THE STYLE OF FRANCIS I. 



55 



sistent whole, and crowned by a rich cornice and balustrade. The 

 greatest wealth of decoration has been lavished on the open spiral stair- 

 case, which occupies what was once the centre (Fig. 49), the culmi- 

 nation of a type soon destined to disappear. It is octagonal in plan 

 with five sides projecting into the court. The stone stair is carried up 

 spirally on a continuous barrel vault. The outer shell is stiffened by 

 radiating rectangular piers, treated somewhat after the fashion of a giant 

 order. External balconies run from pier to pier, and the tower like 

 mass terminates in a 

 flat-topped open lan- 

 tern. In spite of the 

 delicacy of the detail, 

 the richness of the 

 ornament, and the 

 boldness of the main 

 conception the de- 

 sign is not entirely 

 successful. The dif- 

 ference in slope of 

 the stairs at the 

 various storeys, 

 the divergence be- 

 tween the rake of the 

 ramped arches and 

 that of the balconies, 

 and the lack of rela- 

 tion between the 

 tower and the adjoin- 

 ing elevation, tend to 

 mar its effect. But, 

 as seen from the 

 cloister arcade, 

 framed in gloom and 

 bathed in morning 

 light, it cannot fail 

 to strike with wonder and admiration as an exquisite piece of jeweller's 

 work on a monumental scale. 



Internally (Fig. 50) the effect is more completely satisfactory, for the 

 awkward lines of the elevation are invisible, and the elaboration and 

 delicacy can be better appreciated at close quarters. Everything thus 

 conspires to charm, from the outline of the steps, subtly curving like the 

 lip of a shell, to the vault spreading like a palrn from the summit of the 

 newel. As one ascends, each arabesque and slender shaft, and carved 

 boss, each monogram and emblematic beast, obtains its full value. 



50. CASTLE OF BI.OIS : INTERIOR OF GREAT STAIR. 



