RENAISSANCE ARCHITECTURE IN FRANCE:THE TRANSITION, CHURCHES

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CHAPTER XXII.

RENAISSANCE ARCHITECTURE IN FRANCE.

BOOKS RECOMMENDED: As before, Fergusson, Müntz, Palustre. Also Berty, La

Renaissance monumentale en France. Château, Histoire et caractères de l'architecture

en France. Daly, Motifs historiques d'architecture et de sculpture. De Laborde, La

Renaissance des arts à la cour de France. Du Cerceau, Les plus excellents bastiments de

France. Lübke, Geschichte der Renaissance in Frankreich. Mathews, The Renaissance

under the Valois Kings. Palustre, La Renaissance en France. Pattison, The Renaissance

of the Fine Arts in France. Rouyer et Darcel, L'Art architectural en France. Sauvageot,

Choix de palais, châteaux, hôtels, et maisons de France.

ORIGIN AND CHARACTER. The vitality and richness of the Gothic style in France,

even in its decline in the fifteenth century, long stood in the way of any general

introduction of classic forms. When the Renaissance appeared, it came as a foreign

importation, introduced from Italy by the king and the nobility. It underwent a

protracted transitional phase, during which the national Gothic forms and traditions

were picturesquely mingled with those of the Renaissance. The campaigns of Charles

VIII. (1489), Louis XII. (1499), and Francis I. (1515), in vindication of their claims

to the thrones of Naples and Milan, brought these monarchs and their nobles into

contact with the splendid material and artistic civilization of Italy, then in the full

tide of the maturing Renaissance. They returned to France, filled with the ambition

to rival the splendid palaces and gardens of Italy, taking with them Italian artists to

teach their arts to the French. But while these Italians successfully introduced many

classic elements and details into French architecture, they wholly failed to dominate

the French master-masons and tailleurs de pierre in matters of planning and general

composition. The early Renaissance architecture of France is consequently wholly

unlike the Italian, from which it derived only minor details and a certain largeness

and breadth of spirit.

PERIODS. The French Renaissance and its sequent developments may be broadly

divided into three periods, with subdivisions coinciding more or less closely with

various reigns, as follows:

I. THE VALOIS PERIOD, or Renaissance proper, 14831589, subdivided into:

a. THE TRANSITION, comprising the reigns of Charles VIII. and Louis XII. (1483

1515), and the early years of that of Francis I.; characterized by a picturesque

mixture of classic details with Gothic conceptions.

b. THE STYLE OF FRANCIS I., or Early Renaissance, from about 1520 to that king's

death in 1547; distinguished by a remarkable variety and grace of composition and

beauty of detail.

c. THE ADVANCED RENAISSANCE, comprising the reigns of Henry II. (1547), Francis II.

(1559), Charles IX. (1560), and Henry III. (157489); marked by the gradual

adoption of the classic orders and a decline in the delicacy and richness of the

ornament.

II. THE BOURBON OR CLASSIC PERIOD (15891715):

a. STYLE OF HENRY IV., covering his reign and partly that of Louis XIII. (161045),

employing the orders and other classic forms with a somewhat heavy, florid style of

ornament.

b. STYLE OF LOUIS XIV., beginning in the preceding reign and extending through that

of Louis XIV. (16451715); the great age of classic architecture in France,

corresponding to the Palladian in Italy.

III. THE DECLINE OR ROCOCO PERIOD, corresponding with the reign of Louis XV.

(171574); marked by pompous extravagance and capriciousness.

During this period a reaction set in toward a severer classicism, leading to the styles

of Louis XVI. and of the Empire, to be treated of in a later chapter.

