AHistoryofFrenchArchitectureFromtheDeathofMazarinTilltheDeathofLouisXV16611774 10513337

FRO M T HE D EAT H O F MAZA RIN
T ILL T H E DEAT H O F LO UIS X V
1 66 1 1
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S I R R E G I NA L D B L O M F I E L D
R A
. LI TT D M A F S A
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, . .
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H ON . F E LL OW O F EX E T E R C O LL E G E OX F O R D O FF I C I E R D E L O R D R E D E L A C O U RO NN E
, :
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,
AN D
O F F I C I E R D E L O RD R E D E L E O P O L D 1 1 O F B E L G I U M O F F I C I E R D E L I N ST R U C T I O N
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:
P U B L I Q U E A N D H O N CO R R E S P O N D I N G M E M B E R O F T H E SO C I ET E D ES
, .
A R C H I T EC T S D I P L OM ES D E F R A N C E A U T H O R O F A H I S T O R Y
.
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O F F R E N C H A R C H I TECTU R E 49 6 - 66
,
1 1 1
W IT H D RA W I N G S B Y T HE A U T HOR AND
OT H E R I LL U S T RA T I O N S
VO L I I .
LO N D O N
1 9 2 1
P I NT
R G REA T B R I T A I N
ED IN
C I
H SW I CK P RESS ’
C H A RLES W H I TT I N G HA M A ND G R I GG S ( P I NT
R E RS ) ,
T O O KS C O UR T C H AN C
, E RY LAN E, LO ND ON .
C O N T E NT S
C H A PT
ER PAG E
XV I . THE A R C HI T E C T U R E O F T H E R E I GN O F L O U IS X I V
P e r i o d s ov e rl a p — T h e e arl ie r me n — L e Vau — P e rr au lt — L e P a u t r e
s u pe rs e d e d by J H M ans art —1 6 7 5 1 6 9 0 t he typical p e riod of
. .
-
L o u i s X I V —J H M ans art did not d e v elop th e tra dition of pr e

. .
d eces s o r s — T h e co u ntry ho u s e p l a n — T h e to w n ho u s e pl a n — Fa il u r e
in pu blic a rchit e ct u re u nd e r Lo u is X IV— Littl e don e in Paris — Chu rch
a rchit e ct u r e — R ea ction ag a inst do g m a tic au thority in l a tt e r p a rt of
r e ign — Grea t import a nc e of r e ig n of Lo u is X I V in r e organi zation of

t h e a rts — Fin a l r ea ss e rtion of Fr e nch ge ni u s an d d a w n of mod e rn
,
a rchit e ct u r e
.
I . D AV I L E R A ND D E S G O D ET Z
Individ u ality s u ppr e ss e d u nd e r Lo u is X IV and M ansart s domin ’
a nc e — D a v i l e r born 1 6 3 — T a k e n pr l s o n e r on way to Rom e—St u di e s

5
in Fr e nch Ac ad e my at Rom e— B a d tr ea tm e nt by M a nsart— R e tire s
to Montpe lli e r—A rchit e ct of provinc e of Lan gu e doc— D eath 1 7 00 ,
His Co u rs d Ar Ch it e ct u r e — D e sgod e t z born 1 6 5 3 —Goe s w ith

“ ’ ”
D a v i l e r to R om e a n d t a k e n prison e r — D ra w s a n d m e a s u r e s a nci e nt
b u ildin gs in Rom e —D ra u g htsm a n an d commiss a ry at Chambord
His E d i fi ce s A ntiqu e s d e Rom e —Prob abl e d e si gn e r of t h e
“
O ran ge ry Ve rs aill e s—Controll e r a t P a ris— M e mb e r of t h e Ac a de my

,
of A rchit e ct u r e a n d profe ssor— D e ath I 7 2 8 - Val u e of his work in

,
sci e ntific m ethod an d draughtsm a nshi p .
X V I I I M AN S ART S S TAFF :
.
’
L A SS U RAN C E
’
, LE R ou x , A ND
AU D R Y
C au chy —Dav il er —L A s s u r an c e— B o ffr an d —L A s s u ranc e and t h e
’ ’
ch u rch of th e Invalid e s —Controll e r a t M a rly an d Ch e va li e r of

S Mich e l — Pa ris hot e ls d e sign e d by him : d e B e th u n e d Au v e rgn e
.
,
’
,
d e M aisons d e Roq u e l au r e d e La ss a y— L e Ro u x— M e mb e r of t he
, ,
A c ad e my an d profe ssor— Additions to ho u s e s for Mdlle D e sm are s

His d ecorations- Au bry— H Ote l d e Bo u illon —d e V r ill i ér e — Ho u s e of
.
Mdll e D e sm a r e s — H Ote l d e Conty— Typica l O f first h alf of e ight ee nth

.
c e nt u ry — M e n w itho u t convictions .
V
vi A H I S T O RY O F F R E N C H A RC H I T E CT U R E
C H AP T ER PA G E
X R OB E RT
. DE C O TT E
His r el ationship to J H M a ns art— His ra pid s u cc e ss — D ir e ctor
. .
of t h e Aca d e my of A rchit e ct u r e— His s al ari e s — Jo u rn e y to Lyons

T he a bb e y ch u rch of Poissy— T h e e i g ht ee nth c e nt u ry a rchit e cts a n d
Gothic— Pre mi e r A rchit e ct e d u R oi 1 7 0 8 — D e sig ns for for e ign princ e s
,
— B u e n R e tiro a t M a drid— P a l ac e a t Bonn a n d vill a on t h e Rhin e for

t h e E l e ctor of Colo g n e— E vé c h é a t Ch a lons s u r -M a rn e — M e thods of -
cond u ctin g his practic e —Fr e sc ati n e a r M e t z— Ev é ch é at V e rd u n

, ,
S ave rn e ( Za b e rn ) a n d Stra sbo u rg— Hot e ls in Pa ris : d E s t r e e s d e Lu d e

,
’
, ,
d e To u lo u s e d e M a in e— D e Cott e an import ant p e rson an d a n hon e st

,
a n d c ap a bl e man b u t not a , gr ea t a rchit e ct .
X X JA C Q U E S JU L E S G A B R I E L
. .
T he Ga bri e l fa mily— J J Gabri e l Controll e r a lt e rn atif— C o n

. .
,
troll e r at Ch ambord — A cad e mici a n — His sa la ri e s — Choisi — Ho u s e s

for M me d e Va ra n ge vill e a n d for M d e Mora s— W e st front of
. .
cath e dra l O rle ans

, Pre mi e r In g éni eu r d e s Ponts e t Ch au ssé e s
— Ev é ch é Blois Bridge s by Gabri e l — His w ork a t R e nn e s an d a t t h e
,
-
Pla c e d e la B o u rs e a t Bord eau x— T h e c ath e dral L a Roch e ll e — O n e ,
of the b e st a rchite cts of t h e e i ght e e nth c e ntu ry .
XX I . DE LA M A I R E AU B E RT C O U RT O N N E C A R T A UD
, , ,
D i ff e re nc e b e twe e n t h e a ttitu d e of t h e e ight e e nth c e nt u ry

to wards t h e a rts a n d th at of to -d ay—Appre cia tion of archite ct u r e in
t h e e ig ht e e nth c e nt u ry — A bl e a rchit e cts of th a t tim e n o w sc a rc e ly
kno w n — D e L a M a ire — T h e H Ot e l d e So u bis e a n d t h e H Ot e l d e

Roh an — T h e H Ot e l d e Pompa do u r— Au be rt— S u cc e e ds L A s su r an c e ’
a t t h e H Ot e l d e L a ss a y — T h e st a bl e s of Ch a ntilly— Th e ir imm e ns e
si ze an d cost — Fin e q ua lity of th e ir d e si gn — C o n t r Ole u r d e s B at i m e n t s

an d A c a d e mici a n — Co u rtonn e born 1 6 7 1 — D e si g ns H Ot e l d e M a ti gnon ,
its fl at vau lting a n d H Ot e l d e N oirmo u ti e r — C ar tau d born 1 6 7 5

,
St u di e s in t h e Fr e nch A c a d e my at Rom e — D e signs ho u s e s for

MM d e J a nvry Cro za t a n d Bo u rn e vill e — A c ad e mici a n —Ch at e au of
Montmore nci —
.
, ,
A rchite cts di ffi c u lty in e sta blishin g l a stin g re pu ta tions

’
.
XX I I . O PP E NO R D , M E ISSO N I E R T H E C UV1 L 1 ES ,
Signs of fa il u r e in t h e old Fr e nch tra dition — D a n ge r of t h e

a m at e u r a nd of t h e p a tt e rn book— O ppe n or d st u di e s in Fr e nch
-
Ac ad e my Rome — To u r in Ita ly— R e t u rns to P aris — High opinion

,
form e d of him in Rom e — N egle ct by M ansa rt — Hig h a lt ar S G e r ,

.
m a in d e s Pres— Mon u m e nts a nd d e coration s— S Su lpi ce— O ppe n o r d s ’
fail u re — M e is s on n i er —
.
ll r d d si n r — E xtr av a a nc e of his
j e w e e a n e g e g
w ork —C ochin s criticism —D e C u v i l l i e s t h e e ld e r— P u pil of D e Cott e
’
Ent e rs s e rvic e of t h e El e ctor of Colo g n e A rchit e ct to t h e E l e ctor of -
B ava ria a n d D ire ctor of Cro wn B u ildin gs — His son— B ad in fl u e nc e

,
of t h e d e cora tors a nd orn a m e nta lists .

CO N TEN T S v ii
C H A PT
ER
XXIII . L E B LO N D , B O FFRA ND
Fre nch ar t—I nfl ue n ce in Eu rop e in t h e e ight e e nth c e nt u ry—L e
Blond— His drau ghtsm anship — H Ot e l R u e d E nfe r— Palac e s for t h e ’
A rchbishops of A u ch and N arbonn e — H Otel d e Cl ermont— Ga rd e n

d e sig ns an d T he T h e ory and Pr a ctic e of G a rd e nin g —
“
Edits a n d
compl e t e s D av ile r s Co u rs d Ar chi t e ct u re —Invit e d to Mosco w by
’ ’
P e t e r t h e Gre at — D eath 1 7 1 9 — B offr an d— Introd u ction to J H M an

,
. .
s art— His pl ays — B e com e s an Ac ad e mician — H Ot el s d e Torcy an d

d e S e i gn e l a y — H Ot el A m e lot — D e cor ations in t h e H Ot e l d e So u bis e
His Livre d A r ch it ec t u r e - His w ork for G e rm a n pri nc e s —
“ ’
H u ntin g
lod ge n ear Br u ss e ls — W ork at N ancy— La M al g ran ge— R e pairs to
N otre D a m e — H Opi tal d e s Enfa nts T ro u v é s —His d e signs in t h e com
p e tition o f 1 7 4 8 —His ch a ract e r .
XX I V S E RVA ND O N I ,
H ER E
S e r va n d o n i born 1 6 9 5 —Stu di e s at Rom e u nd e r P anini an d
d e Rossi — D e si g ns Ita li a n th ea tr e a t Lisbon 1 7 2 4 — D e si gns sc e n e ry
,
for t h e O p e ra Pa ris—His s u cc e ss — E l e cte d Aca d emici an W ork at

,
-
S S u lpic e— His sc e n e ry an d ill u min ations— London 1 7 4 9— Paris

.
,
D eath 1 7 6 6 — 8 S u lpic e — H ere— His w ork limit e d to N a ncy and

, .
its n e i ghbou rhood —T h e t w o to w ns o f N a ncy— St a nisla s sch e m e s for

u nitin
g th e m — Here s d e si g ns —
’
T h e Pl a c e Roy a l e — L a C a rrier e -Th e
H e micycl e— T h e cost r e la tive ly inconsid e r abl e— N ancy t h e locu s

of to w n pla nnin g— T h e H Ot e l d e Vill e— O th e r w orks at
’
cl a s s zcu s
N ancy— His triu mph al arch e s— Chu rch of Bon S e co u rs— D ea th 1 7 6 3 ,
— Here a fi r s t-ra t e archit e ct —Compa rison w ith W ood of B ath .
XXV A N G E JA CQ U E S G A B R I E L
T h e g r ea t e st a rchit e ct of t h e e ig ht e e nth c e nt u ry— A c a d e mici a n
an d pre mi e r a rchit e ct e d u Roi— W ork at Bord e au x O rl é a ns V e r , ,
s aill e s an d t h e Royal Pa la c e s — T h e comp e tition of 1 7 4 8 for t h e Pl a c e

Lo u is X V— W ork e ntr u st e d to Gabri e l— His d e signs — T h e Ecol e
Roya l e Milit aire re d u c e d from origin al d e si gn — G a bri e l s instinct for
,
’
proportion a nd s e ns e of s e l e ction — His q u arr e ls w ith t h e D ir ectors

G en e ral of B u ildin g s — T h e S all e d Opé ra Ve rsaill e s and t h e Gra nd
’
, ,
Proj e t —Ga bri e l s a dditions— T h e P e tit T ri anon 1 7 6 3 t h e fin e st

” ’
, ,
e xpr e ssion of Fr e nch a rchit e ct u r e — G a bri e l a n d t h e A c a d e my a n d
M a rigny—T h e l a st of th e O ld G uard .
X X V I S O U FF LO T
. A ND C O NTANT D I V R Y ’
.
S ou ffio t born 1 7 3
1 — St u di e s in Rom e — D e si gns ch u rch of th e
Cha rtreu x at Lyons and in 1 7 4 5 t h e Hot el D i e u Lyons — T h e Hot e l
, , , ,
D i eu n ear Bo u rg—A ca d emici an 1 7 4 9—Visit to Italy with M ari gny

, ,
a n d N icol a s Cochin
— T h e effe ct of t h e discov e ri e s at H e rc u l an e u m
an d Pomp e ii — Piran e si M arigny tri e s to ge t him t he Pl a c e
6
viii A H I S T O RY O F F R E N C H A RC H I T E C T U R E
C PT
HA ER PAG E
Lo u is X V— S o u fil ot s d e sig n —D e sign of S Ge n e vi e ve ( th e P anth eon )

‘ ’
.
Fau lts of t h e d e si g n —Its stru ct u ral fa il u re— Comp a rison with dom e
of S P a u l s — Int e rfe r e nc e of Quat r e mere d e Q u incy—M e n a rs
.
’
Ch u rch a t L e M a ns —His ch ara ct e r— Cont a nt d I vr y born 1 6 9 8 ’
A ca d e mici a n W ork a t S Clo u d and P aris — T h e C a th e dral A rra s

-
.
,
His tr eatm e nt of t h e pi e rs of t h e dom e —T h e e pisc op a l pal a c e

D e sig n of t h e M a d e l e in e at P aris — Its nov e lty— T he ch u rch trans
form e d u nd e r N a pol e on —D eath 1 7 7 7 ,
.
XX V I I . B LO N D E L PA T T E , M 1 Q UE
W ork s on archit e ct u re by a rchit e cts — J F B lon de l born 1 7 0 5
,
. .
His M a isons d e Pl ais anc e 1 7 3 7 His school of archit e ct u re

“
,
-
M e mb e r of t he A c a d e my 1 7 5 5 an d profe ssor— D e si gns for M et z

, , ,
C a mbrai an d Stra sbo u rg— N ot a g rea t d e sign er b u t a fi ne critic

, ,
His Co u rs d Ar Ch i t e c tu r e an d A rchit e ctu r e Fran cais e

’ ”
Blond el s
“ -
’
position a n d criticisms —His hi gh re sp e ct for a rchit e ctu re—D ifficu l t i es

of mod e rn a rchit e cts — P a tt e born 1 7 2 3 —Atta cks S ou fii ot — Com
pl e t e s Blond e l s Co u rs d A r ch i t ec tu r e — His M o nu me n s éri ge s e n
’ “ ’
’
Franc e a l a gloire d e Lo u is X V — His s u gge stions for t h e improv e

m e nts of P a ris — R M i qu e born 1 7 2 8 a t Na ncy— Move s to P a ris
.
,
Pre mi e r A rchit e ct e an d Controll e r G e n e ra l of B u ildin gs and Ga rd e ns -
to M a ri e A ntoin e tt e —Ex e cu t e d 1 7 9 4 .
XX V I I I F R E N C H A R C HI T EC T U R E I N T H E R E I GN O F L O U IS XV
.
N ot v ry m ch priv t b ilding don e in Fr nce in t h e e ight ee nth

e u a e u a
c e nt u ry b u t hi gh position occ u pi e d by archit e cts — Hono u rs confe rre d

,
on th e m — B u ildin g in t h e provinc e s Comp arative n egl e ct of facad e s

Ch an ge in d e si gn of to w n ho u s e s — Th e ir skilfu l pl a nnin g —Alt e rations
in d e cora tive d e si g n — J u s t i fi cati o n of t h e e ight ee nth c e nt u ry m a nn e r
T h e Fr e nch d e cor a tors — Ch u rch b u ildin g— Cha n ge introd u c e d by
S o u ffl o t a n d Cont a nt — P u blic b u ildin g s a nd to w n pl a nnin g— E d u ca
t i o nal e s t a b l i s h m e n t s Ot el s d e Vill e —A dv a nc e of Fr e nch a rchi
t e ct u re in t h e r e i g n of Lo u is X V .
XX I X C I V I C A R C H I T E C T U R E I N T H E R E I GN S O F L O U IS X I V
.
A N D L O U IS XV
T o w n pl n nin g no ne w thin g— Sch e m of H e nri I V — T h

a e e
Lo u vre— T h e Pl a c e d e s Victoir e s — T h e Pl a c e Ve nd Ome— Pla c e Lo u is

l e Gra nd Lyons — Port e d u P e yro u Montp e lli e r— O rl é a ns — S au m u r
, ,
— T h e Fr e nch brid g e s—E st a blishm e nt of th e Ponts et Ch au ss é e s

Prom e n a d e s and Pl ac e s in t h e pr ovi n ce sf —Bord eau x— Péri gu e u x
“ ”
A vallon — S e ns e of vista a n d composition —Tri u mphal a rch e s : N a ncy ,
Lill e B ord e au x Ro u e n D ij on P aris

, ,
Pl ac e s at R enn e s an d
, ,
Rou e n — T u r got s S u rve y of Paris 1 7 3 4— T he comp etition of 1 7 4 8

’ “
,
D e si gns s u bmitt e d — T he Pl ac e Lou is X V ( Pla c e d e la C oncord e )

T h e l a st e ffort of t h e old r egi me .
CO N TENTS ix
C A PT
H ER
XX X . T H E E ND OF A G R E AT T RA DI T IO N
T he d e v elopm e nt of Fre nch a rchit ect u r e from th e e n d of t h e
fift e e nth c ent u ry to t h e en d of t h e r e i gn of Lo u is X V contin u o u s —T h e
domin ation of J H M a ns art t he t u rnin g point b u t a rchit ect u re
. .
,
contin u e d to mov e on r e a son abl e lin e s till t h e la tt e r p a rt of t he

e i g ht ee nth c e nt u ry— S a nity of a rchit e cts of p e riod 1 6 6 1 1 7 7 4 ill u s
-
t ra t e d by th e ir a ttit u d e to Gothic —T h e adv e nt of t h e a m a t e u r— T h e

Comt e d e C ayl u s — His p a tron age of t h e A c ad e my of Pa intin g
His a dvocacy of t h e a ntiqu e— W inck e lm ann an d cl a ssic al r e vivalism in
t h e middl e of t h e e i ght e e nth c e nt u ry— C a yl u s t h e pl u s cr u e l d es
“
a m a t e u rs — T h e a ntiq u e an d s e n t i m e n t al i s m
w
T h e r e viv a lists wi n t h e
d ay — Chal grin — D e Wai lly — Gondo u in — Victor Lo u is— T h e w inn e rs
of th e Grand Prix at R o me — M J P e yr e— Q uat r e mér e d e Q u incy
. .
His p e d antry an d do g m atism — D is a stro u s e ffe ct of his int e rfe r e nc e

w ith t h e a rts —A gr e a t tr a dition kill e d by doctrin air e s .
A P P E N DI X . S O U FF LO T A ND T H E D OM E OF T H E P ANT H EO N
IND E x
E RRAT A IN VO L . II
P age 2 6 Ch apt e r h eadin g f or A U D R Y r ea d A U B R Y
, ,
“ “
.
P age I 3 2 not e 1 s /zou l d r ea d Qu o u sq ue t a nd e m a b u t er i s

,
“
,
C atilina p ati enti a nostra

, .
Page 1 3 5 not e 3 lin e 2 f or S u rint enda nt

, , ,
“
B fit i me n t s
r ea d
“
D irect e u r G énéra l d e s Bati men t s
- .
”
L I S T O F I L L U S T R A T I O NS
S TAT U E O F JO AN O F A RC , ROU EN . D ra w n by Re g in a l d
B l o mfi e ld
H E A D P I E C E FR OM P E RRA U L T S VI TR U V I U S
-
’
G R O U N D P L AN O F M AISO N S AN D PA L A IS D O R L EAN S ’
G R O U N D P LAN S O F H O T E L D A RG O UG E AN D H O T E L D U ’
J AR S a t pp 4 5 .
,
G R O U N D P L AN O F H O T E L D E C H E V R E U S E 4 5 ,
G R O U N D P L AN O F H O T E L D E L IO N N E 5
S E C T IO N O F H O U S E I N R U E D E C L E R Y PAR IS BY R I C H E R 8
, ,
E L E V AT IO N AN D G R O U N D P L AN O F H O U S E D E SI GN E D BY
J H M AN S ART
. . at p p 8 9 .
,
C H U R C H O F T H E S O R BO N N E BY L E M E R C I E R ,
8 9 ,
M O NA S T E R Y AN D C H U R C H O F V A L D E G R AC E V i e w 8 9 .
,
M O NA S T E R Y AN D C H U R C H O F V A L D E G R AC E El e v a t i on a nd .
Gr ou n d P la n at p p 8 9 . ,
S E C T IO N O F T H E C H U R C H O F V A L D E G R AC E 9
L O U IS X I V C HIM N E Y P I E C E S -
19
E L E V AT IO N O F A H O U S E D E SI GN BY D A V I L E R
- 20
G R O U N D P LAN O F A H O U S E D E SI GN BY D A VI L E R -
d ep p 20 2 1 .
,
F I R S T F LOO R P L AN O F A H O U S E D E SI GN BY D A VI L E R -
20 2 1 ,
S E C T IO N P L AN O F A H O U S E D E SI GN BY D A V I L E R - 2 1
P L AN O F T H E PANT H E O N R OM E BY D E S G O D E T Z
, , 22
D E TA ILS O F A R C H O F T I T U S R OM E BY D E S GO D E T Z , , 23
C H AT E A U D E P E T I T B O U RG 28
H O T E L D E SM AR E S El e v a t i o n t o S t r e e t o f F irs t F l o o r P la n
.
a pp. 2 8, 2 9
H O T E L D E SM AR E S G ro u n d P l a n
. 2 8, 29
H O T E L D E SM AR E S El e v a t i on s t o G a r d e n a n d C o u r t
. 29
H O T E L D A UV E R G N E El e v a t ion s t o G a r d e n and C o u r t
’
.
32
H O T E L D A U V E RGN E F i r s t Fl o or a nd G r o u n d P l a n s
’
. a pp. 2
3 , 33
H O T E L D E M A ISO N S G ro u n d P l a n
.
3 2, 3 3
H O T E L D E R O QU E L A I RE El e v a ti o n a nd G r o u n d P l a n
.
33
H OT E L D E C O N T Y G e n e r a l P l a n 36
D E SI GN B Y A U B R Y F O R T H E P L A C E L O U IS X V
.
a pp 3 6 3 7
.
,
H O T E L D E L A V R I LL I ER E BY H C O N T Y , .
37
H O T E L D E S TR EE S El e v a ti o n a n d G ro u n d P l a n
’
.
50
H O T E L D E L U D E El e v a t ion s fro m C o u r t a nd G a r d e n
. at
pp 5 0 , 51
H O T E L D E L U D E G ro u n d P l a n
.
50, 5 1
G A LL E RY O F H O T E L D E T O U L O US E 51
X1
x 11 A H I S T O RY O F F R E N C H A RC H I T E CT U R E
H O T E L D U M A I N E BY D E C O TT E El e v a t ion
, .
H OT E L D U M A I N E BY D E C O TT E G ro u n d P l a n
, .
C HOISI
H O T E L D E B L O S SA C R E N N E S F r o m a d r a w in g
, . by Re g i
n a ld B l o m fi e ld
CXXV I I I . T H E E V E C H E, B LOIS F ro m . a d ra wmg by R e g in a ld Bl o m
fi e ld
CXX IX . W IN G O F H OTE L DE V ILL E R E N N E S F ro m a d
,
. raw in g b y
R e g in a ld B l o m fi e ld at pp 6 0 6 1
.
,
C X XX . H O T E L D E V ILL E R E N N E S El e v a t io n F ro m a d r a w i n g
, . .
b y R e g in a l d B l o m fi e l d a t pp 6 0 .
,
61
P L AN O F L A Y O U T O F R E N N E S
- 6 1
P L AN O F T H E P L A C E R OY A L E B O R D E A U X ,
62
P LA C E R OY A L E B o R D E A Ux El e v a tion a n d P l a n
,
. 63
S O U T H T RAN S E P T CAT H E D RA L L A R O C H E LL E F r o m a
, .
d r a w in g b y R e g in a l d B l o m fi e l d 65
H O T E L D E R OH AN G ro u n d P l a n . a t pp 6 8 .
,
69
H O T E L D E R OH AN El e v a t ion . 68 ,
69
H O T E L D E S O U BIS E El e v a ti o n . 68 ,
69
CXXXVI I . G E N E RA L P LAN O F T H E H O T E LS D E R OH A N AN D D E
S O U BIS E 69
C X X X V I I I C H AN T ILLY
.
72
C X X X I X F R O NT IS P I E C E C H AT E A U D E M O N T MO R E N C Y
. : 75
H O T E L D E S O U BIS E 75
H OT E L D E M AT I GN O N El v t ion d P l n s . e a an a 78
H O T E L D E NO I R M O U I I E R El v t ion n d F i r t F l o r P l n
' ‘
. e a a s o a 79
H O U S E F O R M J AN V R Y . 80
F I R S T F LOO G O U N D P LA N S O F M J A N V R Y S
’
AND R R .
H O U SE tp p 80 a .
,
81
D ESI GN F O R C HOI R SC R E E N AT M E A Ux CAT H ED RA L 81
D E SI GN S F O R D E C O RAT IO N O F T H E PA L A IS R OY A L 88
T RAN S V E R S E S E C T IO N O F S S U L P I C E t pp 88 . a .
,
89
P LAN O F S S U L P I C E. 88 ,
89
D E SI GN F O R S A LO N BY J A M E IS S O N N I E R ,
. . 89
D ESI GN S F O R PA N E LS AN D F O R A B E D R OOM BY F D E , , .
C UVI L L I ES
W OOD PAN E L N OYO N CAT H E D RA L F r o m a d r aw i n g
, . by
R e g in a l d B l o m fi e l d 91
P L AN O F G AR D E N H O U S E S AN D PART E RR E S 94
G R O U N D P L AN O F H O U S E R UE D E N F E R a pp 94 ,
’
. .
, 95
H O U S E R U E D E N F E R PAR IS E L E V AT IO N S B Y L E B LO N D
,
’
, , ,
at P11 9 4 , 9 5
H O T E L D E C L E R MO N T 96
H O T E L D E T O R C Y El e v a t ion a nd G ro u n d P l a n
.
1 00
H OT E L A M E LO T S e c t i o n
. at pp . 1 00, 1 0 1
H O T E L A M E LO T G r o u n d P l a n
. 1 00, 1 0 1
L I S T O F I L L U S T RA T I O N S
PLAT E
C LV I I I C E ILI N G AT T H E H O T E L D E S O U B IS E
.
C HIM N E Y P I E C E B Y L E B LO N D
-
,
C L I X D E SI GN F O R T H E PA L A IS D E L A M A L GRANG E N E AR
.
,
N AN C Y 1 04
C L X D E SI GN F O R IM P R O V I N G T H E PAR V IS N O TR E D A M E
.
,
- 1 05
C L X I W E S T E L E V AT IO N O F S S U L P I C E
. . 1 1 3
C L X I I T H E G R ILL E S N AN C Y AN D F O U N TA I N S
.
,
1 14
C L X I I I F O U N TA I N AT N AN C Y B Y CY FF L E
. a t pp 1 1 4 .
,
1 1 5
C L X I V G E N E RA L P L AN O F L AY O U T O F N AN C Y
. 1 14 -
,
1 1 5
C L X V T H E H E MI C Y C L E N AN C Y F ro m a d r a w i n g by Re g i n a l d
.
, .
B l o mfi e l d
C LXVI . H A L F P L AN O F P L A C E R OY A L E N AN C Y AN D E A S T , ,
E L E V AT IO N
CLXVI I . HA L F P L AN O F P L A C E R OY A L E N AN C Y AN D W E S T , ,
E L E V AT IO N a t pp 1 1 8
"
.
, F
“
I9
C LX V I I I . HA L F P L AN O F P L A C E R O YAL E N AN C Y AN D E L E V A , ,
T IO N O F H O T E L D E VILL E
CLX IX . I R O N W O R K P L A C E D E L A CARR I ER E N AN C Y
, ,
C L XX . E L E V AT IO N N O RT H SI D E O F P L A C E L O U IS X V BY
, ,
A J GA B R I E L at
pp 1 2 0 H2 1
G E N E RA L VI EW O F P LA C E L O U IS XV B Y A J G A B R I E L
. .
,
CLXX I .
, . . 1 21
CLX X I I . P L A C E L O U IS X V G e n e r a l P l an . 1 24
C LX X I I I . P L A C E L O U IS X V D e ta il P l a n . a t pp 1 2 4 .
,
1 25
C L XX I V . P L A C E L O U IS X V D e ta il o f G u e r i te s
. 1 24 ,
1 25
C L X XV . V I EW O F T H E E C OL E M ILI TA I R E 1 25
T H E E C OL E M ILI TA I R E A s F I R S T D E SI GN E D 1 25
C LX XV I . P L AN S O F T H E D OM E O F T H E PANT H EO N 1 38
CL X X VI I . S E C T I O N S O F D O M E O F T H E P A N T H EO N I S9
C LX X V I I I . N O RT H T RAN S E P T A RRA S CAT H E D RA L F ro m a d r a w
,
.
i n g b y R e g in a l d B l o m fi e l d
CLX X I X . T H E M A D E I E I N E A S D E SI GN E D B Y C O NTANT
, W es t .
El e v a t ion
C L X XX . T H E M A D E L E I N E A S D E SI GN E D BY C O NTANT P l a n
,
.
at P1 1 I 44 , 1 4 5
C L X XX I . TH E M A D EL E I N E A S ,
D E SI GN E D BY C O NTANT . S e c t io n
a w . 1 44 , 1 45
CLX X X I I . C O NT A N T S
’
D E SI GN F O R P L A C E L O U IS X V P l a n 1 44 .
,
1 45
C L XX X I I I . C O N T A NT S
’
D E SI GN F O R P L A C E L O U IS X V El e v a t i o n .
” PA I 44 , 1 4 5
C LX X X I V . CAT E A U CA MB R E SIS P l a n o f G r o u n d s a nd G a r d e n s
. 1 48
C LX X XV . C H U R C H AT M ET z D E SI GN E D B Y J F B LO N D E L S e c t ion
,
. . .
at pp . 1 4 8, 1 49
C L XX X V I . C H U R C H AT M E TZ P l a n . 1 48 , 1 49
C L X XX V I I . D E SI GN S B Y J F B LO N D E L
. . 1 54
C L XX X V I I I . P L AN SHO W I NG DI FF E R E NT S C H E M E S F O R TH E P LA C E
L O U IS X V a t pp 1 54 .
,
A H I S T O RY O F F R E N C H A RC H I T E C T U R E
D E SI GN F O R A B E D C H A MB E R BY PATT E ,
D E SI GN S F O R C E ILI NG D AN S L E G O UT AN T I QU E
“ ”
D E SI GN S F O R C E ILI NG D AN S L E G O UT MOD E RN E
“
CXC I . E N TRAN C E T O L Y C EE C O RN E ILL E F r o m a d r a w i n g b y

.
R e g i n a l d B l o mfi e l d
CXC I I . D E TA IL O F H O T E L D E VILL E A B B E V ILL E F ro m a d r a w
,
.
i n g b y R e g i n a l d B lo mfi e l d
CXC I I I . CAR P E T F A C T O RY A BB E V ILL E F ro m a d r a w i n g b y
,
.
R e g i n al d B lo mfie ld
CXC IV . P O N T N E U F T O U LO U S E F r o m a d r a w i n g b y R e g i n a l d
, .
B lo m fi e l d
C XCV . TH E B R ID G E OF TO U RS . F o m a d r aw i n g b y R e g i n l d
r a
B lo m fi e l d az
‘
pp . 1 78 ,
1 79
CXCV I . PR OM E NA D E D E S T E R R EA UX A V A LLO N F ro m a d r a w in g
,
.
b y R e g i n a l d B l o m fi e ld
C X CV I I . P O RT E D E L A C I TA D E LL E N AN C Y F r o m a d r a w in g by
,
.
R e g in a l d B lo m fi e ld
CXCV I I I . P L AN F O R P L A C E L O U IS X V AN D L A Y O U T R O U E N -
,
d epp .
CXC I X . D E SI GN F O R H O T E L DE VILL E R O U E N BY CAR P E N T I E R

, ,
az pp
. 1 82, 1 83
D E TA IL O F P I E R P O RT E G U ILL A U M E R O U E N F r o m a
, , .
d r a w i n g b y R e g in a l d B l o m fi e l d
[E
(LCM
L
W
7
5 “
I
N
S TA T U E OF JO AN UEN ( 7 5 )
O F A R C, R O 1 2
( F RO M A D R A W I N G B Y R E G I N A L D B L O M F I E L D )
11 . To AC P
F E . 1 ]
2 A H I ST O RY O F F R E N C H A RC H I T E CT U R E
is only the central phase of the three that ca n be classified specificall y

as the architecture o f Louis X I V ,
I n 1 6 6 1 Louis X I V w a s young inexperienced and ignorant , , ,
burning with ambition to make his mark i n the world but u n ,
certain how to do i t Fortunately for himself and France h e fell

.
,
into th e hands o f a st a tesman Of unriva lled genius for organization ,
and Colbert whose real Obj ect w a s to r e establish France o n a basis

,
-
Of settled order and prosperity diverted the K ing s craving for ,

’
honour and glory i nto th e patronage and encouragement O f the arts .
Colbert became Surinten dant des B é t im e n t s i n 1 6 6 4 and the reorganiza ,
tion Of the arts of F rance was one o f his especial cares for the remainder
o f his life H e fou nd i n th e K ing s passion for building a ready means ’
.
Of sti mulating the arts and i n the buil ding and decoration of the new
,
Royal houses abundant scope fo r architecture sculpture and pai nt , ,
ing and in their fu rnis h ing and equipment for all the crafts and
,
industries The first thing to do was to find an arch itect F ran c ois
. .
M ansart was still alive but h e was an Old m a n and too independent to
,
”
suit the methods o f Colbert the man Of bon sens moyen , who “
,
1
regarded the arts as part o f th e S tate machi n ery and would not have ,
hesitated to throw overboard the greatest artist that ever lived if h e

i nterfered with th e s mooth working o f the machine I n the second .
rank but i n high employment was Louis L e V a u and for a time Le

, , ,
Vau represented O fficial architecture But Le Vau was a dull man ; .
his desig n w a s O l d fash ioned a nd he had already been passed over when
-
,
he die d in 1 6 7 0 H e therefore c a nnot b e t a k e n a s typic a l o f t h e a r c h i

.
tecture of Louis X I V Fran c ois Blondel w a s a civil servant a savant

.
,
and a mathematici a n quite as much as an a rchitect and though h e was ,
professor o f architecture a n d designed tri u mphal arches and certain

,
engineering works h e does not see m to have been seriously rega rded
,
as an architect a t any rate for th e purpose o f the Royal palaces

, .
M eanwhile th e rebuil ding o f the Louvre was already i n hand with

, ,
Claude Perrault in control and more or less supreme i n architecture

,
for some ten years but Perrault also i n spite of his genius was n ever
, , ,
really accepted by the French architects H e had not been trained as .
a n architect and they suspected hi s technical knowledge and skill

,
i n my opinion quite unfairly Th e force o f professional opinion w a s

.
too strong for him H e also went completely o u t Of favour as an archi

.
”
t e c t and h i s
, Peristyle of the Louvre remained an isolated achieve
ment Of splendid brilliancy Perrault had no followi ng and w a s not
.
,
1
M L e monni er
. .
A RC H I T E CT U R E O F T H E R E I G N O F L O U I S X I V 3
e ven allowed to complete his great design for th e A rc de Triomphe

I n th e F aubourg S A ntoine The only traces o f Pe r r a u l t s influence
’
. .
that I can discover are the oval plaques that were hun g between th e
columns i n the Place des Victoires The Louvre was deserted . .
Ve rs a illes h a d already defe ated Colbert s sch emes for the reconstitution
[
’
o f P a ris Louis X I V h a d got his way and had made it quite clear t o
.
,
Colber t that he me a nt to keep it A n e w type o f man must be fou nd . .
to carry o u t the K ing s caprices an architect suppl e clever and adroit

’
, , , ,
burdened by no scruples o r convictions perfectly plastic i n the hands Of ,
th e K ing o r rather Of hi s M inister A ntoi ne L e P a u t r e w a s evidently

,
.
considered but though a better a rt i st than h is rival h e seems t o h ave

, ,
been a man of r a ther awkward temper and lacking i n finesse Colbert .
fou nd his man in J ules H ardouin Mansart a you ng arch itect scarcely ,
thirty y ears o f age distantly connected with the greatest o f French

,
a rchitects but s o far as o n e ca n ascertai n possessed O f no particu lar

, , ,
qualifications but that Of a pleas a nt address complete absence o f ,
s cruples a n d an extraordinary fa culty fo r getting o n

,
J ules H ardou in .
M a ns a rt was entrusted with C la g n y i n 1 6 7 5 and with Versailles I n 1 6 7 6 .
H e was thrust i nto the A cademy o f A rchitecture and from this time fo r ,
w ard almost to the day o f his death i n I 7 0 8 his supremacy was never
, , ,
seri ously ch a llenged T he disastrous state Of the fi nances howeve r

.
_ , ,
due to the politic a l blu nders of Louis X I V made extensiv e building ,
operations impossible after 1 6 9 0 A fter that date exist i ng undertakings .
w ere carried o n but slowly and with great di fficulty Moreover the .
,
K ing u nde r
,
t he i nfl u e n ce o f M dm e d e M a i n te n o n ha d be co m e .
,
e xtrem e ly devout he had lost his interest in building and no longer

, ,
squ a nder e d the resources of t h e State on palaces for his various

mistresses T he fifteen ye a rs from 1 6 7 5 to 1 6 9 0 represent th e gre a t
.
building period Of the reign O f Louis X I V and the w orks designed ,
b y J H M ansart o r attri buted to his design are the typical expression

. .
, ,
of the archit e cture o f Louis X I V The work done before the ris e o f .
Mansart excepting that of Perrault a n d Of the elder B londel w h o

, ,
stand by themselves belong to the earlier regi me ; the work done i n

,
the later y e ars o f th e reign belo n g to th e new school Of B ullet Of ,
G a briel I I D e Cotte L A s s u r a nc e and L e Blond that became para

,
1
,
’
, ,
mount i n the early years Of the eighteenth century .
Taking J H Mansart s work then as typical o ne has to i nqu i re

. .
’
, , ,
what w a s his positive contribution to French architecture D id h e .
?
i m prove o n the work Of his predec essors i n plan elevation and detail , ,
1
Int end ant et C o n t r Ol e u r d es B fit i me n s d u Roy .
4 A H I S T O RY O F F R E N C H A RC H I T E C T U R E
D id he re a lly dev e lop th e art carry it beyond the poi nt a t w hich it

an d
was left by Fran c ois M ansart ? N 0 man ev e r had such a n opportuni ty
for doing s o u nless i t was Wren and Wren did i n fa ct succeed i n
, , , ,
creating out Of the work Of h is predecessors the most beautiful an d

c ha r a Ct e r is t i ca l l y nation a l type of architecture th a t h a s existed in th is
country since the fifteenth century M a nsart a ppears to m e to hav e .
failed to do a ny t hing of the sort b u t o n t h e other h a nd h e s o exh a usted

,
the building resources of the country that his successors fou nd little
left for them to do a n d had perforce to occupy th e mselves with th e
,
invention O f successive modes i n decoration and the cultivation of th e

fashionable amateur When Le Vau died in 1 6 7 0 the typic a l plan Of
.
the country house w a s pretty w ell established a n d it had i n fact made , , ,
no very g reat advance since the d a ys of D e B rosse and th e Luxembourg .
Except for a notable difference in the a d v anced pavilions o f the fore

court the block pl a n O f M aisons follo w s the block plan Of t h e L uxem
,
1
bourg or Palais d O r l é a n s A n enclosed forecourt with buildings o n

'
all thr e e sides l ed up to a l o w raised platform in front Of the principal

building Th is consisted O f a cent r a l a n d two end pavilions connected
.
by buildings s e t b a ck bet w e en them ; th e entr a nce w a s i n the centre and ,
from the end pavilions wings ran out e nclosing two sides O f the fore
court The only importa nt diffe r e nce from D e B rosse w a s that M a ns a rt
.
2
and L e Va u kept the buildi ngs low on t h e two sides O f the forecourt ,
and usually k e pt the outer o r entrance side free of buildings altogether ,
enclosi ng it with a low wall o r iron rails and important iron ga tes flanked ,
b y a d v a n c e d p a v ili o n s a t t h e o u t e r a n g l e s R i n c y a n d V a u x l e V i c o m t e
.
were characteristic ex a mples I n both c a ses th e m a in block Of buildings

.
was divided by the central entrance pavilion into t w o symmetric a l

h a lves I n th e time o f D e Brosse and even o f D e L O r m e it had been
.
’
usual to place the princip a l staircase in th is centre pavilion a nd i t ,
occupied th is position i n t h e gre a t house designed by Le M e rcier a t

Richelieu Mansart a nd Le Va u abandoned this pra ctice ; a t Maiso n s
.
the very be a utiful st a ircase is to the right O f th e entrance ; a t V a ux l e

Vicomte it is o n the left and r e lativ e ly unimportant A s the principal .
Th e s e r e m a rks a pply only to th e block pl a n Th e r e

. a r e al l sorts Of di ffe r e nc e s in
A t T rny in B rg ndy prob bly

u u u , a rly w ork of L e Vau t h e t wo sid e s of t h e
an ea ,
for eco u rt a r e occ u pi e d by ra n ge s O f t w o stor e y b u ildin gs t e rmin a t e d by p avilions ; th at on

-
t h e ri g ht cont a inin g a circ u l a r ch a p e l th a t on t h e l e ft a Gra nd e Ch a mbre d e P ara d e ; ”

,
t h e sp a c e b e t we e n was l e ft O p e n a n d t h e e ntra nc e into t h e for e co u rt wa s by a brid g e

,
a cross t h e mo a t fl ank e d by t wo b a stions T h e ori gin a l d e si g n of V au x r e p eat e d this

.
,
tr e atm e nt .
[11 . To FAC E
5 [ f
4 : ]
ou r A Ch a r c w e
/ aa x l ow y f a m e
f e mu r /z.
H OT E L DE C H E VR E U S E — P L A N . LE MU TE ( see p 7 . n ot e )
[ 11 . PI ’
.
4, 5
6 A H I S T O RY O F F R E N C H A RC H I T E CT U R E
proceeded w ithout interruption from the beginni ng o f the sixteenth t o

th e th ird quarter of th e seventeenth century was coming to an e n d .
France was by that date very rich i n beautiful country houses I n th e .
days Of F ran c ois I and still more of H enri I V and Louis X I I I it had
, ,
been the fashion to buil d the m i n every par t Of the cou ntry and it had ,
b een part O f the policy o f H enri I V to encourage his gre a t nobleme n

to build i n the country and attend to their estates U nder Louis X I V .
,
less able than his grandfather and advised by a é ozerg eozs o f genius
’
, ,
instead O f by a s a gacious country gentleman this policy was reversed ,

.
The K ing encourage d h is c o urtiers t o buil d and to employ M ans a rt as

their architect but the houses built were almost exclusively i n t h e near
,
neighbourhood Of th e Court and it w as to nobody s interest to build

,
’
outside th e range Of possible promotion The cou ntry h ouse degener .
ated into the large suburban villa and the building O f them came to ,
a de a d stop under the fi nancial stress o f the latter part O f the reign .
I n a less degree as we shall find a l ittle later the town h ouse was
, ,
affecte d by th e s a me conditions but not before it had developed a well

,
r ecognized type O f plan The genera l custo m was to set the h ouse well
.
back from t h e stre e t and to sepa r ate it from t h e entrance by a screen

,
wall with o n e o r two stor e y buildings and an i mportant entrance i n t h e

centre I n a famous Paris house the H Ot e l de M ons Le Com mandeur ,
.
d u J ars ( F M ansart ) the forecourt 6 0 feet wide by 6 7 feet deep was

.
, , ,
to o ne side o f the site with a r a nge Of buildings to the left and the
, ,
stabl e s looking o n to th e street The entrance to the house was i n .
t h e c e n t r e O f t h e fa r t h e r e n d O f t h e fo r e c o u r t a n d M a n s a r t s e d the
,
u
space to the right Of the entrance vestibul e up to the p a rty w a ll for his
m a i n staircase The entrance vestib u le opened o n to a large ante
.
chamber w ith its complete s u ite on the back or garden S ide of t h e

h ouse and o n the left o n to a s econd smaller suite w ith v a rious small
, ,
service st a ircases A t th e H Ot e l d A r g o u g e ( now M usée C a r n a v a le t )

.
’
t h e e ntr a nce from t h e stre e t passed through an archway into a fore
court 6 2 feet by 5 4 feet and at the farther end Of the forecou r t Fran c oi s
,
Mansart pl a ced two doorways o n Opposite sides that o n the left Openi n g ,
o n to a n ewel st a ircase ; th a t on the r i gh t o n t o a vestibule from which
a ccess was given to the principal suite Of rooms occupyi n g the farther
side o f th e forecourt and to th e m ain st a ircase ; a separate carriage

,
entrance to the stables from the street w a s provided in the right hand -
corner F r an c ois M ansart an artist o f great independence and origin

.
,
ality placed his staircases and entrances w h erever he found it most

,
c onvenient and h is plans S how much more freedom than those of any
,
A RC H I T E C T U R E O F T H E R E I G N O F L O U I S X I V 7
O f h i s contemporaries and successors except A ntoine Le Pa u t r e who ,
i n spite o f his bad taste appears to have been o n e O f the ablest h ouse
plan ners o f the seventeenth century H is treatm ent of a very awkward .
site at the H Ot e l de B eauvais w as a masterpiece Of planning ahead ,
O f any plan by his c ontemporaries except perhaps at a lower level , , ,
C o t t a r t s plan o f the H Ot e l de B i z e u i l B ut the pl a ns of both these

’
.
houses w ere exceptional Th e plan generally adopted fo r a town .
house w a s to separate the house from the street by o n e o r more courts

side by S ide v iz the forecourt flanked by lowe r ra nges o f buildings
, .
, ,
o n o n e or both sides and where th e site admitted it by a subordi nate

, ,
o r base court rou nd which were ranged the Offices stables and court
, , ,
houses A ll the principal rooms were in the mai n blocks at the farther
.
1
end o f the court or courts the more important rooms looking out o n to ,
the gardens at the back The S ide W i ngs were sometimes utilize d for .
galleries o n the first floor but more Oft e n the serva nts were crowded ,
i n above th e stables o r wherever any Odd place could be fou nd for ,
them I n a town h ouse designed by J H M a nsart and engra ved by

.
2
. .
Pierre L e Pa u t r e the servants had to sleep i n an entresol above th e

,
stables a n d belo w a gra n a ry constructed in th e roo f .
I n the main b u ilding the rooms were alw a ys arranged in sets ;

antechamber chamber and c a binet or antechamber chamb e r bed
, , , ,
chamber cabi net and g a r de-r oé e These were entered from o n e

, , .
another but i n important houses small service stairs to each suite

,
w ere provided These arra n gements so far were workable a n d a

.
, , ,
r e a t a d v a n c e i n c o n v e n i e n c e o n t h e O l d s i n l e t h i c k n e s s pl a n s u c h a s
g g ,
that Of th e H Ot e l de S ully i n the Rue S A ntoi n e ; the re a l difficulty .
comes i n with the kitchen and Offices Th e usual provi sion o f O ffices .
i ncluded the cuisine th e S a ll e a ze Cow m a n s ommell er ze and g a r de

'
’
, ,
mcmg e r These were always placed i n a wi ng and it seems to have

.
,
been the Obj ect of the designer to place them as fa r away as possible
from any o f the living rooms no doubt to avoid t h e smell o f cooki n g ,
and the noise o f the servants banging the plates ; but the difficulti es Of
service must have been intolerable A t the H Ot e l de Lionne designed .
,
by Le Vau the kitch en and Offices were at th e extreme south -west

,
angle next the street I n ord e r to bring food to any possible di n ing
.
room the servant had to traverse the whole l e n gth o f a wing passing
, ,
W h r it e epossi bl e a s e p ara t e e ntranc e was m a d e from t he str ee t to

was th e ba s e
c o u rt a s a t t h e H Ot e l d e Ch e vr e u s e in t h e F au b o u r
, g S G e rm a in . .
2
R d e rs of e ight ee nth c ent u ry m e moirs w ill r e m e mb e r t h e gal e ta s
e a
“
and its
u nsavo u ry r e cord .
A H I S T O RY O F F R E N C H A R C H I T E CT U R E
through various rooms on the way I n a design by J H M ansart for . . .
the H Ot e l de Lorge t h e kitchen i s shown in the south west a ngle O f

,
1 -
the forecourt and apparently the servant h a d t o cross th e court and g o u p

,
the grand stairc a se to reach the S a l l e d-ma ng er on the first fl oor I have -
.
n oted already the extreme inconvenience of the arrangements both at

M arly and Versailles ; a pparently Frenchmen i n th e reign o f Louis X I V
attached little importance t o th ese details O f domestic service .
A nother noticeable defect in these plan s Of tow n houses i s the ,
habit that prevailed of plac ing the stables qui te close to the h ouse and ,
i n i m mediate proximity t o living rooms Th e stables 3 6 feet 9 inches .
by 2 4 feet Of the H Ot e l d u J ars contained nineteen h orses ; the stalls

were only 3 feet wide i n clear and the whole w ork O f the stable had to ,
b e done in a y ard 1 8 feet 3 inches by 1 4 feet The subst a ntial carriage

2
.
h orses of th e period must h a ve leant a gainst each other fo r the only

rest they could ever get I n the section o f a house i n the Rue de C lery
.
,
built and probably designed by J Richer the horse i s shown i n a l ow .

,
pitched cellar ( 8 feet 6 i nches high ) with no apparent means of getting ,
it i n o r o u t M odern arch itects may have fallen behind in their st a ndard

.
3
Of architectural technique but they may at l east claim and E nglish ,

—
architects in p a rticular—to have made a most material advanc e i n the
practical details o f domestic architecture Th e essential weakness o f .
the Lou is X I V i deal betrays itself i n all its realizations T he search .
for g lory immediate and personal speedily degenerated i nto a

“
,
”
search for mere glorification conce n trated almost W h olly o n externals .
The a r chite c tu r e O f L o u i s X I V w a s a l l fo r S h o w ; i t h a d l it t l e r e g a r d
for the intimacies Of life i ts a i m w a s t o dazzle by its i ncessant and i n
,
sistent m a gnificence .
I n a nother direction this boundless egotism w a s responsible fo r

,
the co m parative failure Of public architecture Of W hat is now called ,
town planning i n t h e reign o f Louis X I V The point o f view had

, .
cha nged since the days Of H enri I V Th a t K ing h a d furthered .
schemes O f i m provement i n th e interests O f his people n o t for his ,
o wn l o r i fi c a t i o n— and it is significant that the revocation O f the E dict

g
Of N antes w a s th e occasion taken by great provincial towns such a s A ix
e u Provence and M arseilles to petition the K ing fo r permission t o s e t
-
1
Ru e N v S A
eu e .
gu stin
u .
2
In th e pl a n of M aisons R u e d e L U n i ve r s it é by L As s u rance th er e
t h e H Ot el d e ,
’
,
’
,
w as st a blin g for thirty fo u r hors e s b u t t h e h a rn e ss room only m e a s u r e d 2 0 ft lon g with

-
, .
a n a v e r a g e w idth of 6 ft 6 in . .
A n t h oi n e L e P a u t r e in on e of his s ections sho ws t h e st a bl e u nd e rg ro u nd

3
.
l
/t
‘s
[I L TO F AC P
E . 8
PL . XC V I I
E L E VA T I O N OF H U D IGN
O SE ES ED BY J H
. . N A R T ( o r L A SS U R AN C E) ( s e e
MA S
’
p . 1 0 )
G OU N P LA N
R D OF A B OV E
II . PP . 8 , 9]
PL . X CV I I I
TH E CH URCH O F T H E SO R B O NN E B Y
. LE M ER C I ER ( see p . I 1)
[II . PP . 8, 9
PL C I .
11 . PO FAC P
E .
9]
A RC H I T E C T U R E OF T H E RE I G N O F LO U I S X I V 9
u
p stat u es in h is h onour A t M ar s eilles th a t remarkabl e arti
. st Pierr e
P uget w as consul t e d a n d he n o t only contrac t ed with the E c h e v rn s

,
'
O f M arseilles fo r an eq u estrian figure o f the K i ng but prepared fiv e ,
dra w i ngs for a grand Place t o receive the figure ; L un m ontre la “ ’
Place a pe r cu e d u port avec la partie des constructions en fa c ade sur l a

mer : l autre la montre v u e d u cours Puget propos e d to pull down the
’
.
a rsenal in order t o m ake room and made h is Place oval in pla n a , ,
recollection Of B ernini s at Rome H is scheme m et with a good deal ’

.
O f Opposition and was fi nally referred to Vers a ill e s H ere M ansart

, .
took o n himself t o make some alterations in Puget s design wh ich so ’
i ncensed that artist that h e finally intimated t o the E che v i n s th a t if

M ansart s designs were adopted n o t only woul d h e have nothing t o
’
do with the Pl a ce but he would withdraw h is u ndertaking t o make the

,
statue Of the K i ng Ultimately the whole scheme was dropped The

.
1
.
K i ng himself appears t o have taken little inter e st in th e se schemes o f

public i mprovem ent I n the e arly d a ys a fter th e death o f Mazarin the
. ,
K ing o r rather Colbert evidently inte n d e d t o d o somethi ng to i mprove

, ,
th e laying out of P a ris Blondel prep a red a pl a n Of th e city with the

.
h elp o f his ass i stant B ullet but little seems t o hav e come of it N O ,
.
1
a ttempt was made to carry o u t th e fi n e scheme prepared for H enri I V
e a rly i n the century I ndeed with t h e exception Of certa i n I mprov e

.
,
m ents to the B a stio n S A ntoine a Q u a i on the S ei n e the erection Of .

, ,
the Porte S D enis the Porte S Ma r tin and alterations to th e P orte

.
, . .
S A ntoine the Place d e s Victoires a n d the Plac e V e n d Ome ( a l l monu

.
,
m e n t s t o t h e g l o r y O f t he K i ng o u i s X I V did n o thi n g fo r t h e c ity

) L ,
Of Paris While he spent m illion s on his p a l a c e s and gardens h e cared

.
,
so littl e fo r Paris that he n e v er finished the Louvre stopped th e great ,
A r c de Triomphe d u T r One w hen it w a s only a fe w fe e t a b o ve the

ground a nd transfe rred the P la c e Ve n d Om e to the M unicip a lity in
,
excha n ge for a barr a ck fo r his M u s qu e t e e r s at a ruinous cost t o the

C ity There were fountai ns a n d c a sc a d e s and statues in o verwhel mi n g
.
profusion at M arly a n d Vers a illes but the K ing himself never put ,
up a single fou ntain i n Paris The monuments in the Place des .
Victo i res a nd the Place Ve n d Ome were put up to h i m but not by h im ,
1
See Gra nd e s A r tist e s ( P u ge t par Philipp e A u q u i e r pp 9 5
Le s P uge t was
, ,
.
a lso cons u lt e d i n r e a rd to L e Co u rs d e M a rs e ill e H e r e h e s u gge st e d th at t h e c e ntr a l

g .
ho u s e of ea ch block Sho u ld h a ve a l arge port e coch ere in ord e r th a t e a ch block “

,
”
mi ght a pp ear to b e a si ngl e m agnific e nt p al a c e .
2
See History of Fre nch A rchit e ct u r e 1 4 9 4 1 6 6 1 vol ii pp 4 1 4 6 ( R e gin ald
“
,
-
,
.
,
.
-
B l o mfi e l d ) .
II
and the H ospitals of La S alpét r ier e and Les I nvalides appear to h ave
exhausted his i nterest in public buil dings early in h is reign H e .
identified the State with himself s o completely that reforms and i m

r o v e m e n t s which did not affect hi m personally seem t o have left hi m
p
unmoved H e took no pains to avoid the danger foreseen by Colbert
. .
H is dislike Of Pari s lost the throne t h e affection o f the capital C i ty ,
and the seeds of the Fre nch Revolution were sown by Louis X I V
himself .
Towards the end Of the reign a notable change appears i n external

architecture The orders were deposed from their place o f pride the
.
,
younger generation such men as L A s s u r a n ce the elder fou nd they

,
’
, ,
could d o nearly all they wanted without them J H M a nsart h imself . . .
still used orders above orders in his elev a tions in much th e same way ,
as Fran c ois Mans a rt but W ithout his delicate sense Of sc a le and relief
, ,
and o n th e other hand W here he dispensed with them as in th e

, , ,
E curies at Versaill e s he had been anticipated by Fran c ois Mansart ,

1
and Le Muet I t w a s claimed for J H Mansart by his a dmirers that

. . .
he was a great original designer who might possibly be ignorant o f ,
a ntiquity but ampl y atoned for it by the fertility O f his i nvention

, I .
ca n fi nd little trace Of this in his known work— n e a rly all Of which w a s
designed before he became S u rintendant The work assigned t o hi m .
after th a t date I b e lieve to have been in fa ct designed by his a ssist a nts ,
L A s s u r a nce and others and i n this lat e r work no uniform m a nner is

’
traceable The designs for example O f the H Ot e l de l O r g e engraved

.
, ,
’
by M a r i e tte a n d a t t r ibu t e d t o M a n s a r t a r e O f a pp a lli n g i n e p t i t u d e

, ,
.
O n the other hand there i s a design O f a house a b é t ir at the s a m e

,
“
date attributed to Mansart which i s as good as the other is bad The .
plai n rustications and simple and well spaced tre a tment Of the fa c a de
suggest th e hand of L A s s u r a n ce and certainly can not be by the ’
same designer as the H Ot e l de l O r g e Y e t both a r e attributed to ’

.
J H Mansart and the conclusion I come to is that in his latter days

. .
, , ,
the quality of h is work depended o n the capacity of the particular

member of his staff to whom the work Of prepari ng the drawings w as
assigned and that these later works represent n o t J H M ansart a nd
, , . .
the characteristic m a nner of Louis X I V but the younger school w ho ,
came into their own under t h e Regency after the death of M ansart a nd
L ouis X I V .
I n Church architecture the French architects at any rate in Paris , ,
1
E g
. .
, on the ru stica tions of r t door wa y of
t h e g ea t h e H Ot e l d e Conty ( s e e M ar ot ’
s
e n gra vin g) .
A R C H I T E CT U R E O F T H E R E I GN O F L O U I S X I V 1 1
were m ai nly occupied with the problems of the dome Le Mercier s .

’
dom e at the S orbonne s e t the example N ext ca m e the Val de G r é ee .

,
wh ich followed S Peter s i n its external treat ment with the s u b s t it u

.
’
tion of single engaged columns a s buttresses for the coupled columns

Of S P eter s A t th e I nvalides J H Mansart went back to the coupled
.
’
. . .
columns and his dome i n spite of the criticisms I h a ve already s u g

, ,
gested is certa inly the finest Of the three Le Vau s dome at the
, .
’
Q uatre N ations and E d i n th e Church f the A ssumption w ere ’

r r a r s , O ,
less ambitious and not successfu l i n either case N e ither of them .
a pproach es Fran c ois M ans a rt s i nterior O f the Church Ste Mari e in ’

.
the F a u b o u r g S A ntoine and Le Vau s do me i s far too low on h is

.
,
’
building .
O n the whole I come to the concl u sion that notwithstanding the

, ,
v ast a mo u nt o f building undertaken in the reign of Louis X I V no ,
great advance was made i n French architecture during th a t period ,
except i n domestic planning J H Mansart re a lly belonged to the . . .
Old school rath er than the n e w I n spite Of certai n i nnovations that he .
i ntroduced i n the details O f decoration he w a s not the man to recon ,
s t i t u t e architecture and the ch a nge in direction ca me with the school

,
that succeeded hi m with men who though they had worked for , ,
J
. H . M ansart had been quietly
, elaborating a manner of their o w n .
These men were n o longer dominated by the orders The mysteries .
Of Vitr u vius h a d become so fa miliar th a t they no longer furnish ed a

reason fo r an exhibition o f architectural technique and there w as no ,
opportunity for further experiment T he orders had taken their pl a ce .

1
i n the vernacular architectur e of the time and we shall find that ,
J. H . M ansart s successors ’
though they used them from time t o time t
,
o
mark I mportant features were by no means impressed with any urgent ,
necessity fo r their use at all The reaction Of the eighteenth century .
against dogm a tic classic had already begun A rchitects at length .
realized that the whol e paraphernalia Of the orders resuscitated a s i t ,
had been from the fragments o f Roman Temples and Basilicas had no ,
necessary relevance to domestic architecture The real importance O f .
the reign Of Louis X I V i n the history of architecture lies less i n i t s

actual buildings than in Colbert s reorganization Of the arts and the ’
,
freeing o f cert a in lines Of thought that slowly fought their way to

a rticulate utterance The process is apparent in the records o f the
.
conferences of t h e A cademy O f A rchitecture I n its earlier days the .
fu tile comp e tition for

T he a Fre nch ord e r a nd t h e u se of oval inst ead of circ u l ar
,
col u mns on o n e S p e ci a l occ a sion , s u m u p t h e only a tt e mpts a t innov a tion .

1 2 A H I S T O RY O F F R E N C H A RC H I T E C T U R E
A cademy was still oppre s se d b y the weight of a u thority T o Bl on d el .

,
its fi rst D irector and Professor the rules laid do w n by th e a nc i e nts

,
( and the a ncients to a l l i ntents meant Vitruvius

) were pretty ne a rly
sacrosanct D eviations if conc eivable were undesirabl e a n d the

.
, , ,
problem of architecture was not s o much to translate c onstructi on i nto

beautifu l forms as to ring the changes o n the orders withi n certain
’
definite and ascertainable limits Blondel s insistence o n authority and
.
,
h is very learned exposition O f its teaching had done a real servic e in

steadying architecture and recalling a rchitects to the necessity O f a
,
close and i ncessan t study O f their technique but there was at th e s ame ,
tim e and i n active Opposition to the heavy hand Of the A nci e nts ,
another S pirit in the air Perrault the free lance and free -thi nke r i n
.
,
-
architecture had carried through a brilliant i f short lived camp a ign

, ,
-
,
o n the side O f the M ode m s an d within th e solemn walls o f the

,
A cademy itself there were men of active and i nquiri ng minds w h o

were not prepared to spend the rest Of their l ives i n tedious exercises
i n classical design The practical and logical spirit of th e F rench man
.
very soon asserted itself The A cade m icians began t o approach the
.
orders from the point o f V iew O f practice and speedily extended their ,
researches to problems Of construction and the nature and use Of

”
materials The spirit Of i nquiry the desire reru m cognoscere causas
.
, ,
which inspired the A cademy Of S cience extended its influence to the ,
A cademy o f A rchitecture and here it showed itself i n tendencies which

,
have ever since dominated French architecture I n th e first place a .
deliberat e a ttempt w a s ma d e to stand a rdiz e a rchit e ctu r e by t h e e sta b

li s h me n t Of recognized rules of technique This of c ourse was no n e w .
, ,
thing I t had been done by the I talians i n their editions of V itruvius

.
’
and in treatises Of their ow n I t had been attempted by D e L O r m e
. ,
En l l a n t and Gouj on
,
B ut the fine enthusiasm o f the Renaissance had
.
been lost The study o f antiqu ity which had been pursued fo r the love
.
o f knowledge had degenerated into the search fo r cribs and d i e/ ref s ;
the dra u g htsmen a n d the orname ntalists had caught up th e fashionable

manner a t a point many stages removed from t h e origi nal and all sorts ,
o f ignorant vagaries and licences had crept into c irc ulation The .
am ateur Roland F r é ar t de Chambray for example in his parallels Of

, , ,
arch itecture had m ade things worse by his i naccuracies I t was th e

, .
fir s t business of th e A c ademy to put this right and t o m ake a u t ho r ita ,
tive pro n oun cement on the actual prac t ice of anti q u i ty They ran sa cked .
the writi ngs Of the I talians— Palladio Scamozzi Vignola c o m pa r e d , ,

-
fi
their rules with the remains o f famous buildings i n Rome and here ,
the fi nal overthrow O f the I talian i nfluence a n d the complete r e a ssertion

French genius keen trench a nt logic a l a n d si nc e re W i t h a ll
'
O f the , , , .
their susceptibility to id e a s and i n spite o f their

, the F r e nch
are perhaps th e most tenacious ra ce i n the world .
The reign o f Louis X I V is i mmens e ly important i n the history Of

French architecture The lines laid down by Colbert are still in t he
.
mai n those o n which m odern architecture is working a n d it w a s not his,
fa ult that the i mpetu s that he gave to the a rts of France died away i n
the l a tter p a rt Of the reign A rchitecture may be p a r a mount a mo ng t he
.
arts but more th a n any other it is at the mercy o f extern a l co n ditio ns

,
.
O wing to social and political causes the a r t fell a way i n the eighteenth
century The age of great building enterprise ended with the seven
.
t e e n t h century Louis X I V had built hi mself and his courtiers to the

.
verge O f b a nkruptcy M oreover deep underlying forces w ere at work

.
, ,
.
The politic a l and social condition O f France w a s unsou nd The sole m n .
hypocrisy of the latter d a ys o f Louis X I V had its necessary coroll a ry in

the unbridled licence of the Regent and the d isasters O f L a w a nd his
system Th e reactio n against a l l a uthority activ e at first only in the
.
,
world of ide a s w a s gra dually rising to the sur face with the men Of
,
action Throughout the eighteenth century t h e m e n a ce O f the i mmin e nt

.
c a t a strop he becomes ever more sinister a n d insistent .

C H A PT E R X V I I
D AV I L E R A ND D E S GO D E T z
H E R E is a famous portrait by H y ac i n t e Rigaud engraved , ,
by E d e li nck o f J H M ansart S itting in a chair o f state i n

,
. .
, ,
his robes as a Chevalier of the O rder Of S Michael with an .

,
enorm ous per i w i g a large florid astute person w h o gives the impres
, , , ,
sion Of the professional super man the successful collector of in nu m e r -

,
abl e j obs du ly carried out for him by a staff of assistants sous

“
,
“
clef o r as they would n o w be called

,
”
, ghosts The whole pre ,
“
.
s c u t a tion is typical O f the reign of Louis X I V a regime of po n derou s ,
a n d overpowering authority o n e man first th e rest nowh ere : among

, ,
the abl e practitioners i n the R oyal service o ne searches in vai n fo r

distinct individualities I n the earlier period there were men Of char
.
acter and distinction Claude Perrault gentleman and scholar ; Blondel

, , ,
his erudite and acrimonious ant a gonist ; Charles E r r a r d painter archi , ,
te e t and s w ordsm a n ; A nt o i n e L e P a u t r e ill -b a l a n c e d a n d i r r e g u l a r b u t , ,
not without a touch o f genius— a ll of them men w h o lived their liv e s

their o w n way B ut a s Colbert s mach ine settled do w n t o its beari n gs
.
’
individualities tended to disappear ; both K i ng and M inisters preferred

the obedient humble servant to the man Of ideas Th e r e sult w a s a high .
average of tech nical competence an d an adv a nc e i n directions which I

have already i ndicated but the romanc e o f A rt was gone scared out
, ,
of existence by M ansart s periwig ’

.
The brief and pathetic career of A ugusti n Charles D a v ile r was

significant of m uch B orn in Paris i n 1 6 5 3 Of a Lorrain e family from
.
N ancy he was one Of th e first students t o enter the school o f th e

,
newly formed Royal A cademy o f A rchitecture at the Palais Royal i n

-
J anuary I n 1 6 7 4 he was nominated as a Royal Pensionary fo r

T he Ac ade m y O f A rchit e ct re w
sta blish e d in a d e p e nd e nc e of th e P a lais Royal
u as e ,
t h e old H Ot e l d e Rich e li e u a n d r e m a in e d h e r e till 1 6 9 2 w h e n it wa s mov e d to t h e

, ,
Lo u vre P r océs -V e rb a u x
. i 2 N ot e by L e monni e r
,
”
, . .
I S
A H I ST O RY O F F R E N C H A RC H I T E CT U R E
the A cade m y at Rome and on 1 9 S epte mber 1 6 7 4 a warrant fo r ,
2 0 0 francs was issued a D a v il e r l e j eune pour l e voyage qu i l v a faire ’
en I talie pour e s t u die r dans l aca d é m i e d A r ch i t e c t u r e 31 Rome ’

D a v il e r
’
.
” 1
started with his friend and fellow-student D e s g o d e t z intendi ng to g o , ,
by s e a fro m M arseilles to Genoa but their ship was captured by ,
Barbary pira tes They were taken to A lgiers } where they remai ned as
.
prisoners for the next sixteen months till Colbert rescued th e m by ,
means of an exchange Of prisoners and the t w o students finally reached ,
Rom e in 1 6 7 6 I n D ecember o f th a t year E r r a r d the D irector reported

.
, ,
to C olbert L e Sr D a v ile r architecte qui est l un de ceux que votre

,
.
, ,
’
e x s e l a n ce a d é livré de l e s cla v a g e des T e u r s e s t u n garson sage lequel

’
s a ppl i q u e
’
a l é t e u d e I l l ui manque d u dessein lequel il a b esoin
’
.
,
é t e u d ie r comme j e lui fa i t z pr é sentement a pl i q u e r E r r a r d very

’ ” 3
.
,
properly attached vital i mportance to draughtsmanship which as he , ,
put it est la baze e t fondement de s e bel art

,
Colbert wh o took a .
”
close personal interest i n the progress of the students but kne w as ,
m uch abou t drawing a s a washerwoman wrote to E r r a r d i n M arch 1 6 7 9 ,
that he h ad seen D a v il e r s drawi ngs o f the Pal a zzo F a rnese a n d certain

’
churches and w as fairly s a tisfied

,
M ais j e n ay pas trouvé qu il ,
’
,
’
dessi n a it assez bien S till as E r r a r d thought well of the young man

.
, ,
h e w ished D a v i l e r to continue his stu d i e s a t Rome and if E r r a r d found ,
h e had s u fficient c a pacity he wished D av il e r to m a ke a special study o f

water its supply and service condu its aqu e ducts the different effects
, , , ,
obtainable th e behaviour Of w a ter h o w high it would rise and S O on

, , , ,
and also t o e x amine a l l t h e b e s t exa mpl e s o f w a t e r w o r k i n I t a ly T h e -

.
4
gardens at Versailles w e re gro w ing ap a ce a n d Le N Otre and the ,
F r ench ga rden d e signers relied on water for their most brilliant effects .
I n t h e su m mer O f 1 6 7 9 Colbert w r ote again to E r r a r d expressing s u r

’
prise that h e had received no report on D a v i le r s progress and some ,
doubt as to whether D a v i l e r w a s as skilled in hydraulics as he believed

himself to be D a v i le r h a d already asked for leave to ret u rn to F r a nce
. ,
a n d Colb e rt granted it r a ther reluctantly promising on his return to see ,
1
Compt e s i 7 8 1 I t is significa nt th a t t h e A ca démi e d e Fra nc e at Rom e
“
, ,
.
“
sho u ld b e c a ll e d L Aca d é mi e d Ar c h i t e c tu r e Colbe rt wa s thinkin g O f b u ildin g r ath e r

’ ’
.
th a n p a intin g or sc u lptu r e Th e r e is no m e ntion of t h e awa rd in t h e P r o c és V e rb au x

.
“ -
of t h e Ac a d e my of Archit e ct u r e T h e Ac ad e mici ans th e n a ctin g we re Blond e l Br u a nd

.
, ,
D Or bay
’
G i tt a r d , L e Pau t r e , a nd .
M ari e tt e s a ys th at whil e
2
a prison e r D av il e r d e si gn e d a mosq ue wh ich wa s a ft e r
wa rds b u ilt i n T u nis .
3
Corre spond a nc e i 6 4
“
, ,
65
-
.
i 79 , .
DAVI L E R A N D D ES GO D ET Z I 7
whethe r D a v ile r possessed a n y r eal capacity i n the matter H e appea r s .

1
to have return e d to Paris i n 1 6 8 0 for i n D ecember of that year he pre ,
sented the A c a demy o f A rchitecture in P a ris with a plan Of the c hu r c h

”
and colonnade Of S Peter s i n Rome fort exact e t fort grand and .
’
,
“
,
the A cademy was s o pleased wi th it that it s e t it up I n I ts rooms comm e “
u n gage de la reconno i ssance que ledit S r D a v i lle r s ren d par c e .
p r es e n t a l a ca dé m i e d a r c hi t e c t u r e
’
o f which he was
’
one o f the first ,
students a n d on W hose nomination he had been sent to R ome pour

, ,
“
S
’
y perfectionner .
” 2
Th e relations Of the A cademy o f A rchitecture t o its stu d ents a r e

here shown i n a very favourable light The A cadem i c i ans still in the .
,
first gl o w o f their enthusiasm took more than a merely perfunctory ,
interest i n their students I n 1 6 8 1 D a v il e r came before them aga in .
with a design of his o w n o f a triumphal a rch the centr e a rch round t h e , ,
two S ide a rches square headed T h e comp a ny probably guided by -

.
,
B londel consider e d that the l a tter should be reserved for temples

, .
T hey a lso criticised a design for a basilica i n th e I ta lian m a nner but ,
they dealt very gently with the young architect They commended his .
i nd u stry but pointed out that a high -pitched roof ( a la F ran c a ise ) w a s
,
unsuitable for a building a l I t a lie n n e ’

.
3
M eanwhile D a v i le r h a d been m a king researches i nto the life an d

,
work o f V ignol a a n d i n 1 6 8 3 he read his prefa ce to the A cademy

, .
The company j udge d that ses expressions sont j ustes e t les not e s qu il ,
’
y a dj o u s t e ingénieuses e t s ca v a n t e s Everythi ng w a s going o n w ell .

”
t ill M d e B l a i n v ill e a pp e a r e d a t a c o n fe r e n c e o f t h e A c a d e m y i n fo r m e d
.
4
,
that body that it was time th a t some result o f its labours should be
brought before the public which should be worthy Of its Royal title , ,
and s uggested that members should a ddr e ss themselves to a considera

”
tion O f la sal u brit é la s o l i di t e la commodit é e t la beauté d u B a stim e nt
“
,
'
,
.
The voice was the voice O f J acob but the hand was the hand Of E s a u ,
.
1
M ari e tt e s ays D av i l er was in Rom e fi ve y ears T h e Corr e spond e nc e of t h e D ire ctors .
sho w s th a t h e w a s th e r e not qu it e fo u r .
“
P r o c es Ve rb a u x i 3 0 0
2 ”
-
.
, ,
3
M id i 3 09 ,
In A u gu st 1 6 8 1 D av il e r s u bmitt e d a d e si gn for a dom e for t h e
, .
, ,
S ist e rs o f t h e A nn u nci a tion a t S D e nis an d t h e A c a d e my s u gge st e d th a t h e sho u ld m a k e

.
,
fu rth e r sk e tch e s .
4
M d e Bl a invill e wa s t h e fo u rth son of Colb e rt a n d in 1 6 7 4 h ad b ee n grant e d t h e
.
,
s u cc e ssion to t h e post of S u rint e nd ant d es B at i men t s h eld by his fa th e r a n d it w as in ,
this c a p acity th a t h e visit e d t h e A c a d e my O n t h e d ea th of Colb e rt Lo u vois took t h e .

,
post hims elf Bl ainvill e e nlist e d in t h e a rmy a n d was kill e d at t h e b attl e of Bl e nh eim in
.
1 7 0 4 s e e L e monni e r P r oc es V e rb au x i 2 7 2 a n d ii
(
”
-
, , , , ,
II D
A H I S T O R Y O F F R E N C H A RC H I T E CT U R E
Colbert whose temper became more and more u ncertain was i m pati ent
, ,
for immediate results The a ncients and the cl a ssics and thei r com .
m e nt a t o r s were swept away Vignola an d D a v il e r were dropped .
abruptly and the A c a demy devoted itself thencefor w ard t o pr o blems

,
o f construction bridge building foundations stones bricks and m ortar , , , , .
D a v i le r thus fou nd himself headed o ff from the quiet stu dious

future that he might h a ve hoped for with the help o f the A cade m y and ,
had to look elsewhere fo r a career but there w a s no Opening in P a ris fo r ,
a young man with n o powerful family backing and lacking in the power ,
of resolute sel f a ssertion I n the autumn O f 1 6 8 4 D a v i l e r entered the

- .
O ffice o f J H M ansart as one o f his draughtsmen at a salary Of

. .
francs a year H ere he continued till .

1
and M ariette says
o f M ansart that I l n e fa s o i t rien pour l e Roi qui n e pass a t par s e s
mains I n his leisure moments he had been steadily advancing with
.
h is w ork o n Vignola and his com m entary h ad n o w developed into a ,
systematic course o n which he consulted th e leading architects Of the ,
time D O r b a y i n p articular a n d i n 1 6 9 1 he produced his Cours

,
’
d A r c h i t e ct u r e qui co m prend les ordres de Vignole and i nclu ded a

’ ”
,
l ife Of Vignola with a description o f b u ildings designed by him and by

,
Mich a el A ngelo and a dic t ionary of architectural terms The book was
, .
well received and D a v i l e r hoped o n the strength o f it to b e able

,
to start a practice o f his o w n i n Paris Mais co mm e n ca nt a .
r c e v o i r que t a nt qu il d e m e u r o i s t a t t a ch e a M Mansart qu il
' ’ ’
S a
pp e e t .
t r a v a il l e r o i t e n sous ordre i l n e fa l l o i t pas s en fl atter i l s e d é g o u t a de

’
, ,
s o n e m pl o i a n d a c c e pt e d a n i n v it a t i o n fr o m t h e t o w n o f M o n t e l li e r
” 3
,
p
to u ndertake the superv i s i on o f a triu mphal arch to Louis X I V to be ,
built t here from the designs Of D O r b ay N o do u bt he w a s nomi nated ’

.
4
by D O r b a y who seems to have been a loyal friend whereas M ansart

’
, ,
tre a ted him exceedingly badly I n a letter to Langlois the print -seller .
, ,
written i n S epte mb er 1 6 9 1 D a v i le r complained bitterly of the conduct ,
of M ansart qui loi n de l u i é t r e favor a ble l e t r a v e r s o it dan s l e dessei n

,
“
,
qu il a v o i t formé de s e faire re c evoir d ans l a ca d é m i e Roy a le d A r chi

’ ’ ’
tecture 1 1 s o repent d a v o ir perdu cinq ann é es de s o n temps a u pr es de

.
’
”
cet architecte .
5
In J a n u ary 1 68 6
1
fra ncs were p aid to D avi le r an d C au chy re sp ective ly for
, ,
fi v e q u art e rs p aym e nt C au chy h ad b e en w it h M ans a rt sinc e 1 6 8 3 Pi e rr e C ai ll eteau

. .
dit L A s s u ra n ce was a lso r e c e ivin g this s al ary as on e o f M a ns art s drau ghts me n

’ ” ’
Compt e s ii ,
”
,
L a st e ntry in t h e C ompt e s
2
M a ri e tt e .
3
.
L a Port e d u P e ron a t Montp elli e r

4
M ari e tt e A b ec ed a rio ( D aviler ) .
5
,
.
LO U I S x 1v C H I M N E Y P I E C ES ( see p 2 0 )
- .
( FROM C O U R S D AR C H I T E CT U R E
’
D A VI L E R,
11 . To F AC P
E . 1 9]
‘
it was necessary to take stock of architecture and re a ssert its essen tial 1
principles i f the art was to avoid the extravagance a n d l icenc e i nto

,
which i t had falle n in th e hands of such men as P ietro da Cortona ,
Rainaldi a n d B orro m i ni m e n who deliberately s e t up their own capri ce s

, ,
as models a n d were heading straight for a manner moins artiste que

, ,
le Goth ique e t tout a fait Opposée a l a n t i q u e

’ ”
.
,
D a v i le r s treatm ent o f his subj ect was thoroughly practi cal and his
’
w ork with its ad m irabl e plates and cl ear explanations must have been
, ,
a godsend to students o f architecture after the rath er pedantic l u cu b r a

tions Of F ran c ois B lond el Th e orders door w ays and entrances .
, ,
windo w s lucarnes and yeux de b e u f balconies niches chi m neys and

, ,
“
, , ,
chimney pieces are dealt with i n detail and excellent rules o f practice
-
,
are given such as s u r tout i l faut e v it e r de couper l a cornice a u devant

,
de chaque lucarne Th ese men had really mastered the first principles
.
of classical architecture its i nstinctive feeling for breadth and sim ,
p l i c i t y i t,s disl ike o f fu ssiness and of any detail th a t interfered with

restfu l design its constant s earch for rhythm and proportio n D av i l e r
, .
gives plans and elevations of a typical house a n d a very good design i t ,
is though th e plan w a s already o l d-fashioned when Le Blond brought o u t

,
his editio n o f 1 7 1 0 S taircases and roofs mansards domes and th e.

, , ,
c omble a l i m pé r i a l e ( ogee cupolas ) with the d e signs o f gardens

’
,
2
compl ete the first part Of the Cours This is followed by a detailed .
”
consideration o f materials and construction an ac count with illustrations ,
of buildings by Vignola and M ichael A ngelo and further details such , ,
a s c or n ice s r u s ti c a t i o n s a n d p a n e lli n g T h e s e c o n d v ol u m e i s e n t i r e ly
, , .
devoted to a dictionary Of terms From the point o f V iew o f practical .
a rchitecture D a v i le r s Cours d A r ch i t e ct u r e was the best work Of its

’ ’
,
’
kind that had yet bee n issued I t s style is luci d and readable th e illus .
,
t r a t i o n s are excellent and D a v i l e r knew very well what he was writing

,
about b oth as a practical architect and as a student o f architecture

, .
What B ullet did for the business man and the su rveyor D a v ile r did ,
fo r the working architect for the man that is whose concern lay with , , ,
the design and the construction o f buildings T h e popularity of h is .
book w a s well deserved and the modern student ma y still study i t s ,
pages with advantage .
1
t e ms e n t e rns
R e n o u v e ll e r d e .
V ol i 1 9 0 L a sci e nc e d A r c h it e ct ur e e mbrass ant to u t e s l e s c o nn oi ssan ce s qu i

“
2 ’
,
. .
s e rv e nt t a nt a la c onstr u ction q u a la D ec orat io n d e s Ed i fice s comm e l es j a rdins en sont

’
,
ins é p ar a bl e s e t contrib u e nt not a bl e m e nt a l e ur e mb e lliss e m e nt j ay c r u q u il e s t oit u til e ;

, ,
’ ’
d e tra it e r e n g én é ra l d e l a m anier e d e l es d é core r .

”
[1 1 . To F AC P
E .
G O U N D P LA N
R OF H OU S E B Y D AV I L E R
F I ST F L OO P L A N
R R OF H U
O S E B Y D A VI L E R
20 , 2 1
P L C VI .
11 . TO FAC P
E . 21 ]
D AVI L E R A N D D ESGO D ET Z 2 1
A ntoine D e s g o d e t z was born i n the sam e ear as D a v il e r

y
b ut u nl ike D a v i l e r must h a ve very early shown his abil ity as a
, ,
d ra u ghtsman for h e w a s already employed i n m aking drawings and

,
p lans o f the royal buildi ngs i n 1 6 7 1 H e rec eived further payments .

1l
for plans and elevations Of royal houses i n 1 6 7 7 3 and i n 1 6 7 4 when

2 -
, ,
”
he w a s paid 4 6 0 francs he is descri bed a s d e s s ig n a t eu r
,
I t was in .
the autu mn of this year that h e sta rted fo r Rom e w ith D a v ile r but w a s ,
carried Off t o A lgiers by pirates and did not finally reach R ome till the ,
beginni ng o f 1 6 7 6 D e s g o d e t z do e s not appear t o have been a student

.
i n the school of th e A c a demy Of A rchitecture i n Paris ; there is no

entry o f any gran t of a pension t o him for the S chool at Rome n o r is ,
h e mentioned i n the C orrespondence of th e D irector Of that S chool

duri ng the year a n d a half that he spent i n Rom e dra wing and ,
measuri ng most Of its i mportant ancient bui l dings H e must have .
worked with great rapidity for h e was back i n F ranc e i n 1 6 7 7 .
I n D ecember D e s g o d e t z sub m itted his drawings to the

,
A cademy o f A rchitecture i n P a ris and he appears t o have resumed his ,
occu pation as a d r aughtsman for i n D ece mber 1 6 7 8 there is an entry, , ,
i n the Comptes o f payments o f 2 00 francs a D e s g o d e t z d e s ,
s e i n a t e u r pour plusieurs dessei ns e t pl a nts des maisons Royales and

g ,
i n 1 6 7 9 he and M a tthieu were still employed on plusieurs plans “

,
”
elevations e t pr o fi ls .
I n 1 6 8 0 he w a s appoi nted to the permanent pos t o f Com m is a la

conduite d e s reparations at Chambord at a salary Of francs per
a nnu m a
, po s t w h i c h i n 1 6 8 3 i s d e s c r ib e d i n t h e Co m pte s a s
”
Commis a u controle des b a s t i me n s de Cha m bord .
3
E arly i n 1 6 8 2 D e s g o d e t z brought o u t his great work Les Ed ifi ce s ,
antiques de Rome dedicated to C olbert and in A ugust o f that year

,
”
h e w a s awarded francs en consideration d u l ivre d a r c h i t e c t u r e ’
des a nt i q u i t e z de Rome qu il a donné a u public ,

’
I n N ovember 1 6 8 2 .
, ,
he received a further paym ent o f francs s u r les desseins qu il ,

“ ’
a fait des b a s t im e n s de Versailles I have already referred to the part .
that may have been taken by D e s g o d e t z in the design and drawings Of

the O range ry a n d suggest that the latter paym ent and the appoint
,
1
Compt e s i 4 7 8 H e r e c e iv e d p aym e nts of 1 4 0 an d 2 0 0 francs
, ,
. .
P r o ces-V e rb au x d e l Aca dé mi e d Ar ch i t ect u r e

2 ’ ’ ”
.
Th e e ntry in th a t y e a r is po u r s e s gage s d e 1 6 8 2 fra ncs T h e s a lary s ee ms

3 “
.
to h av e b egu n w ith francs in 1 6 8 0 from 1 6 8 1 to 1 6 8 5 it dropp e d to

,
In 1 6 8 6
it was rais e d again to francs a nd in 1 6 90 it a pp e a rs to h a v e ris e n to
, fra ncs
Compt e s iii , ,
E xp e ns e s we r e allo w e d an d occ a sion a lly g ra t i fi cat i on s I n 1 6 8 4
,
.
D e sg o d e tz w as p aid 1 8 0 fra ncs for j o u rn eys a n d 3 0 0 fr a ncs “

pa r g ratific ation
, .
”
ment at Chambord may really represent his reward for th a t work .
D e s g o d e t z presented a C opy o f his book to th e A cademy w h o acknow ,
ledged its rec e ipt but paid no further attentio n to it for t h e next
,
twelve years and D e s g o d e t z s early relations to the A cademy are

,
’
”
Obscure I n 1 6 8 2 he is described a s agrege de cette A cadémie
.
“
what this means does n ot a ppear I t did not carry with it the r ight to .
attend the meetings of th e A c a demy as D e s g o d e t z only Obtained that ,
i n D ecember 1 6 9 4 o n direct nomin a tion by the K ing Y e t i t appears

, ,
.
1
from his statement i n the preface to the E d ific e s antiques ( 1 6 8 2 )

that D e s g o d e t z i n 1 6 7 2 Obt a ined permission t o attend the Conferences
’ ”
J s en 1 6 7 2 l a perm ission d etre présent a ses conferences that ’

O b t i n , ,
h e did s o fo r two years and that at the end o f 1 6 7 4 J e fus envoyé 21 , ,

“
Rome avec les A c a démiciens que l e Roi y entretient pour é tudier

l a r ch i t e c t u r e l a p einture e t la sculpture
’
.
,
I n 1 6 9 4 D e s g o d e t z was appointed C o nt r Ole u r a Paris at a salary

of francs per annum and a tailor was dispossessed o f his lease in ,
order that D e s g o d e t z might have his house H e held this a ppoint .

