. Art in France. arterres. Architecture allowed itselfto be disarmed at last, and associated itself with the peaceful charm of nature. The king set the example in this transformation. To judge from the fragments of it that still exist, the famous castle of Plessis-les- Tours, where Louis XI died, was no austere prison, but a mansion of red brick and white stone in a charming valley enclosed by softly swelling hills. Charles VII died when he was superintending the transformations he had under-taken at Amboise. The Chapel of St. Hubert (Figs. 336, 338), and the fagade towards the Loire built for
. Art in France. arterres. Architecture allowed itselfto be disarmed at last, and associated itself with the peaceful charm of nature. The king set the example in this transformation. To judge from the fragments of it that still exist, the famous castle of Plessis-les- Tours, where Louis XI died, was no austere prison, but a mansion of red brick and white stone in a charming valley enclosed by softly swelling hills. Charles VII died when he was superintending the transformations he had under-taken at Amboise. The Chapel of St. Hubert (Figs. 336, 338), and the fagade towards the Loire built for him were still purely Gothic, richly flamboyant, and appear all the more delicately elaborate from their juxtaposition with massive feudal masonry (Fig. 271). Louis Xll, the son of Charles dOrleans, the captive poet, was born in a fortress at Blois, which Froissart described as fair, strong and sturdy, and one of the finest in the kingdom (Figs. 276, 277). When he became king of France, he did not desert the 148. no. 304.—AI*SK t)K SAINT IU RKK. CAEN. (Photo. Neurddn.) GOTHIC STYLE TO CLASSICAL ART landscapes of his childhood. Hebegan the reconstruction of theOld castle, and raised a gracefulblock of buildings of brick andstone, crowned by a high roofwith Gothic dormer I was, as said Du Cerceau,marvellously addicted to build-ing. This architectural kingwas, indeed, the creator of Cham-bord, Madrid, Saint-Germain,La Muette, Villers-Cotterets,Blois, Fontainebleau, and PierreLescots Louvre. In each ofthese buildings, we can trace theprogress of classic the beginning of the sixteenthcentury, only a few motives areintroduced; but very soon one of the latent principles of classicism,regularity, is imposed upon the fagades and plans of modern build-ings. Nevertheless, even when this royal architecture seems animitation of Italian palaces, it differs from these, because it answersto different requirements. The Italian villa was a place of restarranged p
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
