of above, arch.

and wr. (1739-1823), 417, 433, 470, 477
Peyre, Antoine Marie, son of Marie Joseph,

arch. (1 770- 1 843), 485
Philandrier (or Philander), Guillaume, arch.

and wr. (1505-63), 128, 129
Philibert of Savoy, 42
Pietro da C )rtona, see Cortona
Pigalle, Jean Baptiste, sc. (1714-85), 266, 441
Pillement, Jean, flower pr. and engr. (17 19-

1808), 441
Pilon, Germain, sc. (b. c. 1535, d. 1590), 133,

201, 204
Pinaigrier, family of stained glass workers

(i6th cent.), 47
Pineau, Nicolas, dec. (1684-1754), 369; his

publications, 369
Pinsaguel (Hte. Gar.), chat., 429
Piranesi, Giovanni Battista, Ital. arch, and

engr. (1720-78), 408
Pius VII., Pope, 143
Plans, planning, Chatx. , Manors, and Villas, 14-

16, 23, 48-9, 133-4, 215-8, 243, 279, 329,

358, 377-8, 381-3, 389, 491 ; Hotels and

smaller Town Houses, 23-4, 48, 133-4, 215-8,

279> 329. 333. 358, 377-8, 430, 434, 491 ;

Churches and Chapels, 37, 85-7, 189, 197,

259. 335-66, 399-401, 457, 463-4, 492-3;

Public Buildings, 27, 48, 250, 325, 446-8,

479-80, 488; Theatres, 74, 144, 180, 310,

318, 450-4 ; Towns, see Town Planning
Plassac (Gir.), chat., 429
Plougasnou (Fin.), chl. , 189
Pluyette, Hubert, arch, at Versailles (late iSth

cent.), 450
Poitiers, Diane de (Mme. de Breze, Duchess

de Valentinois), 79, 125, 130, 131, 137, 141,

152, 161, 163, 176
Poitiers (Vienne), Lycee, 354
Pompadour, Mme. de, 244, 367, 385, 409 ;

style, 360, 367
Ponchet, Archbp. of Sens, 26
Pons (Char. Inf.), 75
Pont Audemer (Eure), St Ouen, 39, 108
Pontoise (S. et O.), 225; Notre Dame, 339;

St Maclou, 88, 105, 183, 185, 204
Ponts (Champagne), chat., 226, 242, 243

35 523

Porta, Giacomo della, arch, and dec. (1541-
1604), 257

Port Koyal (S. et O.), 336

Pot, Jehan, wood worker (early l6th cent.),
lOI

Poyer, Bernard, arch. (1742-1724), 479

Poussin, Nicolas, pr. (1594- 1665), 272, 277,
278, 291, 302

Premontre (Aisne), Abbey, 399

Prestze, Le, Blaise, and his sons, master-
masons at Caen (i6th cent.), 77

Prieur, Barthelemi, sc. (d. 161 1), 168

Prieur, L., engr., dec, and metalworker (late
i8th cent.), 441

Primaticcio, Francesco, (known as LePrimatice,
et le Sieur de Boulongne), pr., dec, and
arch. (1504-70), 117, 120-122, 129, 131, 138,
142, 144, 150-2, 163-5, 169, 201, 233, 277,
f93, 477

Prix de Rome, 272, 376

Prudhon, Pierre Paul, pr. (1758- 1 823), 477

Puget, Pierre, sc. and arch. (1622-94), 253, 278

Puristic (or Classical) Reaction, xxii, 367, 374,
376, 408-19, 442, 454, 468

Quevilly (S. Inf.), Prot. "Temple." 255
Quiberon (Nord), sepulchral chl., 493

Rabelais, Francois, wr., xix, 46, 47, 160
Racine, Jean, dram., 268, 272, 415
Raincy, Le (S. et O.), chat., 288
Rambert, Louis Le, master-mason at Fontaine-

bleau, &c. (late i6th cent.), 201
Rambouillet, Mme. de, 216, 358
Rambouillet, HI. de, 217, 253; chat.; oval

drawing-room, 369
Ranson, flower pr. and dec. (late i8th cent.),

441
Raphael (Rafiaelle Sanzio), Ital. pr. and arch.

(1483-1520), xxi, 16, 118, 124, 202, 291
Ravenna, 493
Raymond, Jean Armand, arch. ( 1742- 181 1),

