Yale University Library 39002043645762 The Minor Chateaux AND Manor Houses of France OF THE XV AND XVI CENTURY ITYALB UNIVEKSITYllR >SCHOOL OF THE PINE AKTS < PERIGUEUX HOUSE ON THE QUAY The Minor Chateaux AND Manor Houses of France OF THE XV AND XVI CENTURY By LOUIS G. NEWHALL PUBLISHED BY The Architectural Book Publishing Company 31 East 12th Street, New York City Copyrighted by PAUL WENZEL and MAURICE KRAKOW New York, July, 1914. Xa-t 7Z T-'irMrsi Introductory HE photographs reproduced in the following pages were obtained I^Toi-T/^Tra m France during a recent European trip, but with no thought of their eventual publication. In consequence they do not, perhaps, represent the subject as comprehensively as they might, but the au thor feels he is justified in publishing them in book form in the hope that they will show, in a modest way, some of the work that was done in France during the very interesting period of the rise and development of the Renaissance in Europe. These little buildings, in any extended notice of their architectural period, would group themselves under the following periods — Louis XII 1495-1515 Francis 1 1515-1545 Henry II 1530-1590 Henry IV and Louis XIII 1590-1660 Louis XIV 1640-1710 Louis XV 1710-1770 Louis XVI 1730-1790 But without going too much into detail, and simply to give a more or less rough outline of their fundamental characteristics, the following description has been prepared, not as an historical notice, but simply as a running commentary on the influences that produced these buildings, and in some cases on the men who were directly responsible for the change that came over the spirit of France as well as that of Italy and of Spain at the time of the awakening to the classical influences which we call the Renaissance. The principal influence at work in France which lead to the modification of its architectural ideas and the final abandonment of its own native traditions in archi tecture came from Italian sources, although later on, at the time of Francis I, there is an unquestionable Spanish influence to be found throughout France, but more especially in the Southern portion of the country. This early transitional period has been called after Louis XII, a designation quite sufficient for our needs. It possesses nj>-*H*itj£, either as to design or detail, but is a purely transitional style, having all the interest that usually attaches to such a phe nomenon — a parallel being found in the corresponding period in Spanish architecture, which produced such brilliantly interesting work in Spain. In France, Gothic and Renais sance — two antagonistic and unrelated styles — were thrown into the melting pot together, resulting in this fusion called the "Style of Louis XII." The native French style was the XV Century Flamboyant Gothic, as exampled in St. Maclou; Palais dejustice, Rouen; Chateaux Josselin, Brittany; Hotel Cluny, Paris, and the many timber houses of Lisieux. Its characteristics are — soaring vertical lines, pointed roofs, chimneys, gables, dormers, turrets, etc., etc., arranged with a most studied intricacy and confusion of motive, and great picturesqueness of outline, and with lacelike stone detail in its window heads. Roofs, high and steep, have always charac terized French work of most styles, their charm was diversified and enhanced by orna mental chimneys, gables, dormers, turrets, crooked and highly ornamented ridges and finials. The window openings and cornices, were elaborately decorated with vegetable and floral motives of great richness, which further accentuated the lines of gables and columns. Arches and openings became circular or more frequently eliptical, while lintels were curved, deeply