642 



UKNAISSANCK 



Many of the feature* of this ]M-ii<>d are imitated in 

 tin- so-called 'Queen Anne style' of the present 



time (nee below). Kr this debased style un-lii- 



tecture gradually recovered, and dining the ISth 

 century a style more becoming the dignity and 

 importance of the llntml .Mmmrtfue was intro- 

 iluced. The classic element now U-gan to prevail, 

 to the entire exclusion of all trace of the old Gothic 

 forms. Many very l.ugc palaces are built in this 

 style ; but, although grand from their si/.e, and 

 striking from their richness and luxuriance, they 

 are frequently tame and uninteresting im works of 

 art The palace of Versailles (q.v.) is the most 



Fig. 2. Central I'.vilion of the TnilcriM: 

 u dnlgnrd by De Lonne. 



prominent example. The two Mansards, one of 

 whom designed Versailles, had great opportunities 

 <liiring thin extravagant epoch. Tlicir invention of 

 giving a row of separate nouses the appearance of 

 one palace, which nan ever since saved architects a 



world of trouble, was one of the si fatal blows 



which true street-architecture could have received. 

 The east front of the Loin re. designed by I'crrault, 

 is one of the lies! example- of the style of tin' age. 

 Many elegant private hotels and houses in Paris 

 were erected ,-it tliis |>eiiod. A peculiarity of tin- 

 style of I/oiiis .\l\". is the ornament then intro- 

 duced, called Kococo (<|.v.). 



The classic lienai-sance wan completed in the 

 licginning of the tilth century by the literal 

 copying of ancient buildings. Hitherto, architects 

 had attempted to apply classic architecture to the 

 requirements of modern limes; now they tried to 

 make modern wants conform to ancient architec- 

 tine, lii the church of the Madeleine, Paris, for 



in-tan.-.-, a pure peripteral temple is taken aa the- 

 object to be reproduced, and the architect has tliei. 

 ti see how he cull arrange a Christian church in- 

 side it ! Many buildings erected dmin^ the ti of 



the Kmpire are no doubt very impiessite, with 

 noble porticoes, and broad blank walls; but they 

 an' in many respect- mere shams, attempts to make 

 the religious buildings of the (ireeks and Roman* 

 serve for the conveniences and requirement- of 

 the I'.'th century. This ha-s IK-CM found an impos- 

 sibility- people have rebelled against houses whcie 

 the window-light hail to be saciiliced to I he repro- 

 duction of an ancient portico, and in which the 

 height of the stories, the anangement of the dom.-, 

 windows, and. in fact, all the features w.-i-- 

 cramped, and many destroyed, in order to carry 

 out an ancient design. The result has been that 

 this cold and servile copy ism is now entirely aban- 

 doned. The French are working out a free kind 

 of Renaissance of their own, which promises well 

 for the future, and is, at the present moment, as 

 the streets of I'aii- testify, the liveliest and most- 

 appropriate style in use for modern street-archi- 

 tecture. 



In Spain the Renaissance style early took root, 

 and, from the richness of that country at the time, 

 many fine buildings were erected ; but it soon 

 yielJed to the cold ami heavy <;re< -o -Romano ' 

 style, and that was followed by extra\agances of 

 stvle and ornament more absurd than any of the 

 reign of Louis XIV. The later Renaissance of 

 Spain was much influenced by the remnants of 

 Saracenic art which aliound in that country. 



In England, as in the other countries of Kurope, 

 cla-sic art accompanied the classic literature of the 

 period ; but, the fountain head ln-iiig at a distance, 

 it was long before the native Gothic style gave 

 place to tiie classic Renaissance. It was more 

 than a century after the foundation of St IViei - 

 that Henry VIII. brought over two foreign artists 

 John nf Padua and Havenius of Cleves to 

 introduce the new style. Of their works we have 

 many early examples at Cambridge and Oxford, in 

 the later half of the 16th century. Longleat, 

 Holmhy, Wallaton, and many other country man- 

 sions, built towards the end of the 16th century, 

 are line examples of how the new stvle was gradu- 

 ally adopted. The course of the Renaissance in 

 England wa-s similar to its progress in France; it 

 was even slower. Little classical feeling prevailed 

 till about 1G20. The general expression of all the 

 buildings before thai date is almost entirely Gothic, 

 although an attempt is made to engraft upon them 

 classical details. The pointed gables, mullioncd 

 windows. mil-Is and dormers, and the picturesque 

 outline- of the old style are all letained long after 

 the introduction of quasi-classic profiles to the 

 mouldings. This style, which prevailed during tin- 

 later half of the itith century, i- called Eli/a- 

 Ix-llnin (q.v.), and corresponds to the somcv. h:ii 

 earlier style in France of the time of Francis I. 

 This wits followed in the reign of .lames I. by a 

 similar but more extravagant style called Jacobean. 

 of which Heriot's Hospital at Edinburgh is a good 

 example; the fantastic ornament-, luoken entabla- 

 tures, ix-c. , over the windows, being characteristic- 

 of this style, as they wen- of that of Henry IV. in 

 France. 



The first architect who introduced real Italian 

 feeling into the Renaissance of Kngland was Inigo 

 Jon. - After studying abroad he was appointed 

 superintendent of royal buildings under James I., 

 for whom he designed a magnificent palace at 

 \Vhitehall. Of this only one small portion was 

 executed (1619-21), which still exists under the 

 name of the Banqueting ll-.u-e. and is a good 

 example of the Italian style. Jones also erected 

 several elegant mansions in this style, which then 