2
ment together with that o f C o nt r Ol e u r Of Chambord and after 1 6 9 8

, ,
with that Of architecte d u Roi The number Of Offices these a rchitects .

3
m a naged to combine i s astonishing and after M ansart s succession t o ,

’
'
the S u r zn fe n da m e i n 1 6 9 9 there seems to h a ve been a rise i n th e ,
salaries O f the building o fficials all round Th e funds were entirely in .
his hands and having plunged them deep in the treasury chest for hi s
,
own purpose he concili a ted his colleagues by a generous disposal Of

,
what was left .
I n 1 6 9 8 D e s g o d e t z w a s nomin a ted a member of the A cademy i n

succession to D O r b a y w h o had died the year before regrett é de toute
’
la Compagnie and i n the reconstructio n o f that body in 1 6 9 9

, ,
D e s g o d e t z appears i n th e second class but w a s ultimately promoted ,

,
to the first class a n d i n 1 7 1 4 became Professor o f A rchitecture to the

,
A cademy i n succession to D e La H ire and o n e of the most constant ,
Of its members I n 1 7 1 1 he appears i n the Co m ptes as C o n t r Ole u r

.
“
gén é ral des dits B fit i m e n t s ( d u R o i ) at a s a l a ry of francs per

annu m B a u c h a l says that from 1 7 1 7 t o 1 7 2 6 he was architect Of the
.
C oll ege de B eauvais H e died i n 1 7 2 8 . .
1
P r oces-V e rb au x, ii 2 9 2 O n re c e ipt of a l e tt e r from Villa c erf containin g t h e royal
, .
ord er M e ssi eu rs l es
“
a rchit e ct e s d u Roi ont t e eu Mons D es G o d e t z po u r a ssist e r a l e u rs
c .
confe r e nc e s .
”
2
Compt e s iii
“
, ,
1 1 89 .
A t a s al a ry of
3
francs in 1 6 9 8, rais e d in 1 6 99 to francs .
PL . CVI I I
DE TA I LS O A C H
F R OF TI TUS . A U
ME S R E D A N D D R AW N B Y D E SGO D ET Z E N G R AV ED B Y
,
P . L E PAUT RE
(s ee p . 2 4 not e
)
II . To F AC P
E . 2
3]
DAVIL E R A N D D E S GO D ET Z 23
W ith the possibl e excepti o n Of the O rangery at Versailles and

B a u ch a l s statement I can fi nd no other record of any architectural
’
wo r k by D e s g o d e t z and this is the m ore remarkable in view of the

,
brilliant promise o f his work as a drau ghtsman The fact w as that as .

,
D a v i l e r had found there w as l ittle C hance for anyone in Paris W h o was

,
not related i n some way o r another to J ules H ardouin M ansart and it ,
i s i mpossible to estimate the loss to F rench architecture due to th e

,
regim e o f that prodigious person D e s g o d e t z had to devote himself t o.
acade mical work and after his election h e took an active p a rt i n the
,
discussions of the A cademy which appears t o have accepted him as the

l eadi n g authority on all details O f classical architecture The P r oces .
V erbaux after 1 7 0 0 are largely occupied with disc u ssions o f h is pr o

o s a ls usually in opposition to those o f B ullet D e s o d e t z hoped t o
p , g .
standardize architecture by the establishm ent o f definite formulae fo r

all its details I n dealing with cornices for rooms for example h is ai m
.
, ,
”
was chercher a s e prescrire des r ég l e s H e prepared m emoirs a n d
.
1
dra wi ngs on vaulting and domes a course Of lectures o n geometry and ,
stereotomy and i n 1 7 0 1 2 made detailed drawings o f th e five orders

2
,
-
which th e A c a demy accepted subj ect to their approval by M a nsart ,
and n o d oubt intended as a standard s e t n o t only for the schools but ,
also fo r practising architects M ansart actually made some alterations

.
,
but i n 1 7 0 2 handed the whole thing over t o D e Cotte w h o had j ust

been a ppoi n ted D i rector Of the A cademy .
T here can be little doubt that D e s g o d e t z knew more about the

d e t a il s O f R o m a n a r c hi t e c t u r e t h a n M a n s a r t D e Co t t e and t h e whole ,
A cademy of A rch itecture put together L e s Ed i fi ce s antiques de .

“
”
Rome was a most remarkable work i n every way not only in the ,
immense labour it must h a ve entailed but i n its consumm a te a e com ,
p l i s hme nt When . D e s o d e t z m a de these drawi ngs he w a s only about

g
twenty -two and the book was published before he was thirty Y e t I
, .
d oubt if there has ever been a finer collection of measured drawings .
I n his preface D e s g o d e t z says that he w a s induced t o undertake it fo r

h is own instruction by the differences i n m easurements t o be found in
various a uthorities but that on his return to Paris the A cademy i n
,
formed Colbert O f his drawings and the latter i nstructed him t o com ,
p l e t e the drawings and had them engraved by th e Royal engravers 3

at
“
P r o c é s—
V e rb au x iii M iii 1 7 9
1 2
, , 33 7 i d , , .
B o i s s i er , L e C l e rc , L e P a u t r e , a n d oth e rs T h e e n g ravin g s
3
D e C ha s t i ll o n, D e l a .
ar e of e xtraordin a ry d elic acy an d cl e arn e ss T h e pl a n of . t h e P a nth e on a n d t h e d e t a ils

of t h e e nt a bl at u r e of t h e C a mpo V accino ( p 1 2 9 ) of t h e . Frontispi e c e of N e ro ( p 1 4 9 ) .
his Maj esty s e x pense This o f course entailed the usual compli m ent s
’
.
to Colbert on the debt that cette m a itresse des autres arts la belle
,
“
,
e t noble a rchitecture owed to c e g o fi t exquis que vous avez pour “

,
toutes choses and to notre incomp a rable m onarque w h o sum m e d

, ,
”
u
p in his o w n person all the virtues ci vil and military o f th e fa m ous , ,
Roman E mperors The real motive of D e s g o d e t z book w a s that .

’
desire fo r exact knowl edge which w a s at th e back o f muc h Of the

A cademy s work H e a pologizes for the m inuteness Of his meas ure
’
.
ments but s a ys he gives them puisque cet exactitude est la seule

,
”
chose dont i l S agit i c y M oreover instead Of following t h e example
’
.
,
of authors who reconstitute th e whole o f a gre a t temple o n the

evidence Of three columns h e points o u t that his drawi ngs represent ,
”
“
les edifices en l estat q u i l s sont A great part O f the text is taken
’ ’
.
up with a demonstration o f t h e manifold errors of P a lladio S erlio and , ,
D e Chambray Writing O f th e Pantheon he says of Palladio M esme

.
,
i l n a pa s dessiné l e plan com me i l a cott e dans s a description S erlio

’ ”
.
qui a dessiné c c Temple a a u ssi fa it beaucoup des fautes dans l e plan ,
ou l on n e trouve aucune proportion u i a u dessei n mi a u x m esures qu il

’ ’
donne A s fo r D e Cha mbray pour c e qui est d u chapiteau des

. ,
“
”
colonnes i l semble qu il a esté d e s s ig n é d i n v e n t i o n
,
I n the whole ’ ’
collection only o ne pl a te that O f the the a tre of M arcellus w a s not , ,
drawn from measureme n ts t a ken by D e s g o d e t z himself on the spot ,
and he gives the excellent re a son that it had been built into t h e
Palazzo S avelli a nd was except for a ve r y small p a rt inaccessible
, , , .
This conscientious measurement to fractions Of a n inch a n d t hi s e x a c t ,
and admirable draughtsmanship indicate a new standpoint i n the study

o f architecture The work Of D e s g o d e t z w a s a great advance i n
.
schola r ship i n scientific method a n d i n historical loyalty a quality

, , ,
which h a d been almost entirely l a cking i n previous writers E xactitude .
had not been the Obj ect i n Pa l la dio s pl a usible relations and even D e ’
L O r m e a searcher O f the most stubborn industry was by no means

’
, ,
accurate A s for poor F r é a r t de Chambray the authorities o f the

.
,
latter part o f the seventeenth century were u nanimous i n treat i ng hi m

w ith scorn and contempt as the merest amateur Th e Ed ifice s .
“
”
antiqu e s de Rome and D a v i l e r s Cours were the direct result o f
,
1 ’
and of t h e a rch of Titu s ( p 1 8 5 ) ar e m a st e rpi ec e s of archit e ct u ral drawin g a n d

.
e n g ra vin g .
Blond e l ( J w ritin g a ft e r t h e middl e of th e e i g ht e e nth c e nt u ry s a ys of “

1
. Les ,
Ed ifi ce s a ntiqu e s tha t it h ad b e com e e x t r em e m en t ra r e an d th a t a r eprint wa s

” “
,
”
d e sirabl e H e also s ays th at t h e trea tis e s by D esgod e t z on t h e m e a s u rin g of b u ildin g s an d

.
D AV I L E R A N D D E S GO D E T Z 25
Col b ert s A cademies and th e embodiments o f all that was soundest i n

’
their teac hing : The re a ction from the o ppr e s s w e c ontrol o f Louis X I V
a fe w years later w a s s o strong that t h e le ad th ey ga ve w a s o nly i m
perfectly foll owed and we shall fi n d French architecture trailing off
,
i nto all sorts of absu rdities which even the sane and resolu te teaching
,
o f th e you nger Blondel was powerless to arrest N either D a v i l e r nor .
D e s g o d e t z l eft their mark on th e architecture o f t h eir ti m e They .
were easily passed in th e race by others yet th eir patient and i n d o m it

,
able devotion to the study o f architecture has preserv ed their memory ,
when their more s u ccessful colleagues have lo ng sinc e fallen into

oblivion .
t he law s of b u ildin g s we r e hi ghly e st e e m e d Co u rs vi 4 8 2

, , M L e monni e r
.
r oc es V e rb au x iii 0 0 not e
) m e ntion s a Co u rs d Arch i t ec tu r e C opi e d in MS by
“ ”
(
’
P -
, , 3 , .
o n e of t h e A c a d e my st u d e nts n a m e d Pin a rd as pr e s e rv e d in t h e C a bin e t d es E st a mp e s

“
, .
H e a lso s ays th a t in t h e E d i fi ces a ntiqu e s D e sg o d e t z only u s e d a p art o f his dra w in g s

”
,
a n d th a t t h e r e m aind e r v e ry c a r e fu lly finish e d still e xist D esg od e t z book L e s Lois d e

’
, , .
,
B fit i m e n t s s u iva nt l a co u t u m e d e P a ris w e nt thro u gh s e v e ra l e ditions in t h e e i ght ee nth

”
,
c ent u ry.
C H A PT E R X V I I I
M A NS AR T S T A F F : L A S S U RA NC E L E R o U x A U D RY
’ ’
S , ,
A ND
H E phase Of architecture which is most typical o f the reign of

Louis X I V came t o a n end a quarter Of a cent u ry before his
death The year 1 6 9 0 marks approximately the closing down
.
O f the immense building ent e rprise of the ten preceding years and ,
though the buildings o n h a nd were slowly and laboriously completed ,
n o import a nt fresh work w a s undertaken after that date J H Mansart . . .
w a s occupied with his a ffa irs a n d the fa r reaching responsibiliti e s o f

-
his post as S u r zn l erzda n f a nd it i s do u btful if he took any active part

'
in design during the latter ye a rs o f the reign H e left it to the able .
staff which he had collected at t h e expense o f the State a n d as a t o n e ,
ti me o r another all the most i mportant buildings of the ti me p a ssed

through Mansart s Office these men had a unique opportunity not only
’
Of e xercisin g their own powers Of design but of acquainti n g thems e lves

,
with the special conditions O f m onument a l design and the all impo r tant ,
-
question o f scale I t by no means follows that because a n architect has

.
been successful with buildings o f modera te size h e will b e equally ,
s u ccessful with buildi ngs o n a great scale E ach scale h a s its o w n .
p e culiar di ffi culties a n d the constant failures in scale O f l a rg e buildings

,
is due to want o f experience quite as much as to want of a bility in

design E r r a r d failed badly i n the church of the A ssumption ; s o did
.
Le V a u at the Coll ege des Q u a tre N ations and fine as w a s Pe r r a u l t s

,
’
design fo r the Louvre i n itself from the point O f V i ew o f th e sc a le o f

,
th e existing building h e merely added o n e more fa ilure to the long

series of experiments a t the L ouvre M ansart s staff enj oy e d a s u c
.
’
cession of u nrivalled chances of large design They m u st have formed .
a lmost a school of their own and in this w a initiated that gre a t tradi
, y
tion O f civil architecture i n which the French have been supreme since
th e end of the seventeenth century M ost of them attained consider
.
26
M A N S A RT S S T A F F
’
27
a ble distinction i n the next generation D e C otte L A s s u r a n c e and .

,
’
B o ffr a n d were accomplished architects a n d M ansart though u nfair , ,
a nd u nscrupulous w a s a good j udge Of ability and seldom m a de

, ,
m istakes i n the C hoice O f h is st a ff .
The entries i n the Comptes are highly suggestive o n this point .
When M ansart b e gan C lag n y i n 1 6 7 5 he had only o n e clerk or draughts

m a n C a uchy O r C o ch e r y at a salary O f 6 0 0 francs per annum I n 1 6 7 9
, ,
.
Cauchy w a s a t w ork o n the stables O f th e Grande E curie at Versailles .

1
I n 1 6 8 3 he a ppears a mong the O ffi cie r s des B a s t im e n s as d e s ig “ “
nat e u r a t a salary o f francs I n 1 6 8 5 h e is j oined by A ugustin .
Charles D a v ile r autre dessinateur at ,

“
francs and by P ierre , ,
”
C a i l l e t e a u dit L A s s u r a n ce dessinateur at the same s a lary which I
’
, , ,
take to b e equivalent to from £ 2 5 0 to £ 3 0 0 a ye a r I n 1 6 8 7 B o ffr a n d .

,
dessinateur then twenty years of age w a s taken o n by Mansart at a

,
”
,
salary Of 6 0 francs a month a d e s s ig n e r les plants e t pr o fils des basti ,

“
D a v il e r a s
”
m ens de la Place V e n d Om e e t d u Commun d e s Capucines .
2
,
I h a ve shown gav e up his post i n disgust in 1 6 9 0 but the others c o n

, ,
tin n ed in M a nsart s employment and it must b e a dmitted th a t with the

’
, ,
exception Of D a v ile r Mansart looked after his m en for they were all in
, ,
d ue course promoted to posts o f honour and e molu ment Even poor Old .
Cauchy the earliest of h is draughtsmen w h o had worked at the same

,
3
,
sal a ry for some t w enty y ears w a s rewarded i n 1 7 0 0 with an I nspectorship ,
at M eudon a t francs per an n um , a n d in 1 7 1 0 with a n I nspectorship

i n P aris a t the s a me salary and finally arrived at the dignity Of the ,
s e co n d c l a s s of m e m b e r ship i n t h e A c a d e my o f A r c hi t e c t u r e A ft e r .
M ansart bec a me S u mmer44mm all thes e posts were at his appointment /

,
and b e duly handed them out to his O ld e m pl o y ee s M ansart w as .
surely most fortunat e o f m e n n o t only did h e pay himself a gigantic ,
salary but h is staff w a s found fo r hi m by the S t a t e and he w a s able

, ,
to reward them by various appoi ntments at th e S tate exp e nse a ,
S ingul a r contr a st with Wren whose o fficial salary as S urveyor w a s ,
£ 3 0 0 a year and w h o w a s deprived o f even that i n the latter years

,
Of his life .
“
P ierre C a i l le t e au dit L A s s u r a n ce as he is described i n the ’
accounts w a s I believe o n e Of the ablest architects o f the reign o f

, , ,
Louis X I V though B londel had a higher opinio n o f B ullet Little

,
.
,
Compt e s i 1 1 8 0 2 '
, ,
l bzd 1 1 1 2 7 2
. .
, , .
3
B e sid e s C au chy t h e drau ghtsm an a C au chy app ears in t h e Comp t e s as a m a son ,
contractor a n d H er l u i s on m e ntions a Pi e rre C au chy m a st e r p aint e r and bo u rge ois of

,
”
P aris wh o di e d in 1 68 7 age d a bo u t fifty , .

28 A H I S T O RY O F F R E N C H A R C H I T E CT U R E
however is known o f h i m o r his work A cer tain L A s s u r a n ce a ppears

, .
’
”
i n the Comptes as having been employed a s appareilleur at
C la g n y and Marly i n 1 6 7 9 and 1 6 8 1 and it a ppears that his business ,
as appareilleur at C la g n y was l a taille e t po s a g e de la v a u l t e de la

chapelle There is no evidence to S how W hether this was a relation o f
.
”
Pierre C a i lle t e au or C a i l le t e a u himself as there w a s nothin g inherently ,
improbabl e in a skilled foreman mason bei n g a dra ughtsman bu t he is ,
first m entioned i n th e Comptes as dessin a teur i n 1 6 8 5 I t ”

.
appears that b e was at o nc e employed on Mansa rt s Church Of th e

‘ ’
I nvalides I n 1 6 9 5 h e was paid the balance o f a sum of

. francs
due to him for work at the chu rch from N o v ember 1 6 8 5 to March 1 6 8 9 ,
and h e also received th e balance due to hi m as draughtsman fo r the

last nin e months o f 1 6 9 5 at a rate Of francs per annum though
, ,
it seems that this may have be e n to compensate for the reduction o f his
salary to 7 0 0 francs in the dis a strous year o f 1 6 9 4 when payments to ,
the A c a demy were suspended and the Tre a sury w a s a lmost empty .
The Comptes are not alwa ys clear after Colbert s death and S til l
” ’
less so u nder the S eer zm en da m e of M ansart when ch a rges were some

'
‘
,
times l u mped together anyhow .
M a nsart seems to have recognized the services o f L A s s u r a n c e by ’
r a ising his salary to francs in 1 6 9 9 a n d to fr a ncs in

The architecte sous clef a s Saint S i mon called him may hav e ,
”
-
,
become restive for from 1 6 9 9 onwards h is progress w a s very rapid I n

,
.
”
1 7 0 0 he is Officially described a s architecte d u R o i e t dessinateur ;
in 1 7 0 2 as architecte employ é dans ladite é glise d e s I nvalides at a ,
”
salary Of francs and i n 1 7 0 3 i n a ddition t o these increases Of

2
, ,
salary he w a s granted an allowance for the Iodgement O f himself and

,
h i s st a ff I n 1 7 0 9 h e a ppears among th e A c a demicians i n receipt o f

.
the usu a l fees for attendance at the A cademy Conferences 3

.
F rom these dates it would appear that down to the year 1 7 00

L A s s u r a n c e w a s continu a lly empl oyed on M ansart s buildings and
’ ’
more par ticularly o n the Church O f the I nvalides ; and it is probable

that that building owes th e consummate finish o f i t s architect ura l detail
1
Incre a s e d to abo u t in 1 7 08 . Compt e s v , ,
2 8 2, but r ed u c e d to in
2
Incr ea s e d to in 1 7 0 7 .
2
Compt e s v 2 4 7 T h e n am e s giv e n ar e D e C ott e B u ll e t d e l I sl e Gabri el
“
,
”
, .
, ,
’
, ,
Gob ert La mb e rt L e M aistr e D e L Es pi n e L A s s u ran ce Br ua nd ( th e yo u n ge r) D e l a

, , ,
’
,
’
, ,
Hir e Fé li b i e n ( S e cr et ary ) e t A bbé Prevost archit e cts W ho this A bbé Prevost was
, , ,
.
do e s not a pp e ar T h e fa m o u s au thor of M a non L e sc au t was born in 1 6 9 7 an d co u ld

.
”
,
h ardly h ave b ee n an ac a d e micia n a t t h e age O f t welv e .

Charolais The design is rather dull both in pl a n and elevation T h e

.
1
.
main entranc e w as i n the centre Of th e fa rther end o f the g r a n d e corer /
( forecourt ) w ith basecourts to right an

, d left but the whole sch e me is ,
crowded the front O f the co u rt is nearly a ll wi ndows a serious fault in

, ,
a fa c ade o f this character a n d L A s s u r a n ce i ndulged freely i n the ’
“
licence touj ours v ic e u s e o f breaking his cornices i n order to carry up
the segment a l heads O f his openings a practice a ga inst a ll the te a ch i ng ,
Of the A c a demy a n d severely reprob a ted by B londel The garde n

,
.
2
front is much more satis factory except that the end windows o f the ,
( wa n e-cor s come too near to the angles and the rustic a tions a r e too
p ,
n a rrow The influence of his Old master is evident i n the I onic

.
3
order of the ground floor with semicircular openings between a n d the , ,
attic storey o f the centr e -piece in th e garden front L A s s u r a n ce w a s

'
certainly a n accomplished designer but his real origin a lity seems to m e ,
to have shown its e lf most i n h is pl a ns H e broke a way from t h e .
typic a l plan o f a town house which I h a ve described i n a previous ,
C hapter a n d varied his plans to suit the special conditions o f sites a n d

,
the individual wishes of the owner Th e H Ot e l de B ethune built .

,
4
e a rly in t h e e ighteenth century w a s a characteristic example A s a ,

.
rule the sites o f town houses i n Paris wer e relativel y n a rrow i n the
front but extend e d a long w a y back s o th a t there w a s room fo r t h e
, ,
r a n de w a r and a basecou r t the main ho u se a n d a g a rden at th e b a ck

g , ,
the princip a l rooms i nvariably looking out on to t h e g a rden T h e site .
o f the H Ot e l de B ethune i n t h e Ru e S D ominiq u e w a s v e ry sh a llow .

,
but extended for some d ista nce l a terally and p a ra llel to the st r eet .
L A s s u r a n c e accepted the site a s it stood and though h e a dhered to

’
the invari a ble pl a n o f the g r a n de eozer with the entra nce at its farther ,
end i nstead o f putting the main building a t th e farther end he provided

,
a large antechamber giving access t o the r a nge Of principal rooms to th e
left pl a nned ere s u i t e at right a ngles t o the street a n d fa cing t o th e

, ,
ga rdens which r a n b a ck from this front p a rallel to the street The site
,
.
to the right o f the forecourt w a s occupied by the kitchen and Offices ,
It was bo u ght by M ad e mois e ll e d e Ch arol ais ( Lo u is e A nn e d e Bo u rbon ) l a t e r in

1
t h e c e nt u ry a n d a g ood d e al a lt e r e d Se e F C o n t e t L e s Vi e u x H Ot el s d e P a ris i 1 9
”
. .
, , , ,
2 1 .It is n ow t h e H Ot e l d u M ini s t er e d e Com m e rc e e t d e I In d u s t r i e ’

.
T h e e ntra nc e from t h e str e e t to t h e g r a n dee ( ou r o f t h e H Ot e l d e B e th u n e w a s a

2
p e c u li arly fl agr ant e x a mpl e b u t t h e st a ndin g insta nc e o f this O ffe nce aga inst both t a st e
,
a n d r e a son is Br u a nt s e ntr a nc e to t h e Inv a lid e s

’
.
J
3
H M a
. ns a rt L A s.s u r a n c e u s e.d this
’
m otiv e ag a in at t h e H Ot e l d e B e th u n e .
E mporté par l e p e rc e m e nt d e Bo u l e v a rd S G e rm ain e n 1 8 7 6 ( G au d e t e t P asc a l

2
“
.
,
n ot e s to Blond el s A rch ’ “
.
L A S S U RA N C E
’
3 1
’ “
basecourt and stables Th e plan was i n B londel s words . fort , ,
i ng é nieuse The garden front w a s in o n e storey and this explains th e

.
”
,
absence of a main st a ircase a m ere acc ommodation stairs leadi ng to ,
two or thre e roo ms on the first floor over the central block ; there was ,
o f course no Obj ect i n pr o v i di n g a grand staircase when all the principal

,
rooms were on the ground fl oor I n the early part O f the eighteenth .
century the tendency was to keep the buil dings as low as possible and ,
instances occur i n B londel s collection of town h ouses consisting of only ’
a basement p a rtly above ground and a ground floor Later o n i t w a s .
sometimes found necessary to revert to the gr and staircase and a n ,
instance o f this occurred i n the H Ot e l d A u v e r g n e built from the ’
designs o f L A s s u r a n c e i n 1 7 0 8 H e had provided h e re a vestibule 0 11

’
.
the ground floor unusu a lly large for the size o f the house and a t th e ,
back Of this an insignificant s taircase with steps som e 4 feet 6 inches

wi d e to the first floor This did well enough for the Comte d A u v e r g n e
.
’
C olonel Gen e r a l of th e Light Cavalry Of F r a nce w h o provided he got

-
, ,
room enough to harangue his officers and plenty o f stabling for his ,
horses w a s probably satisfied A ccordingly his a rchitect gave him a

,
.
,
very large ante chamber le a ding to a m i l e de compag m e a ad a mé r e

'
-
, ,
d e pa r a de and fi n a lly to the great man s Cabin e t and round th e da me

’
, ,
cozer he p r ovided stabli ng fo r thirty fi v e horses ; but after the house -
w a s built il s est trouv e occupé par des personnes de la pr e m iér e

“ ’
consid e ration The C a rdinal d A u v e r g ne fo u nd the modest establish

.
’
ment Of his fathe r th e Colonel of Light H orse in a dequ a te for h is

, ,
r eceptio n s a n d c a ll e d i n S e r v a n d o n i w h o p u ll e d d o w n t h e e x i s t i n g
, ,
staircase a n d formed u n des plus ma g n i fi q u e s escaliers qui s e voient

en Paris in a very skilful manner sans nuire a la b at is s e n i dimin u er
”
,
“
”
la basse cour - 1
The H Ot e l de M a ison next door to the H Ot e l
.
,
d A u v e r g n e a ppe a rs to have been built i n the same year as the l a tter

’
,
’
and L A s s u r a n ce used the one buil ding to help the other by
running his design throu g h o n the garden side and using the e nd h a lf
o f the fa c ade Of the H Ot e l d A u v e r g n e to balance the end wi n g o f th e
’
H Ot e l de M aison The g r anu l e carer of the H Ot e l d c M aison is nearly

.
f
squ a r e (about 8 8 feet by 8 5 feet ) with a large basecourt and st a bling ,
for th irty four h orses to the left O n the left of the entrance vestibule
-
.
w a s the grand staircase and beyond this was the wing already men ,
t i o n e d quite u n symmetrical i n plan but restored t o symmetry i n e leva

, ,
tion by the co r responding fa c ade Of the H Ot e l d A u v e r g n e next door ’

.
The s a i l e d-ma ng er at the H Ot e l de M aison a wretched room ( about ,
1 Blond el 1 26 1 .
3 2 A H I S T O RY O F F R E N C H A RC H I T E CT U R E
22 feet by 1 2 feet ) w a s tucked away behind the ma i n sta i rs with wi ndows

l ooking out on to the basecourt I t is us u al i n modern houses to give .
the dining-room a good aspect and to treat it with considerat i on as an

important roo m French architects Of the early part Of the eighteenth
.
century seem to have been content to pl a ce i t almost anywhere pr o ,
v i d e d it w a s accessible fro m th e main room s bu t they were at no pains ,
to give i t any tolerable outlook o r even adequ ate light Blondel says .
that at the H Ot e l de M aison it was placed too near the basecourt badly ,
l it and difficult o f access from the kitchen and o ffices grave faults as h e , ,
points o u t l e service des domestiq u es n e pouvant é t r e trop commode

, .
”
I t could b e reached u nder cover from the kitchen without passing

through Open courts entrance halls o r ante chambers but on t h e other
, ,
-
,
hand there was no w a y of getting to it fo r the family except through a ,
bedroom o r through the entrance vestibule u nder the grand staircase

, ,
along a corridor 3 feet wid e and into a small l obby the two latter pitch ,
dark L A s s u r a n ce had arrived at the i dea O f sepa r ate passages but

.
’
domestic planning w a s still somewhat rudiment a ry The servants were .
housed above the th irty four horses B londel g iv e s a plan o f the a ltera
-
.
tions made to this house by M ouret about the middle of the eighteenth
c entury and it is O f considerable interest as S howing the advance i n
,
planning M ouret S hifted the grand staircase to the right Of the entrance
.
hall and formed an excellent dining room i n place o f it to the left of the
,
-
entrance with good light and direct and c onvenient access both for
,
the family and for the servants H e also added a range Of buildings o n .
t he a r de n front i n w hi ch f or t he fi rs t t im e a b a th r o o m a pp e a r s
g , .
”
Blondel calls attention to the e nfila d e through ten rooms giving a “
,
total length o f 2 2 2 feet but does not appear to have noted that the
,
e nfil a d e ended up with the bathroom

1
.
The H Ot e l de Roquelaure w a s the last work o f L A s s u r a n ce I t

2 ’
.
was begun in 1 7 2 2 o n an irregular and awkward site in the Rue

S D ominique The house w a s as usual set back at the farth er end o f
. .
, ,
a fine courtyard ( 8 8 feet by 7 8 feet) exclusive of the quadrant curves

next the entrance T he 6a s s e-eou r was away to the left T he entrance
. .
,
i nstead of being as usual i n the centre o f the building was double o ne , ,
o n each side above a broad flight o f steps l e ading up t o vestibule s

, ,
from which access was given to ante -chambers co m municating with th e

principal rooms Of the house There was no grand staircase and as .
, ,
1
M a ison or Soy e co u rt is N o 4 7
T h e H Ot el d e . R ue d Uni v e r s i t é
’
. T h e H Ot e l
d Au ve r gn e no lon ge r e xists ( G au d e t e t P a sca l )
’
.
N o 2 4 6 Bo u l evard 8 G e rm ain n ow l e Mini st er e

2
.
,
.
, d es Travau x P u bliq u e s .
I
II . To F AC E l’ 32
PL . CXIV
FI T FL
RS OO R P LA N
G RO U N ( 1 P LA N
H OT L D A U
E
’
VE R GN E . BY L AS U RA N C (
’
S E see p .
31 )
PL . CX VI
E L A
EV I
T ON F R O M T H E F O RE C O U R I
' ‘
( . N P LA N
RO U D
H OT L
E D E ROQ U E LA URE B Y L ASS U R A N C E
’
AN D L E Rou x (p .
33)
( F RO M BL O N E L AR H I CTU I
”
D , C TE R E FR AN
c AIS E, ,
xx i)
1 1. To F AC P
E .
33 ]
whi ch I have already noted in the H Ot e l de Roquelaure The only .
cr i t i c i s m one coul d m ake is the excessive height o f the window open

ings over three t o o n e which is not only ugly i n itself but incongruous
, , ,
with the design Of th e openings in the centre and end Pavil ions .
Blondel remarks that architects assu med that wh en they dispensed with
the orders they coul d also dispense with th eir methods o f proportions ,
but he pleads with j ustice that this w a s no excuse for running into the
”
Opposite extreme and disregarding all vraisemblance bet w een the
,
“
component parts o f a design L A s s u r a nce capable man as he was w a s .

’
, ,
certai nly careless i n th is regard and gives one the impression o f having ,
someti mes failed i n artistic self respect i n too assiduously carrying o u t -

,
the i nstr u ctions of h is clients H e made n o stand for points of design .

,
which a s h e knew and h is clients did not know were essential to

, ,
a rch itecture I t was this gradual rel a xatio n of artis t ic integrity i n which
. ,
J . H M ansart
. had been the most conspicuous Offender that led to the ,
ruin o f classical arch itecture .
J ean Baptiste L e Roux belongs to that large class of architects

w h o successfu l enough i n their lifetime a r e now littl e more to us than
, ,
the shadow Of a n a m e B londel says : M Le Roux n u des archi .

1 “
.
,
t e c t e s modernes qui ait été l e plus employé de s o n temps é t o i t el eve ,

’
de M D O r b a y ; il a v o i t beaucoup de g en i e e t e x ce llo i t princip a lement
.
dans l e partie de la decoration des a ppa r t e m e ns Blondel says he .

”
designed among others the H Ot e l de Rohan Chabot and the H Ot e l de

, ,
Roqu elaure but h e hi mself informs u s that at the H Ot e l de Rohan

,
C h a b o t h e d e s ig n e d t h e d e c o r a t i o n s o n ly a n d a t t h e H Ot e l d e ,
Roquela u re Le Roux completed the designs Of L A s s u r a n c e H e w a s ’

.
”
an architecte d u Roi an d died in aged sixty -nine H is name
, .
does not occur i n th e C omptes prior to 1 7 1 5 though there a r e others ,
O f th e n a me mention ed and H e r l u is o n gives an entry ( 1 6 9 8 fro m

,
S B eno i t) in which Louis Le Roux peintre d u Roi is mentioned a

.
,
“
,
”
,
J ean L e Roux a me rchant glover and another J ean an engraver the

, , , ,
usual bourgeois connection o f the architects o f the time Le Roux .
becam e a member o f the A cademy of A rchitecture I n 1 7 2 0 and Pr o 3

,
fe s s o r in 1 7 3 0 as assistant to the younger Bruand nephew of Liberal

, ,
.
That Le Roux was skilful enough is shown by his additions and altera
1
A rch Fr nc i
“
. a .
, , 21 2 .
2
Blond e l s ays a bo u t 1 7 4 0 b u t o n t h e s am e p age s a ys th at t h e D u e d e
,
Vi lle r o i
a lt e r e d t h e ho u s e of M d l e D e s m ar e s from t h e d e si n of L e Ro u x in 1 4 6 See F C on t e t ,
.
g 7 . .
“
L e s Vi e u x H Ot el s d e P a ris vol i pl 2 8 ,
”
.
, . .
3
Archive s d e l A r t Franc i 4 2 1 4 2 4
’
.
, , , .
L E RO U X 35
tions to the H Ot e l de Roq uelaure and to A ubry s design fo r th e house ,

’
Of M d le D esmares ( afterwards H Ot e l de V ille r oi i n the Rue de

.
V arenne ) A ubry s design for M d l e D esm a res provided a small and

’
. .
very simple house o n an Oblong plan To this L e Roux added a fine .
oval wal l e d ma ng er a fresh set o f O ffices and an additional stable The

-
, , .
oval dining-room at the H otel de Ville r o i the very complete provision ,
o f kitchen and O ffices i n the new wing and of the bedroom suite o n the ,
grou nd floor O f t h e mai n building show the advance i n domestic ,
planning si nce the days o f Louis X I V The kitchen w a s admirably .
placed fo r light and access and well -lit passages were provided for ,
c ommunication under cover between kitchen and din ing rooms although ,
the two servants h a lls were passage rooms Le Roux s elevations were
’
.
’
l ess satisfactory the exterior o f the oval dining -room was careless and
,
sloppy lacking
, e tude l e g o fi t e t ’ ’
which Blondel says
, ,
shoul d S hape the work Of all good architects B londel is scarcely less ,
s evere on his fa c ade to the street o f the H Ot e l de Roquelaure but , ,
though a l ittle monotonous it appears to me to b e a capable p iece o f ,
work Le Roux was a decorator rather than an architect H e published

. .
several series o f designs and D e s t a ill e u r though he thought him , ,

1
worth studying sum med hi m up with precision : S ans principes a r r é t é s

,
“
s u r s o n art architecte a la mode i l cherchait a plaire avant tout ; aussi

, ,
p eut o n l e regarder comme n u r é fl e t fi d el e d u g o fi t de s o n époque .
”
There was too much o f la mode a ltogether i n F rench architecture “
o f the eighteenth century ; o n e generation ahead was the limit o f its
o u t lo ok .
A ubry like Le Roux seems to have been a fashionable and s u c

, ,
c e s s fu l architect in P a ris M A ubry e s t u n architecte de rep u tation 2

. .
qui a beaucoup fait b atir a Paris e t dont l e x pé r i e n ce l ui attire la con ’
fiance d une i nfinit e des grands seigneurs

’
S O B lon del describes him .
i n o n e o f his s e t formulas .
A ubry designed th e Chambre des Comptes of which he w a s Con

troller ( finished in the H Ot e l de Bouillon the H Ot e l de la V r illié r e , ,
and other i mportant houses i n Paris The house which he designed fo r .
M dl e D esmares appears to have been built 1 7 2 0 3 0 I t was a compact

. .
l ittle h ouse with a b a seco u rt two storeys and an attic I nstead of placing , , .
the grand staircase i n a separate apartment i t ascended directly from ,
th e entrance hall giving access only to the first fl oor which appears
, ,
1
D e s tail l e u r , “
N otic s e su r q u elqu e s a rtist e s Fr an cais pp , . 2 6 8 -6 9 .
2
Blond e l , A rch . i 21 2
, .
3 6 A H I ST O RY O F F R E N C H A RC H I T E C T U R E
to h ave been occ u pied entirely by th e mistress Of the house O n her .

1
de a th in 1 7 4 6 the house was bought by the D u e de Vill e r o i and altered ,
by Le Roux The great i mportance attached to light an d a i r by th e

.
F renc h architects in the time o f the Regency and early pa r t o f the

r e ign O f Louis XV is remark a ble They seldom built h igh er than t w o .
stor e ys a n d a basement p a rtly above g r ound and i n Blondel s colle e ,

’
tion there are ex a mples Of buildi ngs o f only o n e storey Th e H Ot e l de .
Pomp a dour by D e la Mare w a s an i nst a nce A t the H Ot e l de Conty .
( Rue S D ominiqu . e
) A ubry designed the centre block only as a two
storey building the rest o f this considerable house being only one
,
storey high a n d th e re w a s thus a mple light and air i n the g r a mal e w a r

,
and the t w o b a secourts placed o n e on each side Of it A n adj oi n ing .
house o n the left hand S ide next the street was bough t i n 1 7 3 2 by th e
-
Princesse de Conty a n d the grounds at the back thrown i nto o n e S O

, ,
that there w a s a l a rge garden at the back with a front a ge on two sides
to streets I t thus became one o f the m ost considera ble houses Of the
.
2
”
time in Paris pour s o n étendue e t son a g r e a b l e disposition A ce r tai n
,
’
M Le Clerc designed the gardens with Cabinets de Verdure o f the

.
,
“
most i di o t ic description The gre a t School fo u nded by Le N Otre .
had a lready failed ; the a r t o f ga rden d e sign w a s b ecoming a mer e

t r ick and fell an e a sy prey to the l a ndsca pe gardener a few ye a r s
,
later B londel rem a rks en effet o n n e rem a rque presque plus dans l a
.
“
,
plup a rt de n o s j a rdins modernes que des a llé e s tortueus e s des form e s ,
c a ptie u ses des découpur e s des e nt o r t ill e m e n s d i s a g r é a b l e s s a ns gra ces

, , ,
d a n s l e s p a r ti e s e t s o u v e n t s a n s p r o po r t i o n s d a n s l e s m a s s e s ; b e a u
,
coup de nos a rchitectes voul a nt se m é l e r d u j ardinage sans e n a voir les

moindres n otions N ot only w e re they ignorant of ga rden design
.
”
,
i n their ridiculous affect a tion they had lost touch Of the simplicité “
noble of Le NOt r e ”
.
A t the H Ot e l d e Conty A ubry again took his m a i n st a irs directly

ou t O f the entrance hall The o ffices w e re well pl a nned The kitchen
. .
in the south -e a st corner ( marked A o n the pl a n ) h a d its own court
It cont a in e d o n e l arge b edroom an d a nt e ch am b ers a c abin e t a n d a wa rdrob e

1
,
.
Christin e A ntoin e tte Ch a rlott e D e sm a re s o f t h e Comédi e Fra n ca is e w a s a fa mo u s “ ”
a ctr e ss born in 1 6 8 2
, S h e r e tir e d from t h e st ag e a n d b u ilt this ho u s e in 1 7 2 5
. In t h e .
M e moirs of D e Lu yn e s xiii 6 5 th e re is a n a cco u nt of h e r w ithdra wa l to S G e rm ain en

, , ,
.
-
Lay e w ith h er n e i ghbo u r H ogu ér e s a fin a nci e r a n d of h er d eath th e r e t w e nty ye a rs

, ,
l at e r a r ea l e i ght e e nth c e nt u ry roma nc e .
T he R u e d e l Un i v e r s i t é a n d t h e R u e d e Bo u r go g n e
’
.
G E N E RA L P AN L
H OT LE DE CO NTY PA I
R S B Y A UB Y ( p 3 6 )
. R .
(F ROM BL O N D E L ,
A R C H I E C U R E FR N
T T
c A
IS E A
[11 . TO F AC P
E .
36
P/
a n
, Ju R at de
, C fia fw mee
DE S I G N SU BM I T T ED B Y A U BR Y I N T H
( FROM PA
LO U I S xv
(see p .
3 7)
[I I . P I) .
36 , 3 7
G RO U N D PLA N
H DT EL DE L A V R I L L I ER E .B Y A UB R Y
( F ROM BL ON D E L ,
A R C H I T E C T U R E F R A N CA I S E
N at a -
s
T hi h ou s e w a s b l l l l t fo r Mm e . d e l a VI i ll I eI e , b u t s ldo b y her in 1 732 to
th e P i n ss
r ce n
d e C o ty , w h o a l t e r e a n d a de dd d
t o t he h ou s e . A f
t e r t hi sd ate I t w as
k n o w n a s t h e H Ot e l d e C o t y n .
II . To FA E P
C .
37]
in a lat e r C hapt e r L e Roux and A ubry w e r e typ i cal o f t h e succ e ssful

.
1
arch i t e cts o f t h e first half o f t h e e i ght e e nth c e ntury Capabl e m e n of

.
affa i rs sk i lful plann e rs and comp e t e nt d e s ign e rs t h e ob e d i e nt s e rvants

, ,
o f t h e corrupt but ch e e rful soc i e ty o f t h e t i m e th e y w e r e m e n W i thout

.
,
i d e als o r conv i ct i ons I t took F r e nch arch i t e cts two g e n e rat i ons to
.
r e cov e r from t h e d e adly e x ampl e o f j ul e s H ardou i n Mansart .
F or c onv en ie nc e of d e scr i pt ion of th e i r w ork I have tak e n L e Roux and m or e

part i cularly Aubry o u t of th e i r C hronologi cal ord e r A ubry r eally b el ongs to t h e m iddl e
.
p eri o d o f t h e ei ght ee nth c e ntury and was almost a c o nte mporary of A J Gabriel
, . . .
C H A PT E R XIX
R O B E R T D E COTT E
{ O UG H O U T h is long car e e r t h e succ e ss of Rob e rt de

tre was n e arly as r e markabl e as that o f J H Mansar t . . .
t h l e ss opportun i ty o f e nr i ch m e nt h e acqu i r e d an unr i vall e d ,
not only i n F ranc e but i n oth e r countr i e s and i t was a r e puta ,
w o n for h e app e ars t o hav e b e e n an abl e arch i t e ct and an

,
n T h e i n e v i tabl e portra i t by H y a ci nt e R igaud shows hi m

.
of op e n count e nanc e al e rt v i vac i ous e n e rg e t i c and h ighly

, , , ,
D e Cott e w a s born i n 1 6 5 6 and i s sa i d to hav e b e e n ,
f an arch i t e ct an d t h e grandson o f t h e F r e m i n d e C ott e

,
”
e ord i na i r e d u R o i who s e rv e d as e ng i n e e r at t h e s i e g e o f
,
He i n 1 6 2 7 -8 and produc e d an , e xpl i cat i on br i ev e e t fac i l e

“
”
i n 1 6 44 M Marc e l says that Rob e rt
’ 1
r d r e s d a r ch i t e c t u r e
t
. .
was a pup i l o f M ansart and that hi s first work was t h e ,
.e S a i nt G e r m a i n in 1 6 8 1 Th e r e i s I t h i n k s o m e c o n
.
, ,
e b e tw e e n D e Cott e bu i ld e r and D e Cott e arch i t e ct for t h e

, , , ,
”
rt d e Cott e who app e ars i n t h e Co mpt e s undoubt e dly “
”
e r e as an
t e ntr e pr e n e ur and contractor for masonry Pay .
e mad e to h i m i n 1 6 8 2 and succ e e d i ng y e ars for work don e
at e a u and Par sh Church S G e rma n e n Lay e at Marly at

i i — .
-
, ,
and at t h e M ach i n e d e M arly ( 1 6 8 3 I n 1 6 8 5 h e is

rd e scr i b e d as Rob e rt d e Cott e e ntr e pr e n e ur and t he
“
, ,
re nt mad e t o h i m i n 1 6 8 9 i s 9 J anv i e r 21 Rob e rt d e Cott e

“
,
u r a compt e d e s ou vrag e s d e m a co n e r i e par l u i fa i ts e n 1 6 8 4
m t a u x r e s e rvo i rs q u a u x nouv e ll e s e s c u r i e s d e Ve rsa i ll e s

’
s I find no r e fe r e nc e t o any work by D e Cott e e ntre

” 9 “
nt ai r e pap i e rs man uscri ts

de s du Cab in e t de R o b e rt de C ott e ,
Intr od .
,
Marc el Pari s 1 90 6
, , .
pt e s i i,
i ”
5
2 2 T ,
h e.e ntr i e s o f De C o tt e in vol . iii of the Compt es ar e
red .
pr e n e ur a ft e r 1 6 8 4-5 M e anwh il e a D e C ott e app e ars i n t h e

.
,
”
Compt e s i n 1 6 8 5 as arch i t e ct e d u R o i w i th a salary o f
francs a y e ar W e r e th e r e t w o Rob e rt d e C ott e s ? O r had t h e con
.
t ractor g i v e n u p h i s bus i n e ss and b e com e an arch i t e ct ? M y i mpr e ss i o n
i s that D e Cott e i n fact b e gan as a contractor but b e cam e an arch i t e c t ,
und e r c ircumstanc e s wh i ch a r e not known and that on hi s do i ng s o h e ,
gav e up h is bus i n e ss as a contractor for th i s l u crat i v e post o f

”
francs pe r annu m among t h e o ffi c i e r s qu i o n t gage s T h e probab i l i ty .
i s that h e cam e i nto touch w i th M ansart not as a pup i l at all but as a ,
contractor carry i ng out M ansart s d e s igns at S G e rmai n -e m-Lay e and ’

.
V e rsa i ll e s I t was probabl y at about t h i s t i m e ( 1 6 8 5 ) that h e marr i e d

.
Cath e r i n e B od in young e r s ist e r o f t he w i fe o f J H M ansart and t h e

, . .
,
i nflu e nc e o f t h e latt e r can b e trac e d throughout all t h e e arl ie r part o f

D e C ott e s car e e r
’
.
D e Cott e b e cam e an acad e m i c i an i n though onl y th i rty

y e ars ol d H is all -pow e rful broth e r —i n law stuck at noth i ng i n t h e
.
-
advanc e m e nt o f h is fr i e nds and t h e e xt e rm i nat i on o f h i s e n e m ie s D e

,
.
Cott e at first s e ldom att e nd e d t h e m e e t i ngs o f t h e A cad e my b e i ng ,
fully e mploy e d by M ansart and probably tak i ng no i nt e r e st w hat e v e r ,
i n acad e m i cal d i scuss i ons but h e was pr e s e nt wh e n M ansart consult e d

,
t h e A cad e my as to t h e construct i on o f t h e dom e of t h e I nval i d e s i n
and agai n i n 1 6 9 0 wh e n h e ra i s e d a qu e st i on about t h e i mposts

o f arch e s b e tw e e n p i last e rs A ft e r that y e ar both h e and M ansart w e r e.
mor e r e gular i n th e i r att e ndan c e and i n 1 6 9 3 h e e x h i b i t e d to t h e ,

3
A cad e my s e v e ral plans a n d s e c t i ons o f t h e pr i n c i p a l c hur c h e s of V e n i c e

an d B ologna wh i ch t h e company pronounc e d to b e i nge n i ous but not
”
da ns la d e rn ier e pur e té d e l a r c h i t e c t u r e D e Cot t e ha d m a d e th e s e
’
.
draw i ngs dur ing h is voyag e i n I taly i n 1 6 8 9 9 0 an d appar e ntly i n -

,
t e nd e d to publ ish th e m though h e n e v e r di d s o I n t h e B ibl i oth equ e .

4
N at i onal e a r e t w o octavo pack e ts o f not e s mad e by D e Cott e i n

I taly M Marc e l says th e y a r e sans appr e c i at i ons p e rson e ll e s and
.
5
.
“
,
though accompl i sh e d and sk i lful th e r e i s no e v i d e nc e o f any art i st i c ,
’
e nthus i asm i n D e Cott e pas u n e e xclamat i on d e nt h o u s ia s m e pas u n
, ,
1
N om i nat e d by Louvo i s i January 6 8 7 i plac e of M Git t d d c eas e d n ,
1 ,
n . ar e .
M Marc el says that h w a D i rector of t h e Acad e my from 6 8 7 on w ards D e Cott e

. e s 1 .
ho w e ve r , not b ec om e d i r e ctor t ill at any rat e 1 6 9 9 and i s first r e ferr e d t o as such

did , in
P r oces V e rbau x i n 1 7 0 8 ( P r oces V e rbau x i i i “ ”
the - -
, ,
P r oc es V e rbau x ii 1 7 5 E M ii 2 5 7
2 “ -
” 3
.
, , .
, ,
M Marc e l says th e s e drawi ngs are n ow i n t h e Cab i n e t d e s E stamp es ( v 6 7

.
, , ,
in
5
Fr . D é part e m e nt des Manuscri ts .
R O B E RT DE COTT E 41
témo i gnag e d a d m ir a t io n fe r v e nt e —i nd e e d e nthus iasm w as out o f

’
fash i on and m ig ht hav e b e e n rul e d o u t o f ord e r by t he A cad e my as

,
i nco mpat i bl e w i th
”
l e b o n go u t .
T h e fortun e s o f D e C ott e ros e st e ad i ly w i th thos e of hi s broth e r

i n l aw
-
O ne o f t h e first st e ps tak e n by Mansart o n h is appo i ntm e nt t o
.
t h e S u r zmemza m e i n 1 6 9 9 was to r e organ i z e t h e A cad e my o f A rch i

'
’
t e ctur e ; and h e w a s care ful to gi v e t h e pr e fe r e nc e t o D e Cott e w h o ,
b e tw e e n th i s dat e and 1 7 0 8 b e cam e D i r e ctor o f t h e A cad e my and i n ,
1 6 9 9 w a s e l e ct e d an honorary m e mb e r of t h e A cad e my of Pa i nt i ng
and Sculptur e I n 1 6 9 9 for t h e first t i m e h e i s e nti tl e d i n t h e

.
”
Compte s arch i t e ct e d u Ro i
“
h i th e rto h e had b e e n m e r e ly
d e scr i b e d as autr e arch i t e ct e “
I n add i t i on t o h i s salary of .
”
francs a s arch i t e ct D e Cott e was grant e d in 1 7 0 0 a salary of

,
francs as arch i t e ct e ord i na i r e e t contr o l e ur a Par i s francs w a s ,
allow e d h i m for h is cl e rk and an appo i ntm e nt ( that o f Controll e r at ,
Fonta i n e bl e au ) w a s found for h is s o n J ul e s Rob e rt at francs pe r

annum w i th 6 00 francs for h i s cl e rk though t h e son could not hav e
, ,
b e e n much ov e r tw e nty at t h e t i m e and app e ars from D A r g e nv i lle s ’ ’

3
,
account to hav e b e e n most i ncapabl e T h e fam ily w e r e do i ng w e ll an d .
M ansart spar e d no e ffor t to push th e i r fortun e s H e e v e n i nv e nt e d a .
n e w o ffic e for D e Cott e t h e B ur e au d e s d e ss e i ns at a salary o f 8 0 0 ”

, ,
francs i ncr e as e d n e x t y e ar t o
, francs fo r car e of t h e draw i ngs ,
and pou r l e p ap i e r c i r e d e s pagn e e ncr e port e fe u ill e s bo is boug i e

“
,
’
, , , , ,
chand e ll e m e ubl e s crayons coul e urs e t autr e s u s t e nc ils qu i l a pay e z

, , ,
’
t an t po u r s o n b u r e a u pour s s i n a t e urs U nl k ”
4
q ue c e l u
y (le s d e i e .
mod e rn arch i t e cts whos e e x p e ns e s amou nt to anyth i ng from tw e nty t o

,
fift y pe r c e nt of th e i r r e c e i pts t h e Fr e nch arch i t e cts w ho we r e fortunate

.
,
e nough to work und e r M ansart s g e n e ral adm i n i strat i on had all e xp e ns e s

’
p a i d and e v e ryth i ng found fo r th e m by t he S tat e I n t h e sam e y e ar .
( 1 7 0 0
) i n add i t i on t o h i s oth e r salar i e s D e Cott e who i s now d e scr i b e d ,
as Cons e i ll e r d u Roy e n s es Cons e i ls i nt e ndant e t ordonnat e ur

“
,
s
1
Marc e l Inv e n tair e Introduct i o n p
, , , . xxi v .
2
C ompt es iV , , 42 7
3
H i s fath e r wa s only forty -thr e e i n 1 6 9 9 .
4
C o mpt es i v ,
”
, 604 .
Francs
5
De Cott e was draw i ng as arch i t e ct e ordinai r e
as Controll e r at Par i s 95 00
as k e ep e r of t h e Bur e au
as O rdonnat e ur tri ennal
In add i t i on t o th i s th e r e we r e h i s fee s ( 5 9 0 francs ) for att endanc e s at th e Acad emy i n th e

y ear S ee Compt es iv 9 7 2
.
“
,
”
, .
II
4 2 A H I S T O RY O F F R E N C H A R C H I T E C T U R E
tr i e nnal d e s b a s t i m e n s r e c e i v e d francs as sal a ry for th i s post

,
and 6 00 francs for h is C l e rk Thus i n a s i ngl e y e ar h i s e molu m e nts had .
r i s e n from francs pe r annum to n e arly and i n 1 7 0 3 th i s

w a s furth e r i ncre as e d by h i s appo i ntm e nt at a salary o f 2 5 00 francs as ,
“
Contr o l e ur d u b at i m e nt d e l egl i s e d e s I nval i d e s a gross p i e c e of ’
,
”
j obb e ry as L A s s u r a n c e w h o kn e w e v e ry i nch o f t h e bu i ld i ng and had

,
’
probably d e s i gn e d t h e gr e at e r part o f t he Church had b e e n fo r y e ars ,
e mploy e d o n t h e bu i ld i ng and w a s st i ll th e r e at a salary o f only
francs a y e ar .
l
T h e y e ar 1 7 0 0 r e ally marks t h e b e gi nn i ng o f D e C ott e s e xtra

’
ord i nar ily succ e ssful car e e r B e fore that dat e i t i s doubtful i f h e had .
,
don e any work o f h i s own t h e whol e o f h is t i m e hav i ng b e e n occup i e d ,
i n ass i st i ng M ansart at t h e Chap e l of V e rsa i ll e s t h e Tr i anon and e ls e , ,
wh e r e and not l e ast o f all i n t h e bu ild i ng and financ i al sp e culati ons i n

, ,
wh i ch D e C ott e w a s e xtr e m e ly astut e and i n wh i ch both h e and h i s ,
broth e r i n law dabbl e d fr e e ly

- - 2
I t i s pr e tty c e rta i n that M ansart was .
much too busy w i th h i s haut e s affa i r e s to att e nd to t h e ord i nary “ ”
bus i n e ss o f an arch i t e ct H e l e ft i t to h i s C l e rks doubtl e ss controll e d .

,
by D e Cott e M or e ov e r h i s constant att e ndanc e o n t h e K i ng l e ft hi m

.
,
no t i m e for oth e r p e opl e and from 1 7 00 onwards h e st e ad ily push e d ,
forward D e Cott e subst i tut i ng h i m for h i ms e lf o n d istant j ourn e ys

, .
T hus i n 1 7 0 1 D e C ott e trav e ll e d from Marly to Lyons to arrang e for

t h e alt e rat i ons Of t h e H Ot e l d e V i ll e from Mansart s d e s i gns and t h e
’
e r e ct i on o f t h e p e d e stal of D e sj ard i ns statu e of Lou is X I V i n t h e ’
Plac e B e l l e c o u r and to s e ttl e t h e d e s i gn of t h e bu i l d i ngs roun d t h e

,
Place O n th i s occas i on D e Cott e took w i th h i m a val e t and a

.
draughtsman and was away thr e e w e e ks for wh ich h e w a s allow e d by

, ,
t h e Tr e asury I 5 0 0 francs H e d e cl i n e d to tak e anyth i ng from t h e 3

.
,
t own Of Lyons but t h e Consulat e n o t to b e outdon e i n g e n e ros i ty s e nt

, , ,
h i m to Par i s u n m e ubl e d e damas d e G en e s roug e cramo i s i e t u n e

“
v e st e e n B rocard d or A s t h e cost o f th i s cam e to

’
francs
.
” 4
,
1 sou 1 0 d e n i e rs D e C ott e d i d n e arly as w e ll as Mansart had don e w i th

, ,
1 “
Compt e s i v 1 0 1 7 1 0 1 8 , ,
-
.
“
I l ach eta i t sans c e ss e d e s t e rra i ns fa i sa i t b at i r e t r e v e ndai t ( M Marc e l
0
.
, ,
Inv e ntai r e p x v and not e

,
”
. In 1 6 9 0 D e Cott e had e nt e r e d i nto a c ompany w i th
o th e rs t o form a canal from S Maur t o Par i s ( Marc e l Inv e ntai r e p ”
. .
, ,
3
Compt e s i v 1 0 2 2 ,
”
, .
4
See
“
M o nograph ie d e l H Ot el d e Vill e d e ’
Lyon Tony D e sjard i ns p 4 6
, ,
. .
M Marc e l quot e s w rongly

. francs 1 0 sous Se e , .
“
H i st of Fr e nch
. R eg inald
B l o m fi e l d ii 1 4 7 1 4 8
, ,
T h e H Ot el d e V i ll e wa s an
-
. unattract iv e bu ild i ng and Mansart
mad e i t w ors e .
R O B E RT DE COTT E 43
t he D uk e of Lorra i n e u nd e r s i m i lar C i rcumstanc e s soc i al progr e ss . T he

mad e by arch i t e cts can b e m e asur e d by t h e fact that fifty y e ars b e fore
L e m e rc i e r a much b e tt e r arch i t e ct than D e Cott e had only r e c e i v e d
, ,
1 0 0 l i v r e s fo r a s e t o f d e s i gns for t h e whol e H Ot e l d e V i ll e .
I n t h e y e ar 1 7 00 t h e A bb e y Church o f Po i ssy was n e arly d e

1
stroy e d by l ightn i ng Mansart w e nt down to i nsp e ct and e st i m at e d

.
t h e cost o f r e storat i on at 1 8 0 0 00 1i vr e s N oth i ng w a s don e t ill 1 7 0 5

, . ,
wh e n t h e K i ng offe r e d to find l i vr e s o n cond i t i on tha t

Cl e m e nt X I grante d h i m t h e p e rp e tual ri ght to nom i nat e t h e A bb e ss .
T h e Pop e agr e e d t o th i s cond i t i on b u t t h e K i ng fa i l e d t o find t h e ,
mon e y fo r i n t h e follow i ng month t h e A bb e ss w a s author i z e d to hold

,
two lott e r i e s to ra i s e mon e y fo r t h e r e storat i on of t h e C hu rch .
l i vr e s w e r e ra i s e d and t h e work w a s b e gu n t hat y e ar By 1 7 1 8

, .
,
francs 3 sous 4 d e n i e rs had b e e n sp e nt o n t h e Church but i t

, , ,
was by no m e an s fin i sh e d and by 1 7 2 6 t he pat i e nc e o f D A nt i n t h e ,

’
S u m n t m da n z w a s e xhaust e d H e wrot e t o D e C ott e from V e rsa i ll e s

'
, .
that i t w a s t i m e to fin i sh t h e work and D e Cott e was to g o to P o i ssy ,
to r e port A w e e k lat e r D e Cotte r e port e d that h e had s e e n t h e A bb e ss

.
an d i mp r e ss e d on h e r that donné e la dur e té d e t e mps e ll e d e va i t “
m o d e r e r u m pe u s e s e x i g e nc e s I t would app e ar that D e C ott e was i n .
C harg e aft e r M ansart had mad e h i s re port and i n t h e su mmary o f w orks ,

2
i t i s i nt e r e st i ng to not e that t h e i nt e nt i on at a ny rat e w a s t o r e produc e

t h e o l d w ork e x actly a s i t had b e e n t h e
”
og i v e s vout e s ros e s d e s , ,
”
,
“
”
v i traux t h e arcs boutants and t h e e ntr e lacs e ntr e l e s boutants e t
, , ,
l e s o r n e m e n t s g o t h i qu e s e n m a n i er e d e v as e s a u x po i n t e s d e s murs d e s
”
v i traux ( gargoyl e s ) U nfor t unate ly t h e C hurch was fi nally d e stroy e d
.
,
i n 1 8 0 2 so that i t i s i m poss i bl e to s a y what th e y m ad e o f t h e Goth i c

, .
Probably D e Cot t e found i t s e x e cut i on so i mpract i cabl e — b y 1 7 0 0 t h e

Goth i c trad i t i on was d e ad— that wh e n call e d o n to r e stor e t h e Cath e dral
o f O rléans h e gav e i t up and d e s i gn e d t w o C lass i cal tow e rs for t h e w e st
,
fron t H i s d e s ign was not acc e pt e d but t h e appall i ng trav e s t y of

.
,
3
Goth i c produc e d th e r e by J J Gabr i e l i n 1 7 2 6 m igh t w e ll hav e . .
j ust i fi e d h is d e c i s i on to abandon any at t e mpt at Go t h i c I t i s i nt e r e st .
i ng how e v e r to not e that e v e n t h e most acad e m i c o f t h e C lass i c i sts by

, ,
no m e ans r e pud iat e d t h e Goth ic of th e i r cou ntry O n t h e contrary th e y .
fou nd som e th i ng to adm i r e i n i t s construct i on and i t s p e cul i ar syst e m ,
1
Marc e l
Inve ntai r e pp 2 8 7 3 1 7
,
“
, . Marc e l p 2 8 9
- .
2
, . .
H e d i d h ow e v e r r e bu i ld t h e b e lfry i n 1 7 1 1 and i n 1 7 1 8 2 5 t o ok som e part i n t h e

3
-
, , ,
church of B onn e N ou v ell e at O rl eans th ough what h e d i d i s n ot cl e ar S e e Inv e n tai re

’
,
.
,
”
pp 3 8 6 9 2
.
-
.
of proport i ons and th e r e i s e v i d e nc e that though n e i th e r th e y nor

,
workm e n und e rstood G oth i c arch it e ctur e th e y d id th e i r b e st to pre s e i ,
i t o n i t s m e r i ts T h e whol e sal e abus e o f Got h i c an d Class i c by

.
advocat e s of t h e o n e o r t h e oth e r h as b e e n r e s e rv e d for t h e m o d r
amat e ur and t h e r e v 1 v a l is t .
T he Compt e s sho w t h at D e Cotte w a s e mploy e d o n all sort s

m i sc e llan e ous work I fi nd for e x ampl e from an e ntry i n.
, ,
”
Compt e s i n D e c e mb e r r 7 o 5 that h e w a s pai d 9 6 6 francs 1 0 s o , ,
l
,
trav e ll i ng e xp e ns e s for j our n e ys from V e rsai ll e s t o F o n ta i n e bl e au and

Ch at e au D e mar e st t o arrang e for t h e captur e o f carp for Marly I
, .
ass i du i ty was r e w ard e d i n 1 7 0 8 I n that y e ar Mansart d i e d and tho u .

,
t h e S u r zn l emza m e w e nt t o D A n t i n D e Cott e w a s appo i nt e d Pr e m

’ ’
'
2
,
” 3
arch i t e ct e d u R o i at a salary of francs a y e ar and A rch it e ,
”
d e l A c a d é m i e Royal e at
’
francs a y e ar H i s var i ous salari e s s e .
to hav e amount e d to som e th i ng ov e r francs a y e ar only a b ,

r
half what Mansart had drawn but a s h is staff all h i s e x p e ns e s 3 , , ,
appar e ntly a hous e i n t h e R u e d e s O rt i e s w e r e found fo r h i m by

S tat e and h e was allo w e d to r e c e i v e g r a t i fi ca t io n s fro m h is var i r
,
pr i nc e ly C l i e nts D e C ott e was an e xtr e m e ly prosp e rous man

, .
i nh e r i t e d M ansart s pract i c e was r e cogn i z e d as t h e l e ad i ng arch i t e c t

’
h i s t i m e and was i n gr e at r e qu e st both i n Franc e and for e i gn c o u n t r i

,
I n 1 7 0 9 -1 1 h e was e mploy e d i n compl e t i ng M ansart s work i n ’
Pala i s d e s E tats at D ij on and i n 1 7 1 1 h e was aga i n call e d in at L y r ,
to d e s ign t he Plac e Lou i s le Grand I n 1 7 1 3 h e w a s consulte d a s }
t h e Pont N e u f at Toulous e i nj ur e d i n t h e s e v e r e w i nt e r o f 1 7 0 9 T ,
.
sch e m e s a r e r e fe rr e d t o i n h is pap e rs but no i nd i cat i on i s gi v e n o f w ,
w a s actually don e and l h av e b e e n unabl e to d i scov e r w h o 1

,
re spons i bl e fo r t h e d e s i gn o f th is spl e nd i d br i dg e as i t now 1 8 1

'
.
,
local story i s that i t was d e s ign e d and carr i e d o u t by a c e rtai n N i chc

Bach e l ie r i n t h e s ix t e e nth c e ntury about whom I am e xtr e m ,
5
sc e pti cal and no trac e o f whos e hand i work i s now ap p are nt i n

,
“
C o mpt e s i v 1 1 8 9 ,
”
,
.
2
Wi th a c o nsol i dat e d salary o f francs pe r annum and t h e ti tl e of D i re c
G e n e ral d e s B at i me n t s Jard i ns A rts e t Manufacture s d e S M
, ,
v . .
”
,
H e alr e ady r e c e i v e d francs pe r ar m as Int en

3 “
1 5 1211 1 , 296 3 897
,
- . . t
e t ord o nnat e ur tr i e nnal d e s B at i me n t s Jard i ns A rts e t Manufacture s d e , ,
francs a y e ar as Contr oll e r o f t h e D epartm e nt of Paris H e app ears t o have I .
succ e ede d by h is son i n t h e latt e r post in 1 7 1 0 v ,
Plac e B ell e Co u r D e C o tt e was agai n c o nsult e d i n 1 7 3 2 i n r egard to t wo foun t

- .
fo r th i s Plac e Se e Inve ntai re pp 3 7 1 7 7 ” - .

.
, .
5
S ee “
H i st of Fr e nch A rch 1 4 94-1 6 6 1 R e g i nald B lomfi el d i 3 5 3 6 and Ma
. .
, , , ,
-
,
Inv entai re pp 1 2 3 -1 2 4
,
”
. .
constant mod i ficat i ons i n t h e pla n s F o r t i e r D e Cott e s r e pr e s e ntat i v e .

,
’
o n t h e spot r e port e d that t h e E l e ctor w a s constantly alt e r i ng h is m i nd

, ,
and was i n such a hurry that h e ord e r e d bu ild ings to b e start e d b e fore
t h e plans had arr i v e d and wh e n i t cam e t o d e ta i ls t h e pars i mon i ous
, ,
E l e ctor d e cl i n e d to e mploy B all i n t he arti st r e comm e nd e d by D e C ott e ,
for t h e s ilv e r ornam e nts of t he C h i mn e y p i e c e and d e s i r e d h i m to s e nd

1 -
,
wax mod e ls s o that th e y m ight b e e x e cut e d by G e rman workm e n

, ,
w h o though no i nv e ntors could work w e ll and abov e all w e r e ch e ap

, , , , , .
Claud e A udran also was to b e ask e d to s e nd sk e tch e s for d e corat i o ns to

b e carr i e d o u t by t h e E l e ctor s m e n E mploy e rs hav e b e e n know n to
’
.
e xp e c t i mposs i b i l i t i e s of th e i r arch i t e cts but th e y do n o t usual ly e x p e ct ,
th e m to ch e at i n th e i r i nt e r e st T h e E l e ctor had no such scrupl e s H e

. .
coolly sugge st e d to D e Cott e that D A n t in m ight i nclud e t h e charge ’
fo r all t h e d e ta i ls wh i ch w e r e b e i ng mad e i n Par i s for t h e Palac e at

B onn i n t he royal accounts I t would h e lp t h e E l e ctor and b e noth i ng
, .
t o t h e K i ng D A n t i n not unnaturally d e cl i n e d and t h e work almost

’
.
_
,
cam e to a standst ill T h e El e ctor prom is e d but n e v e r pa i d and

.
,
d H a u b e r a t w h o now r e pr e s e nt e d D e C ott e at Bonn sugg e st e d that

’ 2
, ,
all work compl e te d i n Par i s should b e d e ta i n e d th e r e unt il h e did T h e .
El e ctor finally mad e a paym e nt o n account i n 1 7 1 9 but Popp e lsdorf .

,
was not fin ish e d i n 1 7 2 1 and D e Cott e s pap e rs do no t d i sclos e t h e con

,
’
c l u s i o n o f t h e bus i n e ss J os e ph Cl e m e nt t he E l e ctor w h o hop e d to mak e

.
, ,
a gr e at sho w w i t hout pay i ng for i t cuts a m e an and cont e mpt ibl e figur e ,
throughout t h e whol e corr e spond e nc e ( 1 7 0 7 T h e s i tuat i on

t hrou g hout mus t hav e b e e n cur i ous — D e C o t t e i n Par i s s e n d i ng o u t
d e s i gns as fast as h e could w i thout e v e r hav i n g s e e n t h e plac e ,
,
—
d H a u b e r a t h is arch i t e c t cl e rk o f t h e works o n t h e —
spot play i ng off
t h e E l e ctor and k e e p i ng on t h e workm e n as b e st h e could an d t h e
, ,
E l e ctor buzz i ng about i n t h e background ch e ap e n i ng pr i c e s b e gg i ng , , ,
”
i f n o t actually st e al ing compla i n i ng that L arg e nt manqu e touj ours ’
.
,
and tryi ng to g e t o u t of h is d i fficult i e s by ch e at i ng t he workm e n .
I n 1 7 1 9 Gaston d e N o a ill e s B i shop o f Chalons — sur Marn e d e c i d e d

,
-
,
that t h e Ev é ch é must b e r e bu ilt and obta i n e d a grant from t h e R ege nt ,
of francs D e Cott e e st i mat e d t h e cost o f t he ne w palac e at

.
1
D H au b e ra t i n
’
Cott e dat e d D e c e mb er 1 7 1 7 1 6 says : C e st la
a l e tte r to D e , ,
“ ’
c outu m e en All e magn e d avoir u m Chambre d ont 1a d e c orat ion so i t e n arg e nt

’
.
D H au b e r at s e ttl e d i n B onn and i n 1 7 2 1 b e cam e [ n t ena a m d es B d tzmen fs for t h e

2 ’ ’ ‘
’
El e ctor In 1 7 2 7 h e carr i e d ou t t h e d e s igns of D e C o tt e for t h e hous e of t h e Pr i nc e de

.
la Tour e t Tax i s at Frankfort Se e M Marc e l s not e Inv e ntai re p 1 8 1 M Marc el

. .
’
, ,
”
. . .
sugg e sts that d H au b e rat may have b ee n e mploy e d on th e vast D ucal palac e at Mannh e i m
’
.
francs 1 s o u T h e B i shop was i n a tr e m e ndous hurry D e
, .
1
.
C ott e V i s i t e d Chalons i n M ay t h e o ld palac e w a s pull e d down i n ,
J u n e and t h e B i shop who had bombard e d D e Cott e w i th l e tt e rs o f

, ,
adv i c e an d sugg e st i on announc e d that h e would v i s i t h i m i n Par is , ,
carry h i m o ff to Chalons to s e ttl e t h e foundat i ons and s e nd h i m back ,
” 2
to P ar i s i n h i s b e rl i n e T h e n e w work was b e gun i n t h e autum n
“
.
,
b u t t h e first arch i t e ct cl e rk of works d i e d and h is succ e ssor w a s ,
”
pronou nc e d by t h e B i shop t o b e u n i ncapabl e w h o sp e nt h is ,
t i m e dr i nk i ng smok i ng o r sl e e p i ng s e ldom v i s i te d t h e work and

, , , ,
wh e n h e d id only d id s o t o ord e r t h e de mol it i on o f work h e had alr e ady

ord e r e d T he B i sh op i ns i st e d that D e Cott e must com e to Chalons
.
h i ms e lf wh e r e upon D e Cott e at onc e fe ll ill and t h e B i shop w a s dr i v e n

, ,
t o frant i c i nqu i r i e s as t o what h e was to do should anoth e r arch i t e ct b e ,
s e nt ? and should t h e contractors carry o n through t h e w i nt e r ? T h e

matt e r w a s s e ttl e d b y t h e d e ath o f t h e B ishop i n t h e sam e month and ,
h i s broth e r t h e C ard i nal d e N o a i lle s stopp e d t he work and clos e d t h e

, ,
acco u nts D i fficult ie s of th i s sort must hav e b e e n constant and i n e v i t

.
abl e i n th is syst e m of d e l e gat i on D e Cott e and M ansart b e fore h i m

, .
, ,
mad e th e ir d e s igns i n Par i s som e t i m e s but not always aft e r v is i t i ng , , ,
t h e plac e and thos e d e s i gns and a sp e c i ficat i on w e r e s e nt down from

,
t h e Par i s offic e A S up e r i nt e nd e nt comb i n i ng t h e funct i ons of arch i t e ct

.
,
and C l e rk o f works w as th e n appo i nt e d to r e s i d e o n t h e spot duri ng t h e

,
works D e Cott e usually nom i nate d o n e o f t he Go v e rnm e nt draughts

.
m e n w h o w e r e o f cours e und e r hi s d i r e ct control Carl ie r D e L e s pe e

, , , , , ,
J o s s e na
y Fo r t ie r d H a u
, b e r at a n d o t h e rs ,Th e s e m
’
e n h a d t o look , .
aft e r t he work arrange all bus i n e ss d e ta ils r e fe r i mportant po i nts to t h e

, ,
d e c i s i on o f D e Cott e and supply h i m w i th all n e c e ssary draw i ngs and

,
i nformat i on i n r e gard to t h e work o n t he spot Th e y had som e author .
i t y at any rat e t o mak e d e s igns o f th e i r own a s for e xampl e

, , , , ,
d H a u b e r a t at Bonn and Carl i e r at M adr i d and th e y w e r e fa irly w e ll

’
, ,
pa i d Claud e S i mon w ho sup e r i nte nd e d t h e carry i ng out o f Mansart s

.
,
’
d e s igns at t h e H Ot e l de V i ll e Lyons had a salary o f francs a y e ar , ,
wh i l e t h e work last e d S om e such syst e m w as of cours e n e c e ssary i n.

, , ,
v ie w of t h e cost and d e lay o f trav e ll i ng at t h e t i m e D e Cotte r e port e d .
to t h e C ard i nal d e N o a i ll e s that for t h e y e ars 1 7 1 1 -1 9 wh e n h e had ,
work e d for t h e B ishop t h e trav e ll i ng e xp e ns e s o f h i ms e lf and h i s ,
draughtsman to Chalons had amou nt e d to mor e than francs 1 s o u ,
“
sans compt e r s o n trava i l p e rsonn e l T h e w ork u ndoubt e dly suffe r e d .
”
from want o f control by t h e mast e r hand A ll arch i t e cts wh o hav e pra e .
A ft er wards reduc e d to
1
franc s Marc el p 4 9 .
2
, . 1 .
48 A H I S T O RY O F F RE N C H A RC H I T E C T U R E
t is e d th e ms e lv e s kno w h o w gr e atly t h e qual i ty of work d e p e nds o n t h e

p e rsonal touch t h e d e l i cat e adjustm e nts mad e o n t h e spot and wh e n
, ,
t h e d e s ign e r i s fac e t o fac e w i th h i s mat e r i als and local cond i t i o n s A .
fi n e d e s i gn l i k e a fi n e p i e c e o f mus i c may b e ru i n e d by clum s y u n

, , ,
sympath e t ic i nt e rp r e tat i on and i t is t h e i n e v i tabl e t e nd e ncy o f h igh

,
offi c i al arch it e ctur e to ov e rlook th i s fact O ffic ials hav e a to u ch i ng .
confid e nc e i n t h e e fficacy o f t h e offic e but th e r e can b e no gr e at e r ,
d e lus i on i n r e g ard to arch i t e ctur e That art i s as p e rsonal as t h e ar t s .
o f pa i nt i ng and sculptur e and t h e r e ason w h y offic i al bu i ld i ngs

,
e ve n ,
wh e n w e ll d e s ign e d a r e n e arly always un i nt e r e sti ng i s that th e y mak e

, , ,
no p e rsonal app e al th e y afford no e v i d e nc e o f t e mp e ram e nt ; o n e can

,
find no trac e of t h e car e t h e e mot i on t h e e nthus iasm o f t h e i nd i v idual

, ,
art i st .
—
I n 1 7 1 7 1 8 D e Cott e suppl ie d d e s igns for t h e Ch at e au of F r e sca t i ,
n e ar M e tz for t h e D u e d e C o i s l i n Pai r d e Franc e B i shop o f M e tz

, , , .
Th i s bu i ld ing wh ich w a s sai d to hav e cost ov e r 1 2 0 0 0 00 1i vr e s was

, , , ,
d e stroy e d and r e bui lt i n 1 8 0 2 I n 1 7 2 2 D e Cott e w a s call e d i n to .
r e port on t h e Ev é ch é at V e rdun wh i ch dat e d from t h e s ixt e e nth ,
c e ntury Charl e s F ran c o i s d H a lle n co u r t t h e n e wly appo i nt e d B i shop

.
’
, ,
pronounc e d it unsu i tabl e and D e Cott e who v i s i t e d V e rdun i n 1 7 2 4

, , ,
confirm e d th i s i n his r e port cond e mn i ng e v e ryth ing but t h e Chap e l ,
and pr i nc i pal e ntranc e o f t h e o ld bu i l d i ng H e w a s i nstruct e d to pr e .
par e d e s igns and J o s s e n a y w h o w as alr e ady an assoc i at e m e mb e r of

, ,
t h e A cad e my of A rch i t e cture w a s appo i nt e d r e s i d e nt arch i t e ct

1
, De .
Co t t e s plans w e r e on a v a s t s c a l e a n d t h e r e w a s t h e u s u a l d i ffi c ul t y
’
about mon e y T h e B i shop pro p os e d to find i t by t h e sal e o f wood and

.
,
i nduc e d t h e Grand M ast e r o f Woods and F or e sts to r e port that t h e

for e sts of V e rdun n e e d e d th i nn i ng acr e s at 6 00 l i vr e s t h e acr e.
w e r e to supply t h e m on e y l i vr e s T h e Parl i am e nt of M e tz .
,
how e v e r obj e ct e d to th i s as an i nt e rfe r e nc e w i th th e i r r ight of control

, ,
an d d e cl i n e d t o r e gi st e r t h e d e cr e e T he B ishop w ho had no scrupl e s .

,
i n t h e matt e r at all wrot e to D e Cott e i n J u n e urg i ng h i m to g e t t h e

, ,
Parl i am e nt s e t as id e o n e w a y o r oth e r and h e app e ars to hav e s u c ,
ce e d e d fo r at t h e e n d o f A u g ust h e wrot e to D e Cott e : L e s d i ffi “

,
”
cul t es av e c l e Parl e m e nt d e M e tz sont r e g lé e s T h e sal e was h e ld i n .
O ctob e r but turn e d o u t a fai lur e as t h e m e rch a nts for m e d a r i ng and

, , ,
t h e sal e w a s stopp e d T h e B i shop how e v e r e x asp e rat e d but und e fe at e d

.
, , ,
obta i n e d a d e cr e e from t h e Cons e i l d Et a t i n F e bruary 1 7 2 5 ord e r ing ’
that t h e cost of all work to t h e palac e was to b e d e t e rm i n e d by D e Cott e

D en i s J os se nay e l ct e d 7 72
74 8 , e 1 1 1 .
R O B E RT D E C O T T E 49
a nd pa i d fo r by t h e sal e o f t h e woods o f t he B i shopr i c of V e rdun T h e .
w orks had alr e ady start e d a n d t h e B i shop was full o f sugg e st i ons ; h e ,
w ant e d a fr i e z e all rou nd t h e bu i ld i ng o f t h e courtyard and i n t h e ,
spandre ls b e tw e e n t h e arch e s t h e a r m s o f all t h e B i s h ops o f V e rdun and ,
all t h e w i ndows w e re to b e doubl e But h e al r e ady found h i ms e lf sh ort .
o f mon e y Two pav i l i ons i n t h e gard e n had t o b e om i tt e d T h e sal e o f

. .
w ood had only r e al iz e d l ivr e s and t h e B i shop wrot e i n ,
N ov e mb e r I 7 2 5 that t h e rap i d progr e ss o f t h e t e rrac e s was m i racul e us e

, ,
“
,
car tout ce t ouvrag e e s t fa i t sans arg e nt N o r d id t h e B i shop h e lp .
matte rs h i ms e lf for h e was constantly alt e r i ng t he plans and h i s i d e a

, ,
s e e ms t o hav e be e n that e v e ry t h i ng was to com e out o f t h e contractor s ’
pock e t T h e w orks w e r e susp e nd e d i n 1 7 2 6 and i n 1 7 3 1 b e gan t h e

.
,
d i ffic ult i e s w i th t he trad e s m e n T h e B i shop shows up v e ry badly and .

,
D e C ott e app e ars t o hav e favour e d h i m unduly C h o t t i n s e rrur i e r .

, ,
d e cl i n e d t o acc e pt his rul i ng I l a fai t pri x av e c l ev equ e e t il a e x é cuté ,

’
p lus q u e l e travai l conv e nu 1

A C anon w a s told o ff to m ak e C h o t t i n.
”
l i st e n to re ason F a n a r t t h e glaz i e r whos e account had b e e n cut down

.
, ,
20 e r c e nt also obj e ct e d and produc e d four c e rt i ficat e s prov i ng that

p .
, ,
h e had charg e d no mor e than t h e pr i c e curr e nt at V e rdun wh e r e glass ,
and pa i nt hav i ng all to b e brought from Rou e n w e re mor e e x p e ns i v e

, ,
than i n Par i s Th e s e m e n had b e e n wa it i ng som e y e ars for th e ir mon e y

.
2
.
D e C ott e s e e ms to hav e forgott e n that wh i l e i t i s an arch i t e ct s duty t o

’
prot e ct hi s e mploy e r s i nt e r e sts i t i s also h is du ty to hold t h e balanc e

’
fa i rly b e tw e e n e mploy e r and e mploy e d A s for Charl e s Fran c o i s .
d H a l l e n c o u r t h e a pp e ar s t o h av e b e e n an e ccl e s i as t i cal d i gn i t ary w i t h

’
, ,
a v iv id s e ns e o f h is r ights but an e x tre m e ly vagu e i d e a o f h i s duti e s an d

, ,
th e s e amaz i ng B i shops plural i sts of t he worst d e scr i pt i on account fo r a

, ,
good d e al i n t h e h i story of Franc e i n t h e e ight e e nth c e ntu ry I n 1 7 3 9 .
J ul e s Rob e rt D e Cott e succ e e d e d h is fath e r at V e rdun an d t h e bu i ld ,
—
i n g was not compl e t e d wh e n d l I a l l e n co u r t d i e d i n I 7 5 4
’
.
I n 1 7 2 8 3 0 t h e Card i nal A rmand Gaston M axi m i l i an d e Rohan

-
,
B i shop of S trasbourg e m p loy e d D e Cott e t o mak e som e e xt e ns i v e

,
add i t i ons and alte rat i ons to his Ch ate au o f S av e rn e s i nc e famous as ,
Z ab e rn for i t s r ed u ct zo a d a ém m u m of Pruss i an m e tho d s and about t h e ’ 3

’
1
Marc e l p 5 1 4 D e Cott e s usual comm e nt on t h e accounts was Mémo i r e me
, . .
’
s e rvant d e ri e n .
2
Mid p 5 2 2 , . .
Inv enta i r e pp 5 5 2 -5 T h e works wer e carri ed o u t first und e r C ar b o nn e t and

, . .
aft e rwards und e r L e Ch eval i e r sai d by M Marc e l t o have b e e n a pup i l of Mansart T h e

, . .
chat e au wa s d e stroy e d by fi re in 1 7 7 9 and r e bu i lt on n e w plans by t h e Card i nal Lou i s d e

,
Rohan th en B i sh op of Strasbourg It i s n ow us e d as a barrack Sav e rn e had b e longe d

, . .
II H
sam e t i m e to d e s ign a ne w e p i scopal palac e at S trasbourg A comp e t it i o n .
b e tw e e n two contractors was h e ld i n 1 7 3 1 and t h e work was b e g un soon ,

’
aft e r w ards and fin i sh e d i n 1 7 4 1 A mong D e Cott e s pap e rs a r e t w o .
e st i mat e s o f cost o ne o f l i vre s t h e oth e r o f

,
l i vr e s i n , ,
both cas e s w i thout j o in e ry m irrors sculptur e g i ld i ng marbl e w ork , , , , ,
glaz i ng and pa i nt i ng I n t h e corr e spond e nc e as to t h e bu ild i ng th e r e i s

,
.
l ittl e o f i nt e r e st e xc e pt a not e o n pr ic e s o f bu i ld i ng and mat e r i als i n

,
S trasbourg at t h e t i m e } from wh i ch i t app e ars that a 6 foot squar e .
of murs e n mo e llons ( rubbl e ) 1 foot th ick was worth 7 l i vr e s 1 1 sous ; , , ,
2 fe e t th i ck 1
5 l i vr e s 2 sous 6 d e n i e rs a 6 foot squar e o f t il i ng 6 l i vr e s ;
, , ,
o f pav i ng 3 i nch e s th i ck
, 1 6 l i vr e s I ron w a s 4 sous 6 d e n i e rs t h e
, .
pound and l e ad 8 sous t h e po u nd

, .
D e Cott e also pr e par e d a d e s i gn for a hous e for Comt e d H a n a u at

’
S trasbourg but t h e Comt e pr e fe rr e d t h e d e s i gn of L e Ch e v al i e r D e

, ,
’
Cott e s r e pr e s e ntat iv e h av i ng al r e ady r ej e ct e d a d e s ign mad e by o n e o f
,
t h e town s e n g i n e e rs
’
T h e latt e r was so bad that t h e Card i nal d e Rohan
.
“
d it e n pl e i n e compagn ie e t d e vant l i n g é n i e u r q u e ce plan n a v a i t mi
’ ’
r im e mi ra ison and that if i t was carr i e d out h e would s e nd fo r t h e

, ,
”
pol i c e .
2
D uri ng all th is t i m e D e Cotte had b e e n bus ily e mploy e d i n d e s i gn

i ng hot e ls and d e corat i ons at Par i s Blond e l m e nt i ons among th e s e .
d e s i gns t h e H Ot e l d e l A b b e y e d e S D e nys t h e H o t e ls d E s t r é e s d e
’
.
,
’
Lud e d u Ma i n e t h e Gall e ry of t h e H Ot e l d e Toulous e and t h e e ntranc e

, , ,
to t h e Church o f S Roch T h e H o t e l d E s t r é e s i n t h e Ru e d e
. .
’
Gr e n e ll e w a s o n e of h is e a rl i e s t w ork s h a v i n g b e e n b u i l t i n 1 7 0 4 I t s
,
3
, .
plann i ng was bad and Old fash i on e d t he k i tch e n and d i n i ng room w e r e

-
,
-
at opposi t e e nds o f t h e hous e and to g e t from t h e o ne to t he oth e r i t ,
was n e c e ssary to pass und e r t h e ma i n sta i rs and cross t h e two e ntranc e

v e st i bul e s ; all t he rooms w e r e en s u i te and l i ttl e att e mpt mad e to obta i n ,
e n fi la d e s or any var i e ty i n t h e rooms O n t h e oth e r hand t h e s i mpl e .

