RENAISSANCE ARCHITECTURE IN FRANCE. 



amalgamation, and 

 the treatment of the 

 central window quite 

 grotesque. It is en- 

 closed by a trefoil 

 crocketed label, on 

 the top of which is 

 perched an entabla- 

 ture and pediment. 

 Similar incongruities 

 survive in the front 

 of the chapel at Til- 

 loloy, as late as 1534, 

 where the general 

 outline and the 

 grouping of the 

 features is still medi- 

 aeval, but combined 

 with a much stronger 

 accentuation of hori- 

 zontal members. 



CHAPEL, USSE. 

 Much more satisfac- 

 tory, though perhaps 

 earlier, is the front of 

 the castle chapel at 

 Usse (c. 1510-20) 

 (Fig. 34), where the 

 two styles have been 

 successfully fused 

 into a harmonious 

 blend. The other elevations are largely Gothic, but here nearly every 

 detail is translated into a Renaissance equivalent for instance the 

 tracery takes the form of a pierced shell and the pinnacles of tapering 

 candelabra but unlike some of the previous examples its general effect 

 is still overwhelmingly mediaeval. The designer had a better mastery 

 of Renaissance detail, but his principles of general design were un- 

 affected. He used hardly any horizontal lines, and emphasised the soar- 

 ing effect by grouping the door and window into a single tall feature, 

 crowned by a pointed arch under a canopy of Flamboyant outline. 



Other examples of facades are those of St Pierre, Dreux, of St 

 Riquier, and of the south transept of the cathedral at St Quentin, and 

 similar stages of transition in other parts of a church may be studied for 



33. ST CALAIS : WEST END OF CHURCH (BEGUN 1518). 