483
Raymond du Temple, master-mason at Paris

(14th cent.), 15
Reaux, Les (I. et L.), chat., 63

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

" Regence," style, 360, 364

Rene, Count, of Anjou, King of Sicily and

Jerusalem, i, 3
Rene, II., Duke of Lorraine, 23, 42
Renee of France (Duchess of Ferrara), dau. of

Louis XII , 147, 162, 170
Rennes (Ille at V.), cath., 263; HI. de V.,

393 ; Pal. du Parlement or des Etats (now

Pal. de Justice), 224, 249, 250, 291, 292,

297, 393 ; Toussaint ch. , 263
Relhel (Ard.), market, 27 ; St Nicolas, 185
Revett, Nicholas, Engl. arch, and wr. (1721-

1804), 408
Rheims (Marne), hospital library, 253 ; HI.

de v., 250, 444; Place Royale, 444; Rue

Royale, 444 ; St Remy, 264 ; triumphal

arch, 419
Ribonnier, Charles, of Langres, arch, (late

i6th cent.), 175
Richard of Carpi, intarsia worker (early i6th

cent.), 17, 21
Richardson, Samuel, Engl, novelist, 410
Richer, Ligier, arch, and sc. in Lorraine

(1506-67), 47
Richelieu, Card., Prime Minister to Louis

XIII., xxiii, 207, 208, 211, 214, 225, 226,

229, 247, 265, 268, 271, 277, 287, 290, 291,

326
Richelieu (I. et L.), chat, (built for Card.), 237
Richelieu (I. et L.), town, 237, 249, 302;

gate, 249 ; parish ch., 263, 264
Ricoveri, Domenico (known as Fiorentino or

del Barbiere), sc. and arch., 103, 201, 204
Riesener, Jean Henri, cabinetmaker (1735-

1806), 441
Riom (Puy de D.), 27, 28
Robbia, Luca della, Ital. sc. and majolica

worker (1399- 1482). 3
Robbia, Jerome della, majolica worker and

arch. (1480-1566), 64, 66, 201, 204
Robert, Hubert, pr. (1733-1808), 427, 441,

470
Robertet, Florimond, minister to Louis XII.,

26, 62
Rocaille, style and ornament, 360, 362, 363,

367, 402
Rochefoucauld, La (Char.), chat., 23, 75
Rouchefoucauld, Due de la, wr., 268
Rochelle, La (Char. Inf.), cath., 399 ; HI. de

v., 178
Roche-Maurice, La (Fin.), ch., 189, 190
Rocher Mezanger, Le, chat., 63

Rococo style, xxii, 234, 360-2, 367-4, 389-1,
399-405, 410-4, 423, 438, 454, 468

Rodez (Aveyr.), 75; cath., 103, 128

Roentgen, cabinetmaker (late i8th cent.), 441,

Rohan, Prince de, 382

Romano, Giulio Pippi, Ital. arch., pr., and
dec. (1498- 1 546), 120

Romanelli, Francesco, pr. (1617-63), 291

Roman Renaissance, xxi, xxiii, 69, 113, 117
124, 213, 441

Rome, 414, 493; sack of, xxi, 124; arch of
Constantine, 324; archof Septimius Severus,
481, 483; French academy, xix, 272, 477 ;
Gesu, ch., 257-60, 263 ; Pal. Capranica, 376 ;
Pal. Mancini, 376; Pal. on Capitol, 152;
Pantheon, 457; St Peter, xxi, 16, 115, 203,
258, 354, 457, 461 ; Trajan's Column, 485 ;
Vatican Loggie, 441

Rondelet, Jean, arch, and wr. (1743-1829), 462

Roofs, Mediseval, &c., Francis I., 50, 58, 72,
93 ; Henry II., 137 ; Phil, de I'Orme's system,
137, 166, 448, 464; Henry IV., 221 ; Louis
XIII., "Mansard," 221, 222; Louis XIV.,
328; Louis XV., 381; Louis XVI., 417;
boarded or panelled, see Ceilings

Roscoff (Fin.), ch., 189

Rosso, II, Giov. Battiste di Giacopo, known
as, pr., dec, and arch. (1494-1541), 118-22

