. The story of architecture: an outline of the styles in all countries. nofficial and formal appearance, which continuedthrough the reign of Louis XIV. Under le rot so/ci/, majesty was aimed at morethan anything else (Fig. 164). Mansard introducedhis famous roof and erected the greatest dome inFrance over the Invalides. the colossal orders (oruse of columns more than one story high) reignedsupreme, and everything was sacrificed to pomp. In-deed Le Pautre tells us that though Versailles costtwo hundred million dollars, no one except the kingwas decently lodged as regards comfort. The exteriors
. The story of architecture: an outline of the styles in all countries. nofficial and formal appearance, which continuedthrough the reign of Louis XIV. Under le rot so/ci/, majesty was aimed at morethan anything else (Fig. 164). Mansard introducedhis famous roof and erected the greatest dome inFrance over the Invalides. the colossal orders (oruse of columns more than one story high) reignedsupreme, and everything was sacrificed to pomp. In-deed Le Pautre tells us that though Versailles costtwo hundred million dollars, no one except the kingwas decently lodged as regards comfort. The exteriors were simple, but the interior deco-rations were very elegant, infinite care being takenin regard to the proportioning of detail to construc-tive features, while the ceilings, panelled with ovalframes, as in the Pitti palace, at Florence, affordedmen like Le Brun opportunity to make their namesfamous. BOURBON RENAISSANCE. 399 The most celebrated examples are the south col-onnade of the Louvre, the rooms of state at Vauxbuilt by Fouquet, and the Hotels Mazarin and Lam-. FiG. 164.—Versailles. bert, where the imaginations of Bernini and Dr. Per-rault were allowed to run riot. But when the wits of the day used to laugh atPerrault and remark that architecture must beindeed sick when it has to be confided to the care ofa doctor, they were not so far wrong. For with thestrain after pomp and circumstance began a declinein taste, and notwithstanding the perfection of anx- 400 THE RENAISSANCE. iliarv arts, like tapestry, faience, and Sevres (the lastof which was invented at that time), art, especiallyarchitectural art, began a steady retrograde move-ment during a period which, intellectually, was oneof the greatest that France has ever known, and thuswe arrive at the period of Louis Quince f Or The Rococo. This style was the French form of the Barocco(see page 389). It had little to do with the exteriorof buildings, though occasionally it appears, as in theCour de Fontaines, at the Sevr
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