. Art in France. 300.— Of TOIRS. 146 GOTHIC STYLE TO CLASSICAL ART. FIG. 3-1.—ORLEANS CATHEDRAL,SOUTH PORCH. Louis XI to Charles IX, the num-ber of French chateaux is consider-able, and their variety is such thatit is impossible to classify them inaccordance with a clearly definedtype, such as that of the Florentinepalace, or the Roman villa. Nevertheless, in the variety ofcombinations, certain elements re-appear persistently. The Renais-sance chateau in its earlier mani-festation was only the feudalcastle transformed. It retained thegreat towers, the curtains with theirbattlements a
. Art in France. 300.— Of TOIRS. 146 GOTHIC STYLE TO CLASSICAL ART. FIG. 3-1.—ORLEANS CATHEDRAL,SOUTH PORCH. Louis XI to Charles IX, the num-ber of French chateaux is consider-able, and their variety is such thatit is impossible to classify them inaccordance with a clearly definedtype, such as that of the Florentinepalace, or the Roman villa. Nevertheless, in the variety ofcombinations, certain elements re-appear persistently. The Renais-sance chateau in its earlier mani-festation was only the feudalcastle transformed. It retained thegreat towers, the curtains with theirbattlements and machicolations, andoccasionally, the moat in which thebasement of the building was submerged. Each of these organswas preserved for the beauty discovered in it now that it was nolonger useful. The chateau, having descended into the plain, castthe reflection of its battlements and machicolations into the slowwaters of a river, and these martial symbols became an amuse-ment for the eye. The main block of an urbanmansion, with large square windowsand a loftv roof loaded
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
