THE STYLE OF HENRY II. 



197 



of Louis XIV., the main lines of 

 the design were laid down about 

 1560 by the architect Jean de 

 Beaujeu. The square towers 

 have no buttresses, but are treated 

 in each storey with a coupled 

 order and a central arch. In the 

 lowest storey the arches are pierced 

 and, with the third arch, which 

 connects the towers, form a narthex 

 the full width of the front. 



COMPLETE CHAPELS. It 

 would by this time be almost 

 possible to compose a complete 

 advanced Renaissance church from 

 such scattered parts as those men- 

 tioned, but meanwhile a few com- 

 plete ecclesiastical edifices had 

 been executed in full classical 

 design, though none of these ex- 

 ceeded the dimensions of a private 

 chapel or mausoleum. One group 



193. COMPIEGNE : " PORTE CHAPELLE.' 



194. LE MESNIL-AUBRY : PARISH 

 CHURCH. WEST FRONT. 



shows various kinds of vaults and ceilings ; 

 another is domical. Although detailed in 

 the manner of the Lombard Renaissance, 

 the Bishops', or St Ursula's, chapel on 

 the north side of Toul Cathedral (c. 1530- 

 40) should, from its general proportions 

 and its departure from Gothic precedents, 

 be reckoned as the earliest fully Renais- 

 sance church building in France. It is 

 square with two orders in height and two 

 bays in each side ; flat-headed arches, 

 springing from the dividing piers and 

 intersecting at the centre, carry the flat, 

 coffered stone ceiling. Akin to this, but 

 in rather more advanced detail, is the 

 oblong Baptistery of Langres Cathedral 

 (1549) which has a coffered waggon vault. 

 Two tower-like structures, both still 

 retaining Francis I. reminiscences in detail 

 and ornament, also illustrate this stage. 

 A circular chapel at Vannes (1537) has 

 two superposed orders and a cornicione 



