THE STYLES OF HENRY IV. AND LOUIS XIII. 



243 



Le Muet showed none of the concentration of his great contemporaries, 

 but worked by picturesque, though symmetrical, complexity of grouping, 

 thrusting out pavilions boldly beyond the general line. For this he had 

 precedents. At Chauvigny he followed the arrangement of the first 

 scheme at Verneuil and of Coulommier. At Fonts his additional 

 pavilions were arranged, like those of the first Versailles (see plan, Fig. 

 300), angle to angle with the main pavilions. He also showed much 

 ingenuity in varying the accepted chalne and panel elevation system of 

 the day. At Fonts, for instance, each panel of brick walling is enclosed 

 in a frame of rusticated stone coigns radiating from the centre like 

 voussoirs, and in the court of Chauvigny the chaines are replaced by 

 clusters of pilasters repeated in three storeys in a manner recalling the 

 style of Francis I. Le Muet closed his court in front with a single 

 arcaded screen, not a gallery as was usual. That at Tanlay (Fig. 4) 

 has been removed since, but the entrance pavilion, whose sturdy dignity 

 is so appropriate to 

 its purpose, remains, 

 as well as the garden 

 front remodelled at 

 the same time. 



PERSISTENCE OF 

 THE STYLE. Though 

 at the death of Louis 

 XIII. the architec- 

 ture, which goes by 

 his name and that of 

 his father, was begin- 

 ning to assume a new 

 complexion, it was 

 long before it gave 

 way entirely to an- 

 other, as may be seen 

 in an unbroken series 

 of examples extend- 

 ing over more than a 

 century, in which 

 brick or plastered 

 rubble walling is of 

 common occurrence, 

 and panels, chaines, 

 coigns, and rusticated 

 bands supply the 

 decoration, with the 

 occasional addition 237. DIJON: HOTEL DE VOGUE (1607-14). ENTRANCE. 



