138 RENAISSANCE ARCHITECTURE IN FRANCE. 



from being as successful as he claims, was not only falling to piec 

 when du Cerceau wrote of it twenty years later, but also endangering 

 the safety of the whole house. The system was, however, successfully 

 used as late as the end of the eighteenth century in the Halle-aux-Bles 

 in Paris (see p. 448). 



CORNICES, &c. The cornice, not being the crowning member of 

 the design, ceased to play the important part assigned to it in Italy, 

 and at the same time it lost its association with the machicolations of 

 the fortress. No scruple was felt in breaking its line by emphasising 

 the dormers, introducing ranges of pediments and other means. In 

 spite of the diminished importance of the main cornice and the greater 

 vertical emphasis as compared with Italy, horizontally was distinctly 

 increased by means of continuous entablatures, running bands of 

 ornament, and the emphasising of the basement storey, which was 

 often battered, rusticated, and capped with a bold plinth course. 



RUSTICATION. Rustication, which was practically unknown under 

 Francis I. except in fortification works, now took its place among the 

 elements of French design, though less frequently than in Italian. It 

 is of two main types : first, that in which the stone is left rough or 

 cut to simulate natural rock, as in the Grotte des Pins at Fontainebleau 

 (Fig. 122); and secondly, that which is differentiated from the rest of 

 the walling by a chamfered, moulded, or merely drafted border, by 

 being cut convex or in facets, panelled or vermiculated ; examples of 

 these types are far more common in France than of the first. Rustica- 

 tion was generally confined, at first at least, to its primary functions, 

 namely to mark those portions of a building where strength and solidity 

 are needed. Occasionally, however, it came to be employed as a 

 purely decorative element in connection with portions which need no 

 strengthening, as, for instance, in de 1'Orme's " Ordre Frangais," and 

 Serlio's gateway at Fontainebleau (see p. 122). 



FEATURES : WINDOWS, &c. Windows almost invariably retained 

 their mullions and transomes, but receding mouldings were generally 

 abandoned. Figs. 127, 128, and 130 show three very different types of 

 window treatment. The oriels and projecting turrets, the cupolas and 

 lanterns, and pinnacles of the previous reign largely disappeared or 

 were treated with greater sobriety. 



SEVERER TYPE OF DESIGN. In the severer work of the period, 

 such as that of Primaticcio and Lescot, classical architecture was 

 interpreted in the spirit of Bramante's later manner, and of his pupils. 

 The simpler forms were used, unbroken pediments, and architraves, 

 simple rustication, rectilinear or arched openings, quietly posed statuary 

 or vases for finials, few ressauts ; and features were applied to their 

 natural functions. The elevations depend for their effect on carefully 

 balanced masses and good ornament judiciously disposed. 