THE TRANSITION. As early as 1475 the new style made its appearance in altars,

tombs, and rood-screens wrought by French carvers with the collaboration of Italian

artificers. The tomb erected by Charles of Anjou to his father in Le Mans cathedral

(1475, by Francesco Laurana), the chapel of St. Lazare in the cathedral of Marseilles

(1483), and the tomb of the children of Charles VIII. in Tours cathedral (1506), by

Michel Columbe, the greatest artist of his time in France, are examples. The schools

of Rouen and Tours were especially prominent in works of this kind, marked by

exuberant fancy and great delicacy of execution. In church architecture Gothic

traditions were long dominant, in spite of the great numbers of Italian prelates in

France. It was in châteaux, palaces, and dwellings that the new style achieved its

most notable triumphs.

EARLY CHÂTEAUX. The castle of Charles VIII., at Amboise on the Loire, shows

little trace of Italian influence. It was under Louis XII. that the transformation of

French architecture really began. The Château de Gaillon (of which unfortunately

only fragments remain in the École des Beaux-Arts at Paris), built for the Cardinal

George of Amboise, between 1497 and 1509, by Pierre Fain, was the masterwork of

the Rouen school. It presented a curious mixture of styles, with its irregular plan, its

moat, drawbridge, and round corner-towers, its high roofs, turrets, and dormers,

which gave it, in spite of many Renaissance details, a mediæval picturesqueness. The

Château de Blois (the east and south wings of the present group), begun for Louis

XII. about 1500, was the first of a remarkable series of royal palaces which are the

glory of French architecture. It shows the new influences in its horizontal lines and

flat, unbroken façades of brick and stone, rather than in its architectural details (Fig.

175). The Ducal Palace at Nancy and the Hôtel de Ville at Orléans, by Viart, show a

similar commingling of the classic and mediæval styles.

FIG. 175.--BLOIS, COURT FAÇADE OF WING OF LOUIS XII.

STYLE OF FRANCIS I. Early in the reign of this monarch, and partly under the lead

of Italian artists, like il Rosso, Serlio, and Primaticcio, classic elements began to

dominate the general composition and Gothic details rapidly disappeared. A simple

and effective system of exterior design was adopted in the castles and palaces of this

period. Finely moulded belt-courses at the sills and heads of the windows marked the

different stories, and were crossed by a system of almost equally important vertical

lines, formed by superposed pilasters flanking the windows continuously from

basement to roof. The façade was crowned by a slight cornice and open balustrade,

above which rose a steep and lofty roof, diversified by elaborate dormer windows

which were adorned with gables and pinnacles (Fig. 178). Slender pilasters, treated

like long panels ornamented with arabesques of great beauty, or with a species of

baluster shaft like a candelabrum, were preferred to columns, and were provided

with graceful capitals of the Corinthianesque type. The mouldings were minute and

richly carved; pediments were replaced by steep gables, and mullioned windows with

stone crossbars were used in preference to the simpler Italian openings. In the earlier

monuments Gothic details were still used occasionally; and round corner-towers,

high dormers, and numerous turrets and pinnacles appear even in the châteaux of

later date.

CHURCHES. Ecclesiastical architecture received but scant attention under Francis I.,

and, so far as it was practised, still clung tenaciously to Gothic principles. Among the

few important churches of this period may be mentioned St. Etienne du Mont, at

Paris (151738), in which classic and Gothic features appear in nearly equal

proportions; the east end of St. Pierre, at Caen, with rich external carving; and the

great parish church of St. Eustache, at Paris (1532, by Lemercier), in which the plan

and construction are purely Gothic, while the details throughout belong to the new

style, though with little appreciation of the spirit and proportions of classic art. New

façades were also built for a number of already existing churches, among which St.

Michel, at Dijon, is conspicuous, with its vast portal arch and imposing towers. The

Gothic towers of Tours cathedral were completed with Renaissance lanterns or

belfries, the northern in 1507, the southern in 1547.

FIG. 176.--STAIRCASE TOWER, BLOIS.

