DOI Page / Citation link:
https://doi.org/10.11588/diglit.25500#0363
FRENCH RENAISSANCE.
243
ITALIAN.
delicatefoliage. Star-shaped
sinkings uncommon. The
pilaster in Italy was sooner
used for its own sake as an
“order” when the panelled
decoration naturally ceased
(No. 119).
An “ order ” is often made
to include two or more
storeys of a building (No.
121). In churches especially
a single order prevails.
f. M ouldings.—The heavy
cornice is provided for pro-
tection from the glare of the
Italian sun (No. 118). In
early examples, strings are
of slight projection, to give
value to the top cornice.
Where the orders are used,
the details assigned to each
are used in full. Mouldings
are usually large but well
studied in profile.
G. Decoration.—In Italian
work we think of fresco and
modelled plaster. In the
early period, the two were
combined as in the arab-
esques of Raphael. When
separated the frescoes were
often out of scale with the
architecture, and often de-
void of decorative value.
Compare theVatican, and the
Palazzo del Te at Mantua.
Later stucco work suffers in
the same way, at Venice are
extraordinary examples of its
abuse. Interiors, generally
in late work, are regulated
unduly by the features of
FRENCH.
features, rusticated or panel-
led in star-shaped patterns,
but sometimes treated with
foliage. At Chambord, the
sinkings are treated with
a black inlay, slates being
nailed in the sunk faces of
the stonework (No. 135).
Each storey has in general
its own “ order ” or column
(No. 134). Columns in gene-
ral do not run through two
storeys. The influence of
Vignola in this respect is
visible.
F. Mouldings.—Gothic in-
fluence pervades the early
work, and combinations of
methods, classic and me-
diaeval, in the profilings of
mouldings are tried. Some
examples, as at Orleans, have
extremely small members.
French Renaissance has
gradually acquired a special
character, by its treatment
of sections.
G. Decoration.—The wood
panelling of Gothic times
continues in the earlyperiod,
often splendidly carved with
arabesque designs, as at
Blois. In later work it con-
tinues but gradually loses
the character and scale of
the material. The Raphael
style of decoration is intro-
duced by Italian artists, as at
Fontainebleau. The Tapes-
try, etc., of the early period
is superseded by the univer-
sal Louis XIV. style of wood
and stucco decoration treated
in white and gold, a style
which is applied completely
243
ITALIAN.
delicatefoliage. Star-shaped
sinkings uncommon. The
pilaster in Italy was sooner
used for its own sake as an
“order” when the panelled
decoration naturally ceased
(No. 119).
An “ order ” is often made
to include two or more
storeys of a building (No.
121). In churches especially
a single order prevails.
f. M ouldings.—The heavy
cornice is provided for pro-
tection from the glare of the
Italian sun (No. 118). In
early examples, strings are
of slight projection, to give
value to the top cornice.
Where the orders are used,
the details assigned to each
are used in full. Mouldings
are usually large but well
studied in profile.
G. Decoration.—In Italian
work we think of fresco and
modelled plaster. In the
early period, the two were
combined as in the arab-
esques of Raphael. When
separated the frescoes were
often out of scale with the
architecture, and often de-
void of decorative value.
Compare theVatican, and the
Palazzo del Te at Mantua.
Later stucco work suffers in
the same way, at Venice are
extraordinary examples of its
abuse. Interiors, generally
in late work, are regulated
unduly by the features of
FRENCH.
features, rusticated or panel-
led in star-shaped patterns,
but sometimes treated with
foliage. At Chambord, the
sinkings are treated with
a black inlay, slates being
nailed in the sunk faces of
the stonework (No. 135).
Each storey has in general
its own “ order ” or column
(No. 134). Columns in gene-
ral do not run through two
storeys. The influence of
Vignola in this respect is
visible.
F. Mouldings.—Gothic in-
fluence pervades the early
work, and combinations of
methods, classic and me-
diaeval, in the profilings of
mouldings are tried. Some
examples, as at Orleans, have
extremely small members.
French Renaissance has
gradually acquired a special
character, by its treatment
of sections.
G. Decoration.—The wood
panelling of Gothic times
continues in the earlyperiod,
often splendidly carved with
arabesque designs, as at
Blois. In later work it con-
tinues but gradually loses
the character and scale of
the material. The Raphael
style of decoration is intro-
duced by Italian artists, as at
Fontainebleau. The Tapes-
try, etc., of the early period
is superseded by the univer-
sal Louis XIV. style of wood
and stucco decoration treated
in white and gold, a style
which is applied completely