Roubo, A. J., master-joiner and engr. (late
i8th cent.), 415

Rouen (S. Inf.), 226, 255, 444; Bureau des
Finances, 29 ; cath., 39, 87, 108, 125 ; cath.
Amboise monument, -]"], 108 ; cath. de
Breze monument, 125, 126, 204; chl. of
St Romain, or Haute Vieille Tour, 116,
198 ; Fontaine des Augustins, 393 ; Fontaine
de la Grosse Horloge, 393 ; Fontaine St
Maclou, 125 ; Fontaine Jeanne d'Arc, 85 ;
HI. Bourgtheroulde, 76 ; HI. Dieu, 444 ;
HI. de V. (old), 250 ; (proposed new), 444 ;
h. of Diane de Poitiers, so-called, 79 ; hs.
in Rue Grosse Horloge, 245 ; Jesuit coll.,
254 ; ditto, chl., 256, 259 ; Lycee, 395 ; Pal.
de J., 10, 29, 30 ; Porte Guillaume le Lion,
395; St Louis, 339; St Maclou, 10, 125,
204, 405, 406 ; St Ouen, abbey (now HI. de
v.), 399, 406 ; St Vincent, 36, 83, no, 354,
406

Rougemont (E. et L. ), chat., 244

Roussillon (Is.), chat., 153

Rousseau, Antoine and family, dec. and wood-
carvers (i8th cent.), 367, 368, 441

524

INDEX.

Pages 1-266 ai-e contained in Vol. /., and pages 267 to end in Vol. 11.

\

Rousseau, Pierre, arch. (b. 1750, d. after 1791),

433> 434
Rousseau, Jacques, arch. (1733-1801), 453.
Rousseau, Jean Jacques, wr., 407, 410, 424,

439, 465
Roux (Roux de Rousse), see Rosso, II, 1 18-21
Roux, Rouland, Le, master-mason and sc. at

Rouen, 8, 39
Royers de la Valseniere, Fran9ois des, arch.

at Avignon and Lyons, 254, 334
Rubens, Peter Paul, Flem. pr. and dec. {1577-

1640), 213, 214, 221, 222, 252, 293
Rue (Somme), chl., St Esprit, 39
Ry, du, family of archs. at Verneuil, 214, 387

Sable (Sarthe), chat., 384

St Amand (Nord) nr. Valenciennes; abbey ch.
263 ; Abbot's Lodging (now HI. de V.), 245

St Calais (Sarthe), ch. 37, 87

St Cloud (S. et O.) 145. 326, 363 ; chat., 327,
427, 480; gardens, 298

St Cyr (S. et O.), military coll., 334

St Denis (Seine), ch., 21, 40, 42, 161, 202,
265 ; abbey buildings, 399 ; Valois Mauso-
leum, see Valois ; town, Carmelite ch., now
Justice de Paix, 464

St Florentin (Yonne), ch., 105, 108, 183, 256

St Germain-en-Laye (S. et O.), chat., 14, 71-
3, 112, 144, 316 ; Chat. Neuf, 231 ; gardens,
180, 231 ; Great Terrace, 298 ; chl. in Forest,
199; ch., 493

St Gilles (Gard), ch., 96

St Jean d'Angely (Char. Inf.), well-house, 75,

134.
St Jean du Doigt (Fin.), chl., 189.
St Jouin de Marnes (Deux Ss.), ch. 353
St Loup-sur-Thouet (Deux Ss.), chat., 244
St Maur-les-Fosses (Seine), chat., 115, 127,

128, 327
St Maximin (Var), ch., 353, 354, 405
St Mihiel (Meuse), 178, 353
St Omer (Pas de Cal.), bp.'s pal., 334
St Ouen (Seine), villa at, 382
St Ouen, manoir de, at Chemaze (Mayenne),

23
St Quentin (Aisne), cath., 38
St Riquier (Somme), ch., 38, 40, 353, 354
St Saturnin (Puy de D.), fountain, 33

St Sepulcre, chat., 288, 289
St Thegonnec (Fin.), ch., 1S9, 190, 354
Ste Assise (S. et M.), chat., near Melun, 491
Salembier, dec. and engr. (late i8th cent.),

441
Sales, St Franfois de, 253
" Sambiche," see Chambiges, Pierre II.
Sambin, Hugues, wood worker, engr. (?), and

arch, at Dijon (i6th cent.), 128, 177, 205
San Gallo, Giuliano da, Ital. arch., xxi, 16,