recessed and moulded, with ornamental and lacelike cusping sheltered under hood moulds. Coupled windows with transomed openings were gen erally used, and although oriels were frequent, bay windows are seldom found at this time. Mouldings and ornaments were naturalistic and Gothic, deeply undercut. In timber construction the same character was present, and in addition, wooden corbels, brackets and verge boards gave further opportunity for ornamentation. The imported style was brought from the North of Italy, where the Certosa of Pavia, S. Maria Miracoli at Brescia; the Loggia at Verona, and the Cathedral of Como, are representatives of the Italian infusion. This Northern Italian Renaissance had been produced under strong Gothic influence and tradition ; however, it was readily adapted to the French work. Its detail was not of the Florentine School with its intense and severely classic feeling. On the contrary the chief characteristics were simplicity in main design with effects produced by horizontal string courses and small pilasters, all very slight in projection and small in size. Slender baluster-like columns were used to divide window openings, forming groups, and plain wall surfaces were relieved by medallions, and delicate pilasters, paneled in circles and lozenges, with garlands, swags and pendant knots of flowers, naked children, birds, mythical beasts, etc., etc., — all carved in very slight relief, and often executed with flat color deco ration. In France, the resulting so-called "Style of Louis XII" is marked generally by the influence of the Italian detail only ; for the builders remained French, while in many instances Italian decorators were employed on the sculptured portions of the buildings. Gothic detail first gave way to the influence and example of Italian workmen, and second to the new skill thus acquired by the native Frenchmen in working along the same lines. In plan the chateaux of this period show clearly the attempt that was made to render them less castles and more dwelling places, with better accommodations, com forts and conveniences, and increased light and air. Apartments multiplied, arched galleries, balconies, terraces, etc., for taking the air and enjoying the prospect were provided, and windows in the external walls were increased both in number and area. The ground plan of buildings during this period was not affected by the introduction of this Italian influence, and it was not until later that effort was made to introduce Ital ian planning along with the changes in wall treatment, etc. So we find most of these plans still based on irregular and oval outlines — as at Fontainbleau and St. Germain, and in the Castle of Gaillon. The great staircase followed the fashion set at the Louvre, spiral in plan, and usually — almost if not entirely — detached from the main walls, as at Blois, and Gaillon. Changes also occurred in the materials employed in construction; brickwork came back into use, after having been displaced by stone for centuries, except in certain locali ties where stone was not to be procured. Brick appeared with stone trimmings and in pattern work, and was contrasted with stone or other materials which were used to give life and decoration to wall surfaces. Terra-cotta and majolica were also intro duced, while brilliant color decoration, in painting and gilding were commonly ap plied during this period. Timber was the common framing material used for the smaller houses — notably in Lisieux, Cravant, Gallarden, and Joigny — the spaces of the frame being filled with plaster, brick, boards, and other materials. '''The foreign influences were of course continually at work upon the minds of