PALACES. To the palace at Blois begun by his predecessor, Francis I. added a

northern and a western wing, completing the court. The north wing is one of the

masterpieces of the style, presenting toward the court a simple and effective

composition, with a rich but slightly projecting cornice and a high roof with elaborate

dormers. This façade is divided into two unequal sections by the open Staircase

Tower (Fig. 176), a chef-d'oeuvre in boldness of construction as well as in delicacy

and richness of carving. The outer façade of this wing is a less ornate but more

vigorous design, crowned by a continuous open loggia under the roof. More extensive

than Blois was Fontainebleau, the favorite residence of the king and of many of his

successors. Following in parts the irregular plan of the convent it replaced, its other

portions were more symmetrically disposed, while the whole was treated externally

in a somewhat severe, semi-classic style, singularly lacking in ornament. Internally,

however, this palace, begun in 1528 by Gilles Le Breton, was at that time the most

splendid in France, the gallery of Francis I. being especially noted. The Château of

St. Germain, near Paris (1539, by Pierre Chambiges), is of a very different character.

Built largely of brick, with flat balustraded roof and deep buttresses carrying three

ranges of arches, it is neither Gothic nor classic, neither fortress nor palace in aspect,

but a wholly unique conception.

FIG. 177.--PLAN OF CHAMBORD.

The rural châteaux and hunting-lodges erected by Francis I. display the greatest

diversity of plan and treatment, attesting the inventiveness of the French genius,

expressing itself in a new-found language, whose formal canons it disdained. Chief

among them is the Château of Chambord (Figs. 177, 178)--"a Fata Morgana in the

midst of a wild, woody thicket," to use Lübke's language. This extraordinary edifice,

resembling in plan a feudal castle with curtain-walls, bastions, moat, and donjon, is

in its architectural treatment a palace with arcades, open-stair towers, a noble double

spiral staircase terminating in a graceful lantern, and a roof of the most bewildering

complexity of towers, chimneys, and dormers (1526, by Pierre le Nepveu). The

hunting-lodges of La Muette and Chalvau, and the so-called Château de Madrid--all

three demolished during or since the Revolution--deserve mention, especially the

last. This consisted of two rectangular pavilions, connected by a lofty banquet-hall,

and adorned externally with arcades in Florentine style, and with medallions and

reliefs of della Robbia ware (1527, by Gadyer).

FIG. 178.--VIEW OF CHAMBORD.

THE LOUVRE. By far the most important of all the architectural enterprises of this

reign, in ultimate results, if not in original extent, was the beginning of a new palace

to replace the old Gothic fortified palace of the Louvre. To this task Pierre Lescot was

summoned in 1542, and the work of erection actually begun in 1546. The new

palace, in a sumptuous and remarkably dignified classic style, was to have covered

precisely the area of the demolished fortress. Only the southwest half, comprising

two sides of the court, was, however, undertaken at the outset (Fig. 179). It

remained for later monarchs to amplify the original scheme, and ultimately to

complete, late in the present century, the most extensive and beautiful of all the

royal residences of Europe. (See Figs. 181, 208, 209.)

FIG. 179.--DETAIL OF COURT OF LOUVRE, PARIS.

Want of space forbids more than a passing reference to the rural castles of the

nobility, rivalling those of the king. Among them Bury, La Rochefoucauld, Bournazel,

and especially Azay-le-Rideau (1520) and Chenonceaux (151523), may be

mentioned, all displaying that love of rural pleasure, that hatred of the city and its

confinement, which so distinguish the French from the Italian Renaissance.

OTHER BUILDINGS. The Hôtel-de-Ville (town hall), of Paris, begun during this

reign, from plans by Domenico di Cortona (?), and completed under Henry IV., was

the most important edifice of a class which in later periods numbered many

interesting structures. The town hall of Beaugency (1527) is one of the best of minor

public buildings in France, and in its elegant treatment of a simple two-storied façade

may be classed with the Maison François I., at Paris. This stood formerly at Moret,

whence it was transported to Paris and re-erected about 1830 in somewhat modified

form. The large city houses of this period are legion; we can mention only the Hôtel

Carnavalet at Paris; the Hôtel Bourgtheroude at Rouen; the Hôtel d'Écoville at Caen;

the archbishop's palace at Sens, and a number of houses in Orléans. The Tomb of

Louis XII., at St. Denis, deserves especial mention for its fine proportions and

beautiful arabesques.

