THE STYLE OF FRANCIS I. 



103 



classical effect of structure. 

 Mullions become pilasters, curved 

 heads arches ; cornices, gables, 

 pediments are introduced, and, 

 combined with scrolls and hori- 

 zontal transoms, constitute a 

 kind of skeleton edifice, as at 

 La Ferte-Bernard, St Jean, 

 Troves (Fig. 108), and St Pierre, 

 Tonnerre. Cusping became less 

 frequent as the Renaissance ad- 

 vanced, but, where used, instead 

 of growing out of the bars as 

 before, it was often merely 

 applied to them. Often, too, the 

 minor members were not the full 

 depth of the mullions, and appear 

 on the outside of the glazing 

 only. In unglazed tracery, as in 



108. TROVES: WINDOW IN 

 ST JEAN. ELEVATION. 

 No SCALE. 



Sketch by the Author. 



107. EEAUMONT-LE-ROGER : PARISH 

 CHURCH. UPPER PORTION OF 

 CHOIR. 



balustrades, screens, and the like, all the 

 above types may be found, with a free use 

 of animal and plant forms (Fig. 109). Ex- 

 amples of pierced arabesques may be seen 

 in the screen doors in the choir of Ecouis 

 and in a stone screen in Rodez Cathedral. 



TROVES. Troyes possessed an active 

 school of church builders and decorators, 

 whose sphere of influence extended through- 

 out southern Champagne and northern 

 Burgundy. The introduction of Renais- 

 sance work into the churches of Troyes was 

 stimulated by the necessity for building and 

 restoration after a fire which devastated the 

 city in 1525, and further by the advent of 

 the Florentine, Uomenico Ricoveri or "del 

 Barbiere," who settled there about 1545, 

 and married his daughter to a native master- 

 mason. Amongst other works he carried 