French designers, who, being thus brought in direct contact with the imported Italian architects, became imbued with the same desire to emulate classical buildings, which, on the part of the Italian architects, led to the creation of the so-called Italian Renaissance. The new movement became stronger and stronger under Francis I and Henry II, and was firmly established during the reigns of Henry IV and Louis XIII, as evidenced in the work of Brosse, LeMercier, and F. Mancart at Fontainbleau, the Louvre, Tuileries, and at Blois, while it became thoroughly acclimatized and distinctly French under Louis XIV, with the so-called "grand manner." With LeVau, Bernini, and J. H. Mansart in the completion of the Louvre and Tuileries, and the Chateaux at Versailles and Marly, under Louis XV, the French architects became their own masters, and the declining influence of Italy and Italian precedent is plainly seen. With Louis XVI came the return to Italian precedent with great regard for archaeological studies, this tendency producing what has been called the "Style of the Empire" under Napoleon. It would be impossible in a short notice like this to more than indicate, as the author has done, the sources of influence that produced these rapidly changing phases in French architecture, but he sincerely trusts his modest effort, together with the accompanying photographs, will prove of some value to the student of architecture. Louis C. Newhall. IsuipnO -g pimmpa it_ o;«"/e_ AVAN.3XVO — AN Vlll.a NVNIQ XV SIVNINOO OV3XVH 3 ANGERS — THE CHATEAU OF THE KING OF POLAND CHAUZE SUR LOIRE — THE CHATEAUX DES REAUX 2 LA CELLE - LES - BORDES — A MANOR HOUSE CHATELDON (PUY DE DOME)— A HOUSE OF THE I6TH CENTURY 3 CHATEAU DU P I N — C A L V A D O S — X V I I CENTURY Photo by Geo. F. Howe CISAI -SAINT -AUBIN — THE CHATEAU Photo by Geo. F. Howe AMBOISE — CLOS DE LUCE LEONARDO DE VINCI'S HOUSE CHATEAU DE CHATEAUDUN (I6TH CENTURY) BAZOCHES DU MORVAN— THE CHATEAU ENTRANCE — VIEW LADAPEYRE — THE CHATEAU DE CHASSAGNE 6 BARBEREY — THE CHATEAU CHALONS SUR MARNE 7 CHATEAU DE CHAUMONT — THE STABLES THE CHATEAU CHAUMONT — SUR LOIRE THE STABLES — THE RIDING RINK 1 -___ i^a m ^*A V^r^i^ It'; $ A-'ff ''Ai? . *t£ - .$&* "^ COUTANCES-A HOUSE OF THE 15TH CENTURY COTE D'OR — CHATEAUNEUF — NORTH VIEW Photo by Mr. Harry B. Russell COTE D'OR — CHATEAU DE VILLOTTE- Photo by Mr. Harry B. Russell ¦ ST. SEINE iSP COTE D'OR — THE CHATEAU DE LACOUR D'ARCENAY Photo by Mr. Harry B. Russell 10 COTE D'OR — THE CHATEAU D'ESSAROIS Photo by Mr. Harry B. Russell COTE D'OR — CHATEAU DE M A G N Y - L E S - A U B I G N Y Photo by Mr. Harry B. Russell II COTE D'OR — CHATEAU DE SAINTE-SEINE VINGEANNE Photo by Mr. Harry Li. Russell COTE D'OR — CHATEAU DE B U S S Y — R A B U T I N Photo by Mr. Harry B. Russell 12 COTE D'OR — CHATEAU DE LUX Photo by Mr. Harry B. Russell COTE D'OR — CHATEAU DE BRESSEY-SUR-TILE Photo by Mr. Harry B. Russell 13 COTE D'OR — CHATEAU D'ECHIGEY Plioto by Mr. Harry B. Russell COTE D'OR — CHATEAU DE LA ROCHETRE Photo by Mr. Harry B. Russell 14 COTE D'OR — THE CHATEAU DE BESSEY LES CITEAUX Plioto by Air. Harry B. Russell COURTOUNE-LA-VILLE — THE CHATEAU DU BESNERAY Photo by Mr. Harry B. Russell 15 DIJON — THE HENNERY Photo by Mr. Harry B. Kussell ABBEVILLE-A HOUSE OF THE FRANCIS I PERIOD 16 FOUGERES — THE CHATEAU STAIR-CASE TOWER 17 FOUGERES — THE CHATEAU VIEW FROM COURT CHATEAU D'HERBAULT — SOUTH VIEW 18 CHATEAU D'HERBAULT — THE TOWERS FONTAINE-HENRI -CHATEAU GACE -A HOUSE OF THE 16TH CENTURY 19 CHATEAU DES G R O T T E A U X — S O U T H VIEW FALAISE — THE CHATEAU D'AUBIGNY 20 LISIEUX-BEUVILLERS-OLD MANOR HOUSE 21 HOULGATE-CHALET DU LENATEUR Photo by Harold Field Kellogg, Jr. CHATEAU DE