61, 202
.Sanitary conveniences, 218 n., 377 n.
San Michele, Michele, Ital. arch. (1487-1559),

xxi
Sansovino, Giacopo, Ital. arch, and sc. (1486*

1570), 66, 118
Sarlat (Dord.), HI. de Brons, 134
Sarrazin, Jacques, sc. (1588-1648), 230, 292,

354
Sarto, Andrea del, Ital. pr. (1488- 1 530), 46
Sacso, Pietro, stucco worker (17th cent.), 291
Saulx-Tavannes, Marshal de, 175
Saumur (M. et L.), N.D. des Ardilliers, 344
Savonnerie, royal tapestry factory, 211, 271
Scamozzi, Vicenzo, Ital. arch, and wr. {1552-

1616), 274, 375
Scarron, Paul, wr., 253

Sceaux (Seine), chat., 326, 327 ; gardens at, 298
Seguier, Chancellor, 276, 277, 281
Seignelay (Yonne), chat., 288
Senault, Guillaume, master-mason at Gaillon

(late XV., early XVI. cent.), 20
Senlis (Oise), cath., 36
Sens (Yonne), Archbp.'s Pal., Louis XII.,

wing, 26, 27, 33; Henry II., wing, 116;

Bridge over Yonne (Boffrand), 392; cath.,

36, 87, 93, 108
Serlio, Sebastiano, arch, and wr. (1475-1554),

XX, xxi, 117, 120-3, 128, 129, 131, 140,

142, 143, 152, 274
Serrant (M. et L.), chat, 116
Servandony, Jean Nicolas, arch. (1695-1766),

359> 376, 397, 412, 414, 415, 442, 454-6
Sevigne, Mme. de, wr., 268
Sevres (S. et O.), fountain at manufactory,

393
Silvestre, Israel, engr. (1621-91), 376
Sizun (Fin.), ch. 189, 190, 192; sacristy,

399
Sobre, Jean, arch. (b. c. 1760, d. 1815), 491
Sohier, Hector, arch, or master-mason at Caen

(early i6th cent.), 107

525

INDEX.

Pages 1-266 are contained in Vol. I., and pages 267 to end in Vol. II.

Soissons (Aisne), Pavilion des Arquebusiers,

245
Solesmes (Sarthe), abbey ch., 43
Somoelvico, Thomas of, see Thomas
Sorel (E. et L.), chat., 281
SoufBot, Jacques Germain, arch. (1709-80), 376,

405, 408, 409, 412, 414-6, 448, 453, 457,

458-62, 470
Soufflot, Fran9ois, " Le Romain," nephew of

above, arch. (d. 1802), 462
Sourdeau, Jacques, master - mason at Blois

(c. i470-<r. 1530), 60
Sourdeau, Denis, master-mason at Blois, son

of above (d. 1534), 60
Sourdeau, Andre, master-mason at Loches,

related to above, 80
Stain, chat. 384

Stained glass, 47, 109, no, 352
Stairs, 15, 49, 55, 58, 133, 217, 234, 281, 284,

332, 377, Zl^, 412
Stanislas Leczinski, ex-King of Poland, Duke

of Lorraine, 388-391, 404, 426
Strasburg, 380, 445 ; Museum (formerly bp.'s

pal.), 399; PI- d'Armes, 445
Stewart, Mary, wife of Francis II., 159
Stuart, James ("Athenian"), Scotch arch, and

wr. (1713-88), 408
Sueur, Eugene, Le, pr. (1617-55), 277, 284,

290
SuUy-en-Bourgogne (S. et L.)., chat., 175
Sully, Maximilien de Bethune, Duke of,

minister to Henry IV., 209, 211, 249, 268

Talance (Gir.), chat., 429

Tanlay (Yonne), chat., 153, 176, 226, 242,

243, 298
Tannevot, Michel, arch. (d. 1762), 379
Tarascon (Bes. du Rhone), 3
Tellier, Le, Chancellor, 287
Tesson, Mathieu, arch, at Arras (late i6th

cent.), 178
Thomas of Como, sc. (iSth cent.), 3
Thomas of Somoelvico, sc. (15th cent.), 3
Thomire, Pierre Thomas, metal worker (1751-

1843), 477
Thorigny, President Lambert de, 276
Tillieres (Eure), ch., 92
Tilloloy (Somme), chl., 38