THE ADVANCED RENAISSANCE. By the middle of the sixteenth century the new

style had lost much of its earlier charm. The orders, used with increasing frequency,

were more and more conformed to antique precedents. Façades were flatter and

simpler, cornices more pronounced, arches more Roman in treatment, and a heavier

style of carving took the place of the delicate arabesques of the preceding age. The

reigns of Henry II. (154759) and Charles IX. (156074) were especially

distinguished by the labors of three celebrated architects: Pierre Lescot (151578),

who continued the work on the southwest angle of the Louvre; Jean Bullant (1515

78), to whom are due the right wing of Ecouen and the porch of colossal Corinthian

columns in the left wing of the same, built under Francis I.; and, finally, Philibert de

l'Orme (151570). Jean Goujon (151072) also executed during this period most of

the remarkable architectural sculptures which have made his name one of the most

illustrious in the annals of French art. Chief among the works of de l'Orme was the

palace of the Tuileries, built under Charles IX. for Cathérine de Médicis, not far from

the Louvre, with which it was ultimately connected by a long gallery. Of the vast

plan conceived for this palace, and comprising a succession of courts and wings, only

a part of one side was erected (156472). This consisted of a domical pavilion,

flanked by low wings only a story and a half high, to which were added two stories

under Henry IV., to the great advantage of the design. Another masterpiece was the

Château d'Anet, built in 1552 by Henry II. for Diane de Poitiers, of which,

unfortunately, only fragments survive. This beautiful edifice, while retaining the

semi-military moat and bastions of feudal tradition, was planned with classic

symmetry, adorned with superposed orders, court arcades, and rectangular corner-

pavilions, and provided with a domical cruciform chapel, the earliest of its class in

France. All the details were unusually pure and correct, with just enough of freedom

and variety to lend a charm wanting in later works of the period. To the reign of

Henry II. belong also the châteaux of Ancy-le-Franc, Verneuil, Chantilly (the "petit

château," by Bullant), the banquet-hall over the bridge at Chenonceaux (1556),

several notable residences at Toulouse, and the tomb of Francis I. at St. Denis. The

châteaux of Pailly and Sully, distinguished by the sobriety and monumental quality

of their composition, in which the orders are important elements, belong to the reign

of Charles IX., together with the Tuileries, already mentioned.

FIG. 180.--THE LUXEMBURG, PARIS.

THE CLASSIC PERIOD: HENRY IV. Under this energetic but capricious monarch

(15891610) and his Florentine queen, Marie de Médicis, architecture entered upon

a new period of activity and a new stage of development. Without the charm of the

early Renaissance or the stateliness of the age of Louis XIV., it has a touch of the

Baroque, attributable partly to the influence of Marie de Médicis and her Italian

prelates, and partly to the Italian training of many of the French architects. The great

work of this period was the extension of the Tuileries by J. B. du Cerceau, and the

completion, by Métézeau and others, of the long gallery next the Seine, begun under

Henry II., with the view of connecting the Tuileries with the Louvre. In this part of

the work colossal orders were used with indifferent effect. Next in importance was

the addition to Fontainebleau of a great court to the eastward, whose relatively quiet

and dignified style offers less contrast than one might expect to the other wings and

courts dating from Francis I. More successful architecturally than either of the above

was the Luxemburg palace, built for the queen by Salomon De Brosse, in 1616 (Fig.

180). Its plan presents the favorite French arrangement of a main building separated

from the street by a garden or court, the latter surrounded on three sides by low

wings containing the dependencies. Externally, rusticated orders recall the garden

front of the Pitti at Florence; but the scale is smaller, and the projecting pavilions

and high roofs give it a grace and picturesqueness wanting in the Florentine model.

