316 RENAISSANCE ARCHITECTURE IN FRANCE. 



scheme were a wide terrace carried round three sides of the palace 

 with a parterre d'eau to the west under the royal windows, and broad 

 strips of open gardens stretching westward between two equally broad 

 strips of wood-garden, from the foot of the terrace to the head of 

 the grand canal. This lies in the axis of the palace and is in the 

 form of a cross, with Trianon at the end of the northern arm and the 

 Menagerie at the end of the southern. In addition, the gardens of 

 Versailles have a considerable lateral extension. From the great 

 terrace the eye ranges southward over the Orangery and its sunk 

 garden to the " Piece d'Eau des Suisses," and northward down the 

 " Allee d'Eau" to the ' Bassin de Neptune." Every portion of the 

 gardens was adorned with monuments or works of art of appropriate 

 design and almost uniform excellence. 



J. H. MANSART. The later history of Versailles under Louis XIV. 

 introduces a new figure in Jules Hardouin (1646-1708), a grandson of 

 a sister of Francois Mansart, whose name and fortune he inherited. 

 He had been trained partly by him and partly by Liberal Bruand, 

 and, while working under the latter at the Hotel Vendome (on the 

 site of the present Place Vendome) in 1672, he came under the 

 King's notice. He soon succeeded to the place in the royal favour 

 held by Le Vau, and the waning supremacy and subsequent death of 

 Le Brun (1690) permitted him to advance to a position of authority 

 over all the royal works, such as Le Vau had never enjoyed, and 

 even Le Brun had scarcely aspired to. He was ennobled, and after 

 holding various royal appointments attained to that of Inspector- 

 General of the King's Buildings (1699), a post which had long been 

 held only by ministers. One of the earliest works carried out by 

 him for the King was the enlargement of the old chateau of St 

 Germain (1675) which he effected by adding large pavilions at the 

 angles, following the lines of Francis I.'s work very closely and 

 adopting them with considerable skill to new requirements. This, 

 however, is no criterion of the character of his usual work, which is 

 the fullest and most characteristic expression of the barocco-Palladian 

 compromise. If he did not equal his great-uncle in that perfect refine- 

 ment of taste which distinguished him, he had all his scholarship 

 and perhaps an even broader monumental feeling. Though he never 

 scrupled to break the letter of Palladian law when it suited his purpose, 

 as when he used a Corinthian order immediately over a Tuscan at 

 Clagny, his work was generally so correct that he could be regarded by 

 the Academy as a standing protest against the school of Borromini. 



VERSAILLES : SECOND TRANSFORMATION BY J. H. MANSART. 

 The palace of Versailles, vast as it was when the works designed by 

 Le Vau were completed, soon ceased to be adequate for the require- 

 ments of the Court, and J. H. Mansart was instructed to carry out works 



