THE STYLE OF FRANCIS I. 85 



GARDENS, FOUNTAINS. Many gardens were laid out in the spirit 

 introduced during the transitional phase (see p. 32) and adorned with 

 architectural features in the style of Francis I. Du Cerceau illustrates 

 a number of these, e.g., Bury (Fig. 42), Dampierre, Beauregard. This 

 period has left a number of public fountains. Most of them stand free 

 and have one or more basins round a column or obelisk decorated with 

 sculpture. Such are the fountain at Guingamp, which has a granite 

 basin with a wrought-iron railing, the remainder of the monument and 

 its Pgure work being in lead, and the stone and marble fountain of 

 Clermont-Ferrand (1515). A very magnificent one, erected at Rouen 

 to the memory of Joan of Arc (1530, destroyed 1757), with a canopy 

 35 feet high, seems to have been principally in metal. 



CHURCH ARCHITECTURE. 



RENAISSANCE INFLUENCE. In church architecture Renaissance 

 influence was no longer confined to the introduction of unrelated Italian 

 elements, but took the form of a translation of each individual member 

 of a Gothic church, though hardly yet of the total design, into Renais- 

 sance forms. The task of the church-builder, like that of the castle- 

 builder, was to clothe a mediaeval skeleton in Renaissance flesh, and 

 he was confronted with the same problems. But there was this differ- 

 ence, that whereas in the castle the reason of its being its fortification 

 was growing obsolete, and some semblance of it was retained only 

 from habit, in the church the functions were unaltered, and no change 

 in essentials was tolerated. Consequently the plan and section of the 

 mediaeval church, with its systems of rib-vaulting, buttresses and flying 

 buttresses, and to some extent the pointed arch and the vertical 

 character of design, persisted generally throughout the sixteenth 

 century, and were not without influence even in the seventeenth and 

 eighteenth. 



As in the previous period, ecclesiastical work lagged behind secular 

 in style. It would be difficult to find fully assimilated early Renaissance 

 ideas before 1520, and, when assimilated, they persisted after they had 

 been superseded elsewhere. It is fortunate that, of the few churches 

 built as a whole in this style, one, St Eustache at Paris, which may 

 serve as a standard for the various aspects of church design, is a first- 

 rate example. 



ST EUSTACHE : by Whom Designed. The rebuilding of St Eustache 

 was begun in 1532 and carried on slowly till 1589. After an interruption 

 it was resumed from 1624 to 1654, at which period it was complete 

 with the exception of the upper part of the western faade. There is 

 no documentary evidence as to the architect. The theory that it was 

 the product of the labours of three generations of master-masons of 