The Place Royale, at Paris, and the château of Beaumesnil, illustrate a type of brick-

and-stone architecture much in vogue at this time, stone quoins decorating the

windows and corners, and the orders being generally omitted.

Under Louis XIII. the Tuileries were extended northward and the Louvre as built by

Lescot was doubled in size by the architect Lemercier, the Pavillon de l'Horloge being

added to form the centre of the enlarged court façade.

CHURCHES. To this reign belong also the most important churches of the period.

The church of St. Paul-St. Louis, at Paris (1627, by Derrand), displays the worst

faults of the time, in the overloaded and meaningless decoration of its uninteresting

front. Its internal dome is the earliest in Paris. Far superior was the chapel of the

Sorbonne, a well-designed domical church by Lemercier, with a sober and

appropriate exterior treated with superposed orders.

PERIOD OF LOUIS XIV. This was an age of remarkable literary and artistic activity,

pompous and pedantic in many of its manifestations, but distinguished also by

productions of a very high order. Although contemporary with the Italian Baroque--

Bernini having been the guest of Louis XIV.--the architecture of this period was free

from the wild extravagances of that style. In its often cold and correct dignity it

resembled rather that of Palladio, making large use of the orders in exterior design,

and tending rather to monotony than to overloaded decoration. In interior design

there was more of lightness and caprice. Papier-maché and stucco were freely used in

a fanciful style of relief ornamentation by scrolls, wreaths, shells, etc., and decorative

panelling was much employed. The whole was saved from triviality only by the

controlling lines of the architecture which framed it. But it was better suited to

cabinet-work or to the prettinesses of the boudoir than to monumental interiors. The

Galerie d'Apollon, built during this reign over the Petite Galerie in the Louvre,

escapes this reproach, however, by the sumptuous dignity of its interior treatment.

VERSAILLES. This immense edifice, built about an already existing villa of Louis

XIII., was the work of Levau and J. H. Mansart (16471708). Its erection, with the

laying out of its marvellous park, almost exhausted the resources of the realm, but

with results quite incommensurate with the outlay. In spite of its vastness, its

exterior is commonplace; the orders are used with singular monotony, which is not

redeemed by the deep breaks and projections of the main front. There is no

controlling or dominant feature; there is no adequate entrance or approach; the grand

staircases are badly placed and unworthily treated, and the different elements of the

plan are combined with singular lack of the usual French sense of monumental and

rational arrangement. The chapel is by far the best single feature in the design.

Far more successful was the completion of the Louvre, in 1688, from the designs of

Claude Perrault, the court physician, whose plans were fortunately adopted in

preference to those of Bernini. For the east front he designed a magnificent

Corinthian colonnade nearly 600 feet long, with coupled columns upon a plain high

basement, and with a central pediment and terminal pavilions (Fig. 181). The whole

forms one of the most imposing façades in existence; but it is a mere decoration,

having no practical relation to the building behind it. Its height required the addition

of a third story to match it on the north and south sides of the court, which as thus

completed quadrupled the original area proposed by Lescot. Fortunately the style of

Lescot's work was retained throughout in the court façades, while externally the

colonnade was recalled on the south front by a colossal order of pilasters. The Louvre

as completed by Louis XIV. was a stately and noble palace, as remarkable for the

surpassing excellence of the sculptures of Jean Goujon as for the dignity and beauty

of its architecture. Taken in connection with the Tuileries, it was unrivalled by any

palace in Europe except the Vatican.

FIG. 181.--COLONNADE OF LOUVRE.

