456 



RENAISSANCE ARCHITECTURE IN FRANCE. 



the result of such meddling. It is, however, not unreasonable to 

 suppose that it represents Servandony's final ideas, and that he had 

 abandoned his original intention of erecting a great pediment between 

 the towers on aesthetic, as well as structural, grounds, since no prepara 

 tion is made for it in the executed work. 



The towers were built by a certain Maclaurin (1749) substantially 

 in accordance with Servandony's design, but the intended conical roof 

 was omitted, and the decoration was left uncut. Later on Chalgrin 

 was commissioned to substitute new towers of his own design, but only 

 the northern one was thus rebuilt (1777). 



ST EUSTACHE : NEW FACADE. In the earliest important piece of 

 church architecture in the second half of the century, the new front of 



St Eustache by Jean Hardouin Mansart 

 de Jouy, grandson of Jules Hardouin 

 Mansart, and brother of the architect of 

 St Louis at Versailles, the influence of 

 Servandony's work is clearly traceable. 

 Though the facade of St Eustache (Fig. 

 435) belongs to the old twin tower type, 

 it differs in several respects from its pre- 

 decessors ; a colonnaded loggia in two 

 storeys and three intercolumniations is 

 introduced between the towers, and the 

 horizontal lines are more strongly em- 

 phasised. As at St Sulpice the tower 

 orders are coupled, the lower entablature 

 runs through unbroken, the upper one 

 only breaking at the towers, and the por- 

 tion between the towers terminates hori- 

 zontally. In this last respect, and indeed 

 in its general scheme, the front strongly 



resembles that of Notre Dame. Though the classicism of the detail, 

 the square panels and drapery swags are in accordance with Louis XVI. 

 practice, the restless statuary and a general pompousness of feeling recall 

 the age of Louis XIV. The further history of this facade, begun in 

 1754, but not completed according to Mansart's design, illustrates the 

 evolution out of this transitional age. Moreau Desproux, under whom 

 the works were resumed (1772-87), dislocated the design by bringing 

 forward the centre portion and giving it a pediment, without which by 

 this time a church front was not considered complete. In execution the 

 groups of statuary at the angles, which gave a raison d'etre to the 

 detached columns, were omitted, and only the northern tower was built. 

 A scholarly and well-considered alternative design by Patte made even 

 further concessions to contemporary ideas, which insisted on breadth 



ALE OF 1 |iu. 



436. PARIS : STE GENEVIEVE, 

 OR PANTHEON, BY G. 

 SOUFFLOT (BEGUN 1757). 

 PLAN. FROM LEGRAND. 



