330 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



[October, 



Fig. 5. 



Fig 6. 



Capitals at the St. Cliapelle, Paris. 

 Figs. 7 and 8. 



Ornaments from the C'liurch Notre Dame, Paris. 



The capitals of the Hotel de Dieii at Paris, of the Abbey of Poissy, of 

 the front of St. Julian the Poor, &c., were so many masterpieces of the 

 luxuriant imagination of the decorators of the li3th century. Among 

 the examples of this period may also be classed the beautiful ironwork 

 of the gates of Notre Dame ; it is composed of scrollwork in the best 

 taste and of the finest execution. The date of it is not decided; but 

 it evidently belongs to the 13th century, agreeing in style with the 

 ornament of the rest of the building. In the gate in the middle of the 

 grand front the skilful artist has intermingled birds, winged dragons 

 and foliage, with a statue of St. Marcel in the midst. This beautiful 

 piece of ironwork is unique in Europe, and well deserving of the at- 

 tention of artists on account of the elegant forms which have been 

 given to the iron. 



The ornament of the 14th century was of a character almost as high 

 as that of the preceding, but the forms had already become less simple 

 and less true, the capitals were divided into stages of foliage, the as- 



Fig.9. 



tragals assumed the obtuse angles of the polygon, and the foliage 

 rolled upon itself, gives an appearance of confusion which destroys 

 the general effect. The fleurons which decorate the finials and 

 crocketings are formed of sharp and divided leaves, as thistles and 

 holly, from which there results loss severity of appearance in build- 

 ings of this age than in those of the foregoing. 



In the 15th century great license prevailed in national art; the 

 sculptors gave themselves up to the most vagabond inventions, repre- 

 senting climbing plants of a light form an(l divided foliage. The 

 vine, thistle, and endive were tlie most frequent models adopted in 

 buildings of this period, and the use denoted the approach of a revo- 

 lution. The execution is free, and shows great facility, which they 

 abused, and often to such a degree that their productions are mere 



Fig. 10. 



Fig. 11. 



From the Church at St. Gervais. Crocket for the Cathedral of Clermont. 



Fig. 12. 



From the Chapel of the " Hotel Je Cluny." 



sketches, touched up with taste. While however we refuse to the 

 decorator of this period the gravity, which cliaracterizes the labours 

 of the two preceding periods, we are obliged to acknowledge that 

 they produced works, remarkable for the luxuriance and variety of 

 their composition, and the eflect of the boldness of their undercutting. 

 Towards the end of this century the Revival of ancient art began to 

 take root in the midst of the productions of national medieval art, and 

 again were oriental productions mixed with those of the indigenous 

 Flora. The reign of Louis 12th has left us many monuments of this 

 period of transition, among which the fayade of the Chateau de 

 Gaillon, at the Palace of the Fine Arts, deserves to be particularized, 

 as showing the union of the two styles. 



Under Francis the 1st, the revolution in art became complete, the 

 ancient style imitated with more or less perfection, sometimes wit- 

 nessed the introduction of Gothic forms, but always without any dis- 

 turbing effect. The details of the tomb of Louis the 12th, nnd the 

 capitals of the Chateau de Madrid, are well enough known to require 

 only to be alluded to. It was under Henry the 2nd, that the Revival 

 arrived at its height. The Louvre, the Chateaux of Anet and Ecouen 



Fig. 13. 



Bracket for a Lamp, from the C^hateau de Gaillon. 