Tombs, Amboise, George I., Card, of, RouenJ
Cath., 77, 108 ; Amboise, George 11., Card,
of, Rouen Cath., 77, 108 ; Anne of Brittany,!
children of, Tours Cath., 41 ; Bellay,
Guillaume du, Le Mans Cath., 204; Breze,
Louis de. Lady Chl., Rouen Cath., 125,
145, 204 ; Chabot, Admiral, once in Celestin
Ch., Paris, 108; Charles VIII., St Denis,
41 ; Cossa, Jean de, Tarascon, 3 ; Francis I.,
St Denis, 203 ; Francis II. of Brittany,
Nantes Cath., 41 ; Gouffier family, Oyron,
107, 204 ; Gueguen, bp., Nantes Cath., 42 ;
Guise, Henry and Catherine, Coll. chl., Eu,
265; Hemard, Card., Amiens Calh., 108;
Henry II. of Conde, St Paul (now at Chan-
tilly), 292 ; Holy Sepulchre, St Florentin,
108 ; ditto, St Andre, Joigny, 108 ; ditto,
St Maclou, Pontoise, 204 ; ditto, Solesmes,
48, ic8 ; ditto, St Nicolas, Troyes, 204 ;
Hugues des Hazards, bp., Blenod-lez-Toul,
42; James, Thomas, bp., Dol, 42; Louis
XL, 40 ; Louis XII. and Anne of Brittany,
St Denis, 107 ; Louvois monument, Ton-
nerre, 265 ; Maine, Charles of, Le Mans
Cath., 3 ; Margaret of Austria and Philibert
of Savoy, mausoleum, Brou, 42 ; Mazarin,
Card., Coll. des Quatre Nations, Paris, 265;
Montmorency mausoleum, Moulins, 292 ;
Orleans, House of, monument, now at St
Denis, 42; Rene II., Duke of Lorraine,
Nancy, 42 ; Richelieu, Card., Ch. of the
Sorbonne, Paris, 265 ; Saxe, Marshal,
Strasburg, 266 ; Stanislas Leczinski and
Catharine Opalinska, Nancy, 266 ; Valois
mausoleum, St Denis, Catharine de' Medici,
202; ditto, Henry II., 202; ditto, Henry
III., 202

Tonnerre (Yonne), monument of Louvois,
265 ; Notre Dame, 104, 105 ; St Pierre, 87,
loi, 103, 105, 183

Toro, Jean Bernard, sc. and dec. at Toulon
(1672-1731), 253

Toul ^M. et M.), 178; cath. Bp.'s or St
Ursula Chl., 197, 199; All Saints' Chl.,
199; HI. de V. (formerly bp.'s pal.), 399;
St Gengoult, 39, 40

Toulouse (Hte. Gar.), 444 ; archbp.'s pal.,
334 ; cath., wrought-iron screen, 406, 415 ;
HI. d'Assezat, 23, 135, 153, 245 ; HI.
d'Assier, 419 ; HI. d'Aussargues, 79 ; HI.
Bernuy, 79 ; HI. Caulet, 245 ; HI. de
Lasbordes, 79, 83, 139, 154; HI. de V.
526

INDEX.

Pages 1-266 are contained in Vol. I., and pages 267 to end in Vol. II.

^ (the Capitol), 80, 250, 395, 442 ; Mn. de
pierre, 178, 245; St Etienne, 205; St
Pierre, 264 ; St Saturnin, 205

Tour d'Aigues, La, chat, gatehouse, 136

Tour d'Aigues, La (Vaucl.), chat., 136, 153

Tournon, Card., 45

Tours (L et L.), archbp.'s pal., 431 ; cath.,
39, 41, 98, III ; Ch. of the Minims, 256,
353 ; Ch. of St Martin, 93, 107 ; HI. Gouin,
27 ; HI. de V. (museum), 444 ; Italian
artist colony, xx, 6 ; public fountain, 27, 33 ;
Rue Royale, 444