OTHER BUILDINGS. To Louis XIV. is also due the vast but uninteresting Hôtel des

Invalides or veteran's asylum, at Paris, by J. H. Mansart. To the chapel of this

institution was added, in 16801706, the celebrated Dome of the Invalides,

a masterpiece by the same architect. In plan it somewhat resembles Bramante's

scheme for St. Peter's--a Greek cross with domical chapels in the four angles and a

dome over the centre. The exterior (Fig. 182), with the lofty gilded dome on a high

drum adorned with engaged columns, is somewhat high for its breadth, but is a

harmonious and impressive design; and the interior, if somewhat cold, is elegant and

well proportioned. The chief innovation in the design was the wide separation of the

interior stone dome from the lofty exterior decorative cupola and lantern of wood,

this separation being designed to meet the conflicting demands of internal and

external effect. To the same architect is due the formal monotony of the Place

Vendôme, all the houses surrounding it being treated with a uniform architecture of

colossal pilasters, at once monumental and inappropriate. One of the most pleasing

designs of the time is the Château de Maisons (1658), by F. Mansart, uncle of J. H.

Mansart. In this the proportions of the central and terminal pavilions, the mass and

lines of the steep roof à la Mansarde, the simple and effective use of the orders, and

the refinement of all the details impart a grace of aspect rare in contemporary works.

The same qualities appear also in the Val-de-Grâce, by F. Mansart and Lemercier,

a domical church of excellent proportions begun under Louis XIII. The want of space

forbids mention of other buildings of this period.

FIG. 182.--DOME OF THE INVALIDES.

THE DECLINE. Under Louis XV. the pedantry of the classic period gave place to a

protracted struggle between license and the severest classical correctness. The

exterior designs of this time were often even more uninteresting and bare than under

Louis XIV.; while, on the other hand, interior decoration tended to the extreme of

extravagance and disregard of constructive propriety. Contorted lines and crowded

scrolls, shells, and palm-leaves adorned the mantelpieces, cornices, and ceilings, to

the almost complete suppression of straight lines.

While these tendencies prevailed in many directions, a counter-current of severe

classicism manifested itself in the designs of a number of important public buildings,

in which it was sought to copy the grandeur of the old Roman colonnades and

arcades. The important church of St. Sulpice at Paris (Fig. 183) is an excellent

example of this. Its interior, dating from the preceding century, is well designed, but

in no wise a remarkable composition, following Italian models. The façade, added in

1755 by Servandoni, is, on the other hand, one of the most striking architectural

objects in the city. It is a correct and well proportioned classic composition in two

stories--an Ionic arcade over a Doric colonnade, surmounted by two lateral turrets.

Other monuments of this classic revival will be noticed in Chapter XXV.

FIG. 183.--FAÇADE OF ST. SULPICE, PARIS.

PUBLIC SQUARES. Much attention was given to the embellishment of open spaces

in the cities, for which the classic style was admirably suited. The most important

work of this kind was that on the north side of the Place de la Concorde, Paris. This

splendid square, perhaps, on the whole, the finest in Europe (though many of its best

features belong to a later date), was at this time adorned with the two monumental

colonnades by Gabriel. These colonnades, which form the decorative fronts for blocks

of houses, deserve praise for the beauty of their proportions, as well as for the

excellent treatment of the arcade on which they rest, and of the pavilions at the ends.

IN GENERAL. French Renaissance architecture is marked by good proportions and

harmonious and appropriate detail. Its most interesting phase was unquestionably

that of Francis I., so far, at least, as concerns exterior design. It steadily progressed,

however, in its mastery of planning; and in its use of projecting pavilions crowned by

dominant masses of roof, it succeeded in preserving, even in severely classic designs,

a picturesqueness and variety otherwise impossible. Roofs, dormers, chimneys, and

staircases it treated with especial success; and in these matters, as well as in

monumental dispositions of plan, the French have largely retained their pre-eminence

to our own day.

MONUMENTS. (Mainly supplementary to text. Ch. = château; P. = palace; C. =

cathedral; Chu. = church; H. = hôtel; T.H. = town hall.)

TRANSITION: Blois, E. wing, 1499; Ch. Meillant; Ch. Chaumont; T.H. Amboise, 150205.