LANGEVINIERE CHATEAU DE LUDE — EAST VIEW ?7 CHATEAU DE LUDE — THE DINING ROOM CHATEAU DE LUDE — THE LIBRARY 23 THE CHATEAU DE L U D E — F I RE P L A C E IN THE DINING ROOM 2-1 LE GRAND A N D E L Y — F I R E P L AC E IN THE HOTEL DU GRAND CERF (16TH CENTURY) WSflSS^^W^^^ff CHATEAU DE KERIOLET — THE DRAWING ROOM ¦/, ,i:- CHATEAU DE JOSSELIN — THE DINING ROOM 23 LASSAY — THE CHATEAU DU MOULIN MEILLANT — THE CHATEAU 26 FALAISE — A HOUSE OF THE 16TH CENTURY IN THE ANTE VALLEY LAVAL — COURT VIEW OF THE CHATEAU 27 MONTREE — THE CHATEAU D'O MONTREE — THE CHATEAU D'O 28 -I 1 5:1 '*™T MONTREE — CHATEAU D'O 16TH CENTURY — THE TOWERS MONTREE — CHATEAU D'O 16TH CENTURY — DETAIL 29 MON TREE-CHATEAU D'O-COURT VIEW CHATEAU DE CHENANCEAUX THE TOWER AND GARDEN WALK 30 **Ss^. MANOIR D'ANGO — TOWER OF AN OLD MANOR HOUSE 31 LANGEAIS — THE CHATEAU SONS LAFFITTE-THE CHATEAU-NORTH VIE W MIRVILLE-(SEINE-INFERIEURE) THE CHATEAU 32 LE PIN (CALVADES) THE CHATEAU DU PIN THE CHATEAU DE M E I L L A N T — E AST VIEW 33 PONTARION (CREUSE) THE CHATEAU ¦^T\-: '- '""' '-: ¦-"A . AT^^,^^^^^^^J4^^^ RAMBOUILLET-THE HERMITAGE IN THE PARK 34 ROLLEVILLE ( S E I N E - I N F E R I E U RE ) — M A N O R HOUSE PETIT-COURONNE — THE HOUSE OF PIERRE CORNEILLE 35 MESNIL-GUILLAUME — THE CHATEAU LA HOUBLONNIERE — THE CHATEAU— 16TH CENTURY 36 J**-*"** f*~ m k ^ I .C-' * SEINE INFERIEURE — MANOR HOUSE OF THE 1 6TH CENTURY 'KA*J^ ')&4wSp 37 LE PUY — OLD HOUSE IN THE RUE DU PRAT DU LOUP SELLES-SUR-CHER — THE CHATEAU SELLES-SUR-CHER — ENTRANCE TO CHATEAU 38 SAINT-PIERRE-DE-CO RMEILLES — AN OLD NORMAN FARM HOUSE SEINE INFERIEURE — A MANOR HOUSE OF THE 16TH CENTURY 39 FONTAINE-HENRY — THE CHATEAU — 16TH CENTURY TOURS — THE CLOISTER DE LA PSALETTE (15TH AND 16TH CENTURY) 40 TOURS — THE CLOISTER DE LA PSALLETTE TOURS — THE CLOISTER DE LA PSALLETTE— STAIRCASE— DETAIL CHATEAU DE VILLESARIN— 16TH CENTURY SOUTH VIEW HUISSEAU- TEAUX- SUR-COSSON — BUILT IN 1 620 THE CHATEAU DES GROT BY GUILLAUME RIBIER 42 z < Hen [— " O o£ X Ul f- en , D J o; u* UJ *"" I2 1 jC en . OS J OH Z j < < OS (J H z U ul en . D ! o OSul en -^ OS J D O H CHATEAU DE LA RAVINIERE RANDAN — PUY-DE-DOME — THE CHATEAU 44 MARTINVAST — THE CHATEAU Photo by Harold Field Kellogg, Jr. NOTRE-DAME-DE-COURSON — THE CHATEAU DE BELLEAU Photo by Harold Field Kellogg, Jr. 45 MEILLANT — THE CHATEAU SAINTE-MAURICE-D'ETELAN — THE CHATEAU 1 5TH CENTURY 46 LANGEAIS — A DOORWAY 47 CHATEAU THIERRY — THE RENAIS SANCE STAIRCASE THE CHATEAU DE S A I N T - G E R M A I N - D E - L I V E T 1 6TH CENTURY SAINT-MARTIN-DU-BEC — THE CHATEAU DU BEC 48 TOURS — INTERIOR COURT IN A HOUSE OF THE 15TH CENTURY TROYES — THE ABBEY AT S A I N T - M A RT I N - E S - A I RE S COURT VIEW 49 TROISSEREUX (OISE) —THE CHATEAU TREMEL (COTES-DU-NORD)— CHATEAU DE KERMERZIT 50 CHATEAU DE VILLEPREAUX (CREUSE) LE THEIL — THE CHATEAU 51 VERNON — CHATEAU DE BIZY — SOUTH VIEW VALENCAY (INDRE)— THE CHATEAU — VIEW FROM THE GARDEN 52 THEVRAY — THE TOWER (1489) 53 SAINT-GERMAIN-DE-LIVET — THE CHATEAU— 16TH C E N T U R Y — S O U T H SIDE NOYON — CITY HALL — INTERIOR COURT 54 THE CHATEAU — NACQUEVILLE — GATE LODGE Photo by Harold Field Kellogg, Jr. MENON (NIEVRE)— THE CHATEAU CHATEAU DE MAINTENON 55 CHATEAU DE MAINTENON 56 SAINTE-MAGNANCE — THE CHATEAU GAILLARD — MANOR HOUSE OF THE 1 6TH CENTURY Ir.BR^E.'.E'lA CHATEAU DE VILLESAVIN (16TH CENTURY) NORTH VIEW BERNAY — CITY HALL— 16TH CENTURY 57 SAINTE-MARIE-AUX-ANGLAIS — MANOR HOUSE OF THE 1 6TH CENTURY i. WStiMminhuXJ-. 73 n ! uIcht! PERIGUEUX— MAISON DU PONT VIEUX 58 VOROLLES — THE CHATEAU MALOU— 16TH CENTURY Photo by Harold Field Kellogg, Jr. SAINTE-FEYRE ( C R E U S E ) — CH AT E A U DU TERREL 59 TOWN GATE, DINAN, BRITTANY Photo by E. B. Gilchrist 60