52 RENAISSANCE ARCHITECTURE IN FRANCE. 



niche," is one variety of this type. The " trompe sur I'angle " is placed 

 over a splayed or convex face to carry an angle overhanging it (Fig. 134); 

 and the " trompe en tour ronde " is placed on a plain wall to carry a 

 curved or polygonal projection. 



DETAIL. All parts of a building were now carried out in the detail 

 of the North Italian Renaissance with its characteristic exuberance and 

 delicacy. Gothic detail had been eliminated, and Gothic ideas were 

 expressed in Renaissance diction. The first fusion of Italian and 

 French architecture was complete. Openings usually retained the 

 receding mouldings of Gothic tradition, though with Renaissance pro- 

 files, and projecting architraves were quite the exception. The stonework 

 of windows was also often of square section, with the face panelled or 

 otherwise enriched. Cornices generally replaced hood moulds. 



THE ORDERS. In the use of the orders there was still little 

 approximation to classical practice, either as regards the proportion or 

 the arrangement of the members. The shafts were of every degree of 

 abbreviation and elongation, and orders of the most diverse scales were 

 combined in the same composition. Capitals recall the accepted types 

 only in their general outline, and were composed with infinite variety, 

 of plant forms, cornucopias, human and animal heads and figures, and 

 fanciful volutes. Shafts were decorated with arabesques and interlacing 

 patterns, or panelled in circles or lozenges. 



ORNAMENT. Though the reminiscences of pagan worship, ox skulls, 

 patene, and so forth, were retained as decorative elements, they were 

 supplemented by monograms, mottoes, and emblems, which provided 

 motives for filling panels and powdering wall surfaces and also for open- 

 work balustrades and crestings. The beautiful features which crowned 

 doorways and dormers, and vaguely recall crocketed and traceried 

 Gothic gables, were largely made up of such elements as well as of 

 architectural members. The crowning features of turrets and lanterns 

 were tastefully composed of cupola and " tempietto " forms, with 

 scrolled buttresses and carved finials. The relief of ornament was 

 usually slight, the sculptured portions delicate and refined, and the 

 human figure, when introduced, vigorously, if often incorrectly, drawn. 

 The general effect of such decoration is that of a stone embroidery 

 rather than a stone lace a step in advance. 



MATERIALS. In addition to stone, brick was largely used for 

 walling, and even for dressings, in conjunction, generally, with plastered 

 rubble. Effects of colour decoration were obtained in the forms of 

 patterns of stone, brick, flint, slate, and plaster, as well as by the brilliant 

 painting and gilding of certain portions and the introduction of majolica 

 medallions and friezes or marble panels. 