FRANCIS I.: Ch. Nantouillet, 151725; Ch. Blois, W. wing (afterward demolished) and

N. wing, 152030; H. Lallemant, Bourges, 1520; Ch. Villers-Cotterets, 152059; P. of

Archbishop, Sens, 152135; P. Fontainebleau (Cour Ovale, Cour d'Adieux, Gallery

Francis I., 152734; Peristyle, Chapel St. Saturnin, 154047, by Gilles le Breton; Cour

du Cheval Blanc, 152731, by P. Chambiges); H. Bernuy, Toulouse, 152839;

P. Granvelle, Besançon, 153240; T.H. Niort, T.H. Loches, 153243: H. de Ligeris

(Carnavalet), Paris, 1544, by P. Lescot; churches of Gisors, nave and façade, 1530; La

Dalbade, Toulouse, portal, 1530; St. Symphorien Tours, 1531; Chu. Tillières, 153446.

ADVANCED RENAISSANCE: Fontaine des Innocents, Paris, 154750, by P. Lescot and

J. Goujon; tomb Francis I., at St. Denis, 1555, by Ph. de l'Orme; H. Catelan, Toulouse,

1555; tomb Henry II., at St. Denis, 1560; portal S. Michel, Dijon, 1564; Ch. Sully,

1567; T.H. Arras, 1573; P. Fontainebleau (Cour du Cheval Blanc remodelled, 156466,

by P. Girard; Cour de la Fontaine, same date); T.H. Besançon, 1582; Ch. Charleval,

1585, by, J. B. du Cerceau.

STYLE OF HENRY IV.: P. Fontainebleau (Galerie des Cerfs, Chapel of the Trinity, Baptistery,

etc.); P. Tuileries (Pav. de Flore, by du Cerceau, 15901610; long gallery continued);

Hôtel Vogüé, at Dijon, 1607; Place Dauphine, Paris, 1608; P. de Justice, Paris, Great

Hall, by S. de Brosse, 1618; H. Sully, Paris, 162439; P. Royal, Paris, by J. Lemercier,

for Cardinal Richelieu, 162739; P. Louvre doubled in size, by the same; P. Tuileries

(N. wing, and Pav. Marsan, long gallery completed); H. Lambert, Paris; T.H. Reims,

1627; Ch. Blois, W. wing for Gaston d'Orléans, by F. Mansart, 1635; façade St. Étienne

du Mont, Paris, 1610; of St. Gervais, Paris, 161621, by S. de Brosse.

STYLE OF LOUIS XIV.: T.H. Lyons, 1646; P. Louvre, E. colonnade and court completed,

166070; Tuileries altered by Le Vau, 1664; observatory at Paris, 166772; arch of St.

Denis, Paris, 1672, by Blondel; Arch of St. Martin, 1674, by Bullet; Banque de France,

H. de Luyne, H. Soubise, all in Paris; Ch. Chantilly; Ch. de Tanlay; P. St. Cloud; Place des

Victoires, 1685; Chu. St. Sulpice, Paris, by Le Vau (façade, 1755); Chu. St. Roch, Paris,

1653, by Lemercier and de Cotte; Notre Dame des Victoires, Paris, 1656, by Le Muet and

Bruant.

THE DECLINE: P. Bourbon, 1722; T.H. Rouen; Halle aux Blés (recently demolished), 1748;

École Militaire, 175258, by Gabriel; P. Louvre, court completed, 1754, by the same;

Madeleine begun, 1764; H. des Monnaies (Mint), by Antoine; École de Médecine, 1774,

by Gondouin; P. Royal, Great Court, 1784, by Louis; Théâtre Français, 1784 (all the

above at Paris); Grand Théâtre, Bordeaux, 17851800, by Louis; Préfecture at Bordeaux,

by the same; Ch. de Compiegne, 1770, by Gabriel; P. Versailles, theatre by the same;

H. Montmorency, Soubise, de Varennes, and the Petit Luxembourg, all at Paris, by de

Cotte; public squares at Nancy, Bordeaux, Valenciennes, Rennes, Reims.

Ebd

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