Town planning, 178, 209, 249, 250, 326, 390-7,
430, 441-5, 490-1

Tregastel (Ctes. du Nd.), ch., 189

Tremblaye, G. de la, arch, at Caen (early i8th
cent.), 399

Tremolliere, La, Pierre Charles (1705-39), pr.,

369
Trianon, Petit Trianon, see Versailles
"Trompes," 51, 52, 127, 145, 237
Troyes (Aube),cath. baptistery, 205 ; His., 76;
HI. Dieu, 372, 395; HI. de V., 250;
Madeleine, 14, 39, 1 10; St Andre-lez-
Troyes, loi, 103, no, in, 193; St Jean,
103, no; St Nicolas, 104, no, 193; St
Nizier, 193 ; St Pantaleon, 39, 88, 93, 104,
no, 257
Tuby, Jean Baptiste, sc. (1630- 1700), 320
Tuileries, Pal., 136, 161, 166, 167, 169, 170,
223, 224, 227, 228, 230, 273, 277, 291, 303,
310, 312, 397, 444, 450, 478, 480; Galerie
de Diane (or des Ambassadeurs), 310;
Galerie des Machines, 310; gardens, 298,
479; grotto in garden (Palissy), 180; north
wing, 490; Pavilion de Flore, 310 ; Pavilion
de Marsan, 310 ; Royal Riding School, 478 ;
theatre (fitted for National Convention),

478, 479
Turgot, Anne Robert Jacques, minister to

Louis XVI., 414
Turkish Influence, 390, 428, 478
Turny (Yonne), chat., 289 *

Tuscan Renaissance, xx, 12
Tuscany, Grand Duchess of, 237

u

Usse (I. et L.), chat., 38, 63 ; chat. chl. 38
Usson (Char. Inf.), chat., 75
Uzes (Gard), chat. 153

V

Valen9ay (Indre), chat., 15, 63

Valence (Drome), chl. of Mistral family, '* Pen-
denlif," 107 ; Maison des Tetes, 27

Valence, Pierre, master-mason and wood-
worker at Gaillon (early i6th cent.), 20, 21

Valentinois, Duchess of, see Poitiers, Diane de.

Vallery (Yonne), chat., 180

Val-lez-Avignon, Chartreuse du, 254

Valois Mausoleum, St Denis (Notre Dame la
Rotonde), 165, 169, 174, 200-203, 344

Valois, Nicolas de. Seigneur d'Ecoville, 77

Vannes (Morb.), chl., 197

Van Opstal, Gerard, sc. (1594- 1668), 292

Vasse, Louis Claude, sc. (1716-72), 266

Vaucouleurs, Jacquot Wauthier de, master-
mason and sc. in Lorraine (early i6th
cent.), 23

Vau, Frangois Le, bro. of following, arch.
(1613-76), 272, 288

Vau (or Veau), Louis Le, arch, (1612-70), 227,
272, 276, 277, 281, 283, 284, 288, 289, 299,
300. 303. 308, 310-316, 320, 322, 324, 326,

336, zm, 345. 421, 447

Vaudoyer, Antoine Laurent Thomas, arch.

(17^6-1846), 468
Vaults, xvi, 13, 29, 39, 58, 82, 88-93, 156,

185, 197- 335-38. 341-45, 351-52, 399-401,

447, 458, 460, 464, 487
Vauvenargues, Marquis de, wr., 377
Vaux-le-Vicomte (S. et M.), chat., 268, 276,

277, 281, 288, 289, 297, 298, 429
Vendome (L. et Ch.), market, 27
Venice, xviii, 2, 4, 16 ; bronze horses, St

Mark's, 483 ; Palazzo Corner Spinelli, 12
Venne, arch, at Geneva (early i8th cent.), 388
Verberckt, Jacques, sc, wood -carver, and dec.

(1704-71), 367, 368, 393
Verdun (Meuse), bp.'s pal., 399; cath., 405;

HI. de v., 250
Verger, Le (M. et L.), chat., 22
Verneuil-sur-Avre (Eure), Madeleine ch., 194
Verneuil-sur-Oise (Oise), chat., 170, 171, 174,

224, 234, 240, 242, 303 ; gardens, 180 ;

town, 214, 224
Verona, Loggia, 12, 16
Versailles, Pal. de, 243, 244, 270, 277, 281,

292, 298, 312-322, 326, 373, 376, 427, 480;

Ailes Gabriel, 315, 421 ; Allee d'Eau, 316;

Bassin de Neptune, 316; Bosquet des

Domes, 320, 322 ; Cabinet du Conseil

527

INDEX.

Pages 1-266 are contained in Vol. /., and pages 267 to end in Vol. II.