,
and d ig n i fi e d e l e vat ions a r e among t h e b e st of t h e whol e s e r ie s o f Par is

hote ls D e Cott e only us e d M ansart s I on i c ord e r on t h e first stor e y o f
.
’
t h e front i sp i e c e to t h e court and r e l i e d o n hi s spac i ng and proport i on ,
rath e r than on t he k n ick n acks o f d e s ign oft e n affe ct e d by Fr e nch arch i
t o th e B i shops of Strasb ourg s i nc e t h e t hi rt e e nth c e ntury D e Bross e s d e scri b e s th i s .
Card i nal Armand as magni fiq u e i ci comm e e n Franc e l a ir n obl e l e s ma nier es d un

“
,
’
,
’
grand s e i gn e ur c ep endant peu e sti mé e t peu accre d it é

,
L ettr e s famil ier e s écrit e s d I t al ie ’
en 1 739 et i i,
1
Marc e l pp 5 7 4 5 7 5 5 8 0 5 8 1
, .
, , , .
2
I bi za, p .
566 .
3
No w t h e Russ ian E mbassy .
PI CXX
E L E V AT HE Q F R O NI FO R E C O U RT
G RO U N D II A N
H OT L E
’
D ES T R EES . Bv R . DE C O TT E ( p .
5 0)
( FRO M BL ON D EL ARC H I T E T U E F A N CA I E
“
, C R R S ,
1, i x)
[IL TO FA E P
C .
50
PL C X X I
.
E L E AT I
V ON F R O M T H E l O R EC O UR
‘
E L E AT I
V ON F RO M T H E G A EN
RD
H OT L
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( FR O M BL ON E L
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A R C H I T ECT U RE
“
F A N CA I E I v iii )
R S , , x
GA LLE YR H OT L DE
OF E T ou Lo u s E . BY DE COT T E
( F O M J F B L ON DEL C O R )
’ "
R . .
, U S D A R C H IT E C T U R E
11 . TO FA E
C l’ .
51]
R O B E RT DE COT T E 5 1
t e e ts i n t h e first hal f o f t h e e ight e e nth c e ntury T he e l e vat i ons o f his .
e arl i e r d e s igns a r e mark e d by a stra i ghtforward and d i gn i fi e d s i mpl i c i ty
wh i ch conv i nc e s m e that D e Cott e had a mann e r of his ow n and that ,
Sai nt S i mon s g i b e o f t h e arch i t e ct e sous cl e f how e v e r tru e i t may ”

’
-
,
hav e b e e n of Mansart was mal i c ious and calu mn ious i n t he cas e o f

,
D e Cott e T h e H Ot e l d e Lud e was bu i lt i n 1 7 1 0 on a v e ry cur i ous

.
1
and i nconv e n i e nt plan T h e e ntranc e s from t h e g r an u l e com w e r e at

.
”
t h e s i d e s i nst e ad of i n t h e c e ntr e Th e r e w a s no grand sta i rcas e i n fact

.
,
o ne has to s e arch t h e plan to find any sta i rcas e s at all D e Cott e how .
,
e v e r obta i n e d a n e n fil a d e through s e v e n room s o n t h e gard e n s i d e

, ,
gi v i ng a total l e ngth from wall to wall o f som e 1 7 0 fe e t and th i s was ,
t h e o n e m e r i t of t h e plan T h e e l e vat i ons aga i n as shown i n Blond e l

.
, ,
w e r e s i mpl e and e xc e ll e nt e xc e pt for t h e i nad e quat e front i sp i e c e i n t h e

,
c e ntr e of t h e gard e n fa c ad e wh i ch had only t w o w i ndow op e n i ngs as

,
aga i nst thr e e of t h e e nd pav i l ions w i th t h e r e sult that th e r e was a sol i d

,
mull i on i n t h e c e ntr e l i n e of t h e fa c ad e a bad fault i n any cas e b u t as

, ,
Blond e l puts i t mo i ns condam nabl e i n t h e e nd pav i l i ons o f a s y m

,
m e tr i cal d e s i gn t h an i n t h e c e ntr e .
B e tw e e n 1 7 1 3 and 1 7 1 9 D e Cott e d e s i gn e d t he d e corat i ons of t he

H Ot e l d e Toulous e and it is by th i s work that h e is now most g e n e rally
,
known H e i s cr e d i t e d by c e rta i n wr i t e rs w i th hav i ng h e r e i ntro

.
d u c e d fo r t h e first t i m e t h e n e w fash i on fo r d e corat i on w i th larg e m i rrors

ov e r t h e fir e plac e i ns t e ad o f t h e pond e rous compos i t i ons of t h e arch it e cts
,
o f Lou i s X I V and w i th hav i ng mad e an e ffort at a c e rta i n ch e e rful

,
fr i v o l it y i n d e t a i l I n po i n t o f fa c t J H M a n s ar t h a d alre a d y mad e fr e e
.
, . .
u s e of m i rrors as a mot i v e of d e corat i on and D e Cot t e s att e mpt t o cat c h

’
t h e n e w mann e r w a s n e i th e r o n e th i ng nor t h e oth e r T h e n i ch e s w i th .

,
th e i r h e avy consol e s badly plac e d b e t w e e n t h e p i last e rs i ntroduc e a ,
mot iv e al i e n to th i s mod e of d e corat i on and wh e n h e und e rtook i t ,
D e Cott e should ha v e forgott e n that h e was an arch i t e ct Th e r e ca n .
b e no half m e asur e s i n th i s e xub e rant mann e r and i f i t i s to b e us e d at ,
all it r e qu i r e s t h e r e ckl e ss gallantry of t h e H Ot e l d e S oub i s e D e s t a ille u r .
sugge sts that D e Cott e w a s too busy to att e nd to i t s d e tai ls C e rta i nly .
h is work fe ll o ff badly at about th i s dat e T h e H Ot e l d e Ma i n e b e gun

2
.
,
i n 1 7 1 6 w a s an i nfe r i or d e s ign both i n plan and e l e vat i on A n att e mpt

, ,
.
was mad e at organ i zat i on by k e e p i ng all t h e offic e s tog e th e r on t h e

r ight-hand s i d e of t h e g r anu l e 6 02473 but t h e l i ttl e courts prov i d e d fo r
3
D estroy e d .
2
No
Lill e w a s t h e G erman Embassy
.
7 8 , Ru e de ,
.
2
Blond e l wh o cr i t i c iz e s th i s c o urt v e ry unfav ourably as barlong i nst ead of
,
o blong gi ve s as a rul e for t h e pr oporti ons of fore courts that t h e l e ngth sh ould b e e qual
”
,
52 A H I S T O RY O F F R E N C H A R C H I T E C T U R E
l ig h t and a i r ( about 1 3 fe e t by 1 2 fe e t ) would hav e b e e n us e l e ss i n a

thr e e -stor e y bu i ldi ng 7 5 fe e t h igh from bas e m e nt floor to att i c c e i l i n g .
T h e k i tch e n was plac e d i n t he e xtr e me south e ast e rn corn e r o f t h e -
g r an u l e com e
n e xt t h e str e e t and t h e s a i l
, ed -m a ng e ? w a s plac e d o n
t h e first floor at t h e e xtr e m e oppos i t e corn e r o f t h e hous e T he r o om s .
w e r e as usual en s u i t e e xc e pt fo r t w o passage s o n t h e first floor 2 fe e t

, , , ,
6 i nch e s w i d e 3 6 fe e t long o ne of wh i ch has no l ight at all a n d t h e

, , ,
oth e r has a w i ndo w at o n e e n d op e n i ng o n to o ne o f t h e l ittl e courts me n

t io n e d abov e T h e e l e vat i ons a r e commonplac e and ov e rcrowd e d w i t h
.
w i ndows and t h e b e st th i ng about t h e d e s ign i s t h e s e cti on through

,
t h e hous e a n d for e court wh i ch sugge sts a spac i ous and d ign i fi e d i nt e r i or

,
.
I t may hav e b e e n that D e Cott e b e gan w i th h igh id e als but t h e ,
thorns sprang up and chok e d th e m Wh e n pr i nc e s and pote ntate s pu r .
su e d hi m w i th i nv i tat i ons and load e d hi m w i th com p l i m e nts it m a y hav e ,
b e e n d i fficult to re coll e ct that t h e bus i n e ss o f an arch i te ct aft e r all is to

produc e good arch i te ctur e Blond e l though t s o badly o f t h e H Ot e l d e
.
M a i n e that h e e v e n doubt e d i f i t was by D e Cott e but th e r e s e e ms n o ,
doubt that t h e d e s ign cam e fro m h is offic e A n e w e ntranc e fa c ad e t o .
t h e Church of t h e P er e s d e la Chari té was bu i lt i n 1 7 3 3 from h i s d e s i gn .
Th i s d e s ign also was s o bad that B lond e l r e mark e d c e t arch i t e ct e q u i “
a vo i r u m m é r i t e supér i e ur n a u r o i t c e rta i n e m e nt pas souffe rt la plu p art

’
d es l ic e nc e s q u i s e r e marqu e nt i c i but t h i s i s by no m e ans a sol i tary

”
,
i n s tanc e of t h e work o f an abl e arch i t e ct hav i ng su ffe r e d from h i s hav i ng

m or e to do than h e could poss i bly att e nd to h i ms e lf D e Cott e had .
l o s t t h e br e a d t h a n d d ig n i t y of h i s e a r ly m a n n e r a n d a s a h o u s e pl a n n e r ,
h e app e ars to m e to hav e b e e n i nfe ri or to L A s s u r a n ce and i nd e e d to

’
, , ,
al most any o f t h e cons i d e rabl e arch it e cts o f t h e t i m e o f t h e R e g e ncy .
Y e t o n account o f t h e gr e at pos i t i on that h e occ up i e d and also o f h is ,
p e rsonal qual i t ie s h e i s an i mportant fig u r e i n t h e h i story o f Fr e nch

,
arch ite cture Blond e l says of h i m S on i nt e g r i t é e t s a capac i t é l u i e n

.
,
atti ré la c o nfi a nc e d e tous l e s grands s e ign e urs e t l e suffrage s de s s e s ,

”
cont e mporai ns A gr e at r e putat i on i n a man s l i fe t i m e i s not always
.
’
e v i d e nc e of h i s p e rsonal m e r i t e sp e c i ally i n arch i t e ctur e and e s p e c i ally

, ,
i n t h e ta i nt e d atmosph e r e of t h e R e g e ncy D e C ott e though h e kn e w

.
,
h i s bus i n e ss do e s n o t app e ar t o m e to hav e b ee n i n any s e ns e a gr e at

,
arch it e ct but h e was s h r e w d capabl e and adro i t a s k i lful adm i n istrator

, , , ,
a n d a man of h ono u r and human i ty .
to th e l e ngth of t h e d iagonal of th e squar e of t he breadth Bl ond el m i ght . we ll say of th e

l i ttle c ourts that th e y we re s o mbr e s et peu salubre s .
”
PL . CXX IV
l [ 5 0e do 177m m: l o B orw éon
’
mo r e/ 1 /
c l a u u eé ( a ( d o c/( e r ue ( J ar
”Par a c -
‘
e t w m r r ue D ay / Am e
GR O UN D P L A N
HO ET L DU M A I NE ( see p .
52)
[IL PP .
5
C H A PT E R XX
J A C QU E S J u L E s G A B RI E L
N t h e cours e o f th is study I hav e i n s e v e ral i nstanc e s call e d att e n

t i on to t h e strong cons e rvat iv e i nst i nct o f t h e Fr e nch m i ddl e class ,
t h e t e nac i ty w i th wh i ch fam i l i e s adh e r e d to th e i r profe ss i onal trad i
t i ons from g e n e rat io n to g e n e rat i on and also to t he clos e ly i nt i mat e

,
soc i e ty th e s e fam il ie s form e d among th e ms e lv e s so that i n fact i n a n , ,
i nformal mann e r th e y almost took t he plac e of t h e Old gu i lds

, T he .
fam il ie s of D u C e rc e au M e t e z e a u D O r b a y Bruand H ardou i n M ansart

, ,
’
, , , ,
L A s s u r a n c e and D e Cott e a r e fam il i ar e xampl e s but t h e Gabr i e l

’
, ,
fam ily is p e rhaps t he most r e markabl e T h e found e r of t h e fam i ly .
s e e ms to hav e b e e n t h e J acqu e s Gabr i e l e ntr e pr e n e ur de ma co nn e r i e

,
“
,
w h o mak e s h i s first app e aranc e i n t h e Compte s i n 1 6 6 7 as contract ,
i n g for t h e masonry o f t he Gob e l i ns factory and whos e nam e i s ,
r e gularly e nt e r e d from that y e ar on w ard t ill t h e dat e o f hi s r e t i r e m e nt

i n 1 6 8 4 as i n r e c e i pt o f larg e paym e nts for masonry at V e rsa i ll e s and
,
C la g n y Thus i n 1 6 7 9 -1 6 8 0 h e r e c e i v e d 3 1 0 7 3 0 1i v r e s i n cl u d i ng
.
, ,
francs for work at t h e O rang e ry and i n 1 6 8 0 h e was pai d for work at

,
V e rsa i ll e s fr a n cs f I n J anuary 1 6 8 2 h e r e c e i v e d a lump sum of

francs r e pre s e nt i ng 4 7 paym e nts fo r t he masonry of t he grand
,
“
a i sl e ( t he north w i ng) at V e rsa ill e s and i n 1 6 8 3 t he balanc e o f all t hat

,
w a s d u e to h i m on a total o f francs for work at V e rsa ill e s

from 1 6 6 8 to T h e last p aym e nt mad e to J acqu e s Gabr i e l was for
t h e par i sh church of V e rsa ill e s i n 1 6 8 4 From t he first h e had b e e n
.
”
i nclud e d among t h e o ffi ci e r s
q u i o nt gag e s w i th a mod e st r e
, ta i n i ng
fe e o f 3 0 francs pe r annum t h e r e gular allowanc e t o t h e Royal trad e s
,
me n . A ppare ntly J acqu e s Gabr i e l r e t i r e d i n o r soon afte r 1 6 8 4 to a

3
2
Gabriel usually c ontract e d b y hi ms e lf but i n 1 6 7 8 h e was ass oc iat e d wi th J ean
,
D O r b ay ( contract or ) i n a c ontract for larg e s u ms at V e rsai ll e s

’
.
2 “
C o mpt e s i i 3 0 8
,
”
, .
T h e fe e w as nom i nal t h e app oi ntm e nts carry i ng w i th th e m sp e c i al pr i v i l e ge s and

3
, ,
b ei ng usually h e r e d i tary or obtai n e d by purchas e from e xi st i ng hold e rs

, .
54
J AC Q U E S J U L E S GA B R I E L 55
p rop e rty h e had bought at V i ll e n e uv e S G e orge s and h e r e h e d i e d .

, ,
probably i n t h e autum n o f H e l e ft a cons i d e rabl e prop e rty ,
prov e d at 5 francs wh i ch M L o t wr i t i ng i n t h e N ouv e ll e s

2
,
.
,
A rch i v e s i n 1 8 7 5 e st i mat e d to b e worth , francs ( mon e y o f

but i n 1 6 8 8 t h e w i dow and h e irs of J acqu e s Gabri e l had t o r e fund
to t h e stat e francs 1 9 sous 9 d e n ie rs o n account of e rrors o f , ,
calculat i on to t h e pr ej ud i c e o f H is M aj e sty i n s e v e ral accou nts and ,
m e asur e m e nts o f masonry b e t w e e n 1 6 6 8 and and t h e balanc e d u e

”
o n work don e from 1 6 8 2 on w ards was no t pa i d up t i ll 1 7 0 2 Compt e s ,
iv , M e anwh il e M aur i c e Gabr i e l e ntr e pr e n e ur w ho s e e ms to hav e ,

“
,
b e e n a cous i n carr i e d o n t h e bus i n e ss at V e rsa i ll e s I n 1 6 8 5 h e r e c e i v e d

,
.
22 francs for mat e r ials pr e par e d by h i m for t h e church at V e rsa i ll e s ,
a n d i mm e d i at e ly n e x t h i m i n t h e sam e account app e ars Rob e rt D e

”
C ott e e ntr e pre n e ur for t h e masonry o f a n e w r e s e rvo ir for t h e H Ot e l
,
“
,
d e V i ll e roy I n 1 6 8 6 Maur i c e Gabr ie l pa i d

.
3
francs and oth e r sums
for t h e mat e r i als o f t h e H Ot e l d e V e nd Ome and t h e m ill at C la g n y pull e d
down by h i m and i n 1 6 8 7 h e r e c e i v e d
, francs 1 0 sous 6 d e n i e rs , ,
for w ork i n t h e Church o f t h e Capuc i n e s and t h e bu ild ings o f t h e Plac e

Royal e and th i s work cont i nu e d i nt e rm i t t e ntly through t h e y e ars 1 6 8 8 -9 2
, .
M aur i c e Gabri e l d ie d i n o r b e for e 1 7 1 0 I n t he y e ar 1 7 1 1 t h e balanc e .
of a contrac t for francs 1 sou 3 d e n ie rs w a s pai d t o t h e h e i rs o f , ,
”
M aur i c e Gabr i e l and L E s pi n e e ntr e pr e n e urs for masonry carr i e d ’
,
“
,
out by th e m i n t h e chap e l and d e p e nd e nc ie s of M e u don b e t w e e n 1 6 9 9

and 1 7 0 5 ; t h e last paym e nt fo r wh ich w ork had b e e n mad e n i n e y e ar s
b e for e T h e c o n t r a c t or s b s i n e s s s e e ms t o ha v e t e rm i na t e d w i t h
4 ’
. u
M aur i c e Gabr i e l H e nc e forward t h e dynasty w as t o b e a dynasty o f

.
arch it e cts i nclud i ng i n it s succ e ss i on t h e most br ill i ant arch i t e ct of t h e

.
e i ght e e n t h c e ntury .
I n 1 6 8 8 a S r Gabr ie l r e c e i v e s .francs as thr e e quart e rs of hi s -
salary as co nt r Ole u r g é néral alt e rnat i f d e s B a s t i m e n s jard i ns tap iss e r i e s

“
, ,
”
e t manufactur e s d a R o i T h e S r Gabr i e l w a s J acqu e s J u l e s Gabr i e l
5
. .
,
at th i s t i m e 2 1 y e ars o f a g e hav i ng b e e n born i n 1 6 6 7 I t s e e ms amaz i ng , .
2
S ee N ouv ll s A rch iv e s d
e e pp 3 1 8 el seg for th e inv e ntory o f
e l Ar t
’
Franc .
,
1 8 7 6, . .
,
sal e ( 1 ) of th i s prop e rty ( 2 ) of a s e at i n t h e pari sh church ( 3 ) of t h e cont e nts o f h i s

, ,
hous e of la Gr ill e ( 4 ) p e rm i ss i on to say t h e Mass i n t h e chap e l of h i s hous e ( 5 ) o f h i s

, ,
e stat e as prov e d i n 1 6 8 8 It cons i st ed of s ix hous e s i n Par i s on e at V e rsaill e s and oth e r

.
, ,
i nv e stm e nts In t h e i nv e ntory N o 1 Gabri e l i s d e scri b e d as A rch i t e ct e d es B at i m e n t s

.
“
.
,
d u R o i but h e c e rtai nly was th e contractor

”
.
,
C ompt e s i ii 6 7 H i d II 6 4 2
2 ” 2
.
, , , , , .
i v 1 0 1 2 and v 5 3 9
2
, , , .
H i s coll e agu e s we r e L e NOtr e and L e fe bvr e

2
.
that th i s young man w i th l i ttl e or no tra i n i ng and e xp e r ie nc e shou l d

sudd e nly find h i ms e lf among t h e pr i nc i pal o ffic e rs of t h e Royal bu i l d
i ngs I n po In t o f fact his moth e r had bought t h e charge from J H
.
, . .
M ansart fo r t he su m of francs and as J H M ansart was cous i n ,

. .
to t h e w i dow Gabri e l h e no doubt e x e rte d h i ms e lf t o cov e r up th i s

d isgrac e ful p i e c e of n e pot i sm J acqu e s J ul e s Gabr i e l b e i ng at t he t i m e .
o f t h e transact i on ( 1 6 8 7 ) a m i nor t h e cons e nt o f h i s guard i ans had to ,
b e g i v e n —v i z Mar ie D e l i sl e hi s moth e r and w i do w of J acqu e s

.
, , ,
1
Gabr ie l t he contractor ; Charl e s Gabr ie l uncl e ; M aur i c e Gabri e l cous i n
, , ,
o f h i s fath e r ; M J ul e s H ardou i n Mansart cous i n o f h is moth e r ;

.
,
Ch e val i e r d e l o r d r e d e N Otr e D am e d u M ont Carm e l e t d e S t Lazar e

’
, .
d e H i e r u s a le m C ons e i ll e r d u Ro i e n s e s Cons e i ls I nt e ndant d e s

, ,
B a s t i m e n s A rts e t M anufactur e s d e Franc e ; Gabr i e l B lanchard

”
,
p a i nt e r and profe ssor i n t h e A cad e my of Pa i nt i ng and Sculpture ;

”
C h e m e t C o nt r Ole u r G en eral o f R e nt e s sur la Cl e rg é ; and J acqu e s
,
-
Gabr ie l arch i te ct e and contractor and cous i n o f t h e futur e Controll e r

, , ,
who i s furth e r d e scr i b e d i n t h e d e e d as A rch i t e ct e O rd i na i r e d es “
”
B a s t i me ns d e Mad e mo i s e ll e d e M ontp e n s i e r J acqu e s J ul e s Gabr i e l .
was how e v e r a v e ry capabl e young man and h e v e ry soon show e d

, , ,
h i ms e lf to b e o ne o f t h e abl e st o f t he r is i ng g e n e rat i on I n 1 6 9 4 h e .
b e cam e Controll e r at C hambord and i n 1 6 9 9 a m e mb e r of t h e A cad e my ,
of A rch i t e ctur e i n w h i ch y e ar h e r e c e i v e d h i s first fe e for att e ndanc e

, .
I n t he accounts fo r th i s y e ar ( 1 6 9 9 ) th e re a r e thr e e Gabri e ls 1 ) t he
Controll e r J acqu e s J ul e s w i th h i s usual salary ; 2 ) M Fran c o is Gabr ie l

, .
Cons e i ll e r d u R o i Tr é sor i e r—
, ,
G é n é ral d e s d i t s b a s t i m e n s ; a n d
, 3) a
”
Sr Gabrie l who i s m e r e ly d e scr ib e d as autr e arch it e c t e w i th a salary
.
, ,
See N ou ll e A rch i v e s 8 7 6 pp 3 4 -3 4 6 In t h e d e e d all t h e Gabri e ls e styl e d

2
ve s , 1 , . 1 . ar
arch i te cts and Jacqu e s I and Mau ri c e A rch i t e ct e s d R oi Th ey d o not app ear to
,
“
u .
”
have had any ri ght to th i s t i tl e wh i ch wa re s e rv d fo m e mb e rs of th A cad e my of , s e r e
A rch i t e ctur In anoth e r d ee d of e manc i pati on of Claud e Gabrie l i add i t i on to m e mb e rs

e .
,
n
of t h e Gabri el fam ily th er e app e ars P ie rre d e l I sl e Mansart arch i t e ct e o ncl e mat e rn e l
,
“ ’
, , ,
”
and M e ss i r e M i ch el Hardou i n Cons ei ll e r C on tr Ole u r Gén é ral d es b a st i men s d u Ro i

, ,
i n add i ti on to t h e e m i n e nt M e ss i r e Jul e s Hardou i n Mansart cous in mat e rn e l T h e , .

”
fam ily conn e ct i on was e ndle ss and unassailabl e Th e p e d i gr ee g ive n i n t h e N o u ve ll es .

“
Ar c h i v e s pp 3 5 0 5 1 i s e rr on e o us It mak e s Jacqu e s I I t h e co n t r Ol eu r g é n é ral i d e nt i cal

”
-
“
.
, .
,
wi th t h e contractor Jacqu e s I wh o marr ie d t h e cous i n of J H Man s art and d ie d i n 1 6 8 6

, . . .
T h e m i stak e v i t i at e s t he e nt i r e p e d igr ee wh i ch was dra wn up b e for e M G u i fl r e y h a d

'
.
,
publ i sh e d t h e Compt e s d e s B at ime nts d u R o i i n 1 8 8 1 M L e monn ie r s e e ms also

“ ”
. .
t o hav e lost h i s wa y 2“
i n t h e fam ily tr e e of th e Gabr i e ls and c o nfus e d Jacqu e s I I t h e ,
Controll e r wi th h i s fath e r Jacqu e s I t h e bu i ld e r and c o ntractor .
P r oc es V e rbau x d e l Aca dé mie r oyal e d ar c h i tec tu r e 1 1 1 2 5 M G u i ffr ey i n t h e

’ ’ ”
- . .
, ,
i nd e x to t h e C o mpt e s v o l iv strange ly i d e nt i fi e s A nge Jacqu e s Gabr ie l ( b 1 6 9 8 ) wi th

,
”
.
, .
t h e C o ntr oll e r .
t h e r e i n J uly T h e e ld e r Gabr i e l ( t h e contractor ) who d i e d that ,
y e ar had r e t ir e d i n 1 6 8 4 ; and i t is th e re for e poss i bl e that th i s was

,
actually d e s ign e d by h i s s o n J acqu e s J ul e s Cho is i app e ars from t h e ,

.
V i e w by P e r e ll e to hav e b e e n a gr e at lump o f a hous e ov e rpow e r e d by ,
a h e avy mansard roof A ft e r t h e d e ath o f M ad e mo i s e ll e i t cam e i nto

.
t h e hands o f t h e D auph i n w h o e xchang e d i t w i th , l i vr e s add e d ,
for M e udon w i th M a dam e d e Louvo i s H e r son —i n -law t h e D u e d e

, .
,
V i ll e r s sold Cho i s i to t h e P r i nc e ss d e Cont i w h o sold i t to Lou i s X V

, ,
in 1 7 39 From that dat e onwards work was constantly go i ng on

.
,
h e r e fo r Lou i s X V q u i pa r Oit avo ir u n e affe ct i on part icul ie r pour

,
“
s e séj our dél i c i e ux T h e b e st art i sts o f t h e t i m e w e r e e mploy e d at

.
Cho i s i und e r t h e d i r e ct i on of t h e Gabr i e ls fath e r and s o n No t , .
w i ths t and i ng t h e Palac e w a s out of fash i on i n twe nty y e ars

, P igan i ol .
d e la Forc e a d d e d a postscr i pt to h i s n i nth volum e to t h e e ffe ct that .
Cho i s i i n t h e op i n i on o f conno iss e urs and all strang e rs d id n o t i n t h e

, ,
l e ast d e s e rv e t h e e x c e ss i v e pra i s e s lav i sh e d on t h e d e s ign o f t h e hous e

and i t s gard e ns I t had n e ith e r e ns e mbl e nor nobl e ss e and
.
“ “
,
”
look e d l i k e a m e r e r e nd e z v ous d e Chass e Royal A ll that i s
2
now l e ft o f th i s s éj our dél i c ie u x a r e two pav il i ons n e x t t h e pr i nc i pal

e ntranc e .
I n 1 7 0 7 Gabr i e l d e s ign e d a hous e for M adam e d e Varang e v ill e i n

t h e R u e S D om i n i qu e Pari s
. I t w a s n o t a v e ry i mpor t a n t or a t t r a c t i v e
, .
bu i ld i ng T h e m a i n block cons i st e d o f fi v e apartm e nts eu s u i te w i th

.
,
an e ntranc e from t h e g m u a e eou r tuck e d away i n t h e l e ft — ’

hand
corn e r T h e e l e vat i ons w e r e badly d e s ign e d but t h e arrang e m e nt o f
.
,
t h e b e drooms and dr e ss i ng rooms i n a su i t e t o i ts e lf w i th a s e parat e -

,
s e rv i c e sta i rs at o n e e n d o f t h e bu ild i ng and t h e plac i ng of t h e k i tch e n ,
and o ffic e s i n r e lat i on to t he s a i l ed ma ng e r sugg e st t h e younge r -

,
ge n e rat i on n o long e r cont e nt w i th t he prov is i on for m e r e parad e

,
wh i ch h ad sat i sfi e d t h e sch ool of J H M ansart Blond e l m e nt i ons an . . .
H Ot e l d e F e u q u i e r e by Gabr i e l wh i ch h e prom i s e d to i llustrat e but ,
n e v e r d i d and r e marks —p oss ibly i n e x planat i on of t h e l i ttl e that h e

3
,
s e e m e d t o know o f Gabr ie l —that t he l a t t e r w a s v e ry much occup i e d o n

2
D e sc Pari s i x 1 3 7
. de , ,
.
2
Vo l i x 5 2 2
. Cho i sy l e R o i i s on t h e S e i n e about
,
.
,
1 0 kilom e tr e s above Par i s .
Les p e t i ts soup e rs d e Cho i sy of Lo ui s X V w er e fa mous in ”

t h e e ight ee nth c e ntury .
3
A rch
“
.i 292 ,
.
[I L TO FA E P
C .
58
H OT E I . DE B L O S SA C, R EN N E s ( s ee p . 61 , not e 3 )
( FR OM A D RA W I N G BY R E G I N A L BL O M F I L
D E D
)
11 . TO FA E P
C .
5 9]
of t he Cath e dral a t O rléans A s a v e rs i on of Goth i c it i s utte rly w i d e o f
2
.
t h e mark but t h e s e ns e o f mass and pro ort i on i ngra i n e d i n th e s e

, p
e i ght e e nth c e ntury m e n sav e d t h e bu ild i ng from b e i ng r i d icul ous .
B a u c h a l says that i n 1 7 3 9 a mod e l i n wood was mad e from h is d e s i gns

fo r t h e Churc h o f S a i nt e Cro i x at O rléans at t h e large cost o f ,
1 l i vr e s and that th i s mod e l st i ll e x i sts i n t he Ev é ch é

, .
W e n o w com e t o what i s by far t h e most i nt e r e sti ng part o f

Gabr ie l s care e r I hav e not e d t he i nd i ffe r e nc e o f Lou i s X I V towards
’
.
c iv i c arch i t e ctur e C ons i d e r i ng hi s i m m e ns e r e sourc e s and pow e r h e

.
,
d i d l i ttl e i n Par i s and noth i ng e ls e wh e r e to i mprov e t h e c i t i e s o f h is

subj e cts but towards t h e m i ddl e of t h e e ight e e nth c e ntury Fr e nch
,
stat e sm e n an d adm i n i strators b e gan t o r e al i z e th e i r dut i e s i n th i s

d i r e ct i on and wh e r e as s o far w e hav e b e e n d e al i ng ma i nly w i th bu i ld
,
i ngs e r e ct e d for t h e u s e o f Royal and pr i vat e p e rsonag e s w e n o w ,
r e ach aft e r an i nt e rval of almost 1 5 0 y e ars a d e l i b e rat e and succ e ssful

, ,
att e mpt to r e nd e r C i t i e s m or e h e althy and mor e b e aut iful by re bu ild i ng ,
on a cons e cut i v e sch e m e o f ord e re d arch i te ctur e T h e work s o don e i s .
among t h e most i mportant contr ibut i ons o f Fr e nch arch it e cture towards
t h e d e v e lopm e nt o f that art and to c i v i l i zat i on i ts e lf .
I n 1 7 1 6 Gabr i e l had b e e n appo i nt e d pr e m i e r i ngén i e ur d e s ponts “
e t chaussé e s and h e s e e ms to hav e b e e n sp e c ially e mploy e d o n larg e

”
,
publ i c works I n 1 7 1 7 -2 3 t h e gr e at br idg e of e l e v e n arch e s at B lo i s

.
was carr i e d o u t fro m h i s d e s igns and at about th i s date h e also d e s i gn e d

,
t h e Ev é c h é at B lo i s a fi n e d e s ign i n wh i ch h e obta i n e d an e xc e ll e nt
,
e ffe ct by h i s c ont i nuat i on of t h e lo w e r s t or e y b e yon d t h e hou s e a s a
mass i v e r e ta i n i n g wall support i ng t h e t e rrac e at t h e first floor l e v e l .
B e s i d e s t h e br i dg e at B lo i s Gabr i e l d e s ign e d t h e br i dge o f La

,
Gu i lloti er e at Lyons an d t h e br i dg e s of Po issy Char e nton Sa i nt Maur

, , , ,
Ponto is e L I l e A d a m P ont Sa i nt Ma x e nc e and B e aumont Gr e at

’
, , .
p ubl i c br i dg e s h ad not y e t b e e n ann e x e d by t h e e ngi n e e r th e y w e r e ,
sti ll d e s ign e d by arch i t e cts as a branch o f th e i r r e gular profe ss ional

work and t h e carv i ng w a s e x e cut e d by som e o f t h e b e st sculptors of
,
t he t im e T h e k e ys t on e o f t h e c e ntr e arch at B lo i s h a s t h e arms of

.
F ranc e s upport e d by t w o tr i tons carv e d by N i colas C o u s t o u and , ,
abov e i t r i s e s an ob e l i sk 1 8 m e t re s h igh A t t he bri dg e of Com p iegn e .
2
I fi nd my n o t e mad e o n t h e spot i n 1 9 0 8 says : T h e S trans ept 1 7 0 6 The “
. .
o rnam e nt i s a barbar i c A canthus s croll i n t h e Gabl e Gabri el and o th e rs hav e k ept to

.
ma i n l i n e s o f Goth i c and g e n e ral forms but Sho w a total i gnoranc e of t he m ould i ngs
, ,
d e tai ls and w hol e fe e l i ng of G o th i c arch i t e cture O nly m e r i t of narth ex i t s l ofty spac i ous
,
.
n e ss h igh e r than i n Goth i c

, .
PL . C X XV I I I
TH E E E
v C H E, BL O I S ( p 6 0)
.
( F OM A
R DR A WI N G Bv R E G I N A L D BL O M F I EL
D
)
[ IL TO FA E P
C . 60
WING OF H OT EL DE V I LLE ,
RE NN E (
S see p
. 61 )
( F
R O M A DR A W I N G BY RE G I N A LD BL O M F I EL D )
P LA N OF LAY R E NN E S ( p
O UT O F . 61 )
( F O M AT T E )
R P
II . To FA E P
C . 61]
I n 1 7 2 0 a larg e part o f t he c e ntr e of t h e town of R e nn e s t he ,
.p i tal of Br ittany was burnt to t h e ground R o b e l i n I ngén ie ur d u

, .
,
pr e pare d a ne w plan fo r t h e al ign m e nt o f t h e str e e ts and Gabr ie l ,
as nom i nat e d by t h e K i ng to mak e t h e d e s i gns for t h e r e bu i ld i ng .
ob e l i n d i v i d e d up hi s plots i nto squar e s of about e qual s i z e th r e e of ,
h i ch w e r e bu ilt upon T h e fourth oppos i t e t h e Parl ia m e n t H ous e of

.
,
rit t a n
y wh i ch app
,
e ars not t o hav e b e e n i nj ur e d w a s l e ft op e n as t h e ,
[a c e d u Pala i s and round thr e e s i d e s o f t h e squar e w e r e bu i lt

,
sup e rb e s H Ot e l s ornés d un grand ordr e I on i qu e él e vé s u r u n s ou

,
’
i s s e m e nt
3
T o t e south w e st of th i s plac e a n e w square t h e Plac e
h .
”
-
,
Lou i s XV was form e d and on t h e w e st s i d e o f th i s i s t h e a d m i r

, ,
> le H Ot e l d e V i ll e d e s i gn e d by Gabr i e l , I nst e ad o f advanc i ng h is .
:nt r e Gabri e l s e t i t back b e h i nd t h e frontag e l i n e plac i ng at e i th e r

, ,
I d larg e pav i l i on bu i ld i ngs or avant corps i n thr e e stor e ys and ’

, , ,
t urn i ng by concav e quadrants to t h e c e ntr e -p i e c e wh i ch h e d e s ign e d ,
it h o u t any Op e n i n g s a t all and sol e ly as an arch i t e ctural c ompos i t i on ,
form t h e background for t h e sta t u e of Lou i s XV and t he sub ,
r u c t u r e for a fantast i c b u t charm i ng Clock T o w e r , I 5 0 fe e t h igh I n , .
e c e ntr e o f th i s compos i t i on w a s form e d an e normous n i ch e I I fe e t ,
i nch e s w i d e and 2 7 fe e t h i gh t o t h e s o ffi t of t h e k e yston e to r e c e i v e ,
S e P i gan i ol d e la Forc e i
2
e 5 4 5 and 6 6 N i c olas C onst o u 6 5 8 7 3 3
,
x, I - 2 0, 2 1 .
, 1 -1
,
I i ll au m e C ou s t o u , 1 6 7 7 -1 7 4 6 .
I exc e pt o f cours e Wat erloo Bri dge and t h e Pont Al e xandre at Pari s I am
2
, , .
err i ng to br i dg e s i n br i ck or ston e not t o bri dg e s i n i ron st e e l or r ei nforc e d c oncr e t e

, , , .
t h e n e w ston e br i dg e at K e w d e s i gn e d by e m i n e nt e ng i n e e rs t h e p e d e stal and lamp

, ,
p y
i h ov e r t h e s i d e arch e s a r e som e d i stanc e ou t fr o m t h e k e yston e of t h e arch Inst e ad .
b ei ng ov e r t he c e ntr e of t h e arch th e r e ar e s e v e n m od ill io n s i n t h e c orn i c e und e r it on

e s i d e and t e n mod i ll i o ns on t h e oth e r
,
.
Patt e M on u men s
2
,
p 1 4 9 T h e Plac e d u Palai s was th e n call e d t he Plac e
,
. .
n i s l e Grand
i Th e r e ar e s ev eral larg e to w n hous e s i n R e nn e s dat i ng from t h e e n d of
.
s e v e nt ee nth c e ntury and e arly part of t h e e i ght e e nth c e ntury worthy o f careful
Id y .
” 1
the monum e nt to Lou i s l e B i e n a i mé by L e moyn e but w h e n
“
,
L e moyn e cam e to e xam i n e t h e n ich e i n 1 7 44 h e had i t st i ll furth e r ,
e nlarg e d to tak e h i s statu e T h e H Ot e l d e V i ll e of R e nn e s i s o n e o f

.
t h e most d e l ightful e i ght e e nth -c e ntury bu i ld i ngs i n Franc e T h e onl y .
cr it i c i s m o n e would mak e i s on t h e h i pp i ng back o f t he roofs of t h e

quadrants i n ord e r t o cl e ar t h e lowe r story o f t h e Tow e r t h e r e sult of
, ,
wh ich is to spo il t h e s i lhou e tt e Gabr i e l o n e th i nks m ight hav e carr i e d

.
, ,
o n h i s roofs to stop aga i nst a squar e stor e y abov e t h e p e d i m e nt an d ,
th e n b e gun h i s upp e r stor e ys T he i nt e rpolat i on o f a low att ic stor e y

.
h e r e w ould hav e i mprov e d t h e proport i ons and pr e s e rv e d t he outl i n e ,
oth e rw is e t h e group i ng and proport ions of t h e bu i ld ings as a whol e t h e ,
play o f fancy and or i g i nal i ty of tr e atm e nt and t h e ge n e ral r e asonabl e ,
n e ss o f t he d e s i gn throughout a r e e xtr e m e ly attract i v e T h e work o f .
t h e e ld e r Gabr i e l both h e r e and at B ord e au x

, show a capac i ty fo r ,
v igorous and or ig i nal d e s ign fully e qual in i t s way to that o f h i s d is

t i ng u is he d s o n T h e P l a c e d e la Bours e at Bord e au x i s o n e of t he b e s t
.
th i ngs of i t s k i nd i n e x i st e nc e U nfortunat e ly i t has n e v e r b e e n com

.
p l e t e d and
, i t s e e ms lost i n t h e l i tt e r of t h e qua i s of B ord e au x I t i s .
cur i ous that t h e F r e nch w i th all th e i r qu ick appr e c iat i on of b e auty a r e

, ,
utt e rly care l e ss o f app e aranc e s wh e n t he y a r e onc e outs i d e t h e arts .
Squalor and d isord e r s e e m t o th e m i m mat e r i al i f th e y do not i nt e rfe r e

w i th th e i r i mm e d iat e bus in e ss I n 1 7 2 8 t h e town of Bord e au x u n e
.
,
“
d e s plus grand e s plus b e ll e s e t d e s plus co mm e r ca n t e s v i l l e s d u

,
2
The monum e nt w h i ch w as t o comm e m orat e t h e r e cov e ry of t h e K i ng was not
, ,
finally s e ttl e d t i ll 1 7 44 Patt e says : Lorsqu e s a Maj e sté dans l e cours d e s e s tr i omph e s
.
, ,
volant d e s bords d e l E s ca u t sur le s bords d u Rh i n e t passant par M e tz dans l e d e ss e i n

’
,
d e pun i r s es cn e m i s d e l a t e m er i t é q u i l s a v o i e n t e n d e v e n i r e n Alsac e pour t e nt e r d e

’
forc e r les barri e re s d e c e tt e provi nc e fut attaqué e l e 8 A o tt t 1 7 4 4 d un e malad i e

‘
, ,
‘
,
’
dang e r e us e q u e l e m it a u x port e s d u tomb e au ( M o nu me n s é rigés p ” “

Th i s ,
”
.
d e scri pt i on i s t h e more humorous i nasmuch as t h e n e rvousn e ss of Lou i s X V w as

n otor i ous . A charact e ri sti c d e scri pti on of t h e d e d icat i on of t h e monum e nt i n 1 7 5 4 i s
g i v e n i n Patt e pp 1 5 2 et s eq E v e ryb ody was th e r e t h e nob i l i ty o ffic e rs h e ralds com mi s
, . .
, , , ,
s io n er s,
b i shops and t h e populac e A ft e r L e m oyn e t h e sculptor had unv e i l e d t h e
, .
monum e nt t h e statu e w as salut e d i n c e r e mon i al ord e r by t h e royal o ffic i als and r epr e
,
s e n t a t iv e s of t h e thr e e ord e rs o f t h e E st at e s of Br i ttany w i th u n e profond e i ncl i nat i on

”
.
T h e b i shop announc e d t h e pr i v i l e g e s confe rr e d by t h e K i n g t h e guns w e r e fire d and t h e , ,
to w n m il i t i a march e d past i n dr i ll ord e r Th e n cam e a party play i ng on t y m bal e s

.
“
,
tromp e tt e s e t cors d e C hass e follo we d by carri ag e s cov e r e d with garlands and dra w n
, ,
by r i chly capari son e d h ors e s from wh i ch young m e n galamm e nt v etus d i str i but e d
,
“ ”
food and wi n e gratu i tously t o t h e populac e Bands of mus i c ians struck up wh e re v e r th e y

.
thought fit T h e t ow n w a s i llum i nat e d t h e th e atr e thr ow n op en and t h e proc e e d i ngs

.
, ,
t e rm i nat e d wi th a publ i c ball T he cost to t h e provi nc e o f Br ittany wa s about

.
l i vr e s Els ewh e re p e opl e w e r e l i v i ng on grass

. .
PL . CX X X II I
11 . TO FA E P
C . 6 3]
JAC Q U E S J U L E S GA B R I E L
“
63
Royaum e d e c i d e d to form a Place ov e rlook i ng t h e r i v e r and to e r e ct

,
” 2
,
a statu e to Lou i s XV I n 1 7 3 0 Gabr i e l was i nv i t e d to pr e par e t h e

.
plans and h e d e s i gn e d a parall e logram 3 6 0 fe e t lo ng by 3 00 fe e t w i d e

, ,
w i th t he r e -e nt e r i ng angl e s cant e d as i n t h e Plac e V e n d Ome Bu i ld i ngs

, .
w e r e rang e d round thr e e s i d e s o f t h e P lac e T o t h e l e ft w a s t h e H Ot e l .
d e s F e rm ie rs d u R o i now t h e D ouan e to t h e r i ght t h e H Ot e l d e la

, ,
’
Bours e T h e fourth s i d e n e xt t h e r i v e r w a s to b e e nclos e d by a l o w

.
, ,
wall at t h e angl e of wh i ch four p e d e stals a r e mark e d o n t h e plan Patt e

,
.
says that at t he e xtr e m i t i e s of t h e Plac e t w o founta i ns w e r e t o b e

plac e d w i th bronz e groups on p e d e stals r e pr e s e nt i ng t h e Garonn e and
,
t h e D ordogn e w i th th e i r a ppropr iat e attr i but e s and t h e two r i v e r gods

, ,
w e r e suppos e d to b e look i ng w i th adm i rat i on at t he e qu e stri an figure

wh i ch had r e c e ntly honour e d th e i r banks .
2
I n t h e c e ntr e of t h e Plac e wh i ch was th e n call e d t h e Plac e Royal e

, ,
w a s t h e e qu e str i an statu e of Lou i s XV by L e m oyn e and o n t h e s i d e ,
fac i ng t h e r i v e r t he c e ntr e bu ild i ng i s s e t back som e 4 0 fe e t i n ord e r

,
to allow t w o str e e ts ( t h e Ru e Royal e and t h e R u e S t R e my ) runn i ng .
at acut e angl e s towards t h e r i v e r to jo i n i n a broad e r str e e t op e n i n g o n

to t h e Plac e A t t h e j unct i on o f t h e two str e e ts Gabri e l plac e d a
.
front isp i e c e w i th a m ansard roof and cupola r e produc i ng t h e d e s ign o f ,
t h e front i sp i e c e of t h e r ight and l e ft pav i l i ons B y th i s i ng e n i ous d e s i gn .
h e mask e d t h e e nds of t h e t w o str e e ts wh ich would oth e r w i s e hav e ru n

o u t t o a po i nt carr i e d through t h e mot i v e of t h e wh ol e d e s i gn
,
and ,
prov i d e d an e xc e ll e nt background for t h e e qu e stri an statu e T h e d e s ig n .
of t h e fa c ad e pr e s e nts t h e fa mi l i ar mot i v e of a rust icat e d arcad e sup ,
port i ng a n I on i c ord e r runn ing through two stor e ys w i th e ntablatur e s , ,
balustrade and mansard roof I t i s n o t r e markabl e e xc e pt for it s e x c e l

,
.
l e nt proport ion and spac i ng and i t i s t h e fi n e qual i ty of t h e conc e pt i on

,
as a w hol e and a s a gr e at monum e ntal d e s ign that plac e s t he work of

, ,
Gabr ie l both h e re and at R e nn e s and H ere s at N ancy among t h e ,

’
mast e rp ie c e s o f e ight e e nth -c e ntury arch i t e ctur e T he c ontract for t h e .
e qu e str i an statu e mad e i n 1 7 3 1 by Gabr i e l w i th L e m oyn e w a s for

, ,
l ivr e s for t h e statu e fix e d compl e t e w i th i n four y e ars T h e .
first ston e o f t he p e d e stal was la i d i n 1 7 3 3 by Bouch e r [ u teu a u u t o f ,

’
Gu i e nn e accompan ie d by t h e S ous -M a i r e t h e J urats and oth e rs t o

, , , ,
1 Patt e p 1 3 8 Bord e au x als o poss e ss e d an acad e my o f Sc i e nc e s B ell e s Le ttr e s e t

,
. .
“
,
A rts of it s own e stabl i sh e d by L ett e rs Pat e nt i n 1 7 1 2

”
, .
2
Th e s e fountai ns wer e n ot carr ie d o u t ; t h e exi sti ng fo untai n i n t h e c entr e o f t h e
plac e i s m od e rn and i t i s n ot kn own what b e cam e o f t h e royal statu e aft e r i t was
pull e d do wn i n 1 7 9 2 .
A H I S T O RY O F F R E N C H A RC H I T E C T U R E
l d ischarg e of m u s q u e t r y and cannon and Gabr ie l s nam e w a s ,

’
i w i th thos e o f t h e c i ty d ign itar i e s o n t h e i n scr i pt i on -plat e

n t h e p e d e stal ston e T h e cast i ng o f t h e statu e gav e a l o t o f
.
I t was i nt e nd e d to cast t he compl e t e statu e hors e and all , ,

”
u l j et i n bronz e as had b e e n don e by K e ll e r t h e fam ous
, , ,
2
und e r forty y e ars b e for e but nobody kn e w h o w to s e t about
l
, ,
rand t h e arch i t e ct had s e e n K e ll e r at work and offe r e d h is

, ,
but wh e n it cam e to t he po i nt i t ap p e ars that h is m e mory was

T h e cons e qu e nc e w a s that t h e first cast i ng was a fa i lur e e i th e r ,
bar i nt e nd e d t o carry t h e ta i l gav e way or th e r e w a s too much ,
1 t h e ta i l A nyhow t h e mould Op e n e d at th i s po i nt and t h e

.
, ,
n e tal ran out d e s e rt i ng t h e upp e r part o f t h e figur e and fill i ng

, ,
t h e fe e t and low e r part of t h e hors e and t h e l e gs of t h e K i ng

‘
te had to mak e a fr e sh mod e l i n wax of t h e upp e r pa r t an d ,
t h e found e r s ucc e e d e d i n r e -e stabl i sh i ng t h e mould cast t h e

, ,
art i n s i t u and j o i n e d t he two parts toge th e r succ e ssfully I t

, .
( i l fu l p ie c e of work e t i t s e e ms that t h e consummat e c rafts

y ,
o f t h e r e ign of L ou i s X I V bu i lt up by t h e s e dulous car e of ,
w a s alr e ady los i n g ground T h e statu e was s e nt by wat e r t o

.
and th e nc e i n o n e of t h e royal sh i ps to B ord e aux and w a s ,
( I i n 1 7 4 3 w i th t h e usual e laborat e c e r e mon i al salvo e s of art il ,
ee e nt e rta i nm e nt and publ i c b a ll ,

Gabr i e l was d e ad bu t .
,
Te i n sp i t e of h i s b e i ng s e v e n y e ars lat e w i th hi s contract w a s

, ,
thank e d by t h e [ u t eu a u u t o f Gu ie nn e and e v e n e mbrac e d by

’
,
I i ne n t p e rson pour m e ttr e l e combl e a ce s é log e s Th i s

“
.
,
says Patt e was follow e d by t h e S ous Ma i r e and J u rats and

, ,
1 e hav i ng surv i v e d th i s e nthus i asm was furth e r grat i fi e d by a

.
, ,
l i vr e s from t he town and t h e paym e nt of t h e cost o f h is,
and all h is e xp e ns e s at Bord e aux T h e gr e at F r e nch art i sts o f .
I t e e n t h c e ntury at any rat e t h e sculptors and arch i t e cts s e ldo m

, ,
find a most g e n e rous appr e c i ati on o f th e i r labours .
T o u r n y w ho succ e e d e d Bouch e r as I n t en da n t o f Gu ie nn e con

, ,
c d furth e r vast sch e m e s for t h e i mprov e m e nt of t h e c i ty and ,
) babl e that t h e d e s ig ns w e r e pr e par e d by J J Gabr i e l b e for e . .
:h .A good part o f th e s e w e r e carr i e d o u t b e tw e e n I 7 4 3 and I 7 5 8 ,
Ie sch e m e was abandon e d on account o f i t s cost A rch i t e cts i n .
ht e e n t h c e ntury did not s p e c ial i z e i n t h e mann e r o f mod e rn
Ie qu e strian figure o f Lou i s X IV i n th e Plac e V e n d Ome cast by J e an Bathazar

e
( e ll e r wa s sham e fully tr e at e d i n r e turn for th i s amaz i ngly sk i lful cast i ng i n wh i ch ,
i u n d s o f br o nz e w e r e us e d Girard on was th e sculptor . .

C XXX I V
S O U T H TRA N S E P T CAT H E D RA L L A R O C H ELLE ( p 6 5 )

,
.
( F R O M A D RA W I N G B Y R E G I N A LD BL O M FI EL D
)
TO FA E P
C . 6 5]
J AC Q U ES J U L E S GA B R I E L 65
pract i c e B ri dge s C h at e aux comm e rc ial bu i ld i ngs th e atr e s church e s

.
, , , , ,
all cam e al ik e to th e i r n e t and thus about t h e y e ar 1 7 40 Gabr ie l , ,
t h e br i dg e -bu i ld e r d e s ign e d o n e o f t he fin e st e ight e e nth c e ntury

,
church e s i n Franc e t h e Cath e dral Church o f La Roch e ll e o n t h e S i t e

, ,
o f t he old Church o f S B arth el e my wh ich had b e e n d e stroy e d

.
,
i n t h e s e v e nt e e nth c e ntury w i t h t h e e xc e pt i on o f t h e tow e r A local (

.
gu i d e book publ i sh e d i n 1 8 7 3 d e scr ib e s Gabr i e l s bu ild i ng as u n e

-
, ,
’
lourd e construct i on d e styl e Gr e c Th e r e i s noth i ng Gre e k about it .

” 2
.
I t i s a fi n e d e s ign s impl e i n tr e atm e nt by a man wh o kn e w hi s bus i n e ss

, , ,
and i t s gre at scal e is handl e d throughout w i th a sur e and r e solut e hand .
T h e buttr e ss e s on t h e e x t e r i or stop short o f t h e corn i c e s o that t h e ,
latt e r is carr i e d round i n an unbrok e n sw e e p w i thout t h e i rr i tat i ng ,
br e aks wh ich d is fig u r e t h e bu i ld i ngs of J H M ansart Gabr i e l had a . . .
g e nu i n e s e ns e o f t h e gr e at l i n e I n t h e i nt e r i or wh i ch i s all i n dr e ss e d
.
,
wh i t e ston e t he e ntablatur e o f t h e D or i c ord e r of t h e nav e i s carr i e d all

,
round t h e church w i th e xc e ll e nt e ffe c t Gabr i e l mad e no att e mpt at .
fancy plann ing T h e church has t h e usual nav e and trans e pts w i th s id e
.
,
a i sl e s and s i d e chap e ls b e yond o n e i th e r s i d e T h e e as t e rn e n d is s e m i .
c i rcular w i th ambulatory and chap e ls and an oval Lady Chap e l o n t h e

, ,
a x is l i n e b e yond t h e ambula t ory T h e or ig i nal i nt e nt i on s e e ms to hav e

.
b e e n t o bu ild t w o to w e rs on t h e w e st e rn fron t but th e s e w e r e n e v e r ,
carr i e d h igh e r than t h e l o w e r stor e y and i n fact unfin i sh e d as th e y ,

2
, ,
a r e th e y group uncommonly w e ll w i th t h e r e st o f t h e compos i t i on

, It .
i s poss i bl e that Gabr i e l d e s i g n e d t h e add it i ons t o t h e Tour d e la

Gross e H orloge wh ich fac e s t h e i nn e r harbour o f Roch e ll e T h e ma i n
,
.
part of th i s to w e r w i th i t s po i nt e d arch w ay and e ngag e d tour e ll e s dat e s

, ,
fro m t h e fourt e e nth c e ntury I ts upp e r part must hav e d i sapp e ar e d a t

.
som e p e r i od i n t h e stormy h i story o f La Roch e ll e and Gabr i e l app e ars

3
,
to hav e cut o ff t h e top sh e e r and l e v e l about t w o th i rds o f t h e way up - .
2
Th i s gu i d e b ook sp eaks of t h e church havi ng b e e n b e gun i n 1 8 6 2 w h i ch I tak e to
-
,
b e a m i spri nt for t h e church w as c e rtai nly d e s i gn e d and carr i e d out by o n e of t h e

,
Gabri e ls fath e r or son T h e w e st front i s almost c e rtai nly by t h e e ld e r Gabr i el T h e e ast

, .
.
e n d app e ars to b e lat e r and a fals e start s ee ms to hav e b e e n m ad e h e r e n e x t t h e Goth i c

,
To we r of t h e old e r C hurch w h e re a D ori c ord e r starts but i s not cont i nu e d T h e t otal

,
.
l e ngth o f t h e church i ns i d e i s about 3 0 0 fe e t and t h e w i dth o f w e st front about 1 4 0 feet .
2
It i s e vi d e nt that t h e m on e y ran out T h e blocks fo r carvi ng on t h e p e d i m ent
.
and on t h e k e y bl ock ov e r t h e mai n e ntranc e r e mai n uncarve d

-
.
T h e local gu i d e book abov e r e fe rr e d to stat e s that as lat e as 1 6 7 2 th i s gat e way had

3
-
i t s t o w e r surmount e d by a b e lfry cov e r e d w i th l e ad mach i colat i ons and t i l e d con i cal , ,
r oofs t o t h e toure ll e s T h e w ri t e r d e scr i b e s t he e ight e e nth c e ntury add i t i on as u n e

.
“
s ort e d e p e ndul e d e ch e m i né e sur u n m od el e L ou i s X V ( A T h or e ux 1 8 7

,
”
.
,
II K
construct an e nt i r e ly n e w clock tow e r cons i st i ng o f arch e d op e n i ngs
,
flank e d by I on i c p i last e rs surm ount e d by a low atti c stor e y a squar e ,
d om e d roof cov e r e d w i th slat e s and l e ad and a cupola fi n i al and w e ath e r

,
cock I n ord e r t o d e al w i th t h e oblong plan h e brought o u t t he low e r

.
stor e y of t h e C lock tow e r by advanc e d columns I t i s a C haract e ri sti c .
and i nstructi v e e xampl e of t h e straightforward m e thods o f t h e e ight e e nth

c e ntury H ad Vi o ll e t l e —D uc handl e d t h e probl e m a hundr e d y e ars
.
-
lat e r h e would hav e produc e d mach i colat i ons m e u r t r ier e s cr e n e llat ions
, , ,
and all t h e oth e r paraph e rnal i a of m e d i a e val fort i ficat i on and t h e r e sult ,
w oul d hav e b e e n a b i t o f stag e sc e n e r y d i s mally u n c o n v m c m g and
b e com i ng mor e r i d i culous e v e ry y e ar Gabr i e l frankly acc e pt e d h i s

.
probl e m and b e i ng a fi n e arch i te ct and a mast e r o f proport i on h e pr o

, ,
d u c e d a compos i t i on wh i ch hangs tog e th e r p e rfe ctly w e ll t hat t e lls ,
i t s own story w i thou t t h e l e ast a ffe ctat i on and i s b e s i d e s th i s a C harm

, , ,
i n g p i e c e of arch i t e ctur e .
Gabri e l d i e d i n 1 7 4 2 at F o nt a in e b l e a u H i s car e e r had b e e n v e ry

.
succ e ssful and h e had com e i n for h i s full shar e of h onours H e was
, .
e nnobl e d i n 1 7 0 9 b e com i ng an E cuy e r and S e ign e ur d e B e rn e y

, In .
1 7 2 2 h e was mad e a Ch e val i e r o f t h e O rd e r of S M i cha e l i n 1 7 3 5

.
,
Pr e m i e r A rch it e ct e d u R o i i n succ e ss i on to D e Cot t e and i n 1 7 3 7

°
I nsp e ct ur Général d e s B at i m e n t s d u R o i S O far as I c a n j udg e from

e -
.
t h e e v i d e nc e ava i labl e and what i s l e ft o f h i s work h e w a s t h e abl e s t

, ,
arch i t e ct o f h is t i m e p e rhaps t h e abl e st tha t had app e ar e d i n F ranc e

,
s i nc e t h e days of F ran c o i s M ansart . H e was an art i st o f v i gorou s

i mag i nat ion co mp e t e nt i n all t e chn i cal d e ta i ls an arch i t e ct w h o w i thout
, , ,
i n any way sacr i fic i ng t h e d ign i ty and br e adth o f class i cal d e s ign mad e ,
i t al i v e and human . M ost o f h i s cont e mporar i e s s e e m to hav e b e e n

i nd i ffe r e nt to t h e e x t e r i ors o f th e i r bu ild i ngs a nd t h e formal i s t s who
,
f ollow e d h im i n t h e latt e r par t of t he e ight e e nth c e ntury s trangl e d

a rch i t e ctur e w i th th e i r dogmat i c p e dantry . O nly o n e F r e nch arch i t e ct
i n that c e ntury surpass e d h i m and t hat was h i s own s o n A ng e J acqu e s
, ,
Gabri e l .
E ngland but e v e n i n Sw e d e n and t h e l i ttl e G e rman pr i nc ipal i t i e s I n

,
.
study i ng t h e h istory of A rch ite ctur e i n t h e e ight e e nth c e ntury o n e has to ,
b e ar i n m i nd t h i s cond i t ion o f th i ngs ; and o n e d i fficul ty that r e sults from

i t for t h e stud e nt i s that h e com e s across a nu mb e r of arch i t e cts h ighly
,
e st e e m e d i n th e i r t i m e o f whom l i ttl e i s known but th e i r nam e s and

,
o ne o r two i solat e d works Y e t i t has to b e r e coll e ct e d that th e s e m e n

.
,
l iv i ng at a t i m e wh e n t h e standard of atta i n m e nt was h igh w e re m ost ,
o f th e m arch i t e cts of cons i d e rabl e ab i l i ty o n qu i t e a d i ffe r e nt foot i ng ,
from thos e mast e r-bu i lde rs o f t h e s i xt e e nth c e ntury whom I hav e d is

cuss e d i h a pr e v i ous work T h e thr e e arch i t e cts whos e nam e s h e ad th i s .
chapt e r a r e cas e s i n po i nt M d e la M a i r e says Blond e l was r e gard e d . .

, ,
1
as an e xc e ll e n t arch i t e ct A t Par i s h e bu ilt t h e H Ot e l s d e S oub i s e d e

.
,
Rohan d e D uras and an hot e l for M l A b b é d e Pompadour wh i ch

,
'
,
.
’
aft e rwards cam e i nto t h e poss e ss ion of M m e la D uch e ss e d e B ou ffl e rs . .
”
“
Th i s arch i t e ct cont inu e s Blond e l r e ti re d from pract i c e i n h is latt e r
, ,
“
y e ars i n ord e r to wr i t e about arch i t e ctur e ; but h i s manuscr ipts w e r e

,
not compl e t e d at t he t i m e o f h is d e ath and nobody kn e w what had ,
b e com e o f th e m T his w a s t h e more r e gr e ttabl e i nasmuch as th i s

.
,
arch it e ct was g e n e rally r e cogn iz e d as hav i ng u h tres grand théor i e d e

l a r c h i t e c t u r e ; and th i s i s about all that i s known of P i e rr e A l e x i s
’ ” 2
d e la Ma i r e H e r l u i s o n gi v e s an e ntry from t h e r e g i st e rs Of S t H i ppo

. .
lyt e of t h e marri ag e o n 7 F e bruary 1 7 0 9 of P i e rr e A l e x i s d e la Ma i r e , ,
arch i t e ct e d u Ro i l iv i ng i n t h e R u e M o n t o r g e u il i n t h e par ish of

, ,
S E ustach e age d th ir t y-thr e e and son of t h e late A nto i n e e ntr e

.
, , ,
“
pre n e u r d e s b at i m e n t s d u R o y w i t h M a r i e E l i z a b e t h Cl o u d d a u g h t e r ,
”
,
”
o f Gu i llau m e Cloud e ntr e pr e n e ur d e s b at i m e n t s d u R o i
, l i v i ng i n t h e ,
Faubourg S H onoré age d tw e nty s i x Thus D e la M a i r e was C los e ly

.
,
-
.
conn e cte d w i th t he bu ild i ng i nt e r e sts and cam e o f t h e bourg e o i s class ,
as n e arly all th e s e cons id e rabl e arch i t e cts d i d B a u ch a l says h e d i e d at .
Chate nay n e ar Par is i n 1 7 4 5

, , .
D e la Ma i r e s r e putat i on r e ally r e sts o n t h e H Ot e l d e S oub i s e and

’
t h e H Ot e l d e Rohan and e v e n h e r e i t has b e e n u nd e s e rv e dly d i m i n

,
i s h e d by t h e fam e o f t h e d e corat i ons e x e cut e d und e r t h e d i r e ct i ons o f

B o ffr a nd som e tw e nty y e ars lat e r A n arch i t e ct s r e putat i on mor e than
’
, .
,
that of any oth e r arti st s i s affe ct e d by luck and acc i d e nt B o ffr a nd was
’
, .
t he arch i t e ct of t h e d e corat i ons ; y e t t h e whol e m e r i t o f th e s e d e p e nds
l e ss on t h e arch i te ct than on t h e e x e c u tants— wh e r e as o n e h e ars l i ttl e

2 “
A rch Franc . .
, i, 2
57 .
In h i s not e s
2
on t he H Ot e l d e S oub i s e Blond el sp e aks
, of
“
le gen ie
’
et l
’
expé r i e n c e
d e ce t art i st e .
”
PL . CXXXV
P AN
G R O U ND L
OT EL DE R O H A N B Y DE L A M A I E p
H . R
( s ee .
70)
11 . TO FA E P
C . 69 ]
D E LA M A I R E 69
of De la M ai r e w h o d e s ign e d t h e bu i ld i ng and whos e d e s ign for t h e

, ,
fa c ad e and courtyard of t h e H Ot e l d e Soub i s e i s uncom mon and o n e ,
o f t h e b e st th i ngs o f i t s k i nd i n Par i s Blond e l says o f i t n o ns e u l e .

,
m e nt c e t é d ifi ce pr i s e n g é n é ral e s t n u d e s plus b e aux d e s plus grand e s , ,
’
e t d e s plus somptu e ux d e Par i s ma i s auss i l o n p e ut d i r e qu i l e s t u n
’
d e s plus régul i e rs d e s pl us commod e s e t d e s plus r i ch e m e nt orn é s d e

, ,
c e tt e cap i tal e .
” 2
T h e bu i ld i ng o f t h e H Ot e l s d e S oub i s e and d e R ohan was t h e most

cons i d e rabl e e nt e rpr i s e o f i t s t i m e i n Par is T i ll t h e e n d of t h e s e v e n .
t e e n t h c e ntury t h e s i t e had b e e n occup i e d by t h e i mm e ns e H Ot e l d e
Gu i s e I n 1 6 9 7 F ranc i s d e Rohan Pr i nc e d e S oub i s e bought t h e

.
, ,
prop e rty of t h e last o f t he Lorra i n e G u i s e s Mar i e D u ch e ss e d e ,
Lorra i n e e t d e J oy e us e ; and i n 1 7 0 6 t h e H Ot e l d e Soub i s e w a s b e gun

from t h e d e s igns o f D e la M ai r e follo w e d soon aft e r w ards by t h e bu ild ,
in g o f t h e H O t e l d e Rohan I n t h e first i nstanc e t h e gard e ns at

. t h e ,
back and t h e stabl e s and coach -h ous e s w e r e us e d i n common ; but

, ,
wh e n B londe l wrot e s e parate stabl e s had r e c e ntly b e e n bu ilt for t h e

,
H Ot e l d e Rohan n e x t t h e V i e ll e Ru e d u T e mpl e for t h e Card i nal

, ,
A rmand Gaston d e Rohan T h e s i te w a s i rr e gular and awkward and .

,
furth e r compl icate d — i n t h e cas e of t h e H Ot e l d e S oub is e — b y t h e walls

o f t h e e arl i e r bu i ld i ng parts o f w h i ch at any rat e w e r e pr e s e rv e d
2
.
, , ,
”
B r ic e D e sc d e Par i s ii .says t h e n e w fa c ade was plaqué e s u r
, ,
l e V i e ux b at i m e nt pour e n cach e r la d ifo r mi t é 3 ”

.
D e la M a i r e d e alt w i th th i s s i t e i n a mast e rly w a y part i cularly ,
i n t h e H Ot e l d e S o u b i s e w i t h i t s fi n e c our t a n d fa c a d e , H e t hr e w .
t h e hous e back from t h e l r turn i ng i t along t h furth e r

g n
ra u e t ou r e e ,
s i d e o f t h e bu s s e t ou r and aga i n r e turn i ng i t b e yond so that t h e ,
hous e was v e ry w e ll l it on e v e ry s id e T h e w i ng e nt e re d from t h e .
r a u de e ou r w i th t h grand sta i rcas to t h r i ght was occup i e d on

g e e e ,
both floors by t he pri nc i pal rooms eu s u i te e nd i ng w ith t h e oval salons , ,
s o plann e d that t h e long a x i s o f t h e oval cam e o n t h e ax i s l i n e o f t h e
e n fi l a d e o f t h e su i t e of rooms T h e s a l ted m a ng er w a s o n t h e first floor .

-
at t he furth e r corn e r o f t h e hous e but i t was s e rv e d d ir e ctly by a ,
s e rv i c e -sta irs from t h e v e ry compl e t e s e t o f k i tch e ns and o ffic e s o n t h e
1 “
A rch Franc . .
, ii, 1 55 . arch i ve s nati onal e s w e re plac e d i n th e H Ot el d e
T he “
S o ub i s e i n 1 8 0 8 and t h e , Impri m e rie nat i onal e e stabl i sh e d at t h e H Ot el d e R ohan i n

t h e sam e y e ar .
E g t h e e ngag e d t our e ll e at t h e angl e of t h e bu ild i ng n e xt t h e str ee t

2
. .
,
.
T h e phras e i s r e p e at e d v e rbat i m and w i thout any ackn o wl e dgm e nt in P i gan i o l

2
d e la Forc e i v 3 3 6 , , .
round -fl o or i mm e d i at e ly b e low Blond e l e x pla i ns t h e unusual c h ar .
ot e r o f t h e fa c a d e to t h e Co u rt by t h e n e c e ss i ty D e la M a i r e w a s und e r
,
f pr e s e rv i ng t h e o l d walls and Op e n i ngs I n cons e qu e nc e unl i ke oth e r .

,
u i ld i n s of t i m and unl k la M a r s own d e s igns o f t h e

’
g t h e e ,i e D e i e
I a d e o f t h e H Ot e l d e Rohan t h e sol i d p i e rs a r e cons i d e rably w i d e r

c ,
ba n t h e w i ndow op e n i ngs ; and Blond e l sugg e sts that t h e u s e of coupl e d

o l u m n s o n th i s fa c ad e w as d i ctat e d by t h e sam e r e ason What e v e r .
he r e ason t h e r e sult i s arch i t e cturally v e ry sat i sfactory ; t h e bu ild i ng

,
5 m or e r e stful and d i gn i fi e d than any oth e r fa c ad e of i t s t i m e Blond e l .
r e at l adm i r d i t but cr i t i c i z d t h undu w i dth o f t h e front i sp i e c e

y e , e e e ,
n d a much mor e s e r i ous fault t h e u s e o f e ll ipt i cal arch e s i n t h e w i ngs

, ,
n i m m e d i at e pro x i m i ty to t h e s e m i c i rcular arch e s o f t h e c e ntr e ; and
r e po i nts o u t w i th j ust i c e that wh e r e arch e s occur i n rust i cat e d walls i t ,
s a m i stak e t o u s e i mpost mould i ngs at t h e spr i n g i ng o f t h e arch e s ;
n d st i ll mor e t o carry th e m through b e h i nd t h e colu mns b e caus e th i s ,
t u l t i fi e s t h e proport i ons o f t h e c olumns I t i s n ot s o e asy to follow h i m

.
n h i s obj e ct i on t o t h e st e e p p i tch e d slat e roof wh i ch offe nd e d hi s s e ns e

-
if class i cal form : La hau t e ur dém e suré e d e s combl e s dont nos arch i ,
e c t e s Fran c o i s d u d e rn ie r s iecl e e t c e ux d u comm e nc e m e nt d e c e lu i-c e
n t fa i t p arad e dans l e ur ed i fic e s sans autr e n éc e ss i t é r é e l e

’
u e l O in i o n
i
, q p ,
lans laqu e ll e ils é t o i e n t q u e c e s couv e rtur e s a i ns i él e vé e s é t o i e n t u n
g e nr e d e b e aut é .
”
Blond e l fi n e cr i t i c
,
as h e was w a s ov e rpow e r e d by h,
i s
Xca d e m i c th e ory .I t w a s only a st e p from th i s d i sapproval o f t h e trad i

li t i o n a l roof t o t h e fi a t p i tch e d roof and fi nally t o t h e flat roofs wh i ch
-
, , , ,
I C al w a y s a s o ur c e o f t roubl e a n d e x p e n s e a n d t h i s p a r t i c u l a r e da nt r
'
L
,p y
os t to Fr e nch arch i t e ctur e o n e o f i t s mos t charact e r i st i c fe atur e s T he .
{ Ot e l d e Rohan i s by n o m e ans s o attract i v e as t h e H Ot e l d e S oub i s e I ts .
7 4 72628 eou r i s much s mall e r and i nst e ad o f t h e low r e stful l i n e s of t h e

” 1 1
, ,
i Ot e l d e Soub i s e i t i s surround e d by a lofty b u i ld i ng o f thr e e stor e ys

, ,
h e proport i ons o f wh i ch a r e t h e e x act Oppos i t e o f t h e H Ot e l d e Soub i s e ,
>e i n tall and narrow m i ght almost gawky D la M a i r mad

g o n e , s a
y ,
e e e .
I i s ch i e f e ffor t o n t h e fa c ad e to t h e gard e n wh e r e t h e h e i ght w a s l e ss

,
na t e r i a l but h e r e t o o t h e op e n i ngs a r e too larg e fo r t h e sol i d p i e rs

, , , ,
h e fa c ad e i s all w i n dows and though l ight i s v e ry i mportant as Blond e l

, ,
’
iu ts i t i n h is formal w a y i l conv ie nt d e conc i l ie r l o r d o n n a n ce d e
,
2
The d i m ens i ons o f t h e g r a nne t ou r of t h e H Ot el d e Rohan ( as giv e n by Blond e l )
’
r e 1 0 2 ft long by 6 6 ft w i d e
.
; and t h e fa c ad e scal e s 5 7 ft from t h e ground to t h e top o f
. .
he bl o ck i ng cours e T h e g r a u de t ou r of t h e H Ot e l d e Soub i s e i s d e scr i b e d as 1 8 3 ft

. .
m g by 1 3 2 ft w i d e e x clus i v e of t h e c ol o nnad e s 8 } ft d e e p on e i th e r s i d e o f t h e court ;

.
, , 7 .
n d t h e h e i ght from t h e gr o und t o t h e top o f t h e balustrad e scal e s

4 7 ft .
1 7 0 8 ,aft e r wh ich h e d i sapp e ars from t h e C ompt e s I t i s probabl e .
that t h e A ub e rt m e nt ion e d i n th e s e e ntr i e s i s J e an A ub e rt t h e arch i t e c t , ,
and that h e l e arnt hi s d e s ign i n t he gr e at school of t h e Royal B u ild i ngs ,
und e r Mansart s and mor e part i cularly D e Cott e s d ir e ct i on H e r e h e

’
,
’
, .
found h i ms e lf i n t h e company o f such m e n as L A s s u ra n ce t h e e ld e r ’
, ,
and D O r b a y t h e younge r ; and as t h e e v i d e nc e wh i ch I hav e coll e ct e d

’
i n my account of J H M ansart shows a gr e at d e al of t h e r e spons i bl e

. .
,
d e s igns and probably all t h e work i ng draw i ngs w e r e i n t h e hands o f

, ,
Mansart s staff L A s s u r a n c e e v i d e ntly thought w e ll o f A ub e rt for

’
.
’
aft e r t h e d e ath o f L A s s u r a n c e A ub e rt carr i e d o n his d e s igns for t h e

’
H Ot e l d e Lassay Blond e l says th i s bu ild i ng was construct e d i n 1 7 2 4

.
fro m t h e d e s igns o f M d e L A s s u r a n ce e t sous la co n du it e d e M

.
’ “
.
” ”
A ub e rt A ub e rt d e s ign e d t h e
. port e coch er e of t h e H ot e l and “
,
accord i ng to Blond e l i t was fu ll o f faults sans proporti ons e t sans ,

“
”
grac e s . H e thought t h e columns too s mall for t h e s e m i c i rcular r e turn
of t h e corn i c e abov e t h e e ntablatur e w i th i t s h e avy trophy a fe atur e , ,
wh i ch Blond e l i nvari ably cond e mns I n th i s cas e i t w a s mad e wors e by .
t h e l o w e l e vat i on o f t h e courtyard walls o n e i th e r s i d e wh i ch ma d e n o ,
att e mpt t o stand up to t h e gr e at mass ov e r t h e columns A ub e rt was .
also e mploye d to sup e r i nt e nd t h e e x e cut i on o f t h e e ld e r G abr i e l s ’
d e s igns for t h e H Ot e l d e M oras i n t h e R u e d e Var e nn e but Blond e l , ,
says o f th i s hous e that t h e whol e o f i t s construct ion had b e e n v e ry

,
car e l e ssly don e and t h e i ns i d e was b e tt e r than t h e outs i d e B lond e l

, .
appar e n t ly thought l i tt l e of A ub e rt and e v e n cr i t i c iz e s unfavo urably h i s ,
spl e nd i d w ork a t Chant i lly for i t s want Of vra i s e mblanc e r e fe rr i ng t o ,
t h e arcad e o f t h e stabl e s wh i ch was only a scr e e n and carr ie d noth i ng

, , .
I f h e had appl i e d th i s cr i t i c i sm to M ansart s absurd Colonnad e i n t h e ’
gard e ns of V e rsa i ll e s h e would hav e b e e n j ust ifi e d ; but e v e n B lond e l

s e e ms to hav e b e e n paralys e d by t h e stup e ndous succ e ss o f J ul e s
H ardou i n M ansart .
A ub e rt s w ork on t h e stabl e s o f Chant illy i s more b r i ll iant

’
than anyth i ng by Mansart at V e rsa i ll e s and though not n e arly so ,
e x t e ns i v e i t s scal e i s fin e r than any bu i ld i ng at V e rsa i ll e s e x c e pt t h e

, ,
orang e ry H e nr i J ul e s d e B ourbon s o n o f t he Grand Condé bough t

.
, ,
2
t h e ground for a vast e stabl i shm e nt o f stabl e s b e for e h is d e ath i n 1 7 0 9 ,
hi s s o n d i e d i n 1 7 1 0 and t h e wor k was finally carr i e d o u t by h i s gran d

,
s on ,
Lou i s H e nr i D uc d e B ourbon born 1 6 9 2 T h e D uk e was
, , .
i mm e ns e ly r i ch not only by i nh e ri tanc e but also through t h e op e ra

, ,
2
S ee Chant illy et le Mus é e C o nd é by Gustav e Mac on chapt e r
,
”
, Vi i .
[1 1 . To FA E P
C .
72
30 fe e t up to t h e gr e at mould i ng at t h e i nt e rs e ct i on o f t h e st e e p par t o f
2
t h e roof w i th t h e flatt e r S lop e at t h e top Fro m th i s mould i ng aga i n to

.
t h e platforms form e d at t h e top of t h e pav i l i o n roof i s anoth e r 1 3 fe e t ,
”
and on th i s stood l e ch e val d e R e nom mé e i n l e ad 1 2 fe e t h igh
“
, .
”
T h e roof i s r i chly d e corat e d w i th mould i ngs consol e s and agrafe s ,
“
i n h e avy l e ad O n t h e s mall e r s i d e s o f t h e roof a r e l e ad cov e re d oval

.
-
lucarn e s A ccord i ng t o P ig a ni ol s d i m e ns i ons t h e total h e ight t o t h e

.
’
t o p o f t h e roof o f t h e c e ntral pav il i on i s 1 0 6 fe e t e x clus i v e of t h e hors e ,
that onc e stood o n t h e top T h e i nt e rnal d i m e ns i ons o f t h e stabl e a r e

.
g i v e n as 5 5 8 fe e t by 3 6 fe e t w i d e by 4 0 fe e t 6 i nch e s fro m t h e floor to

t h e und e rs i d e o f t h e vault i ng but u nd e r t h e c e ntral pa v i l i o n t h e cupola
,
i s som e 6 3 fe e t i n d i am e t e r and 8 2 fe e t h igh T h e stabl e s a r e l i t by .
w i ndo w s 2 1 fe e t h igh by 7 fe e t w i d e Th i s e normous bu ild ing prov i d e d

.
stalls for 2 40 hors e s D own t he c e ntr e was a passag e 1 4 fe e t w i d e and

.
,
P igan i ol gi v e s t h e cur i ous i n format i on that t h e stall d i v is ions w e r e

4 fe e t apart c e ntr e to c e ntr e clos e d i n at t h e e nds by a wood e n
, ,
a il e rons adorn e d w i th sculpture What t h e wr e t ch e d hors e s must

”
.
hav e don e w i th th e ms e l v e s aft e r a long day s h u n t ing i t i s d i fficult t o ’
i mag i n e T h e hunt e r o f t h e t i m e w a s a substan t i al an i mal and i f h e

.
,
onc e got do w n in h i s s t all h e could not g e t u p aga i n A ppar e ntly all h e .
could d o w a s to l e an aga i nst t h e stall d i v is i on W i th a v i c i ous hors e t h e .
dang e r t o grooms o f b e i n g crush e d must hav e b e e n cons i d e rabl e y e t ,
e v e n th i s absurd d i m e ns i on i s 6 i nch e s to a foot w id e r than t h e w i dth
o f t h e stall d i v i s i ons shown i n n e arly all t h e plans of stabl e s for town
h ous e s of t h e t i m e P i gan i ol d e la Forc e comm e nts w i th t h e ac id i n

.
2
tol e ranc e o f t h e amat e ur o n t h e unr e asonabl e h e ight o f t h e bu i ld i ng ,
and i t s cons e qu e nt cold i n w i nte r but 2 40 hors e s pack e d 4 fe e t apart

,
would prov i d e a h e at o f i t s o w n and e v e n 4 0 fe e t may n o t hav e,
b e e n t o o h igh for a stabl e w i t hout any m e ans o f v e nt i lat i on and

probably most o f t h e w i ndows p e rman e n t ly clos e d T h e bu i ld i ng i s .
r i chly d e corat e d w i th ornam e nt and s culptur e o f a bold and v i gorous

d e scr i pt i on Troph i e s o f t h e chas e hors e s and hou nds stags an d w i ld
.
, ,
boars adorn e d t h e walls and t h e D uk e b e i ng an i nge n i ous amat e ur

, ,
h i ms e lf app e ars to hav e m ad e e xp e r i m e nts i n colour for accord i ng to

, ,
2 “
Le boursault d e br e s i s P i gan i ol S e e D av il e r E xpl i cat i on d es t e rm e s : Bour
, .
,
“ ” “
s e au m o ulur e rond e sur la pann e d e bre s i s [angl e ] d un combl e d ar d oi se coupé qu i e st

"
’ ’
,
r e couve rt e d e plomb e blanch i .

