136 



RENAISSANCE ARCHITECTURE IN FRANCE. 



primarily as a solu- 

 tion of the above 

 difficulties, but with 

 a view to obtaining 

 a more dignified 

 scale by avoiding the 

 necessity of an order 

 to each storey : it is 

 thus used at Mon- 

 ceaux-en-Brie (Fig. 

 146) and La Tour 

 d'Aigues (Fig. 132). 

 The craving to break 

 loose from such a 

 system was also 

 partly accountable 

 for strange quasi- 

 giant orders, such as 

 that of Chantilly, in 

 which the order does 

 not correspond with 

 one or more storeys, 

 but disregards them 

 entirely. 



The use of orders 

 was not universal in 



the composition of elevations. They were often confined to the 

 central part of a building, or to its court elevations, or dispensed with 

 altogether. In such cases, effect was obtained by the grouping of 

 masses and the disposition of vertical and horizontal members with 

 or without the aid of rustication. 



ELEVATIONS. The elevations thus differed markedly from those of 

 the preceding phase. The stripe arrangement of windows only rarely 

 survived in the style of Henry II., as in parts of the chateau of 

 Bournazel. But owing to the use of other means of vertical emphasis, 

 the preponderant horizontality of Italian design was seldom even 

 approached. In the chateau of Joigny, for instance, as had been the 

 case at the Hotel d'Ecoville, it was not the windows, but the piers 

 between them, which were converted into vertical stripes, the windows 

 being merely architraved, and the comparatively narrow intervening 

 spaces framed in by two orders of pilasters in pairs. Similarly the 

 angles of the pavilions at the Tuileries and of the pavilion-like projections 

 in the Louvre-court were emphasised by widely spaced coupled orders 

 with a niche between each pair, the entablature breaking round them 



132. CHATEAU OF LA TOUR D'AIGUES: GATEHOUSE. 