(King's Cabinet), 367 ; Cabinets du Roi
(dining-rooms), 367 ; chl., 320, 350-53, 364,
405 ; Colonnade, 320 ; Dauphin's bed-
room and library, 367 ; Degre des Ambas-
sadeurs, 318 ; Degre de la Reine, 318, 320 ;
Galerie des Glaces (Grande Galerie), 315,
317; Gardens, 298, 313, 315, 322, 480;
Grand Commun, 320, 322 ; Grotto of
Tethys, 313, 318; Louis XIV. 's state bed-
room, 332; Louis XV. 's bedroom, 367;
Louis XVI. 's library and dressing-room 441 ;
Marie Antoinette's private apartments, 441 ;
Menagerie, 316, 322, 330 ; CEil-de-Boeuf,
332; Opera, 450, 451, 453; Orangery,
316, 322; Piece d'Eau des Suisses, 316;
Salon d'Hercule, 320 ; Salon des Medailles
(Mme. Adelaide's Cabinet), 367 ; Salon de
la Meridienne, 441 ; Salon de la Pendule,
368 ; Salons de la Paix et de la Guerre,
320, 326 ; royal hunting box, 224, 229 ;
royal tennis court, 478 ; theatre (Mme. de
Pompadour's), 318 ; Trianon, Botanical
Garden, 422 ; Trianon de Porcelaine, 363 ;
Trianon, Grand, 298, 316, 322, 329, 332,
423, 477, 480; Trianon, Petit, 419, 422-424,
426-28 ; Trianon, Petit, belvedere, 428 ;
Trianon, Petit, jeu de bague, 428 ; Trianon,
Petit, theatre, 450 ; Trianon, Petit, Tour de
Marlborough, 427 ; Trianon-sous-Bois, 322

Versailles, town, Bibliotheque de la Ville, 415 ;
cath. of St Louis, 399, 403, 456; chl. Rue
Hoche, 464 ; Fontaine, PI. St Louis, 450 ;
Notre Dame, 336, 354, 403 ; Place d'Armes,
326

Vetheuil (S. et O.), oh., 97

Vervins, Treaty of, 209

Viart, Charles, master - mason at Orleans
(early i6th cent.), 27, 80

Vicenza, Villa Rotonda, 382

Victoria and Albert Museum, South Kensing-
ton, 3, 75, 441

Viet, Le, bros., master-masons at La P'erte-
Bernard (late i6th cent.), 107

Vignola, Giacomo Barozzio da, Ital. arch, and
wr. (1 507-73), xxi, 1 1 7, 1 20, 257, 274, 275, 375

Vignon, Barthelemy, arch. (1762-1828), 485
Villacerf (Aube), chat., 289
Villandry (I. et L.), chat., 63
Villemaur (Aube), ch., 39
Villeneuve-sur-Yonne (Yonne), ch., 187
Villeroy (S. et M.), chat., chimney-piece from,

in Louvre, 157
Villers-Cotterets (Aisne), chat., 64; temple in

park, 199
Vincennes (Seine), chat., 15, 312 ; ch., 493
Vinci, Leonardo da, Ital. pr., sc, and arch.

(1452-1519), 47, 60
Vitruvius, Marcus V. PoUio, Roman wr. on

architecture, xx, xxi, 124, 274, 275, 409
Vizille (Her.), chat., 244
Voltaire, Fran9ois Marie Arouet de, wr., 397,

407
Vouet, Simon, pr. and dec. (1590- 1649), 276,

284, 290, 291, 354
Vouziers (Ard.), ch.j 97

W

Wailly, Charles de, arch, and dec. (1729-98),

411, 432, 453, 464,479
Wall treatment (interior), 29, 83, 156, 157,

217, 251, 294-97, 310, 318, 352, 360, 365,

438, 451, 478
Watteau, Antoine, pr. and dec. ( 1684- 1 721),

365 ; style, 360, 365
Wellington, Duke of, 483
Wideville (S. Inf.), chat., 244, 253
Winckelman, Johann Joachim (German wr. on

art), 408
Windows, Louis XII., 12, 30; Francis I., 5T

101-103 ; Henry II., 135, 136, 138; Hem;.

IV. and Louis XIII., 221, 222, 260 ; Loui

IV., 281, 351-352; Louis XV., 377; Louis

XVI., 418, 422-423 ; Empire, 475
Wood, Robert, Engl, archaeologist (1716-71),

408
Wren, Sir Christopher, Engl. arch. (i6j

1723), St Paul's, London, 458, 460, 461

Printed at The Darien Press, Edinburgh.

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