”
2
P i gan i ol d e la Forc e says o f t he E cur i e d e Chanti lly C e tt e Ecur ie d un e grand e ur ,
’
i mm e ns e e t r e markabl e par s a b e ll e c onstruct i o ne t s a d e c orat i on l e st e nc or e plus par l e ,

’
d e fau t d e s e ns e t d e ra is o nn e m e nt dans l a r ch i t e ct e q u i l a b at i e
’ ’
.
”
11 . TO FA E P
C .
75]
7 6 A H I S TO RY O F F R E N C H A RC H I T E CT U R E
ar e as lav i sh as anyth i ng at V e rsa ill e s and i n many ways mor e ,
at tract i v e and accompl i sh e d A ub e rt c e rta i nly a v a i l e d h i ms e lf of h is

.
opportun i ty up t o t h e h i lt and w hat e v e r o n e may th i nk o f h is d e s i gn

,
from t h e po i nt of v i e w of pract i cal ut il i ty h e succ e e d e d i n produc i ng o n e ,
o f t h e fin e st monum e ntal bu i ld i ngs o f F ranc e ; a bu i ld i ng wh i ch mor e ,
than any oth e r e xpr e ss e s t h e i d e a o f t h e v e r i tabl e grand S e i gn e u r

, ,
m e an fe llo w though h e happ e n e d to b e i n t h i s part icular cas e I t is only .
fai r t o A ub e r t as an arti st to r e gard t h e stabl e s o f Chant i lly as t h e

d e l i b e rat e e x pre ss i on of that i d e a and t h e cr i t i c i sm a i m e d at i t by t he
,
d e plorabl e commons e ns e o f P igan iol d e la F orc e i s b e s i d e t h e m ark .
T h e H Ot e l d e M oras o u Madam e la D uch e ss e d u Ma i n e wh i ch ,

1
has b e e n attr ibut e d to A ub e rt w a s i n fact or igi nally d e s ign e d by t h e

,
e ld e r Gabr i e l i n 1 7 2 8 and Blond e l says i t w a s bu i lt sous le condu it e “

,
d e M A ub e rt I t i s d i fficult to s a y qu it e what t hi s m e ans ; I n 1 7 2 8

”
. .
t h e pos i t i on of A ub e rt w a s scarc e ly i nfe r i or t o that o f Gabr i e l and o n e ,
can only suppos e that t h e t w o m e n w e r e assoc i at e d i n t he work on

mor e o r l e ss e qual t e rms Though also fou n d i n t h e work o f Gabri e l
.
,
p e rhaps t h e fantast ic d e s ign o f t h e corb e ls und e r t h e balcony o f t he

gard e n front w a s d u e to A ub e rt and shows t h e i n flu e nc e o f t h e ,
fash i onabl e d e corator G i ll e s M ar i e O ppe n o r d I t i s not an attract i v e .
d e s ign and rococo d e tai l such as t h i s may account for t h e poor Op i n ion
,
h e ld Of hi m by B lond e l A ub e rt w a s a c o n t r Ol e u r d e s b é t i m e n t s d u
.
Ro i and b e cam e a m e mb e r o f t h e A cad e my i n 1 7 2 0 H e d ie d i n

, .
J udg i ng by h i s w ork at Chant illy h e must hav e b e e n a v e ry

abl e arch i t e ct and l e ss than j ust ic e has b e e n don e to h i s r e putat i on
, .
C ourtonn e and C a r t a u d w e ll known arch i t e c t s i n t h e i r t i m e a r e

,
-
,
n o w al most forgott e n J e an Courtonn e w a s born i n Pari s i n 1 6 7 1

. .
H e d e s ign e d t h e H Ot e l d e M at i gnon i n t h e R u e d e Var e nn e i n

1 72 1 and t h e H Ot e l d e N o i rmout i e r i n t h e Ru e d e Gr e n e ll e i n
,
1 7 24 H e i ssu e d a tr e at is e o n p e rsp e ct i v e w i th r e marks o n arch i

.
t e cture i n 1 7 2 5 I n 1 7 2 8 h e w a s an arch i t e ct e d u R o i w a s
.
,
”
e l e ct e d an acad e m i c i an of t h e s e cond class ; h e succ e e d e d t h e young e r
B ruand as Profe ssor o f A rch it e ctur e i n 1 7 3 0 d i e d i n 1 7 3 9 and , ,
t h i s i s all that i s known about hi m Blond e l thought w e ll of h i s bu ild .
Th i s hot e l orig inally bu ilt for M d e Moras wa s s old i n 1 7 3 6 to t h e D uch ess e

, .
,
d u Mai n e b e cam e t h e H Ot el d e B i ro n i n 1 7 8 9 a pr i s o n und e r t h e T e rr o r and i s n ow t h e

, , ,
C o nve nt of Sacré C oeur 7 7 R u e d e Vare nn e I hav e alr e ady r e fe rre d t o i t i n C hap xx

, . . .
In t h e l i st of arch i t e ct m emb e rs gi ve n i n A rch i ve s d e l A r t Fran c ai s i 4 2 1

2 “ ’
,
”
, ,
th e r e app ears i n add i t i o n to J ean A ub e rt d 1 7 4 1 an oth e r A ub e rt

“
,
“
d e ss i nat e ur d u
.
, ,
”
e l e ct e d i n 1 7 2 5
”
r oi , .
C O U RT O N N E 77
i ngs . O f t h e H Ot e l d e M at ignon h e says u m d e s b e aux H Ot e ls d e ,

2
,
Par i s so i t par s a grand e ur s a d i spos i t i on e t la r e g u la r i t é de s a d is

, , ,
t r i b u t i o n so i t par la r i ch e ss e d e m e ubl e s B oth i n plan and e l e vat i on ”

, .
i t i s o n e o f t h e most attract iv e d e s i gns i n Blo n d e l s coll e ct i on T h e

’
.
d i ffe r e nc e o f ax i s l i n e b e tw e e n t he front to t h e g r a n de t ou r and t h e

front t o t h e gard e n is sk i lfully m anag e d and t he plan w i th i t s fi n e , ,
e n fi l a d e through t h e pr i nc i pal rooms o n t h e gard e n front t h e oval ,
v e st i bul e and i t s w e ll cons i d e r e d dom e st i c a rrang e m e nts i s v e ry abl e ,

.
T h e s a l ted m a ng er i s w e ll plac e d both for t h e hous e and for acc e ss

-
from t h e k itch e n and offi c e s and i nst e ad of m i x i ng up t h e dom e st i c

,
o ffic e s and t h e stabl e s a not uncommon fault i n th e s e e ighte e nth

,
c e ntury plans C ourtonn e k e pt t h e stabl e s w e ll away o n t he furth e r

,
s i d e o f a stabl e court of r e asonabl e s i z e Cou rtonn e i t app e ars was a .

, ,
bold constructor T h e oval v e st i bul e m e asuri ng 2 4 fe e t by 2 1 fe e t w a s

.
, ,
co v e r e d i n by a ston e vault w i th a total r i s e o f only 1 6 i nch e s and t h e

2
,
land i ng of t h e gr e at sta i rcas e 3 2 fe e t long w as carr i e d by a v e ry, ,
shallo w arch q u e susp e nd e n l a i r c e tt e grand e porté e av e c autant d e

“ ’
surpr i s e q u e sol i d i té I hav e alr e ady call e d att e nt i on to th e s e r e mark

.
”
abl e vault i ngs i n t h e A pp e nd i x o n t h e flat vault i ng of t h e Rouss i llon .
T h e construct i on o f th e s e gre at sta i rcas e s w i thout any support i ng wall

o n t h e s i d e n e xt t h e w e ll w a s among t h e most aston i sh i ng fe ats Of
masonry e v e r don e and both i n s e tt i ng o u t a nd i n st e re otomy t h e Fr e nch

,
arch i t e cts and masons w e r e i ncomparabl e m ast e rs I n t he e l e vat i ons .
Courtonn e d i sp e ns e d w i th ord e rs and r e l i e d on rust i cat i ons and t h e

customary ornam e nt o f t h e t i m e o f a rococ o charact e r W i th many .
good po i nts th e r e i s som e bad spac i ng o n t h e fi rst fl oor o f t h e w i ngs

,
fac i ng t h e court and o n t h e gard e n s i d e t h e w i ndows a r e rath e r

,
crowd e d and t he e n d w i ngs hav e t w o w i ndow op e n i ngs w ith t h e

, ,
obj e ct i onabl e r e sult of a blank wall i n t h e c e ntr e Blond e l cons i d e r e d .
that t h e d e s ign show e d a n e gl e ct o f rapport and a want of appl i ca “
”
t ion I t i s not always e asy to g e t at Blond e l s po i nt but I tak e h i m
’
2
.
,
to m e an that t h e e l e vat i ons show e d t h e w ant of a cons e cut i v e i d e a

runn i ng through t h e e nt i r e d e s ign and br i ngi ng t h e parts tog e th e r i nto
2
Was t h e A ustri an E mbassy 5 7 R u e d e Var e nn , e .
Th i s i s not sh own in t he s ect ion gi v e n by Bl ond el w h i ch sh ows a j oi st fl oor and a ,
flat c ei l i ng .
2
A rch Franc i 2 2 1 C e défaut d appli cat i on es t la s ourc e d e pre squ e tout e s l es
“
. .
, ,
.
’
faut e s qu i s e r e marqu e nt dans l es é d ific e s é ri gés par quelqu e s arch i t e ct e s m od e rn e s e ll e s ,
n e pr o v i e nn e nt sans dout e
q ue d e ce q u é ta n t trop peu i nstru i ts d e s pri nc i p e s d e l e ur
’
art il s i m i t e nt s e rvil e m e nt ce q u i l s ont ap e r c u dans nos é d i fi ce s d e r é putat i on

,
’
I m i ta .
”
t ions sans d i sc ern e m e nt ar e n ot unkno w n to day -

.
a harmon i ous whol e I t app e ars that Courtonn e d i d n o t compl e te t h e

.
bu i ld i ng and t he e ntranc e w a s d e s ign e d by som e oth e r arch i t e ct o n

, ,
whos e d isloyalty t o h i s coll e agu e Blond e l comm e nts w i th w e ll m e r i t e d ,
s e v e r i ty Wh e n an arch i te ct i s call e d i n i n th i s way o ne m i ght hop e h e

.
, ,
says that h e wo u ld hav e su ffic ie nt d e l icacy of fe e l i ng e i th e r to r e fus e

,
”
to act o r e n cas e d e qu e lqu e c irconstanc e part i cul ier e to consult t h e
,
“
,
or ig i nal d e s ign e r and follow out h is i nt e nt i ons T h e d e corat i ons of t h e .
H Ot e l d e M at i gno n a r e w e ll known as among t h e fi n e st o f th e i r k i nd i n

Par i s ; th e y a r e i n som e ways mor e subtl e and d e l i cat e e v e n than thos e
of t h e H Ot e l de S oub is e .
1
T h e H Ot e l d e N o i r m o u t i e r in t h e R u e d e Gr e n e ll e w a s bu i lt i n
2
1 7 24 . I t i s a l e ss i mportant bu i ld i ng and t h e plan i s no t r e markabl e , ,
e xc e pt for t h e conv e n i e nt plann i ng o f t h e fi rst floor w i th a c e ntral
corr i dor li t at t he e nds ru n n i ng from e nd t o e n d o f t he hous e t h e first

, , ,
o f i t s k i nd I hav e com e across Curi ously e nough Courtonn e d i d not .
ava i l h i ms e lf of th i s t o prov i d e i nde p e nd e nt acc e ss to t h e t w o pr i nc ipal

rooms T h e e l e vat i ons a r e more sat i sfactory than th os e of t h e H Ot e l
.
d e M at i gnon t hough Blond e l cons i d e r e d th e m som e w hat l i c e nt i ous

, ,
and obj e ct e d to t h e balcony ov e r t h e e ntranc e as mor e su i tabl e to a ,
th e atr e than to a c i v i l bu i ld i ng I n h is e xtr e m e consc ie nt i ousn e ss as a

.
profe ssor Blond e l som e t i m e s b e cam e an u nm i ti gate d pr ig

, .
3
J e an S i lva i n C a r t au d w a s born i n 1 6 7 5 I n A pr i l 1 6 9 5 V i llac e rf .
wrot e to La T e u l ier e at Rom e 1 1 part pour Rom e tro is j e un e s gar c ons ,
u i y vont a l e urs fra i s e t dép e ns po u r s i n s t r u i r e ; l un s e nom m e Fr em i n

’ ’
q ,
sculpt e ur l autr e F a v a n n e p e i n t r e e t l e tro i s i e m e C a r t o t j e n e s a i s

,
’
, , ,
pas s a profe ss i on V i llac e rf comm e nd e d th e m t o t h e car e of La

.
T e u l ier e add i ng that i f p e ac e was mad e h e would rath e r put th e m i n

, ,
t h e A cad e my than oth e rs w h o m ight b e s e nt from Par i s C a r t a u d got .
i nto d i fficult ie s Q u e lqu e s tracass e r i e s d e fam i ll e a v o ie n t m is cc

“ 2
‘
j e un e homm e dans u n e s i tuat i on d a u t a nt plus e mbarrassant e qu i l ne ’ ’
o u i s s o i t pas d e l a v a n t a e d e la P e ns i on on po nt of
’
j g H e w as t h e i .
acc e pt i ng a favourabl e offe r of e mploym e nt at Constanti nopl e but was ,
d i ssuad e d by h is fr ie nd Fr é mi n t h e sculptor w h o g e n e rously h e lp e d , ,
h i m out of h i s o w n r e sourc e s and i nduc e d hi m to hold o n first at Rom e

,
2
Vi e u x H Otel s d e Pari s 1 1 plate s 1 5 2 5
S ee Va cqu i e r , , ,
- .
2
Blond e l says that th i s bu ild ing i s i llustrat e d i n C o u r t on n e s Trai té d e p e rsp e ct iv e ’
,
but I have so far not succ e e d e d i n c om ing across a copy of th i s w ork T h e H Ot el d e .
N oir mou t ier i s n o w t h e S e rvi c e Géograph i qu e d e l ar mé e 1 3 8 4 0 R u e d e Gr e n ell e ’

,
” -
,
.
2
Corre s d e s D i r e ct e urs i i 1 2 8
.
,
”
, .
2
Mémo i r e s i néd its d es A cade mici en s 1 1 2 0 4 5 , ,
-
.
’ ,
de / l fl é te l t /u ( ri te ri fe /a
f v ow
:
r zc a e e ec
‘
i P
d
l
m t er
4b b id “
H O T EL DE N O I R M O U T I E R B Y J C O U RT ONN E ELE V AT I ON A N D FI R S T F L OO R
. . . PL AN (see p .
7 8)
( F R O M J F BL ON DEL A R C H I T E CT U R E FR A NcAI S E I )
“ ”
. .
, ,
To FA E P
C .
7 9]
CA RT A U D 79
and th e n at Par is wh e r e h e ult i mat e ly b e cam e famous B lond e l pai d

, .
h i m t h e rar e compl i m e nt o f n am i ng h i m w i t h L i b e r al B ruant as

A rch i te ct e s d un v e r i tabl e tal e nt
’
and e ls e wh e r e h e r e fe rs t o hi m
,
” 1
C a r t au d
”
as c e t hab i l e hom m e u n d e n os plus c é lé b r e s arch i t e ct e s
,
.
app e ars to hav e b e e n e xt e ns i v e ly e mploy e d thro u gh out h i s long l i fe .
H i s pr i nc i pal w orks i nclud e d t h e H Ot e l d e M J anvry hous e s fo r .

,
M Crozat l e J e un e at Pari s and M ontmor e ncy a h ous e fo r M Gu i llot

.
, .
i n Par i s t h e ch at e au of B ourn e v i ll e t h e e ntranc e t o t h e church o f t h e

, ,
P e t i ts —P er e s and of t h e Barnab i t e s in Par i s t h e h igh altar i n t h e

, ,
C ath e dral at Rou e n and Chap e ls and h igh altars i n church e s at Pari s
,
.
H e was arch i t e ct to t h e D uc d e B e rry and lat e r t o t h e D u e d O r l é a n s

’
b u t i t w a s n o t t ill h e w a s s i xty s e v e n that h e b e cam e an A cad e m i c i an

-
,
tw e nty t w o y e ars aft e r t h e e l e ct i on o f A ub e rt and fourt e e n y e ars aft e r

-
,
t h e e l e ct i on o f A ng e J acqu e s Gabr i e l w h o w a s h i s j u n i or by t w e nty ,
four y e ars C a r t a u d d i e d i n 1 7 5 8 at t h e a g e o f e i g hty thr e e H is

.
- .
e arl ie st work s e e m s to hav e b e e n t h e e ntranc e to t h e church o f

S t E loy o r o f t h e Barnab i t e s bu ilt i n
. a stra ightforward com
,
pos i t i on o f an I on i c ord e r abov e t h e D or i c w i t h rath e r clumsy consol e s

to t h e upp e r ord e r Blond e l says o n me p e ut trop lou e r la fi e r t é qu e
.
,
“
s e r e marqu e dans l e s e ll e an nonc e l e x

’
r o fi l s d e l o r d o n n a n ce
’
p
”
e r i e n c e e t la haut e capac i té d e l a r ch i t e c t e u i l a ordonn é e s ’
h
’
p q A t e .
church was d e stroy e d i n 1 8 6 0 w e hav e to tak e t h e fi e r t é o f it s ,

“ ”
d e s i gn o n trust .
T h e Ch at e au o f M ontmor e nc i was bu ilt i n 1 7 0 8 o n h i gh ground

four l e a g u e s from Par i s bough t from t h e h e i rs Of L e B ru n I t i s i n
, .
conn e ct i on w i th th i s bu ild i ng that B lond e l says o f C a r t a u d tous s e s “
ouvrag e s sont ils m a r q u ee s a u co i n d e la grand e ur d e la nobl e ss e e t d e

”
la s i mpl i c i té 3
A bout 1 7 3 9 h e w a s call e d i n to c ompl e t e t h e church
.
o f t h e A u gust i ns D e c h a u s s é s o r P e t i ts -P ere s b e gun b y L e M u e t i n ,
1 6 6 carr i e d o n by L i b e ral B ruant and Gabr i e l L e D uc and not fi nally

5 , ,
compl e t e d t ill 1 7 40 C a r t au d d e s ign e d t h e thr e e w e st bays w i th th e i r

.
Chap e l s and t h e whol e of t h e w e st front T he P e t i ts —P er e s w a s .

“
always a dull and d e pr e ss i ng church and C a r t a u d d i d l i ttl e t o i mprov e ,
i t Blond e l though h e gr e atly adm i r e d C a r t a u d cons i d e r e d t h e d e s ign

.
, ,
”
m e squ i n and w e ak at t he angl e s wh e r e a s i ngl e p i last e r n e nourri t
,
”
pas ass e z l e s part i e s angula i re s t h e e ffe ct b e i ng r e nd e r e d st ill wors e
,
by t h e ob e l i sks wh i ch C a r t a u d us e d i nste ad of urns abov e t h e block i ng

2
Blonde l ,
Cours d Ar ch it ec t ur e i v x l ii i
’
, , .
2
P igan i ol d e la F o rc e D esc d e Pari s i
, .
,
”
, 45 1 .
2
Blond el , Cours d Arc hit ec tu r e iii 1 0 2
’
,
”
,
.
cours e C a r t a u d no doubt kn e w hi s bus i n e ss as all th e s e F r e nch

.
, , ,
arch i te cts did but h e s e e ms t o hav e b e e n happ ie r i n h i s dom e st i c

,
work T h e ma i son d e M J anvry bu ilt 1 7 3 2 -3 3 was a w e ll -plann e d

. .
1
town hous e of mod e rat e s iz e s i mply tr e at e d O f i t s e l e vat i on to t h e

, .
gard e n Blond e l says l o r d o n n a nce e s t tr e s agréabl e malgré s a s im

,
“ ’
p l i c i,t é and shows that an arch i t e ct o f e nl i g ht e nm e nt such as C a r t au d , ,
w i th a sound knowl e dge o f proport i ons can always make som e th i ng of ,
a bu ild i ng howe v e r s i mpl e A s an i llustrat ion o f what can b e don e i n

, .
t h e w a y o f sound but l e ss amb i t i ous arch i t e ctur e Blond e l i llustrat e s t h e

, ,
ho u s e that C ar t a u d d e s ign e d for M Gu illot i n 1 7 2 3 -4 a mai son .

,
bourg e o i s e i n wh i c h t h e own e r had h i s shop o n t h e ground floor and

,
l i v e d ov e r i t w i th his fam i ly T h e hous e w a s d e stroy e d i n 1 8 5 0 and

.
,
Blond e l g i v e s no e l e vat i on only plans and a s e ct i on From th e s e i t

,
.
app e ars to hav e b e e n v e ry w e ll d e s ign e d fo r i t s purpos e and to hav e ,
shown that h e ur e us e proport i on e xc e ll e nc e d e c e s pr ofil s e t b e auté

“
,
”
d e son appar e il wh i ch accord i ng to Blond e l charact e r i z e d all works
, , , ,
gr e at or small carri e d out from t h e d e s ig ns o f C a r t a u d and und e r his

,
d i r e cti on I t i s mor e d i fficult fo r an arch it e ct t o e stabl i sh a p e rman e nt

.
r e putat i on than for any oth e r art i st b e caus e hi s works a r e not portabl e , .
T h e y a r e l iabl e to d e struc t i on and r e bu ild i ng and th e re is t h e constant ,
t e nd e ncy o f casual wr i te rs to ass ign all t h e i mportant works of a g iv e n

p e r i od to o n e o r t w o l e ad i ng m e n whos e nam e s th e y happ e n to kno w .
A ll t h e m e n that I hav e d e alt w i th i n th i s Chapt e r hav e suffe r e d from

t h e s e caus e s and t h e i r r e p u tat i on has b e e n thrust i nto t h e background
,
by m e n m or e for t u n a t e but by n o m e a n s abl e r t ha n t h e y .
2
Blond e l ,
“
Cours d A r ch i te c t u r e,
’
i, 223 .
FI R T F L O O R
S A ND GR O U N D PL AN S OF M .
’
J ANVRY S HO E
US
PL . CX L I V
II . TO FA C E l' .
to pract is e i t and w i th no fi r s t hand knowl e dg e o f i t s pr i nc ipl e s and

,
-
p urpos e B ut
. i
2
n t h e e ight e e nth c e ntury th e r e was anoth e r sourc e Of
d ang e r for wh i ch art i sts th e ms e lv e s w e r e r e spons i bl e and w h i ch i nd e e d ,
s e e ms i ns e parabl e from arch i t e ctur e s i nc e t h e e arly days of t h e R e na i s

s anc e B e for e t he days of t he pr i nt i ng pr e ss and t h e r e -d i scov e ry o f
.
ant i qu i ty th e r e w e r e no such th i ngs as patt e rn books Th e r e w e r e

,
-
.
w e ll acc e pt e d typ e s of orna m e nt but e ach man had to carry th e m o u t ,
h i ms e lf h is own way V i llard d e H onn e court m ight fill hi s sk e tch book

.
w i th not e s but th e y w e r e not e s for h is o w n u s e and not for g e n e ral

, ,
r e prod u c t i on T h e patt e rn -book w a s t h e d i r e ct r e sult Of t h e class i cal

.
scholarsh i p of t h e R e na i ssanc e and i n t h e first i nstanc e i t w a s a ,
l e g i t i mat e r e sult n e c e ss i tat e d by t h e blu nd e rs o f t h e mast e r-bu i ld e rs

,
"
ov e r t h e ord e rs T h e i nformat i on ga i n e d by scholars and e nthus iast i c
.
art i sts had t o b e translat e d i n t o t e rms o f com mon u s e but t w o ,
d ang e rous cons e qu e nc e s r e sult e d I n t h e first plac e t h e draughtsman .
b e gan to glory i n t he e xub e ranc e o f h i s sk i ll and l i k e D u C e rc e au , ,
S amb i n D e Vr i e s and oth e rs b e gan to r e e l o ff arch i t e ctural d e ta i l of

, , ,
h i s own e x trav a gant i nv e nt i on I n t he s e co nd plac e not only bu i ld e rs

.
a n d workm e n but arch i t e cts o f i nfe r i or taste and knowl e dge w e r e

,
g i v e n t h e cho i c e o f th i s d e ta i l good bad or i nd i ffe r e nt ,

and wh e r e as , , ,
i n l e ss soph i st i cat e d t i m e s i t had n e v e r occurr e d to t h e art i st o r t h e

craftsma n to work o n oth e r l i n e s than thos e wh i ch trad i t i on taught
hi m t h e R e na issanc e i ntroduc e d r e s e arch and consc i ous s e l e ct i on and
, ,
t hough i n good hands and t h e r i ght cond i t i ons th i s has l e d to a vast ,
e x t e n s i o n a n d d e v e l o p m e n t of t h e r e s o u r c e s of a r c h i t e c t u r e i n i n fe r i o r ,
hands i t i n e v i tably l e d to t h e short cut to tr i cks o f d e s i gn wh i ch c a n ,
b e cop i e d and r e produc e d i nd e fin i te ly s o lon g as t h e fash i on for th e m

lasts Thus came i n t he patt e rn book rap i dly d e ge n e rat i ng i n t o t h e
.
-
,
book o f fash i on plat e s and th e i r mak e rs w e r e mor e dange rous than t h e

,
v i rtuoso and t h e cr i t i c b e caus e th e y sou g ht and found th e i r opportun i ty

,
amo n g thos e w h o pract is e t h e arts th e ms e lv e s p e rsons w h o by th e i r ,
t ra i n i ng at l e ast should hav e b e e n abl e to r i s e sup e r i or to th i s d e grada
t i on of th e i r art 2
I n n e arly e v e ry cas e t he pr e d i spos i ng caus e s a r e on
.
2
Horac e ,
Ep i stl e s ,
II i 1 1 4 1 7 ”
, ,
-
N avi m age re i g naru s navi s t i m e t ; a b r ot o nu m a egr o

n on aud e t n i s i
q u i d i d i c i t dar e ; quod m e d i c o r u m e s t
, , ,
pr o mi t t u n t m e d i c i : tractant fa b r il ia fabr i
s cr i b i m u s i n d oc t i d oc t i u e
q po em at a pass i m
, ,
.
T h e i mm e ns e output of coll e ct i ons of photo g raphs of bu i ld ings furn i tur e and

2
, ,
d e corat i ons i n r e c e nt y e ars has to a larg e e x t e nt tak e n t h e plac e o f t h e i ssu e of patt ern
books and i s only a d e gr e e l e ss m i sch ie vous
, .
O P P E NO R D 83
t h e one h and draughtsm e n o f gr e at fac i l ity o f i nv e nt i on w i th l i ttl e o r

n o tast e and o n t h e oth e r i nfe r i or arch i t e cts
, d e corators and trad e s , ,
m e n i n short t h e motl e y host of t h e camp follow e rs o f t h e arts I t w a s

, , .
t h e bus i n e ss of th e s e p e opl e t o catch t h e fash i on o r rath e r i n t h e cas e , ,
o f such m e n as O e n o r d and M e i s s o n n i e r for a t i m e to mak e i t and

pp ,
i n ord e r to k e e p up th e i r r e putat i o n for or i g i nal i ty th e y w e r e fo r e v e r ,
s tr i v i ng aft e r n e w a n d m or e e x travagant forms and comb i nat i ons w h i ch ,
m i ght look w e ll e nough i n a dash i ng sk e tch o f a cand e labrum o r a ,
mustard pot but w e r e grot e squ e ly o u t of plac e i n t h e s e dat e art o f

,
arch i t e ctur e .
G ill e s Mar i e O ppe n o r d was a most consp i cuous offe nd e r i n th i s

r e gard all t h e mor e so b e caus e h e was a thoroughly tra i n e d arch i t e ct
, ,
an d app e ars to hav e poss e ss e d som e r e al ab i l i ty H e was born i n Par i s .
i n 1 6 7 2 t h e s o n o f J e an O ppe n or d a D utch cab i n e t-mak e r i n t h e

, ,
royal e mploym e nt D A r g e nv i lle says h e w a s appr e nt ic e d to J H

2
.
’
. .
M ansart and d i d s o w e ll that at t h e e n d of a y e ar M ansart obta i n e d a

,
nom i nat ion for h im i n t h e F r e nch A cad e my at Rom e w h e re h e sp e nt ,
t h e n e x t e igh t y e ars i n t h e study o f arch i t e ctur e and d e corat i on

2
.
O ppe n o r d w a s j ust tw e nty wh e n h e arr i v e d i n Rom e I n J uly 1 6 9 2 .

,
La T e u lier e t h e D i r e ctor wrote to C olb e rt d e V illac e rf : L e S r

, ,
“
.
O pe n h o r e s t u n j ol i gar c on q u i d e ss i n e d e bon goust e t av e c i n t e l l i

2
ge nc e ce qu i l fa i t I I a autant d a ppl i c a t io n qu on e n p e ut avo i r ; j ay

’
.
’ ’ ’
e sté o b l i e d e luy d i r e d e la modér e r u n pe u p e ndant l e s grand e s

g
ch al e urs J e me croy pa s M ons i e ur qu i l so i t j ama i s capabl e d e vous
.
, ,
’
d o n n e r l i e u d e v ou s r e pe n t i r d e t o u t l e b i e n q u e v o u s luy fa i r e z o n pr o
c ur e r e z La T e u l ier e says that O ppe n o r d took a lodg i ng clos e t o t h e
.
”
A cad e my and that h e had allow e d hi m t o tak e h is m e als w i th t h e

,
p e ns ionar i e s I t thus app e ars that h e was not i n fact a p e ns i onary

.
, ,
4
e l e ct e d on h i s work by t h e A cad e my o f A rch i t e ctur e but w as allow e d ,
t o attach h i ms e lf to t h e S chool i n Rom e o n t h e nom i nat i on o f

t h e S ur i nt e ndant w h o always r e s e rv e d th i s r i ght o n b e half o f t h e
,
Crown .
I n O ctob e r 1 6 9 2 La T e u l ier e r e port e d tha t O ppe n o r d w a s form i ng

2
O ppe n or d , t h e fath e r eb en i st e i s fre qu e ntly m e nt i on e d i n t h e Compt e s H e
,
“
,
”
.
r e c e i ve d t h e r e gular r e tai n i ng fe e of t h e royal trad e sm e n of th i rty francs per ar m and w as .
pai d for h i s w orks s e parat e ly H e was a nat ive of Gu el d r e s and obtai n e d h i s l e tt ers of
.
,
natural i zat ion i n 1 6 7 9 N o u v A rch iv e s 1 8 7 3 p .

,
”
, .
2
A s a matt e r of fact h e w a s i n R om e from 1 6 9 2 to t h e summ e r of 1 6 9 9 .
2
Corr e s d e s D i re ct eurs i 3 0 0
.
,
”
, .
2
fl i nt i 4 1 5 , ,
Srs Ope no rd e t Tuby qu i pour me stre pas dans l A ca dé mi e
. .
,
’ ’
,
n e pr ofi t e n t pas mo i ns qu e l e s P e n s i on a i r e s d e s avantag e s d e ce s é j o ur .
un grand amas de
tout ce q u i p e ut e str e propr e a orn e r l e s ouvrag e s
2
d a r ch it e c t u r e d e tous l e s accompagn e m e nts q u i p e uv e nt l e s r e ndr e

’
sol i d e s e t agréabl e s car i l d e ss i n e tout ce qu i l trouv e d e b o n

, ,
’
”
tomb e aux tab e rnacl e s fontai n e s o r n e m e n s chap e ll e s front i sp i c e s e t c
, , , , , , .
U nfortunat e ly La T e u l ier e was not an arch i t e ct nor w a s O ppe n o r d

, ,
und e r his d i re ct control for i n fact all t h e t im e O ppe n o r d was ,
d il ig e ntly draw i ng t h e worst i nv e nt ions o f B orrom i n i and l e s sol i d e s ,
e t agréabl e s w e re t h e v e ry last qual i t i e s that h e had i n V i e w M an y .
o f th e s e sk e tch e s w e r e aft e rwards e ngrav e d by H u u 1 e r and th e y rank

q ,
a mong t h e worst and fi i m s ie s t e xampl e s o f arch i t e ctural sk e tch -books
e v e r publ i sh e d V i llac e rf how e v e r took a k e e n i nt e r e st i n h i s progr e ss

.
, ,
.
Towards t h e e n d o f 1 6 9 2 h e wrot e to L a T e u lier e urg i ng hi m t o tak e ,
sp e c i al care o f O ppe n or d : Pr e n e z gard e s u r tout qu i l n e s e débau ch e ’
e t me s e mar i e po i nt La T e u l ier e r e pl ie d that h e w a s an adm i rabl e

”
.
youth who would go far b e i ng a d e vote d stud e nt e s t a nt

,
con ,
t i n u e l l e m e n t occup é ch e z l u i e t hors d e ch e z luy n a y a n t com m e rc e

’
,
”
u a v e c l e fi l s d u S r Tub i sculptor av c log or w th
)
’
q ( t h e . e q u i i l e i 2
,
t h e p e ns i onar ie s w i th whom h e dr e w from t h e mod e l e v e ry e v e n i ng

,
.
T h e p i ctur e of t h e l i fe at t h e Fr e nch A cad e my at Rom e i s a pl e asant

o ne— O touj ours s a tra i n sp e nd i ng h is days i n dra w i ng
”
pp e n o r d v a
)
i n an d about Rom e o r i n t h e S chool o f t h e A cad e my full of e n t h u ,
s ia s m d e sp e rat e ly i n e arn e st to qual i fy h i ms e lf as an art i st V i llac e rf

“
, , ,
h is patron anx i ous as to h is progr e ss La T e u l i er e t h e d i r e ctor not y e t a

, , , ,
soc i al p e rson and pur v e yor o f t h e goss i p o f Rom e fo r t h e s u r i u teu a a u t ’
i n P a r i s t a k i n g a k e e n pa t e r n al i n t e r e s t i n t h e w e l far e o f all h is
,
stud e nts T h e A cad e my i n Rom e was st i ll v i tal st ill do ing e x c e ll e nt

.
,
work st i ll tru e to t h e trad i t i on of it s first gr e at found e r I n 1 6 9 4

, .
O ppe n o r d w a s allow e d sp e c i al l e av e o f s ix w e e ks to m e asur e and draw

t h e Palac e of Caprarola La T e u l ier e w a s v e ry pl e as e d w i th t h e r e sul t
2
.
and wrot e i n 1 6 9 5 C e j e un e hom m e a d u savo i r pour s a profe ss i on ,
d e l a ppl i ca t i o n d e la sag e ss e b e aucoup d e v i vac i té d e fac i l i té a

’
, , ,
prod u ir e e t d e la fécond i té m em e B ut O ppe n o r d w a s alr e ady b e .

”
com i ng r e stl e ss and clai m e d that h e ough t to r e c e i v e t h e sam e p e ns i on

,
as t h e r e gu lar stud e nts La T e u lier e po i nt e d o u t to hi m that h e w a s

.
th e r e for hi s o w n e d i fica t i o n but V illac e rf ord e r e d t h e paym e nt o f t he ,
Corr e s d es D i recte urs i 3 2 7

.
, , .
It app e ars from anoth e r l e tt e r from La T e u l ier e that Oppe n ord lodge d oppos i t e th e
2
A cade my wi th four oth e r stud e nts thr ee Fr e nch m e n and a G e rman ou i l s vi ve nt tous , , ,
fo rt sage m ent e t fort appl i qués ch as cu n a son estude ( ibi d i , ,
D e si gn e d by Vignola and th e n t h e prop e rty o f t he D uk e of Parma

2
.
succ e e d e d by M ansart La T e u l ier e r e com m e nd e d O ppe n o r d v e ry

.
stron gly to Mansart but w a s h i ms e lf sup e rs e d e d i n t h e D i r e ctorat e by

,
H ouass e und e r c i rcumstanc e s wh ich I hav e alr e ady d e scr i b e d I n J uly

, .
1 6 9 9 O p e n o r d was alr e ady on h i s way to Par i s F r som e s e v e n

, p o .
y e ars h e had b e e n t he fa v our i t e pup i l o f t h e Fr e nch A cad e my i n Rom e .
La T e u l ier e d e scr ib e d him i n 1 6 9 8 a s qu ick to l e arn poss e ss e d o f ,
i mm e ns e appl i cat i on r e ady i mag i nat i on and fac il e draughtsmansh i p

, ,
.
I I a u n e i mag i nat i on d e s plus fécond e s q u e j ay v e u e t u n e fac i l i té

’
d e x e cu t i o n q u i surpr e nd Sans null e compla isanc e c e n e st pas u n

’ ’
.
,
e was amb i t i ous abl e d u n bon natur and

”
n i e ord i na i r e H e]
2 ’
g e . not , , ,
affl i ct e d by any fals e mod e sty La T e u li er e do e s n o t m e nt i on t h e fact . ,
w h i ch i s e v i d e nt from h i s r e por t s that O ppe n o r d had pursu e d h i s ,
stud i e s pr e tty w e ll as h e l i k e d and had pa i d l i ttl e or no att e nt i on to ,
t h e pat i e nt study of t h e ant i qu e for wh i ch t h e Fr e nch A cad e my i n ,
Rom e was found e d H e had also com e to t h e conclus i on that th e r e was

.
no t h ing to b e ga i n e d b y stay i ng o n i n Rom e T h e A cad e my w a s i n a .
pr e car i ous stat e La T e u l i é r e d e vot e d and consc ie nt i ous w a s not a

.
, ,
t ra i n e d art i st and found h i ms e lf i n constant d i fficult i e s w i t h h i s br i ll i ant

,
s t ud e nts T h e S tat e Tr e asury w a s n e arly bankrupt and Mansart c o n

.
,
n i v e d at t h e appo i n t m e n t o f H o u a s s i a s e cond rat e pa i nt e r to succ e e d ,

-
,
La T e u l ier e w it h e x pl i c i t i nstruct i ons to sp e nd only c e q u i e s t absolu

,
m e nt e t i n d i s pe n s ab le me nt néc e ssa ir e A s for t h e d i sc i pl i n e and .

” 2
organ i zat i on of t h e A cad e my i t was all to p ie c e s th e r e w a s noth i ng , ,
furth e r to b e ga i n e d at t h e A cad e my and O ppe n o r d hurr ie d back from ,
R o m e w i t h g r e a t hop e s from t h e n e w S u r i n t en d a n t b u t h e w a s d o o m e d ,
to d i sappo i ntm e nt A s o n r e tour Mansart q u i me S i n t e r e s s a it a

.
“
O ppe n o r d
”
p e rsonn e qu a l u i m em e n e parait pas s e n é t r e occupé
’
,
’
.
2
2 “
Corr e s . d es D ir ct e urs
e ,
i i, 23 1 .
Mid ,
Mansart to Houass e August 1 6 9 9 Houass e fill e d h i s l e tt e rs to
i ii , 8 , , ,
.
Mansart wi th r e qu e sts for mon e y and re ports of t h e goss i p of Rom e P oe r s on wh o .

,
succ e ed e d h i m i n 1 7 0 4 brought out w i th h i m a young Hardou i n a n eph ew of Mansart

, , ,
and i n N ov e mb e r 1 7 0 5 th i s young man w i th a fello w stud e nt go t i nto s e r i ous troubl e i n

, ,
-
t h e grounds o f t h e V i lla Borgh e s e Som e Sb i rr i hav i ng arr e st e d Hardou i n St Paul h i s

.
, .
,
compan i on att a ck e d th e o ffic e rs k ill e d o n e and w ound e d t w o mor e T h e t w o young

, ,
.
m e n w e r e dragg e d off to pri son but Hardou i n wa s r e l e as e d St Paul w a s cond e mn e d to

,
. .
i mpr i sonm e nt for l i fe at A ncona but aft e r a gr e at d e al of n e got i at i on t h e Pop e finally

,
a gr e e d to h i s r e l e as e aft e r a nom i nal i mpr i sonm e nt i n a fortr e ss In May 1 7 0 6 P o er s on .

, ,
r e port e d to Mansart L e Sr Paul e s t e nfi n hors d e pr i son apr es b i e n d e l e p e i nn e d e s

“
.
,
so i ns e t d e l arg e nt T h e d i sc i pl i n e of th e A cad e my h ad b e e n r e lax e d s i nc e t h e days of

’
.
C olb e rt w h o had e x pr e ssly forb i dd e n t h e w e ar i ng of s w ords by t h e stud e nts .
2
A de M o n taigl on Corr e s d es D ire cte urs i i i 1 1 not e
.
,
.
,
”
.
,
.
O P P E NO R D 87
w as not a r e la t i on nor did h e b e long to t he clos e r i ng o f t h e Royal

,
’
b u ild i ng staff and i t w a s not worth t h e S u r i n teu da u t s wh i l e t o do any
,
th i ng for h i m I can no t find that O ppe n o r d w as e mploy e d o n any

.
i mportant w ork t i ll som e t w e nty y e ars aft e r h is r e turn from Rom e and .
appar e ntly all h e found to d o was t h e d e s ign i ng of an occas i onal h igh

altar o r monum e nt .
I n 1 7 0 4 h e d e s ign e d t h e h igh altar o f S G e rma i n d e s Prés u n .

,
d e s plus r i ch e s e t d es plus e l e gans qu on pu i ss e vo i r and typ i cal of t h e

’
,
” 2
h i gh altar o f t h e p e r i od ; s ix colum ns o f c i poll i no s e t out o n an e ll ipt ical ,
plan carri e d an e ntablatur e wh i ch i nste ad of cont i nu i ng all round stopp e d

, , ,
at t h e two front columns A bov e th i s w a s an Op e n baldach i no form e d by

.
curv e d and fol i at e d truss e s o n e ov e r e ach column wh i ch m e t at t h e top

, ,
and support e d a glob e carry i ng a cross and from t h e und e rs i d e o f t h e ,
truss e s w as susp e nd e d a gr e at ang e l surround e d by small e r on e s B e low .
was t h e Chass e of S G e rma i n support e d by two kn e e l i ng ange ls i n

.
,
bronz e g i lt I n 1 7 0 6 O ppe n o r d d e s ign e d a monum e nt to M ar ie d e s

.
E ssarts i n t h e church of S B e no i t and i n 1 7 1 1 a tomb i n bronz e for

.
,
t h e church o f t h e Carm e s D e ch a u s s e z S o far h e s e e ms t o hav e had .
l ittl e succ e ss H e was not on t h e s t aff of t he [ u teu a u u t des éd t i m eu ts

.
’
,
M ansart had ignor e d hi m and D e Cott e follow e d his e xampl e and i t ,
w a s not t ill aft e r t h e d e ath o f Lou i s X I V that O ppe n o r d found any

O pportun i ty o f show i ng what h e could do Ph il ipp e d O r lé a n s t h e ’
.
,
R e g e nt s e e ms to hav e b e e n d e t e rm i n e d to i ntroduc e a compl e t e change

,
.
n o t only i n t h e m e t hods Of go v e rnm e nt bu t i n t h e soc ial l i fe and ,
s e t t i n g of t h e C o u r t o f Fr a n c e E v e ryb o d y w a s t i r e d t o d e a t h Of t h e
.
pomp and c e re mon i al of t h e old K i ng and M m e d e M ai nt e non Th e y . .
qu i t e wrongly i d e nt i fi e d i t w i th t h e stat e ly arch i t e c t ur e o f t h e t i m e and ,
thus at l e ngth t h e r e w a s a chanc e fo r O ppe n o r d and t h e bambo “
”
c ha de s and c ol ifi c he t s wh i ch h e h ad s o ass i duously s t ud i e d i n
“
Rom e H e was e mploy e d by t h e R e ge nt to d e s ign t he e ntranc e saloo n

.
to t h e gr e at gall e ry at t he Pala i s Royal d e s ign e d by Mansart and to ,
d e corat e t h e e nt i r e su i t e of rooms P i gan i ol d e la F orc e w a s of op i n i on

.
t hat no bu i ld i ng had b e e n d e corat e d av e c pl us d art e t a v e c plus d e ’
”
go u t . T h e d e s igns w e r e e ngrav e d i n H u q u i e r s coll e ct i on of d e s igns
’
by O ppe n o r d and Blond e l says t hat t h e d e corati ons w e r e adm i rably

,
tr e at e d and that l e cho ix d e s o r n e m e ns e t l é lé g a nc e d e s form e s

,
“ ’
P i gan i ol d e la Forc e D e sc vii i 1 2 It wa s d e stroy e d dur ing t h e R e volut i on

2
,
“
.
, , .
,
T h e d e scr i pt i on i n P i gan i ol i s r e p e at e d alm o st v e rbat i m fro m G e rma i n Br i c e w i thout

a ckno w l e dg e m e nt .
88 A H I ST O RY O F F R E N C H A RC H I T E CT U R E
compos e nt u m tout capabl e d i nsp i r e r u n e fort e i m p re ss i on aux art i st e s

” 2
u e v e ul e nt s e fa i r e e st i m e r dans l e ur profe ss i on H e part i cularly
q .
’
comm e nds t h e t o p l ight i ng o f t h e grand s a /ou d eu t r ee for t h e pur
pos e s O f a p i ctur e gall e ry .
I n 1 7 2 0 O ppe no r d carr i e d o u t c e rta i n alt e rat i ons at t he T e mpl e

for t h e R e g e nt who was Grand Pr i or ; i n 1 7 2 2 h e r e d e corat e d t h e
,
palac e at V i ll e rs Cott e r e ts and about th i s t i m e h e was appo i nt e d ,
D i r e ct e ur d e s Manufactur e s e t I nt e ndant d e s Jard i ns d e s M a i sons

Royal e s A ccord i ng to M ar i e tt e O ppe n o r d d e s ign e d t h e add i t i ons to
.
” 2
t h e hous e of M Crozat l e J e un e at t h e e n d of t h e Ru e R i ch e l ie u and

.
,
M Crozat w h o w a s a fam ous amat e ur thought s o h ighly of h i s ab il it i e s

.
, ,
t hat h e lodg e d h i m i n h hous e

i s — anoth e r e xampl e o f t h e pos i t ion o f t h e
tam e arch i t e ct i n t h e e ight e e nth c e ntury s i m i lar to that o f K e nt i n ,
t h e e stabl i shm e nt o f Lord B url i ngton O ppe n o r d s e e ms to hav e fall e n .
o u t o f fash i on aft e r t h e d e ath o f t h e R e g e nt i n 1 7 2 3 but h e carr i e d o n h i s ,
work at S Sulp ic e H i s first comm i ss i on h e r e had b e e n t h e h igh altar

. .
i n 1 7 1 9 ; h e was th e n e ntrust e d w i th t h e w ork o f cont i nu i ng t h e church ,
and w i th t h e e x c e pt i on o f t h e w e st fa c ad e and tow e rs th is w a s com

l e t e d from h i s d e s i gns i n 1 7 3 6 B y that dat e how e v e r t h e work had
p .
, ,
alr e ady b e e n take n o u t o f h is hands an d t h e w e st front was b e gun ,
from t h e d e s igns o f S e r v a nd o n i i n 1 7 3 5 O ppe no r d s d e s ign fo r t h e .

’
i nt e r i or o f S S ulp i c e i s t he only e x e c ut e d work by wh ich i t i s now

.
poss i bl e to form an op i n i on of h is ab il i t i e s as an arch it e ct T h e i mpr e s .
s i on g i v e n i s not favourabl e O ppe n o r d may hav e b e e n a mast e r of .
”
“
c o lifi c h e t s but h e had l i ttl e s e ns e o f s e r i ous arch i te cture and e v e n
, ,
B lond e l his pup il w h o pronou nc e d h i m t he gr e at e st draughtsman o f

, ,
h i s t i m e had to adm i t that O ppe n o r d s d e s ign for t h e cross i ng

’
, ,
e sp e c i ally t h e tr e atm e nt o f t h e c e ntr e bay w a s o n e of t h e v e ry worst i n ,
Par i s T h e b e lfry wh i ch had b e e n bu ilt from h is d e s i gn abov e t h e

.
,
cross i ng had to b e tak e n down a fe w y e ars aft e r i t s e r e cti on on account

,
Of i t s e x c e ss i v e w e ight .
O ppe no r d d i e d i n 1 7 4 2 H e w as Ecuy e r D i r e ct e ur génér al d e s

.
,
B at i m e n t s e t jard i ns d e s o n A lt e ss e Royal e M ons l e duc d O r lé a n s

’ ”
.
,
bu t t h e patronage of t h e D uk e h ad b e e n h is o ne support M e i s s o n n ie r .
2 “
A rch Franc . .
,
ii i , 4 2 . De M o n t a igl o n, Corr e s d es D i re ct e urs ii i 1 1 says that
“
.
, , ,
Oppe n or d d e s ign e d a gall e ry at t h e Palai s R oyal w h i ch c ollaps ed but t h e gall ery app e ars
,
to hav e b e e n d e s ign e d by Mansart .
2
A rch iv e s d e l art
“
iv 5 1
’
But acc ord ing to an oth e r acc ount th i s h o us e
, .
w a s d e s i gn e d for l e Pr e s i d e nt Cr o zat i n 1 7 0 4 by J e an S i lvai n Car tau d T h e h o us e has .
b e e n d e stro ye d S ee Nou v A rch i ve s i 2 9 2

. .
,
”
,
.
II . PP
. 88 , 89]
PL . C X LV I I
P LA N OF S . L P I C E P AR I S B Y G I T T AR D O P P E N O R D A N D S E R VA ND O N I
SU , .
, ,
( F RO M J F. BL.ON D EL ARC
,
“
HI T E CT U R E FRA N AI S E
c ,
”
11
)
[I L PP . 88, 89
DE S I G N FO R S A L ON . BY J . A . M E I SSONNIE R
TO FA E P
C . 89]
I S T O RY O F F R E N C H A R C H I T E C T U R E
i l di ng s d raw n to o n e s cal e b e g i nn i ng w i th an Egypt i an ,
ri d i ng w i th h i s own d e s i gn for a church for t h e O rd e r o f
ie r s d u Sa i nt E spr i t M e is s o n n i e r e s t abl i sh e d h i ms e lf i n Par i s

.
le r and d e s i gn e r but soon lau nch e d out i nto arch i t e ctur e

, ,
mann e r on t h e worst e x travaganc e s o f Borrom i n i and pro ,
ig u s fo r arch i t e ctural d e corat i ons wh i ch m ight hav e had som e

t h e most o f t h e s h e e n o f m e tals but wh i ch w e r e s i mply ,
e x e cut e d i n bu i ld i ng mat e r i als O ppe n o r d though he .

,
cons t ruct i on was at l e ast consc i ous of t h e e l e m e nts o f

,
M e i s s o n n i e r t rampl e d o n th e m at e v e ry po i nt ; no
e w a s too v i ol e nt for h i s purpos e and h i s sch e m e s of ,
a n ightmare I l tourna e t fit bomb e r l e s corn i ch e s

.
I l l e s c i ntra e n haut e t e n bas e n d e v ant e n arr i er e ,
i t la symm e tr i e e t i l me fit plus l e s d e u x c Ot é s d e pann e au x

,
L e s balcons u i l e s ramp e s d e s c a li e r n e ur e nt la pe r
’ ’
pass e r dro i t l e ur ch e m i n i l l e ur fallut s e rp e nt e r a s a ,
e s m a t ié r e s l e s plus ra i d e s d e v i nr e nt soupl e sous s a ma i n

,
2
M e i s s o n n i e r s m e thods w e re e xtr e m e ly succ e ssful
’
Fr e nch hav e a d e e p s e at e d i nst i nct fo r what is -
a v e also a k e e n s e ns e o f humour and t h e t w o ,
th i s r i d i culous fash i on o f O ppe n o r d and M e i s s o n n i e r .
i s s o n n i e r d i e d at Par i s i n 1 7 5 0 t h e r e act i on had alr e ady b e gun ,
i n t h e e ngrav e r l e d t h e attack i n t h e M e rcure d e F ranc e ”
, ,
m o f an i ron i cal p e t it i on from a S oc i e ty o f A rch i t e cts to t h e

O f P ar i s pr a y i n g t h e m w h e n t h e y d e s ig n a full s i z e a r t i c hok e
,
-
y e r of a po t n o t to plac e b e s i d e i t a har e t h e s i z e of on e s
’
r
,
and aga i n i n mak i ng a candl e st i ck to mak e i t upr ight to

, , ,
l ight and to r e col l e ct q u u n e bob ech e do i t é t r e co ncav e pour

,
“ ’
a C i r e q u i coul e e t non pas conv e x e

”
.
,
I n a s e cond l e tt e r i n .
cure fo r D e c e mb e r Coch i n pr e s e nt e d h i ms e lf as r e ply

adm ir e rs o f M e is s o n n ie r T h e famous O ppe n o r d h e says .
, ,
at first w i th abu ndanc e o f z e al but h e could not forg e t t hat h e ,
;t u d i e d arch i t e ctur e T h e gr e at M e i s s o n n i e r gav e u s som e th i ng

.
valuabl e I t i s tru e h e had stud i e d i n I taly but h e w i s e ly pr e

.
,
tast e o f B orrom i n i to t h e go u t e nnuy e u x for t h e ant i qu e ,
I e had r e nd e r e d to Franc e t h e sam e s e rv i c e as B orrom i n i had
i las C o ch i n in a l e tt e r to th e M e rcur e de Franc e D e c e mb e r

, ,
1 7 5 4, qu ot e d
ir .
: d at l e ngth in M . D es tai ll eu r
’
s
“
N ot i c e s sur qu lqu s arti st s Fran c a is
e e e ,
[IL To FA E P
C .
9c
PL . CL
W OO D P A N EL NOYON CAT H ED RA L ( s e e p 9 )
.
. 2
( F
R O M A D R A W I N G B Y E
R G I N A L D B L O M F I EL )
D
II . TO FA CE P .
t he works o f h is fath e r and h i ms e lf Th e s e i nclud e d d e s igns for car

.
t ouch e s , pan e ls c e i l i ngs

, morc e aux d e fanta i s i e
, morc e aux d e ,
”
capr i c e s i ronwork fou nta i ns th e atr e s monum e nts d e corat i ons o f all
, , , , ,
sorts and a s e ri e s o f plat e s for a n écol e d a r chi t e c t u r e Bavaro i s e

,
“ '
D u s s i e u x m e nt i ons among t h e wor k s of t h e e ld e r C u v i l i é s t h e

gard e n and grotto e s of t h e palac e at M u n i ch t h e A quar i um and ,
O p e ra ( 1 7 44 l A m a l i e n b o u r g at Ny m ph e nb o u r g and w ork at
’
S chl e i ssh e i m for t h e Card i nal D uk e o f Bavar i a H i s r e putat i on n o w .
r e sts o n h i s d e s ign for d e corat i ons C u v i li é s app e ars to hav e b e e n a

.
b e tte r art ist than M e i s s o n n i e r or O ppe n o r d H e was st ill capabl e on .
occas i on o f us i ng a stra ight l i n e though h e usually e nd e d i t up w i th a

,
t w i rl ig i g . B ut h e lack e d i mag i nat i on and h e d id n o t r e d e e m h is lack

,
of i t by t h e scholarsh i p that g i v e s a r e al value to t h e work o f La Lond e

and F or t y a g e n e rat i on lat e r S om e of h i s pan e ls S how an obv i ous
.
r e coll e ct i on o f B erai n and though th e y a r e n o t ungrac e ful th e y ha v e

, ,
lost t h e i rr e pr e ss i bl e v i vac ity of t h e orig i nal Th e y abound i n ragg e d .
fragm e nts o f sh e ll m e an i ngl e ss tw i rls and drap e r ie s m e re tri cks of

, ,
d e corati on w i thout m e an i ng o r r e l e vanc e g i v i ng t h e i mpr e ss i on of a ,
p a r t i p r i s and o f compl e t e bor e dom w i th t h e w hol e bus i n e ss an i mpr e s ,
s i on wh i ch i t i s som e t i m e s hard to e scap e i n F r e nch arch it e ctur e and

d e corat i on i n t h e s e cond h alf o f t h e e ight e e nth c e ntury .
T h e fash i on i ntroduc e d by th e s e m e n has had d i sastrous r e sults o n

d e corat iv e art I t b e gan w i th B orrom i n i a cl e v e r man b u t an arch i
.
, ,
t e c t u r a l anarch i st of t h e d e e p e st d y e T h e B i b i e na fam i ly carr i e d i t to

.
V i e nna D e Cott e s e m i ssari e s to S pa i n O ppe n o r d and M e i s s o n n i e r to

,
’
Franc e and C u v ilié s back aga i n to G e rmany I t thus ov e rran C i v il i z e d

,
.
E urop e w i th t h e e xc e pt i on o f th i s country wh i ch ow e d i t s e scap e to it s ,
strong common s e ns e and also i n s om e d e gr e e i t i s only fai r to say to

, , ,
t h e r e solut e stand on t h e t e ach i ng of Pallad i o mad e by Lord B u rl i ngton
and h i s follow i ng but e v e rywh e r e i t has filt e r e d down to t h e low e st

,
forms o f comm e rc ial d e corat i on T h e hug e and h i d e ous m i rror o f t h e

.
board i ng house t h e squal i d corn ic e and t he contort e d consol e o f trad e

,
arch i te ctur e o f t h e last g e n e rat i on a r e i t s l e gac ie s to th i s day I t i s .
d ifficult to plac e on e s e lf i n t h e fram e o f m i nd o f thos e p e rsons who g o t

any r e al e njoym e nt o u t o f t h e rococo mann e r i n i t s latt e r days B é r a in .
w i th hi s qua i nt and capr i c i ous fanc i e s i s i nt e ll ig i bl e e n ough Th e y ,

.
mad e no s e r ious d e mand o n t h e i magi nat i on O n t he oth e r hand th e y .

,
w e r e always i nt e r e st i ng and pl e asant to l i v e w i th and B era i n had a n ,
i rr e s i st i bl e fe e l i ng for patte rn that g iv e s a c e rta i n d i st i nct i on to t h e

most fantast ic of h i s d e s igns I t i s not t h e fact that t h e d e corat i on o f
.
D E C U V I L I ES 93
t he latt e r part o f t h e r e i g n o f Lou i s X I V was dull and h e avy t h e ,
s i nge r i e s and ch i no is e r i e s w e r e ch e e rful and Oft e n v e ry amus i ng

”
.
H ow th e n was i t th at th e s e w e r e sup e rs e d e d by t h e dull and forc e d

i nv e nt i ons of O ppe no r d an d M e i s s o n n i e r ? I can only attr i but e i t to t h e
slack e n i ng o f co n trol all ro u nd aft e r t he d e ath o f Lou i s X I V I t had .
alr e ady b e e n w e ak e n e d b y t h e l i c e ns e o f J H M ansart for that

. .
,
e m i n e nt arch it e ct
,
t h e D i r e ctor and Patron o f t h e A cad e my v i olat e d ,
i t s t e ach i ng at n e arly e v e ry po i nt i n h i s d e s i gn and h i s i m m e d i a t e fol

,
l ow e rs w e r e n e ith e r gr e at arch it e cts n o r g r e at m e n D e Cott e w h o suc

.
,
c e e d e d h i m both as Pr e m i e r A rch i t e c t and D i r e ctor o f t h e A cad e my ,
w a s not a strong man . A m i abl e and accompl i sh e d as h e s e e ms to hav e

b e e n h e was brought up i n an atmosph e r e o f i ntr igu e and s e rv i l i ty a nd
, ,
t h e Mansart trad i t i on o f p e rsonal succ e ss at all cost was too much fo r
him . I nste ad o f r e s i st i ng th i s monstrous i nvas i on h e w e n t w ith t h e t i d e ,
and e v e n att e mpt e d i t h i ms e lf th ough i n a l e ss offe ns i v e form i n t h e

, ,
Gall e ry o f t h e H Ot e l d e Toulous e B o ffr a n d d i d t h e sam e at t h e H Ot e l

.
d e S oub i s e
. I n both cas e s i t i s d i fficul t to s a y what w a s t h e actual part
tak e n by th e s e arch i t e cts wh e th e r th e y ac t ually d e s ign e d t h e d e cora
,
t i ons i n d e ta i l or wh e t h e r t h e y m e r e ly gav e a g e n e ral sup e rv i s i on to

,
t h e sch e m e s suppl i e d by e nt e rpr i s i ng d e corators I n e i th e r cas e i t i s

.
,
cl e ar tha t th e y fe ll i n w i th t h e fash i on r e ad i ly e nough H ad th e s e l e ad

.
i n g arch i t e cts stood out aga i nst t h e craz e or gu i d e d i t i nto san e r l i n e s

, ,
th e y would not h av e b e tray e d th e ir a r t i nto t h e hands o f such art i st i c

i mpostors and adv e ntur e rs as J ust A ur el e M e i s s o n n i e r I t was r e s e rv e d
.
fo r a gr e at e r ar t i s t a n d a strong e r man t han e i t h e r B o ffr a n d o r D e

Cott e to r e scu e Fr e nch art from th i s i gnom i n i ous s e rv i tud e .
C H A PT E R XXI I I
L E B L ON D , B O F F R A ND
N E i s glad to r e turn to t h e st u dy o f arch i t e ctur e aft e r th i s

e xcurs i on among t h e foll i e s of t h e d e corator and upholst e r e r .
I n dom e st i c bu ild i ngs arch i t e c t ur e and d e corat i on a r e o f cours e , ,
i nt i mat e ly conn e cte d ; but i n t h e two g e n e rat i ons that pr e c e d e d t h e r i s e

o f A ng e J acqu e s Gabr i e l arch i t e ctur e was subord i nat e d to d e corat i o n
t h e cart was plac e d b e for e t h e hors e — w i th t h e natural r e sult that
arch i t e cture cam e to a standst i ll I ts qual i ty was n e gati v e e xc e pt

.
,
wh e n handl e d by robust and v igorous arti sts such a s t h e e ld e r Gabr i e l ,
—a Fr e nchman st e e p e d i n t h e Fr e nch trad i t i on and i nd i ffe r e nt to t h e ,
art nouv e au of t h e pract it ion e rs o f h i s t i m e O n t h e oth e r hand

”
.
,
tho u gh arch i te ctur e r e mai n e d stat i onary F r e nch pa i nti ng and sculptur e
,
cam e i nto th e i r o w n e arly i n t he e ight e e nth c e nt u ry W a t t e a u s .

’
d e l ightful art r e v e al e d a world o f i t s o w n that no oth e r art is t had y e t

e xplor e d ; and t h e supr e macy o f F r e nch sculptur e was e stabl i sh e d
b e yond any poss i bl e qu e st i on T h e i d e al that C olb e rt had a i m e d at
.
w a s r e a l ize d Fr e n c h a r t w a s r e c o g n i z e d a s s upr e m e t hrou g hou t

.
E urop e I ts i ncomparabl e craftsmansh i p and t h e vast mat e ri al r e

.
sourc e s at i t s d i sposal had fi nally d i spos e d o f t h e C la i ms of I tal i an art

a t t h e e n d of t h e s e v e nt e e nth c e ntury a shabby v e rs i on of a onc e mag
n ifi c e n t trad i t i on ; and wh e r e as i n t h e s i xt e e nth c e ntury all t h e k i ngs

, ,
and pr i nc e s who could afford i t tr i e d to outb i d e ach oth e r i n s e cur i ng

t h e s e rv i c e s of I tal i an art i sts i n t h e e ight e e nth c e ntury i t was Franc e
,
w h o s e nt o u t h e r art i sts and craftsm e n to Russ i a G e rmany D e nmark , ,
Sw e d e n and Spa i n Th e y e v e n smuggl e d th e ms e lv e s ov e r to E ngland

, . .
Patte wr i t i ng i n 1 7 6 5 was abl e to s a y w i th j ust i c e

, ,
Par i s e s t a ,
2
N o m mb er of any o f t h e A cad m i s
e e e wa s allo we d to l e av e
k i ngdo m wi thout
the
the o f rmal p rm i t of t h D i r e ct ur G en eral d e s B é t i me n t s Se e N o u v A rch i v e s
”
e e e - . 1 878 .
, ,
pp 1 1 5 5 for a l i st of eong es 1 6 9 3 -1 7 9 2 and c o rr e sp ond e nc e of art i sts work i ng abroad wi th

.
-
,
’
, ,
t h e D i re c t o r G e n e ral
‘
-
A bout t h e m i ddl e o f t h e ei ghtee nth c e ntury som e craftsm e n got O Ye r
.
t o E ngland for t h e tap e stry w orks at F u lh a m and E x e t e r but as soon as th i s r e ach e d t h e

,
e ars o f t h e D i r e ctor str i ng e nt o rd e rs w e r e i ssu e d to stop any furth e r e m i grat i on Fre nch .
s u pre macy in th e crafts was bu i lt up by a r ig i d syst e m of prot e ct i on .
94
PL C L J I
.
GR O U N D P LA N OF H O U E R U E D E N F E R AR I B Y LE BL ON D
S ,
’
,
P S .
( see p .
95 )
( F
R O MD A VI L E R ,C O U R ’
S D ARC C U
H IT E T RE
EL VA T I ON S
E OF H O U E B Y LE BL ON R UE D E N F E
S , D,
’
R, P AR I S ( s ee p .
95)
( F RO M O U RS ’
D A V I LE R , C D A R C H IT E C T U R E
[1 L PP .
9 4, 9 5
L . CLIV
E L E AT I
V O NS
G RO U ND P AN
L
LE B LO N D 95
la Gr ec lorsqu l s arts y t r i o m h o i e n t ; i l fourn i t

’ ’
l E u r o pe q ce e u é t o it
e e p ,
”
d e s art i st e s a tout l e r e st e d u m ond e .
2
T he car e e r o f J e an B apt i s t e A l e xandr e L e Blond was typ i cal of

t h e s e me n L e Blond who w a s born i n Par i s i n 1 6 7 9 was t h e s o n
.
, ,
o f a pa i nt e r A ss e z m ed io cr e i s M ar i e tt e s d e scri pt i on — who i n 1 6 8 3
” ’
publ i sh e d a tr e at i s e on t h e fi v e ord e rs B oth i n h is fath e r s stud i o and .

’
a t t h e pr i nt-shop o f o n e o f h i s u ncl e s young L e B lond stud i e d t h e ,
e ngrav i ngs of J e an L e P a u t r e and i nsp i r e d by th e s e d e t e rm i n e d t o , , ,
b e com e a d e s ign e r h i ms e lf H e was appr e nt i c e d to a cab i n e t mak e r

.
nam e d F e u i ll e t w h o kn e w mor e about arch i t e ctur e and p e rsp e ct i v e

, ,
”
u e me co m o r t o i t son état and t h e pup i l hav i ng natural tast e and
q p , ,
unusual sk ill i n draughtsmansh i p v e ry soon i mprov e d o n h i s maste r , ,
and p r oduc e d draw i ngs i n l i n e and wash of Ch i n e s e i n k wh i ch Mar i e tt e ,
d e scri b e d as d un e i nt e ll ig e nc e m e rv e i ll e us e e t fa its av e c la plus grand e

’
préc i s ion H e m e nt ions part i cularly a draw i ng o f t h e tomb o f t he

.
”
Valo i s at S D e n i s and c e rtai n d e s igns fo r part e rr e s wh i ch L e B lond

.
,
mad e fo r M ar ie t t e s fath e r wh i ch w o n t h e rar e approbat i on o f L e

’
,
2
N Otr e or l o n s ca i t comb ie n il é t o i t pe u accoutumé 21 e n do r me r surtout

,
“ ’
quand il S ag i s s oi t d e jard i nage A s L e N Otr e d i e d i n 1 7 0 0 L e Blond

’
.
,
must hav e b e e n bar e ly tw e nty wh e n h e mad e th e s e d e s igns wh ich ,
show an unusually matur e d tast e for s o you ng a man D u ssi e u x says .
that L e Blond was a pup il of G i rard arch it e ct to t h e R e ge nt b u t , ,
appare ntly h e ow e d h is i ntroduct i on t o t h e publ i c to M ar i e tt e t h e pub ,
l i s h e r for h e do e s not s e e m to hav e e nt e r e d t h e A cad e my School nor

, ,
w a s h e i n t h e R oya l e m plo y m e n t A c c o r d i n g t o D A r g e n v il le w h o ’
.
,
cla i ms t h e i ntroduct i on for h is fath e r t h e Chartr e ux w e r e c o n t e mpla t ,
i n g a n e w H Ot e l i n t h e R u e d E n fe r and t h e Pr i or D om M or i n show e d
’
t h e d e s igns of d i ffe r e nt arch i t e cts to D A r g e n v i l le t h e e l d e r T h e latt e r ’

.
r e mark e d that L e B lond w a s n o t among th e m and arrang e d an i nt e r ,
v i e w b e tw e e n t h e Pr i or and t h e you ng arch it e ct A t th i s i nt e rv i e w .

,
c e t hab i l e homm e fit e n s a r es e n c e u n d e ss i n pl u s b e au q u e tous le s

p
autr e s e t sur qu e lqu e s obj e ct i ons q u i l u i fur e nt propos é e s i l e n d e ss i na
, ,
plus i e urs p lans ”

D o m M or i n was s o pl e as e d that h e gav e hi m t h e
.
work th e n and th e r e L e Blond s conduct was qu i t e u nprofe ss i onal

.
3 ’
2 “
M onum e nts é rig é s a la gl oi re d e L ou i s X V p 6 ,
. .
T h e w e ll kno w n pr i n t s e ll er and publ i sh e r In L o rd B i nn i ng s c oll e ct i o n I hav e

2 ’
-
.
s e e n a se t of fo urt e e n small fol i o plate s e ngrav e d by Mar i e tt e fr o m d e s i gn s of L e Blond

, ,
w h i ch i nclud e arch i t e ctural as w e ll as gard e n d e s i gn s Th e s e I tak e to b e t h e plat e s .
r e ferr e d to .
2
D A rg e n v i l l e
’ “
Vi e s d e s fam e ux A rch i t e ct e s i 4 4 2
, , , .
9 6 A H I S T O RY O F F R E N C H A R C H I T E C T U R E
but hi s d e s ign wh i ch h e e ngrav e d i n t h e 1 7 1 0 e di t i on o f D a v ile r as 2
an illustrat i on of a cons i d e rabl e hous e was an abl e o n e both i n plan , ,
and e l e vat i on H e also g i v e s plans and e l e vat i ons o f a hous e i t t l tu /ieu u e

.
’
”
wh i ch h e d e scri b e s as proj e tt e for a grand e plac e n e ar t h e Chartr e ux
“ ”
i n Par i s N e i th e r th i s nor a st ill large r d e s ign i nt e nd e d for a s i t e n e ar

.
t h e I nval i d e s app e ar to hav e b e e n carr i e d o u t I n t he latt e r h e prov i d e d .

,
o n t h e gard e n s i d e a grand s alon a l I t a l i e n n e sho w n in t h e s e ct ion ’ ’

,
runn i ng t h e full h e ight o f t he t w o stor e ys w i th a doubl e cov e d corn i c e ,

-
.
I t was p e rhaps i n cons e qu e nc e o f th e s e d e s igns that L e B lond w a s

e mploy e d to d e s i gn t h e palac e of t h e A rchb i shop o f A uch and Of t h e
A rchb i shop o f N arbonn e at Can e tt e n e ar that town I n 1 7 0 8 t he ,

.
H Ot e l d e Cl e rmont i n t h e R u e d e Var e nn e w a s b e gun from hi s d e s igns

, ,
a hous e of som e i mportanc e s e t w e ll back from t h e stre e t b e y ond an ,
”
“
avant cour T h e hous e a long l o w two -stor e y bu ild i ng was not
.
, , , ,
v e ry happ i ly tre ate d L e B lond us e d for t h e first floor t h e att i c stor e y

.
,
s o popular at t h e t i m e but i t looks forlorn and out of plac e i n a two

,
stor e y bu i ld i n g and t h e mansard roofs w i th lucarn e s abov e a s i ngl e

, ,
stor e y i n t h e avant cour a r e more sat isfactory T h e plan i s ch i e fly

“
,
”
.
r e markabl e for i t s fi n e gall e ry and salon g iv i ng a total l e ngth o f som e ,
8 0 fe e t and fo r t h e e xtr e m e i nconv e n i e nc e of plac i ng t h e s u i te d mu ug er

,
- -
on o n e s id e of t h e Court and t he k i tch e n o n t h e oth e r Blond e l sp e aks .

2
i n h i gh t e rms of th i s hous e A s first bu i lt i t was h e says . u n e d e s plus , , ,
r i ant e s d u faubourg S G e rma i n par la d ispos iti on g é néral e d e s e s

.
,
b at i m e n s l e ur d istr i but i on e t l e ur ordon nanc e parti e s auss i d i ffic i l e s

, ,
u e s s e n t i e ll e s a O b s e r v e r d a n s o m po s i t i on s pl
’
q l a c d un an et que Le
’
B lond po s s é d o i t a u n d é g r é sup e r i e ur .
”
L e Blond w a s undoubt e dly sk i lful i n t h e d e s i gn o f g e n e ral o u tlay ,
t hat i s compr e h e ns i v e sch e m e s i nclud i ng t h e hous e i t s grounds and

, ,
approach e s M ar i e tt e says h e had mad e t h is h i s pri nc i pal study and that

.
,
h e w a s mor e succ e ssful w i th gard e ns than w i th bu i ld i ngs b e i ng i n , ,
”
r e gard to t h e latt e r plus profond e e n t h é or i e q u e dans la prat i qu e
, ,
t hough h e adds h e m i ght hav e b e e n e qually succ e ssful w i th h i s bu i ld

, ,
i ngs had i t not b e e n fo r t h e e x tr e m e d i sord e r Of h i s l i fe W h e th e r i t .
w a s i n co n s e qu e nc e Of th i s that L e B lond lost h i s pract i c e i s not

kno w n but about th i s t i m e h e had l ei sur e for t w o cons i d e rabl e works
'
, ,
”
t h e famous Th e ory and Pract i c e of Gard e n i ng wr i t t e n by D e z a lli e r
“
,
D A r g e n v i ll e t h e e ld e r und e r L e B lond s i nstruc t i ons and sup e rv i s i on

’ ’
, ,
2
C ours i 1 8 5 T h e hous e was occup i e d by t h e D u C d e Chauln e s
D av i l e r , “
, . .
,
and lat e r wa s e nlarge d by Courtonn e D A r g en vill e Voyage P i ttor e squ e p 3 4 9 .

’
,
“
,
”
. .
T h e bu i ld i ng wa s d e stroy e d i n 1 8 3 8
2
.
98 A H I S T O RY O F F RE N C H A RC H I T E C T U R E
i llustrat i ons and note s to D av il e r w e r e i n fact t h e first publ i c d e clara , ,
t i o n of t h e n e w d e partur e .
T h e t w o books tog e th e r s e e m to hav e brought L e B lond t o t h e

front aga i n D A r g e n v ill e t h e young e r says that h e d e s ign e d a hous e
.
’
at Ch ati llon wh i ch w a s o n e of t h e or n am e nts o f t h e e nv i ro n s o f

Par i s A bout 1 7 1 5 a r e pr e s e ntat i v e o f P e t e r t h e Gr e at F ran c o i s le
.
”
, ,
Fort cam e to Par i s to coll e ct art ists o f all sorts for work at M oscow
, .
H e s e l e ct e d a s arch i t e ct L e Blond offe r i ng hi m l i vr e s as salary ; ,
and i n sp i t e o f t h e prot e sts of amat e urs at t h e loss to Franc e o f auss i

, ,
b e au gén i e 2
L e Blond start e d fo r Russ i a i n 1 7 1 6 w i th h i s w i fe and
.
”
fam i ly h i s two draughtsm e n and a small company of art i sts an d

, ,
craftsm e n i nclud i ng sculptors masons j o i n e rs carp e nte rs sm i ths and

, , , , ,
fo u nd e rs j e w e ll e rs and tap e stry w e av e rs H e was r e c e i v e d by t h e

, ,
.
2
Czar w i th gr e at favour and at onc e e mploy e d to d e s ig n t h e palac e and

gard e ns of t h e P e t e rhof T h e Czar w a s s o i mpr e ss e d w i t h his ab i l i ty
.
”
that h e appo i nte d hi m pr e m i e r arch i t e ct e w i th t h e r e sult that c e rta i n
“
,
I tal i an arch i te cts al r e ady i n t h e Czar s s e rv i c e at M oscow caball e d ’
aga i nst h i m and br ib e d t h e workm e n t o mak e m istak e s i n h is bu i ld i ngs .
D A r g e n v i lle says that o n e of t h e I t al i ans e v e n att e mpt e d to assass i nat e

’
h i m i n a wood Th e y succ e e d e d i n mak i ng h i s l i fe m i s e rabl e and

.
,
afte r t hr e e y e ars hi s h e alth brok e down and h e d ie d o f small -po x i n 1 7 1 9 ,
at t h e e arly a g e of forty T h e Czar gav e h i m a magn i fic e nt fun e ral b y .
way of am e nds L e B lond s e e ms to hav e had som e touch o f ge n i us

. Il .
a v o it u h go u t d e l i cat e s a man ier e é t o i t pur e i l po s s éd oi t l h e ur e ux

, ,
’
t al e n t d e pro d u i r e a i s e m e n t e t a v e c u n e i n t e ll i g e n c e i n fi n i e ”
It , .
w a s u nfortunat e for Franc e that o w i ng to bad gov e rnm e nt and t h e ,
i mp e n e trabl e monopoly o f t h e o ffic i al C l i qu e som e o f t h e b e st Of h e r ,
ar t i sts w e r e unabl e t o find any ad e quat e car e e r and had t o l e av e t h e

country D an ie l M arot o n e of t h e most br ill iant d e s ign e rs o f h i s t i m e
.
, ,
had to tak e r e fug e i n H olland D a v ile r w a s dr i v e n from Par i s by t he .
j e alous e goti sm of Mansart ; and L e B lond d isord e rly o f l i fe i t m ay b e , ,
but a S i nc e r e and accompl i sh e d art i st found i t n e c e ssary to l e av e h is ,
d i —
country and go o u t i nto t h e w i ld e rn e ss t o e for to a Pari s ian of that
t i m e R u ss i a and M oscow could hav e s e e m e d l i ttl e e ls e .
G e rma i n B o ffr a n d o n t h e oth e r hand a m a n Of gr e at e r r e putat i on

, ,
and much l e ss ab i l i ty w as consp i cuously s u cc e ssful ; but th e n he ,
2
D Ar g e n v i l l e ,
’ “
Vi e s p ,
”
.
44 5 .
2
S ee D u s s i e u x , “
L es A rti st e s Fran c ai s a l Et ’
r an ge r , pp . 1 21and 5 4 3 D u ss i eu x
.
says that h e d e s i gn e d t h e P e t e rhof and i t s gard e ns w h i ch ,

he d e scr i b e s as an i m i tat ion
o f V e rsa i ll e s w i th abundanc e of wat e r and g i lt l e ad statu e s
,
.
B O F F RA N D 99
manage d to e stabl i sh h i ms e lf w i th i n t h e i nn e r c ircl e of o ffi cia l d o m .
B o ffr a n d was t h e s o n o f a sculptor and his moth e r was a s ist e r o f ,
Q u i nault H e w a s born at N ant e s i n 1 6 6 7 but cam e to Par is at t he

. ,
a e of fourt e e n and was s e nt by hi s u ncl e to t h e S chool of t he

g ,
A cad e my of Pa i nti ng and S culptur e and actually work e d thr e e y e ars ,
i n t h e stud i o o f G i rardon t h e sculptor H i s i nt e r e st ho w e v e r lay in , .

, ,
arch i te ctur e and h e was i ntroduc e d t o J H M ansart who adv i s e d

, . .
,
’
h i m to v i s i t S G e rma i n -e m-Lay e th e n b e i ng alt e r e d from M ansart s
.
,
d e s igns D A r g e nv ille says that young B offr a n d mad e a p e rsp e ct i v e

.
’ 2
draw i ng o f t h e ch at e au Wh i ch so pl e as e d M ansart that h e at onc e ,
i nv i t e d h i m to e nt e r hi s Offic e at V e rsa i ll e s that h e r e h e w a s e mploy e d ,
on draw i ngs for t h e O rang e ry and o n thos e o f t h e Plac e Ve n d Om e ,
b e i ng fi nally plac e d i n charge o f t h e first bu i ld i ngs e r e ct e d th e r e and ,
that Mansart r e ward e d h i m w i th t h e appo i ntm e nt of K e e p e r of t he

B ur e au d e s d e ss i ns d e s b at i me nt s d a R o i at a salary o f l i vr e s ,
”
r annum Th i s account g i v n by n v i ll e i s only partly c o n

’
p e . e D A r
g e , ,
”
firm e d by t h e Compt e s T h e first e ntry occurs i n 1 6 8 7 wh e n h e w as .
,
pa i d 7 40 francs at t h e rat e of 6 0 francs a month fo r work don e as a

, ,
draughtsman o n t h e plants e t pr o fi ls d e s b a s t i m e n s d e la plac e “
V e n d Om e e t d u Commun d e s Capuc i n e s H e w a s e mploy e d o n

” 2
.
draw i ngs for t h e Plac e Ve n d Om e t i ll 1 6 9 1 I n 1 6 9 3 h e r e c e iv e d .
5 0 0 francs for plans Of t h e Palac e and Gard e n s of F o n t a i n e b l e a u and
Cho i sy and small sums for surv e ys o f oth e r Royal hous e s i n 1 6 9 4 6

,
- .
I n 1 6 9 8 h e s e e ms to hav e b e e n i n r e c e ipt of a r e gular salary but h is ,
po s i t i o n w a s q u i t e a s ubord i n a t e o n e a n d h is e m ploy m e n t i n t e r m i t t e n t , ,
”
as aft e r 1 6 9 9 h e d i sapp e ars for t e n y e ars from t h e Compt e s e m e rg i ng ,
aga i n i n 1 7 0 9 and succ e e d i ng y e ars as t h e S r d e B e a u fr a nt arch i “

.
,
t e ct at a salary of
”
francs pe r annum Th e r e a r e n o oth e r .
”
r e fe re nc e s t o h i m i n t h e Co m pt e s and Mansart s patronage must hav e ,
’
b e e n l e ss b e n e v ol e nt than D A r g e n v il le suppos e d D A r g e n v ill e c o n .

’
t in u e s : N é d u n caracter e e nj oué e t bouffon la coméd i e fut u n d e s

’
,
”
am u s e m e nts d e s a j e un e ss e and h e e v e n compos e d som e plays that ,
w e r e pr i nt e d and act e d L i ke Vanbrugh — th ough w i th l ittl e o f h is .
ab i l i ty— B o ffr a nd probably i ntroduc e d h i ms e lf to fash i onabl e S oc i e ty

by h is i nd i ffe re nt plays I n 1 7 0 9 h e w a s e l e ct e d to t h e A cad e my of
.
A rch i te cture and soon afte rwards w a s e ntrust e d by A nn e of Bavar ia

, ,
P r i nc e ss e d e Condé w i th som e e x t e ns i v e add i ti ons and alt e rat i ons to

,
3
2 “
Vi e s pp 4 1 9 3 4
, .
-
.
2 “
C ompt e s i i 1 2 7 2 Se e y e ars 1 6 8 8
, ,
.
-
1 69 1 .
2
Wi fe of H enri Jul e s d e Bourbon ( d . s on o f le grand C ondé J H Mansart . . .
A H I ST O RY O F F RE N C H A RC H I T E CT U R E
2
ala i s P e t i t Bourbon and th is was follow e d by a larg e hot e l
du ,
~
I Ot e l d e Torcy and t h e H Ot e l d e S e ign e lay in t h e R u e d e
, ,
bon ( Faubourg S G e rma in) T h e H Ot e l d e Torcy ( n o w 7 4 R u e

. .
. ill e ) was b e gun i n 1 7 1 4 I t i s badly plann e d an d a dull d e s i gn

.
,
e th e r T h e k i tch e ns a r e plac e d n e xt t h e str e e t and s e parat e d by

.
,
p e n court from t h e hous e s o that e v e ryth i ng ,

had to b e tak en
5 a n op e n court up a v e ry narro w and i ll-l i t sta i rcas e

,
through a ,
:rob e past t h e grand sta i rs and across t h e ma i n v e st ibul e towards

,
sa l ted — ma ng er wh i ch was plac e d t o t h e l e ft o f t h e e ntranc e

,
J u le B o ffr a n d may hav e b e e n a d e l ightful p e rson but as a

.
,
plann e r h e w a s grot e squ e and e v i d e ntly unacqua i nt e d wi th t h e

-
,
d e v e lopm ents o f dom e st i c arch i t e ctu r e T h e pri nc i pal room s a r e all .
d en s u i t e on t h e gard e n front — as had b e e n t h e pract i c e t w e nty

g e
b e for e T h e grand sta i rcas e i s badly manag e d and t h e e l e vat i ons

.
,
I ore sugg e st i v e of a barrack o r a hosp i tal than a pr i vate hous e ;

a r e pla i n i t i s tru e but i t i s t h e pla i nn e ss o f a poor i n v e nt i on and
, , ,
i e s i mpl i c i ty of a d i st i ngu i sh e d m i nd T h e H Ot e l d e S e ign e lay .
l u e d e L i ll e ) — a s m all e r hous e — was bu i l t two y e ars lat e r T he .
is not q u i t e so i nco nv e n i e nt but i t s e l e vat i ons a r e e qually dull ,

.
:l e l , who had a gre at p e rsonal r e gard fo r B o ffr a n d comm e nds ,
e l e vat i ons as an e x ampl e O f e xc e ll e nt s i mpl i c i ty C e tt e fa c ad e .
i ordr e s d a r c h i t e c t u r e n i corps d e r e fe nd ( rust i cat i ons ) e t n e do i t

’
au t e qu a l é lé g a n ce e t a la proporti on d e s part i e s q u i la co m
’ ’
e s e nt i
”
It g e nr e d a r c h it e c t u r e trop e u e st i mé auj ourdhu i T h 2
’
,
p .
i s adm i rabl e —i t i s only i t s ap pl i ca t i on to th e s e e x ampl e s that i t

to qu e st i on : but Blond e l p e rs e v e r e d i n h is loyalty and w a s abl e ,
d i n t he e l e vat i ons o f t he H Ot e l d e Torcy n u a ir d e grand e ur

”
V I B o ffr a nd a touj ours s cu répandr e dans tout e s s e s product i ons
.
,
p os e d to t h e e fforts o f l e s h omm e s s u
pe r fi “
c i e l s who hop e to ,
is e th e i r i ncapac i ty b e h i nd a profus i on of l i c e nt i ous d e ta i ls A s a .
:r of fact t h e e l e vat i ons o f both hot e ls conta i n s e v e ral d e plorabl e

,
isms i n d e s i gn .
Th e H Ot e l A m e lot n o w N o 1 R u e S D om i n i qu e i s mor e i n
, . .
,
:i ng . I n t h e plan a t any rat e B offr a n d launch e d o u t i nto an

, ,
i al ,i f som e what unpract ical tr e atm e nt B y a fre e u s e O f subor .
rrie d rk at Chant illy for H e nr i Jul es d e B ourbon and i t i s not ic e abl e that
ou t wo ,
l ow e ntrust e d th i s w ork n o t to D e Cott e Mansart s succ e ss o r but to B o ff r an d ,

’
,
.
Of t h e H Ot el d e S e i gn e lay Bl ond e l says : “ L es prop ort i ons l e s form e s e t la s i mé t r i e , ,
o n t e x act e m e nt o b s e r v es t i e nn e nt bi e n d un e r i ch e ss e
qu i s ouv e nt a ill e urs me s e rt
’
,
re r d e s vra i s pr i nc i p e s d e la bonn e arch i t e ctur e A rch F i ”

.
,
PL C LV I
.
wwu r
f la n
, da . r w de/ -
c harmal e
'
az/ [f ata l
xh u b g fl mw d u b i d fl mmm mfi j fi a fi mq y
P M “
fl or a J e na -
cc
ND PL A N
G RO U
H OT EL A M EL O T B Y B O FFRA N D .
[1 L PP . 1 00 , 1 0 1
1 1 . TO FA CE P . 101 ]
wh e n O ppe no r d and M e i s s o n n i e r w e r e i n full blast B o ffr a n d follow e d .
t h e fash i on w i th e n thus i asm A rch i t e c t though h e cla i m e d to b e h e

.
,
turn e d h is back o n t h e e stabl i sh e d pr i n c ipl e s o f arch i t e ctural d e s ign ,
subst i tut i ng for i t s ord e r and r e stra i nt t h e m e r e capr i c e of t he mod e ll e r ,
and i nd e e d though o ffic ially i n charg e o f t h e work h e probably l e ft i t

, ,
to his d e corators and plaste r e rs S om e o f t h e v e ry b e st art i sts o f t h e

.
t i m e w e r e e mploy e d o n th i s work I n t h e famou s oval S alon t h e .

