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 and single ones adorn the narrow piers. The pilasters of the lower order rest on tall pedestals supported on spurs rising out of the batter wall of the basement, while the upper order is set on plinths resting on the entablature of the order beneath. This upper order has a plain corbel-table in place of an entablature, with a simple cornice, and gargoyles over the pilasters. Over this is the novel feature of an open gallery covered by an extension of the main roof which is held up by columns of no distinct order, with a balustrade in each interval. Similar galleries were afterward in some instances produced by extending the roofs over originally uncovered terraces below the eaves, supporting the extension on wooden posts—as at La Rochefoucauld.

The walls of Chambord, the next vast château of the early French Renaissance, are adorned with pilasters as at Blois, though the design below the cornice is much simpler. Above the cornice, however, it is the richest of all the great French châteaux, and with its steep roofs and manifold dormers, chimneys, and central lantern, it presents an aspect which for multiplicity of soaring features resembles a late Gothic building. It is not worth while to give an extended analysis of its redundant details which, with its vast chimneys adorned with free-standing orders, niches, panelled surfaces, and pinnacles; its dormers with overlaid orders of pilasters, pediments, scrolls, and endless filigree ornaments; and its great lantern with inverted consoles on entablatures forming flying-buttresses (where there is nothing to be buttressed), make up a bewildering complex without structural meaning or artistic merit. Viollet le Duc has well remarked that "Chambord est au château féodal des XIII et XIV siècles ce que I'abbaye de Thélème est aux abbayes du XII siècle: c'est une parodie.Château de Chambord is a castle of the thirteenth and fourteenth centuries and Thélème is an abbey of the twelfth century: it is a parody [sic]"

The same general character, though in less florid development, marks those parts of Fontainebleau which are contemporaneous with Blois and Chambord. This is true also of Écouen, where the architectural scheme is comparatively simple. Instead of superimposed orders the walls of Écouen are adorned with continuous pilasters banded by the mouldings of entablatures that crown each of the stories. These details are in very shallow relief, the wall spaces enclosed by them are not panelled as at Blois and Chambord, and the windows have no