Page:The New International Encyclopædia 1st ed. v. 17.djvu/38

* BENAISSANCE ABT. the buildincs (cspeiially at Vieenza) of Palladio. The term Palladiiiii is generally used for this Bcientitic-theoretical style, whoso side lif;lits were Vij;iu)la. Serlio. anil Scaiiiozzi. Its first };rcat enibodiiiient in Pallailio's work was the arcade around the basilica at Vicenza, which was fol- lowe<l by other remarkal)le works, such as the Palazzo Chieregati, the Palazzo Tiene, and the Teatro Olimpico. He created his highest types of religious architecture in Venice with San (iiorgio Jlaggiore and the Redentorc, and through them produced a revolution. Hard on his footsteps came the Harncco style (q.v.) (c.1575-1780). It was a reaction from Palladian severity and reveled in broken lines. vagaries of proportions and form, defiance of tradition. Domenieo Fontana. Madcrna. Bernini, and Borromini were its greatest representatives. Its masters produced sometimes a grandiose work like Bernini"s colonnades of Saint Peter or a logical church fac.ade. though Maderna failed utterly in that of Saint Peter's and suc- ceeded better only in smaller buildings such as Santa Susanna. The works of Longhena (q.v.) at Venice were exceptions to the general rule of extravagance and bad taste. As in every final stj'le of an architectural period, the jjicturesque predominated over the monumental. Rich col- ored marbles, heavy details of cipids, scroll- work, and architectural motives, even imitations in metal and marble of stuffs, as in Bernini's famous baldachin, are prominent. J^AXCE. The close political relations of Italy with France and the habit of calling in Italian arti.sts, consequent upon the campaigns in Italy of Charles '11I.. Louis XII., and Francis I., led to the introduction of Renaissance forms into France sooner than elsewhere: at the same time the strength of French Gothic traditions not only retarded the prevalence of Renaissance forms, but led to an internal reform rather than to the adoption of an Italian style. Re- ligious architecture had been for some time on the wane and palace architecture in the as- cendent. The first indications are most evident in decoration, where Lombard models prevail. The transitional period illustrated in the Chateau de Gaillon and in the older part of that of Blois (q.v.) is still ])revailingly mediaeval: but with Francis I. Gothic outlines tend to disappear and the classic orders to prevail. But it was not the foreign but the native artists to whom the funda- mental changes were now due: first to the men of North France, like Fain and Biart: then to those of the Royal Domain, like Le Breton and Lenier- eier, while others, like Chambige in his unique Chateau of Saint Germain, remain outside of the Renaissance orbit even toward the middle of the seventeenth century. The greatest achievement was the transformation of the feudal castle into a superb and artistic residence, totally unlike an^'thing known in Italy: such were Amboise, Blois (q.v.), Fontainebleau (q.v.), and espe- cially Chanihord ( q.v. ), with its great corner bastions and its forest of dormer wiiulows. chim- neys, and towers, a characteristic feature in which French differs so fundamentally from Ital- ian Renaissance. These royal residences were almost rivaled by those of the nobility like Azay- le-Rideau and Chenonceaux (q.v.). The closing years of Francis I. (died 1547) usher in a more classic style. Some of its lead- ers, like Jean Bullant, Du Cerceau, and Phili- 24 RENAISSANCE ART. bert de I'Orme, studied in Italy; others, like Pierre Lescot. were undoubtedly familiar, through drawings, with Italian buildings. I-X!scot's creation of the Louvre (q.v.) (1.546) is the classical example of the new style of royal palace without a trace of niediievalism, and is if anything superior to the contemporary work of San Gal'lo. VHgnola, and Sansovino in Italy. One of its great charms lies in the magnificent sculptures of .lean Goujon and others, which make it unique in its decorative scheme. De rOrme's Tuilcries (q.v.) and Chateau of Anet were his masterpieces. Under Francis I., Henry II., and Charles IX. France was covered, especial- ly in the region of the Loire, with chateaux of similar types, with civic structures like the town halls of Beaugency and Paris, and with in- numerable city houses of the nobility and bour- geoisie. The changes brought about by a further influx of Italian ideas under Maria de' Medici involved loss of charm as well as force in later works. Additions were made to the royal pal- aces such as the Tuileries, the Louvre, and Fontainebleau and a new palace, the Luxembourg (q.v.), was built by one of the leaders of the new school, Salomon de Brosse. who improved upon his Italian model, the Pitti Palace. Le- mercier was very successful in his additions to the Louvre and in the Sorbonne. Through all this middle period there is a constant struggle between Italian classic and harocco tendencies and the French love of the picturesque, but French architects did not go to the extreme either of scientific frigidity or lawless eccentricity. I'nder Louis XIV. a more fanciful decoration mingled with the formal Palladian architecture. Mansart showed in his colossal palace of Ver- sailles the chilling effects of this formal classi- cism, but he achieved greater success in his dome of the Invalides. The masterpiece of the time was. however, the superb Corinthian colon- nade of the east front of the Louvre, by which the palace was completed, from the designs of Perrault. The interior decorative work of this period in France has an originality and deli- cacy that places it as much above contemporary Avork in Italy as the early decoration had been inferior. Under Louis XV. Italian ideas ob- tained complete possession of exterior design and of church architecture both exterior and interior, though in domestic architecture the interior dec- oration and furniture display a remarkable fan- tastic originality. The Paris Pantheon by Souf- flot (q.v.) represents the formal Roman class- icism that prevailed in the latter part of the eighteenth century. Germany. The Renaissance as a style in art and especially in architecture made its way more slowly in Germany than elsewhere, except in England; partly, no doubt, because the move- ment was so largely concerned with religious questions. When the new style entered Germany it was from Carinthia, Bohemia, and Tyrol, rather than from Italy, and Italian architects were em- ployed in Prague, Cracow, Gran, and Vienna, long before the creation of the earliest examples of the style even in South Germany, while the north- ern States were still slower in receiving it. The real transformation of German archi- tecture began after the Peace of Augsburg (15.55), and is to be seen in the castles of the princes and barons, the houses of wealthy burgh- ers, and guilds, and the Raihiinser of the town