,
s tucco figur e s i n t h e p e nd e nt i v e s w e r e mod e ll e d by t h e e ld e r A dam
and L e Lorra i n and N a t o i r e pa i nt e d sc e n e s from t h e story o f Psych e

, .
No n s e ul e m e nt la corn i ch e e s t e n t i er e m e n t dor é e ma i s la plafond fa i t ,
e n calott e e s t c ouv e rt d o r n e m e n s d e sculptur e s u r u n fond blanc

’
ui se
q
raccord e n t av e c la ros e d u m i l i e u .
” 2
B e aut iful as i t i s i t s b e auty i s not that o f arch i t e ctur e T h e

, .
c orn i c e has pract ically c e as e d to e x i st and b e com e a m e r e i nvas i on o f ,
t h e c e i l i ng by t h e wall ass e rt i ng i ts e lf at i mportant po i nts by br e ak i ng
out i nto var i ous qu i rks and con volut i ons T h e ch i e f Obj e ct o f t h e .
d e corator s e e ms to hav e b e e n t o conc e al t h e form and i nt e nt i on o f t h e

structur e and i t must b e ad m i t t e d that h e d id so w ith e x qu is i t e sk ill i n
,
d e ta i l O n t h e oth e r hand th i s work sh ows l ittl e knowl e dg e o f scal e

.
, ,
for t h e figur e s t hat occupy t h e compartm e nts o f t h e angl e s a r e too

h e avy for t he d e l icat e d e t a i l Of t h e pan e ls b e low ; and i n th i s V i tal
matte r of scal e — w h i ch i s t h e sp e c i al prov i nc e o f t h e arch i t e ct— t h e
arch i t e c t fa il e d to play hi s part B o ffr a nd has al w ays e nj oy e d t h e .
cr e d i t of t h e d e s ign and h e i llustrat e d t h e d e corat i ons o f t h e H Ot e l d e

,
S oub i s e i n fu l l i n h i s gr e at boo k o n arc h i t e c t ur e b u t my i mpr e s s i on i s 2

,
back . first volum e w a s i ssu e d i n 1 7 5 2 and th i s w ould bri ng t h e dat e to about 1 7 4 0

H is ,
.
B au c ha l says 1 7 0 6 but t h e H Ot e l d e S o ub i s e w a s only b e gun i n that y e ar from t h e

,
d e s i gns of D e la Mai r e Rob e rt L e Lorrai n t he sculptor of t h e spl e nd i d Ch e vau x d u

.
,
“
S ol e i l of t h e stabl e s of t h e H Otel d e Rohan di e d i n 1 7 4 3 Nat oire aft e rw ards D i re ct o r

”
,
.
,
of t h e Fre nch A cad e my i n Rom e d ie d i n 1 7 7 7 Lamb e rt A dam i n 1 7 5 9 N i colas i n 1 7 7 8

, , , .
M Gons e ( La Sculpture Fran c ai s e p

.
“
says of t h e A dam C e sont d e s arti st e s
,
”
. ,
“
doués d un e grand e hab i l i té d un e i mag i nat i on vi ve e t d un e mai n rap i d e qual i tés qu i

’
,
’ ’
,
conv i e nn e nt au x d ec or at io n s eph e m er e s au x mach i n e s i mprovi sé e s t h e v e ry m e n i n all

, ,
”
E ur o p e for t h e d e c orat i ons of t h e H Ot e l d e S oub i s e .
2 ’
D A r ge n v il l e Voyag e p i ttor e squ e d e Pari s p 2 3 7 T h e d e corat i ons of t h e H Ot el
, ,
”
. .
d e S o ub i s e a r e v e ry w e ll i llustrat e d i n R u ml e r s L e Styl e Lou i s X V ’ “ ”

.
T e n plat e s a r e d e vot e d to t h e H Ot el d e Soub i s e B offr a n d says that all t h e carv i ng

2
.
,
m o uld i ngs and t h e furn i ture of t h e r o om w e r e g ilt on a w h i t e gr ound and on t h e c e i l ings

, ,
t h e ornam e nt wa s w h i t e aga i n st bl e u C lai r T h e plat e s of t h e L ivr e d A r ch i te ct u r e

” ’ ”
.
w e r e e ngrav e d by Lucas Bab e l Blond e l and o th e rs and probably dra w n by th e m as

, , , ,
w e ll . It i s r e markabl e that i n th i s book publ i sh e d only som e fi ve y ears lat e r B offran d

, ,
should hav e mad e a strong prot e st aga i nst th i s fash i on of torturi ng bu ild ings and ,
r e mark e d b i tt e rly that l e b i zarr e ri e e s t adm i r é sous l e n om d e gén i e

’
.
”
B O F F RA N D 1 03
that t h e r e al cr e d i t o f t h e w o rk b e lo ngs to t he plast e r e r t h e pa i nt e r , ,
and t h e mod e ll e r s thumb I t i s hard to d e t e ct i n all th i s d e l ightful and

’
.
accompl ish e d fool i ng t h e so m e what e l e phant i n e touch o f t h e d e s ign e r

,
o f t h e H Ot e l d A m e l o t and t h e H Opi t a l d e s E nfants Trouvés

’
.
M e anwh il e B o ffr a n d had b e e n e x t e ns i v e ly e mploy e d by G e rman

,
pr i nc e s at dat e s wh ich I am u nabl e t o asc e rta i n

,
but probably b e tw e e n 2 -
1 7 2 0 and 1 7 4 0 B o ffr a n d coll e ct e d th e s e d e s i gns and publ i sh e d th e m

.
i n a vast fol i o e nt i tl e d L i vr e d A r c h it e c t u r e cont e nant l e s pr i nc ip e s

,
’
générau x d e ce t art toge th e r w i th i llustrat i ons o f var i ous bu i ld i ngs

,
abroad by L e S ie ur B o ffr a n d arch i t e ct e d u R o i e t d e son A cadém i e

, , ,
R o y al e d A r ch i t e ct u r e pre m ie r arch i t e ct e e t I nsp e ct e ur ge n e ral d e s

’
,
’ ’
Ponts e t Chaussé e s d u Royaum e T h e book was publ i sh e d i n Par i s

”
.
i n 1 7 4 5 w i th t e xt i n F r e nc h and Lat i n and w a s d e d i cat e d to t h e

, ,
K i ng T h e pr i nc i p e s g e n e r a u x c onta i n t h e usual plat i tud e s of

.
tr e at i s e s on a e sth e t i cs B o ffr a n d had n o t i n fact any fix e d pr i nc i pl e s

.
o f d e s ign o r any d e fi n i t e th e or y o f arch i t e ctur e

, H e l e ads o ff w i th a .
”
d i ss e rtat i on o n l e bon goust wh i ch i n h is Op i n i on i s t h e faculty o f
, , ,
d i st i ngu i sh i ng not m e r e ly b e tw e e n good and bad but b e tw e e n good ,
and b e tte r But t h e standard i s noth i ng mor e than C e q u e a p10 ou

.
2
d e pl fi a u x homm e s l e s plus écla i r e s and a bu i ld i ng ca n only b e sa i d

’ ”
,
” ”
to b e d e bon goust wh e n it has t h e sanct i on o f l e s plus éclai rés
“
, ,
and also has obs e rv e d cons i d e rat i ons o f conv e nanc e commod i t é
”
soc ie t e santé e t b o n s e ns a d e fin i t i on w h i ch l e av e s u s v e ry much
,
wh e r e w e w e r e H e th e n h i t on t h e i d e a o f tak i ng t h e A rs Po e t i ca of
.
H ora c e a n d a p ply i n g i t p a s s a g e by p a s s ag e t o arch i t e c t ur e 0 11 t h e

, , ,
assumpt i on that l e s sc i e nc e s e t l e s arts o n t u n S i grand rapport q u e

“
l e s pr i nc i p e s d e s uns font pr i nc i p e s d e s autr e s a pos i t i on wh i ch alon e -
shows that B o ffr a nd had no u nd e rstand i ng of t h e th e ory of t h e arts ,
and that h is parad e o f ph i losophy w a s e i th e r a pr e t e nt i ous i mpostur e

or p e rhap s t h e hon e st but fatuous e ffort o f an i ncomp e t e n t wr i t e r I t .
was stuff such as th i s and t h e st i ll mor e pr e t e nt i ous sc i ol i sm o f t he

,
Comt e d e Caylus wh i ch t w e nty y e ars lat e r e xasp e rat e d L e ss i ng i nto

,
produc i ng t h e fin e st p i e c e o f construct i v e cr i t i c i s m o f t h e A rts that has

b e e n wr i tt e n s i nc e t h e Po e t ics o f A r i stotl e
2
.
To t h e stud e nt t h e ch i e f valu e o f B o ffr a n d s book and probably

,
’
t h e ult i mat e purpos e o f t h e author w a s t h e publ i cat i on of h is o w n ,
2
T he dat e s give n i n B au ch al s e em to me qu i t e untrust worthy and ,
in s om e cas e s ,
i mp o ss i bl e .
2
Une faculté qu i d i st i ngu e l excellen t ’
d av e c l e b on
’
.
2
T he Laoc oo n app e ar e d i n 1 7 6 6
”
.
d e s igns— mor e part i cularly thos e pr epar e d for t h e G e rman Pr i nc e l i n g

Th e y i nclud e t h e follow i ng : B ou ch e fo r t n e ar B russ e ls ; palac e s , ,
N ancy La M algrang e Lun ev i ll e and W u r z b o u rg ; t h e H Ot e ls c

, , ,
M o ntmor e n cy and d A r g e ns o n at Par i s ; t h e r e mod e ll i ng of t i

’
Ch at e a u d e C ramay e l s e v e n l e agu e s from Par i s ; t h e Ch at e au d H a r O i

,
’
i n Lorra i n e as r e bu i lt ; t h e Pu i ts d e B i c etr e
, t h e br i dg e at S e ns a n ,
a wood e n br i dge at M ontr e au t h e Porta il d e la M e rcy at Par i s a n ,

”
t h e d e corat i ons of t h e H Ot e l d e S oub i s e .
B ou c h e fo r t w as a H unt i ng Lodg e i n t h e m i ddl e of a wood S i

m il e s ou t o f B russ e ls fo r M ax i m i l ian E mmanu e l El e ctor o f Bavar i
, ,
B o ffr a n d d e s i gn e d th i s o n an octagon plan s e t i n a c i rcular c o m ,
3 0 0 fe e t across T h e c e ntral
. salon w a s 6 0 fe e t i n d i am e t e r r i s i ng u ,
through two store ys to a h e ight o f 6 3 fe e t w i th a gall e ry at t h e fi r s

floor and abov e t h e vault w a s a prod ig i ous lant e rn or look out 1 2 0 fe e
,
-
,
h i gh from t h e floor to t h e El e ctor s crown at t h e top T h e b u il di n ’

.
,
w a s o n ly carr i e d up to t h e first floor and w a s n e v e r c o m pl e t e c ,
B o ffr a n d s work at N ancy w a s i mportant T h e d e s ign o f t h

’
.
—
Cath e dral at N ancy t h e i nt e ri or of wh ich is an accompl i sh e d p i e c
o f work— h a s alwa y s b e e n ass ign e d to H M ansart and B ff
J o r a nc . .
T h e latt e r how e v e r d i d not i nclud e i t i n h i s works and i t w a s to

, , ,
i mp ortant to b e om i tt e d had h e i n fact d e s ign e d i t H i s a u t h e nt i .
works at N ancy i nclud e d t h e Palac e o f D uk e L e opold wh i ch stoo ,

l
at t h e furth e r e n d o f t h e Plac e d e La Carr iere ; t h e H Ot e l d

Craon i n t h e Plac e and a Palac e for t he D uk e known as L
, ,
’
M algrang e ab out a m i l e o u t of N ancy T he D uk e s Palac e at N anc
, .
w a s plann e d on a gr e at scal e w i th an i nt e rnal court 1 7 5 fe e t b ,
2 5 2 fe e t e nt e r e d by fi v e archwa s O nly h front a s carr i e d O LI

2
t w
‘
e
,
y .
.
and th i s w a s d e stroy e d w h e n H ere r e mod e ll e d N ancy for S t a ni s la

about tw e nty y e ars lat e r T h e palac e o f La Malgrange was to hav .
” ”
had an avant cour l e ad i ng to a grand e cour w i th bass e cours ,
a t t he s i d e s T h e m a i n bu i ld i ng w a s to b e 3 2 5 fe e t long and 1 6 8 fe e
.
d e e p and conta i n e d an oval salon 6 0 fe e t by 4 2 fe e t by 4 2 fe e t h igi

, ,
T h e e l e vat i on i s t h e m ost attract i v e o f any of B o ffr a n d s d e s i gns

’
H .
us e d h e r e a colossal ord e r i n t he c e ntr e and e n d pav i l i ons and t h e o l d ,
fash i on e d st e e p F r e nch roof surmount e d by squar e platforms an ,
balustrad e s I nst e ad o f h is usual amb i t ious e fforts to do s o m e t hi n

.
'
2
plan o f N ancy 1 7 5 8 I am unabl e to trac e any r emai ns of th i s bu i ldi ng Tf
S ee , . .
e x i st i ng bu i ld i ng at t h e e n d of t h e Carr i e r e wi th t h e h e m i cycl e s at e i th e r e n d w a s b u i
‘
fr o m H er e s d e s i gns i n 1 7 5 6 S ee R e c eu il d e s Fondati ons

’
.
“
fai ts par l e R oi c
Pologn e Part I I chap xvi p 9 6
,
”
, .
,
. .
To FA E
C P . 1 05 ]
B O F F RA N D 19 5
strange and n e w h e h e r e d i d a pla i n th i ng i n a pla i n way and t h e

, ,
r e sult i s a v e ry sat i sfactory d e s ign H e s e e ms to hav e b e e n sav e d by .

2
t h e good s e ns e o f h i s cl i e n t f o r h e also g i v e s a s e cond d e s ign wh i ch

, ,
was rej e ct e d but wh i ch h e s e e ms to hav e pr e fe rr e d h i m s e lf Th i s

, .
prov i d e d a c i rcular Loggi a 1 4 4 fe e t i n d i am e t e r wi th an i nn e r p e r istyl e

, ,
45 fe e t i n d i am e t e r abov e w h i ch ran a broad gall e ry w i th a vault e d

,
roof 7 2 fe e t abov e t h e fl oo r From t h e Logg i a fou r w i ngs ran o u t .

, ,
s e t out not o n t h e d i ago n a l l i n e s but at angl e s o f about i nto

wh i ch w e r e crowd e d t he p r i n c i pal rooms and t h e sta ircas e s I n t h e .
audac i ty o f i t s scal e it sugg e sts Vanbrugh but t he d e s ign w a s an i m ,
pract icabl e fr e ak and B o ffr a n d and m ost of h is nobl e cl ie nts s e e m to

,
hav e b e e n a ffl i ct e d w i th m e galoman i a T h e Ch at e au d e Lun ev i ll e .
a su mm e r r e s i d e nc e o f D uk e L e opold — was anoth e r e normous d e s ign ;

2
and t he r e s i d e nc e o f t h e Pr i n c e B i shop o f W u r z b o u r g s e e ms to hav e

b e e n m e ant to chall e ng e compar i son w i th V e rsa i ll e s I t w a s to b e .
6 0 0 fe e t long by 3 00 fe e t T h e e ntranc e pass e d b e tw e e n t w o ma i n

.
”
sta i rcas e s wh ich toge th e r w i th t h e passa g e w a y o r sall e d e s gard e s
, , ,
occupy i n t h e plan a spac e o f 2 4 0 fe e t by 6 2 fe e t T h e sall e d e s .

“
gard e s op e n e d o n to an e nclos e d and cov e r e d spac e wh ich i s call e d ,
a salon but w a s i n fact a f or te cocuer e large e nough for carriag e s

,
‘
w i th e ight hors e s — t h e G e rman custom b e i ng t o lan d und e r cov e r a nd

n o t i n t h e op e n as i n F ranc e, A Chap e l i s shown 5 0 fe e t w i d e w i th
.
2
, ,
an oval cho i r 6 5 fe e t by 4 5 fe e t at r i ght angl e s to t h e nav e and t h e ,
bu ild i ng i nclud e d a su i t e o f rooms fo r u s e i n t h e summ e r only I t .
a pp e a r s t h a t t h e o r i i n a l d e s i n h a d b e e n ma d e by a c e r t a i n N e u m a n
g g
i n 1 7 2 4 Th i s w as subm i tt e d t o D e Cott e and B o ffr a n d w a s call e d i n
.
,
to e d i t t h e d e s igns T h e works w e re susp e nd e d aft e r t h e d e ath o f t h e

.
P r i nc e B ishop and B o ffr a n d do e s n o t s e e m to hav e known anyth i ng

,
m or e about t he bu i ld i ng Fash i ons w e r e chang i ng s o fast i n t h e

.
m i ddl e of t h e e ight e e nth c e ntury that what o n e man b e gan hi s ,
succ e ssor s e ldom took t he troubl e o r had t h e m e ans to fin i sh ,

.
I n 1 7 2 5 B o ffr a nd was e mploy e d by t h e Card i nal d e N oa i ll e s A rch ,
b i shop of Pari s to carry o u t som e cons i d e rabl e r e pa i rs to t h e south

,
tran se pt of N otr e D am e and h e also d e s ign e d a n e w D or i c archway to

,
1 D Ar g e n v i l l e
’
says th i s bu i ld ing also was d estroy e d . H is acc ount of B offr and i s
unusually compl e t e .
2
S i nc e turn e d i nt o a cavalry barrack .
B offran d wh o als o g iv e s t h e c u ri ous i nfo rmat i on that all floor t i mb e rs w e r e of p i n e

2
, ,
not o f oak t h e p i n e b eing straight e r and l e ss l i abl e to sag and that i n all c eil i ngs r e e ds
, ,
w e r e us e d i nst e ad o f laths and t h e plast e r was c o mp o s e d of l i m e sand and bour e ”

.
, , ,
II p
t he cour t of C lo i st e rs o n t h e north s i d e H i s last work was t h e

the .
H Opit a l d e s E nfants Tro u vés n e ar N otr e D am e i n Par is bu i lt i n 1 7 4 8 , ,
and d e stroy e d i n 1 8 6 5 T h e d e s ign ( a most ungai nly o n e ) i s g iv e n i n

.
”
B lond e l s A rch F ranc
’ “
. B o ffr a n d us e d a colossal ord e r runn i ng
.
2
,
through thr e e store ys and a fr i e z e o f d i sproport ionat e d e pth w i th ,
mod i ll ions from t h e arch i trav e to t h e s o ffi t o f t h e corn ic e a d e v e lopm e n t ,
o f o n e of t h e worst l i c e nc e s o f J H M ansart us e d h e r e i n ord e r to . .

,
prov i d e spac e for l ights i n t h e fr i e z e I nst e ad o f a block i ng course o r .
balustrad e t h e roof start e d i m me d iate ly fro m t h e e dge of t h e corn ic e

, ,
w i thout any gutt e r T h e ch ie f i nt e r e st o f t h e d e s ign was B o ffr a nd s

.
’
sch e m e for t h e i mprov e m e nt of t h e Par i s N otr e D am e H e propos e d .
to C l e ar away c e rta i n old bu ild i ngs to form an op e n spac e i n front o f ,

2
t h e w e st front o f N otr e D am e w i th a s tr e e t 6 0 fe e t w i d e o n t h e ax i s ,
l i n e of t h e Cath e dral flank e d on t h e north s i d e by t h e H Opi t a l d e s

,
E nfants Trouv é s and on t h e south by an H ot e l D i e u to b e bu ilt at a

, ,
lat e r dat e w ith id e nti cal fa c ad e s I t was a fi ne sch e m e p e rhaps sug

, .
,
g e st e d by Gabr ie l s Plac e d e la B ours e at B ord e aux B o ffr a n d e nt e r e d

’
.
t h e gr e at Comp e t i t i on i n 1 7 4 8 for t h e Plac e Lou i s XV and pr e par e d ,
no l e ss than fi v e plans Patt e i llustrat e s t h e d e s igns for t h e Plac e

.
D auph i n e that fo r t h e H all e s and that for t h e spac e b e tw e e n t h e

, ,
Lo u vr e and t h e Tu il e r i e s E ach o f th e s e i nvolv e d larg e d e mol i ti ons

.
and r e constructi ons on a vast scal e T h e d e s ign for t h e Plac e D auph i n e .
i s t h e b e st Th i s prov i d e d t w o thr e e —
. store y pav i l i ons w i th quadrants ,
r u nn i ng back to a lofty tr i umphal arch I n t h e c e ntr e of t h e Plac e and .

,
Oppo s i t e t h e s t a t u e of H e n r i I V th e r e w a s t o b e a loft y c ol m n i n t h e ,
u
m ann e r of Traj an s Colu mn support i ng a bronz e figur e of t h e K i ng

’
, ,
2 0 fe e t h igh T h e total h e ight was to b e 1 5 0 fe e t and as app e ars from

.
, ,
t h e e ngrav i ng though i t was a bold and p i ctur e squ e i d e a i t would hav e

, ,
r e duc e d all t h e bu ild i ngs i n i t s n e ighbo u rhood to i n s ig n ifica nce T h e .
sch e m e was not adopt e d .
B o ffr a n d was n e arly e ighty wh e n h e mad e th e s e d e s igns and t h e ,
old e r h e got t h e mor e h e s e e ms to hav e conc e ntrat e d o n vast s iz e r e gard ,
l e ss o f all oth e r cons i d e rat i ons H i s tast e was unc e rta i n and h e had no .
2
,
1 Vol II Blond e l must hav e b e e n al i v e to i t s d e fe cts but d e fe nd ed i t o n t h e

. .
,
grounds that l e b at i m e nt d e v oi t s e rvi r d i ssu e e t d ac c o mpagne men t a u h d e s plus grands

’ ’
m onum ents q u e nous ay ons e n Franc e and th e re for e that a c e rtai n grand e ur d es ,
” “
parti e s w as n e c e ssary .
2
Fr o m t h e front of N otr e D am e to t h e c e ntr e of th e p illars of t h e port i c oe s fac ing
w a s 1 8 0 fe e t .
2
Part i culars of th e s e d e s i gns ar e giv e n i n my account of th e gr eat comp e t it i on ,
C hap xx v
. .
C H A PT E R XXIV
S E RV A N D O N 1, H ER E
A R G E NV I L L E S
’
account o f G e rma i n B o ffr a n d sugge sts
’
that h e may h av e arr iv e d at arch i t e ctur e by w a y o f t h e

th e atr e Th e r e is n o doubt at all that th i s w a s t h e cas e w i t h
.
S e r v a n do n i who mad e h i s r e putat i on by h i s stag i ng of op e ras and

,
”
Sp e ctacl e s I t i s tru e h e b e cam e an arch i t e c t e d u R o i but his arch i
.
”
,
t e c t u r a l work w i th o n e e xc e pt i on i s o f l i ttl e i mportanc e and h e r e ally

, , ,
ranks w i t h t h e B ib ie na fam ily o f V i e nna art i sts o f i n e x hausti bl e m e lo ,
dramat i c i n v e nt i on past-mas t e rs i n t he art o f produc i ng i mm e ns e e ffe cts

,
for t e mporary purpos e s T w o far gr e at e r art i sts B aldassar e P e ruzz i

.
, ,
w h o mor e o r l e ss i nv e nt e d mod e rn stag e sc e n e ry and I n i go J on e s , ,
who i ntroduc e d i t to E nglan d had b e e n p i on e e rs i n stag e craft b u t , ,
th ey had pass e d o n fro m th i s to arch i t e ctur e S e r v a n d o n i a mos t .

,
i ng e n i ous i mprov i satore mad e o n e o r two e x curs i ons i nto that art bu t
, ,
t h e r e al bus i n e ss of h i s l i fe was that o f b e i ng t h e gr e at e st showman
o f t h e e i gh t e e n t h c e n t ury .
J e an G e rom e S e r v a n d o n i was born at Lyons i n 1 6 9 5 and was 2

,
t h e son o f a carr i e r ply i ng b e tw e e n Lyons and I taly A ccord i ng to .
’
D A r g e n v i l l e h e w e n t to Rom e qu i t e young e nt e r e d t h e stud i o of ,
J . P Pan
. i n i and s t ud ie d arch i t e ctur e und e r J J d e Ross i T h e s t ory
, . . .
i s doubtful A s Pan i n i w a s also born at P i ac e nza i n 1 6 9 5 h e could

.
,
h a rdly hav e e stabl i sh e d h is r e putat i on at a dat e suffic i e ntly e arly for

S e r v a n d o n i to work i n h is stud i o J J d e Ross i w a s a w e ll kno w n . . .
-
d raughts man and e ngrav e r o f arch i t e ctur e and S e r v a n d o n i i s sa i d to ,

2
hav e gon e to h im i n ord e r t o l e arn to draw arch it e ctur e corr e ctly i n his
2
Blond e l and t h e B i ograph i e Général e says Flor e nc e D Ar ge n v ill e ( Vi e d e s
“
.
’ “
fam e u x A rch i t e ct e s i 4 4 7 ) says Lyons and adds that thos e wh o kn e w h i m at Rom e sai d
, , ,
that h e assum e d t h e nam e o f S e r va n d on i to conc e al h i s fath e r s trad e I n t h e m inut e of ’

.
h i s r e c e pt i on by t h e A cad e my of Pa i nt i ng and Sculptur e i n 1 7 3 1 h e i s call e d J e an

G e rom e not J e an N i colas as by D Ar ge n vi ll e
,
’
.
U nd e r t h e nam e of J J d e R u b e is h e publ i sh e d i n 1 6 8 4 a volum e of e ngravi ngs

2
. .
of t h e s ix t e e nth and s e v e nt e e nth c entury church e s of Rom e .
1 08
S E RV A N D O N I 1 09
pa i nt i ngs a n e c e ssary part o f a pa i nte r s e qu ip m e nt i n t h e e ight e e nth

,
’
c e ntury and mor e part i cularly for t h e pa i nt e r-d e corator who m i ght at
, ,
any t i m e b e call e d upon to pa i nt p e rsp e ct i v e s of arch i t e ctur e to conc e al an

awk w ard p ie c e o f wall ; mor e ov e r i n t h e background was t h e amat e ur ,
and t h e v i rtuoso w ho i n t h e e ight e e nth c e ntury kn e w a good d e al

, , ,
mor e about arch i t e ctur e than h is succ e ssor to day A ll t h e story amounts - .
to is that S e r v a n do n i stud i e d arch i t e ctural dra w i ng and compos i t i on i n

”
Rom e A ccord i ng to t h e B i ograph ie Général e h e wand e r e d th e nc e t o
.
,
L isbon w h e r e h e d e s ign e d t h e I tal ian Th e atr e and w as mad e a

, ,
Ch e val i e r o f t h e O rd e r o f Chr i s t I n 1 7 2 4 h e app e ar e d i n Par i s w i t h .
a gr e at r e putat i on as a d e s ign e r o f stag e sc e n e ry and e ffe cts and w a s ,
e ntrust e d w i th t h e w i s e eu s ee u e of t h e O p e ra H i s firs t e ffort was

‘
.
br ill i an t ly succ e ssful D A r g e n v i ll e says E n 1 7 2 8 il d é v e IO ppa pour

.
’
la pr e m ier e fo is dans O r i on la mag ie d e son art Ell e transpor t a tout

, , .
Pari s pres d e s e mbouchur e s d u N i l a u m il i e u d e s ru i n e s e t d e s débr i s ,
d e s pyram i d e s Q u on s e r epr e s e nt e d a ffr e u x roch e rs s u r l e squ e ls l e

’ ’
.
sol e i l dard e s e s rayons l e sp e ctacl e d un e natur e sauvage d h e u r e u x

,
’
,
’
e ffe ts d e p e rsp e ct iv e a l il lu s i o n d e squ e ls la lu m i e r e e t l e s coul e urs

’
aj ou t e n t e t l o n aura u n e i dé e d e s t a l e n s d e S e r v a n d o ni l l s fi r e n t
,
’
.
pr e ndr e a l op e ra u ne nouv e ll e form e

’
W i th i n t h e n e x t e ight e e n y e ars .
h e s e t on t h e stag e mor e t h an s i x t y Op e ras w i th sc e n e ry rang i ng ,
from t h e Palac e o f N i n e v e h t o t h e M osqu e o f S ca n d e r b e r g I n t h e .
m iddl e of t h e e ight e e nth c e ntury t h e qu i ck e st w a y t o t h e h e art o f t h e

Par i s i an w a s to find h i m n e w s e nsat i ons som e t h i ng fr e sh t o look at , ,
m y s t e r i o u s e ffe c t s w h i c h t hr i ll e d h i m w i t h o u t u n d u e d e m a n d s o n h i s
e mot i on S o O ppe n o r d and M e i s s o n n i e r had w o n t h e fash i on s o Law
.
,
had found h is marke t and h is fat e t w e nty y e ars b e for e and t h e i nt e r e st ,
i n t h e gross e r forms o f sp i r i tual i sm so charact e r i st i c of t h e g e n e ra t i on ,
b e for e t he R e volut i on w a s a symp t o m o f that g e n e ral mala is e and

,
uns t abl e moral e that culm i na t e d i n t h e s mash o f 1 7 8 9 I t was t o th i s .
r e stl e ss pass i on for n e w th i ngs that S e r v a n d o n i app e al e d H e trans .
port e d h is sp e ctators from t h e i n t r igu e s and fr i vol i t ie s o f Par i s to t h e

Elys i an fi e lds and e nabl e d th e m i n t h e s e c u r i ty o f t h e i r bo x e s to r e v e l
,
i n t h e fe roc i ty o f n atur e storm and t e mp e s t an d t h e ru i ns of a rch i

, ,
t e c t ur e A t a s l ightly lat e r dat e t h e tast e for ru i ns am i d savage sc e n e ry

.
,
w ill b e g e n e ral and p e opl e o f fash i on w i ll b e tu mbl i ng o v e r e ach oth e r

,
to s e cur e t he s e nt i m e ntal sc e n e s o f H ub e rt Rob e rt T h e o l d r e g i m e .
was alr e ady br e ak i n g up E v e n t h e A cad e m y of Pa i nti ng t h e C i t ad e l

.
,
of trad i t ion e mpr e ssé e a s i n c o r po r e r l e s art i st e s c é l é b r e s adm i t t e d

,
’
t h e br i ll i ant yo u ng stag e manag e r as a m e mb e r i n 1 and h

73 1 e
p re ,
1 10 A H I S T O RY O F F RE NC H A RC H I T E C T U R E
s e nt e d on h i s e l e ct i on a p ictur e o f a t e mpl e and ru i ns o ii i l y a d e s ,
e ffe ts p i ttor e squ e ass e z h e ur e u x I t w a s an om i nous s i gn that i n t h e

.
” 2
sam e y e ar that t h e y e l e ct e d S e r v a n d o n i t h e A cad e my o f Pai nt i ng and

S culpture e l e ct e d as h onorary m e mb e r t h e C omt e d e Caylus co n ,
n o i s s e u r profond
” 2
.
I n 1 7 3 2 S e r v a nd o n i won t h e comp e t i t i on for t h e compl e t i on of t h e

w e st front of S S ulp i c e ; t h e work was b e gu n at onc e and by sp e c ial
.
,
p e rm i ss ion o f t h e K i ng S e r v a n d o n i w a s cr e at e d by t h e P op e a Cou n t
,
of t h e O rd e r o f S J ohn Lat e ran I n sp i t e of th is r e markabl e succ e ss i n

. .
arch i t e ctur e h e s e e ms to hav e r e v e rt e d to h i s favour i t e stage manag e

m e nt I n 1 7 3 8 h e was g i v e n t h e u s e o f t h e S all e d e s M ach i n e s i n t h e
.
Tu il e r ie s and h e r e h e produc e d a s e ri e s of sp e ctacl e s b e g i nn i ng w i th

, ,
a r e producti on of S P e t e r s i n Rom e Th i s w a s follow e d up by

.
’
.
tabl e aux r e pr e s e nt i ng t h e story o f Pandora M or e tha n figur e s .
i n r e l i e f i nclud i ng says D A r g e nv i ll e l i v e p e rsons r e pr e s e nt e d all

’
, , , ,
t h e gods and godd e ss e s of mythology H i s m ost br i ll i ant e ffe ct h ow . ,
e v e r was t h e fé t e i n c e l e brat i on of t h e marr i ag e of Lou i s e E l i zab e th

,
o f Franc e to D on Ph i l i p I nfanta o f Spa i n D A r g e n v i l l e s account i s

’ ’
.
n o t cl e ar H e says that S e r v a n d o n i took a s i t e b e tw e e n t h e Pont

.
N e uf and t he Pont Royal 1 1 8 fe e t w id e by 1 5 d e e p and h e r e h e

, ,
construct e d a bu ild i ng i n t he mann e r o f a Gr e e k T e mpl e w i th fou r D or i c ,
colu mns 4 fe e t 6 i nch e s i n d iam e t e r and 3 2 fe e t h i gh o n a cont i nu ous

stylobat e Th e s e colu m ns carr i e d an e ntablatur e w i t h a balustrad e and
. ,
statu e s o f tout e s l e s d iv i n i t é s d u pagan ism e abov e t h e columns O n .
t h e thr e e i nn e r ro w s Of columns h e ra i s e d an att i c stor e y ; a n d t h e t o t al
h e ight of th i s grand e mach i n e w a s 8 0 fe e t I pr e su m e abov e t h e

“ ”
,
w at e r l e v e l but if t h e s i t e was only 1 5 fe e t w i d e i t could not hav e b e e n

,
constructe d at all I n t h e r i v e r i ts e lf h e conc e al e d two barg e s w i th

.
arti fic i al rocks and o n t h e m h e construct e d an octagonal salon larg e

,
”
e nough to accommodat e 1 8 0 mus i c i ans B oth mach i n e s w e r e i llu .
“
m i n a t e d w i th colour e d l ights T h e K i ng and hi s court w e r e pr e s e nt

. ,
and som e sp e ctators w i tn e ss e d t h e i llum inat i ons A mong oth e r .
2
T he A cad my to sho w th ei r h i gh op i n i on of S
e ,
erv a n d o n i , e e l cte d h i m by unan i m o us
d e clarat ion wi thout ball ot i n g T h e Comt e d e Caylus w as. e l e ct e d i n D e c e mb e r 1 7 3 1 , ,
am at e ur Honorai r e and Pan i n i i n t h e follo wi ng y e ar .
Marie tt e says : P e ndant longt e mps l e Comt e d e Caylus l u i a s e rvi d e prot ect e ur
2 “
,
e t d homm e a Oppos e r a n o s arch i t e ct e s qu i l av o i t pr i s e n gr i pp e T h e A cad e my of

’ ’ ”
.
A rch i t e cture was too shre w d to subm i t to b ei ng l e ctur e d by a blatant amat e ur such as
t h e Comt e d e Caylus and t h e Comt e d e Caylus n e v e r fo rgav e th e i r i nd iffe r e nc e Mar i e tt e
,
.
,
wh o w a s an i nt i mat e p e rs o nal fri e nd of M d e Caylus put t h e b e st fac e o n t h e matt e r

.
,
that h e could .
1 1 2 A H I S T O RY O F F R E N C H A R C H I T E C T U R E
S e r v a nd o n i produc e d a d e s ign o f a totally d i ffe r e nt C haract e r I n j udg .
i ng th i s d e s i gn i t has t o b e r e coll e ct e d that t h e p e d i m e nt 1 2 0 fe e t w i d e ,
by 2 6 fe e t h igh wh ich h e d e s ign e d for t h e c e ntr e was n e v e r carr i e d

, ,
o u t and that t h e e x i st i ng tow e rs a r e n o t h i s d e s ign T he m e rit o f t h e

1
.
,
w e st front i s t h e unbrok e n e ntablatur e o n a front of 1 8 4 fe e t and i t s ,
gr e at scal e ( it i s 1 2 6 fe e t h igh to t h e top o f t h e balustrad e ) but i t i s an ,
unsat i sfactory d e s ign I t w a s not a v e ry happy i d e a t o d i v id e up a

.
front 1 2 6 fe e t h igh i nto t w o ord e rs w i thout any c e ntr e p i e c e o r

, , ,
-
“
avant corp s -
.
”
T h e p e d i m e nt woul d not hav e compos e d v e ry w e ll
w i th t h e To w e rs t h e tr e atm e nt of t h e bays b e tw e e n t h e colu m ns o f
,
both ord e rs i s commonplac e and t h e d e s ign as a whol e shows l i ttl e , , ,
fe e l i ng for gre at compos i t i on l i ttl e of that g e nu i n e arch i t e ctural s e ns e

,
wh ich conc e i v e s of bu i ld i ngs not as scr e e ns o r fa c ad e s but as mass e s , .
S e r v a n d o n i s d e s ign fo r t he front o f S S ulp i c e i s much what o n e

’
.
would e x p e ct from t h e d e s i gn e r o f t h e drop sc e n e s o f th e atr e s B oth .
h e r e and i n h i s sch e m e for t h e g r e at comp e t it i on o f 1 7 4 8 h is i d e as w e r e ,
vagu e and grand i os e l i t t l e m or e than t h e i mpr e ss i ons of a rath e r hasty

,
m i nd I n t h e g r e at comp e t it i on h e propos e d for t h e Plac e d e Lou i s X V

.
a vast A sse mbly H all capabl e o f accommodat i ng , p e rsons wh ich ,
was to b e adorn e d w i th 3 6 0 columns and 1 3 6 arch e s S e r v a n d o n i may .
”
hav e b e e n t h e fin e st d e s i gn e r o f a sp e ctacl e th e r e has e v e r b e e n but
“
,
wh e th e r an I tal ian o r m e r e ly a Fr e nch man o f no class h e show e d l i ttl e

, ,
consc i ousn e ss o f t h e spl e nd i d trad i t i on o f Fr e nch arch i te cture and h e ,
holds no plac e i n i t s gr e at succ e ss ion T h e only m e r i t tha t Blond e l .
coul d r e ally fi n d i n S S u lp i c e w a s t h a t i t s g r a n d e u r a n n o n c e a n o s
.
“
”
arch it e cte s F ran c a i s u n e rout e pr e squ e nouv e ll e Th i s i s tru e but i t .
,
w a s a road down h ill .
T h e car e e r of E mmanu e l H er e d e C orny w a s i n str i k i ng contrast

to that o f S e r v a n d o n i F o r t h e latt e r t h e world or rath e r E urop e w a s
.
, ,
h is opportun i ty —for H er e o n e prov i nc e of F ranc e and w ith o n e o r

, , ,
t w o e x c e pt ions o n e c i ty i n that prov i nc e

,
H e i s not known to hav e .
gon e to I taly o r e v e n to Par i s and y e t t h e work that h e d id at N ancy

, ,
fo r S tan i slas t h e e x
,
—
k i ng o f Poland r e ma i ns o n e o f t h e most r e mark
,
abl e ach i e v e m e nts o f t h e e ight e e nth c e ntury H er e w a s born at .
Lun ev i ll e i n 1 7 0 5 and was t h e s o n of Paul H ere Cash i e r o f B u ild ings

, ,
to S A R L e opold D uk e o f Lorra i n e t h e Pr i nc e to whom M ansart

. . .
, ,
Chalgri n compl e t e d th e north to we r i n 1 7 7 7 t h e s outh to we r was d e s ign e d by an

2
arch i t ect nam e d Maclauri n w h o sup e rs ed e d Se rva n d oni It wa s probably Maclauri n wh o

,
.
pr opos ed t h e th ird ord e r r e fe rre d to by Blond e l i n l i e u of t h e p e d i m ent T h e t owers .
sho wn i n Blond el s e l e vat i on ar e b e tt e r than t h e d e s ign actually carri e d ou t

’
.
DE S AI T
N S U I l’I C E .
WE ST ELE V AT I ON O F s S U L P I C E P AR I S B Y S E R VA ND O N I ( p
.
, . . 1 1 2 )
( F R O M BL ON D EL A RC H I T E C T U R E F R A N C A I S E 1 1 )
,
“
,
”
[1 1 . To FA E P
C . 1 12
1 1 4 A H I S T O RY O F F R E N C H A RC H I T E C T U R E
a pass ion for bu i ld ing that l e d h i m to u nd e rtak e many char i tabl e

,
sch e m e s and also to d e vot e h i ms e l f to t h e i mprov e m e nt of t he to w n

,
of N ancy H i s pos i t i on was altog e th e r anomalous s i nc e though e nt i tl e d

.
, ,
D uk e of Lorra i n e and B ar and K i ng o f Poland his sov e r e i gnty was ,
m e r e ly formal T h e prov i nc e w a s adm i n ist e r e d by t h e [ u t eu a u u t of

.
’
P i cardy o n b e half of t h e Fr e nch K i ng and Stan i slas subs ist e d o n a ,
p e ns i on allow e d h im by t h e latt e r and t hough i t i s no w h e r e S O stat e d , ,
i t s e e ms c e rta i n that t he cost of h i s e mb e ll i shm e nts of N ancy was born e

b y F ranc e H e was thu s l i m i t e d i n h i s e x p e nd i tur e and h e cons i d e r e d
.
,
i t pol i t i c to e mploy no art i sts but nat i v e s o f Lorra i n e but h e was ,
fortunat e i n hi s e i —
s e l ct on H er e for h i s arch i t e ct -in—ch i e f La mour t he ,
sm i th G u i b a l and C y ffl é t he mak e rs o f t h e founta i ns S On t g e n t he

, , , ,
mod e ll e r o f t h e ch i ldr e n o f t h e P lac e Royal e and t h e Carr ier e e xc e ll e nt ,
ar t i sts l e ss accompl i sh e d than t h e gr e at mast e rs of Par i s y e t form i ng

, ,
a t e am that p u ll e d w e ll tog e th e r and produc e d a work mor e har ,
m o n i o u s and compl e t e W i t h i n it s o w n l i m i t s t han anyth i ng of i t s k i nd

i n F ranc e .
I t is d u e to t h e m e mory o f Stan i slas to stat e that h is first care

was for vari ous C har i tabl e and r e l ig i ous i nst itu t i on s i n N ancy Luné ,
v ill e and e ls e wh e r e i n Lorra i n e I n 1 7 3 9 a large su m w a s d e vot e d to

.
t h e S e m i nary of J e su i t M i ss i onar i e s ; i n 1 7 40 l i vr e s w a s sp e nt
o n a H O i t a l pour l e s Pauvr e s M alad e s and S i m i lar sums w e r e sp e nt
p ,
b e t w e e n 1 7 40 and 1 7 5 0 on a M a i son d e Char i t é at Lu n ev i ll e o n ,
v ar i ous schools and scholarsh i ps on a so u p k i tch e n o n a B ursary to , ,
a d v a n c e m o n e y t o m e r c h a n t s o n S t a t e g ra n a r i e s o n a L i t e r a ry S o c i e t y
, , ,
an d cha i rs o f M ath e m at i cs and Ph i losophy and o n t h e church e s of ,

2
N otr e D am e d e B ons e c ours ( 1 7 40 ) and S R emy ( 1 7 4 2 ) a t N ancy .

_
.
A d e cr e e of t h e Counc i l of F i nanc e d e al i ng w i th t h e s i t e o f t h e H Ot e l
d e V i ll e w a s i ssu e d i n 1 7 3 9 but noth i ng w a s don e t i ll 1 7 5 1
,
I n that .
y e ar t he Plac e Royal e w a s b e gun and t h e w orks proc e e d e d st e ad ily
D ép e ns e s p ,
l gantly puts i t Stan i slas I qu i ttant s a patr i e pour pac i fi e r l E u rope
. 1
5, e e ,
“
,
’
,
v i nt combl e r l e s voeux d e la Lorrai n e e t e n e ssuy e r l e s larm e s ,

Lou i s X V mad e h im .
”
D uk e of Lorrai n e and Bar for l i fe and allo w e d h im to re tai n t h e t i tl e of Ki ng of Poland

,
.
Lou i s X V marri e d h i s daught e r Mari a L e czin sk y and as i s w e ll kno w n tre at e d h e r badly ;

, , , ,
i n S p i t e of wh i ch Stan i slas mad e t h e Plac e Royal e i n h i s honour H e d i e d i n 1 7 6 6 at t h e .
a ge of e i ghty -n i n e a k i ndly pr o fl i at e old g e ntl e man

g , .
2
S e e R e cu ei l d es Fondat i ons e t établ i ss e m e nts fai ts par L e R oi d e Pologn e e tc , .
,
1 762 , and Compt e G é néral d e la D ép e ns e d e s E d i fi ce s e t b at i m en s q u e l e R oi d e

“
Pologn e D u e d e Lorrai n e e t d e Bar a fa i t constru i re pour l e mb el l i s s e me nt d e la vi ll e d e

, ,
’
N ancy d e pu is 1 7 5 1 j u s qu a
,
’
L u n é v ill e 1 7 6 1 T h e latt er volum e g i v e s i n d e ta i l t h e
, .
c ost o f all t h e bu ild ings and w orks and t h e nam e s of t h e art i sts and trad e sm e n e mploy e d
,
.
[1 1 . To FA E P
C . 1 1 4
PI . C LX I I I
"
[ P a t /e [ li E
’
,
on s r zg es
FO N T I N NA N Y BY
U A ,
C . CY F FL E
. A L T E E I N E E T I ON
R D X CU (s ee p 1 1 4)
TO FA E P
C . 1 1 5]
on a cons e cut i v e d e s ign work i ng from t h e H Ot e l d e V ill e on t h e south
,
s i d e o f t h e Plac e Royal e through t h e tr iu mphal arch up t h e Carr ier e ,
t o t h e H Ot e l d e l l n t e n d a n ce and t h e H e m i cycl e s at t h e e x tr e m e nor t h

’
e n d o f t h e Carr i er e T h e whol e o f t h e work w a s compl e t e d i n e i ght

.
1
y e ars at a total cost of francs 1 6 l i vr e s 8 d e n i e rs , ,
.
T h e probl e m b e for e H er e was t o l i nk u p t h e t w o to w ns H e b e gan .
w i th t h e Plac e Royal e 3 6 0 fe e t by 3 0 0 fe e t t h e south s i d e occup i e d by

, ,
t h e H Ot e l d e V i ll e t h e e ast and w e st by t w o blocks of bu i ld i n gs s e parat e d

, ,
by t h e R u e S S t an islas o n t h e w e st and t h e R u e S Cath e r in e on t h e e ast

. . .
th e s e str e e ts b e i ng al ign e d on t h e Royal M onum e n t i n t h e c e ntr e of t h e

Plac e and e ach t e rm i nat i n g at t h e farth e r e nds w it h tri umphal arch w ays
, .
T h e south e ast and south w e st op e n i ngs to str e e ts w e r e scr e e n e d by i ron

- -
gr i ll e s and t h e nor t h e as t and north -w e st angl e s w h i ch i n fact op e n e d o n

,
-
,
t o t h e o l d ramparts and moat w e r e fill e d w i t h t h e adm i rabl e founta i ns ,
o f N e ptun e and A mph i tr i t e by G u i b a l and t h e sumptuous i ron work of ,

-
Lamour O n t h e north S i d e oppos i t e t h e H Ot e l d e V i ll e H e r e plac e d

.
, ,
'
two lo w e r range s of bu ild i ngs d iv id e d by a roadway 6 0 fe e t w i d e ,
b e tw e e n t h e bu ild i ngs runn i ng clu e north u nd e r t h e tr i umphal arch w ay

,
to t h e Carr iere Th i s w a s a long op e n spac e 8 1 0 fe e t long by 1 8 0 fe e t

.
,
w i d e w i th hous e s on e i th e r s i d e O n t h e r ight hand stood t h e

, .
H Ot e l d e Craon bu i lt from B o ffr a n d s d e s igns

, H ere adapt e d th i s ’
as Gov e rnm e n t o ffic e s and e r e ct e d a corr e spond i ng bu i ld i n g oppos i te

,
o n t h e l e ft hand s i d e H e th e n d e s i gn e d a u n i form fa c ad e fo r t h e
-
.
bu i ld i ngs o n e i th e r s i d e up to t h e north e n d o f t he Carr ier e wh e r e ,
a ga i n h e b i l t t w o m o r e i m po r t a n t b u i l d i n g s o r p a v i l i o n s a n d l a i d
u , ,
ou t t h e Carr i er e as a prom e nad e w i th a l i m e a v e nu e and groups o f
sculpture A t t h e north e n d of t h e Carr iere h e form e d t he H e m i

.
cycl e a Plac e 3 00 fe e t out to out by 1 2 0 fe e t ( t h e d iam e t e r of t h e

,
”
H e m i cycl e s ) and on t h e north S i d e of th is h e plac e d t h e H Ot e l d e

L I n t e n d a n ce w h i ch a s or i g i nally d e s i gn e d w a s Op e n on t h e ground
’
, , ,
S tor e y so t hat t h e publ i c pass e d fr e e ly through to t h e gard e ns b e yon d ,
la i d o u t i n t h e b e st mann e r o f L e N Otr e and fr e e from any trac e of ,
t h e landscap e mann e r T h e whol e sch e m e i s d e l ightfully s i mpl e and

2
.
log i cal i n i t s conc e pt i on and y e t s o var ie d i n d e ta i l that i t is full of

,
u n e x p e ct e d charm I nd e e d i t is th i s fanc i ful n e ss always h i nt i ng i t s

.
, ,
e x i st e nc e und e r s e v e r e arch i t e ctural r e stra i nt that m ak e s H er e s work

’
2
Th i s sum i nclud e d all t h e i ron w ork by Lamour all th e sculptur e and ornam e nt ,
and all e xcavat i ons and l e ve ll i ngs Though H é r é suppl ie d t h e d e s ign for t h e fa cad e s of
.
t h e Carr i er e t h e bu i ld i ngs w e r e put up at t h e cost o f t h e i nd i vi dual o w n e rs

, .
T h e gard e ns hav e s i nc e b e e n vulgar i ze d by t h e landscap e gard e n e r .

1 1 6 A H I S T O RY O F F R E N C H A RC H I T E CT U R E
at N a ncy S O attracti v e K e e nly al iv e to balanc e and symm e try h e .

,
play e d w i th p e rfe ct mast e ry o n mot i v e s that i n l e ss comp e t e nt hands

would hav e s e e m e d e xub e rant and out of plac e and t h e sch e m e i s ,
s o compl e t e and consum mat e tha t o n e i s har dly c onsc i ous o f t h e r e al
d i fficul t i e s of h is probl e m —t h e o l d moats and ramparts t he u nt i dy ,
e n d o f t he n e w to w n at t h e south e n d and t h e fragm e nt o f D uk e ,
L e opold s palac e at t h e farth e r e n d Wh e n mor e ov e r o ne th i nks of t h e

’
.
, ,
m i ll i ons that M ansart s quand e r e d at V e rsa i ll e s o n e wond e rs h o w t h e ,
w ork a t N ancy w a s don e for t h e mon e y a S i ngl e y e ar s e x p e nd i tur e at ’
V e rsa ill e s ( 1 6 8 0 ) was n e arly t w o m ill i ons m or e than t h e total cost o f

t h e whol e of t h e work at N ancy ; and thr e e y e ars 1
labour on t h e
d isas trous aqu e d uct o f M a i nt e non cost francs as aga i nst t h e ,
francs 1 6 sous 8 d e n i e rs sp e nt at N ancy T h e total cost o f

, , , .
t h e H Ot e l d e V i ll e was francs 1 sou 9 d e n ie rs and of t h e , , ,
H Ot e l d e l l n t e n da n c e t h e H e m i cycl e s and t h e gard e ns b e h i nd i t

’
francs 3 sous 1 d e n ie r T h e cost of C l ag ny o n e of t h e

, , .
,
Royal M i str e ss e s hous e s ( 1 6 7 4 was cons i d e rably mor e t han t h e

’
t w o pu t tog e th e r and M arly b e t w e e n 1 6 8 1 and 1 6 8 7 cost mor e than

2
,
doubl e T h e cr i t i c i sms that I hav e v e ntur e d to mak e on J H M ansart

.
2
. .
may s e e m harsh to thos e unacqua i nt e d w i th h i s m e thods and hi s

almost i ll i m i tabl e opportun i t i e s G i v e n an e mploy e r l i k e Lou i s X I V
4
.
and such chanc e s a s M ansart had an arch i t e ct m u st hav e b e e n an ,
e x tr e m e ly stup i d man i f h e fa i l e d to do som e th i ng cons i d e rabl e and
o u t o f t h e common T h e po i nt i s w h e th e r Mansart s w ork w a s e qual

’
.
t o h i s O pp o r t u n i t i e s I d o u b t if a n y c o m p e t e n t j u d g e of a r c h i t e c t u r e
.
w i ll ma i nta i n that i t w a s wh e r e as H er e w i t h t h e m e r e st fract i on o f h i s

, ,
r e sourc e s and ad v antage s and work i ng S i n gl e — h and e d i n a prov i nc i al

,
cap i tal conc e i v e d and carri e d o u t a sch e m e wh i ch r e ma i ns to th is day

,
an adm i tt e d mast e rp i e c e I nd e e d N ancy i s t h e l ocu s cl u ss icu s o f fin e

.
,
t own -plann i ng un i qu e i n th i s r e gard among mod e rn C i t i e s

, .
I n t h e Plac e Royal e H er e us e d a colossal Cor i nth ian ord e r run ,
n i ng through t h e first and s e cond floors and i s sa i d to hav e tak e n th i s ,
’
fro m B o ffr a nd s d e s ign for t h e H Ot e l d e Craon but h e m ad e t h e ,
mot i v e w holly hi s own by his u s e of i t and by t h e tr e atm e nt o f t h e ,
2
1 6 8 5 -8 7 . Mor e ove r , the franc or l ivr e w a s wo rth a good d e al mor e in 1 68 5 than it
was in 1 755 .
l i vr e s 9 sous 7 d e n i e rs , , l i vr e s 8 s ous 3 d e n i e rs
.
, ,
.
2
“
It i s only through a study of t h e Compt e s t h e M e moi rs and Corr e spond e nc e of ,
t h e t i m e and t h e m i nut e s of t h e A cad e m i e s that i t i s poss i bl e to form an i d e a of w hat

, ,
th e s e actually we re and t h e furth er o n e push e s th e s e stud ie s t h e more unfavo urabl e i s

, ,
t h e conclus i on .
1 1 8 A H I S T O RY O F F R E N C H A R C H I T E C T U R E
W i th t h e e xc e pt i on of bu ild i ngs at Chant e h e ux E i nv i ll e and La , ,
M algrang e s i nc e d e stroy e d and Ch ate au x at Lun ev i ll e an d Comm e rcy

, , ,
conv e rt e d i nto barracks H ere d i d all h is work i n N ancy H e bu i lt

, .
t h e hous e of t h e J e su i ts t h e church of t h e B ons e cours and two at any

2
, ,
rat e of t he gat e w ays o f N ancy i n add it i on t o t h e Porte Royal e ( 1 7 5 1 )

,
b e tw e e n t h e Plac e Royal e and t h e Carr ier e T h e P ort e Royal e i s .
spo ilt by too much ornam e nt though i t stands w e ll i n i t s plac e T h e

,
.
Porte S tan islas W i th i t s D or i c ord e r and boldly d e s ign e d r e l i e fs i s a

, , ,
fi n e r d e s ign though i t s e e ms rath e r m e an i ngl e ss a m e r e scr e e n d e

, ,
t a c h e d from any bu i ld i ng and out o f r e lat i on to thos e that a r e n e ar i t

, .
H ere by t he w a y had s e v e ral mod e ls o f gat e ways i n N ancy i ts e lf

, , ,
t h e strang e Port d e la C i tad e ll e t h e Port e S J e an e t h e Porte S ,

.
, .
N i colas and t he P orte S G e org e s all of th e m g e nu i n e gate ways i n

, .
,
t h e fort i ficat i ons w i th doubl e gat e s and guard h ous e s of gr e at str e ngth 2
.
S trang e as th e y look now th e ir pond e rous arch i t e ctur e would ha v e

,
j ust ifi e d i ts e lf w h e n s e t i n t he ramparts o f a fort i fi e d C i ty T h e probl e m .
b e for e t h e e ighte e n th c e ntury arch i t e cts w a s d i ffe r e nt Th e y w e r e .
call e d upon to d e s i gn tri umphal arch e s monu m e nts i n t he grand ,
mann e r stand i ng loos e i n t h e op e n S o far from ans w e ri ng any

, .
pract i cal purpos e t h e s e arch e s w e r e v e ry much i n t h e way Wh e n

,
.
e r e ct e d i n op e n spac e s w h e r e t h e arch i t e ct was abl e t o d e s i gn t h e

,
bu i ld i ngs l e ad i ng up t o th e m as i n t h e cas e o f t h e Port e Royal e t h e

, ,
d e s ign could just i fy i ts e lf o n i t s m e r i ts but w h e n t h e y w e r e plac e d ,
across stre e ts of ord i nary hous e s t h e d iscr e pancy o f scal e and compl e t e ,
i ncongru i t y of charact e r b e c om e s a l m o s t r i d i c u lo u s Th i s ho w e v e r .
, ,
w a s not so much t h e fault o f t h e arch i t e ct as o f t h e tast e o f t h e t i m e ,
2
and t h e Port e S tan i slas by H ere and t h e Porte D e s ill e s at t h e e nd of
t h e Cours L e opold d e s ign e d by an arch i t e ct nam e d M é l e n at N ancy ,
i n 1 7 8 5 a r e fi n e e x ampl e s o f th e i r k i nd t h e latt e r i n part i cular i s o n e

, ,
o f t h e b e st of t h e F r e nch e igh t e e nth c e ntury tr i umphal arch e s Of .
small e r gat e ways t h e e ntranc e from t h e H e m i cycl e t o t he P e p i n ier e

w i t h it s C oupl e d I on i c columns and trophy of capt i v e s abov e t h e e n t a b
l a t u r e is a p e rfe ct l i ttl e m ast e rp i e c e .
2
S e m inai r e d es M i ss i ons Royal e s d e s Jésu i t e s bu i lt i n 1 7 3 9 T h e t otal c ost as
T he ,
.
,
stat e d i n t h e R e cu e il w a s ,
francs 1 9 s o us 9 d e n i ers , ,
.
T h e Port e d e la C i tad e ll e 1 5 9 8 i s t h e only on e that pr e se rv e s i t s o r i g i nal form

2
, , .
T h e Port e S J e an w as d e str o y e d i n 1 8 6 8 7 4
. T h e Port e S G e o rg e s wa s v e ry n e arly
- . .
d e stroy e d about th i rty y e ars ago to mak e w ay for a traml i n e but wa s save d by t h e efforts ,
o f t h e Comm i ss i on of H i stor i cal Monum e nts .
I can find noth i ng m or e about M é l e n B au ch al says that h e de s ign e d t h e p ort e

2
.
“
d e la Plac e d e Gr ev e i n 1 7 8 2 8 4 Th e r e i s no trac e of th i s at N ancy

2’
-
. .
P LA N OF P L AC E R OY A LE A ND
II To FA E P
C . 1 1 9]
H ER E 1 1 9
T heChurch of t he B ons e cours at t h e e x tr e m e south e n d o f t h e

N e w Town w as bu i lt from t h e d e s igns o f H er e i n 1 7 40 and i n ord e r ,
t o r e duc e t h e cost t h e Ch at e au o f La M algrang e w a s pull e d down and

,
t h e mat e r i als us e d for t h e C h urch I t i s not an attract i v e bu ild i ng

.
,
good as i t i s i n d e tai l T h e w e st front i s a cur i o u s e xampl e of m i s

.
plac e d or igi nal i ty I t starts w i th a colossal compos i t e ord e r i n thr e e

.
bays w i th e n gag e d colum ns and w i th out any r e cogn i t i on of t h e angl e s .
A bov e th i s i s a pan e ll e d att i c stor e y and abov e th i s t h e c e ntr e bay i s

,
carr i e d up two mor e stor e ys t o form a tow e r w i th a fussy l it tl e st e e pl e .
T h e e ffe ct i s unstabl e T h e w e st front o f t h e church of S S e bast i an

. .
d e s ign e d by an arch i t e ct nam e d J e n n e s s o n and bu i lt i n 1 7 3 0 i n t h e ,
Plac e M arché S hows mor e grasp o f arch i t e ctural d e s ign

, .
2
I n actual fact v e ry l i t t l e i s known o f H er e h i ms e lf H i s m e mory .
l i v e s i n his mast e rly transforma t i on of N a ncy j ust as that of t h e e ld e r ,
Wood w i ll al w ays b e assoc i at e d w i th Bath but o f h i s pr iv at e l i fe o f , ,
t h e sort o f man that h e w a s and of h i s fortu n e s t h e r e i s l i t tl e r e cord

,
.
W e know n oth i ng of h is tra i n i ng t hough i t i s e v i d e nt from t h e w ork

,
Of such m e n as Je n n e s s o n that h e n e e d n o t hav e gon e outs i d e N ancy

t o fi nd a comp e t e nt mast e r i n t h e art A ll that i s known i s t hat H er e
.
w a s marr i e d to M argu e r i t e D u fr e s n o y and w a s t h e fath e r o f S i x t e e n
C h i ldr e n and that i n h i s latt e r y e ars h e starte d a factory for mak i ng

,
starch o u t o f hors e —ch e stnu t s but t h e e nt e rpr i s e prov e d a fai lur e H er e

, .
w e nt o u t of h i s m i nd and d i e d at Lu n ev i ll e i n 1 7 6 3 a t t h e a e of fi ft y
g
S e ve n I t i s p e rhaps i n e v i tabl e tha t t h e art i sts o f t h e cap i tal of any
.
g r e a t c oun t r y s houl d m o n opol i e t h e r e p u t at i o n s o f t h e i r t i m e Fr a n c e

z .
h a s b e e n p e cul i arly l i abl e t o th i s and t h e car e e r of a fi r s t rat e arch i t e ct

,
-
such as H ere i n a to w n r e mot e from Par i s i s of p e cul i ar i nt e r e s t i nas ,
much as i t S hows that t h e act i v e l i fe of t h e arts w a s by no m e ans con

fi n e d t o Par i s T h e paral l e l cas e i n E n g la n d i s of cours e Wood o f
.
, ,
Bath but b e au t i ful c i ty as h e mad e i t Wood had not t h e r e sourc e s

, ,
t hat w e r e op e n to H er e n o r i t must b e adm i tt e d fi n e arch i t e ct as h e

, , ,
w a s w a s h e as abl e a man
, H er e had h is l i m i tat i ons ; I hav e g iv e n an
.
i nst anc e i n t h e Church of B ons e cours h e w a s hardly o n t h e sam e ,
2
Th i s church i s a good ampl e of e arly e i ght e e nth c e ntury arch i t e ctur e M H a l la y s
ex . .
says L e n s emb l e d e l é d i fi ce s e d u it par son a i r d él e ga n ce nobl e e t ai sé e J e an N i cholas

,
’ ’ ’
.
”
J e n n e s s o n w as arch i t e ct to Fran c o i s I I I D uk e of Lorra

,
i n e and i s first h e ard of e arly i n ,
t h e e i ght e e nth c e ntury as carry i ng o u t t h e d e s i gns Of t h e Cath e dral ( also attr i but e d to
Mansart and B offr an d ) mad e by F e rd i nand d e Sai nt U rbai n arch i t e ct and e n grav e r , .
B a u c h al says that i n 1 7 2 3 J e nn e s s on w a s arch i t e ct of t h e to w n of N ancy and that i n 1 7 3 7 ,
h e w a s appo i nt e d arch i t e ct and e n gi n e e r to Stan i slas H e s e e ms to hav e b ee n sup e rs e d e d

.
by H e r e but h e d id a good d e al of w ork at N ancy w h e r e h e d i e d i n 1 7 5 5

’
, ,
.
l e v e l as A ng e J acqu e s Gabr i e l or S o u ffl o t for e x ampl e bu t h e po s

, ,
s e ss e d t h e e ss e nt ial faculty O f arch i t e ctur e t h e po w e r of conc e i v i ng o f

,
h i s probl e m as a w h ol e o f n e v e r los i ng hi s w a y i n a ta n gl e o f d e ta i l
, ,
and h e holds a plac e o f honour among t h e gr e at Fr e nch arch i t e cts o f

t h e e i ght e e nth c e ntury
1
.
1
H is d e s igns ar e sho w n i n t h e gr e at volum e s publ i sh e d for H er e t h e R e cu e i l d e s
,
plans é l é vat i ons e t c oup e s tant g éo m e t r al es qu e n p e rsp e ct i ve d e s Ch at e au x j ard i ns e t

,
’
,
dép e ndanc e s q u e l e Roy d e Pologn e occup e e n Lorrai n e 2 vols Grand A tlas ; and i n
,
”
.
,
anoth e r volum e publ i sh e d i n 1 7 5 3 Plans e t élévat i ons d e la Plac e Royal e d e N ancy e t

,
d a u t r e s ed i fic e s qu i l e n v i r o n n e nt b fit i s par l e s ordr e s d u R o i d e Pologn e duc d e

’ ’
, ,
Lorrai n e D e d i es au Roi d e Franc e par H er e pr e m i e r arch i t e ct e d e Sa Maj e sté Polonai s e

.
,
.
”
J e an L a mou r s we ll kno wn R ecu ei l d es ouvrag e s e n s e rrur e ri e e t c w as publi sh e d in

’
- “
,
”
.
1 767 . S e e als o t h e Compt e G é néral d e la dép e ns e d es E d i fi ce s e t B at i men t s qu e l e roy

d e P o logn e D u e d e Lorra i n e e t Bar a fai t constru i r e pour l e mb el l i s s e me n t d e la v i ll e
’
,
d e pu i s 1 7 5 1 j u squ e n 1 7
’
Lun evi ll e 1 7 6 1 S e e als o t h e fol i o of v ie w s of N ancy ( A
, . ,
Gu e r i n e t) .
EL E V AT I ON O F NO RT H S I D E O F T H E P L AC E LO UI S XV ( P L AC E D
l l[ 07 m E f
“
P a t te , g c:
1 z
/
S H O WV I N G T H E M A DELE I N E B Y C ON T A N T B Y A J GA B R I EL (
. . . s ee p . 1 24
)
11 . To FA P
CE . 1 21 ]
o f t he A cad e my o f A rch i t e cture i n Par i s und e r D e la H i r e young e r t he ,
and D e s g o d e t z ; mor e probably h e l e arnt hi s bus i n e ss i n hi s fath e r s ’
offic e and w a s e arly assoc iat e d w i th h im i n h is work I n 1 7 2 8 h e .
marr ie d Cath e ri n e d e la M ott e da u ght e r o f t h e first S e cr e tary t o t h e

,
D u e d A n t i n who had succ e e d e d M ansart as D i r e ctor G é néral d e s

’
B at i m e n t s T he i mportanc e of th e s e i nflu e nt i al conn e ct i ons to a n

.
arch i t e ct at t h e outs e t o f h i s car e e r i s obv i ous to anyon e acqua i nt e d

w i th t h e profe ss i onal S i d e o f arch i t e ctur e Yo ung Gabr i e l st e pp e d at .
onc e i nto a large and lucrat i v e pract ic e and as h is fath e r had trans ,
fe rr e d to h i m t h e post o f C o n t r Ol e u r d e S B at im e n t s on t h e occas i on of
hi s marr i ag e i n 1 7 2 8 h e alr e ady occup i e d a h i gh o ffic i al pos i t i on at t h e
,
a e o f th i r t y and was adm i t t e d i n t h e sam e y e ar t o t h e s e cond class of

g ,
t h e A cad e my a rank corr e spond i ng pr e tty clos e ly to that of an A sso

,
c i at e o f o u r Royal A cad e my I n 1 7 3 4 wh e n J acqu e s Gabri e l succ e e d e d

.
D e Cott e as pr e m i e r arch i t e ct e A n g e J acqu e s b e cam e Controll e r at

“ ”
,
V e rsa ill e s to wh i ch post fi v e y e ars lat e r w a s add e d that of Controll e r

,
at Cho i s i h ighly i mportant appo i ntm e nts w h ich brought t h e hold e r

,
i nto clos e p e rsonal touch w i th t h e K i ng O n t he d e ath o f D e Cott e .
i n 1 7 3 5 h e succ e e d e d t o h i s plac e as an A cad e m i c i an of t h e first class .
I n 1 7 4 1 h e was appo i nt e d arch i t e ct e ord i nai r e d u Ro i and i n 1 7 4 2

“
,
pr e m i e r arch i t e ct e i n succ e ss i on t o hi s fath e r T h e K i ng pr e s e nt e d .
h i m w i th a s i t e for a hou s e at V e rsa i ll e s and h e alr e ady had a lodg i ng ,
for l i fe i n t h e O range ry o f t h e T u i l e r ie s .
H i s first task w a s to w i nd up h i s fath e r s work at O r l ea n s and

’
B or d e au x . A ft e r th i s fo r t h e n e x t th irty y e ars t i ll 1 7 7 5 wh e n h e , ,
r e t i r e d from pract ic e A nge J acqu e s Gabr i e l w a s almost e x clus i v e ly

,
e ngage d on t h e Royal Bu i ld i ngs H e w a s constantly call e d i n to .
d e s ign alt e rat ions and add i t i ons at V e rsa i ll e s Marly Cho is i and , , ,
Comp iegn e for Lou i s X V w a s almost as fond of bu i ld i ng as h is

,
g randfath er Th e
. n t h e royal l ad i e s had to b e att e nd e d t o Madam e .
A d e la i d e want e d a plac e w h e r e Sh e could stor e h e r snuff Mada m e ,
V icto ir e a scre e n to k e e p off t h e draught i n t h e Chap e l and o f cours e ,
M adam e du Pompadour and aft e rwards M adam e d u Barry w e r e u m

, ,
t ir i ng i n th e i r d e mands A good d e al o f t h e t i m e o f th i s gre at arch it e ct

.
must hav e b e e n tak e n up w i t h work wh i ch m ight hav e b e e n don e

e qually w e ll by any i nt e ll i g e nt hous e carp e nt e r V e rsa ill e s w a s u n
- .
doubt e dly most i nconv e n i e n t E v e ryth i ng had b e e n sacr i fic e d to

.
parad e and c e r e mon ial and aft e r t he d e ath o f Lou i s X I V th e re was a

,
s trong r e act i on i n favou r not only o f a mor e comfortabl e but also o f a ,
mor e pr i vat e and i nt im ate mann e r o f l i fe T h e K i ng s su i t e of rooms .

’
A N G E J A C Q U E S G A B RI E L 1 23
w as much too small and t h e pro b l e m o f e xt e ns i on w a s solv e d by t h e

,
r e mod e ll i ng of t h e rooms round t he Cour d e s C e rfs t h e total r e moval ,
o f t h e e scal i e r d e s A mbassad e urs i n 1 7 5 2 and t h e conv e rs i on o f t h e ,
spac e i nto add it i onal roo m s I t i s at th i s date that w e first h e ar of .
”
t he
“
grand proj e t at V e rsa ill e s t h e sch e m e for t h e d e struct i on of ,
t h e Cour d e M arbr e and t h e compl e t e r e mod e ll i ng and r e front i ng o f

,
t h e e ntranc e s i d e of t h e palac e S o far how e v e r t h e K i ng conte nt e d 2

.
, ,
h i ms e lf w i t h mak i ng h is palac e s mor e comfortabl e and w i th bu i ld i ng ,
l i t t l e pr i vat e hous e s and p av i l i ons for h i ms e lf and h is m i str e ss e s such ,
as t h e H e rm itage at F onta i n e bl e au for M m e d u Pompadour n o w .

,
”
d e stroy e d ; t h e p e t i t Ch at e au at Ch o i s i pav illons d e chass e i n t h e ,
“
woods of S G e rma i n e n Lay e and Rambou i ll e t o r t h e pav i l i on of

.
,
B r i mbor i on at t h e Ch at e au of B e ll e vu e .
2
M e an w h i l e Gabr i e l had b e gu n t h e Plac e Lou i s XV ( Plac e d e la

,
Concord e ) wh i ch r e ma i ns o n e o f h is gre at e st ach i e v e m e nts A ft e r t h e

, .
P e ac e of A i x la Chap e ll e i n 1 7 4 8 t h e Provost and Ech e v i n s o f Par i s

- -
ask e d t h e K i ng s p e rm i ss i on to put up a monum e nt to t h e K i ng as u m

’
”
t é mo ignag e d u z el e d e l amour e t d e la r e conna i ssanc e d e s e s p e upl e s
’
.
B ouchardon w as to e x e cut e t h e monum e nt and t he K i ng w a s to s e l e ct ,
a S i t e i n Par i s A Grand Comp e t it i on w a s h e ld and all t h e arch i t e cts

.
,
o f t h e A cad e my w e r e i nv i t e d to e nt e r Patt e says that mor e than fifty 3

.
proj e cts w e r e subm it t e d t hou g h t h e numb e r o f s i t e s sugge st e d w e r e

,
only about t w e nty s e v e ral art i sts hav i ng chos e n t h e sam e s i t e and th e y
, ,
v ar i e d b e t w e e n t h e I sl e S a i nt Lou i s La Plac e D auph i n e La Grev e , , ,
t h e H all e s t h e S pac e i n front o f t h e colonnad e of t h e Louvr e l e

, ,
Carrous e l t h e e splanad e o f t h e Pont Tournant ( at t h e e nd o f t h e

,
Tu i l e r ie s Gard e ns ) t h e Qua i M a l a q u a i s and oth e r s i te s i n Par is

, La ,
.
“
plupart d e ce s proj e ts é t o i e n t d e cor es d e m ag n ifi q u e s colonnad e s d e ,
c i rqu e s d e t e mpl e s d e la V i cto i r e d e gr e n i e rs publ ics d h Ot e l d e

, , ,
’
v i ll e d e s a l l e S d e sp e ctacl e d e gr e n i e r a s e l d hot e l d e s M o n no ie s
, , ,
’
1
It was not t ill t w e nty y e ars lat e r that th i s sch e m e was r e vi s e d and t h e work ,
actually b e gun from Gabri el s d e s i gns ’

.
C e st u n e p e t i t e mai son charmant e s i tué au bas d u parc d e B e ll e vu e sur l e s Bords

’
d e la S ei n e ( P i gan i ol d e la Forc e i x T h e K i ng us e d to stay h e r e wh e n v i s i t ing

”
, ,
t h e works at B e ll e vu e T h e C h at e au of B e ll e vu e wa s bu i lt from t h e d e s i gns of D I s l e and

.
’
L A s su ra n ce t h e young e r 1 7 4 8 5 0 und e r t h e i mm e d i at e d i r e ct i on of M m e d u P o mpad o ur

’
-
, , , .
,
w h o accord i ng to P i gan i ol d e s i gn e d t h e gall e ry h e rs e lf B e ll e vu e wa s sold to t h e K i ng .
i n 1 7 5 7 It w a s d e stroy e d at t h e R e volut i on
. .
2
Patt e ( M on s érigés ) says not only d i d t h e A cade m ici ans subm i t d e s i gns but
“ ”
,
many oth e r art i sts T h e A cad e m i c ians we r e sp ec i ally i nv i t e d by N ormand d e Tourn e h e m

.
,
D i r e ctor -G en eral d e s B ati me nt s For a d e tail e d account of th i s comp et i ti on s e e

.
chapt e r xx ix .
’
d a rcs tri omph e d e fonta i n e s d e g li s e s d e H all e s e t c
de , A m ong , , ,
.
2
t h e comp e t i tors whos e d e s i gns Patt e i llustra t e s w e r e S o u ffl o t B off , ,
rand w h o s e nt i n thr e e proj e cts A u b r i Contant S l o t z and S e rvan

, , , , ,
don i A ll t he d e s igns i n th i s first comp e t i t i on app e ar to hav e i nvolv e d

.
t h e d e struct i on of e x i st i ng prop e rty and to solv e t h e d i fficulty t h e K i n g ,
pr e s e n t e d to t h e town a wast e p i e c e o f ground ly i ng b e tw e e n t h e e n d

o f t h e Tu i l e r i e s Gard e n and t h e Champs Elys ee s A fr e sh comp e t it i on .
was h e ld and all t he arch i t e cts of t h e A cad e my e xc e p t e ight com

, , ,
M Vand r s had succ e e d e d h i s u ncl e d e Tourn e h e m

2 2
p e t e d . d e i.e e w h o ,
as D i r e ctor G e n e ral i n 1 7 5 1 r e porte d unfavourably o n all t h e proj e cts ,

.
Gabr i e l s d e s ign h e sai d w as a fi n e d e s ign but i t d e stroy e d t h e b e l

’
, , ,
accord b e tw e e n t h e Tu il e r i e s and t h e Champs E lys e es B o ffr a n d s

’
plan w a s that o f a man sup e r i e ur dans l art q u i p e ns e a tout e t q u i “ ’
”
e mbrass e d e grand e s v u e s but th e r e w e r e faults i n i t and s o wi th all , ,
t h e d e s igns A ccord i ng to t h e D i r e ctor t h e s i t e was i mposs i bl e ; h e

.
th e r e for e propos e d a sch e m e o f h i s o w n nam e ly t o put t h e monu m e n t , ,
”
o n a br i dg e and vo i la j e cro i s la grand e qu e st i on d é c i d e e I n sp it e ’
“
.
, , ,
o f th i s assuranc e t h e K i ng d e c i d e d oth e r w i s e and com mand e d Gabr i e l

, ,
t o m ak e a r eu n i o n o f all t h e b e st po i nts i n t h e plans o f h i s com

“
e t i t r s and to carry o u t t h e work an arb it rary proc e e d i ng grossly

p o , , ,
u nfa ir to t he oth e r comp e t i tors T he am e nd e d d e s ign was appro v e d by .
t h e K i n g i n 1 7 5 3 and t h e work b e gun at onc e T h e probl e m w a s to .
d e s ign a gr e at Plac e wh i ch S hould o n t h e o ne hand s e rv e as a s e tt i ng

for t h e K i ng s monum e nt and on t h e oth e r form a conn e ct i ng l i nk
’
b e t we e n t h e gard e ns o f t h e Tu il e r ie s and t h e Champs E lys ee s A t .
that t i m e t h e Cha m ps E lys ee s w e r e la i d o u t as a formal plantat i on ,
w i th a c e ntral av e nu e follow i ng t h e ax i s l i n e o f t he T u i l e r i e s Gard e ns ,
an av e nu e to t h e l e ft known as t h e Cours la R e i n e parall e l to t h e , ,
r i v e r and a corr e spond i ng av e nu e to t h e r ight Gabr ie l s solut i on was

, .
’
to tr e at t h e whol e Plac e as an e wem t cou r to t h e Tu i l e ri e s Gard e ns bu t -

,
w i th Op e n i ngs 1 5 0 fe e t w i d e o n t h e transv e rs e ax is l i n e g i v i ng on t h e ,
north s i d e a v i sta through t h e Ru e Royal e to t h e propos e d Church of

t h e M ad e l e i n e and o n t h e south s i d e t o t h e br i dg e both o f wh i ch had
, ,
y e t to b e bu i lt T h e c e ntral spac e. form i ng t h e Plac e prop e r m e asur e d
7 5 0 fe e t by 5 2 2 fe e t from balustrad e to balustrad e ; b e yond th e s e

4
2
Patt e Mons éri gés p 1 8 8
,
“
.
, . .
T h e A cad e my at th i s dat e cons i st e d of th i rty -t w o m e mb e rs s ix t e e n i n t h e fi rst and

2
,
s i x t e e n i n t h e s e cond class .
2
A ft e r wards th e Marqu i s d e Marigny and broth e r of M me d u Pompad our . .
Patt e gi v e s t h e d i m e ns i o n s as 1 2 5 to i s e s by 8 7 to i s e s w i d e b e t we e n th e balustrad e s .
PL . C LX X I I I
[Pa tte, l
Il a /1 s
'
E r zg és
AC E L O U I S X D E T A I LS G UE R I T E S
.
PL V . OF . BY A .
J . GA B R I EL
[11 . PF
. 1 24,
PI C LX X V
V I EW OF TH E EC O LE M I L I T A I R E . FROM VAT E R -C
A V O LO U R
T H E EC O LE M I L I TA I E AR I S s F I R S T DE I G N ED B Y A J GA B R I EL ( pp
R ,
P ,
A S . . see . 1 2 6, 1 2 7)
( F R O M A N G E J AC Q UE S GA B I EL B Y C O M T E E DE F EL )
”
R . S
11 . To FA E P 5 ]
C . 12
to ov e rpow e r Fre nch arch i t e ctur e at t h e e n d of t h e e ight e e nth c e n

t ury .
T h e E col e Royal e M i l i ta i r e t h e s e cond o f t h e thr e e works o n ,
w h i ch Gabr i e l s r e putat i on r e sts w a s sugge st e d by M m e d u Pompadour

’
, .
and t h e financ i e r Par i s D uv e rn e y A s t h e I nval i d e s had b e e n fou nd e d

, .
by Lou is X I V as a hav e n fo r v e t e ran sold ie rs S O t h e E col e Royal e ,
w a s to i ntroduc e t h e cad e ts to a m i l i tary car e e r Par i s D uv e rn e y dr e w .
up an abl e r e port on w h i ch Gabri e l pr e par e d a sch e m e on t h e scal e o f

t h e I nval i d e s but wh e n i t cam e t o t h e e st i mat e s t h e cost w a s s o
, ,
i mm e ns e that D uv e rn e y was fr ight e n e d and w rot e t o Gabr i e l Il , ,

“
s ag it mo i ns d e l e v e r u n é difi c e a la glo i r e d u R o i q u e d e n form e r u h ,

’
u i so i t ut i l e a l etat favour t m ax m of r n of Lou s X IV

’
q T h e i e . i t h e e i g i
that t he final caus e o f e v e ry e nt e rpr i s e w a s t h e glory of t h e K i ng had ,
worn e x tr e m e ly th i n D uv e rn e y a k e e n man o f affa irs told Gabr i e l

.
, ,
’
bluntly : e ntr e l e b e au e t l u t ile il n y a po i nt a balanc e r l o r s q u e o n
“ ’
,
’
,
me p e ut pa s r é un i r l e s d e ux Gabr i e l h ad accord i ngly t o r e duc e h is

.
” 2
sch e m e I nst e ad o f surround i ng t h e C our Royal e by lofty b u i ld i ngs o n

’
thre e s id e s only t h e pr i nc ipal o r c e ntr e block and t h e e n d pav i l i ons

, ,
fac i ng to t h e cou rt w e r e bu i lt w i th o n e stor e y colonnad e s runn i ng out

,
from t h e pa v i l i ons T h e or ig i nal i d e a had b e e n to plac e t h e ch ap e l as

,
.
an i nd e p e nd e nt bu ild i ng at t h e furth e r e n d o f t he court and o n t h e ,
ma i n a x i s l i n e conn e ct e d by quadrant colonnad e s w i th t h e w i ngs Th i s .
also w a s g i v e n up and t h e chap e l w a s bu i lt on a much l e ss amb i ti ous

,
scal e i n o n e o f t h e w i n g s I t is how e v e r an adm i rabl e bu i ld i n g both

.
, , ,
i n d e s ign and d e ta il and both h e r e and o n t h e grand sta ircas e Gabr i e l

,
2
, ,
S how e d h i ms e lf a mast e r o f C lass ical d e s ign S par i ng o f ornam e nt y e t , ,
s e l e ct i ng i t w i th an un e rr i ng i nst i nct fo r fitn e ss plac i n g and spac i ng i t ,
w i th an assur e d kno w l e dg e wh i ch only o n e oth e r arch i t e ct Fran c o i s ,
Mansart has e v e r approach e d Gabr i e l poss e ss e d to an aston i sh ing

, .
d e gr e e t h e s e ns e o f pond e rat i o n t h e faculty of ass ign ing t h e r ight ,
w e ight o f ornam e nt t o h i s arch i t e ctural fe atur e s and th i s app e ars on a ,
co m par i son of t h e E col e M il i ta i r e w i t h t h e I nval i d e s B ruand had had .
good i d e as b u t cam e t o p ie c e s i n e x pr e s s i ng th e m H is troph ie s

,
.
,
i nst e ad o f b e i ng i mpr e ss i v e a r e m onstrous ; throughou t o n e fe e ls h e i s

,
say ing e i t h e r too m uch or too l i ttl e Th e r e is no such fa i l u r e at t h e .
E col e M i l i t ai re T h e c e ntral pav il i on is p e rhaps t h e b e st th i ng of i t s

.
3
2
Quot e d by t h e Comt e d e F els p 7 5 , . .
2
It i s n ow us e d as a m il i tary st ore .
2
See Monograph ie d e L Ecol e M i l i tai re Armand ’
, G u e r i n e t , for full i llustrat i ons of
th i s bu i ld ing .
A N G E J A CQ U E S G A B R I E L 1 2 7
k i nd e v e r don e t h e whol e compos it i on is so b e aut i fully balanc e d s o

, ,
compl e t e ly i n scal e S O p e rfe ct an e xpr e ss i on o f it s purpos e O n e can

,
.
b e st r e al i z e h ow good i t i s by a compar ison w i th t h e pav il ions add e d

to t h e Louvr e und e r t he th i rd N a pol e o n bad i n proport ion fool ish i n ,
2
,
d e s i gn ov e rload e d w i t h ornam e nt wh ich s t u l t i fi e s i ts e lf by i t s o w n

,
sup e rabundanc e T h e o n e fault i n Gabr ie l s d e s i gn i s t h e confl i ct

.
’
b e tw e e n t h e colossal C or i nth i an ord e r of t h e c e ntral pav il i on and t h e

l i ttl e ord e rs o f t h e gall e r i e s n e x t th e m on t h e S i d e to t h e court Th i s .
may hav e b e e n forc e d o n Gabr ie l as an aft e rthought ; for t h e e ntabla

ture s e n d u p anyho w aga i nst t h e c e ntral and e n d pav i l i ons B ut t h e .
D or i c ord e r o f t h e colonnad e o n e i th e r s i d e Of t h e court and t h e ,
b e aut i ful pav i l i ons wh i ch e nd th e m g o far to co mp e nsat e fo r t h e d is

,
c r e pa n c y o f scal e b e t w e e n t h e t w o ord e rs A S i t i s t h e E col e M i l i ta i r e

.
,
i s a comprom i s e b e tw e e n t h e g e n i us of Gabr i e l and Offic i al i nt e rfe r e nc e .
N ormand d e Tourn e h e m t h e D i r e ctor G e n e ral i nt e rpos e d i n a v e ry

, ,
v e x at i ous mann e r and tr i e d to i ns ist that Gabr ie l should sub m it all

,
draw i ngs for h i s approval and S ignatur e Gabr ie l w i thstood him stoutly .
,
and r e pl i e d i n a firm and d ign i fi e d l e tte r l a u t o r i t é d e l a r chit e c t e y ,

“ ’ ’
e s t S i r e s e r r é e qu e ll e e n e s t d e s h o n o r a n t e D e T ourn e h e m had to g i v e
’ ”
.
way but s e e ms to ha v e pass e d his quarr e l o n to h i s n e ph e w Mar igny

, ,
w h o through out h i s car e e r m i ss e d no Opportu n i t y of Oppos i ng Gabr i e l .
T he work was start e d i n 1 7 5 1 but t h e mon e y ran o u t almost at onc e

, .
I n 1 7 5 2 t h e contractors w e r e n o t pa i d but o n t h e oth e r hand w e r e ,
pro t e ct e d aga i nst t h e cla ims of th e i r cr e d i tors I n 1 7 5 5 M m e d u . .
Pompadour i nt e rv e n e d o n b e half o f h e r favour i t e sch e m e and suc ,
c e e de d i n g e tt i ng som e mon e y out o f t h e Controll e r G e n e ral o f

F i nanc e s B y 1 7 5 6 t h e works w e re suffi c ie ntly advanc e d to tak e i n
.
2 0 0 cad e ts but l i ttl e s e e ms to hav e b e e n don e i n t h e n e xt t e n y e ars

, ,
a n d t h e w ork w a s not s e r i ously r e sum e d t i ll 1 7 6 7 wh e n t h e chap e l was
bu ilt but t h e r e sourc e s of t h e S tate w e r e un e qual to t h e d e mands for

,
bu ild i ngs h e r e as w e ll as at V e rsa i ll e s and C omp iegn e M ar igny .
r e porte d that t h e S e rv i c e d e s Bat ime n t s could n o t go o n unl e ss mon e y

w a s for t hcom i ng T he royal hous e s w e r e b e com i ng ru i nous
. tout l es ,
“
e ntr e pr e n e urs sont aux abo i s l e s ouvr i e rs r e fus e nt l e s e rv i c e

, In 1 77 1 .
Gabr ie l complai n e d that t h e O ffic ials of t h e S e rv i c e d e s B at i m e n t s had

2
E g . .
,
Pavi llon Turgot or t h e Pav i ll o n R i ch e l i e u wi th t h e p edi m e nts i n th e
th e ,
w rong plac e and cutt i ng i nto t h e cupola Vi scont i L e fu e l and t h e n i n e t ee nth c e ntury
.
, ,
a rch i t e cts fe ll bl i ndly i nt o t h e m i stak e that L e m e rc i e r had mad e i n t h e upp e r part of t h e
Pavi llon d e l H or loge Gabri e l wa s t o o good an arch i t e ct to re p e at t h e sol e c i sm of

’
.
L e m e rc i e r .
not b e e n pa id th e i r salarie s for n i n e t e e n quart e rs and had actually ,
advanc e d mon e y th e ms e lv e s to k e e p t he S e rv i c e go i ng T h e grand .
stai rcas e of t h e E col e M i l itai r e w a s n o t fi n i sh e d t i ll 1 7 7 3 I ncompl e t e .
a s i t i s t h e E col e M i l i ta i r e i s o n e of t h e m ost p e rfe ct p i e c e s o f arch i

,
t e ctur e i n Par is and i nd e e d i n F ranc e t h e last w ord o f a magn i fic e nt

, , ,
trad i t i on that i t had tak e n som e two h undr e d y e ars t o form a trad it i on ,
that as t h e Comt e d e F e ls v e ry r ightly says ought n e v e r t o hav e b e e n

, ,
abandon e d and ought e v e n at th i s lat e hour to b e r e sum e d as t h e r e al

,
l i n e o f d e v e lopm e nt fo r mod e rn Fr e nch arch it e ctur e .
I am not s o much i mpr e ss e d w i th t h e S all e d O pe r a at V e rs a ill e s ’
cl e v e r d e s ign as i t undoubt e dly was though i t i s only fa ir to say that ,
t h e stuffy r e d o f i t s e x i st i ng d e corat i ons r e v e rs e s t h e i nt e nt i on o f t h e
d e s ign e r T h e S all e d O pe r a w a s b e gun i n 1 7 4 8 but t h e fa c ad e w a s

.
2 ’
not fi n i sh e d ti ll 1 7 6 6 and t h e hous e was fi rst us e d o n t h e occas i on o f

,
t h e marr i ag e o f t h e D auph i n and M ar i e A nto i n e t t e i n 1 7 7 0 I n ord e r .
to sa v e mon e y Gabr i e l us e d w ood pa i nt e d to i m i tat e marbl e fo r h i s

colum ns and w all s u rfac e s and attach e d S O much i m portanc e to t h e ,
d e corat i ons that h e got a comm i tte e appo i nt e d to s e ttl e t he colour

,
sch e m e i nclud i ng Paj ou t h e sculptor Coch i n t h e e ngrav e r S o u ffl o t

, , , ,
and D e Wa illy T h e g e n e ral sch e m e adopt e d w a s u n e harmon i e d e

.
v e rt C la i r e t d o r av e c d e s t ouch e s lum i n e us e s d e marbr e s gr i s e t

’
j au n e s .I n t h e Sall e i ts e lf t h e corn i c e s arch i tra v e s caps and bas e s

”
, ,
and t h e bas re l i e fs by Paj ou and Gu i b e rt w e r e g i lt T he bo x e s w e r e

-
,
.
li t by candl e s s e t aga i nst lustr e s and t h e hang i ngs w e r e i n blu e w i th ,
S i lv e r fr i n ge s I n t h e F oy e r h e play e d o n v e rd d e m e r bl e u
.
,
“
,
turquo i s e gold and p e t i t gr i s for t h e pl i nth t h e p i last e rs o v e r

,
” “
,
”
w e re i n v e rd d e m e r jaun e ant i qu e was us e d for t h e pla i n
,
“
s u rfac e s w i th m e dall i ons i n wh i t e o n a background of p e t i t gr i s

,
“
.
”
Gabr ie l s colour sch e m e i s i mportant b e caus e w i th i t s cool sugge st iv e

’
harmon ie s i t m ust hav e produc e d an e ffe ct t h e v e ry oppos i t e o f t h e

r e puls i v e d e corat i on subst i t ut e d for i t i n t h e r e storat ions of 1 8 3 7 “ ”
wh e n Lou i s Ph i l ipp e turn e d V e rsa ill e s i nto a mus e um .
”
T he Grand proj e t o f Lou i s XV to wh i ch I hav e alr e ady
“
,
r e fe rr e d cam e u p aga i n i n 1 7 7 1 T h e i d e a w a s noth ing l e ss than

, .
to d o away w i th t h e Cour d e Marbr e on t h e pr e s e rvati on of wh i ch ,
Lou i s X I V had i nvariably i ns ist e d to r e bu ild th i s court and r e fac e ,

-
2
Se e
“
A ng Jacqu es Gabr i e l
e Comt e E d e F e ls 9 2 -9 7 for a compl et e d es cr i p
, th e .
, ,
t i on of th e O p e ra hous e take n from th e M e rcur e d e Franc e A ugust 1 7 7 0 and appare ntly

, , , ,
approv e d by Gabr ie l and draft e d i n h i s o ffic e A Sall e d Ope ra had alr eady b ee n bu i lt at .
’
Pari s 1 7 6 2 6 7 fr o m d e s i gns of Gabr i el and Sou fll ot

,
-
,
‘
.
1 3 0 A H I S T O RY O F F R E N C H A R C H I T E CT U R E
t he K i ng lost h i s i nt e r e st i n t h e work n o mon e y was ava i labl e , ,
and t h e work was susp e nd e d i nd e fi n i t e ly T h e Louvr e w a s i n a .
scandalous stat e o f n e gl e ct T he bu ild i ngs to t h e north and south had

.
n e v e r b e e n compl e t e d and w e re not e v e n cov e r e d i n t h e courtyard was ,
occup ie d by t h e stabl e s and coach -h ous e s o f nobl e lords lodg i ngs ,
o f art i sts of all sorts and e v e n by t h e débri s o f Pe r r a u l t s bu i ldi ng ’
, .
T h e stat e o f t h e Louvr e was charact e r i st i c o f t h e chaot i c d isord e r that

was gradually ov e r w h e lm i ng F ranc e I n 1 7 5 5 Gabri e l w i th S o u fflo t .
, ,
mad e a d e t e rm i n e d e ffort to compl e t e t h e bu i l d i ng and cl e ar t h e court

y ard T
. h e qu e st i o n aros e wh e th e r L e s c o t s att i c stor e y should b e
’
c ont i nu e d on t h e fa c ad e s to t h e court o r wh e th e r t h e th i rd ord e r i n ,
t e nd e d by P e rrault S h ould b e bu i lt Gabr i e l d e c i d e d for t he latt e r and .

