228 RENAISSANCE ARCHITECTURE IN FRANCE. 



ing with a terrace roof, and was divided into some thirty hays by 

 engaged coupled columns. A mezzanine with panels, instead of an 

 order, was introduced above it to make the floor of the new upper 

 gallery level with that of the Petite Galerie. In this upper storey the 

 coupled order is resumed, but the number of bays reduced by half in 

 a very successful manner. The windows are replaced by niches in 

 every other bay, and the windowed bays have pediments, alternately 

 pointed and segmental, connected together by a balustrade. The best 

 traditions of the late Valois period still predominate in this com- 

 position.* 



Grande Galerie: Western Half. The arrangement, which here 

 grew quite naturally out of the conditions, seems to have suggested the 

 treatment of the western extension of the galleries. The entablature and 

 bay-system with alternating pediments were retained, but, the mezzanine 

 not being required, the more normal arrangement of two storeys over a 

 basement was substituted ; and, freed from hampering conditions, the 

 architect sought an enhanced scale, proportioned to the great length of 

 the building and the open space before it, by the adoption of a giant 

 order with wider bays and pediments, as may be seen in the replica of 

 this facade built by Percier and Fontaine on the north side of the Place 

 du Carrousel (Fig. 451)- Unfortunately he found himself obliged to 

 carry the heads of the tall upper windows up through the architrave and 

 frieze of the entablature. In spite of this solecism, which is avoided in 

 the eastern portion, this elevation has something of the austere grandeur 

 of a Roman work, and may well be the fruit of du Perac's Italian 

 studies. 



Pavilion de Flore, &c. The ordinance of the Pavilion de Flore 

 and the adjoining part of the Tuileries followed that of the Grande 

 Galerie as far as the order is concerned (Fig. 297). The simple and 

 gigantic mass of the pavilion gives a satisfying solidity to the angle of 

 the vast palace. Though the defects of the gallery are emphasised 

 by the order being single and the entablature thus broken into discon- 

 nected fragments, and though the height of the attic is disproportionate, 

 the old Pavilion de Flore was as superior as the old water-side gallery 

 to the florid inventions of Lefuel, which have replaced them since 

 the fire of 1871. Except in the additions to the Petite Galerie (Fig. 

 1 60) with their rusticated coigns and scrolled cdl-de-bm<f dormers, the 

 peculiarities of the Henry IV. style are almost absent from the new 

 portions of the great metropolitan palaces, which follow the purer 

 classical traditions suggested by pre-existing buildings. 



* See notes on pp. 141 and 167. In M. Batiffol's view the whole design of 

 this half of the Grande Galerie, as completed under Henry IV., was already laid 

 down by Lescot, but he intended placing a large pavilion between it and a less 

 important western extension, not, as was done, on the site of the Pavilion de Flore. 



