THE STYLE OF FRANCIS I. lOf 



Fiat balustraded tops and conical roofs, slated or tiled, are not un- 

 common. Turrets reproduce in miniature the various types of towers. 

 Gargoyles take various forms such as monsters of Renaissance type, 

 terms and caryatids, and channels carried on corbels or consoles. 



DOORWAYS. Of all external features doorways give the greatest 

 scope for ingenuity in decorative treatment, and they usually form the 

 principal motive in a facade. The first stage was merely to translate 

 the traditional doorway with its receding and enriched soffit and jambs 

 into Renaissance detail, introducing columns, pilasters, niches, and 

 figures, as, for instance, at L'Isle Adam (Fig. 98), and the churches 

 at Tonnerre, and at Notre Dame, Guingamp (Fig. 102), where balusters 

 take the place of canopy work. As the style advanced the concentric 

 orders in the soffit were replaced by a coffered splay, as at Gisors and 

 Dijon (Figs. 97 and in). 



The practice of interweaving classical elements with Gothic types of 

 doorway soon led to that of enclosing the doorway in a more or less 

 independent classical framework, as at St Martin at Epernay, and the 

 great south doorway at St Eustache (Figs. 103 and 104). Then this 

 frame became the most important element, and the arched opening 

 gradually sank into insignificance, as at St Andre-lez-Troyes (Fig. 105). 



DOORS. Besides following the usual domestic types, church doors 

 are sometimes much more elaborate, and are enriched with architectural 

 features and sculpture. Such are the west doors of St Wulfran, Abbe- 

 ville, by Jehan Mourette (1548-50), and the north doors of Beauvais 

 Cathedral (Fig. 106), by Jehan Pot (c. 1535). 



WINDOWS, MOULDED TRACERY. In windows the pointed and semi- 

 circular head is almost equally prevalent. Circular and occasionally 

 elliptical lights also occur. Tracery was, as a rule, retained, except in 

 the smaller single lights, and a few larger examples such as those in the 

 chevet of St Pierre, Caen, where the existing tracery is a modern insertion 

 (Fig. 1 1 3). Tracery was one of the hardest nuts the Renaissance designers 

 had to crack, and it gave rise to many interesting experiments. Round 

 forms had been introduced among the pointed ones even in Gothic 

 times, e.g., in the screens of Albi Cathedral ; still the pointed may be 

 found even late in the Renaissance. As variants on the hackneyed 

 leaf forms, symbolical shapes such as hearts and fleurs-de-lys were intro- 

 duced together with geometrical ones ellipses, lozenges, and hexagons. 

 Most of these types may be seen at St Eustache (Figs. 95 and 104), 

 where, however, the tracery is one of the weakest points. Radiating 

 tracery is usual for rose windows, and is sometimes used for the heads of 

 other windows and fanlights ; at Brie-Comte-Robert (Fig. 99) a circular 

 window is designed as a many-petalled rose. 



FLAT TRACERY, &c. Most of the above instances have splayed or 

 moulded mullions and tracery. In the second half of Francis' reign, 