,
i nd e e d had n o cho i c e for noth i ng l e ss than th i s would hav e scr e e n e d

,
t h e bu i ld i ngs alr e ady e r e ct e d at t h e back of t h e colonnad e T h e works .

,
h ow e v e r w e r e aga i n susp e nd e d and i t was r e s e rv e d for Pe r ci e r and

, ,
F onta i n e to compl e t e t h e o l d courtyard o f t h e Louvr e a n d fo r t he ,
a rch i t e cts o f t h e t h i rd N apol e on to spo i l t h e whol e bu i ld i ng by th e i r

2
fatuous add i t i ons Co mp i egn e wh i ch h ad b e e n a royal r e s i d e nc e from

.
,
t i m e i mm e mori al w a s first attack e d i n 1 7 3 6 I n 1 7 5 1 Gabr i e l pr e par e d

, .
a sch e m e for t h e co mpl e t e r e bu i ld i ng o f t h e Ch at e au on t h e e x i st i ng
S i t e but t h e work w a s not fin i sh e d i n 1 wh e n Gabr i e l r e t i r e d and

, 775 , ,
was fi nally compl e te d u nd e r t he th i rd N apol e on .
I n o n e cas e only di d A nge J acqu e s Gabr i e l succ e e d i n carry i ng

o u t h i s d e s i gn i n i t s i nt e gr i ty and that i s i n t h e th i rd o f h i s famous
,
bu i ld i n g s t h e p e rfe ct l it tl e work of t h e P e t i t Tr i anon A S t h e Comt e

,
.
d e F e ls h a s po i nt e d o u t th i s i s al ways assoc i at e d w i th Mari e

,
A nto i n e tte who lov e d t h e plac e and i t s gard e n but i n po int of fact i t
,
2
,
was b e gun i n 1 7 6 3 4 and was bu i lt fo r M adam e d u B arry who w a s

-
, ,
o nly d i sposs e ss e d o f i t o n t h e d e ath o f Lou i s X V T h e P e t i t T r i anon .
i s S O w e ll known and has S O oft e n b e e n i ll u strat e d t hat th e r e i s n o n e e d

to d e scri be i t I t was o n e o f t h e late st o f Gabr i e l s works and as i t
3
.
’
w e r e h is last word sum m i ng up all t h e qual i t ie s o f h is d e s ign h is

, ,
2
Vi scont i L e fu e l and D uban
, , .
T h e boudo i r of Mar i e A nto i n e tt e wa s d e s i gn e d by M i qu e Gabr i e l s succ e ssor

2 ’
, .
T h e j a r a i n a ug l a zs on t h e north and e ast s i d e s s o d e ar t o t h e Qu e e n was i n fact a qu i t e

'
’
, ,
unsu i tabl e s e tt i ng for t h e hous e and must have b ee n m ost un we lc o m e to Gabr i el wh o

, ,
adh e r e d to t h e gre at trad i t i ons o f Fr e nch gard e n d e s ig n and had alr eady sho w n t h e r igh t ,
s e tt ing for th i s h ous e i n h i s d e s i gn of t h e formal gard e n on t h e we st s i d e .
2
It i s i llustrat e d i n c o mpl e t e d e tai l i n t h e P e t i t Tri anon by Jam e s A rn ott and“ ”
John W i ls on arch i t e cts 1 90 8 S e e als o L e P e t it Tr i an on by M D e sjard ins

, , .
“
. .
A NG E J A C Q U E S G A B R I E L 1 3 1
i nst i nc t fo r proport i on hi s powe r o f s e l e ct i on t h e tast e that could

, ,
comb i n e S i mpl e d ign i t y w i th a fr e e and ch e e rful fancy M d e F e ls . .
says of t h e P e t i t Tr ia non that i t m arks t h e m om e nt wh e n Gr e e k

a r t cam e to pur i fy t h e art o f Franc e and that i t s d e s ign fr e e al i k e , ,
from t h e i nflu e nc e of I taly and of J H Mansart i s pur e ly H e ll e n i c . .

,
“
”
and Fr e nch I S har e M d e F e ls adm irat i on but n o t h is cr i t i cal
. .
’
,
'
appr e c iat ion Th er e i s no trac e i n t h e P e t i t T r i ano n o f that p e dant i c

.
n e o Gr e e k mot i v e wh i c h w a s to r e nd e r t h e arch i t e ctur e o f t h e e arly

-
part o f t h e n i n e te e nth c e ntury s o part icularly dull T o m e o n t h e .

,
contrary t h e P e t i t Tr i anon s e e ms t h e e x pr e ss i on of all t h e b e st and

,
most charact e r ist i c qual i ti e s of pur e Fr e nch arch i t e ctur e as fi n e i n ,
i t s w a y as Gr e e k arch i t e ctur e but i t s way i s a v e ry d i ffe r e nt way ,

.
T h e cond it i ons und e r wh i ch Gabr i e l had to work t h e i d e als at wh i ch ,
h e a i m e d w e r e absolu t e ly d i v e rg e nt from thos e o f t h e arch i t e ct o f t h e

,
Parth e non .
Gabr ie l r e t ir e d from pract ic e i n 1 7 7 5 H e had l i v e d a str e nuous .
l i fe w i th a full m e asur e o f succ e ss and y e t w ith many d isappo i ntm e nts

,
.
M ar igny t h e D i r e ctor -G e n e ral back e d by h is all po w e rful S i st e r

, ,
-
,
M a d am e d u Pompadour was hi s constant e n e my H e tr i e d unsucc e ss, .
’
fully t o d e fe at Gabr ie l s sch e m e for t h e Plac e Lou i s XV and matt e rs ,
cam e to a h e ad i n 1 7 6 7 o v e r t h e e l e ct i on o f D e Wa i lly t o t h e A cad e my .
Mar igny put forward D e Wa illy as a can d i dat e but t h e A cad e my , ,
u nd e r t h e i nflu e nc e o f Gabr i e l r ej e ct e d hi m T h e K i ng th e re upon , .

, ,
s e nt a Zett r e cze ca c/zet to t h e A cad e my ord e r i ng th e m to e l e ct D e

-
’ -
,
W a i lly at onc e i nto t h e first class of A cad e m i c i ans an u nconst i tut i onal ,
proc e e d i ng a s only m e mb e rs of t h e s e cond C lass w e r e e l igi bl e as

,
A cad e m i c i ans and Gabri e l w i th a good d e al o f courag e r e s i st e d t h e

, , ,
K i ng s d e cr e e M e anwh il e Marigny had b e e n tak i n g t h e w at e rs at

’
.
,
Spa but o n h i s r e turn t o Par i s h e at onc e lai d t h e whol e affa i r b e for e

, ,
t h e Pr i vy Counc i l w i t h t h e r e sult that t h e A cad e my o f A rch i t e ctur e

,
w a s suppr e ss e d and all h

t e m e mb e rs r c
, v
e ei e d l e t t r e s -cze —
cczc/
zet fo r ’
,
b i dd i ng th e m to ass e mbl e o r to u s e t h e t i tl e o f A rch i t e ct e d u R o i .
Gabr i e l fi nally succ e e d e d i n s e cur i ng a co m prom i s e D e Wa illy w a s .
mad e an A cad e m i c ian of t he first class on t h e e x pr e ss und e rstand i ng

that h i s e l e ct i on w a s not to b e tak e n as a pr e c e d e nt O n anoth e r .
occas i on w h e n a d isput e had ar i s e n b e tw e e n P ota i n Gabr i e l s ch i e f

, ,
’
draughtsman and a young arch i t e ct nam e d D upu i s Gabr i e l act e d a s

, ,
cha irman o f t h e comm i tt e e appo i nt e d by t h e A cad e my to i nv e st i gat e 2
t h e matt e r and d e c i d e d i n favour o f Pota i n

, M ar igny w a s fur i ous and .
,
accus e d Gabr i e l o f part i al i ty i n t e rms r e m i n i sc e nt o f C i c e ro s i nd i ct ’

m e nt o f Cat il i n e abus e r e z vous touj ours auss i d e v otr e plac e

,
“
.
Mar igny who r e t i r e d or was sup e rs e d e d o n t h e d e at h of Lou i s XV

, , ,
d i e d i n 1 7 8 1 a nd i n t h e y e ar follo w i ng d i e d : M A ng e J acqu e s Gabr i e l

, .
,
E cuy e r Cons e ill e r d u Ro y anc i e n C o nt r Ol e u r Général de s b at im e n t s

, , ,
j ard i ns arts e t manufactur e s d e S a Maj e sté anc ie n i nsp e ct e ur g énéral

, ,
d e s b at i m e n t s d u Roy s o n pr e m i e r arch i t e ct e honora i r e D i r e ct e ur d e

, ,
l A c a d é m i e d A r ch i t e c t u r e honora i r e amat e ur d e c e ll e d e p e i ntur e e t

’ ’
d e sculptur e e t ma i tr e d e la gard e rob e d e M adam e

,
Th e r e i s a bust o f
-
.
”
Gabr i e l by J B L e moyn e i n t he fre e swagge r i ng mann e r of that abl e

. .
,
sculptor T h e h e ad has a h igh rat h e r narrow fore h e ad tap e r i ng u p

.
, ,
wards and a h e avy j owl and doubl e ch i n wh ich r e m i nds o ne o f t h e

, ,
bust o f J H M ansart by t h e e ld e r L e moyn e T h e i mpr e ss i on it gi v e s

. .
2
.
i s that o f a m an full of e n e rgy i mp e r i ous and mast e rful an i mpr e ss i on

, ,
born e o u t by t h e l i ttl e that is known of Gabr ie l s l ife That h e w a s a ’

.
gr e at art ist i s shown by h is works and t h e rar e gl i mps e s that o ne g e ts ,
o f h i s l i fe sugg e st that h i s w as a fi n e upstand i ng p e rsonal i ty a strong , ,
man w h o w e nt h is o w n w a y und e t e rr e d by m e nac e o r i ntr igu e loyal

, ,
t o h i s fr i e nds and j ust to h i s subord i nat e s

,
A ng e J acqu e s Gabr i e l w a s .
t h e last o f t h e old guard i n Fr e nch arch i t e ctur e A ge n e rat i on had .
alr e ady r i s e n that abj ur e d t h e l i v i ng fa i th o f i t s fath e rs and thought ,
that i t had found sal v at ion i n t h e grav e yards of t h e past I t w a s th i s .
young e r ge n e rat i on that w e akly hand e d ov e r t h e custody of arch ite ctur e

t o p e dants and moral i sts and S O start e d that fatal d i vorc e b e t w e e n t h e
,
art and t h e actual cond iti ons o f l i fe wh i ch has brought about t he down
fall o f arch i t e ctur e by conv e rt i ng i t i nto a tr i ck and t h e playth i ng o f
fash i on .
2
Quousqu e tand e m Cat il ina ab u t er i s nostra pati e nt ia .
J Lou i s L e moyn e ( 1 6 6 5
2
.
1
and W le u g h e ls r e port e d S o u ffl o t tout j e un e qu i l e s t a b e aucoup d e

, ,
’
mér i t e e n arch i t e ct u r e e t i l y a l ie u d e cro i r e qu i l me fe ra pa s d e shon

,
’
n e ur a l A ca d é m ie I n 1 7 3 6 W l e u g h e l s aga i n r e porte d
’
.
”
N ous avons
dans l A ca dé m i e u h j e un e arch i t e ct e nommé S o u ffl o t q u i ach ev e av e c so i n
’
”
uh gran d d e ss e i n q u i e s t b ie n I n March 1 7 3 8 O rry t h e D i r e ctor
.
, ,
G e n e ral wrot e t oL e s t a c h e at Rom e ass e nt i ng to t h e r e turn o f S o u ffl o t

, , ,
and to t he paym e nt to h i m o f 2 00 1i v qu on accord e ord i na i r e m e nt au x .

’
s i o n n a r i e s pour l e s fra i s d e l e ur voyag e n s r e turn from Rom e

”
p e n O h i .
,
S o u ffl o t stopp e d at Lyons and d e s i gn e d a dom e fo r t h e Church o f t h e

2
,
Chartr e u x H e was agai n at Lyons i n 1 7 4 5 wh e n h e d e s ign e d t h e

. ,
Log e d e Chang e and t h e H Ot e l D i e u w i th i t s S pl e nd i d cupola an d

,
”
fi n e fa c ad e o n t h e quay ov e rlook i ng t h e R h On e T h e Chap e l of t h e 2

.
H Ot e l D i e u was plann e d w i th Op e n i ngs i nto four halls from wh i ch

, ,
pat i e nts could follow t h e s e rv i c e s I t would app e ar from th is that t h e .
c upola o f t h e Chartr e ux w i th i t s attract i v e lant e rn w a s an e arly work

, , ,
p i cture squ e and fanc i ful W i thout any affe ctat i on o f aust e r e class i c
, .
T h e H Ot e l D i e u was mor e amb i t i ous T h e fa c ad e i s tr e at e d v e ry .
S i mply and w i th a fi n e s e ns e of scal e and proport i on i n i t s plan e s and

,
adj ustm e nt o f mass e s I t i s an i nt e r e st i ng p ie c e o f arch i t e ctur e and

.
,
t h e gr e at squar e dom e that r i s e s ov e r t h e c e ntr e i s almost as fi n e as
t h e c e ntral pav i l i on o f t h e E col e M i l i ta i r e I t i s surmount e d by a .
squar e balcony w i t h a n i ron balustrad e and abov e a r e thr e e amor i n i ,
support i ng a glob e w i th a cross ov e r i t T h e e arly m atur i ty o f som e .
o f th e s e famous Fr e nch arch i t e cts w a s aston i sh i ng I hav e alr e ady .
not e d i t i n t h e cas e o f J H Mansart t h e younge r Gabr i e l and oth e rs

. .
, , ,
and S o u ffl o t m ust hav e ma d e th i s abl e d e s i g n pour u m d e s plus “
b e aux é difi c e s q u i a i e nt été él e vés d e c e S iecl e at an a g e ( probably

3
,
”
n o t m uch ov e r th i rty ) w h e n most mod e rn young arch i t e cts a r e strug
gl i ng to find th e i r fe e t ; but arch i t e cts i n t h e first half o f t h e e ight e e nth

c e ntury had b e h i nd th e m a g r e at trad i t i on and t h e advantage o f ,
hav i ng b e e n tra i n e d i n a d e fin i t e school o f d e s ign Though I cannot .
fi nd that i t has b e e n attr i bute d to S o u fflo t i t i s poss i bl e that h e ,
2
D A rge nv i ll e ,
’ “
fam eu x A rch i t e ct e s i 4 7 5 says that t h e to w n o f Lyons
Vi e s d e s , , ,
D
c o n sult e d t h e i r e ctor of t h eA cad e my at Rom e as to t h e appoi ntm e nt of an arch i te ct and ,
that i t was on t h e D i re ct or s n o m i nat i on that Sou ffl ot w a s appo i nt e d

’
.
Qu a tr e mer e d e Qu i ncy H i sto i r e d e la Vi e e t d e s O uvrag e s d es plus c él éb r e s

2
,
A rch i t e ct e s says t h e fa cad e of t h e Hospi tal me asure s 1 6 7 fathoms ( about

,
”
fee t lon g ) .
I pac e d i t and mad e i t about 2 4 0 yards e x clus i ve of t h e w i ngs wh i ch would add anoth e r
, ,
6 0 yards or so D A r gen vi l l e says that t h e d e s i gn o f t h e cupola wa s alt e r e d by t h e local

’
.
auth o ri t i e s i n 1 7 5 8 wi thout consult ing S ou fflot .
Patt e M ons é r i gés p 5

2 “
,
.
,
”
. .
SO U F F LOT 1 55
d e s ign e d t h e fi n e H Ot e l l e ft o f
D i e u that stands outs i d e B ourg on t he
t h e road to t h e Church of B rou an e xc e ll e nt e xampl e o f what may b e ,
don e by a good m an w i th t h e S i mpl e st poss i bl e m e ans T he c e ntr e o f .

1
t h e fa c ad e of th i s bu i ld i ng pr oj e c t s s o m e e l e v e n fe e t w i th a pla i n p e d i
m e nt abov e wh i ch r i s e s t h e drum o f a c ircular dom e ; to r ight and l e ft a

,
plai n thr e e -stor e y bu i ld i ng i n s e v e n bays conn e cts w i th t h e e n d

pav i l i ons an d t h e only fe atur e s allow e d h i ms e lf by t h e d e s ign e r a r e
,
i mportant doorways som e 1 8 fe e t by 9 fe e t w i d e i n t h e c e ntr e and i n

, ,
t h e c e ntr e of t h e curta i n fa c ad e s T h e e ffe ct i s got by w e ll cons i d e r e d

.
-
spac i ng proport i on and s e l e ct i on .

2
I n 1 7 4 9 S o u ffl o t was adm i tt e d to t he A cad e my on t h e obv i ous

m e r i t o f t he work that h e had don e at Lyons a nd i t s n e ighbourhood ,
a n d i n t h e follow i ng y e ar h e was i nv i t e d to accompany A b e l Fran c o i s
P o isson M arqu i s d e Van d ier e s ( aft e rwards M arqu is d e Marigny) o n

,
2
h i s journ e y to I taly .
V and ier e s broth e r o f M adam e d u Pompadour a capabl e mast e r

, , ,
ful and arrogant man had alr e ady his e y e on t h e succ e ss i on t o t h e

, ,
S ur i nt e ndanc e d e s B at i m e n t s th e n h e ld by h i s k i nsman L e n o r m a n t d e
T ourn e h e m and S i nc e t h e days of Colb e rt ; w i th t h e notabl e e xc e pt i on
,
of
J H . Mansart . t h e I tal i an tour had b e e n an alm ost i nd i sp e nsabl e
,
q ual i ficat i on fo r t h e offic e Vand i er e s h i ms e lf took t h e i nt e ll i ge nt i n

.
t e r e s t i n t h e arts usual i n F r e nch soc i e ty i n t h e e i ght e e nth c e ntury ,
and no doubt l e arnt a good ? d e al from hi s compan i ons h is e y e s a s ,

“
,
”
he call e d th e m — S o u ffl o t N i colas Coch i n ( a shr e wd and accompl i sh e d

,
art is t ) and t h e A b b e L e B la n e C och i n wrot e t h e re cord o f t h e tour

,
. .
2
‘
H e found l i ttl e t o adm i r e i n t h e n e wly d i scov e r e d pa i nt i ngs o n t h e walls

o f H e rculan e um and Pomp e i i but was i mpr e ss e d by t h e sculp
tur e and arch i t e cture T h e trav e ll e rs found th e ms e lv e s in t h e m i dst o f all
.
t h e e xc i t e m e nt and e nthus i asm arous e d by th e s e d i scov e r i e s P i ran e s i .
had b e gun to publ i sh h is e ngrav i ngs i n 1 7 4 1 and i n 1 7 4 8 h e brought o u t ,
h i s s e r i e s o f Roman ant i qu i t i e s and tr i umphal arch e s T h e rag e for t h e .
ant iqu e th e n all t h e fash i on i n Rom e mad e a lasti ng i mpr e ss i on o n

, ,
I find that i n v ol i i p 2 7 of my H i story of Fr e nch A rch i t e ctur e 1 4 9 9 -1 6 6 1

2
.
, .
,
“
, ,
o wi ng to a pr i nt e r s e rr or t he w ord e i ght e e nth wa s om i tt e d b e for e c e ntury

’ ”
.
T h e appr ox i mat e d i m e ns ions o f t h e fa c ad e ar e : c e ntr e 1 6 pac e s ; i nt e rm e d i at e

2
, ,
3 1 pac e s ; e n d pav i l i ons 1 5 pac e s ; total l e ngth about 3 2 5 fe e t

, .
Cre at e d Marqu i s d e Mar i gny by wh i ch nam e h e i s g e n e rally kno wn in 1 7 5 5 an d

2
,
Marqu i s d e M e nars i n 1 7 6 4 H e w as Suri nt e ndant d e s B at i me n t s 1 7 5 4 1 7 7 4 and d i e d

.
-
,
1 78 1 .
V oyag e d I t al i e ou R e cu ei l
’
, de not e s sur l es ouvr age s de P e i nture et Sculptur e
( Ch N i cholas Coch i n Pari s 1 7
.
, ,
S ou ffl o t , through h i m on Marigny h i ms e lf and t h e mark e d b i as o f

an d ,
t h e latt e r i n favour o f S o u ffl o t and aga i nst Gabr i e l had i t s or i g i n i n
th i s I tal i an tour I t must also b e adm i tt e d that i n th i s way M ar ign y

.
s e e ms to hav e acqu i r e d a grasp o f c i v i l arch i t e ctur e not usually foun d ,
i n mod e rn m i n istri e s o f fin e art To S ou ffl o t of cours e t h e fr i e ndsh i p

.
, ,
o f such a pow e rful p e rson as t h e broth e r o f M adam e d e Pompadou r

must hav e b e e n o f gr e at pro fe ss i onal advantage Tog e th e r th e y v i s i t e d .
Pa e stum wh e r e S ou fflot mad e m e asur e d draw i ngs of thr e e o f t h e

,
t e mpl e s ; but h i s h e alth brok e down and h e r e turn e d to F ranc e soon

2
,
aft e r 1 7 5 0 H e aga i n stopp e d at Lyons and w a s e mploy e d t o d e s ign a

.
n e w th e atr e for t h e town bu lt I t hold

( i i n 1 75 4 w a s t o
p e opl e and S o u ffl o t d e s ign e d i t on an e ll i p t ical plan Q u a t r e mer e d e .
Qu i ncy i n hi s ar i d w a y says La comp os i t i on g é néral e n o ffr i t r i e n

2
,
“ ’
”
d i n u t i l e e t s a t i s fi t a tout l e néc e ssa i r e S o u ffl o t app e ars to hav e
’
, .
re turn e d to Par i s i n t i m e to tak e part i n t h e s e cond gr e at comp e t i t i on of

1 7 5 2 fo r t h e Plac e Lou i s XV Mar igny d id his b e st to g e t h im t h e
.
work but t h e d e s ign of A J Gabri e l w a s s e l e ct e d and S o u fflo t had to

, . .
,
conte nt h i ms e lf w i th t h e post o f Controll e r o f t h e Works at M arly to ,
wh i ch he w a s appo int e d i n 1 7 5 3 i n succ e ss i on to L A s s u r a n c e t h e ’
younge r and C o nt r Ole u r Général o f t he royal bu ild i ngs i n Par i s

,
.
2
S o u ffl o t s d e s ign for t h e plac i ng of Bouchardon s m onum e nt o f

’ ’
Lou i s XV w a s i n som e ways t h e b e st s e nt i n H e propos e d t o fill u p .
t h e spac e b e tw e e n t h e I sl e d e la C i té and t h e I sl e S Lou i s and to form .

,
a larg e Plac e w i th t h e north and south s i d e s op e n to t h e r i v e r and

,
flank e d on e ast and w e st s i d e s by i m pos i ng bu ild i ngs w i th t h e monu ,
m e nt i n t h e c e ntr e o n t h e a x is l i n e o f t h e ma i n str e e t run n i ng t h e

w h ol e l e ng t h of t h e I sland S o u ffl o t s sch e m e would hav e b e e n a g r e at
’
.
i mprov e m e nt to th i s part of Par i s H e do e s not how e v e r app e ar t o

.
, ,
hav e pa i d v e ry much att e nt i on to v i stas and t h e arch i t e ctural l i nki ng

up of i mpor t ant monum e nts and Patt e though h e d e scr i b e s t h e
, ,
sch e m e w i th approval did not th i nk i t worth wh i l e to i llustrat e i t i n

,
d e ta i l I n 1 7 5 7 h e was mad e a Ch e val i e r o f t h e O rd e r o f S t M i cha e l

. .
,
and i n that y e ar produc e d h i s d e s igns for t he church of S G e n e v i ev e .

,
o r t h e Pa n t h eo n as i t was call e d aft e r h is d e ath H is fam e a s an

,
.
2
publ i sh e d th e s e i n 1 7 6 4 Su i t e d e plans Coup e s et c d e tro i s t e mpl es
He ,
“
, , .
,
A nti qu e s t els qu il s ex i stai e nt e n P es t u m e n 1 7 5 0 Pari s 1 7 6 4

’
.
, .
D e Qu i ncy g i v e s t h e dat e as 1 7 5 4 but i t wa s probably d e s i gn e d e arl i e r T h e

2
, .
th e atr e was r e bu i lt i n 1 8 2 6 .
H e i s d e scr i b e d by Patt e as C on tr Ol e u r Gén é ral d e s B at i me nt s d u R o i a Pari s

2 “
.
B auch al d e scr i b e s h i m l o os ely as C o n tr Ol e u r d es Monum e nts d e Par i s .

1 38 A H I S T O RY O F F RE N C H A RC H I T E C T U R E
Cov e nt Gard e n ; Wr e n had tri e d fo r a s i ngl e ord e r on a lofty stylobate

i n hi s r ej e ct e d d e s ign for S Paul s ; and G i bbs had succ e e d e d i n carry
’
.
i ng o u t th i s tr e atm e nt w i th t h e full paraph e rnal i a o f t h e ord e r i n t h e

port ico o f S M arti n s -i n t h e -F i e lds S o far as s iz e w a s conc e rn e d
.
’
-
.
1
,
S o u ffl o t c e rta i nly b e at t h e r e cord but h e ov e r-r e ach e d h i ms e lf for t h e , ,
front isp ie c e ov e rpow e rs t h e church and t h e dom e fi n e a s i t is i s , , ,
un e qual t o i t s scal e I nd e e d i t was i n t h e d e s ign o f t h e dom e that

.
,
S o u ffl ot fa il e d I ts scal e i s i nad e quate n o t only to t h e front i sp i e c e but

.
,
also to t h e e xagge rat e d mass i v e n e ss o f t h e e x t e r ior o f t h e substructur e .
B ut th e r e w e re mor e s e r i ous d e fe cts than th is i n t h e d e s ign o f t h e

actual construct i on A fte r s e v e n y e ars had b e e n sp e nt i n form i ng t h e
.
foundat i ons t h e first ston e was la i d i n 1 7 6 4 I n 1 7 7 0 Patt e and oth e rs

, .
po i nte d o u t that t h e p i e rs supporti ng t h e drum o f t h e dom e w e re not

strong e nough fo r th e i r purpos e Rond e l e t w ho was th e n a pup i l o f .
,
S ou ffl o t and w h o aft e rwards compl e t e d t h e bu ild i ng r e pl i e d anony

, ,
m ou s ly to Patt e and M G a n t h e y o f t h e Ponts e t Chauss é e s a n d

,
2
.
, ,
M L A b b é B ossu t o f t he A ca d é m i e d e s S c i e nc e s pulv e r i z e d ( D A r g e n
.
’
,
’
v ill e s t e rm ) t h e cr i t i cs w i th sc i e nt ific d e monstrat ions S o u ffl o t assur e d

’
.
h i s oppon e nts th at h i s calcula t i ons w e r e sc i e nt i fically corr e ct as th e y ,
would s e e i n good t i m e and d e cl i n e d to alt e r h is d e s ign U nfortunate ly

,
.
s e r i ous cracks b e gan t o show on t h e fac e of t h e p i e rs i n 1 7 9 6 and ,
though Ronde l e t loyally d e fe nd e d h i s o ld mast e r say i ng that t h e cracks ,
w e r e d u e to wrong s e tti ng by t h e masons b e i ncr e as e d t h e ar e as o f t h e ,
p i e rs by cas i ng i n t h e columns mount e d by S oufflot a n d probably by ,
so do i n g sav e d t h e bu i ld i n g from compl e t e catastroph e T h e v e xat i ons .
caus e d by t h e p e rs i st e nt cri ti c i sm o f h is d e s ig n t h e d i sloyalty of h i s ,
fr i e nds and t he an x i e ty wh ich t h e arch it e ct must hav e fe lt as to t h e

,
soundn e ss of h i s construct i on und e rm i n e d his h e alth and h e d ie d o f , ,
worry and chagr i n i n 1 7 8 0 T he Panthéon w a s undoubte dly a gr e at .
work v e ry fi n e i n parts but o n t h e w hol e i t was not a succ e ss

, , , , .
S o u ffl o t s i nv e nt i on w a s spo i lt by h is I tal i an tour ; Pa e stum and t h e

’
conno i ss e urs w e r e too much for hi m H e lost t h e grac e ful fancy of h i s .
e arl ie r y e ars t h e tru e nat i onal mann e r o f Fr e nch arch i t e ctur e and
,
y et ,
t hat mann e r was t o o i ngra i n e d i n hi m to allow h i m wholly to ass i m i lat e
t h e archa e olog i cal class i c th e n b e com i ng t h e rag e and v e h e m e ntly ,
advocat e d by t he p e dants T h e front isp ie c e i s a r e m i n isc e nc e o f t h e

.
1
h eight of h i s ord e r 1 8 3 4 fee t and t h e wi dth of fri e ze out to out 6 2 fee t
The , , , .
2
D out e s d un margu ill i e r sur l e probl em e d e M Patt e conce rnant la Coupol e d e
"
’
.
St e . Ge n eviev e 1 7 7 0 and M é mo i re en -rép ons e a M Patt e 1 7 7 2 Se e A pp e ndix o n

,
”
,
“
.
,
”
.
t he D om e of t h e Panth eo n ’
.
P L A N S O F T H E D O M E O F T H E P A N T H EON A S DE S I G N ED B Y S O U FF L O T
,
( F R O M J B R O N D ELE T
. .
,
M é M O i R E S U R LE D OME DU P A N T H EO N FR A N AI S
Q
[11 . to FA P
CE . 1 38
PL . C LXXV I I
S E C T I ON S OF D O ME O F T H E P A N T H EON
( F R O M R ON D E LE T )
( T h e pl a n in f
l e t -ha nd co r n sh s s i n g
er ow ca of
pi e r on o u t er Sl d e s b y Ro nd e le t )
11 . TO FA E P
C . 1 39 ]
pe u él e vés décor é s d e s group e s d e s hu i t p er e s de l egl is e

, I am n o t ’
.
cl e ar w hat h e m e ans by avant corps h e r e I f th e s e groups had “

.
mask e d t h e four angl e s o f t h e squar e b e l ow t he drum of t h e dom e th e y ,
would hav e mat e r i ally h e lp e d t h e compos i t i on as a whol e and save d ,
t he d e s ign from t h e crud e a nd i n e ffic i e nt tr e atm e nt o f t h e cant e d angl e s .
I t w a s Q u a t r e m er e d e Qu i ncy w h o d i d away w i th t h e t w o tow e rs

1 2 0 fe e t h igh at t h e e ast e n d d e s i gn e d by S o u ffl o t and had t h e w i ndows ,
i n t h e walls bu i lt up i n ord e r that all t h e l ight m ight com e from abov e

i n t h e tru e mann e r o f t h e ant i qu e T h e r e sult of h i s i nt e rfe r e nc e w i th .
t h e sculptur e was a blatant compos i t i on by M o i t t e for t h e p e d i m e nt o f
t h e w e st front Wh e r e C o u s t ou had carv e d t h e Tr i umph of t h e Fa i th

.
,
M oi t t e propos e d to subst i tut e

”
La Patr i e couronnant l e s V e rtus a ,
sti lte d affa i r wh i ch sugg e ste d t h e i ns i p i d group wrong i n scal e and ,
r e l ie f and lack i ng a s e ns e o f arch i t e ctur e wh i ch was plac e d o n th i s

, ,
p e d i m e nt by D av i d d A n g e r s forty y e ars lat e r F or t h e e normous

’
.
1
e ntablatur e runn i ng rou nd t h e bu i ld i ng and n e c e ss i tat e d by t h e ord e r
o f t h e front i sp i e c e S o u ffl o t was r e spons i bl e I t i s t o o b ig fo r t h e wall

,
.
b e low and S o u ffl o t mad e i t wors e by plac i ng b e n e ath it a cont i nuous

,
band o f s w ags t he full d e pth o f t h e cap i tals o f t h e ord e r t h e t w o

, ,
t oge th e r b e i ng som e 2 0 fe e t d e e p out of a total h e i ght from ground ,
l in e t o t h e top of t h e e ntablature o f som e 7 8 fe e t T h e d e tai l is .
commonplac e and i s m i sappl i e d i n a s i ngl e ord e r fa c ad e w i thout

,
2
p ilast e rs Wr e n us e d th i s mot i v e o f a band of ornam e nt cont i nuous

.
w ith t h e cap i tals o f t h e ord e r w i th consu mmat e sk ill on t h e o u ts i d e

of S Paul s but h e us e d i t w i th a doubl e ord e r and i n r e lat i on to
.
’
flat e ngage d p ilast e rs L e plus grand m onum e nt q u e la F ranc e a i t

.
“
” 3
v u él e vé dans l e di x h u i t l e me s i ecl e w a s a fa i lur e i n many ways but ,
i t s qual i t i e s and d e fe cts a r e at l e ast mor e attract i v e and mor e v i tal than
t he fr i g i d accompl i sh m e nt o f t h e M ad e l e i n e w i th i t s i mp e ccabl e d e ta i l ,
and total want o f human i nt e r e st .

‘
I n 1 7 6 5 S oufflot d e s ign e d t h e sacr i sty of N otr e D am e ( now

d e stroy e d) and about th i s t i m e i s sai d to hav e mad e d e s igns for t h e
,
H Ot e l d e V i ll e of B ord e au x and for t h e Cath e dral at R e nn e s m 1 7 6 0 ,

5
1
See R Schn ei d e r
.
, Q u a t r e mer e de Qu i ncy pp ,
.
-
3 3 49 . M oit te s m o d e l wa s
’
brok e n
in 1 823 .
3
It was alt e re d by Q u at r e m é r e d e Qu i ncy i n h is pursu i t of s e ri ousn e ss and e th i cal
s ign i ficanc e Q u at r e mér e d e Qu i ncy
3 ”
. .
I r e fe r to t h e exi st i ng Mad e l ei n e T h e ori gi nal d e s i gn for th i s church wa s mad e by

.
C ontant b efor e 1 7 6 5 w h e n Patt e publ i sh e d h i s M onu me n s e r i g es

,
.
”
B au ch al A ppar e ntly n e v e r carri e d o u t T h e ex i st in g H Ot e l d e Vi ll e of Bord e au x

5
. .
i s t he old A rch i ep i scopal Palac e d e s i gn e d i n 1 7 7 7 by E t i e nn e for t h e Pr i nc e Rohan d e

G ue m i n é e A rchb i sh op o f B ord e au x
, .
SO U F F LOT 1 41
and 1 7 6 3 but th i s bu i ld i ng w a s n o t b e gun t ill aft e r his d e ath T h e

,
.
i nt e r i or i s fin e ly d e s ign e d I solat e d I on i c colum n s o n low p e d e stals

.
support an e n tablatur e ab o v e wh i ch t h e barr e l vault r i s e s i mm e d i at e ly

w i thout any i nt e rm e d i at e att i c o r p e d e stal T h e nav e i s l it by w i ndo w .
op e n i ngs form e d in t h e s i d e s o f t h e vault ov e r alt e rnat e bays Th e r e .
i s a cupola o n p e nd e nt i v e s ov e r t h e cross i ng and a shallow cho i r ,
w i th a s e m i c i rcular aps e an d colu mns support i ng a s e m i dom e Quatr e -

.
m é r e d e Qu i ncy s i ns i st e nc e o n t h e u s e o f i solat e d columns d i r e ctly

’
support i ng t h e e ntablatur e i nst e ad o f p i e rs w i t h arch e s had i n fact

, , ,
b e e n ant i c ipate d by comp e t e nt F r e nch arch i t e cts by at l e ast th i rty

y e ars .
I n 1 7 7 0 S o u fflo t d e s ign e d t h e un i nt e r e st i ng H Ot e l D i e u at M acon ,
but c a n hav e g i v e n l i ttl e att e nt i on to t h e d e s ign and h e w a s aga i n at ,
Lyons i n 1 7 7 2 3 wh e r e i n r e cogn i t i on o f h i s gr e at s e rv i c e s to t h e town

-
,
”
a s an arch i t e ct and son d i s i n t e r e s s e m e nt h e w a s appo i nte d c o n
“ “
,
t r Ol e u r général d e s e mb e ll i ss e m e n t s d e la v i ll e S o u ffl o t was a g e n e rous .
man Wh e n h e pr e par e d h i s d e s igns for t h e E co l e d e D ro i t d e Pari s

.
h e d e cl i n e d to r e c e i v e any fe e though h e w a s by no m e ans a r i ch m an

,
.
O f h is oth e r w orks t h e most i nt e r e st i ng i s M e nars n e ar Blo i s S o u ffl ot ,

.
w a s c e r t a i nly e mploy e d h e r e by M ar i gny but nobody s e e ms to b e qu i t e ,
c e rtai n what h e d i d M e nars w a s bought by M m e d e Pompadour i n 1 7 6 0

. .
,
and an e x t e ns iv e r e cons t ruct i on was b e gun but s h e d i e d i n and ,
l e ft t h e prop e rty to h e r broth e r M ar igny w h o compl e t e d t h e r e bu i ld

, ,
i ng and furn i sh e d h i s hous e w i th loans from t h e Royal Coll e ct i ons

“ ”
o f p i ctur e s sculptur
,
e furn i tur
, e and br i c,a-brac wh i ch h e took good car e
-
,
n e v e r t o r e turn T h e cur i ous th i ng about M e nars is that t h e d e t a i l o f i t s

.
e xt e r i or m igh t l e ad o n e to suppos e that i t had b e e n bu i lt i n t h e first
hal f of t h e s e v e nt e e nth c e ntury for t h e rus t i cat i ons t o t h e angl e s and t h e

,
w i ndows r e call t h os e o f Ch e v e rny t h e H Ot e l L i m u r a t Vann e s and B al

,
-
,
l e roy i n N ormandy M ar igny i s sa i d to hav e cont e mplat e d t h e purchas e

.
o f Ch e v e rny b u t w a s d e t e rr e d by t h e adv i c e o f S o u ffl o t and wh e n h e

, ,
r e bu i lt M e nars may hav e i nstruct e d S oufflot to follow t h e d e ta i ls o f

Ch e v e rny T h e e ntranc e to M e nars i s o n e o f t h e b e st approach e s to a
.
2
cou ntry hous e on a mod e rat e scal e to b e found i n F ranc e A w i de .
av e nu e o f ch e stnuts l e ads from t h e mai n road t o t h e i ron gat e s s e t

1
S eeFe rnand B ournon Bl oi s Chambord pp 1 2 7 1 3 , .
-
2
T h e e l e vat i ons ar e of cours e qu i t e d i ffe r e nt but th i s r e v i val of d e ta ils that had
, , ,
b ee n out o f fash i on i n Franc e for o v e r a hundr e d y e ars i s r e markabl e T h e E cl e ct i c .
and t h e R e v ival i st w er e alre ady at w ork but i n t h e O rang e ry and t h e T e mpl e d A mou r at
,
’
M e nars S o u fil o t foll owe d h i s nat ural b e nt .

b e tw e e n lodg e s about 1 6 fe e t squar e I ns i d e t h e lodg e s i s a ma y .
d kon n em about 6 5 pac e s w i d e by 1 1 0 long flank e d by a doubl e l i n e

’
’
,
o f ch e stnuts and bound e d by walls w i th an oval grass plot i n t h e ,
c e ntre A t t h e furth e r e nd o f th i s court a r e two advanc e d blocks o f

.
bu ild i ng about 3 4 pac e s long by 2 6 w i d e 5 4 pac e s apart and s e t , ,
2 8 pac e s i n advanc e o f t h e hous e i ts e lf Th e s e w i th t he hous e i ts e l f .
form t h e fore court and by th is sk i lful d istri but i on of courts av e nu e s

, , ,
and advanc e d pav il ions t h e hous e i s s e t w e ll back at t h e e nd of t h e ,
v i sta as t h e culm i nat i ng fe atur e of t h e whol e sch e m e Th e s e e ight e e nth .
c e ntury arch i t e cts r e al i z e d that a bu i ld i ng w i th no car e tak e n of i t s

”
approach e s and surround i ngs is a bu i ld i ng manqué Both h e r e and .
at S G e n e v i ev e wh e r e a gr e at Plac e w as part of h is sch e m e S o u ffl o t

.
, ,
show e d that h e w a s consc ious of t h e n e c e ss i ty o f t h e r ight e nv i ronm e nt

to compl e t e his arch it e ctur e A mong h i s l e ss i mportant w orks t h e .
,
Church of t h e V i s itat ion at L e Mans i s notabl e for t he cl e v e r tr e at

m e nt of t h e e x te rnal sta ircas e at t h e w e st e n d wh e r e t he ground falls ,
sharply and t h e road w i nds i n s o clos e to t h e church that th e re w a s

,
only room fo r sta irs o n t he south s i d e of t h e c e ntral door T h e .
i nt e r i or i s rath e r dull and t h e e ffort at subtl e r e fin e m e nts o f l i n e t o o

,
obv i ous .
S o u ffl o t p e rsonally s e e ms to hav e b e e n o n e o f t h e most attract i v e

of all t h e Fr e nch arch i te cts H i s b i ograph e rs d e scr i b e h i m as a man Of .
a qu i ck and i mp e tuous t e mp e r and u n ton brusqu e e t tranchant ,

“
,
” 1
w h ich w a s oft e n m i sund e rstood and o f wh i ch h e w a s consc i ous h i ms e lf , ,
for accord in g to D A r g e n v ille h e oft e n apolog iz e d n e xt day for h is

’
”
v i vac i tés o f y e st e rday H e w a s a m a n o f g e n e rous i nst i ncts e nt h u s i
.
,
a s t i c for h i s a r t and e nt i r e ly fr e e from t h e i nsti nc t s of t h e trad e sman ;
d e Qu i nc e y says S o u ffl o t éta i t d un caract er e v i f il ava i t l h u m e u r

’ ’
, ,
brusqu e ; ma i s l e c oeur s e ns ibl e nobl e e t génér e ux S om e o f h i s , .
coll e agu e s app e ar to hav e tr e at e d h i m w i t h tr e ach e rous d isloyalty ,
and a s usual bu ilt t h e tombs o f t h e pro p h e ts aft e r th e y had ston e d

th e m 2 .
Two oth e r gre at church e s w e re b e gu n i n t h e latt e r part o f t h e

e i ght e e nth c e ntury t h e church o f t h e Mad e l e i n e and t h e Cath e dral o f
,
A rras both d e s ign e d and b e gun by Contant d I v r y A rch i t e cte d u

’ “
, ,
”
Ro i , but compl e te d by oth e r hands C ontant was born at I vry -sur .
S e i n e i n 1 6 9 8 w as a pup il o f D ul i n and w a s adm i tt e d to t h e A cad e my

, ,
1 ’
D A rg e n v ill e .
2
The o u v ell e N B i ograph i e G é néral e says that S ou ffl ot publ i sh e d h is wo rks i n t wo
v olum e s fol i o , ,
in 1 767 I hav e n ot b e e n abl e t o find a c opy of th i s
. .
NO R T H T AN E T A A A T H E A L I N 9 3 (p
R S P ,
RR S C DR ,
1 1 . 1 43)
( F O
R M A A WIN B
DR Y E G IGN A L BL O
R M F I EL
D ) D
11 . TO FA E P
C . 1 43 ]
C O N TA N T D I V R Y
’
1 43
in 1 7 B
28 lond
. e l r e fe rs to h i s sk i ll as a d e s i gn e r o f gard e ns and h i s
1
work at S Cloud and e ls e wh e r e and B a u cha l attr ibut e s to h i m an hot e l

.
,
i n t h e Plac e V e nd o m e an hot e l for t h e Pr i nc e d e S oub i s e and oth e r

, ,
b u i ld i ngs H e was A rch i t e cte d a R o i Controll e r o f t h e H Ot e l d e s

.
,
I nval i d e s and arch it e ct to t h e D u e d O r lé a ns T h e C ath e dral o f A rras

,
’
.
was b e gun from h i s d e s i gns a b o u t t h e m iddl e of t h e e i ght e e nth c e ntury

and was not compl e te d t ill 1 8 3 3 I t was an e normous bu ild ing o f ston e .
2
w i th a nav e and arch e s i n s i x bays trans e pts i n thr e e bays a dom e , ,
ov e r t h e Cross i ng and a cho i r i n thr e e bays wi th s e m i-c i rcular aps e at

,
t h e e n d and a c i rcular Lady Chap e l b e yond

,
T h e scal e throughout w a s .
i mm e ns e O n t h e outs i d e th e r e w e r e fly i ng buttr e ss e s of gr e at sol i d i ty

.
to m e e t t h e thrust of t he vault i ng H e r e ant ic ipat i ng S o u ffl o t Contant .

,
us e d i solat e d columns and form e d t he four supports o f t he dom e w i th ,
clust e rs of thr e e s e parat e Cor i nth i an columns ( som e 4 fe e t 6 i nch e s i n

d i am e t e r) i nst e ad of sol i d p i e rs O n t h e e xt e r i or h e adh e re d to t h e doubl e
.
ord e r and i nd e e d to t he trad i t i onal m e thod of an ord e r b e low w i th i t s

,
e ntablatur e compl e t e w i th a s e condary ord e r abov e to mask t h e cl e r e

,
story T he Cath e dral stands o n rap i dly fall i ng ground and Contant mad e
.
,
a sk i lful u s e of th i s i n h is tr e atm e nt of t he north trans e pt and o n t h e ,
w e st front h e d e alt w i th i t by a nobl e fl i ght o f forty -e ight sta irs w i th

four land i ngs e xt e nd i ng b e yond t he w e st front to a total w i dth of som e
,
1 1 4 fe e t T h e v e ry poor d e ta ils o f t h e i nt e ri or w e r e carr i e d o u t aft e r

.
C o n t a n t s d e ath Contant also d e sign e d at A rras t h e E p iscopal Palac e

’
.
o r A bbay e o f S Vaast ) w i th i t s e laborat e e ntranc e T h e d e ta i ls and

( . .
p rofil e s a r e rath e r w i ry and a t t e nuat e d Contant w a s an abl e a rch i t e ct .

,
but h e lack e d t h e r i ch v i tal i ty o f Gabr i e l and o n e not e s i n all th e s e ,
l at e r e ight e e nth c e ntury arch i t e cts a c e rta i n forc e d and ar i d qual i ty ,
e v i d e nc e o f a fa i lur e i n i nv e nt i on wh i ch was ult i mat e ly to dr i v e th e m
back t o m e r e ly acad e m i c d e s ign .
I n 1 7 6 4 C ontant was e ntruste d w i th t he d e s ign of t h e M ad e l e i n e ,
2
A rch“
i 39 .
,
2 .
2
I i nsp e ct e d t h e cath e dral i n F e bruary 1 9 1 8 aft e r t he G e rman b o mbardm e nt T h e , .
north trans e pt ( sho w n i n t h e s ke tch ) and t h e hous e s adjo i n i ng w e re d ow n i n a h e ap of

d é br i s i n t h e stree t All t h e vaulti ng wa s d e stroy e d e xc ept th e dom e of t h e Lady Chap e l
.
and t h e flat bri ck vault i ng a la Rouss ill on i n som e of t h e bays of t h e ai sl e s T h e i nt e ri or .
w a s block e d many fe e t h i gh w i th h e aps of brok e n br i ck and ston e T h e sh e ll i ng had la i d .
bar e t h e construct i on and I found that t he flat vault i ng of t h e ai sl e s r e st ed o n strai ght

,
sto n e arch e s t i e d i n w i th i ro n t i e rods and susp e nd ing rods at top and bottom O n t h e .
w e st front t h e columns of t h e upp e r ord e r had fall e n but t h e e ntablatur e abov e th e m wa s ,
st i ll stand ing T he w hol e of t h e w e st front of t h e E p i scopal Palac e to t h e south of t h e

.
Cath e dral i s d e stro y e d but t h e i nt eri or to t h e c ourtyard and Cont an t s entranc e we re th e n

,
’
i ntact .
t he gre at church wh i ch was to compl e t e t h e v i sta northwards o f Gabr i e l s ’
d e s igns for t h e Plac e Lou i s XV I n t h e d e s ign o f th i s chu rch wh i ch i s

.
,
fully illustrat e d i n Patt e C ontant adh e r e d t o t h e trad i t i onal Fr e nch

,
e ight e e nth c e n t ury typ e w i th t w o i mportant d e v i at i ons A t t h e w e st .
e n d i nst e ad of t h e usual ord e r abov e ord e r h e stopp e d h i s nav e abruptly

, ,
and add e d b e yond i t a port i co of a s i ngl e Cor i nth i an ord e r t h e p e d i m e nt ,

1
o f wh i ch was to b e k e pt b e low t h e cl e r e story o f t h e nav e and to abut
a ga i nst i t T h e e ffe ct would hav e b e e n qu e st i onabl e as t h e port i co had

.
,
e v e n l e ss r e lat i on to t h e r e st of t h e d e s i g n than S o u ffl o t s prod ig i ous

’
port i co at t h e Panth eon T he oth e r i nnovat i on to wh i ch Patte calls

.
part i cular att e nt i on was t h e cur ious and or ig i nal plann i ng of t h e

,
s pac e u nd e r and arou nd t h e c e ntral dom e T h e dom e wh ich w a s .

,
som e forty fe e t i n d iam e t e r was carr i e d by p e nd e nt i v e s o n four

,
p i e rs for me d by thr e e e ngage d columns Round t h e squar e form e d .
by th e s e p i e rs ran a broad a isl e tw e nty e ight fe e t W i d e t o t h e n e ar e st-
column of t h e cho i r trans e pts and nav e ; Patt e says C e t arrange

, ,
“
m e nt e s t absolum e nt n e uf e t r e ndra c e t e ndro i t q u i a coutum e d etre ,

’
s i r e s e r r é e dans n os égl i s e s v ast e spac i e ux e t capabl e d e cont e n i r u n

, ,
”
p e upl e i mm e ns e . Th i s m ight hav e b e e n tru e but t h e e ffe ct o f th i s ,
g igant i c bal d ach i no i n t h e c e ntr e o f t h e church would probably hav e

b e e n e x tr e m e ly b izarr e Conta nt also propos e d to r e turn h i s e ntabla
.
tur e round e ach of h i s col umns t h e e ffe ct of wh i ch w ould hav e b e e n

,
v e ry bad for i t i s o f t h e e ss e nc e o f t h e i solat e d column and l i ntol tr e at

,
m e nt that t h e e ntablatur e should b e co n t i nuous and unbrok e n B ut i n .
sp i te of th e s e po i nts wh i ch a r e op e n to cr i t i c i sm C o nt a n t s plan and ,

’
i nd e e d t h e whol e d e s ign a r e r e markabl e for th e i r or ig i nal i ty

, I t was .
unfortunat e that t h e churc h w a s n o t n e arly compl e te d wh e n t he R e vol a

t i on cam e and that noth i ng furth e r was don e to i t t i ll N apol e on took it
,
i nto h i s h e ad to hav e i t transform e d i nto a Roman T e mpl e d e d i cat e d

to t h e sold i e rs o f t h e gran d e arm e e H e h i ms e lf s e l e ct e d V ig n o n s
’
.
” ’
d e s ign a s most i n harmony w i th t h e Pala i s L e g islati f and l e ast l i k e ly ,
to
“
écra s e r l e s Tu il e r i e s V ignon d ie d i n 1 8 2 9 and t h e church was
.
,
compl e t e d by H u v e an d op e n e d i n 1 8 4 2 .
Contant e nt e r e d fo r t h e gr e at comp e ti t i on o f 1 7 4 8 and s e l e ct e d a

s i t e on t h e Qua i M a l a q u a i s oppos i te t h e grand gall e ry o f t h e Louvr e .
H e r e h e propos e d to e r e ct a n e w H o t e l d e V i ll e w i th a broad Plac e

b e tw e e n it and t h e r i v e r and a gard e n at t h e back runn i ng o u t t o t he
,
2
columns of t h e Cori nthi an ord e r ar e sho w n 4 2 fe e t h igh
T he . T o the r i ght o f t he
port ic o was a chap e l for chr i st e n i ngs to t h e l e ft a chap e l for marri age s
, .
PL . C LX XX I I
[P a t i e , fil on s . E r ig é s
P LA N OF DE S I G N S UBM I TT ED IN T H E C O M PE T I TI O N FO R T H E P L AC E L O U I S XV BY C O NTA N T ( 5 6 6
11. PP . 1 4 4, 1 45 ]
I: f l i t /k J c
ELE V AT I O N OF DE S I G N S UBM I T T ED IN TH E
( F O
R M p
OU Is x v . B Y C ON T A N T ( p
. 1 44)
[1 1 . PP . 1 44 , 1 45
C H A PT E R X XV I I
B L ON D E L ,
P A TT E , M I QU E
V E R s i nc e t h e day s of V i truv i us it has b e e n t h e prac t i c e o f

arch it e cts t o e t e about th e i r art and in t h i s r e gard a r c h it e c
,
tur e d i ffe rs from t h e s ist e r arts O n e c a n coun t on on e s finge rs

.
’
t h e a r t 1 s t s w h o hav e wr i t t e n on pa i nt i ng and sculptur e Pa i nt e rs and .
sculptors i f th e y a r e t o at t a i n t o e x c e ll e nc e i n th e i r a r t hav e t o cut s h ort

th e i r g e n e ral e ducat i on i n ord e r to start th e i r sp e c ial t ra i n i ng a t a t im
, ,
wh e n th e i r fing e rs a r e s t i ll s u ppl e a n d th e i r hab it s o f obs e r v at i on not

y e t s et . M or e ov e r ,o w i n g t o i t s t e chn i cal d i fficult ie s arch i t e ctur e e scap e d
,
t h e att e nt i ons of t h e l i t e rary man t i ll comparat i v e ly r e c e n t y e ars A lb e rt i .

,
S e rl i o Pallad i o S camozz i D e l O r m e E nlla n t t h e B lond e ls P e rraul t

, , ,
’
, , ,
,
Chamb e rs and Patt e w e r e not l i t e rary m e n but arch i t e cts and wh e n t h e y

, , ,
w rot e on arch i t e ctur e th e y stuck to th e i r t e x t a n d s e ldom wand e r e d
outs i d e i t ; but th ough Claud e P e rrault w rot e w e ll a n d t h e younge r ,
B lond e l w a s a n a cut e and l e arn e d cr i t i c i t must b e adm i t t e d that t h e s e

,
i nt e rm i nabl e d i s q u i s I t I O n s o n t h e ord e rs a r e e x tr e m e ly dull r e ad i ng and ,
that th e i r r e sult has b e e n to mak e an unn e c e ssary myst e ry of t h e art of

arch i t e ctur e and to r e mov e i t from t h e marke t plac e to t h e s t udy U n -
.
fortu nat e ly a w r i t e r o f br i ll i ant g e n i us but o f i naccura t e m e tho d s o f

, ,
th ought d e sc e nd e d o n t h e a r t i n t h e last c e ntury and l e ft i t t h e e asy

,
pr e y of wr i t e rs w i t h l i t tl e kno w l e d g e of t h e art o r any appr e c iat i on of ,
w hat i t has to d o and w ha t i t can do but poss e ss e d of much e mot i onal

,
s e ns ib i l i ty and a flu e nt hab i t of pros e Thus I t I s tha t wh e r e as i n t he

.
,
e i ght e e nth c e ntury e duca t e d p e opl e had a cl e ar and d e fin i t e conc e pt i on
o f arch i t e ctur e , no w adays th e y r e gard i t as hardly worth th i nk i ng

about I t must also b e adm i tt e d that arch i t e cts i n t h e pas t hav e t o o
.
oft e n abus e d th e i r opportun i t i e s by conv e rt i ng wha t purport e d to b e

t r e a t I S e s o n t h e a r t i nto v e h i cl e s o f p e rsonal adv e rt i s e m e nt T he .
e i gh t e e nth c e ntury fol i os ,bo t h F r e nch and E ngl i sh w e r e oft e n l i ttl e ,
1 46
B LO N D E L 1 47
m or e than sumptuous ad v e rt i s e m e nts o f t he author Y e t e v e n s o th e y .
a r e docum e nts of h i stor i cal valu e not only o n account o f t h e bu i ld i ngs ,
wh i ch th e y i llustrat e but for t h e e v i d e nc e wh i ch th e y afford o f t h e

,
po i nt o f v i e w o f t he arch i t e cts of that p e ri od N 0 b u i ld i ng i llustrat e s s o .
cl e arly t h e d i ffe r e nc e of standpo i nt b e tw e e n t h e e ighte e nth c e ntury and

o u r own t i m e a S F Blond l s Cours rch t ctur ’
r chi t e c t u r e
’ ”
J d A A i
l “ “
, e . . o r e e
”
F r a n ca i s e . A mong all wr i te rs on arc h i t e ctur e t h e younge r Blond e l
stands alon e not m e r e ly b e caus e h e was an author of amaz i ng i ndustry
, ,
but b e caus e he w a s a sound and comp e t e nt cr it i c w i th a r e al a ppr e ci a ,
t i on o f t h e fin e s t qual i t i e s of arch i t e ct u r e J acqu e s F ran c o is B lond e l .
was born at Rou e n i n 1 7 0 5 and w a s t h e n e ph e w of a J e an Fran c o i s ,
Blond e l an arch it e ct o f Rou e n ( 1 6 8 3 1 7 5 6 ) w h o was adm i tt e d t o t h e

,
-
A cad e my i n but app e ars to hav e b e e n n o r e lat i on t o t h e famous

F ran c o is Blond e l t h e first d ir e ctor of t h e A cad e my of A rch i t e cture .
J acqu e s Fran c o i s cam e to Par i s about 1 7 2 8 an d i n 1 7 5 2 carr i e d out 2
som e work at t h e H ot e l d A u m o n t but from t h e first his ch i e f a i m i n ’
arch i te ctur e s e e ms to hav e b e e n to e xpound n o t only i t s pr i nc ipl e s but

i t s t e chn i cal d e ta i ls t o h i s countrym e n H i s first work was e nt i tl e d .
D e la D i str i but i on d e s M a i sons d e Pla i sanc e e t d e la d eco r a t i o n d e s

”
é d i fi c e s e n général a rar e and b e aut iful book i n t w o volum e s publ i sh e d
, ,
by J o m b e r t o f Par i s i n 1 7 3 7 w i th 1 6 0 plate s drawn and e ngrav e d by ,
Blond e l who was an e xc e ll e nt draughtsman and sk i lful e ngrav e r B lond e l

, .
”
d e d i ca t e d h i s work to Turgot as le s pr e m i e rs fru i ts d e m e s étud e s ,
and w i th th i s i ntroducti on to t h e publ i c h e start e d h i s S chool o f A rch i

t e c t ur e i n 1 7 3 9 T he A cad e my Sch o ol was i nad e q u at e ; s t ud e n t s w e re
.
taught l ittl e b u t draw i ng Gabr ie l t h e D i re ctor w a s old and lazy and .

,
3
, ,
accord i ng to D A r g e nv il le th e r e was no school at t h e t i m e i n Par i s at

’
w h i ch a young arch i t e ct coul d l e arn t h e d e ta i ls of h i s art Blo n d e l w a s .
s o succ e ssful that i n sp i t e o f t he fact that h e had don e l i t t l e arch i t e ctural

,
work o f h is own h e w as adm i tt e d a m e mb e r o f t h e A cad e my i n 1 7 5 5

,
and i n 1 7 6 2 appo i nt e d Profe ssor of A rch it e ctur e a post wh ich h e h e ld ,
t i ll h is d e ath i n 1 7 7 4 H e carr i e d o u t som e m i nor d e corat i ons i n t h e

.
church e s o f S G e rva i s and S J e an e n Grev e at Par is but do e s n o t

. .
,
app e ar to hav e b e e n consult e d o n i mportan t works t i ll t h e last t e n y e ars

of h is l ife I n 1 7 6 3 h e pr e par e d plans fo r t h e ch urch of t h e A bbay e
.
A ng Jacqu e s Gabri l J e an Courtonn and C ontant

e e , e, d I v r y we r e
’
adm i tte d i n t h e
sam e ye ar— 1 7 2 8 — w h e n ei ght plac e s of arch i t ect e de d e u x i é m e— class e ”
we r e cre at e d by
l e tt e rs pat e nt .
H i s daught e r was bapt i z e d at S Eustach e i n

2
. 1 729 .
3
Gabri e l t h e eld e r .
1 4 8 A H I S T O RY O F F R E N C H A RC H I T E CT U R E
Royal e de s D am e s Chano i n e ss e s d e S Lou i s at M e tz w h i ch w e r e .
’
approv e d by t h e K i ng at F ontai n e bl e au i n 1 7 6 3 Co u rs d A r c h it e c
”
tur e i i , I n 1 7 6 6 h e mad e a most e laborat e proj e ct for t h e lay o u t
,
o f Cat e au Cambr e s i s s i x l e agu e s from Cambra i for t h e A rchb i shop o f

, ,
Cambra i and about t h e sam e t i m e h e pr e pare d an e normous sch e m e

,
1
fo r t h e ga rd e ns and grounds o f a G e rman pr i nc e unnam e d and anoth e r ,
fo r a hunt i ng s e at i n G e rmany fo r an El e ctor I n 1 7 6 4 h e mad e d e s igns .
for t h e H Ot e l d e V i ll e for t h e d e corat i on o f t h e Plac e d A r m e s t h e

,
’
chapt e r hous e and S acr i sty o f t h e Cath e dral o f M e tz and i n th i s y e ar , ,
t h e to w n o f Strasbourg hav i ng d e c i d e d to bu i ld barracks a Plac e ,
d A r m es a S e nat e H ous e and a S all e d e Sp e ctacl e s and to r e mod e l

’
, ,
t h e town r e qu e st e d t h e D u e d e Cho i s e u i l to nom i nat e an arch i t e ct

,
.
Cho i s e u i l nom i nat e d Blond e l who pr e pare d t h e plans and says that , ,
th e s e w e r e b e i ng carr i e d o u t at t h e t h e t i m e h e i ssu e d h i s Cou rs “
’
d A r c hi t e ct u r e i n 1 7 7 1 Blond e l says that it w as h i s work at Strasbou rg .
2
that l e d to h is b e i ng e mplo y e d at Cat e au Cambr e s i s and Cambra i .
W i th th e s e e x c e pti ons Blo n d e l was not succ e ssful as a pract i s i ng arch i

t e e t and i t app e ars that h e was i mpov e r i sh e d by t h e cost of h is gr e at
publ i cati ons and that h i s lov e o f pl e asure pr e v e nt e d any att e mpt at
,
3
e co nomy I n h is old a g e h e marr i e d a young g i rl as h i s s e cond w i fe
. ,
and e mb i tt e r e d by hi s troubl e s b e cam e som e what forg e tful q u e s a “
”
j e un e épous e le s partage a i t sans murmur e s but h i s e nthus i asm for t h e ,
work of h is l i fe h e ld good to t he e n d F e e l i ng that h is i lln e ss w a s fatal . ,
h e had h i ms e lf mov e d to h i s school i n t h e Louvr e i n J anuary 1 7 7 4 and ,
d i e d t h e r e four days lat e r .
Blond e l s d e s igns for M e tz C ambra i S t rasbourg and e ls e w h e re

’
, , , ,
a r e i llustrat e d i n h i s Cours d A r ch it e ct u r e W i th t h e e x c e pt i on o f ’ ”
4
.
t h e Church for t h e Chano i n e ss e s at M e tz an i ng e n i ous if rath e r forc e d ,
d e s ign th e y a r e e x tre m e ly d i sappo i nt ing H i s church e s a g igant i c

, .
,
cath e dral and an e v e n mor e e xagge rat e d par i sh church a r e absurd

, ,
.
2
C ours i v 8 8 94 PI xxv , , . . .
S ee J F Blond e l e t son oeuvr e par Aug Prost M e tz 1 8 6 0 and Cours d Ar ch i

“
2 ’
. .
,
.
, , ,
t e cture i 1 1 5 -1 1 7 D Arge nvil le says : Un ordr e d u r o i l e n v oya a M e tz il fit u n

,
”
, .
’ “ ’
,
proj e t g é n é ral d e mb elli s s e men t pour tout e la vill e : i l donna d e s plans d agran di ss eme n t
,
’ ’
e t d al i g nm e n t d e s anc i e nn e s ru e s e t d es p e rcés pour d e nouv e ll e s

’
.
Man on B al et ti daught e r of a famous Ital i an actre ss In orde r to marry Blond el

3
,
.
s h e J I l t e d no l e ss a p e rson than t h e r e doubtabl e Jacqu e s Casanova S i e ur d e Se i ngal t and ”

, ,
took r e fug e from that w h i rl wi nd of pass i on und e r t h e safe sh e lt e r of l e s Conve nance s .
Casanova gi v e s a charact e ri st i c account of t h e i nci d ent i n h i s amazing M e mo i rs ( iv

“ ”
,
chap v i ) and h e also giv e s th e dat e 1 7 5 9

.
, ,
.
Vols iii ( 3 6 9 4 2 0 ) and i v and plat e s i n vols VII and v iii

4
.
-
,
. .
i nstruct p e rsons o f qual i ty i n t h e pr i nc i pl e s o f art B ut b e adopt e d t h e .
t e d i ous form of l e tt e rs from t h e Comt e d e S a l e r a n t h e Comt e ss e “

,
”
d e V a u y e r and s o o n and t h e work w a s a fa i lur e

” 1
, , .
B lond e l s s e r ious works by w h i ch h e w ill al w ays b e r e m e mb e r e d

’
, ,
w e r e ( 1 ) D e la D i str i but i on d e s M a isons d e Pla i sanc e

“
I 737 ,
” °
( 2 ) L A r c hit e ct u r e F r a n ca is e and 3 ) t he Cours d A r c h it e c t u r e

’ ’
.
H i s first work was produc e d wh e n h e was only th i rty t w o hav i ng -

,
b e e n as he says i n h is pre fac e i g n o r e e t comm e e ns e v e l i dans le

, ,
“
Cab i n e t d e pu i s plus ie urs anné e s but he stat e s that not only had h e ,
mad e a most i ndustr i ous study of all authors but h e had v i s i t e d t h e ,
b e st mod e rn bu ild i ngs and b e e n gu i d e d by t h e adv i c e of t h e most

e m i n e nt arch i t e cts pa i nt e rs and sculptors T h i s m e thod o f constant
, , .
r e fe r e nc e to cont e mporary work b e adh e r e d to i n all hi s books on

arch i t e ctur e From t h e first h e wrot e w ith a v i e w to mod e rn pract i c e
.
,
and w h e th e r he was d e al i ng w i th t he cou ntry hous e and gard e n ,
as in t he Ma i sons d e Pla isanc e or w i th arch i t e ctur e i n g e n e ral

“
,
i n h i s syst e mat i c Cours o r w ith t h e catalogu e rai sonné e o f t h e

“
,
“
”
“
A rch i t e ctur e Fran c a i s e h e proc e e d e d upon c e rta i n pr i nc i pl e s t o
,
a cr i t ical co mpari son n o t only o f anc i e nt e x ampl e s but of m od e rn ,
works r igh t down to t he actual dat e at wh i ch h e wrot e Thus i n h i s .

,
”
“
Cours h e r e fe rs to w orks by Chalgr i n and A n t o i n e and t o t h e
, ,
church e s o f S G e n e v i ev e and t he M ad e l e i n e th e n scarc e ly s t art e d

.
,
.
H i s obj e ct throughout w a s to e xpla i n arch i t e ctur e i t s purpos e i t s , ,
groundwork i n thought H e w a s s t i ll fa i thful to t h e trad i t i on o f t h e

.
”
e arly days of t h e A ca d e m
y of A rch i t e ctur e : La ra ison sur t out In 3
.
’
h is pr e fac e h e says : N ous avons sur tout ch e rché a analys e r ce qu e n
p e ut app e l e r l e ra isonn e m e nt d e l a r c hi t e c t u r e H i s thoroughn e ss
’
.
” 4
w a s e xtraord i nary I n t h e M a i sons d e Plai sanc e e v e ry co n c e i vabl e

.
d e ta il that m ight b e r e qu i r e d i n t h e d e s ign o f a g e ntl e man s country ’
hous e and ga r d e ns is d e alt w i th m e thod i cally H e starts w i th t he .
e ntranc e to t h e park and carr i e s through to t h e d e ta i ls o f t h e bath

,
room and t h e candl e st icks I n t h e four volum e s o f t h e A rch i t e ctur e .
Fran c a is e t h e m i nut e n e ss of hi s m e thod mak e s i t an i mposs ibl e book

to r e ad N o d e ta il e scap e s h i m noth i ng i s spar e d to t h e w e ar i e d
.
,
stud e nt and it is t he sam e w i th t h e Cours d A r c hi t e ct u r e Whate v e r

,
“ ’
.
t h e faults of e ight e e nth c e ntury m e thods o f tra i n i ng th e y w e r e ,
I
It publ i sh e d at A mst e rdam i n 1 7 7 5
w as .
H e also contr i but e d art i cl e s on arch i t e ctur e to t h e E ncyclopa e d i a

2 “
.
3
O n t h e t i tl e pag e of D e B o ss e s Tra ité d e s M ani e r e s d e d e ss in e r le s ordre s
’ ‘
.
2
Pr e fac e p xvi , . .
B LO N D E L 5 1
assur e dly n o t sup e rfic ial Blond e l take s up e ach d e ta i l of t he orde rs .

,
t h e Gr e e k from L e r o y as w e ll as Roman F r e nch and I tal ian and I

, , , ,
fa i rly worr i e s th e m backward and forward t i ll t h e r e I S noth i ng m ore t o

sa
y a
, nd th e n comb i n e s th e m i n to a grand compos i t i on fo r t h e b e n e fit
o f h i s stu d e nts H e do e s t h e sam e w i th t h e var i ous parts o f bu il d i ngs

.
,
sta i rcas e s balustrad e s front isp ie c e s a n d t h e l i k e a nd at e v e ry po i nt t h e

, , , ,
stud e nt i s r e fe rr e d t o t h e works o f r e cog n iz e d mast e rs anc i e nt o r mod e rn , ,
fo r actual e xampl e s ; nor do e s h e spar e e stabl i sh e d r e putat i ons how e v e r ,
gr e at H e apolog i z e s for h is audac i ty y e t j ust i fi e s i t o n t h e ground that

.
,
i t i s h is duty to po i nt o u t to hi s stud e nts n o t o n ly what t o adm i r e but also

what n o t t o adm i r e Thus th e y w i ll l e arn t he e l e m e nts of good tast e t h e
.
,
”
all i mportant go u t o f t h e e ight e e nth c e ntury Thus o n a r e ason e d
- .
,
th e ory o f arch i t e cture th e y w ill b e abl e to d i scr i m i nat e not only b e

,
tw e e n good and bad but b e tw e e n good and t h e b e st a po i nt labour e d

, ,
by B o ffr a n d i n h i s e fforts to d e fin e good t aste H i s cr i t i c i sm o f t h e “

.
gard e n front of Vaux l e V i comt e i s charact e r i st i c L e Vau as h e says .

, ,
had n o re al r i val i n h i s t i m e but P e rrault and Vau x l e V icomt e was ,
h i s most notabl e work Y e t Blond e l proc e e ds to d e mol i sh i t w i th a

.
cr i t i c i sm a s r igorous as I t I S c e rtai nly sound What h e asks would .

, ,
ha v e b e e n t h e mo t i v e o f le Propr i é ta i r e op u l e n t i n bu i ld i ng th i s ”
hous e ? Cl e arl y h e answ e rs u n ch at e au pour y fa i r e s a r e s i d e nc e ,

“
p e ndant l a r r i er e sai son and t h i s w ould i n v olv e l iv i ng rooms fac i ng

’
,
”
south o n t h e ground floor w i th pr i vat e rooms o n t h e first floor mark e d , ,
by t w o e ll d e e stor ys
w fi n d e o -
n t h e fa c ad e B ut what do e s e Vau do
L ? .
O n a front of so me 2 2 0 fe e t h e us e d a colossal ord e r for t w o -t h i rd s o f

t h e front and th e n i n t h e c e ntr e i ncont i n e n t ly d ropp e d to ord e rs abov e
,
ord e rs of l e ss tha n half t h e d iam e t e r of t he colossal ord e r T h e r e sult .
i s that t h e r e i s no un i ty i n t h e d e s ign and i t fa i ls compl e t e ly i n con ,
v e na n ce that i s i n charact e r su i tabl e to t h e purpos e o f t h e bu ild i ng

,
”
,
.
H e proc e e ds from th i s to t h e oth e r fa u l t s of t h e d e s i gn t h e e x c e ss i v e ,
s i z e o f t h e D om e t h e h e av i n e ss of t h e roofs t h e want o f scal e i n t he

, ,
d e ta ils and t h e bad proport i ons and fi nally warns h is stud e nts aga i nst
, ,
b e i n g m isl e d by t h e e xa m pl e and succ e ss of L e Vau H e is scarc e ly .
’
l e ss s e v e r e o n L A s s u r a n ce O n t h e oth e r hand h i s adm i rat i on fo r .
,
F ran c o i s M ansart was s o gr e at that h e hardly allows h i ms e lf to e r it i

c i z e hi s w ork and hi s appr e c iat i on o f A nto i n e L e Pa u t r e u n d e nos
2
, ,
“
L e roy s Ru i n e s d e plus b eau Monum nts d e la Gr ec e 7 5 8 H e gi ve s D ori c

2 ’
s x e ,
1 .
e ntablatur s from t h e T e mpl e of Th e s us at A th e ns and from t h e T e mpl e of M in e rva as

e e , ,
be som e what crud ely calls t h e Parth e non .
C e t art i st e i n e st i mabl e fut pour auss i d i r e mai tr e tous c eu x on

2 “
le de qu i lu i
succéd é i ii ,
arch i t e cte s e ncor e trop pe u connu parm i nous was bot h j ust and ,
ge n e rous S o t o o of Ca r t au d h e says that h e was u n gra n d hom m e

.
, , ,
u is u a u i
’
p q m l i e u d u d é r é g l e m e n t dont on fa is o it parad e dans l e s

ma i sons pa r t i cu l ier e s d u comm e nc e m e nt d e c e s iecl e c e t arch i t e ct e a ,
s cu préfér e r u n b e au s i mpl e e t u n styl e grav e a tout e s l e s b i zarr e r i e s
q u e la plupart d e s e s cont e mpora i ns é l e v o i e n t sous s e s y e ux Blond e 1 .
always com e s back t o t he sam e po i nt t he b e au si mpl e aust e r e ,

“
,
d ign i ty as e ss e nt ial qual it i e s of all arch i t e ctur e w i th any cl a i m to b e

,
cons i d e r e d gr e at .
F e w wr i t e rs hav e had a k ee n e r s e ns e o f t h e gr e atn e ss o f arch i

t e ctur e than Blond e l I n an a g e of l ic e ns e h e fought stou tly for t he
.
r e s tra i nt of s e r i ous art H i s standpo int i s qu i t e d e fin i t e A rch i t e ctur e

. .
,
h e h e ld w a s supr e m e among t h e arts T h e b e n e fi t s confe rr e d by t h e

, .
arch i t e ct h e says a r e such that th e y g i v e t h e art an i ncont e stabl e pr e

, ,
e m i n e nc e ov e r all t h e oth e r arts qu e ll e s e ul e rég i t e n l e s assoc i ant ’
, ,
”
a s e s travaux and though h e has no d e s i r e to d isparag e t h e e xc e ll e nc e
,
o f t h e arts o f sculptur e pa i nt i ng and gard e n d e s ign y e t arch i t e ctur e

, , ,
i s supr e m e and h e quote s as e v i de nc e t h e l e tt e rs pat e nt o f 1 7 1 7

, ,
comm e l a r chit e c t u r e do i t a v o ir la pré-e m i n e nc e s u r l e s autr e s arts

’
,
”
etc . M od e rn pai nt e rs and sculptors a r e apt to cons i d e r arch i t e ctur e as

2
only a v e h i cl e and occas i on for th e ir r e sp e ct i v e arts a pos 1 t i on wh i ch , ,
o f cours e no arch i t e ct w i ll acc e pt a n d wh i ch would hav e b e e n tr e at e d

, ,
as r i d i culous i n Franc e throughout t h e gr e at e r part o f t h e e ight e e nth

c e ntury Blond e l would not e v e n adm i t that sculptur e was n e c e ssary
.
t o a r c h i t e c t ur e La B e ll e A r c h i t e cture s e s u ffi t a e ll e —
. m em e la sculp ,
tur e n y doi t etr e app e lé e q u e pour la symbol i s e r e t j ama is pour

’
, ,
l e n r ic h e r av e c e x c é s — la pr i nc i pal e b e a u t e d e s é di fi ce s d i mpo r t a n ce
’ ’ ’
dép e nd d e la j ust e ss e d e l e urs proport i ons d e l e ur s ituat i on d u cho i x , ,
”
d e s m a t ier e s e t d e la p e rfe c t i on d e la ma i n d oe uvr e A s t h e n e c e ssary 3
’
.
corollary to th i s loft y cla i m fo r arch i t e cture h e d e mands a h igh ,
standard of atta i nm e nt i n t h e arch i t e ct D raughtsmansh ip must b e t h e .
bas i s o f all t h e i r work and i f th e y a r e to b e o f any u s e not only must

,
t h e y poss e ss u n e profond e t h é or i e u n e tres grand e prat iqu e u ne

“
, ,
longu e su i t e d e x pé r i e n ce s b u t also an i nt i mat e knowl e dge o f t he

’
,
”
works o f t he gr e at mas t e rs O nly s o can th e y hop e t o at t ai n to t he .
s i mpl e and t h e subl i m e cc b e au c e tt e nobl e , wh i ch ought

,
t o charact e r i z e e v e ry bu i ld i ng that th e y d e s ign Blond e l has not i n .

,
fact any a e s t h e t i c standard or canon o f d e s ign to offe r his stud e nts

,
C ou r s,
”
v
i i i , 4 44, on t h e H Ot e l d e B e auvai s .
2 2
1 5 11 , i, 1 24 . ii, 4 4 5 .
A cad e my i n w e r e cont i nu e d as lat e as

1 6
7 7, Bl ond e l n e v e r
s e e ms to hav e appr e c iat e d prop e rly t h e fi n e ge n i us of A nge J acqu e s
Gabr ie l and though h i s wr i t i ngs a r e i nvaluabl e both as t e xt books I n
,
t h e pract i c e of mod e rn class i cal d e s ign and as mat e ri al for t h e h i stor i cal
stud e nt I th i nk that h e unconsc i ously pav e d t h e way for t h e i n s i nc e r e

,
and p e dant i c r e v i val of t h e ant i qu e i n t h e last quart e r of t h e e ighte e nth

c e ntury .
I n non e o f Blond e l s wr i t i ngs is th e r e any h i nt o f t h e gath e r i ng

’
storm H e assum e d a s e ttl e d state of soc ie ty and mad e h i s app e al to

.
,
p e rsons of cond i t i on and o f a mpl e m e ans and l e i sur e whos e pr i nc ipal ,
occupat i on was th e i r o w n am us e m e nt and who acc e pt e d t h e e x i ste nc e

,
o f t h e low e r class e s o n much t he sam e t e rms as that o f t h e cattl e i n t h e
fi e lds Though Blond e l e xpat iat e s on t h e i mportanc e o f monum e ntal

.
bu i ld ings and gr e at publ i c i mprov e m e nts i t i s l e ss w i th an e y e to t h e

,
b e n e fit o f t h e commun i ty than to t h e e x e rc i s e of arch i t e ctur e and t h e

glor ificat i on o f pr i nc e s — fo r t h e e ight e e nth c e ntury was e ss e nt i ally t h e
a g e o f t h e nobl e patron Y e t i t was also an a g e wh e n arch i t e ctur e was
.
appr e c iate d for i t s own sak e as a gre at and b e aut i ful art wh e n th e re d id ,
e x i st a d e fin i t e standard o f atta i nm e nt and r e cogn i z e d canons o f j udg

,
m e nt Throughout t h e w i ld e st e x c e s se s o f t h e d e corator t h e arch ite ct

.
,
of t h e e ighte e nth c e ntury s e ldom lost t ouch o f a c e rta i n d ign i ty and

sobr i e ty o f d e s ign wh i ch a r e t h e e x c e pt i on i n t h e mod e rn arch i t e ctur e
,
o f o u r towns I t was t h e br e ak-u p of t h e old trad it i on that op e n e d t h e

.
floodgat e s of i gnoranc e and vulgar i ty and i t i s i n th i s that mod e rn

,
arch i t e cts a r e at a g r e at d i sadvantag e Th e y hav e to work a s i nd i

.
v i dual ar t ists Th e y hav e no cons e nsus of comp e t e nt op i n i on to wh i ch

.
to app e al n o c e rta i nty o f ad e quat e work mansh ip on wh i ch to r e ly I n

,
.
t h e abs e nc e o f trad i t i on th e y a r e w i thout that standard w h i ch c a n only

,
e x i st wh e r e th e r e a r e e stabl i sh e d m e th ods o f d e s ign and e x e cut i on .
B ut i n Blond e l s day at any rate pr i or t o 1 7 5 0 arch i te cts had all t h e

’
, ,
advantage o f a long r e cogn iz e d trad i t i on and i nd e e d i t was that alon e

, , ,
wh i ch r e nd e r e d poss ibl e such a h ighly t e ch n i cal art as F r e nch arch i

t e cture of t h e e ight e e nth c e ntury O nly w orkm e n tra i n e d i n an o ld and
.
authori tat iv e school of craftsmansh i p could hav e m e t i t s e xtr e m e ly

e xact i ng d e mands I nd e e d i t has to b e adm i tt e d that n o t i nfr e qu e ntly
.
,
v e ry commonplac e mot i v e s o f d e s ign a r e r e d e e m e d by t he mai n “
”
d oe uvr e by th e i r e xqu i s i t e pre c i s ion of workmansh i p
’
,
.
I t i s p robabl e that most o f t h e w e ll known F r e nch arch i t e cts o f

-
’
t h e latt e r part o f t h e e ight e e nth c e ntury pass e d through Blond e l s
school H e watch e d th e i r car e e rs w i th t h e ke e n e st i nte re st som e t i m e s

. , ,
D E S I G N S B Y J F BL ON DEL ( s ee p 5 3 )
. . . 1
( F R O M M A I S ON S DE P L A I S A N C E 1 1 P L XXX I I I )
, ,
.
[11 . TO FA E P
C . 1 54
I I T o FA E P
. C . 1 5 5]
PA T T E I SS
as he h i nts I n o ne o f h is l e ctur e s not w i thout amus e m e nt and I i mag in e , ,
i n h is latt e r days w i th r e gr e t at th e i r d e s e rt i on o f t h e o ld trad i t i on .
T he most loyal of h is pu pi ls w a s P i e rr e Patt e born at Par i s 1 7 2 3 He , ,

.
trav e ll e d i n Franc e and I taly and d e s ign e d som e bu ild i ngs for t h e ,
D u e d e D e u x Ponts a G e rman pr i nc e w h o appo i nt e d hi m h is arch i

, ,
t e e t and B a u ch a l m e nt i o n s d e s igns of h is fo r church e s i n Br i ttany but

, ,
h e was not a m e m b e r of t h e A cad e my and h i s arch i t e ctural work i s of ,
l e ss i mportanc e than h is w r i t i ngs I t w a s Patte who l e d t he attack on .
S o u ffl o t s d e s i gn of t h e d om e o f S G e n e v iev e h e e d i t e d and c o m
’
.
,
’
e t e d Blond e l s Cours d and n 1 7 6 5 brought out h is
’ ”
p l A r c hi t e c t u r e i ,
fa m ous M o n u m e n s E r i g es e n Franc e a la glo ir e d e Lou is XV a

“
,
work s e cond only i n i mportanc e to Blond e l s A rch i te cture Franca i s e ’

“
,
for t h e h i stor i cal study of Fr e nch arch i t e ctur e i n t h e e ight e e nth

c e ntury T h e publ i cat i o n of t h e Cours d A r chi t e ct u r e b e gan i n
2 ’
“
.
1 7 7 1 w i th vols i and i i vol i i i was publ i sh e d i n 1 7 7 2 v o l i v i n 1 7 7 3

.
, .
, .
and t h e last two volum e s ( v and v i ) aft e r B lond e l s d e ath i n 1 7 7 7 ’

.
T h e first four volum e s w e r e publ i sh e d anonymously Blond e l mod e stly ,
d e cl i n i ng to br i ng th e m out h i ms e lf b e i ng consc i ous h e says i n h i s Old , , ,
a e o f t h e faults of hi s l e ctur e s and o f t h e dang e rs of t h e e nthus i asm

g , ,
o f hi s youth B lond e l w a s n e arly s e v e nty and fe lt un e qual to t h e labour

.
,
o f r e v i s i on ; h e th e r e for e hand e d ov e r h i s M S S to h i s pup i l and h i s .

