12 



RENAISSANCE ARCHITECTURE IN FRANCE. 



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haunches of which were often rounded off. Openings were deeply 

 recessed, often fringed with an order of hanging cusping and sheltered 

 under a hood-mould, sometimes of ogee form, carried on corbels set 

 below the springing. Windows were usually two lights wide, with or 

 without transoms, a type which persisted in France till the introduction 

 of wooden frames in the seventeenth century. Ranges of more than 

 two lights are rare. The lights are generally wider than in England, 

 both absolutely and in relation to the height, being sometimes wider 

 than they are high. Bay windows are almost unknown, but oriels are 



frequent. Piers, where 

 not formed of a group 

 of wave mouldings, were 

 square, set anglewise, or 

 circular and with reticu- 

 lated or spiral decora- 

 tion. Capitals were 

 often absent, jamb and 



ryuk pier u >! dings r nil T g 



g| >. ?-- ^HMBfiLi^sJIfl round the arch. In 



^"i timber construction, 



many of the above char- 

 acteristics were equally 

 prevalent and their cor- 

 belling, brackets, and 

 barge-boards gave scope 

 for further enrichment. 



Mouldings, like the 

 ornament, were deeply 

 undercut ; clear divi- 

 sions between curves 

 were often abandoned, 

 leaving a series of swel- 

 lings and sinkings, or 

 of concave members 



separated by blunt arrises, presenting edges rather than surfaces to the 

 eye. They were often elaborately interpenetrated and had complicated 

 bases. 



LOMBARD RENAISSANCE. The foreign style was the early Renais- 

 sance of North Italy of the Cathedral of Como, the Certosa of Pavia, 

 the Miracoli Church at Brescia, the Loggia at Verona, and the Palazzo 

 Corner Spinelli at Venice. This northern Renaissance, itself stiongly 

 modified by Gothic traditions, had none of the austere sobriety of the 

 earlier developments of Tuscany, while the school of Brunelleschi had 



ii. TIMBER HOUSE, TOIGNY. 



