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CONTENTS
Chapter XII | ||
| Lescot and De l'Orme | ||
French architecture further changed by Lescot and De l'Orme, yet still without elimination of native characteristics—Lescot's design for the Fountain of the Nymphs—The sculptures by Goujon—Possible derivation of the design from a drawing by Serlio—Lescot's design for the Louvre—Capricious treatment of neo-classic details in this design—The traditional logic of French design ignored by Lescot—Excessive ornamentation of the Louvre—The architectural work of De l'Orme—Paucity of extant examples—His design for the palace of the Tuileries—De l'Orme's column—His claim that this column was his own invention—Earlier instances of the same—A conscious effort to be original gave rise to most of the artistic aberrations of the Renaissance—Noble architecture not a personal, but a communal and national, product—Analysis of the façade of the Tuileries—De l'Orme's other architectural aberrations—The château of Charleval—The freakish character of this design—Discussion of Viollet le Due's comments on it—The church architecture of the French Renaissance—The church of St. Eustache—Its unmodified Gothic structural system—Its neo-classic details—St. Étienne du Mont—SS. Gervais and Protais at Gisors—The apse of St. Pierre of Caen—The Portal of St. Maclou at Pontoise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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Chapter XIII | ||
| Architecture of the Renaissance in England | ||
| I. Elizabethan Art | ||
Derivation of the Elizabethan domestic architecture from the native mediæval art—The reasonable character of the early Elizabethan house in its integrity—The ostentatious character and pseudo-classicism of the great English houses of the sixteenth century—Use of flimsy materials in ornamental details—General excellence of construction in the main body of the building—Employment of foreign craftsmen in ornamentation—Kirby Hall—Its lack of native English character—Peculiar aberrations in the use of structural forms without structural functions—Fantastic ornamentation of the gables—Longford Castle—Its resemblance to Chambord—Manifold forms of capricious design in Lower Walterstone Hall, Cranborne Manor-House, Tixall, Stanway, and other buildings—Fantastic composition of the gate at Caius College, Cambridge—Aberrations of design in Wollaton Hall—Ungrammatical and tasteless misuse of distorted classic elements in Elizabethan architecture largely due to Flemish and Dutch workmen—No professional architects in Elizabethan times—The classic orders foreign to the genius and the needs of the English people . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
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