,
’
conclud i ng words a r e not w i thout a path e t i c d ign ity e n a s pi r e
J
“
.
plus qu a la r e tra i t e a u s i l e nc e ; ma carr ier e e s t r e mpl i e : n e donn e z

’
me s obs e rvat i ons q u e pour c e qu e ll e s val e nt e t q u e votr e am i t i é me

’
,
’
s a v e u g l e pas sur qu e lqu e s tal e nts q u e j e do i s plus 5 mon z el e qu a m e s

’
H e r e cogn i z e d sadly that t h e br i ll i ant draughtsmansh i p

” 3
l u m i er e s .
and t h e slash i ng cr i ti c is m o f th i rty y e ars b e for e w e r e th i ngs o f t h e

past Patt e d i scharg e d hi s dut i e s i n a v e ry lo y al mann e r H e n o t only
.
4
.
2
O th e r w orks by Patt e ar e
“
D i scours sur l A ch i t e t ’
r c ure, Pari s , 1 754 ;
“
Etud e s
d Ar c h i t e c t u r e ,
’
Pari s 1 7 5 5 ”
etc .
, u e d e Vi c e n z e e n I tal i e
, Ch e f
“
D e scri pt i on d Th eatr ,
d CE u v r e d e Pallad i o E ssa i sur l A rc h i t ect u r e Th eatral e B au ch al says

” ”
1 7 80 ; 1 782
’ ’
.
, ,
that Patt e e ngrave d som e plat e s of arch i t e ctur e i n t h e mann e r o f P iran e s i but I hav e not ,
c om e across th e s e .
T h e i llustrat i ons w e r e publ i sh e d i n thr e e s e parat e volum e s a m o st i nconv e n i e nt

2
,
arrang e m e nt — vol v ii i n 1 7 7 1 for vols i and i i of t e xt ; vol v iii i n 1 7 7 3 for vols i ii and i v
. . . .
,
and vol ix i n 1 7 7 7 for vols v and v i

. . .
2
Vol i Av i s d e I E di t eu r p 5
.
,
’
, . .
2
‘
In th e pr e fac e to vol v page i x Patt e says that Blond e l a dopt e d th i s anonymous
.
, ,
m e thod i n ord e r that h e m i ght have gr e at e r fr ee dom i n ex pre ss i ng h i s vi ew s Had hi s .
nam e app e ar e d as auth o r h e w ould hav e had to put t h e t i tl e of A cad e m i c i an aft e r i t and ,
th i s w ould hav e i nvolve d hi s subm i tt i ng h i s w ork to t h e A cad e my A rt i cl e XX I of t h e .
Const i tut ion of t h e A cad e my of Arch i t e cture laid i t do w n that no Acad e m i c i an should
e d i t e d t h e M S S but contri but e d a cons i d e rabl e part o f t h e fifth and

.
,
s i xth volum e s mor e e sp e c ially t h e l e ctur e s o n construct ion for wh i ch

, ,
Blond e l had only l e ft som e i nad e quat e note s and i n wh ich i n fact h e , , ,
was not parti cularly i nt e r e st e d I n add i t i on t o th i s i t s e e ms t h at P att e .
must hav e arrange d most of t he i llustrat i ons Th e r e a r e n o dra w i ngs .
by Blond e l i n vols v ii and v ii i though i n v o l i x Patt e us e d a fe w

.
,
.
b e aut i ful dra w i ngs by Blond e l fo r cand e labra gr ill e s c e il i ngs and , , ,
i nt e rnal d e corat i ons w h i ch had probably b e e n mad e at l e ast th i rty y e ars 2
b e for e t he i ssu e o f th i s volu me Patt e was h i ms e lf an accompl i sh e d .
draughtsman a nd e ngrav e r H i s i llustrat i ons to h is M o n u m e n s a r e .
w i th out e xc e pt i on adm i rabl e and as I shall sho w i n t h e follow i ng chapt e r , , ,
th i s book i s t h e author i ty for Fr e nch town plann i ng i n t h e e ig ht e e nth -
c e ntury Patt e was profou ndly i mpr e ss e d w i th t h e ach ie v e m e nt of

.
F r e nch arch i t e cts J ama i s l e vra i go u t d e l a r ch i t e ct u r e ant i qu e n a

.
“ ' ’
é té auss i g ener a l L e s anc i e ns a forc e d e nous s e rv i r d e mod el e s , ,
o n t formé d e s el ev e s u i ont égal e l e urs ma i tr e s e t q u i l e s o n t m em e

’
q ,
q u e lqu e fo i s s u r pa s s es T h e e ight e e nth c e ntury had no fals e mod e sty

.
”
,
and th e r e is no trac e of i t i n Patt e s e xtr e m e ly i nte re st i ng summary o f ’
t h e stat e of t h e arts and sc i e nc e s i n F ranc e i n t h e r e i gn of Lou i s X V .
H e th e n proc e e ds to a d e scr i pt i on o f t h e var i ous sch e m e s o f pu bl i c

i mprov e m e nt carr i e d o u t i n h o n o u r o f Lou i s XV culm i na t i ng i n an '
’
account of t h e gr e at comp e t i ti on fo r t h e P lac e Lou i s XV and Gabr i e l s
d e s igns Patt e wrot e i n a cl e ar stra ightfor w ard styl e W i thout any
.
, ,
att e mpt at e loqu e nc e but i n his final chapt e r de s e m b e l lis s e me n s d e

, ,
Par is h e l e ts h i ms e lf g o i n a sch e m e o f h i s o w n i nv e nt ion H av in g

, .
po i nte d out t h e num e rous d e fe cts o f t h e c i ty of Par is as i t was h e ,
conclud e s : L e t us thro w t h e re i ns o n t he n e ck o f o u r i mag i nat i on

“
.
L e t us dr e am what m i ght b e don e H e c e rta i nly dr e amt w i th a .

”
v e ng e anc e H e took as his t e x t t h e I le d e la C i té and h is i d e a w a s to

.
,
cl e ar t h e whol e o f i t e x c e pt N o tr e D am e and B offr a nd s H osp i tal for ’
Foundl ings to j o i n up t he I le d e la C i té to t h e I l e S Lou is and form

, .
,
a m ark e t plac e o n t h e j u nct i on appar e ntly borrow i ng th i s i d e a from ,
S o u ffl o t A t t h e e ast e n d of t h e i sland h e sugge ste d a grand Plac e

.
ov e rlook i ng t h e r i v e r w i th t h e statu e o f H e nr i I V r e mov e d fro m i t s

,
pos i t i on by t h e Pont N e u f N o tre D am e i ts e lf w a s to b e pr e s e rv e d as

.
publ i sh any w ork i n arch i t e ctur e und r h i s nam e as A cad em i c i an unl e ss such w ork had
,
e ,
b e n prev iously re ad to t h A cad e my o e am i n e d by a c omm i tt ee appo i nt e d for t he

e e , r x
purpos e and had re c ei ve d t h e approval of t h e com pany

, .
Pl xvi vol i x by L e Roy aft e r Bl ond el re pr o duc e s

2
.
, .
, , , ex actly Blond e l s o wn plat e ’
57
of t h e Mai s ons d e Plai sanc e publ i sh ed in 1 7 3 8 ,
”
.
la Carr iere fo r wh ich h e w as pa i d

, francs 4 sous 1 0 d e n i e rs .
2
B a u ch a l says that t h e d e s i gns for th i s w e r e g i v e n by R i ch ard M i q u e about

1 7 5 6 o n hi s r e t u rn from Blond e l s school i n Par i s but t h e bu i ld i ng w a s
’
d e s i gn e d by H er e and no t by t h e younge r M i q u e and B a u c h a l i s wrong ,
i n ass ign i ng t h e Port e S tan i slas and t h e Port e S Cath e r i n e to M i q u e s

’
.
d e s ign i n 1 7 6 2 T h e s i t e s for th e s e arch w ays w e r e bought i n 1 7 5 2 and t h e

.
e ntr i e s o f cost of th e i r construct i on range from J un e 1 7 5 5 t o J anuary
N e i th e r of th e M i q u e s had anyth i ng to do w i th th e i r d e s ign or con

s t ruct i on nor is th e r e any r e fe re nc e to a M iq u e i n t h e accounts e xc e pt
,
M i q u e t he mason I find how e v e r i n a suppl e m e ntary accou nt dat e d

.
, , ,
2 0 M ay 1
759
,
r e fe r e nc e t o a,
c e rt i ficat e fo r paym e nt g i v e n by M M i q ue .
3
and i n that y e ar h e i s sa i d by B a u c ha l to hav e b e e n appo i nt e d s e cr e tary

t o S tan i slas who e nnobl e d hi m i n 1 7 6 1 w i th t h e t i tl e o f t h e S e i gn e ur
,
d H e i ll e co u r t and appo i nt e d h i m e ng i n e e r i n -ch i e f of t h e prov i nc e s o f

’
-
Bar and Lorra i n e i n 1 7 6 2 O n t h e d e ath o f H ere i n 1 7 6 3 h e succ e e d e d

.
h i m as D i r e ctor G e n e ral o f Bu i ld i ngs t o Stan i slas and he w a s mad e a

-
,
Ch e val i e r o f t h e O rd e r o f S M i cha e l by Lou i s X V S t an i slas d i e d i n

. .
1 7 6 6 ; and h is d e ath t e rm i nat e d M i u e s car e e r at N ancy e r e turn e d

’
q H .
to Par is and w a s appo i nt e d I nt e ndant and C ontroll e r G e n e ral of

,
-
Bu i ld i ngs and gard e ns to M ar ie A nto i n e tt e and in 1 7 7 5 succ e e d e d ,
Gabr i e l as pr e m ie r arch i t e ct e of Lou is XV I I n th i s sam e y e ar h e

“ ”
.
was e l e ct e d to t h e A cad e my and w a s e mploy e d o n var i ous works a t ,
V e rsa i ll e s t h e P e t it Tr i anon S Cloud and Fonta i n e bl e au d own to t h e

, ,
.
,
outbr e ak of t h e R e volut i on H e w a s o f cours e i d e nt ifi e d w i th t h e

.
, ,
Roy a l P a r t y a n d h e s u ffe r e d fo r h i s loyal t y O n 7 J uly 1 7 9 4 M iq u e

, .
and h i s s o n w e r e cond e m n e d to d e ath as hav i n g b e e n pr i vy to t h e con

s ir a c
p y t o sa v e t h e qu e e n and both w e r e e,x e cut e d o n t h e follo w i ng day .
M iq u e b e long e d to t h e n e w school of t h e r e v i v e d a n t iqu e as much as to

t h e school of t h e old r e g i m e H e w a s n o t a v e ry gr e at art i st but hi s
.
,
trag i c d e ath e nt i tl e s h i m to r e m e mbranc e i n t h e un e v e ntful annals o f

arch i t e ctur e .
2
Compt e G é néral d e la D é p e ns e pour l e mb ll i s m t d la V i ll e d e N ancy
“ ’
e s e en e
d e pu i s 175 1 j u s qu e n
’
Lun ev i ll e , 1 761 . S ee p .
96 and n ot e .
2
Mid , p . 68 .
3
p 1 27. .
C H A PT E R X XVI I I
F R E N C H A RCHIT E C T U R E I N THE RE I G N OF L OU IS XV
T i s r e markabl e that though i n t h e e ight e e nth c e ntury arch i te ctur e
was r e gard e d i n Franc e as t h e art pa r ex cel l en ce n o t v e ry much ,
bu i ld i ng w a s actually carr i e d o u t c e rta i nly not so much as i n ,
E n g land i n t he sam e p e r i od o r i n Franc e through out t h e whol e o f t h e

,
s e v e nt e e nth c e ntury A rch it e cts on t h e oth e r hand w e re h e ld i n h igh

.
, ,
e st e e m and t h e trad i t i on of t h e pr e e m i n e nc e o f arch i t e ctur e i n t h e arts

,
-
e stabl i sh e d by J H Mansart was carr i e d o n by D e Cott e and last e d

. .
, ,
though w ith e v e r d i m in ish i ng rang e al most down to t h e R e volut ion I t

-
,
.
i s tru e that Mansar t s abus e of h i s pos i t i on had conv i nc e d t h e K i ng that

’
i t w a s dang e rous to conc e ntra t e d e spot i c con t rol of t h e arts i n t h e hands

o f o n e man and aft e r M ansar t s d e ath t h e post o f S u r i n ten da n t was
’
abol is h e d o r rat he r brok e n up i nto s e parat e d e partm e nts v i z that o f t h e

, , .
,
D i r e cte ur g e n e ral d e s b at i m e n t s jard i ns arts e t manufacture s d e

, ,
i n fac t a M i n i st e r o f F i n e A r t s w i th a salary o f francs pe r annum ,
and an e x e cuti v e d e partm e nt d e al i ng w it h t h e d e s ign and e x e cut i on o f

,
”
t h e Royal B u ild i n g s and d i r e ct e d by t h e pr e m i e r arch i t e ct e d u R o i “
,
w i th a salary of 1 francs pe r annum T h e i m m e ns e pow e rs w ie ld e d .
by M ansart pass e d i n t o t h e hands o f t h e gov e rn i ng class of m e n such ,
as t h e M arq u i s ( aft e rwards D u c ) D A n t in P h i l i b e rt O rry L e no r m a n t ’
, ,
d e Tourn e h e m and h i s n e ph e w Mar igny

, Though ho w e v e r th e y had .
, ,
lost th e i r plac e o f pr ide t h e most po w e rful m e n among t h e art ists w e r e

,
t o b e found not i n t h e ranks o f t h e pa i nt e rs or sculptors but among

, ,
t h e arch i t e cts Rob e rt d e C ott e B o ffr a n d t h e e ld e r and young e r Gabr i e l

, , , ,
2
D A n ti n i s
’
call e d for t h e first t i m e i n 1 7 0 9 t h e y e ar aft e r Mansart s d e ath
so ,
’
C o mpt e s v
,
”
, D e Cott e w h o was pre m i e r arch i t e ct e c o mb i n e d w i th i t oth e r
,
“
,
”
appo i ntm e nts that n e arly doubl e d h i s salary A ll t h e o ffic i als i ncludi ng all t h e m e mb e rs
.
,
of t h e A cad e m y of A rch i te ctur e w er e o ffic e rs of stat e subj e ct to th e control o f t h e

, ,
D i re ctor G e n e ral wi thout whos e p e rm i ss i o n th ey w e re n ot p e rm i tt e d to l eav e t h e country

-
, .
D e Cott e B o ff r a n d and Oth e rs wh o w ork e d for for e i gn pr i nc e s w e r e t e chn i cally l e nt

, .
1 59
and S o u fflo t Wr i t e rs of t h e t i m e from D a v i le r t o Blond e l and Patt e

.
took th i s command i ng pos i t i on fo r grant e d and t h e Roya l ass e nt i s ,
shown by t h e constant b e stowal of t i tl e s and of t h e O rd e r o f S M i cha e l .
o n prom i n e nt Fr e nch arch i t e cts i n t h e r e i gn bot h of Lou i s X I V and
Lou i s X V Fran c o i s Blond e l was S e ign e ur d e Cro i s e tt e e t G u i lla r d o n

.
2
.
Mansart was cr e at e d Comt e d e Sagon and i n 1 7 0 2 S A l e D uc d e , . .
Bourbon d e s ir a n t g r a t ifi e r l e S i e ur Mansart e t l u i donn e r d e s marqu e s

d e l e s t i m e e t d e la co ns i d er a t i o n q u e ll e a pour l u i con fe rr e d on h i m
‘ ’ ’
all t h e s e ign e ur ial r ights o f t h e pari sh e s o f V e n dr e and Chat e au -M ornay

sur A ll i e r B oth Mansar t and L e N Otr e w e r e Ch e val i e rs of t h e ord e r
.
2
of S M i ch e l That honour was also confe rr e d o n D e Cott e L A s s u r

. .
,
’
anc e fath e r and s o n on J acqu e s Jul e s Gabr ie l and on S o u ffl ot I t was

,
3
, , .
not confe rr e d o n A ng e J acqu e s Gabr i e l probably on accou nt o f t h e

p e rsonal e mn it y of Mari gny .
T h e sam e r e cogn i t i on was e xt e nd e d to arch i t e c t s by th e i r col

l e agu e s T h e A cad e my o f Pa i nt i ng and S culptur e i nclud e d arch i t e cts i n
.
t h e class of honora i r e amat e ur e

g D e s o de t z
g ( I D e Cott e ,
”
.
,
J acqu e s Gabr ie l P i e rr e Lamb e rt J e an Fran c o is Blond e l

D e sj ard i ns D e Cott e fi /S and A nge Jacqu e s
Gabr ie l S e r v a n d o n i was e l e ct e d a full m e mb e r ; S o u ffl o t was 2
"
”
e l e c t e d an assoc i é l i br e i n 1 7 6 0 ; Charl e s d e Wa i lly an ord i nary
“
m e mb e r i n M ansart as S u r i n ten da n t w a s prot e ctor o f t h e

A cad e my o f Pa i n t i ng and S culptur e D e Cott e succ e e d e d h i m a s V i c e ,
Prote c t or and i n 1 7 4 7 t h e K i ng h i ms e lf b e cam e Prote ct e ur i mméd iat

,
d e l A c a d é m ie
’ 6
I do n o t find tha t t he A cade my o f A rch i t e ctur e mad e
.
”
any att e mpt to r e turn t h e compl i m e nt pa i d th e m by th e i r coll e agu e s o f

t he A cad e my of Pa i nt i ng and S culptur e and i nd e e d t h e two A cad e m i e s ,
app e ar to hav e k e pt s i ngularly aloof from e ach oth e r thro u ghout th e ir

whol e h i story Y e t i n sp i t e o f t h e cons i d e rat i on i n wh i ch t h e art was
.
h e ld r e lat iv e ly sp e ak i ng fe w i mportant pr i vat e hous e s w e r e bu ilt and

, ,
n o t many church e s T h e ch i e f arch i te ctural e ffort o f t h e e ight e e nth

.
See L ettr e s de N obl ss e e et d eco r at i o n s accord é e s au x art i st e s en Franc e p endant

l e X VI I e
et s iecl e s by J J G u i ffr e y
l e Kv I I I
e
,
”
. . .
2
See N ouv ell e s Arch iv e s 1 8 8 2 i ii 1 3 1 4 Thi s D u e de Bourbon was aft e rwards
, , ,
-
.
M i n i st e r of Lo u i s X V and bu i lt t h e stabl e s of Chant illy

, .
3
Blond e l A rch Fran ,
“
i 2 3 3 says s e v e ral oth e r arch i t e cts as w e ll w e r e m ad e
. .
, , ,
Ch e val i e rs of t h e O rd e r of S M i cha e l . .
Se rv a nd on i w as adm i tt e d as a pa i nt e r H e wa s n e v e r e l e ct e d a m e mb e r of t h e
2
.
A cad e my of A rch i t e cts .
D e Wa i lly b e cam e a m e m b e r of t h e A cad e my of A rch i t e ctur e i n 1 7 6 7 S ee p 1 3 1

5
. . .
6
A rch i ve s d e l art F i 40 2
’
, .
D E SIG N FO R C EI L I N G “
D A N S LE G O UT A N T I QU E . B Y J F BL ON D EL
. .
D ES I G N FO R C E I L I N G D A N S LE G O UT M O DE N E
“
R . B Y J F BL ON DEL
. . AND P . P AT T E ( see p . 1 64)
( F R O M J F BL O N EL C O U v)
’ ”
. . D ,
RS D ARC H IT ECTU R E, Ix ,
1 1 . TO FA E P
C . 1 6 1]
A R C H I T E C T U R E I N T H E R E I G N O F L O U I S XV 1 61
c e ntury was mad e i n publ i c bu i ld i ngs and town -plann i ng and som e o f ,
t h e larg e st und e rtak i ngs of t h e t i m e w e r e b e gu n though v e ry s e ldom
compl e t e d by F r e nch arch i t e cts for var i ous for e ign Pot e ntat e s La .
plupart d e s souv e rai ns s e sont e mpre ssés d a t t i r e r dans l e ur états d e s ’
”
arch i t e ct e s d e notre nat i on 1
T h e fact was that t he bu i ld e rs o f t h e .
s i x t e e nth and s e v e nt e e nth c e ntur i e s had cov e r e d Franc e w it h b e aut i ful

cou ntry hous e s alr e ady i n many cas e s much t oo b ig for t h e i r own e rs
, .
T h e ar istocracy and t h e upp e r class e s w e r e w i th fe w e xc e pt i ons , ,
i mpov e r i sh e d by t h e rat e of l i v i ng at t h e courts o f L ou i s X I V and t h e

R e g e nt O rléans H e r e an d th e r e an own e r of gr e at w e alth such as t he
.
,
D u e d e B ourbon st i ll furth e r e nr i c h e d by succ e ssful sp e culat i ons not

,
far r e mov e d from sharp pract i c e m ight sp e nd fabulous sums o n t h e

2
,
stabl e s o f Chant i lly or t h e K i ng s m i str e ss e s M me d u Pompadour or

,
’
, .
M m e d u Barry m i ght wh e e dl e t h e K i ng i nto grant i ng monstrous s u ms

.
,
for th e i r bu ild i ngs and d e corat i ons but many p e opl e w e r e ru i n e d by ,
La w s op e rat i ons and t h e fash i on for bu i ld i ng s e t by Lou i s X I V had

’
d ie d o u t M or e ov e r t h e upp e r class e s and what would no w b e d e scr i b e d

.
, ,
as soc i e ty w e re wholly absorb e d i n t h e l i fe o f t h e court at Ve rsa i ll e s

,
”
and t h e Royal H ous e s and aft e r t h e m iddl e o f t h e e ight e e nth c e ntury ,
i n Pari s i ts e lf w i th i t s S alons i t s act i v e i nt e ll e ctual i nt e r e sts i t s

, , ,
abu ndant amus e m e nts for thos e who had t h e me ans to e njoy th e m .
M ont e squ i e u s affe ct ion fo r h is cou ntry plac e w a s a rar e e xc e pt ion among
’
t h e i nt e ll e ctuals o f Par i s .
O n t h e oth e r hand a good d e al of bu ild i ng w e nt o n i n t h e prov i nc e s

, .
C i t i e s such as B ord e au x N ant e s and R e nn e s a r e full of fi ne e ig ht e e nth ,
c e n tury hous e s much on t h e l i n e s of t he hot e ls in Par i s though o n a

, ,
l e ss amb i ti ous scal e and in qu i e t l i ttl e to w ns such as Valogn e s i n

, ,
N ormandy th e r e may st i ll b e found attract i v e prov i nc ial v e rs i ons o f

,
t h e var i ous phas e s o f d e s ign that follow e d o n e anoth e r i n t h e cap i tal .
T h e H Ot e l S e ne cé at M acon o r t h e H Ot e l d e B e au mont at Valogn e s

a r e i nstanc e s T h e latt e r w i th i t s curv e d front i sp i e c e i t s d e l i cat e i ron
.
,
work and t h e masks o n i t s ke y blocks sugg e sts t h e i nflu e nc e of t h e e ld e r

2
Patt e M on umen s p 7 H e giv e s t h e foll owing l ist of arch i t ects i n fo r e i gn
,
“
,
. .
s e rv i c e : at P e t er b ou rg M la M oth e ; B erl in M d e G e ay ; Cop e nhagen M Jard i n ;

, .
,
.
, .
Mun i ch M C u v i lli er s ; St u tgar d M La Gu epie re ; Manh e i m M P igage ; Madri d M

, .
, .
, .
, .
Marqu et ; Parma M P e t it o t ; Patt e h i ms e lf was i n t h e s e rvi c e o f th e Pri nc e d e D eu x

, .
P onts S e e also D u s s ie u x L es art ist e s Fra n cai s a l Etr ang e r

.
,
’
.
”
2
In 1 7 2 0 h e i s sai d to hav e wi thdrawn 2 0 m i ll i on l i vr e s i n cash a few days b e fore t h e
final catastroph e of Law s syst e m and i t wa s th e act ion o f p e rs ons such as t h e D u e d e
’
,
Bourbon that di d much to bri ng abou t t h e collaps e o f t h e syst e m Fr e nch authori t ie s .
th i nk that had L aw had a fai r c hanc e h e m ight have succ e e d e d .
II Y
Gabri e l O n t h e whol e how e v e r l i ttl e pr i vat e bu i ld i ng was don e as

.
, ,
compare d w i th t h e two pr e c e d i ng c e ntur i e s O n t h e oth e r hand a .

,
d e t e rm i n e d e ffort was mad e to i ncr e as e t h e comfort and conv e n i e nc e

o f e x i st i ng hous e s and to adapt th e m to alt e r e d sch e m e s of l i fe n ot
, ,
only i n th e i r d e corat i ons but i n th e i r plans Blond e l compla i n e d that .
w h e r e as t h e s e v e nt e e nth c e ntury m e n had thought only of t h e outs i d e ,
h i s cont e mporar i e s thought only of t h e i ns i d e ; and i t w a s c e rta i nly tru e

that t he e x te r i or of to w n hous e s b e cam e plai n e r and pla i n e r t i ll th e y ,
fi nally s e ttl e d down i nto thos e blank d i sp ir i t i ng fa c ad e s wh i ch s e e m t o

hav e r e ma i n e d st e r e otyp e d i n Par i s fo r t h e last 1 5 0 y e ars S om e t i m e s .
i n e arl ie r work th e y a r e r e d e e m e d by som e grac e ful i ron balcony and a

d ign i fi e d e ntranc e B ut nobody took any i nt e r e st i n t h e outs i d e o f
.
hous e s I t w a s as i f t h e o w n e rs d e s i r e d to attract as l i ttl e att e nt i on as

.
poss i bl e r e s e rv i ng all th e i r r e sourc e s for th e ms e lv e s and th e i r fr ie nds

,
i ns i d e a not unnatural proc e e d i ng i n v i e w of t h e prom i scuous hab i ts of

,
t h e e ight e e nth c e ntury I ntus u t l ib e t for i s u t mor i s e s t ”

.
, .
T h e change i n i nt e rnal plann i ng i s usually sa i d to hav e b e gun w i th

t h e Pala i s Bourbon i n 1 7 2 2 Patt e i n h i s surv e y of t h e r e ign of Lou i s X V
.
says that l art d e la d i stri but i on d e s b at i m e nt s

’
was t h e most char
a c t e r i s t i c d e v e lopm e nt o f arch i t e ctur e i n t h e r e i gn of Lou i s X V H i th e rto .
,
h e cont i nu e s arch i t e ctur e had b e e n noth i ng but a mask E v e ryth i ng had

, .
b e e n sacr ific e d to t h e magn i fic e nc e o f t h e e xt e r i or ; arch i t e cts produc e d

vast and comfortl e ss i nt e r i ors rooms t w o stor e ys h igh e normous ball
,
-
,
rooms gall e ri e s of i nt e rm i nabl e l e ngth stai rcas e s o f dange rous w i dth

, ,
no s e parate acc e ss e v e r y th i n g for S how S u ch w e r e t h e pri nc i pal fe atur e s

, .
o f t h e gr e at s e v e nt e e nth c e ntury hous e s L on ig no r o i t l art d e s e log e r

’ ’
-
.
com modé m e nt e t pour s o i Th e r e was a good d e al o f truth i n th i s

.
sum mary S uch a th i ng as pr i vate and i nt i mat e l i fe scarc e ly e x i st e d i n

.
t h e r e i gn o f Lou i s X I V and t h e ost e ntat i on o f that r e i gn had t h e r e sult

,
o f mak i ng h i s grandson S h i rk e v e ry publ i c app e aranc e and c e r e mon i al
that h e could poss i bly avo i d T h e p e cul i ar morals o f t h e R e ge ncy also

.
gav e ampl e opportun i ty fo r t h e sk ill o f t h e hous e plann e r T he pr o .
v i s i on o f pr i vat e sta i rcas e s s e rv i c e stai rs and passage s th e i r ad e quat e

, ,
l ight i ng t h e conv e n i e nt plann i ng of k i tch e ns and offic e s w e r e con

, ,
s i d e r e d not l e ss i mportan t than t h e sch e m i ng o f v i stas and Blond e l i n ,
h i s Ma i sons d e Pla i sanc e go e s i nto m i nut e d e ta ils as to t h e work i ng

arrange m e nts of pr i vat e hous e s S e v e ral o f t h e royal hous e s had l i fts
.
fo r t h e s e rv i c e o f supp e rs to t h e s e l e ct pr i vat e part i e s of t h e K i ng or

t h e R e g e nt i n ord e r to d i sp e ns e w i th t h e pr e s e nc e of att e ndan t s Patt e .
M o u me
2
é rig é s e tc pp 5 6
n ns ,
”
.
, .
- .
1 64 A H I S T O RY O F F R E N C H A RC H I T E C T U RE
’
b i n e s n e arly e v e ry fault poss ibl e i n a plan of th i s sort L A s s u r a n c e .
h i ms e lf i n h is plans o f t h e H Ot e l d A u v e r g ne ( 1 7 0 8 ) and t h e H Ot e l d e
’
M a i sons ( 1 7 0 8 Ru e d e l Un iv e r s it é ) though fe e l i ng h i s way to b e tt e r

,
’
th i ngs was st ill i mmatur e and d id not sho w his grasp o f t h e n e w m e th ods
,
of plann i ng t i ll t h e last y e ar of h is l i fe i n t h e H Ot e l d e Lassay T h e

1
.
H Ot e l d e Janvry was bu i lt i n 1 7 3 2 -3 3 from d e s i gns by C a r t a u d and t h e ,
advanc e mad e i n t h e t e n y e ars i s r e markabl e E xc e pt fo r t h e p e rs i st e nt .
hab i t o f tr e at i ng t h e d i n i ng room as a passage room t h e plan of th i s ,
hous e for t h e s it e i s op e n to v e ry l i ttl e cri t ic ism S mall i nte rnal courts .
a r e prov i d e d for l ight and a i r T h e grand sta i rcas e i s don e a w ay w i th

. ,
a n d r e plac e d by two i ncons i d e rabl e sta i rs i n t h e w i ngs to r i ght and l e ft
w i th d i r e ct approach e s from t h e e ntranc e v e st i bul e O n t h e first fl oor .

,
al most for t h e first t i m e a c e ntral and a s i d e corr i dor for acc e ss to b e d

,
rooms and s e rv i c e was prov i d e d and both o f th e m w e r e prop e rly l i t ,

.
E xc e pt that t h e s e rvants w e r e stu ffe d away i nto t h e e ntr e sol s e v e n ,
fe e t h igh b e t w e e n t h e stabl e s and t h e hay lofts t h e hous e w ould b e a

, ,
w orkabl e mod e rn hous e and no furth e r i mportant d e v e lopm e nts i n

,
hous e plann i ng w e r e e volv e d i n t he r e st o f t he e i ght e e nth c e ntury

-
.
S i d e by s i d e wi th th is i ns i ste nc e o n comfort and conv e n ie nc e i n

plann i ng cam e a compl e t e change i n t h e m e thods of i nt e rnal d e cora
t i ons T h e state ly d e corat ions o f L e B run and M ansart fi n e as th e y
.
,
w e r e i n t h e gr e at rooms and sta i rcas e s of a royal palac e w e r e unsu i t ,
abl e for t h e v i e i nt i m e o f forty y e ars lat e r Th e i r vast mould i ngs

“ ”
.
and h e ro i c pa i nt i ngs w e r e o u t o f scal e w i th t h e rooms h e avy and ,
o ppr e ss i v e i n e ffe ct costly to mai nta i n and o u t o f touch w i th t h e

, ,
ch e e rful and i rr e spons i bl e l i fe o f t h e first half of t h e e ight e e nth c e ntury ,
wh e n t h e sp e nd i ng class e s car e d noth ing at all for t he h e ro i c and a

v e ry gr e a t d e al for t h e mov e m e nt and ga ie ty of l i fe Th e i r w hol e obj e ct .
s e e ms to hav e b e e n to br e ak loos e fro m r e stra i nt of any sor t and t h e ,
i nst i nct i s s e e n at work i n t h e d e corat i ons o f t h e t i m e wh e n e v e ry ,
th i ng r u ns i nto e v e ryth i ng e ls e and t h e d e fin i t e boundary l i n e is ,

”
avo i d e d at all costs I nst e ad o f squari ng up h i s l i n e s t h e ébén i ste
, .
“
and t h e plaste re r r e sol u t e ly turn e d th e m o ff i nto som e qu e e r u n e x

p e ct e d tw i rl ig ig Patt e aga i n g
. i v e s an e x c e ll e nt summary of t h e
change I n plac e of t h e pond e rous ornam e nt w i th wh ich t h e bu i ld i ngs

.
2
o f Lou i s X I V w e r e ov e rload e d t h e fash i on i ns i st e d o n all sorts of

,
”
l ig h t e r d e corat ions pl e i n e s d e go u t var i é s d e m ill e fa co n s d i v e rs e s
, ,
.
2
Mai s ons had to
T h e H Ot el d e be e nt ire ly re arrange d by Moure t wh e n th e prop e rty
chang ed hands a fe w ye ars lat e r .
M o n u me n s p 6
2
,
”
. .
A RC H I T E C T U R E I N T H E R E I G N O F L O U I S XV 1 65
T he b e ams of floors w e r e no long e r shown and w e r e conc e al e d by ,
o rnam e ntal c e i l i ngs d e corat e d w i th fr i s e s e t d e tout e s sorte s d orn e ’

“
,
m e ns agréabl e s I nst e ad o f t h e p i ctur e s or e normous bas -r e l ie fs wh i ch

.
”
u s e d t o b e plac e d ov e r mant e lp i e c e s m i r r ors w e r e plac e d th e r e ui

“
q , ,
par l e urs rep e t i t i ons av e c c e ll e s qu on l e ur o p pos e form e nt d e s tabl e aux

’ ’
m o u v a n s q u i grandi ss e n t e t orn e m e nt l es appart e m e nts e t l e ur don n e nt ,
”
u m a i r d e ga i e té e t d e magn i fic e nc e Th i s last chang e was i ntroduc e d .
by D e Cotte and though i t r e ach e d it s final stage o f vulgari ty i n t h e

,
h ote ls and lodg i ng hous e s of t h e last c e ntury m i rrors fram e d i n fanc i ful ,
m ould i ngs carv e d and g i lt w e re us e d w ith e xc e ll e nt e ffe ct i n t h e

, ,
e i ght e e nth c e ntury wh e n colour was far mor e v i v id than w e c a n r e al i z e

,
t o day wh e n flow e r e d s i lks and sat i ns w e r e w orn by e v e ry o n e and

-
, ,
b e aut i ful dr e ss was not confin e d to wo m e n I n appre c i at i ng such .
d e corat ions as thos e o f t h e H Ot e l d e S oub is e o n e has to cl e ar on e s ,

’
m i nd e nt i r e ly of t he assoc iat ions of mod e rn e v e n i ng dr e ss wh i c h mak e s ,
o n e man look l i k e ano t h e r and w i p e s o u t half t h e company s o far as

, ,
r e gards t h e sch e m e of d e corat i on as a whol e I n t h e e ight e e nth c e n t ury .
dr e ss d e corati on and fu rn i tur e w e r e r e gard e d not as th ings apart such a s

, ,
a cab i n e t i n a mus e um or a p i cture i n a gall e ry to b e cons id e re d sol e ly

, ,
w it h r e fe r e nc e t o th e i r i nd i v i dual and isolat e d m e ri ts but as i nt e gral ,
parts o f a compl e t e sch e m e of d e corat i on to wh i ch t h e arch it e ctur e of ,
t h e room i t s d e corat i on i t s furn i tur e and t h e dr e ss e s o f i t s i nmat e s

, , ,
all contr i but e d t h e i r s e v e ral shar e s T h e art i sts o f t h e e ight e e nth .
”
c e ntury r e l ie d on an e ns e mbl e and cumulat i v e e ffe ct of wh i ch o n e
“
can n o w form l i ttl e i d e a from t h e sp e c i m e ns of e i g ht e e nth c e ntury

furn i tur e ho w e v e r b e aut i ful e x h i b i t e d i n mus e ums and d i vorc e d from
, , ,
th e ir r i gh t e nv i ronm e nt T h e g i b e s that hav e b e e n l e v e ll e d at t h e art

.
o f t h e e i ght e e nth c e n t ury a r e w i d e o f t h e mark b e caus e th e y assu m e ,
an i nt e nt i on o f s e r ious and moral purpos e wh i ch n e v e r e x ist e d W i th .
all it s faults tha t art at l e ast show e d a j oy i n l i fe absolute ly lack i ng i n ,
t h e pr e c i os it i e s and affe c t a t i ons of P e r c i e r and F onta i n e I fancy t h at .
B lond e l i n h is z e al for pure arch i te ctur e m i ss e d t he po i nt H e i nv e ighs

, , .
aga i nst thos e w h o w e re i nd i ffe r e nt to u n é di fi c e r e gul i e r l arch i “ ’
t e cture étal e s e s b e autés e t l a r chi t e ct e s e s r e so u rc e s

,
’
and who ,
” 1
d e corat e d th e ir rooms gre at and small al ike w i th arab e squ e s bam

, ,
“
,
b o ch a d e s o u l e s somptu e u x co l i fic h e t s qu n n l ux e i ng é n i e u x ma i s tout
’
, , ,
a fa it d e r a is o na b l e a subst itués a u vra i ge nr e e t a u n e éléganc e i nte r

,
O ppe n o r d and M e is s o nn ie r had undoubt e dly run t he

”
e s s a nt e . col i
”
fi ch e t t o a standst i ll but for t he matte r o f that th e r e ar e som e
,
2
Blond e l , Cours ,
”
ii i, 6 2 , 6 3 .
d e plorabl e b a mb o ch a d e s and c olifi ch e t s i n Blond e l s o w n d e s igns

“ “ ’
and though th i s mann e r now s e e ms tri t e a nd m e an i ngl e ss any cr i t i cal ,
e st i mat e o f i t should tak e i nto account t h e cond i t i ons fo r wh i ch i t w a s
d e v i s e d and und e r wh ich i t w a s us e d I n P i gan i ol d e la Forc e s .

’
d e scr i pt ion o f t h e e nv i rons of Pari s th e r e i s an attract i v e account o f t h e

gall e ry of B e ll e v u e t he d e s igns o f wh i ch h e says w e r e mad e by
-
,
1
, ,
M m e d u Pompadour h e rs e lf T h e pan e ll i ng was d e corat e d w i th

. .
garlands o f flow e rs trava i llé e s av e c la plus grand e l e ger e te par

,
“
M V e rb e ck ( Ve r b e c kt ) and pa i nt e d by D i nant and D utout W i th i n

.
, .
th e s e garlands w e r e p ictur e s by Bouch e r T h e hang i ngs and cov e r i ngs .
o f t h e furn i tur e w e r e pa i nt e d by M Pe r n s t w i th sc e n e s and attr i but e s .
of agr i cultur e u n e i mag i nat i on d e l i cat e gu i dé e par l e go u t e t par l e s

“
,
grac e s e n a re glé tout e l o r d o n n a n c e T h e F r e nch d e corators o f t h e

’
.
” 2
e i ght e e nth c e ntury tak e an i mportant plac e i n t h e art o f th e i r t i m e .
J . C D e lafoss
. e who call e d h i ms e lf arch i t e ct e décorat e ur was an
,
“
-
,
abl e art ist D e la Lond e , plus fin e t plus sp i ri tu e l was a r e fin e d

,
“
,
”
i f rath e r w e ak d e s i gn e r and Ve r b e c k s d e corat i ons at V e rsa i ll e s a e com

’
, ,
p l i s h e d but i n e ffe ct i v e s e e m t h e r e fl e x o f that worn out ar i stocracy

,
that fa i l e d so d i sastrously at t h e Fre nch R e volut i on E nthus i ast ic .
cla i ms hav e b e e n mad e for M m e d u P ompadour an d e v e n for .
M m e d u Barry by th e i r adm i re rs that Fr e nch arch i te ctur e ow e d much

.
,
to th e s e b e aut iful lad i e s Th e y l e d t h e fash i on i n br i c-a-brac d e cora

.
,
t i on and dre ss but th e ir i nflu e nc e on arch i t e cture w a s n e i th e r mor e

, ,
nor l e ss than that o f any oth e r fash i onabl e lady w h o affe cts t he arts ,
a n d w a s i n po i n t of fa c t a n e g l ig i bl e q u ant i ty D ur i n g t h e last i lln e ss .
o f M me d u Pompadour Van L o o pa i nt e d a grand all e gor i cal p i ctur e

.
,
e nt i tl e d L e s arts suppl i ants t h e arts i mplor i ng D e st i ny to spar e h e r

”
l ife L e s Suppl iants d e Van Loo says D i d e rot n ob t i n r e nt ri e n d u

” ’
.
, ,
D e st i n plus favorabl e a la F ranc e q u a u x arts M m e d u Pompadour

’
. .
,
mourut e h b i e n qu e st i l r e sté d e c e tt e fe mm e q u i nou s a épu i sé s

’
, ,
d h o m me s e t d arge nt la i ssés sans honn e ur e t sans é n e rg i e e t q u i a

’ ’
, ,
boul e v e rsé le syst em e pol it iqu e d e l E u r o pe ? L e tra ité d e V e rsa ill e s ’
u i dur e ra c e qu i l pourra : L A m o u r d e Bouchardon qu on adm i r e ra a

’ ’ ’
q
jama i s : qu e lqu e s p i e rr e s gravé e s d e Guay q u i é tonn e ront l e s ant i ,
u a i r e s a ve n i r ; u n bon p e t i t tabl e au d e Van Loo qu on r e gard e ra

’
q
qu e lqu e fo i s ; e t u n e p i ncé e de c e ndre s Gr e at mov e m e nts i n art a r e .
” 2
2
N ar M udon
e d e stroy e d
e . No w .
P i gan i ol d e la Forc e says th i s of t h e gard e ns of w h i ch

2
,
he also says , Tout est de
ros e s dans l e s jardi ns D e sc i x 4 .
, ,
Sal on d e 1 7 6 5 p 2 4 6 ed J A ss ezat
2 “
, .
, . . .
J acqu e s d e s ign e d and partly compl e t e d t he fi ne cath e dral and Contan t

, ,
b e gan t he gr e at church at A rras O ppe n o r d s rococo at S S ulp i c e ,

’
.
w a s only a pass i ng fash i on S e r v a n d o n i brought back d e s i gn t o s e v e r e r

.
m od e ls i n t h e D or i c ord e r o f t h e w e st front and both at A rras an d ,
i n t h e ori g i nal d e s ign for t h e Mad e l e i n e Contant had i ntroduc e d n e w ,
fe atur e s i n t he p i e rs o f t h e c e ntral dom e and t he i solat e d colum ns ,
a t i m i d and t e ntati v e approach to t h e n e w mann e r of t h e ant iqu e ,
but i t w as S o u fflo t who first cross e d t h e Rub icon and e nd e avour e d to ,
translat e t he plan and ge n e ral sch e m e of a Chr i st i an church i nto t e rm s

o f an ant i qu e Roman t e mpl e H e fa i l e d to sat i sfy t h e formal i sts but
.
,
t h e Panthéon was r e gard e d by h i s cont e mporar i e s as a r e volut i on i n
d e s ign t he s ignal fo r t h e abandonm e nt o f t h e trad i t i on o f church

,
d e s i gn that had h e ld i n F ranc e for t h e last I 5 0 y e ars and t h e day w a s ,
n o t fa r o ff wh e n at N apol e on s b i dd i ng t h e M ad e l e i n e was to b e ’
, ,
transform e d i nto a class i cal t e mpl e d e d i cat e d t o t h e valour o f h is

v e t e rans .
S trange ly e nough hav i ng r e gard to t h e p e rsonal i t y o f t h e K i ng

, ,
t h e most i mportant arch i t e ctural work of t h e e i ght e e nth c e ntury i n
F ranc e i s to b e found i n i t s publ i c bu ild i ngs Lou i s X I V was full of .
z e al for his country but as h e i d e nt i fi e d h is country w i th h i ms e lf

,
and p e rsonally d i r e ct e d i t s affai rs h e sat i sfi e d h is z e al for t h e S tat e ,
and t h e arts of F ranc e by bu ild i ng h i ms e lf i nt e rm i nabl e and e xtr e m e ly

costly royal hous e s O n e can count o n on e s finge rs t h e publ i c i mprov e
.
’
m e nts mad e by Lou is X I V du ri ng h is long r e ign T h e H o p i tal d e la .
S a l pé t r i er e t h e l a y i n g o u t of t h e Bast i on of S A nto i n e and t h e Q ua i

, .
L e P e ll e t i e r t h e I nval i d e s and t h e Plac e d e s V i cto i r e s ( carr i e d out at

, ,
t h e e xp e ns e of t h e M ar echal d e la F e u i l la d e ) and t h e Plac e V e nd o m e , ,
ge n e rously pr e s e nt e d to t h e c i t i z e ns of Par i s by t h e K i ng o n cond i t i on

that th e y bu ilt h i m a barrack for h i s musk e t e e rs i n t he Faubourg
S A nto i n e
. T h e larg e bu i ld i ng of S Cyr d e s ign e d by Mansart n e ar
.
2
.
, ,
V e rsa i ll e s was bu i lt at t h e K i ng s e xp e ns e but t h e i nsti tut i on was a

,
’
s e m i pr ivat e affai r o f M m e d e M a i nt e non Wi th t h e e xc e pt i on o f t h e

-
. .
2
2
cost of th i s vast bu ild i ng was so great that i t n early ru i n e d t h e c i ty and th e y
T he ,
had to s e ll t h e s i t e as b e st th e y could .
T h e Ma i son d e Sai nt Cyr was found e d by t h e K i ng at t h e sugg e st i on of M me

2
.
d e Ma i nt e non and t h e P e r e d e la Cha i s e for t h e e ducat i on and mai nt e nanc e of 2 5 0

‘
daught e rs of nobl e fam il ie s without m e ans T h e p ensi onnai r e s had to sho w four g e n e rat i ons
.
o f nobl e d e sc e nt on t h e fath e r s s i d e T h e bu i ld i ng wa s b e gun i n May 1 6 8 5 2 5 0 0 me n

’
.
, , ,
i nclud i ng sold i e rs we r e e mploy e d on i t and i t was compl e t e d by May 1 6 8 6 at a cost of

, ,
1 4 0 0 0 0 0 1i vr e s C e tt e mai son fut m eubl é e ave c u n e magn i fi ce nce R o yal e tout é t oi t

'
, ,
.
,
E N T R A N C E T o L Y C EE C O R N E I LLE R O U E N ( e e p
, s . 1 70)
( R O M D R A W I N G B Y R E G I N A L D BL O M F I L )
F A E D
[1 1 . To FA E P
C .
1 8 2 6 is now occup i e d as a m il i tary hosp i tal M ost o f t h e larg e F r e nc h

,
.
2
towns p oss e ss o n e o r mor e o f th e s e e x c e ll e nt bu i ld i ngs s i mpl e and ,
d i gn i fi e d i n d e s ign and i mpr e ss iv e i n th e ir sugge sti on o f a d i sc ipl i n e d

,
l i fe and of a syst e m i nt e nd e d to b e p e rman e nt and i mmutabl e A mong

, .
t h e most r e markabl e a r e t h e A bbay e A ux D am e s n o w t h e H osp i tal , ,
and t h e Lycé e M alh e rb e at Cae n bu ilt i n 1 7 0 4 fo r t he A bb e y o f ,
S E t ie nn e from t h e d e s igns o f o ne o f t he br e thr e n Gu illaum e d e la

.
, ,
T r e mblay e T he d e ta ils a r e s i mpl e and e xc e ll e nt throughout and t he

.
2
,
re fe ctory i s o ne of t h e b e st rooms of i t s k i nd i n Franc e T h e pr e s e nt .
H Ot e l d e V i ll e of Ca e n was or i g i nally a s e m i nary o f t he E u d i sts bu i lt

in 1 6 9 1 1 703 I t i s a larg e bu i ld i ng but arch i t e cturally i nfe ri or to t h e
-
.
,
conv e rte d bu ild i ngs o f S E t ie nn e T h e Coll e g e o f A vranch e s i s a . .
good e xampl e o n a l e ss amb it i ous scal e A t T ours th e r e is t h e Pala is .
d e C om m e rc e sa i d to hav e b e e n d e s ign e d by J H M ansart and t h e

, . .
,
adm i rabl e Pr e fe cture both dat i ng from t he e arly part o f t h e e i ght e e nth
,
c e ntury T h e latt e r bu i ld i ng was or ig i nally a Conv e nt of t h e V i s i ta

.
t i on I am unabl e t o asc e rta i n w h o w as t h e arch i t e ct o r i t s e x ac t dat e

.
, ,
but i t i s a v e ry attract i v e d e s ign w i th i t s spl e nd i d gr i ll e it s gard e n o f ,
magnol ias l and t h e fi n e tr e atm e nt o f it s colossal ord e r supporti ng a

, ,
pla i n att i c stor e y T h e r e i s no ornam e ntal d e ta i l but it s spac i ousn e ss

.
,
and d ign i ty b e ar o u t B lond e l s favour i t e th e s i s that arch i t e ctu r e n e e ds ’
n o mor e than t h e ad e quat e e x pr e ss i on of purpos e s and sou nd propor
t i on to j ust i fy i tse lf T h e Lycé e Corn e i ll e at Rou e n i s anoth e r e xampl e

.
o f a conv e rt e d bu i ld i ng I t w a s b e gun by t h e J e su i ts i n t h e s e v e nt e e nth

.
c e n t u ry a n d t h e c h a p e l t o w h i c h I h a v e r e fe rr e d i n a n e a rl i e r v o lu m e
3
, , ,
w a s b e gun i n 1 6 1 0 and n o t compl e t e d t i ll 1 7 0 4 T h e e n tranc e gat e way .
i s a charact e r i st i c e xampl e of t h e e arl i e r part of t h e r e i gn of L ou i s XV ,
bu t aga i n t h e nam e o f t h e d e s ign e r i s unknown T h e J e su i ts w e r e .
gre at bu ild e rs T h e R e vocat i on o f t h e Ed i ct o f N ant e s ( 1 6 8 5 ) gav e a

.
cons id e rabl e i mp e tus to th e ir e n e rg ie s and dur i ng t h e n e x t fifty y e ars ,
and i nd ee d down t o t h e dat e o f th e i r e x puls i on from Franc e i n 1 7 6 4 ,
Hospi tals ho we v e r we r e bui lt i n t h e s e ve nt e enth c e ntury e g t h e Salpé tri e r e and

1
, , , . .
,
L H Opi tal S Jacqu e s at B e san c o n 1 68 5 -1 7 0 2

’
.
, .
Cae n par G S T r éb u ti en p 1 6 9
2" “
,
”
. .
, . .
A H i story of Fr e nch A rch i te cture 1 4 94 1 6 6 1 1 1 2 5

2
,
-
, , .
2
Se e H i st d e Franc e e d Lavi sse viii ii 3 2 0 2 1 for an account of t h e c u ri ous
.
,
”
.
, , ,
-
,
w a y i n wh i ch th e y w e r e m ad e bankrupt and ru i n e d All J e su i t Coll ege s p e nsi ons or .

, ,
s e m i narie s w e re cl os e d i n 1 7 6 2 In 1 7 6 4 t he J e su its wer e e xp elle d from Franc e and t h e

.
Parl i am e nt to ok poss e ss i on of th ei r bu i ld i ngs A catal ogu e pri nte d at Rom e i n 1 6 7 9 gave .
t h e numb e r of th ei r coll e g e s at that dat e as 5 7 8 s e m i nar i e s 8 8 and mai s o ns de proba , ,
t i on 4 8 ( G e rma i n Br i c e D e sc d e la V ill e d e Pari s ii

, .
,
”
,
A RC H I T E CT U R E I N T H E R E I G N O F L O U I S X V 1 7 1
th e y w e re e x tr e m e ly act i v e and r e ar e d th e i r vast e stabl i shm e nts i n

e v e ry part o f Franc e o n e m ight almost s a o f E urop Lou i s X I V
,y e .
fo r t h e last forty y e ars o f hi s r e ign w a s i n t h e h ands o f t he J e su i ts ,
and th e y w e r e not t h e me n to m i ss th e i r o pp ortu n i t ie s t hough to do ,
th e m just i c e th e y us e d th e m larg e ly to e xt e nd th e i r syste m of e duca

t i on M any o f t he bu i ldi ngs n o w occu pie d as Lycé e s w e r e d u e to t h e
.
e nt e rpr i s e o f t h e J e su i ts and t h e pla i n strai gh t forward charact e r o f

,
th e ir arch i t e ctur e and it s su i tab i l i ty t o purpos e mak e th e m i n th e i r

, ,
way mod e ls o f pract i cal d e s ign T h e sam e qual i ty i s shown i n som e o f .
t h e e ight e e nt h c e ntury barracks - t h e C as e rn e Condé at B ourg e s t h e -

"
Q uart ie r Rochamb e au at V e nd o m e or t he C as e rn e H am e l i n at Ca e n , .
T h e r e is n o pr e t e ns i on about th e s e bu i ld i ngs and l i ttl e or no ornam e nt , ,
and y e t th e y a r e s i ngularly i mpr e ss i v e in th e i r s e lf r e stra i nt th e i r sug -

,
ge st i on of mascul i n e purpos e w e ll i n hand and p e rfe ctly comp e t e nt ,
to r e al i z e what i t s e t o u t to do .
T h e J e su i ts w e r e not t h e only ord e r who und e rtook th i s vast

e ducat i onal work T h e pr ie sts of t h e M i ss i on o f Sa i nt Lazar e as
.
,
re organ i z e d by S V i nc e nt d e Paul th e i r first S up e r i or-G e n e ral d e vot e d

.
, ,
2
th e ms e lv e s to e ducat i on and chari tabl e works w i th a s i ngl e n e ss o f

purpos e u nknown to t h e J e su i ts G e rma i n B r i c e wr i t i ng e arly i n t h e .
,
e ight e e nth c e ntury says th e y had mor e than n i n e ty s e m i nar i e s at that

,
date and h e m e nti ons an i nte r e st i ng e nt e rpr is e u nd e rtak e n by t he pr i e sts

,
i n 1 7 1 9 Th e y bu i lt on t h e road to S D e n i s a long s e r i e s o f two stor e y e d

. .
-
hous e s sol i dly bu i lt o f ston e to hous e pr i vat e fam il i e s and workm e n

, , ,
and i n 1 7 2 4 th e y put up t h e follow i ng adv e rt i s e m e n t at t h e corn e rs o f

all t he str e e ts o f Pari s
R e tra i t e H o n ne s t e e t C h r e t ie n ne — S i l s e t r o u v o it plus i e urs ge ns
’
.
’
d e b ie n E c c l e s ia s t iq u e s o u S é cul i e rs q u i d e s i r e n t d e v i vr e u n pe u a
, ,
l é ca r t d u grand e mond e L e s Pr etr e s d e la M i ss i on d e Sa i nt Lazar e

’
s e r o i e n t ass e z d i spos e z a l e ur procur e r a bon c ompt e p res de l e ur , ,
Egl i s e u n log e m e nt sa i n e t commod e u n grand e c our u n b e au j ard i n

, , , ,
u ne ma i son d e campagn e e t tout e s l e s chos e s n e c e ssa i r e s a la v i e tant ,

”
e n santé qu e n malad i e
’ 2
.
Blond e l i llustrate s t h e e ntranc e t o t h e S e m i nary at B ourge s bu i l t

fro m d e s igns o f M Franqu e 2
arch i te ct e d u Ro i i n 1 7 40 d e s ign e d
.
,
“ ”
,
D ie d 6 6 at th age of 8 5
1 0 e .
De sc d e la Vill e d e Pari s
.
, 11, 1 3, 1 4 .
Ce t arch i t e ct e d u R oi es t p e ut-e tre u n d e c e ux q u i o n t le plus travai ll e , s es pro

e st i mabl e s vont
d u ct i o n s par ai t re i nc e ssamm e nt ( J F Blond e l Cours iii ”
.
.
, , ,
1 7 2 A H I ST O R Y O F F RE N C H A RC H I T E C T U R E
w i th grav ity o f mann e r that d ist i ngu i sh e s a l l th e s e bu ild i ngs

t he .
H e also g i v e s h is o w n d e s ign a v e ry com monplac e o n e for t h e , ,
e ntra n c e to a palac e for t h e A rchb i shop of Cambra i and h e i llus ,
t rat e s a fi ne d e s ign by B u ll e t for t h e front i sp i e c e o f t h e a r ch e v é ch é o f
B ourg e s .
2
I hav e alr e ady r e fe rr e d to som e o f th e s e palat i al bu ild i ngs i n my

a ccount o f B offr a n d and D e Cott e I n t he e ight e e nth c e ntury t h e .
ch i e f bu ild i ng e nte rpri s e of t h e Establ i sh e d Church i n Franc e s e e ms t o

hav e be e n t h e prov is i on of lordly r e s i d e nc e s fo r t he b i shops and arch
b i shops Th e r e i s an e i ghte e nth c e ntury Ar ch e v é ché at B e san c on and
.
a fi n e lat e e xampl e at B ord e aux bu ilt for t he archb i shop t h e Pr i nc e , ,
d e Roha n d e G u e m e né e i n 1 7 7 2 -8 1 from d e s i gns by D E t ie nn e

’ 2
, T en
,
.
y e ars late r i t was tak e n ov e r by t h e Stat e as l H Ot e l d u D e partm e nt ’
and i n 1 8 3 5 i t b e cam e t he H Ot e l d e V i ll e T h e A r ch e v é ché n e ar t h e .
cath e dral at Tours i s a comparat iv e ly mod e st bu i ld i ng and o f about t h e

sam e dat e i s t he E v é ché at B lo is by t he e ld e r Gabr ie l T h e E v é c h é .
o f A rras or Palai s d e 5 Vaast a large and i mportant bu ild i ng w a s

, .
,
,
d e s ign e d by Contant d I v r y afte r t h e m i ddl e o f t h e e ight e e nth c e ntury

’
t h e E v é ch é o f L i s i e ux n o w t h e Tr i bunaux w as bu i lt for M ons e i gn e ur

, ,
L e onor d e Mat ignon about 1 6 8 0 and that o f Sa i nt O m e r now t h e , ,
Pala i s d e Just i c e w a s compl e t e d from d e s igns by J H M ansart about

, . .
To m e e t t h e cost of th e s e gre at house s t h e pr i nc e s of t h e church

d e vastat e d t h e for e sts o f th e ir s e e s ; and th e i r acti on s e e ms t h e mor e
gratu itous i n that th e y w e r e s e ldom i n r e s i d e nc e pr e fe rr i ng t he ,
e x am pl e of Card i nal Fl e ury w h o d e scr i b e d hi ms e lf as , E v equ e de

F r éj u s par l i nd ig n a t i o n d i v i n e O f publ i c bu i ld ings e re ct e d i n France
’
.
”
dur i ng t he t w o r e i gns t h e most r e markabl e a r e t h e I nval i d e s t he ,
E col e M i l ita i r e t h e H ot e ls t o r ight and l e ft o f t h e Ru e Royal e i n t h e

,
4
Plac e d e la Concord e by A J Gabr i e l t h e H Ot e l d e V i ll e o f D ij on t h e

. .
, ,
e ld e r Gabr i e l s bu i ld i ngs at Bord e au x H er e s at N ancy and t h e

’ ’
, ,
H osp i tal at Lyons by S o u ffl o t Gabr i e l s or ig i nal d e s igns fo r t he .

’
Ecol e M il i ta i re w e re gr e atly r e duc e d i n e x e cut i on but t h e bu ild i ng ,
i s st i ll o n e o f t h e fin e st publ i c m onum e nts i n F ranc e

’
S o u ffl o t s .
H Ot e l D ie u at Lyons was p e r h aps t h e most i mportant work compl e t e d
Se e i ll u strat io ns , chap
2
. x .
2
See i ll u strat i on i n B ord eau x—Ext é ri eur e s et Intér ie ure s du X VI II Si e cl e ,
Charl e s Sch mi d e d .
3 Alt r d 1 8 -
e e 43 5 .
T h e old Gard e M e ubl e up t o 1 8 0 6 T h e hot e l t o t h e r i ght i s n o w o ccup i e d by t he

2
.
M i n i stry of Mar i n e that to t h e l e ft has b e e n cut up i nto four h ot e ls

, .
L . CXCI I I
T o FA E P
C . 1 7 3]
as both t h e Gabr i e ls or S o u ffl o t — th e y show e d that th e y w e r e

capabl e of ma i nta i n i ng t h e gr e at trad i t i ons o f t h e s e v e nt e e nth c e ntury
.
T h e d i sast e r w a s d u e to t h e folly o f t h e younge r m e n who thr e w ov e r

that trad i t i on and d e s e rte d to t h e camp of t he p e dants and
doctr i na i r e s
.
C H A PT E R XXIX
C IVIC A R C HIT E C T U R E I N THE RE I G N S OF L OUIS XIV

A ND L OU I S XV
H E subj e ct Of town —plann i ng has attract e d much att e nt i on i n
re c e nt y e ars and i t has som e t i m e s b e e n tr e at e d by e nthus iasts
,
as i f i t was a d i scov e ry of t he latte r part o f t h e n i n e te e nth

c e ntury Town -plann i ng i s of cours e no n e w th i ng I t w as a d mi r
.
, , .
ably handl e d by t h e Romans by t h e H e ll e n ist ic arch it e cts and

, , ,
b e for e th e m by t h e A th e n i ans I nd e e d i n c i v i l i zat i ons O f r e mote

, .
,
an t i qu i ty th e re is e v i d e nc e o f t h e d e l i b e rate plann i ng o f c it i e s and ,
i t m i ght b e mor e accurat e to s a y that t h e contr i but i on o f t h e n i n e

t e e n t h c e ntury w a s to add hous e to hous e and str e e t t o str e e t u nt i l ,
our c i t i e s hav e b e com e m e r e accumulat ions o f bu ild i ngs Franc e w a s .

,
as usual i n matt e rs o f arch i t e cture ah e ad of oth e r countr ie s T h e

,
.
fi rst s e r ious and cons id e r e d v e nture was mad e by H e nry I V i n t h e ,
P lac e Royal t h e Plac e D auph i n e a n d t h e P or t e e t Pl a c e d e Fr a n c e

, , .
2
L i ttl e w a s don e und e r Lou is X I I I o r und e r M a z a r i n s adm i n i strat ion ’
but R ich e l ie u had his o w n l i ttl e to w n o f R i ch e l i e u d e s ign e d from

gat e w ay t o gate way by L e m e rc i e r and i t r e ma i ns a un i qu e e xa m pl e
,
o f a s e v e nt e e nth -c e ntury town bu i lt from start t o fin i sh at o n e dat e
and from o n e d e s ign and for a d e fin i t e pur p os e L e Vau s g e n e ral

, .
’
d e s ign fo r t h e Coll ege d e s Q uatr e Nat i ons i s p e rhaps t he n e x t

“
,
”
, ,
e xampl e o f plann i ng on larg e l i n e s and a c ompr e h e ns i v e sch e m e He .
p lac e d t h e bu i ld i ng o n t h e ax i s l in e o f t h e south e ntranc e of t h e

L ouvr e and i n d e s ign i ng hi s e mbankm e nt and t h e plan of t h e bu i ld
,
i n g e nd e avour e d not only to g e t ov e r t h e d i fficult i e s of h is s i t e but ,
also t o form a d e fin i te cl i max to t h e v i sta from t h e Louvr e A ll .
t h e d e s i gns fo r t h e compl e t i on o f t h e L ouvr e i ts e lf thos e o f L e ,
2
S ee “
A Fr e nch A rch i t e ctur e
H i story of , 1 494
-
1 66 1 , vol . ii , pp .
4 1 -4 6 . A ls o “
T he
M i stre ss A rt chaps v v i and vii
, .
, , .
1 7 6 A H I ST O RY O F F R E N C H A RC H I T E C T U R E
Vau B e rn i n i and P e rrault a i m e d at d e al i ng i n o n e w a y o r anoth e r

, , ,
w i th t h e spac e b e t w e e n t h e old Louvre and t h e T u i l e ri e s T h e cl e ar .
anc e o f th i s spac e had b e e n a favour i t e proj e ct o f H e n r i I V and h e ,
actually bu i lt t h e gall e ry along t h e ri v e r fr ont j o in i ng t he t w o palac e s ,
but noth ing furth e r cam e o f th e s e proposals Lou i s X I V t i r e d of t h e .
Louvr e b e fore t h e roofs w e re on t h e bu i ld i ng r e ma i n e d u nfin ish e d and, ,
i t i s poss i bl e that t h e e cl i ps e of Pe r r a u l t s r e putat i on i n h i s latt e r days

’
may hav e b e e n par t ly du e to t h e fact that n o o n e could e v e n s e e h i s

spl e nd id d e s ign of t h e e ast fa c ad e T h e Plac e d e s V i cto i r e s and t h e .
Plac e V e nd o m e w e re i mportan t i mprov e m e nts e sp e c ially t h e Plac e ,
V e nd o m e w ith it s sk i lful tr e atm e nt o f t h e fa c ad e s but i n both cas e s ,
t h e d e s i gns w e r e spo i lt i n e x e cuti on T h e only grou nd plann i ng that .
r e ally app e al e d to Lou i s X I V w a s that o f t h e g igant ic gard e n sch e m e s

pre par e d fo r h i m by L e N Otr e and n e i th e r h e nor his arch i te cts pa i d
,
much att e nt i on to v i stas of arch it e ctur e D e Bross e s aft e r comm e n t i ng .

,
o n t h e fi ne plann i ng o f t h e thr e e str e e ts conv e rg i ng on t h e Porta d e l
Popolo at Rom e says : C e qu on e nt e nd adm i rabl e m e nt i ci c e st la

,
“ ’
,
’
m an ier e d e d i spos e r le s po i nts d e v u e e t d e ménag e r l e coup d Oe il d e s

’
obj e ts s i ngul i e rs C e t art n e st pas l a r t i cl e q u i contr i bu e l e mo i ns a

.
’ ’
donn e r a la v ill e ce t a i r d e grand e ur e t d e magn i fic e nc e O n me l e nt e n d .

’
po i nt d u tout a Par i s 1 1 n y a d e coup d oeil qu e c e lu i d e s qua i s

.
’ ’
.
La Plac e V e nd o m e la Plac e Royal e l a d mi r a b le fa c ad e d u Louvr e e t

, ,
’
l e porta i l Sa i nt G e rva i s ( d e ux monum e nts égaux a c e qu on vo i t d e plus

’
”
b e au i ci ) sont e n pur e p e rte pour la p e rsp e ct i v e
,
.
2
T h e Pl a c e d e s V i c t o i r e s w a s co n s t ru c t e d a t t h e c har g e of t h e
M ar echal D u e d e La F e u i llad e at a cost of l ivr e s t h e town
, ,
contr ibut i ng a s i m i lar am ount T h e Plac e V e nd o m e w a s to hav e b e e n

.
2
a good d e al b igge r than i t i s and was t o hav e b e e n e nt e r e d by a gr e a t

,
tr i umphal arch o n t he north s i d e and o n t he south s i d e l e ft op e n to ,
t h e R u e S H onoré but t h e work was stopp e d o n t h e d e a t h of Louvo i s

.
,
in 1 69 1 and t h e whol e sc h e m e alt e r e d to i t s pr e s e nt plan

,
T he .
2
e qu e str i an monum e nt o f t h e K i ng v etu e n héros d e l a n t iq u it é by ’ ”
, ,
2
Le ttr e s Fami l i ér es écr i t e s d I ta l ie e n 1 7 3 9 e t 1 7 4 0 par Charl e s d e Bross e s i i
“ ’
, , ,
p 1 0 D e Bro ss e s mod i fi e s h i s cri t i c i sm by p oi nt i ng out that at Rom e tout e s t d e palai s

. .
“
o u d e caban e s
”
.
Patt e giv e s it s d i am e t e r as 2 4 0 fe e t ( 4 0 to i s e s ) T h e monum e nt by D e sjard in s w a s

2
.
d e d icat e d t o Lou i s L e Grand in 1 6 8 1 In t he Plac e w e re four great Fanau x or lant e rn s

.
,
”
o n thr e e m arbl e column s La Fe u illad e l e ft a sum for th e i r r e gi ld i ng e ve ry t w e nty fi v e

.
-
y ears but aft er h i s d e ath th e y w e re gi v e n to t h e T h e at in s

, .
Its d i m e ns i ons a re 4 5 0 fe e t long by 4 2 0 wi d e ( Patt e ) T h e Plac e Royal e ( Plac e

2
.
d e s Vosg e s ) i s 4 3 2 fe e t squar e .
1 78 A H I ST O RY O F F R E N C H A R C H I T E C T U R E
t he Lo i r e through t h e Faubourg S M arc e au and so away i nto t h e .

,
op e n country A t S aumur t h e ma i n str e e t runs i n a stra ight l i n e

.
through t he town ov e r t h e Pont C e s s a r t through t h e Faubourg d e s ,

2
Ponts and cross e s t h e B ras d es S e pt Vo ie s by t h e Pont N apol e on

,
2
.
A t th i s po i nt i t s e ffe ct i s now spo ilt by t h e stat i on and t h e ra i lway .
A noth e r spl e nd i d e xampl e i s found at Tours T h e ma i n road l a v e n u e

’
.
,
d e Grammont e nt e rs t h e town on t h e south s i d e across t h e R i v e r Ch e r

, ,
i nt e rs e cts n e arly at r ight angl e s t h e B oul e vard B erange r at t h e Plac e

d u Pala i s d e J ust i c e n e arly i n t h e c e ntr e of t h e town and cont i nu e s i n
, ,
a stra ight l i n e to t h e b e aut i ful bri dg e o f Tours cross i ng t h e Lo ire w i th 2

,
fi ft e e n arch e s to t h e Plac e d e Cho is e u il and s o up t h e h i ll o n t h e ,
furth e r s i d e past S Symphori e n A s o ne e nt e rs t h e town from t h e

. .
north s i d e aft e r cross i ng t h e br idg e ov e r t h e Lo i r e t h e road pass e s

, ,
b e tw e e n t w o d ign i fi e d pav il ions v e ry s i m ilar i n tr e atm e nt t o thos e i n ,
t h e Plac e d u M a r t r o y at O rléans and o f t h e sam e dat e T h e d e s ign e rs .
fe lt i t was no u s e bu i ld i ng a fi n e br i dge unl e ss som e car e was tak e n o f

t h e approach e s and som e e ffort mad e to m ark t h e e ntranc e t o t h e town
,
w ith d ign i fi e d fe atur e s a po i nt wh ich mod e rn br i dg e —d e s ign e rs hav e

,
fa il e d to r e al i z e A t Wat e rloo Bri dge for e xampl e o n t h e north e n d

.
, , ,
no s e r ious att e mpt has y e t b e e n mad e o n t h e w e st s i d e to balanc e t he

fa c ad e o f S om e rs e t H ous e o n t he oppos i t e s i d e O f t h e road and t h e ,
approach to Wat e rloo Br i dg e on t h e sou t h s i d e i s s i mply d i s g rac e ful .
A gr e at br i dge m ight b e t h e fin e st publ i c monum e nt that i t i s pos s ibl e

t o conc e i v e but i t v e ry s e ldom i s b e caus e t h e au thor i t i e s complac e ntly
, ,
th i nk th e y hav e don e all that i s n e c e ssary wh e n th e y hav e bu ilt t h e

bri dge and do not r e al iz e that t h e br i dge i s only half t h e battl e
, .
T h e br i dg e s and roads of Franc e b e cam e a v e ry s e r i ous cons i d e ra

t i on towards t h e e n d of t h e r e ign o f Lou i s X I V I hav e alr e ady .
d e scr i b e d J H M ansart s fa ilur e s at M oul i ns and e ls e w h e r e and i t

’
. .
,
app e ars that at that t i m e t he Fr er e Roma i n was t he only man w h o

could b e r e l ie d on to bu i ld a bri dge that would not fall to p ie c e s .
Gabri e l t he e ld e r d e s ign e d t h e grac e ful br idge ov e r t h e Lo i r e at B lo i s

, ,
2
Bu i lt 1 7 5 6 6 8 2 7 6 mm l ong on 1 2 arch e s M Carr e H i sto i r e d e Franc e v iii 2
-
,
. . .
’
, , , ,
7,
g i v e s t h e dat e as 1 7 1 6 but t h e br i dg e i s lat e r
,
.
T h e oth e r arm O f t h e L oi r e
2
.
2
Bu i lt i n 1 7 6 5 1 7 7 7 from t h e d e s igns of Bay e u x of th e Ponts e t Chauss é e s B au ch al
- .
says that h e d e s ign e d t h e bri dg e s of Port d e P i l e i n 1 7 4 0 M e mbroll e 1 7 4 8 M ontbazo n , ,
1 7 5 0 and t h e br i dg e ov e r t h e Ch e r 1 7 6 5
,
H e do e s not i d e nt i fy h i m wi th t h e Bay e u x
.
w h o d e s i gn e d t h e H Ot e l d e V i ll e of B e auva i s 1 7 5 0 5 3 T h e br i dg e of Tours i s 4 3 4 m - . .
1 8 lon g and 1 4 m 6 0 w i d e . .
[1 1 . To FA E P
C . 1
78
l H E IIR I D G I1
'
(F OM A
R D R AW I N
To FA E I
C ’
. 1
7 9]
C I V I C A R C H I T E C T U R E ( L O U I S X I V A N D L O U I S XV ) 1 79
in but Gabr i e l was an e xc e ll e nt arch it e ct and und e rstood bu i ld

i n g construct i on wh i ch Mansart d i d not and i t was e v i d e nt that t h e
, ,
whol e qu e st i on o f br i dg e s r e qu i r e d to b e tak e n i n hand by t he S tat e T h e .
Bri dg e o f Char e nton collaps e d i n 1 7 1 4 t h e old br i dge s o f Blo i s and ,
S au mur i n 1 7 1 6 and that of Fe rm il at N ant e s i n 1 7 1 9 I n 1 7 1 5 t h e

, .
Counc i l of t h e I nt e r ior pr e s i d e d ov e r by t h e D uc d A nt i n e stabl i sh e d

,
’
,
”
the Ponts e t Chaussé e s to cons i st o f tw e nty -o n e e ng i n e e rs thr e e
“
, ,
i nsp e ctors an i nsp e ctor g e n e ral and a d i r e ctor g e n e ral l e M arqu i s d e

, , ,
B e r i ngh e n T h e roads w e r e as bad as t h e br i dg e s T h e roads i n

. .
Guy e nn e w e r e i mpract i cabl e for v e h i cl e s and it w a s not t i ll 1 7 3 8 that ,
th e y w e r e s e r i ously tak e n i n hand by O rry t h e Contr o l e ur Général w h o , ,
e stabl i sh e d t h e Cor v é e Royal e for t h e mak i ng and ma i nt e nanc e o f ” 2

,
roads T h e syst e m w a s grossly u nj ust E v e rybody w i th any i nt e r e st

. .
e scap e d t h e work but from t h e po i nt of v i e w o f Stat e financ e i t work e d

,
w e ll T h e S tat e ga i n e d labour e st i mat e d t o b e worth fi v e t o s i x

.
,
m ill i on l i vr e s a y e ar i n 1 7 3 8 and in 1 7 7 4 i t was worth twi c e that sum , ,
and t h e roads o f Franc e w e r e t h e b e st i n E urop e I n 1 7 4 3 T r u d a i n e .
e stabl i sh e d a S chool of E ng i n e e r i ng for t h e Ponts e t C ha u s é e s

; and
i t w a s t o th e s e m e n that Franc e ow e s h e r b e aut i ful br i dg e s of t h e
e i ght e e nth c e ntury I n add it i o n to thos e alr e ady r e fe rr e d to I may 3
.
m e nt i on t h e br i dge s of Chalons s u r Marn e o f Mant e s of ,
N e u illy t h e e i gh t e e nth c e ntury br i dge o f M o u l i ns t h e b e aut i ful

,
-
,
foun t a i ns o n e i th e r s id e o f t h e Pont d e s B e ll e s Fonta i n e s at J uv i sy

( S e i n e e t O is e
) da t i ng from t h e e arly part of t h e e i ght e e nth c e ntury ,
a n d t h e v e ry r e markabl e Pon t N e u f ov e r t h e Garonn e at Toulous e ,
w i th t h e strang e op e n i ngs i n t h e p ie rs for t h e passage of flood wat e r .
2
T he trophy b e lo w t h e ob el i sk on t h e c e ntral arch wa s by C ou s t ou ’
.
2
T he Corvé e Royal e e nforc e d t h e actual w ork of c o n st r u ct i ng a n d maintai n i n g
roads on t h e i nhab i tants of t h e d i str ict through wh i ch t h e roads pass e d E v e ry man .
from s i x t e e n t o s ix ty s ix wa s r e qu i r e d to do h i s shar e of w ork vary ing from e ight to forty

-
,
days a y e ar und e r pai n of i mpri sonm e nt and th e y had t o bri ng th ei r o wn provi s i ons
, , ,
tools and b e asts of burd e n Se e H Carr e H i sto i r e d e Franc e e d La vi s s e v i ii 2

,
. .
‘
,
“
, .
, , ,
1 0 1 1 0 3 and 7
-
, .
T h e br i dg e o f N e u i lly cross i ng t h e S e i n e to t h e e ast O f t h e t h e Bo i s d e Boulogn e

2
w a s compl e t e d i n 1 7 7 2 from t h e d e s i gns of P e r r o n e t, It i s 7 5 0 fe e t long i n fi v e arch e s .

,
e ach 1 2 0 fe e t w i d e w i th a r i s e of 3 0 fe e t Blond el says th e i r curv e was struck from .
1 1 c e ntre s It i s 4 5 fe e t wi d e Wat e rlo o bri dge has n i n e arch e s 1 2 0 fee t w i d e wi th a

. .
,
r i s e of 3 5 fee t t h e w i dth b e t we en parap e ts i s 4 2 fe e t 6 i nch e s T h e p i e rs are 2 0 fe e t

, .
th i ck as agai nst 1 3 fe e t th i ck at N e u illy Blonde l or rath e r P att e says that a s e ttl e m e nt

.
, ,
at Wat e rloo Br i d g e of 1 foot was exp e ct e d but that t h e actual s ettl e m e nt was 8 i nch e s So ,
.
p e rfe ct w as R e nn i e s e ngi n ee ring that aft e r t h e c e ntr e s we r e struck t h e gr eat arch e s only
’
,
s e ttl e d 1 5 i nch e s .
T he E col e d e s Ponts e t Chaussé e s was I b e l i e v e t h e first t e ch n i cal , ,
e ng i n e e r i ng school e stabl i sh e d and i t s i nst i tut i on mark e d t h e furth e r

,
sp e c i al izat i on o f arch i t e ctur e and i t s unfortunat e s e parat i on fo r t h e

,
futur e from e ng i n ee r i ng Pe r r o ne t t h e first d i r e ctor o f t h e S chool w a s

.
, ,
t h e last of t h e arch i t e ct e ng i n e e rs
2
.
A t s e v e ral towns i n t he prov i nc e s i m p ortant sc h e m e s of i mprov e

m e nt w e r e und e rtak e n b y local author i t ie s about t h e first half of t h e
e ight e e nth c e ntury Wast e spac e s w e re sk ilfully conv e rt e d i nto
.
”
prom e nad e s and Plac e s I ha v e alr e ady r e fe rr e d to t h e Prom e nad e
.
d u P e yrou at M ontp e ll i e r T h e Plac e d e s Qu i nconc e s and t h e A llé e

.
d e T o u rny 2
at B ord e aux t h e A llé e d e Tourny at P e r igu e ux 3 0 0
, ,
m e tr e s long and 8 0 w id e and t h e Prom e nad e d e la H o t o ie at A m i e ns

,
2
,
a r e w e ll known e xampl e s b u t t h e bold e st o f th e s e sch e m e s is t h e

,
Prom e nad e d e s T e rr e au x ( o r Vauban ) at A vallon That town .
stands on t he e n d of a rocky plat e au som e 8 5 0 fe e t abov e t h e s ea and

-
,
o n t h e e a st s i d e o f t h e town th e r e i s a larg e op e n spac e S lo pi ng down
wards rap i dly I n 1 7 2 0 an u nknown d e s i gn e r conc e i v e d t h e bold i d e a

.
o f runn i ng out a gr e a t p i e r or e arthwork plant e d w i th av e nu e s o f

, ,
l im e s w i th s ton e r e ta i n i n g walls o n e i th e r s i d e d e sc e nd i ng by t w o
, ,
l e v e ls and fl ights of sta i rs t o t h e low e r ground A t t h e upp e r e n d by .

,
t h e mod e rn statu e of Vauban four st e ps l e ad up to t h e upp e r walk , ,
1 2 4 pac e s long by 3 4 w i d e A broad walk about 3 0 fe e t w i d e runs

.
, ,
down t h e c e n t r e flank e d by a doubl e r o w of cut l i m e -tr e e s w ith s id e

, ,
w alks and balustrad e s abov e t h e r e ta i n i ng walls on t h e out e r s i d e s At .
t h e fur t h e r e n d t w e l v e st e ps d e sc e nd to a land i ng from wh i ch a doubl e ,
sta i rcas e d e sc e n d s t o t h e lo w e r w alk ; th i s cont i nu e s ou t wards down

t h e h i l l 2 4 pac e s w i d e and 5 9 pac e s long w i th a s i ngl e av e nu e o f
, ,
l i me s and t e rm ina t e s i n a h e m i cycl e w i th a fl ight o f e ight st e ps to t h e

, ,
low e r ground T h e l i m e s o f t h e low e r walk a r e k e pt to t h e sam e

.
‘
h e ight as t hose of t h e upp e r walk but i t s s i d e walls i nst e ad o f b e i ng, ,
k e pt hor izontal as i n t h e upp e r w alk follo w t h e runn i ng l e v e l T h e , .
w hol e p i e r i s i solat e d w i th op e n spac e s o n e i th e r s i d e and t h e e ffe ct o f ,
t s gr e a t mass runn i ng boldly o u t from t h e h i gh e r ground i s e xtr e m e ly

i
fi ne T h e m e n who c ould i mag i n e such a d e s ign as th i s s o s i mpl e and
.
,
2
J ean Rodolph e P e r r o n e t born at Sur e sn e s 1 7 0 8 d i e d at Pari s 1 7 9 4 H e e nt er e d
, , .
t h e P o nts e t Chaussé e s i n 1 7 4 5 was e l e ct e d a m e mb e r of t h e A cad e my o f A rch i t e ctur e

,
1 756 . H e d e s i gn e d t h e br i dg e s o f Man t e s N og e nt sur S ei n e N e u i lly ( 1 7 6 8

,
P ont ,
Sai nt e Maxen ce and t h e Pont Lou i s X VI ( 1 7 8 7

, ( Ran chal )
2
No w a pav e d o p e n spac e w i thout any tree s .
2
Lai d ou t i n 1 7 5 0 Tourny was Gove rnor of Gu ie nn e
. .
London o n e o f th e m an e xtr e m e ly fi ne o ne most of th e m i ns ign i ficant

, , ,
but th e y a r e usually dry or allow e d t h e most pars i mon i ous play a n d

, ,
ou r m un i c i pal author i t i e s a r e n e rvous about larg e plann i ng as outs i d e ,
t h e rang e o f pract i cal bus i n e ss W e hav e a long l e e w ay to mak e up

.
,
but t h e fault l i e s w i th t h e author it ie s O pportun i t i e s a r e wast e d aga i n .
and aga i n I f thos e i n control poss e ss e d mor e for e s igh t and i mag i na
.
ti on i f th e y co u ld hab i tuat e t h e m s e lv e s to th i nk i n larg e r spac e s

,
art i sts would not b e slow t o r i s e to t h e occas i on .
T he tr i umphal arch e s e r e ct e d i n t h e gr e at towns of F ranc e i n t h e

s e v e nt e e nth and e ight e e nth c e ntur i e s form anoth e r i mportant chapt e r
i n t h e arch i t e ctural h i story o f that p e r i o d T h e e arl i e r e xampl e s w e r e .
actual fort ifi e d gat e ways such as t h e e ntranc e gat e on t h e e ast s i d e of

,
P e ronn e or t he Port e d e la C i tad e ll e o f N ancy bu ilt i n I 5 9 8 e x c e ll e nt , ,
e xampl e s O f t h e m i l i tary e ng i n e e r i ng of t h e t i m e wh e n e ng i n e e r i ng ,
was st ill tr e at e d as part o f arch i t e cture T h e Porte d e Tourna i in t h e .
old fort i ficat i ons o f L i ll e w i th it s pa i rs of mass iv e e n g age d D ori c

,
colum ns and doubl e archway drawbr i dge s is a lat e r e x ampl e and st i ll ,
r e ta i ns i t s m i l i tary purpos e ; but both h e r e and st i ll mor e in t he Porte

d e Par i s at L ill e and t h e Port e S G e org e at N ancy t h e arch i
, .
,
t e c t u r a l mot i v e pr e dom i nat e s a n d t h e n e x t st e p i s t h e Tr i umphal arch

, ,
stand i ng nak e d and u nabash e d i n t h e stre e ts r e gardl e ss of it s d is ,
c r e a n c y w i th adj ac e nt bu i ld i ngs and i t s e xtr e m e i nconv e n i e nc e t o t h e

p ,
publ i c I n t h e Port S N i colas at N ancy ( s e v e nt e e nth c e ntury ) t he

. .
c e ntr e of t h e road w ay i s occup ie d by t h e p i e r b e tw e e n t h e t w o arch e s ,
a fatal d e fe ct i n any tr iu mphal arch and o n e t hat Fran c o i s Blond e l ,
w a s car e ful to avo i d i n t h e Port e S D e n i s by far t h e fin e st o f th e s e .

