THE STYLE OF FRANCIS I. 87 



that of the nave at the trifoiium level 41 ft., the aisle bays, which are 

 square, measure 19 ft. 6 in. from centre to centre. The height of the 

 nave is 106 ft. 6 in., and that of the aisles 59 ft. In plan it is practi- 

 cally identical with Notre Dame except that, whereas Notre Dame has 

 five bays in the choir and eight in the nave, St Eustache has three and 

 five respectively (Fig. 83). 



Till the influence of the Roman Renaissance prevailed, there was 

 no important departure from Gothic planning in churches, though 

 a tendency to prefer curved for polygonal forms may be observed. 

 At St Eustache, however, the semicircular form of the chevet is 

 derived from its Gothic prototype. At most two or three cases 

 occur of definitely classical plans and then in small chapels, such 

 as one in the chevet of Sens cathedral, which is an oblong with a 

 semicircular apse. 



Section. In section, St Eustache differs from Notre Dame in having 

 the inner and outer aisles of equal height and very lofty (Fig. 84). 

 The high nave arcade and aisle vaults recall those of the Gothic 

 churches of Italy, and the freedom of vista in this interior lends it 

 some of their spaciousness of effect. Neither St Eustache, however, 

 nor other Francis I. churches show any marked departure in principle 

 from the mediaeval structural system, attempts to substitute other 

 systems, such as ungroined vaulting or domes, being rare and of small 

 size. 



ST ETIENNE-DU-MONT, SINGLE PIERS. It is in the forms of feature, 

 detail, and ornament, that the characteristic differences must be looked 

 for. The Renaissance architects hesitated between the single and the 

 compound pier. At St Eustache the latter, and at St Etienne-du-Mont 

 the former, was adopted. This almost contemporary Parisian church 

 differs in many respects from St Eustache though resembling it in plan. 

 It is on a smaller scale, and shows a progressive change of style from 

 east to west. The choir (begun 1517) is Flamboyant Gothic with no 

 Renaissance elements. These first appear in the crossing and transepts 

 (finished 1537), and become prominent only in the nave (1538-60), 

 while the west end (Fig. 251) and rood screen (Fig. 86) belong to the 

 reign and style of Henry IV. The piers are mere cylinders into which 

 the vaulting ribs and arches die, though the designer thought himself 

 bound to give them an awkward and unnecessary capital below the 

 junctions. In the choir of St Remy at Dieppe are similar piers with 

 foliage capitals. Sometimes, as at Gisors and St Calais, octagonal or 

 hexagonal shafts are used. Instances also occur, e.g., at St Pierre, 

 Tonnerre (Fig. 88), of single shafts treated as Roman columns. The 

 gallery at St Etienne-du-Mont, carried on an arcade from pier to pier at 

 mid-height is a rare feature, possibly suggested by the thirteenth century 

 gallery in Rouen cathedral. In this case, its only purpose is to increase 