,
tri umphal arch e s th ough i t s i ncongruous mod e rn surrou n di ngs mak e

,
2
i t d i ffi cult to r e al i z e i t s spl e nd i d qual i ty T h e P ort e S Mart i n . .

,
d e s ign e d by B ull e t a l i ttl e lat e r i s i nfe r i or both to th i s and to t h e A r c

2
,
d e Tr i omph e at M ontp e ll ie r I n t h e e ig ht e e nth c e ntury a numb e r of

.
th e s e archways w e r e e re ct e d T h e Port e D e s ill e s . t h e A rc
d e Tr i omph e b e t w e e n t he Plac e S tan i slas and t h e Plac e d e la Carr ier e

and t he Port e S tan i slas ( 1 7 6 1 ) at N ancy t h e Port e B o r g og n e ,
and t h e Porte D ij e a u x ( 1 7 4 8 ) at B ord e au x t h e Port e Gu i llaum e ( 1 7 49 ) ,
at Rou e n t h e Port e Gu illau m e at D ijon

,
t h e Port e S t e Cro i x at .
1
d e s ign for t h e ar e d e Tr i omph e d u Tr o n e was n ev e r compl e t e d and
P e r ra u l t
’
s
finally r e mov e d From t h e e ngrav i ngs i t app e ars probabl e that i t w ould hav e b ee n a
.
magn i fic e nt i f som e w hat fl o r i d monum e nt .
S e e chap x v ii
2
. .
2
Also call e d Port e d e S tai nv i ll e and d e M e tz .
PL . CX CV I
FO R T E DE L A C I TA D ELLE N A N C Y ( p 8 )
,
. 1 2
( F R O M A D RA W I N G B Y R E G I N A L D BL O M F I ELD )
11 TO FA E P
C . 1 82
J m
u r n/ u
I ) IC L O U I S
{O UR N
’
Il s ?
D E T A I L O P I E R I O R I G U I LL A U M E O U E N
F ,
’ ’ ‘
E ,
R
( F R O M A D R A W I N G B Y R E G I N A L D BL O M F I EL D )
C I V I C A RC H I T E CT U R E ( L O U I S X I V A N D L O U I S XV ) 1 83
Chalons sur M arn e t h e A rc d e Tr i omph e d e Carrous e l ( 1 8 0 6 ) at 2
Par i s and t h e cul m i nat i ng e ffort and fa ilur e o f t h e e normous A rc d e

,
T r i omph e d e l Et o il e at t h e h e ad of t h e Champs E lys ee s M any o f

’
.
2
th e s e archway s a r e w e ll d e s ign e d but t h e fau lt o f n e arly all o f th e m ,
i s th e i r want of r e lat i on to th e i r surround i ngs Th e r e s ee m s no .
part icular r e ason why th e y should b e th e r e and a good many r e asons ,
why th e y sh ould not T he w ant Of support at t h e s i d e s and t he fact

.
,
that th e y a r e n o t l i nk e d up t o anyth i ng e ls e a gr e at wall a colonnad e , , ,
or e v e n a pol e —he dge o f cl ipp e d l i m e i n t e ns i fi e s th is i mpr e ss i on o f ,
fut il ity .
I hav e alre ady re fe rr e d to t h e town -plan n i ng sch e m e s o f Bord e au x ,
3
R e nn e s and N ancy Patt e d e scr i b e s t h e Plac e la id o u t at R e nn e s i n
,
.
1 7 5 6 from t h e d e s i gns of L e g e ndr e E ng i n e e r of t h e Ponts e t Chau ssé e s ,
o f t h e prov i nc e and compl e t e d i n 1 7 6 2

,
I n t he c e ntr e w as t h e statu e .
of Lou i s XV by P i gall e T h e d e s ign of t h e fa c ad e s i s corr e ct but u n

.
i nt e r e st i ng and t h e Plac e i ts e lf i s too small

,
T h e sch e m e pr e par e d by .
L e Carp e nt i e r for Rou e n i n 1 7 5 7 w a s much fin e r I t w a s approv e d by

2
‘
t h e K i ng and b e g u n i n 1 7 5 8 L e Carp e nt i e r p ropos e d to conv e rt t h e

.
O l d mark e t plac e i nto a Plac e i n honour of Lou i s XV

- T h e s i t e lay on .
a l i n e b e t w e e n t he w e st door of t he cath e dral and t h e H Ot e l D i e u and ,
h e pr e par e d a compr e h e ns i v e sch e m e w i t h t h e obj e ct of l i nk i ng tog e t h e r

t h e most r e markabl e bu i ld i ngs of Rou e n u m e ncha i n e m e nt de s
é d ific e s r e markabl e s dont la Plac e d u R o i po u r r o i t pass e r pour l e
,
c e ntre T h e plac e w a s t o b e 3 3 0 fe e t long by 2 8 8 w i d e T h e H Ot e l

2 ”
. .
d e V i ll e 2 7 0 fe e t w i d e was t o occupy o n e s i d e and op pos i t e t o i t a

, , ,
str e e t 3 6 fe e t w i d e was to run i n a stra ight l i n e to t h e Cath e dral

, .
T h e H Ot e l d e V i ll e was to i ncl u d e rooms fo r an A cad é m i e D e s B e ll e s

L e ttre s and conc e rt halls i n add i t i on t o t h e mu n i c i pal o ffi c e s T h e
, .
w ork was b e gun but aft e r a fe w y e ars was stopp e d e nt i r e ly and th e r e

, ,
i s now n o trac e of t h e bu i ld i n g .
I t is cl e ar that by t h e m i ddl e o f t h e e i ght e e nth c e ntury m u ch

att e n t i on was b e i ng g i v e n t o town plann i ng A s e arly as 1 7 3 4 M i ch e l - .
,
Turgot Marqu is d e S o u s mo ns and Pr e v o t d e s Marchands pr e s i d e d

, , ,
2
and Fonta i n e
P e r ci e r .
B e gun from d e s i gns of Chalgri n i n 1 8 0 6 and c o mpl e t e d und e r Lou i s Ph il i pp e

, .
2 4 0 fe e t by 2 1 6 fe e t n o w La Plac e d u Palai s w i th a fountai n and large c i rcular

2 ”
, ,
bas i n i n t h e c e ntre .
2
A rch i t e ct e d u R oi s i connu par le go ut e t l e gén i e q u i car act er i se nt tout e s ses
“
, ,
product i ons A nto i n e M i ch e l L e Carp e nt i e r w as e l e ct e d an acad e m i ci an i n 1 7 5 5 t h e

.
”
,
sam e y e ar as Jacqu e s Fran c o i s Blond el H e d i e d i n 1 7 7 2 age d s ix ty three .

-
.
2
Patt e M o n u me n s p 1 7 8 L e Carp e nti e r publ i sh e d h is plans and e l evat i ons
, ,
”
. . .
'
ov e r a comm i tt e e Of g e ntl e m e n form e d to organ i z e a compl e t e surv e y

of Par i s d e fa i r e vo i r e d un s e ul coup d oeil tous l e s é d ifi ce s e t tout e s
,
’ ’
le s Ru e s I n ord e r to mak e t h e surv e y i nt e ll ig ibl e i t w a s s e t up as

.
” 2
,
an i som e tr i cal b i rd s e y e v i e w show i ng t he str e e ts and t h e hous e s i n

’
-
,
suffic ie nt d e ta i l to i d e nt i fy all notabl e bu ild i ngs and i n add it i on to th i s ,
t h e nam e s O f t h e bu i ld i ngs a r e g i v e n o n t h e map i ts e lf T h e surv e y 2

.
w a s drawn up i n tw e nty cons e cut i v e sh e e ts W i th a tw e nty fi r s t k e y plat e ,

-
g i v i ng t h e n umb e rs and r e lat i v e pos i t i ons of t h e numb e re d sh e e ts .
Th i s spl e nd i d surv e y m u st hav e b e e n o f t h e gr e at e st ass i stanc e to t h e

arch i t e cts of Par is and w i th i n t e n y e ars of i t s p u bl i cat i on th e y had th e i r
,
opportun i ty i n t he comp e t i t i on for t he plac i ng of t h e K i ng s monu m e nt

’ ’
by B ouchardon I t was t h e r e g u lar pract i c e to comm i ss i on t he K i ng s

.
’
statu e s first and th e n t o cons id e r wh e r e th e y should b e plac e d I n th i s .
cas e t he Pr ev o t and E ch e v i n s of Par is d e mand e d p e rm i ss ion of t h e

K i ng to put up th e i r monum e nt i n h is honour i n any part o f Par i s that
h e m ig ht s e l e ct and t h e n e x t st e p w a s t o as k for sugg e st i ons as to a
,
s i t e D e Tourn e h e m h e ld t h e first comp e t i t i on i n 1 7 4 8 a numb e r Of

.
,
A cad e m i c i ans and oth e rs s e nt i n d e s igns but as th e y all i n v olv e d t h e ,
d e struct i on of e x ist i ng bu ild i n g s non e o f t h e d e s igns w a s adopt e d and , ,
t h e K i ng pr e s e n t e d a s i t e to t h e w e s t o f t h e Tu i l e r i e s gard e ns b e tw e e n
t h e C hamps Elys ee s and t h e Pont Tournan t A s sho w n i n T u r g o t s

’
.
map i t w a s to all i nte nts w ast e ground Marigny w h o had succ e e d e d .

,
d e Tourn e h e m start e d a s e cond comp e t i t i on

, F i ft e e n acad e m i c ians .
3
comp e t e d i nclud i ng Gabr i e l and among outs id e rs S e r v a n d o n i but t he

, , ,
K i n g find i ng th e r e w e r e g ood po i nts i n all t h e d e s ig ns d e s ir e d t o

, ,
comb i n e th e m i n o n e and hand e d ov e r t he work to h is pr e m ie r arch i

,
Inscri pt i on on T i tl e pag e
2
-
.
A ll th e i m portant Hot e ls i n ex i st enc e at t h e t i m e ar e sho wn on t h e plat e s and t h e

2
,
arch i t e ctur e i s that of t h e actual bu ild i n g ; for ex ampl e on plat e 1 5 t h e north and e ast ,
s i d e s of t h e Louvr e that i s all w ork subs equ e nt to L e m e rc i e r i s sho w n w i thout any ro ofs
, , ,
at all and t h e sh e ds and bu i ld i ngs us e d by t h e Contractor und e r P e rrault a r e sho w n st i ll

,
stand i ng in t h e c entr e of t h e courtyard T h e gall e ry o f H e nri IV conn e ct i ng t h e Louvr e

.
and Tu i l e ri e s i s sho wn all t h e r e st o f t h e ground b e t ween t h e t w o palac e s i s sho w n st ill

,
block e d with hous e s and narro w str e e ts T h e s e r ie s O f plat e s i s i nvaluabl e for t h e r e con
.
struct i on O f Par i s of t h e first half of t h e e i ght e e n th c e ntury and also for und e rstand i ng ,
i t s alt e rat i ons and d e v e lopm e nt subs e qu e nt to that dat e Th i s surv e y w a s s e t up and .
draw n by Loui s B r e t e z e ngrav e d by Claud e Lucas wi th w ri t i ng by A ub i n T h e w ork

, , .
wa s i ssu e d i n 1 7 3 9 i n s e parat e sh e e ts and also i n a form ava i labl e for b i nd i ng i n o n e

,
volum e — a bound copy i n my poss e ss i on m e asure s 2 ft 1 i n by 1 ft 7 i n . . . .
Gabr i e l Sou ffl o t B o ffr a n d Contant F Blond e l A ubry C h evo t e t God e a n

2
, , , , .
, , , ,
Hazon L e Bon d e L As s u r a n c e d e Luzy L E c u y er B eaus i re Lor i ot S e r van d on i

, ,
’
,
’
,
’
, , , ,
P i trou and D e stouc h e s also s e nt in d e s igns ( Patt e Mons ér igés 1 2 1 not e a )

, , ,
.
,
”
,
.
1 86 A H I S T O RY O F F RE N C H A R C H I T E CT U R E
b e tw e e n t h e Old Louvr e and t h e Tu i le ri e s a n d shows t he sam e m i s u s e

’
of t h e ord e rs as i n h is sch e m e fo r t h e H all e s Contant an abl e r arch i .

,
t e e t propos e d a Plac e d u Ro i o n t h e south s i d e of t h e r i v e r op os i t e

,
p
t h e Gall e r ie d u Louvr e t h e pr i nc i pal fe atur e o f wh i ch w as to b e a n e w ,
H Ot e l d e V i ll e fl an ke d by t h e H Ot e l d e B ou i l l on o n t h e e ast and t h e
, ,
T h e at i n s on t he w e s t H i s d e s ign i s t h e most advanc e d of any I n i t s

.
e ffort aft e r t h e ant i qu e but i t i s spo i lt by i n d i ffe r e nc e t o scal e i n h i s

,
ord e rs T h e plan ho w e v e r i s an attract i v e o ne and would hav e

.
1
, , ,
gre a t ly i mprov e d th i s s id e o f t h e r i v e r and t h e whol e sch e m e was ,
sup e r i or to t he absurdly i mpract i cabl e proposals o f B o ffr a n d T h e

broth e rs S l o d t z égal e m e nt hab i l e s e n sculptur e e t e n arch i te ctu r e also
,
“
,
propos e d a Plac e and a n e w H Ot e l d e V ill e o n t h e Qua i Ma la q u a is

furth e r e ast Th e ir d e s ign w a s mor e r e markabl e for i t s sculpture than
.
”
i t s arch i t e ctur e and pour r e ndr e p ittore squ e s a décorat i on e nor
,
“
,
mous p ie c e s of ston e carv e d i n a mann e r s a v a m e n t b i zarr e

c ,
to ,
“
,
i m i tat e rocks w e r e to b e plac e d i n t h e r i v e r at t h e foot o f t h e r e ta in i ng

,
wall o f t h e Plac e a strang e e xampl e of t h e fash i on for t h e Rom a nt i c

,
plus t h e A n t iqu e wh i ch was gradually und e rm i n i ng t h e nat i onal arch i

,
t e ctur e O f France T h e broth e rs S lo d t z ch e e rfully propos e d t o r e move

.
t h e pa v i l i ons o f L e Vau s Coll eg e d e s Quatr e s N at i ons b e caus e th e y

’
woul d hav e blocke d t h e v ie w o f t h e royal monum e n t i n t h e c e ntr e Of

t h e i r Plac e T h e proposals of S o u fflo t and A u b r i hav e b e e n alr e ady
.
r e fe rr e d to T w o o f t he comp e t i tors D e stouch e s and C he v o t e t pr o

.
, ,
pos e d to sw e e p away all t he bu ild i ngs i n front o f t he Colonnad e o f t h e

Louvr e and form a gr e at Plac e on t h e s i t e D e s t o u c h e s s i d e a w a s to
, .
’
r e p e at t he d e s ign of t h e colonnad e on t h e north s id e to plac e a gr i ll e ,
o n t h e south s i d e l i n e abl e w i th t h e south s i d e of t h e Louvr e and t o ,
form a n e w H Ot e l d e V i ll e e ast of th i s e x te nd i ng fro m h is n e w Plac e ,
up to t h e Pont N e u f C h e v o t e t was e v e n mor e h e ro i c for h e propos e d

.
,
to pull do w n all t he bu ild i ngs b e t w e e n t h e Lo u vr e and t h e P ont N e u f ,
i nclud i ng S G e rma i n l A u x e r r o i s and on t h e s i t e to form t h e Plac e

’
.
,
”
and an avant cour to t h e Louvr e s e parat e d from t h e P lac e by a
foss e T he Plac e its e lf 5 5 0 fe e t by 4 2 0 fe e t w a s t o b e e n clos e d by a
.
, ,
balustrad e w i t h g u é r it e s a t t he four angl e s s u pport i ng figur e s

“
,
“
allégor i qu e s a u x v e rtu s d e notre august e monarqu e I n t he c e ntr e-

.
” 2
2
d e s ign sho w s thr e e scal e s t h e colossal Cori nth i an ord e r of th e front i sp i ec e
The , ,
4 8 fe e t h igh ; i mm e d iat e ly n ex t th i s t h e Ion i c ord e r of t h e curta i n fa c ad e s 3 5 fe e t h i gh

, , ,
and on t h e quadrants at t h e e nds a l i ttl e D or i c ord e r 1 5 fe e t h i gh ,

.
2
Patt e T h e Par e a u C e rfs at V e rsaill e s had not yet b e com e a matt e r of common
.
k no w l e dg e .
C I V I C A RC H I T E CT U R E ( L O U I S X I V A N D L O U I S XV ) 1 87
was to b e t he monum e nt o f t h e K ing O n t h e north s i d e h e propos e d .
two gov e rnm e nt bu ild i ngs a m i nt and a salt store hous e and on t he
, ,
e ast s i d e oppos i t e t h e e ntranc e t o t h e Louvr e sugg e st e d a n e w church

, ,
of S . G e rma i n T h e r e s e mblanc e i n mot i v e o f C h e v o t e t s d e s ign to

.
’
”
t h e final d e s i gn o f Gabr i e l i s r e markabl e t h e foss e t he Gu er i t e s t h e
, , ,
plac i ng o f t h e two gov e rnm e nt bu i ld i ngs o n t h e north s i d e all r e app e ar

"
i n Gabr i e l s d e s i gn ; and n o doubt th e s e fe at u r e s w e r e i n t h e m i nd of

’
t h e K i ng o r h i s adv i s e rs w h e n t h e final d e s i gns w e r e pr e par e d W i th .
th i s e xc e pt ion I do not th i nk any o f t h e proposals mad e i n t h i s mom e nt

o u s com p e t i t i on hav e e v e r b e e n carr i e d o u t T h e Plac e d e la Concor d e
.
was t h e last gr e at e ffort of t he o ld r e g i m e t o i mprov e Pari s T h e .
R e volut i on w a s mor e occup i e d w i th w hat M S chn e i d e r calls gran d e s .
”
cér é mon i e s c i v i qu e s stag e d i n t h e corre ct ant i qu e mann e r than w i th
, ,
p e rman e nt sch e m e s of i mpr ov e m e nt I n 1 8 0 2 a comp e t it ion was h e ld

.
for arcs d e Tr i omph e to comm e morat e t h e p e ac e o f A m ie ns ; t h e

“ ”
arcs d e Carrous e l and d e l E t o ile follow e d soon afte r Q u a t r e mer e d e

’
.
Q u i ncy was i nstant i n sugg e st i ons fo r t h e class i c iz i ng O f Par is o n t h e

mod e l o f Rom e S G e rma i n e n -Lay e was aga i n thre at e n e d e v e n t h e
. .
-
,
Louvr e was n ot to b e spare d ; and d e Qu incy r e l ie d o n t he tast e and

Op i n i on of all e ducate d p e rsons to support hi m i n h i s e ffort to r e mod e l
sur u n plan un i form e con cn t ou t e nt i e r d un s e ul coup la v i e ill e ’
v i ll e l e nt e m e nt formé e par l e s ag e s e t dont l e s i mpr é vus prét e ndus

,
”
pi ttor e squ e s n e l e ur parai ss e nt q u e ma l fa co ns T h e outbr e ak of t h e .
2
Ro mant i c mov e m e nt pr e v e nte d anyth i ng of t h e sor t but b e t w e e n t h e ,
t w o b e tw e e n t h e r e l e ntl e ss p e dantry of t h e do c tr i na i r e s a n d t h e u n
,
d i sc i pl i n e d e x u b e ranc e O f t he Ro mant ics t h e b e aut iful a r t of F ranc e

,
w a s lost I ts arch i t e ctur e at onc e so s u ppl e and so strong r e ma i ns a

.
, ,
grac i ous m e mory of t h e past that w e can n e v e r now r e cov e r .
2
Schn e i d e r , Q uat r e mer e de Qu i ncy p , .
76 .
C H A PT E R XXX
T H E E ND OF A GRE AT T R AD I T I O N
N t h e for e go i ng page s I hav e e nde avour e d to trac e t h e or igi n ,
d e v e lopm e nt and d e cl i n e o f t h e old Fr e nch trad iti on o f n e o

,
class i c arch i t e ctur e a chapt e r i n t h e h i story o f art scarc e ly l e ss

,
i mp ortant than t h e I tal ian R e na i ssanc e i ts e lf I t b e gan at t h e e xtr e m e .
e n d o f t h e fift e e n t h c e ntury as an e xo t i c fash i on of t h e Court i mpos e d ,
o n t h e nat i v e bu i ld e rs w h o con t i nu e d to bu i ld as th e i r fa t h e rs b e for e

,
th e m and d id th e i r b e st t o d isgu i s e t h e fact by an abundanc e o f

,
e x tran e ous ornam e n t W i th i n a hundr e d y e ars alt e r e d cond i t i ons of

.
l ife and a h igh e r standard o f c i v i l i zat i on conv e rte d th i s fore ign i mporta
t ion i nto a r e al v e rnacular a r t Fr e nch arch i t e cts of gr e at ab i l i ty such
.
,
as D e L O r m e and B u lla nt thr e w t h e ms e lv e s i nto it w i th unspar i ng

’
e n t hus i asm and y e t i n a sp i r i t of v i gorous i nd e p e nd e nc e

,
Th e y s e t o u t .
to mast e r t h e t e chn i qu e of Roman arch i t e cture i n ord e r to u s e i t fo r

t h e i r o w n p u rpo s e a n d w i t hou t any i d e a of d i r e c t a n d s e r v i l e i m i t a t i on
,
.
, ,
i —
Th e y w e r e st ill ho w e v e r e ncumb e r e d by d e ta ls B u l la n t w a s not
q u i t e sur e of his t e ch n i qu e D e L O r m e w a s maste r e d by h i s and fo r
,
’
n e arly o n e g e ne rat i on t h e wars of t h e L igu e clos e d do w n t h e d e v e lop

m e nt o f arch i te ctur e i n F ranc e T h e s e v e nte e nth c e ntury und e r t h e . ,
w i s e i nsp irat i on o f H e nr i I V Op e n e d w i th a ge nu i n e nat i onal arch i

,
—
te c t u re s i mpl e d ir e ct charm i ng i n it s r e cov e r e d u s e o f ma t e r ials t h e
, , ,
2
tr u e parall e l for Franc e of our Jacob e an S uch bu i ld i ngs as t he frag .
m e nt o f M ontmor e ncy D uc e y D aub e uf B all e roy o r M i r o me s n il i n

-
, , , ,
N ormandy a r e typ i cal e xampl e s o f th is most attracti v e mann e r wh ich

, ,
2
Thi s s e ns e of mat e r i al w as lost i n t h e e i ght ee nth c e ntury Blond el A rch Franc .
,
“
. .
,
i 2 3 6 w r it e s : “
la mat i e r e do i t etre compté e pour ri e n la b e auté d e mass e s la propor
‘
, , , ,
t i on d e s part i e s e t la r eu n i o n du tout e ns e mbl e sont l e s pr e m i er e s cons i d e rat i ons qu o n

, ,
’
do i t avo i r dans l a rch it e c t u r e pour ce q u e conc e rn e l o r d on nance T h e charact e ri st i c

’ ’
.
”
w e akn e ss of Fr e nch arch i t e ctur e i n t h e n i n e t ee nth c e ntury was larg e ly o w i ng to th i s

s e v e ranc e of arch i t e ctur e from bu i ld i ng .
t he fin e i nde p e nd e nc e j oye d by ar t is t s u nde r t h e c a re l e ss ru l e o f

en
M azari n b e cam e a th i ng of t h e past O n t h e o th e r hand Colb e r t s .

,
’
e s tabl i shm e nt o f t h e A cad e m i e s d i d much to r e gu l ari z e t h e art s to ,
organ i z e art tra i n i ng a n d to fr e e t he arts from t h e paralys i ng mon opo l y

,
of t h e old Gu i lds T h e A cad e my o f A rc h i t e ctur e and t h e Fr e nch

.
Ac ad e my at Rom e at any ra t e i n t h e e arl ie r days o f th e i r e stabl i sh

,
m e nt d id i nvaluabl e work i n i nv e s t igat i ng a n d stand a rd iz i ng t h e

,
t e ch ni qu e o f arch i t e ctur e and i t w a s d u e t o th e i r e fforts that Fr e nch

,
arch it e c ts w e r e thoroughly tra i n e d w ith i n t h e l i m i ts of th e i r tra i n i ng .
Mo re ov e r t h e K i n g s pass ion for bu ild i ng prov i d e d a un iqu e school o f

,
’
tra i n i n g i n t h e bu i ld i ng crafts and e nabl e d Fr e nch arch i t e cts of t h e ,
e i gh t ee nth c e ntury to r e ly w i th confid e nc e on t h e sk i ll and ab i l i ty o f
t h e i r workm e n to carry o u t t h e most d i fficult p i e c e s o f construct i on and ,
t h e most i ntr i cat e or n am e nt T h e t i d e of fash i on e bb e d and flow e d T h e

. .
g e n e rat i on o f t h e R e g e nt was bor e d t o d e ath w ith t h e pomp and c i rcu m

stan c e o f Lou i s X I V and M m e d e Ma i nt e non and comp e nsat e d i ts e lf .
,
b y l i c e ns e w i thout l i m i t both i n th e i r l i v e s and th e i r sur ro u nd i ngs

, .
M ost o f t h e b ig hous e s w e r e alr e ady b u il t mor e ov e r most of t h e upp e r ,
class e s w e r e h ard h it by t h e fa i lur e of La w s syst e m and t he r e sult ’
w a s that r e lat i v e ly sp e ak i ng th e r e w as l ittl e bu i ld i ng i n F r anc e i n t h e
e ight e e nth c e ntury A tt e nt i on w a s conc e ntrat e d o n i nt e rnal d e corat i o n

. .
O ppe n o r d and M e i s s o n n i e r b e cam e t h e fash i onabl e arch i t e cts and i t ,
was th e ir e x travaganc e s and absurd i t i e s that pro d uc e d t h e r e act i on for

t h e A nt i q u e and gav e an op e n i ng for t h e p e dants and r e v i val i sts i n t h e
,
e ig ht e e nth c e ntury I t was only i n publ i c arch i t e ctur e that t h e nat ional
.
trad i ti on was ma i nta i n e d by such m e n as Gabr ie l fat h e r and s o n and i n , ,
h i s e arl i e r d ays by S o u ffl o t w i th Blond e l as i t s e x pon e nt i n t h e,
A cad e my school a t t h e Louvr e T h e i nt e ll e ctual pos it i on o f th e s e m e n .
can b e gath e r e d f rom B lond e l s wr it i ngs Th e y look e d upon arch i ’

.
t e cture as a pract i cal art that i s th e y w e r e not pre pare d to sacri fic e

, ,
th e ir d e s ign and t h e w ork i ng purpos e o f th e i r bu ild i ng t o any ( 215 7407 5

formula O n t h e oth e r hand th e y pa id and w e re allow e d t o pay much
.
, ,
mor e att e nt i on to pur e ly arch i t e ctural cons i d e rat i ons o f m ass scal e ,
pro porti on and group i ng t h e prope r s e tti ng o f t h e i r bu i ld i ng and i t s

, ,
ad e quat e e xpr e ss i on than would b e poss i bl e und e r mod e rn cond it i ons

"
,
.
Th e s e th i ngs w e r e con s i d e r e d worth som e sacr i fic e i n t he e ight e e nth

c e ntury A s to ornam e nt th e y us e d i t as it ought to b e us e d as t h e
.
, ,
s e rvant o f arch i te ctur e not i t s m i str e ss and though sculptors such a s

,
.
,
2
2
Blond el Ar ch Fr a n i 2 6 6 says :
“ “
11 contr e la b i e nséanc e q u e c e tt e
e st
—
.
, , , ,
de rni ere ( scul pture ) i nt e r romp e l arc h it ec t u r e ’

. C e st c ell e ci q u do donn r
’
i it e l e
A
to n a
T H E E N D O F A G RE A T T RA D I T I ON 119 1
C ou s t on and Lorra i n e som e t i m e s took t he b i t i n t h e i r mo ut h s t h er e .

,
'
was a s a rul e ; an e xc e ll e nt harmony b e tw e e n arch i t e ct a n d sculpt or

,
.
T h e scu l ptors w e re fam i l i ar w i th t h e t e ch n i qu e of arch it e c tu r e a nd ,
w e ll do w n i nto t h e e ight e e nth c e ntury kn e w h o w to comb i n e t h e

ne c e ssary r e al ism w ith t h e v i tal trad i ti ons Of arch i t e c tural com p s t o a
. o i i n -
P iga ll e s p e d e stal t o t h e statu e o f Lou is XV at Rh ei m s w i th i t s figur e s

'
2 f
,
o f F ranc e and Comm e rc e i s a b e a ut i ful e xampl e and thoug h it w a s

, ,
u a t r e m er e d e Qu i ncy s mos t ch r sh d dogm a that sculptu r e a d

’
Q i
'
e e
arch i t e ctur e had b e e n d i vorc ed s i nc e t h e days of t h e Porte S D e n i s .

,
and t hat h e h im s e lf had brought th e m tog e th e r agai n i n t he sculpture

o f t h e Pa nt h eo n t h e fac t s w e r e t h e e xact contrary
,
Hi s all e gori cal .
groups of fi g ur e s stan d i ng loos e ly about i n th e i r p e d i m e nts hav e n o

r e al r e lat i on t o t h e arch i t e ctur e at all t h e y do n o t grow out o f i t t he y ,
do no t k e e p i t s plan e s or i t s t e xt u r e as a whol e t he sculp t or app e ars ,
t o hav e forgott e n all about t h e arch i t e ctur e and i t was ow i ng t o D e ,
Q u i ncy s d i sastrous attack on a gr e a t trad it i on that t he art o f arch i

’
t e c t u r a l sculptur e w a s almost lost i n F ranc e .
T he fact was that t h e old e r m e n wh e th e r arch i t e cts or sculptors , ,
w e r e art i sts fir s t and d i d n o t conc e rn th e m s e lv e s wi th e it h e r e th i cs or

,
pol it i cs and t h e sam e san i ty and balanc e d j udgm e nt i s e v i d e nt i n

,
.
th e i r att i tud e t o m e d i a e val a r t I t i s q u i t e a m i s t ak e to suppos e that .
th e y d e sp i s e d i t Th e y t h e ms e lv e s w e r e tra i n e d i n d iffe r e nt m e thods

.
wh i ch w e r e acc e p t e d by th e i r conte mpor ar i e s as a matt e r o f c o urs e ,
but that fact d id n ot bl i nd t h em t o t h e ach ie v e m e nts o f Goth i c arch i

t e ctur e D a v i le r w r i t ing abou t 1 6 7 0 t ho u gh s e v e r e o n t he proport i ons
.
, ,
;
o f m e d i a e val church e s says tha t th e i r bu i ld e rs sought t o mak e th e i r

,
bu ild i ngs p e rman e nt and s o w i n o u r adm i rat i on and r e sp e ct I n 1 7 0 8

, .
2
t h e A cad e my o f A rch i t e ctur e i ts e lf gav e a cr i t i cal appr e c i at i on of e arl ie r
po i nt e d arch i t e ctur e pr e fe rr ing i t to t h e work o f t h e fifte e nth c e ntury

, ,
o n account o f u n e grand e s i m pl i c i t é e t de s proport i ons avantag e us e s

'
dans l e s pr i n c ipal e s part ie s wh e r e as lat e r work was mor e r e ma rkabl e

'
for s i z e and d e l icacy of d e ta il than for ordon nanc e and proport i ons
’ ’
.
” 2
B o ffr a n d allow e d som e b e auty to c e rta i n Go t h i c c h urch e s quo i qu e ,
tout e l o r d o n n a n ce d u b at i m e nt a fin qu e Fa n e t l autre
’
,
’
de conc e rt concour ent égal e m e nt
a form e r u h b e l e ns e mbl e
”
.
2
P i gall e d i e d i n 1 7 8 5 at t h e a ge of s e v e nty o ne -
.
2
. The re i s no dat e b u t
L e s ( Eu v r e s d A r ch i t e ct u r e d A n t o i n e L e P au t r e ,
’ ’
p .
38 .
,
Da v i l e r r e fe rs to d e fu n t M Mansa r t ( Fran c o i s ) and as t h e book had to -b e publ i sh e d

.
,
wi th i n t we nty y e ars from 1 6 5 2 wh e n i t s li c e nc e w as i ssu e d t h e dat e app e ars to b e be t we e n ,

.
1 66
5 and 1 672 .
P r o c es V e rbau x d e I A ca d d Ar c h
2 “ ’
iii 2 9 L
’
-
.
, ,
.
1 9 2 A H I ST O RY O F F R E N C H A RC H I T E C T U R E
touj ours g a t é e s par quant it é d e sculptur e s sans conn e ct i on sans go u t , , ,
m a l i mag i né e s e t mal placé e s Th e ir b e auty cam e h e says from a c e rtai n .

, ,
just proport i on o f w i dth and h e ight and from le rapport d e tout e s l e s ,
”
part i e s av e c l e tout and he urge d that j ust i c e ought to b e don e t o
,
th e s e m e n w h o bu i lt s o w e ll that i n sp i t e o f la hard ie ss e e t le l eger ete

appar e nte de l e ur é difi c e s th e i r bu ild i ngs hav e stood t h e t e st o f t i m e
, .
Ev e n B lond e l note d that i n Goth i c church e s o n e r e m ark e d u ne

grand e ur ca p abl e d in s pi r e r d e la v e n e rat ion a u p e upl e e t d a t t i r e r l e s
’
,
’
”
suffrage s de la mult i tud e and adm i tt e d that L A r c h it e ct u r e Goth iqu e
,
’
n e st p as auss i maladro it e m e nt i mag i né e qu on po u r r o it cro ir e

’
I] y a ’
.
n ombr e d é di fi ce s Goth i qu e s
'
il r e gn e u n e d é l i cat e ss e s i n g u l ier e dans
la b at is s e e t q u e le s m e i ll e urs construct e urs d e nos jours s e r o ie nt forts
e m b a r r a s s es d i m it e r Th is is a handsom e compl i m e n t from t he
’
.
” 2
protagon i st o f Class i c S O long as t h e gr e at trad i t ion of Fr e nch arch i

.
t e ctur e last e d th e r e was no r i d i culous controv e rsy as b e tw e e n Goth i c

,
and Class i c That qu e st i on only aros e wh e n ch o i c e had t o b e mad e

.
b e tw e e n r ival sch e m e s o f r e v iv al i sm and w h e n i t w a s e n v e nom e d by ,
a b i tt e r l it e rary controv e rsy .
T h e br e ak up O f t h e Old Fr e nch na t i onal trad i t i on w a s i n fact , ,
not t h e work o f t h e arch it e cts but of amat e urs and l it e rary m e n ,

.
A nn e Claud e Ph i l i pp e d e T h ub ier e s d e G r im o a r d d e Pe s t e l s d e L ev i ,
Comt e d e C aylus born i n 1 6 9 2 w a s a ge ntl e man of m e ans and

, ,
l e isur e who un fortunat e ly d e vot e d h i s l ife to archa e ology and t he arts ,
a n d st i ll mor e un fortunat e ly w a s acc e pt e d by t h e F r e nch A cad e my Of
Pa i nt i ng as a fi r s t rat e author i ty H e w a s r e c e i v e d by t h e A cad e my o f

- .
Pai nt i ng i n 1 7 3 1 as co ns e i ll e r honora i r e amat e ur a n d d e scr i b e d i n

2
,
t h e r e g i st e r as conno i ss e ur profond H e took up hi s pos it ion at onc e

“
.
,
and i n 1 7 3 2 r e ad t h e first o f h i s i nt e r m i n abl e di scours to t h e

A cad e my I n 1 7 4 7 C o y pe l t h e D i re ctor o f t h e A c a d e my dw e lt o n t h e
. , ,
gre at b e n e fit to t h e arts o f putt i n g th e m e n l ia i son av e c l é r u dit io n le “ ’
,
”
go u t é pur é e t l e s pr i t ph ilosoph i q u e of such m e n as t he Comt e de
’
Caylus I n 1 7 49 t h e offic i al M i nut e s o f t h e A c a d e my d e scr i b e h i m as

.
o n e whom noth i ng e scap e d that could b e n e fit t h e arts e t dont le o at

g ,
e t l e s conna i ssanc e s sont s i ut i l e s a l A ca d é m i e

2
But t h e A cad e my had ’
.
”
sold i t s b irthr ight fo r a m e ss of pottage and Cayl u s us e d his o ppo r ,
2 Bl ond el Cours bk v i chap v i i H e m e nt i ons that w h e n about forty ye ars

,
“
,
”
.
,
. .
b e for e B offr an d had b e e n call e d i n to r e produc e t h e ru in e d ros e w i nd ow of t h e trans ept

of N otre D am e h e wa s qu i t e unabl e to mak e anyth i ng of i t
,
.
T h e sam e y e ar as S er v a n d on i
2
.
P r oc es V e rbau x
“
v i 6 6 and 1 6 4
2 - .
, ,
1 94 A H I S T O RY O F F RE N C H A RC H I T E CT U R E
’
Gre e c e Ev e n b e for e h is d e ath L e ss i ng had d e mol i sh e d W i nck e lmann s
.
th e ori e s i n h is Laocoon but t h e m isch i e f was don e Caylus .

,
”
t h e i llustr i ous amat e ur had start e d t h e fash i on of t h e A nt i qu e
“ 2
, ,
W i nck e lmann gav e i t t h e sanct i on o f t h e scholar and t he archa e olog i st ,
Raphae l M e ngs that of t h e pa i nt e r and profe ssor and t h e spl e nd i d ,

2
ge n i us of P i ran e s i drov e i t hom e throughout E urop e by h i s countl e ss

e tch i ngs and e ngrav i n g s I n 1 7 5 8 t h e arch it e ct L e roy publ i sh e d t h e
.
r e sult of h is trav e ls i n Gr e e c e and Stuart and Re v e t t b e gan to i ssu e ,

3
th e i r A nt iqu it i e s of A th e ns i n 1 7 6 2 I n Fra n c e and E ngland arch i

“
.
t e c t s w e r e alr e ady d e s e rt i ng t h e gr e at trad i t i ons of th e i r countr i e s ;
th e re was to b e no e scap e from t h e ant i qu e no r e s i st i ng t h e p a ralys i ng ,
author ity of t h e p e dants and t h e prigs .
T h e change di d not pass unchall e nge d by som e o f t h e acut e st

m i nds i n Franc e D i d e rot had a ki ndly fee l ing fo r W i nck e lmann H e
. .
says that h e lov e d th e s e D on Q u i xot e s of archa e ology for whom t h e ,
ant i qu e was th e i r D ulc i n e a d e l Toboso but for t h e Comt e d e Caylus ,

4
h e had n o m e rcy Wr i t i ng o n t h e Salon o f 1 7 6 5 h e says : N ous “

. ,
avons p e rdu c e tt e an né e d e ux grands p e i ntr e s e t d e u x hab il e s sculp

t e u r s Carl e van L O O e t D e s ha y s l A i n é
,
B ouchardo n e t S l o d t z E n ’
,
.
r e vanch e le mort nous a d e li v r é s d u plus cru e l d e s amat e urs l e Comt e ,
d e Caylus I n h is br ill iant cr i t i c i sms of cont e mporary ar t ists D i d e rot

.
”
,
h ad no pat i e nc e w i th t he h e ro i c p i ctur e s of H allé or Chall e art ists ,
u nknown to us e xc e pt through D id e rot s cont e mpt D i d e rot cast i n h is ’

.
l o t whol e h e art e dly w i t h t h e v i v i d r e al i sm of Chard i n

- Y e t w i th all h i s .
san i ty and fre e dom from pr ej ud i c e D id e rot h ims e lf d i d n o t e scap e ,
anoth e r cur i ous stra i n that app e ars i n t h e latt e r par t of t h e e ight e e nth
c e ntury i t s e xagg e ra t e d s e nt i m e ntal ism e sp e c ially i n t h e matt e r of
,
‘
arch i te ctur e H e thought t h e ant iqu e irr e l e vant and out o f plac e but
.
, ,
on t h e oth e r hand h e conc e i v e d o f arch i t e ctur e not as an art i n i ts e lf

, ,
but as so much mat e r ial for t he pa i nt e r just as s i nc e h is t i m e i t has ,
ge n e rally b e e n r e gard e d as s o much copy fo r t h e l i t e rary man I t w a s .
D i d e rot w h o pr e fe rr e d t h e
2
chaum ier e t h e cong e stum c e sp i te “
,
”
1 M i nut e s of t h e Acad e my of Pai nt ing and Sculptur e

Offici al .
M e ngs was profe ssor i n th e A cad e my at R o m e

2
.
2
Ru i n e s d e s plus b eau x monum e nts d e la Grec e T he i nd e fat i gabl e Cayl u s had .
”
r e ad a d i sc ours e on Gr e e k sculptur e to t he A cad emy four y e ars e arl i e r Wo ods and .
D awki n s Ru i ns of Palmyra had app e ar e d i n 1 7 5 5 and t h e Ru i ns of Baalb e ck

’ “ ” “
,
in 1 757 .
Sal on d e 1 7 6 5 pp 4 1 7 1 8
“
, .
- .
2
Salon d e I hav e d e alt wit h th i s po i nt at m or e l e ngth I n my A rch i t ectural “
D ra wi ng and D raughtsm e n pp 8 3 -8 9 ,
”
. .
T H E E N D O F A G RE A T T R A D I T I O N 1 95
culm e n to t he fa c ad e o f a p alac e a nd w ho sa i d : I l faut ru i n e r u n

, ,
pala i s pour e n fair e u n Obj et d i nt é r é t an apology p e rhap s for t he ’
,
”
work o f t h e Pann i n i S e r v a n d oni H ub e rt Rob e rt and t he pa i nte rs o f

, , ,
ru i ns but also t h e e xpr e ss ion o f that morb i d s e nt i m e ntal i ty w h i ch

,
p e rvad e s Rouss e au s Confe ss i ons and wh i ch at t he F r e nch R e volut i on

’
j u mp e d t o t he op p os i te e xtr e m e o f fe roc i ous brutal i ty I t was t h e .

2
s a m e s e nt i m e ntal i ty st irr e d to v igorous act i on by t he pr e post e rous

,
t yranny of t h e A nt i qu e that l e d to t h e tr i umph o f t h e Romant i cs and

,
t h e Goth i c r e v i val i n t h e first half o f t he n i n e t e e nth c e ntury but ,
wh e th e r t h e craz e o f t h e t i m e w as for t h e A nti qu e o r for t h e Goth i c

th at succ e e d e d i t i n both cas e s t h e m ov e m e nt sprang from caus e s
,
e xtran e ous t o arch i t e ctur e i ts e lf I t did not proc e e d from any n e w .
d e v e lopm e nt i n mat e r i als and construct ion nor had i t t h e sl ight e st ,
r e l e vanc e to t h e soc i al hab i ts o f t h e t i m e T he re v ival o f t he A nt i qu e .
was i nsp i r e d partly by t h e conno iss e ur and v i rtuoso ai d e d and ab e tt e d ,
by s e cond rate art ists who had sacr ific e d t h e i d e als o f th e ir art to
-
,
soc i al promot i on and part ly by t h e stra i n e d s e nt i m e nt o f t he t im e t h e

, ,
not i on that t he aust e r e v irtu e s o f t he R e publ i c could only find e x

pr e ss i on i n d i r e ct re product ion o f t h e art of anc i e nt Rom e As for t h e .
Goth ic r e v ival i t was only a s id e i ssu e o f t h e u lt i mat e r e volt o f t h e

,
e i ght e e nth c e ntury aga i nst all author i ty I t r e p r e s e nt e d n o mov e m e nt .
i n art i nsp i r e d from w i th i n no d e v e lopm e nt o f t e chn i qu e no i n e v i tabl e

, ,
e xpr e ss i on o f comp e ll i ng i d e as I t was j ust t h e fr i nge of t he vast wav e .
that sw e pt i nto spac e t h e trad it i on of c e ntur i e s W i th th e s e v ar i ous .
i nfl u e nc e s at work t h e o l d F r e nch trad i t i on w a s doom e d and twe nty ,
y e ars b e for e t h e R e volut ion t he younge r g e n e rat i on of Fr e nch

arch i t e cts had d e s e rte d i t D at e s a s usual ov e rlap but w i th t h e .
, , ,
part i al e x c e pt i on o f V i ctor Lou i s th e s e m e n C halgri n t he t w o P e yr e s , , , ,
D e Wa i lly B r o ng ni a r t A nto i n e and Gondou i n b e long to t h e younge r

,
—
, , ,
school t he school o f arc h i t e cts w h o had d e fin i te ly adopte d t h e stand

po i nt o f t h e ant iqu e w h o had trav e ll e d i n I taly and who on th e i r
, , ,
r e turn hop e d to r e produc e i n F ranc e i n te rms as n e arly i d e nt i cal

, ,
as th e y could mak e th e m t he T e mpl e s o f Rom e and M agna ,
G r a e cia .
V i ctor Lou i s who was born at Par i s , in 1 6

73 , was plac e d e qual
2
Compare C F Voln e y J e vous salu e ru i n e s sol itai r e s t ombe au x saints murs s il e n
. .
, , , ,
c ie u x ; c e st vous q u e j i nv o qu e ; c e st a v o us qu e j a d r es se ma pr i e re ( L es Ru i n e s
’ ’ ’ “ ’ ‘ ”
,
”
p. Voln e y found i n t h e m t h e tru e pri nc i pl e s of Li b e rty E qual ity and Just i c e but th i s , ,
d id n ot pr e v e nt h i m fr o m d e l i b e rat e ly m i sr e pr e s e nt i ng t h e c o st of V e rsai ll e s and e nd i ng ,
h is car ee r as pai r d e Franc e e t m e mbr e d e l I n sti t u t

“ ’ ”
.
first for t h e Grand Pr i x d A r chi t e ct u r e i n 1 7 5 5 and w e nt o u t t o t h e ’
F r e nch A cad e my i n Rom e i n 1 7 5 6 wh e n Rom e and N apl e s w e r e ,
r i ng i ng w ith t he d i scov e ry of Pomp e i i O n h is r e turn to F ranc e about .

,
1 7 6 3 h e was e ntrust e d w i th c e rta i n work on t h e cho i r of Chartr e s and

, ,
i n 1 7 6 5 was grant e d l e av e o f abs e nc e to d e corat e S ta n i slas palac e at

’
N ancy and carry out c e rta i n work at Lun ev i ll e and Comm e rcy ; but
,
o n t h e K i ng s d e ath i n t h e follow i ng y e ar h e r e turn e d to Par i s and

’
, ,
fou nd a n e w patron i n t h e D u e d e R i ch e l i e u Gov e rnor of Gu ie nn e , ,
w h o e mploy e d h i m to d e s i gn t h e famous th e atr e of B ord e aux b e gu n ,
i n 1 7 7 3 and compl e t e d i n 1 7 8 0 on t he s i t e o f t h e Roman T e mpl e o f ,
t h e P i l i e rs d e Tut el e H e also d e s i gn e d s e v e ral hous e s and pr e par e d

2
.
a sch e m e for t h e i mprov e m e nt of t h e town and sch e m e s for Par i s and ,
Rou e n non e o f wh i ch w e r e carr ie d o u t Lou i s w h o d i e d a ru i n e d man

, .
,
about 1 8 0 2 was undoubt e dly a v e ry abl e arch i t e ct and unl i k e t h e r e st

, , ,
of t h e group I hav e r e fe rr e d to di d no t wholly abandon Fr e nch ,
trad i t i onal m e thods I n h is work at B ord e aux o n e can st ill trac e t h e

.
l ight touch and t he grac e ful fancy that w a s soon to d i sapp e ar co m

l et el i n Franc e but t h e e xt e r i or w i th i t s colonnad e shows that at
p y , , ,
h e art he w a s w ith t h e n e w mov e m e nt H i s anonymous b iograp h e r .
says : I l e mprunta d u th eatr e d e s anc ie ns e n y apportant d e s notabl e s

”
e t i mportant e s am é l i orat i ons E v e n Qu a t r e m er e d e Q u i ncy gav e t h e .
2
th e atr e o f B ord e au x h is patron iz i ng pra i s e .
A ll t h e younge r m e n m e nt i on e d w i th t h e e xc e pt i on o f A nto i n e ,
and B r o ng ni a r t w e r e w i nn e rs o f t h e Grand Pr i x i n t he A cad e my

,
S ch ool o f A rch i t e ctur e Charl e s d e Wa illy born i n 1 7 2 9 won t h e .

, ,
Grand Pr i x i n 1 7 5 2 and w e nt to Rom e i n 1 7 5 4 H e v i si te d I taly aga i n

, .
i n 1 7 7 7 b e for e d e s ign i ng t h e O déon w i th t h e e ld e r P e yr e T h e latt e r

,
.
,
2
S ee chap vi ii
p 1 0 9 not e For a full and i nt e r e sti ng acc ount of t h e th eatr e
.
,
v ol . i, . .
at Bord e au x s e e th e Port e fe u i ll e I ch n ograph iqu e d e V Lou i s Par is 1 8 2 8 D u s s ieu x

,
“ - .
,
”
,
.
,
follo w e d by B au ch al says that Lou i s w e nt to Warsa w i n 1 7 6 5 for Stan i slas Pon iato wsk i
, ,
and quot e s t h e corr e spond e nc e O f that Ki ng w ith Madam e G e offr in ( D u s si e u x L es ,

“
art i st e s Fran c ai s a l Et ranger p ’

T h e total c o st of t h e th e atr e at Bord e au x wa s
,
”
.
l i vr s sous Lou i s c d d h i st i mat s by l i vr e s 1 5 sous 7 d e n ie rs

5 3
2 e 1 9 e x e
, e e s e
. e 9 , , ,
and t h e Jurats at B ord e au x d e cl i n e d to pay h i s fee s on t h i s a mo unt Lou i s also d e s ign e d .
t h e Gall e r i e s of t h e Pala i s Royal t h e Th eatr e Fran c ai s and t h e O p e ra h o us e i n t h e Plac e

, ,
Louvo i s Pari s n ow d e stroye d

, , .
T h e ex tre m e ly i ng e n i ous construct i o n o f h i s e ntablatur e i s sh own i n t h e P ort e

2
fe u i ll e fol i v Patt e i n h i s E ssai sur l Ar ch i t ect u re Th eatral e 1 7 8 2 d e scri b e d t he

,
. .
,
“ ’
,
”
,
th e atr e at Bord e aux as l e plus magni fiq u e d e t o us l e s th eatre s mod e rn e s

“
A rthur .
”
Y oung w h o sa w i t i n 1 7 8 7 sa i d i t wa s t h e fin e st i n Franc e Lou i s Th eatre st ill sho ws ’

.
, ,
that i t i s poss i bl e to d e s ign a th e atre w i th out outrag ing arch i t ecture at n early e very
poss i bl e po i nt .
Pa n t h eo n Fran c a i s 1a M onna i e la Sall e d e F r a n ca i s l e go u t actu e l

,
1
,
2
,
3
d e s j e u n e s art ist e s sont auss i élo ign é s d e l a r c h i t e c t u r e d u comm e nc e

’
”
m e nt d e c e s iecl e q u e c e t t e d e rn ier e d e l a r chit e c t u r e Goth i qu e Th e r e
,
’
.
was no qu e st i on W i th th e s e e n thus iasts of g raft i ng t h e n e w on to t h e

o ld . T h e y consc i ously and d e l i b e rat e ly part e d company w i th t h e art
o f th e i r fa t h e rs and turn e d th e ir backs o n t h e adm i rabl e ach i e v e m e nts
,
o f t h e sculptors pa i nt e rs and arch i t e cts o f Lou i s X I V and Lou i s XV

, , .
H e nc e forward i t w a s to b e n oth i ng but t he ant i qu e — t h e ant i qu e th at ,
i s o f Pa e stum
, A rch i t e ctur e w a s no long e r to b e a l i v i ng art but t h e
.
,
slav e and mouthp i e c e of archa e ology .
I n a way P e yr e w a s r e asonabl e e nough H e i ns i st e d on t h e .
e ss e nt i al qual i t ie s o f arch i t e c t ure l e s b e ll e s proport i ons e t l e s b e ll e s ,

“
” ”
mass e s rath e r than la grand e r i ch e ss e “
L e s i nnovat i ons sont .
“
dang e r e us e s e t l a r c h it e ct u r e n e do i t pas etr e u n e affa i re d e mod e

,
’
.
”
B ut wh e n it cam e t o pract i c e t h e arch i t e ct w a s to b e bound hand and ,
foot to t h e l i t e ral pract ic e of t h e anc ie nts I f th e r e w e r e wat e rworks to .
b e bu i lt t h e y should tak e t he charact e r of a T e mpl e of N e ptu n e ; if a n

,
ars e nal of a T e mpl e of M ars ; if t h e th e atr e at t h e S chool of M e d i c i n e

, ,
o f t h e T e mpl e of A e sculap i us ; and all P e yr e s o w n d e s i gns som e o f

’
th e m o n a colossal scal e w e r e bas e d o n t he comb i nat i on o f e x i st i ng ,
fragm e n t s o f Roman arch it e ctur e T h e 1 n s p1 r a t 1 0 n and much of t h e .
d e ta i l a r e t h e sam e as that of Rob e rt A dam in many of h is i nt e r i ors ; i n

fact bo t h i n Franc e and England t h e cours e o f arch i t e cture w a s ru n
,
n i ng downh i ll o n almost e x actly parall e l l i n e s and t h e last trac e o f t h e ,
bre adth and stat e l in e ss o n e m ig h t almost call i t t h e g allantry o f t h e

, ,
old e r F r e nch trad it i on van i sh e d und e r t h e ar i d touch o f P e r c ie r and

F o nt ai ne .
T h e backbon e of th i s g roup of r e n e gad e s was Q u a t r e m er e d e Qu i ncy ,
not an arch i t e c t scarc e ly t o b e r e ckon e d an art i st at all bu t a man o f

, ,
4
obst i nat e d e t e rm i nat i on o f cons i d e rabl e ab i l i ty as an adm i n istrator and

,
controv e rs i al i st an archa e ologi st o f m uch r e put e and o n e of t h e most

, ,
fe roc i ous and dogm at ic p e dants that has e v e r l iv e d That h e w a s .
s i nc e r e i n hi s conv i ct i ons and g e nu i n e ly an x i ous to furth e r art o n e , ,
1
S ou fflo t ; alt er e d and i njure d und e r de Qu incy s d i re ct i on
’
.
2
A ntoi n e .
T h e O déon Mar i e Jos e ph P e yre and Charl e s d e Wai lly

3
.
M Schn e i d e r Q u at re mér e d e Qu i ncy p

4
. says that h e had e nt e r e d th e stud i o ,
.
of Gu i llaum e C ou stou i n 1 7 7 2 that i s Gu illaum e Co n stou l e fils son of t h e younge r of

, , ,
t h e t w o C ou s t o u s wh o d i e d i n 1 7 4 6 Appare ntly d e Qu incy could draw e nough to i ndi cat e

.
h i s i nt e nt i ons to t h e art i sts und e r h i s d i r e ct i on and that w a s about all T h e i llustrat i ons ,
.
to h i s H i st oi r e d es plus célebre s A rch i t e ct e s ar e by an oth er hand .

T H E E N D O F A G RE A T T R A D I T I O N 1
99
may adm i t but h e was i nconc e i vably narrow i n h is v ie ws and n o t

, ,
abov e t h e most fl agrant j obb e ry i n ord e r to advanc e th e m Fo r th is .
h i s offic ial pos i t i on gav e hi m gr e at Op p ortun i t i e s H e w a s pol i t i cal .
re pr e s e ntat i v e O f t h e A rts i n 1 7 9 1 and i n th i s capac i ty got h i ms e lf ,
mad e D i r e ctor G e n e ral O f t h e works at t h e Pa n t h eo n H e all ie d h i m

-
.
s e lf w i th D av i d t h e Pa i nt e r i n t h e attack o n t h e Old A cad e m ie s la ,

“
Bast i ll e A cadém i qu e H e w a s unabl e to r e ga i n t h e favour o f N apo

.
l e on b u t o n t h e r e turn of t he B ourbons h e was appo i nt e d p e rp e tual

,
1
S e cr e tary o f t h e A cad é m i e d e s B e aux A rts and h e ld th is po s t t ill ,
1 830 . Throughout thos e y e ars h e w a s consult e d on all sch e m e s for t he

i mprov e m e nt O f Par i s and was pract i cal ly D i r e ctor Of t h e A rts
, He .
surround e d h i ms e lf w i th a cl i qu e of adm ire rs all Of th e m d i sc i pl e s ,

“
p i e ux d e l a r chi t e ct u r e Class iqu e grecqu e ou greco -roma i n e tous pas

’
, ,
s i o n n é s pour l e s ordr e s la plupart el ev e s d e s E col e s u e l A ca d é m i e

’
, q
”
a sous s a tut e ll e 2
SO fo r som e fift e e n y e ars Qu a t r e mé r e d e Qu i ncy
.
put t h e fin is h i ng touch e s to t he havoc Of t h e arts wh i ch his i nt e rfe r e nc e

w i th th e m had b e gun forty y e ars b e for e H e had s e t up fals e i dols in .
i e e —
arch t ctur t h e d i smal class ic O f t h e e nd of t h e e ight e e nth c e ntury is
w i tn e ss— h e had ru i n e d t h e sculptur e O f Franc e w i th his labor i ous
all e gory and want of cr i t i cal i ns ight h e r e probat e d t he art Of H oudon ,
and Paj ou and found his i d e al sculptor i n Canova Lastly h e had

, .
s e t up t he standard of that fals e archa e ology w h i ch has e v e r s i nc e b e e n
a m os t dang e rous p i tfall Of young Fr e nch arch it e cts plus préoccup é ,

“
d e r e st i tu e r a sc i e nc e l e s m o n u me n s qu e ll e a p e rdus q u e d i n t e r r é t e r
’ ’
’ ”
p
c e u x qu e ll e a r e couvr é s T h e pat ie nt st u dy O f facts w as n ot at all his
.
conc e pti on o f archae ology D ogmat i sm s o arb i trary and Oppr e ss i v e

.
was bound t o produc e a V i gorous r e ac t i on T h e a rt ists r e volt e d i n .
1 8 3 0 and d e Qu i ncy
, O ld obst i nat e and i ndom i tabl e had to e ndur e
, , , ,
3
t h e b i tte rn e ss of s e e i ng all his ch e r i sh e d th e or i e s trampl e d u nd e rfoot
by t he Romant i cs .
S i nc e thos e days arch i te ctur e has wand e re d first i n o n e d i r e cti on ,
th e n i n anoth e r and i f Qu a t r e mé r e d e Qu i ncy could r e turn t o-day h e m ight

,
b e l i e v e that h e had succ e e d e d afte r all for t h e lat e st r e v i val has b e e n ,
that Of t h e pond e rous class i c that h e lov e d and t he lat e st O ffic i al th e ory ,
of t h e control and adm i n i strat i on of t h e arts i s that th e y s h ould o n ,
1
N ap l on n v r forgav
o e e e e Q u at r e m é r e de Qu i ncy for s eve r e ly crit i c izing h i s w hol e
sal e plund e r of gall e ri e s of Italy
the .
Qu at re mer e d e Qu i ncy by R Schn ei d e r p 3 6 7 a rath e r d iffi cult but valuabl e

2 ”
.
, , .
,
study of t h e art of t h e Fr e nch R e volut ion and t h e Emp ir e .
H e l i v e d to e x tr e m e old age dy i ng i n 1 8 4 9 at t h e age O f n i n e ty four

3
-
, , .
no accou nt b e e ntr u st e d t o cr e at i v e artists and that t h e prop e r p e rsons

,
to d i r e ct t h e arts a r e p e rsons w h o hav e no fir s t -hand acqua i ntanc e w i th

t h e arts at all. O v e r a hu ndre d and fifty y e ars ago W i nck e lmann and
, ,
aft e r him Q u a t r e mer e d e Q u i ncy had i ns i st e d that i t was e ss e nt ial not

,
”
to l e av e t h e control i n t h e hands of t he g e ns d e mét i e r
“
. Y et t he
stud e nt Of h i story can sho w that t h e r e ign O f t h e v i rtuoso e nds aga i n
and aga i n i n chaos T h e tru e purpos e and funct i on Of t h e arts w i l l
.
n e v e r b e und e rstood wh e n i nt e rpr e t e d by p e dants such as t h e Comte

d e Caylus and Qu a t r e mer e d e Q u i ncy . I n Franc e as i n E ngland a
gr e at nat i onal trad it i on was k i ll e d by t h e doctri nai re s I t w i ll only
.
b e bu i lt u p ag ai n by t h e d e vo t ed l abours of art i sts t h e ms e lv e s .

F e r g u s s on s account o f t he a ffa i r i s i naccurat e T he dom e was no t

’
.
com p l e t e d in 1 7 7 9 a s h e says ; it w as not e v e n b e gu n t i ll som e y e ars

,
aft e r that dat e F e r g u s s o n also mak e s o n e o f hi s p e cul i arly unhappy

.
sugg e st i ons that t he w h ol e th i ng m i ght hav e b e e n avo i de d i f S ouffl ot

had s e t h is p i e rs back to t h e angl e s of t h e oute r walls and t h e dom e
,
i ncr e as e d to a l i ttl e ov e r 1 00 fe e t ; th is would i n fact hav e i ncr e as e d

“ ”
, ,
t h e d i am e t e r o f t he dom e t o n e arly 1 2 0 fe e t and could not hav e b e e n

,
carr i e d o u t w i thout r e cast i ng t he e nt i r e d e sign B r i tton and Pug i n

-
.
i 2 0—
( P ubl i c B u ld i ngs o f Lon d on i ) say t h at of a total ar ea o f
“
, , 21
fe e t sup e r i n S Paul s
.
’
,
fe e t i s occup ie d by po i nts Of
support wh e r e as o u t o f a total O f
, at t h e Pa nt h eo n , fe e t
ar e so occup ie d . Sou fflot s e e ms to hav e r e l ie d on h is columns as tak i ng
a p art Of t h e w e ight Of h i s dom e and to hav e calculat e d on t h e w e ight
,
b e i ng d istr i but e d ov e r po i nts Of sup p ort wh i ch i t did no t i n fact e v e r

r e ach H i s work show e d a fa ilur e i n sc ie nt i fic i mag i nat i on unusual i n
.
Fr e nch arch it e cture .

I ND E X
B B AY E Royal e d es D am e s C ha Acad e my of Paint ing and Sculptur e — con

n o in e s ses d e S L 0u is M e t z ii 4 8, fi r med
'
.
, , , 1 .
1 49 . quarre ls wi th th e ma itr e s jure s and con ’
A bbay Royal e P nt h m t vault ing i

e , a e on , , ,
222 . s ti tu t i o n , i, 7 .
A bb vi ll H Ot el d Vi ll and factory i i
e e, e e , ,
1
73 . r e lat i on wi th A cad e my of S Luk e at .
A cad m i s t h i 7 8 9
e e , e, , , , , 1 0, 1 1 . Ro m e i 2 9 , , .
A cade m y Of A rch i t e ctur

, e rev olt of t h e stud e nts i 8 9 , , ,
.
consult e d by Blond el and P e rrault i 1 6 , ,

. t h e C o mt e d e Caylus and t h e A cad e my ii , ,
d i scuss i ons i 1 8 1 9 , , ,
. 81, 1 1 0 7L , 1 2
9 3
-
.
e ducat i onal wo rk i 2 3 , ,
. Acad e my o f Sci enc i 9, e, ,
1 2, 1 .
foundat i o ns i 1 3 , , . A dam Sculptor i 3 5

, ; ii , , ,
221 ,
1 02 n .
Gabr i el and Marigny i i 1 3 1 , , . Aignan D d S A mbassador at Rom

, ue e .
,
e,
organ i zat i on i 2 1 , , . i, 4o ; fi, 1 3 3
study i 1 4 1 5
, , , . Ai r e ( Pas d e Cala i s ) ,
H Ot e l d e Ville ,
ii, 1 73 .
transfe rre d to t h e Louvre i 2 1 , , A ix-e n -Prov e nc e

A cade my t h e Fre nch at Rom e
, ,
L ou i s X IV Statu e ii 8 , ,
.
Colb e rt s a i m in e stabl i sh ing t h e Acad e m i e s

’
, Prom e nad e ii 1 8 1 , ,
.
i , 4o , 4 I Ai x la -Chap e ll e P e ac e Illum i nat i ons by

-
, Se r
corr e spond e nc e o f t h e d i r e ctors i 3 7 3 8 , , , . v a n d on i , ii, 1 1 1 .
S ee a l so that t i tl e . Alb e rti i 4 , ,

1 .
C o y pe l R e ct or i 2 9
, , ,
. Aldrich D e an of Chri stchurch i
, , ,
88 ; ii, 1 53 .
D e Troy R e cto r i 3 6 3 7 , , , , . Al andr Pont Pari s d sign ii

ex e , , e , ,
61 .
E rra r d t h e first R e ct o r r e gulat i ons and

, , Al ga r d i, A .
,
church Of S Ignat i us
.
,
R om e ,
organ i zat i on i 2 7 2 8 2 9 9 9 1 04 , , , , , , . d e s ign i i 8 5 72 , ,

.
foundat i on i 2 6 , ,
. Amat e ur Patrons of Art and th e d e cl i n e of
La T e u l i er e Re ctor i 3 0 3 1 3 9 ; sup e r
, , , , ,
arch i t e cture i 1 0 2 2 ; i i 8 1 8 2 1 9 2 , , , , , , ,
s e d e d by H o uass e i
3 2 1 8 7 ; ii 8 6 , , , ,
.
Mansart s adm i n i strat i on and d e cay O f t h e

’
A m ie ns P rom nad d la H Ot Oie
,
8 e e e ,
ii, 1 0 .
A cad e my i 3 3 , , . Anc i nt Bu ildi ngs

e
P oe r s o n R e ctor and D A n t i n D i r e ct e ur d e i nsp e ct i on by A cad e my of A rch i t e ctur

’
, ,
e,
,
B at i m e n t s , i , 3 4 , 4 0 ; i i, 8 6 n .
i, 1 8 .
purchas e of w orks of art for t h e King , i, prot e ct i on of i 1 0 8 1 0 9 , , ,

.
28 .
An e t :
soc i al a ffa ir and i ts d e cay i 3 7, , , . Chap e l o f D i an e d e Po i tie rs i , ,
1 82 .
W l e u g h e l s R e ctor i 3 8 , , , . gard e ns i 1 6 7 , ,
.
Acad e my of Inscri pt i ons and M e dals , i ns c r i p Ang e rs D av id d ,

’
t i ons e t B e ll e s Le ttre s i 1 2 , ,
. Sculptur e on t h e Panth é on i i , , 1 40 .
A cad e my of Pai nt i ng and Sculpture styl e o f sculpture ii 1 4 5 , ,

.
foundat i on i 3 7 1 2 1 0 1 , , , , ,
.
A ngu i e r :
pri v i l e ge i 1 0 , , . Moul i ns monum e nt at i 1 7 5 , , ,
.
quarre ls i 8 1 0 3 , , ,
. Port e S D e n i s i 9 3 .
, ,
.
204 A H I S T O RY O F F R E N C H A RC H I T E C T U RE
A nn of A ustria and arch i t ctur i, 3 A ssuranc L P i e rr e C a ill e teau d i t — con

’
e e e, . e, ,
A nt i ll s I sl s fortificat i ons i 9
e e , , ,
1 .
A nt i n L D uc d Suri nt ndant
, e
’
, e et D i re ct ur e Palai s Bourbon i i 2 9 3 3 5 9 1 6 3 , , , , , .
Général d e s B at i m en t s , i , 28 m, 3 4, 3 5 , salarie s i 2 1 0 ; ii 2 8 ma 5 7
, , , ,
.
3 6 , 2 1 3 ; i i. 4 3 , 4 4 , 1 69 . Ve rsai ll e s chap el i 2 1 0 , ,
.
A nto i n e, arch it e ct , i i, 1 9 5 -1 9 8 . A ssuranc e L ( young e r) ,

’
,
A r ch i t e ct e d u R oi , t i tl e l i m i t e d to m e mb e r s B ell e vu e Chat e au i i 1 2 3 n , ,
.
of A cad my of Arch i t ectur e e, i, 1 7 .

Marly Controll e r of Works 1 1 1 3 6
, , , .
A rch it cts mad e ord e r of e C h e val ie rs Of t he Plac e Lou i s X V comp et iti on d e s ign , ,
11,
S M i cha el 1 1 1 6 0 n See Blond el

.
, , . .
1 84 n .
Arg e n v ill e A nto i n e Jos e ph D ezal l ier d

,
’
A ub rt J an arch i t e ct
e , e ,
T /zéor ze
’
ez
‘
P r a zzgu e ‘
'
d a
’
j a r di n ag e, i, 1 80 ; A cad emy f A rch i te ctur O e, 11, 7 6, 7 9 .
fi, 96, 9 7 .
Chant illy Stabl e s , i i , 7
2 -
76 .
Voy ag e P zt zor es gu e de P a r i s , ii, 9 6 C o n t r Ol e u r d e s b at i me n t s d u R o i, 76

'
‘
.
1 1, .
A r ge n v ille , A
nto i n e i colas D ezalli er N d ’
,
Vzes
'
d e ath ,
1 7 4 1 , i i, 7 6 .
d es f a meu x A r c/zzfea es depu i s [ a R en a i s

'
‘ H otel la D uch e ss e d u Main e 1 1 5 9
de , ,
.
s a nce des A r zs , i , 1 3 9, 1 8 8 , 2 2 1 ; i i , 4 1 , 5 3 ,
‘
H Ot e l d e Lassay i i 7 2 , ,
.
8 3 , 9 5 , 9 8 , 9 9, 1 0 7 -1 0 8 , H Ot el d e Moras i i 7 6
1 0
5, 1 0 9, 1 1 0, .
, ,
I 9 7 , 3 7 » 3 9, I I 1 42, I 4S Mansart J H e mploy e d by 1 1 7 1 7 2

,
. .
, , , ,
.
A rl e s , H Ot el d e Vill e ,
flat vault ing i , , 222 .
Palai s d e Bourbon i i 5 9 , , .
A rnott Jam e s and John Wi lson P e ti t

, , ,
Sai nt Maur i i 7 3 fl , ,
.
Trianon ii 1 3 0 n , ,
.
salar i e s and w ork i i 7 1 , ,
.
Arras : A ubin wri t i ng on map of Pari s 1 1 1 8 4 n

, , ,
.
Cath e dral d e s ign by Contant d I v r y i i

,
’
, ,
A ubry Claud e Gu illot arch i t ect
, ,
1 42 1 43 1 6 8 ; d e struct i on by G e rman
, ,
ab i li ty i i 3 5 3 8
, , ,
.
b o mbardm e nt 1 9 1 8 ii 1 4 3 n , , ,
.
Chambr e d e s Compt e s 1 1 3 5 , , .
E p i sc opal Palac e ( Abbay e of S Vaast ) .

,
H Ot e l d e Bou i llon i i 3 5 , ,
.
d e s ign by Contant d I vr y ii 1 4 3 1 7 2 ’
H Otel d e Conty ii 3 6 3 7 , , ,
.
, , , .
A ss e l i n drawi ngs i 1 6 2
,
H Ot el d e la V r i ll i er e ii 3 5 , ,
.
,
.
,
A ssuranc e L P i err e Cail le teau dzt ’

H Ot el d e s D e smar e s i i 3 5 3 6
'
.
, , ,
, ,
A cad e my of Arch i te ctur e i 1 4 7 ii , , ,

Plac e Lou i s X V comp e ti t i on d e s ign , ,
11,
3 7, 1 2 4, 1 8 4 m, 1 85 n .
A rchi t e ct e d a R oi, i, 4 9 , 21 0 ; ll , 28 .
A uch Archb ishop s Palac
,
’
e, 1 1 , 96 .
arch i t e ctural w ork and abil i ty , i i, 3 , 1 0, 2 7,

A u co c ,Le on L I n s t it u t d e Franc e e t le s
,
“ ’
anc i e nn e s A cadem ie s i 7 1 1 , , ,
.
Bureau d e s Plans appo i ntm e nt i 1 5 8 , , .

Audran Claud e d e s ign e r 1 1 4 6
, , , ,
.
Ch eval ie r of Ord e r O f S M ichael ii .

, ,
2 9,
A umal e D uc d e i 2 0 1 n
, , ,
.
1 60 .
A uray H Ot el d e Vill e i i 1 7 3
, , ,
.
d e ath 7 2 3 , 1 1, 2 9
, 1 .
Avallon Prom e nad e d e s Te rreau x ( or Vau
,
H Otel d Au v er gne,
’
ll , 3 1 ,
1 64 .
ban ) i i 1 8 0 1 8 1 , , ,
.
H Ot e l d e B ethun e i i 2 9 3 0 n 3 1 , , , , .
Ave l in e Plan O f V e rsaill e s i 1 7 5
, , ,
.
H Ot e l d e Lassay i i 3 3 3 4 7 2 1 6 3 , , , , ,
.
Avignon
H Ot el d e Ma i sons R u e d e L Un i v e r s i t é ,
’
,
ii , A bb ey of M o nt maj ou r i 1 1 0 , ,
.
8 n , 31 , 3 2, 1 64 Cath e dral ch oi r i 1 1 0 , ,
.
H o tel Ro q u e laure i i 3 2 3 3 3 4
de , , , ,
.
Church o f th e N ov i t i at e of t h e J e su i ts flat ,
H Ot e l d e R o t el i n ( Charola i s ) ii 2 9 3 0 , , ,
.
vault ing i 2 2 2 , ,
.
Inval id e s L e s church O f th e D om e e m
, , ,
Fountai n of Chartre u x at Vill e n e uv e i
ploym e nt und e r Mansart i 2 0 3 2 0 6 ; , , ,
1 1 0 .
ii, 1 0, 1 8 n .
,
2 7 , 2 8, 2 9. H Ot e l Di u e ,
i, 1 10 .
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t e cture , i i, 1 9 2 ; Iss i , i, 1 44 ; L e NOtr e , 1 06 .
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bu ild i ngs i 2 , , . D e sg o d e t z , i i , 2 3 , 24 .
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rei gn i 1 2 4 , , . b i rth 1 6 5 6 ii 3 9
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M e thod O f contracts und e r Lou i s X IV , Bu e n R e t i ro Palac e Madrid d e s igns , , , ,
i, 4 9 -5 3 i i, 4 5
Cop e nhage n , M . Jard in ,
arch i t e ct in , 11, Carl i e r,
mploye d by 1 1 7 1 e , ,
.
1 61 n . Cath e dral Of Montauban re port on ,
Corn e ill e ( th e e ld e r ) pai nt e r structure i 6 5 , ,

.
Acad e my profe ssor i 7 , , . Chalons B i shop of d e s ign for Ev é c h é i i

, , , ,
H Ot e l d e B i ss e u i l pa i nt i ngs i , , ,
1 1 9 .
4 5 m, 4 6 , 4 7
Corn e ill e ( t h e young e r) pai nt e r , ,
i, 2 6, 27 .
Church Of S Roch e ntranc e i i 5 0 .
, , , .
Cor r esp
’
D i r ecteu r s
’
l A ca oenzi e Church Of t h e P e r e s d e la Chari té i i 5 2
’
’ ’
de
‘
. a es ae .
, ,
F r a nce a R ome . Ed ite d by A . de Cologn e Jacqu e s Cl e m e nt El e ctor Of

, , ,
and Jul e s G u iffr e y

M o n ta i gl o n palac e d e s ign i i 9 1 , ,
Acade my at Rom e Fre nch S ee that t i tl e , . .

C u vi l i é s Fran c o i s d e pup il 1 1 9 1
, , , , .
Barri e r e arch i t e ct i 1 0 7 n
‘
, , , . d e ath 1 7 3 5 ii 5 3 1 2 2
, , , , .
Bruand Fran c o i s i 1 4 7 n , , , . D ijon Palai s d e s E tats 1 1 44

, , , .
Colb e rt i 3 7 e tc , , , . Frankfort hous e for Pr i nc e d e la Tour e t

,
D av il e r , A . C .
,
ii , 1 6 nu . Tax i s ii 4 6 , ,
.
Claud e i 1 6 5 n
D e s g o t s, , ,
.
Fre scat i Ch at e au d e M e tz d e s ign 1 1 4 8 , , , , .
E rr a r d Charl e s i 1 0 4 n 1 0 5
, , ,
.
,
. H Ot e l d E str ee s ii 5 0 , ,
.
Franqu e J e an B i 2 2 1 , .
, ,
. H o t e l d e L Ab b e y e d e S D e nys i i 5 0 ’
.
, ,
.
Hardoui n ( n e ph ew O f Mansart ) i i , ,
86 77 . H Ot e l d e Lud e ii 5 0 5 1 1 6 3 , , , , .
Lou i s X IV and A rt i 4 n , ,
. H Ot el d u Mai n e i i 5 0 5 1 5 2 , , , ,
.
Mansart J H ii 8 6 n , . .
, ,
. H o t e l d e Toulous e d e s ign 1 1 5 0 5 1 , , , , ,
M i gnard P i e rr e ( or Paul ) i 1 0 8 n
, , ,
.
91 , 93
O ppe n or d G H ii 8 3 nu 84 n , . .
, ,
.
, .
,
85 n .
, Honours confe rr e d on 1 1 1 2 1 n 1 6 0 , ,
.
, .
86 n .
, 88 n . Inval i d e s L e s i 2 0 7 n ii 4 2 , , ,
.
, ,
.
S e ign e lay Marqu i s d e i 9 1 n 1 0 8 , , ,

.
,
. Italy draw i ngs i i 4 0 n n
, , ,
.
Sou fflot J G i i 1 3 3 n , . .
, ,
. Lyons H Ot el d e Vill e d e s igns by Man
, ,
Corton e P i e tro d e pai nt e r I 4 0

, , , ,
. sart i i 4 2 , ,
.
C orv é e R oyal for mak i ng an d mai n te n ,

Lyons P lac e B e ll e C our d e s igns i i 44
,
-
, , ,
.
anc e of roads ii 1 7 9 , , . Marr iag e ii 4 0 , , .
Cost e S i mon d u quarri e d ston e s for t h e

, ,
M i rrors u s e of i i 5 1 1 6 5
, , , , .
Louvr e i 7 9 , , . N otre D am e Pari s H igh Altar, i 2 1 8

-
, , ,
.
C ot t ar t P i e rre arch i t e ct
, ,
O rléans Cath e dral r e storat i on 1 1 4 3 , , ,
.
Church at V illa C e rf i 1 2 0 -
, , . Po i ssy A bb e y Church of r e storat i on
, , ,
H Opi t al d e la M e rc i d e s i gn i 1 2 0 , , , . i i, 4 3 .
H Ot e l d e B i ss e u i l d e s ign i 1 1 8 1 1 9 i i 7 , , , , , . Popp e lsdorf Castl e d e s igns for Jos e ph ,
H Ot e l d e V i ll e Troy e s i 1 2 0 , , ,
. Cl e m e n t El e ctor O f Cologn e i i 4 5 4 6
, , , ,
.
Mon e y grants i 1 2 0 , ,
. Pont N e uf Toulous e consultat i on ii 4 4 , , , ,
.
Royal Bu ild ing Staff i 49 , , . Portrai t by H ya ci n t e R i gaud ii 3 9 , ,

.
Cott e Rob e rt D e
,
pos i t i o n ii 1 5 9 , ,
.
Acad e my Of A rch i t e cture m e mb e r and , Royal Bu i ld ing Sta ff i 4 9 , ,

.
d i re ctor ii 4 0 n 4 1 , , .
, . salari e s and Offic e s ii 4 1 n 4 2 44 , ,
.
, , ,
Acad e my O f Pai nti ng and Sculpture i i , , 7 n
1 60 . Sav e rn e ( Zab e rn ) Chat eau , alt e rat ions ,
Arch i t ct e d R oi i i 44
e a , , . ii , 4 9
A rch i t e cts and Sup rint nd e nts mploy d e e e e Strasbourg E p i scopal Palac e d e s ign , ,
1 1, 50 .
b y, i i, 4 7 succ e ss ii 44 , ,
.
Cott e , Rob e rt d e—con ti n u ea '

. D angeau Marqu i s ,
d e, i , 4 8 n .
,
1 98, 2 1 2,
V e rdun E v éc hé for t h e B i shop r e bu i ldi ng , , 21 4 n .

,
2 1 7 .
i i, 4 8, 49 . j o i n e r Ve rsai ll e s i 1 8 7
D a ngl eb e r t , , , ,
.
Cott e , D e ( fil s ) D angu hous e at d e corate d by Er rar d i 1 0 0

, , , ,
.
A cad e my Of Pai nt ing and Sculpture ,

ii, D arg e nson M hous e d e s ign e d by G B of
, .
,
.
1 60 . fra nd, i i, 1 01 .
V e rdun Ev éc h é i i 4 9 , ,
. D aub e uf hous e , ,
i i, 1 88 .
Courtonn e J ean arch i t e ct , , D au m e t , arch i te ct i 2 0 1 77

M .
, , ,
.
A cad e my O f Arch i t e cture m e mb e r i i 1 4 7 n , , ,

. D a Vinc i L e onardo i 1 0 0 1 0 4, , , ,
.
A rch i t e ct e d u R oi ii 7 6 , , . D avid Jacqu e s Loui s pai nte r 1

, , , ,
1 0 1 1, 1 45,
bi rth 1 6 7 1 ii 7 6
, , , . I 99
H Ot el d e Mat ign o n i 2 2 2 1 1 7 6 7 7 7 8 , , , , , , D av i l er , A ugust i n Charl e s
1 63 . Acad my at Rom stud e nt
e e, ,
i, 3 0 ; 11, 1 5 ,
1 6 .
H Ot e l d e N oi r mou t i e r , ii , 7 6 , 7 8 . b irth , 1 6 5 3 , ii , 1 5 .
Tr a i l e P er spect i ve, i i , 7 6 , 7 8 Cou r s cl A r c/zi tecl u r e, i , 8,

’ ’ ’
1 ii, 1 1 9, 20,
ae n .
4
C o u s t ou , N
i colas , sculptor 2 4, 2 5 ” a 97 °
Blo i s Br i dge , ii , 6 0 , 1 7 9 n . d e ath 1 1 9

, 7 0 0 ,
i i , .
Juvi sy Bri dge ii 6 1 , , . d e s ign for th e S i ste rs O f th e A nnunc i at i on ,
L e s Inval i d e s i 2 0 8 , , . S D en is ii 1 7 n
.
, , .
Co n stou Gu i llaum e sculptor

, ,
Langu e doc arch i t e ct to t h e prov i nc e , ,
Comp i e gn e Bri dg e ii 6 0 6 1
‘
, , , . ii, 1 9 .
Panthéon sculpture r e move d ii 1 3 9 , , , ,

1 4 0. Mansart draughtsman ,
for , i, 206 ii,
C o ypel N O el pai nt e r :
, , 1 8, 2 7 .
Inval i d e s Le s i 2 0 8 , , , . m e diae val church e s 1 1 1 9 1 n , ,

.
R e ctor Of th e Acad e my i n Rom e i , ,

2 9, Mosqu e d e s i gn i i 1 6 , , , .
Port e d u P e yrou Montp e ll ie r d e s ign e d , ,
C o ype l ( young e r) ,
D i re ct or of A cad my of e by D O r b ay sup e rv i s i on O f w ork i 6 3
’
, , ,
Pai nt i ng ii 1 9 2 , , .
Coys e vo x sculptor : , S P et e r plan

.
,
Of church and colonnade ,
I nval i d e s Le s i 2 0 8 , , , . ii , 1 7 .
Ve rsaill e s i 1 7 2 1 8 7 , , , . D elafoss e , J . c .
,
arch i t e ct e décorat e ur -
,
Ii ,
C é q i M l o Mar echal
r u ,
. d e, A mbassador , 1 66 .
i, 9 9 . D elafoss e pai nte r L s Inval i d e s i 8

, , e , ,
20 .
C r osa t , A nt oin e hous e d e s i gn d by Bull e t , e , D e g d e t A nto i n e arch i t ct

s o z, ,
e
i, 1 44 . Acad e my at Rom e stud e nt 6 , , 1 1, 1 .
Crozat l e J e un e M h ous e s for by J S Car , .

,
. . A cad e my of Arch i t cture i 4 7 e , , 1 ll, 2 2 .
taud i i 7 9 8 8 n , , , . Acade my Of Pai nt ing and Sculptur e, 11,
C u v i li é s Fran c o i s d e arch i t e ct
, , 1 60 .
b i rth 1 6 9 8 i i 9 1
, , , . A rch i t cte d e u ROI 11 22 n .
Cologn e El e ctor s e rvi c e of 1 1 9 1, , , , . b i rth 1 6 5 3 i i 2 1

, , ,
.
D e Cott e w or k for i i 9 1 , , , . Chambord arch i t e ct i 4 9 ; 1 1 2 1 , , , , .
d e ath 1 7 6 8 ii 9 1
, , , . Church of L e s Inval i d es pr obabl e w ork ,
d e corat i ve w ork ii 9 2 , ,
. on i 2 0 2 , , .
G e rmany w ork for t h e E mp e ror i i 9 1 9 2

, , , , . Coll ege d e B e auvai s arch i t e ct 1 1 2 2 , , , .
M un i ch ii 1 6 1 n , ,
. C o nt r Ol e u r a Par i s ii 2 2 , ,
.
C y fflé sculptor N ancy fountai ns i i 1 1 4

, , , , . C ontr o l e ur g é n é ral d e s B ati me n t s d u R oi ,
i i, 22 .
D amp i e rre d e ath 7 2 8, 1 1, 2 2 , 1
Chat e au l 21 1 ,
21 2 ; ll , 5 . Edzfi ces A n ti qu es de R ome, L es, i , 4 9 , 1
5 7,
gard e ns i , , 21 2 . 1 6 3 ; ii 1 3 , 2 3 n , 24, 2 5 n . . .
E cuy e r , L arch i t e ct Plac e Lou i s X V
’
, , ,
ii , Fé li b ien d e s A vau x A ndre— con ti n u ed , .
1 84 n . s e cre tary of Acad e my of A rch i te cture ,

i, 1 3,
E d e li n ck, grave r i i 1 5 en , ,
. 1 8 n3 6 , 1 5 9, 2 0 6
.
,
1 .
E d i c t o f N ant e s r e vocat i on of i 1 5 4 ; i i , , , , 8 . Fe ls , Comt e E douard d e , “

A nge Jacqu e s
E i nv i ll e ch at e au H é r é arch i t e ct ii 1 1 8
, , , , . Gabrie l ,
”
i i, 1 2 1 nn .
, 1 2 6, 1 2 7, 1 28, 1 30
Erra r d Charl e s
, 1
31 .
A cad e my at Rom e d i re ctor i 7 2 6 , , , , , 9 9, Fe r t é s ous Jouarre la Br id ge i 2 0 , , , ,

.
1 04 . Fe u ill ad e Mare chal d e la Plac e d e s

,
’
,
Vi c
A cad e m y Of Paint i ng and Sculptur e ,
i, t oi r e s , i, 209 ; 1 1, 1 6 8, 1 76 .
Fe u ill an s , P er e s Conv e nt , Ru e S Honoré

.
,
A cad e my of S Luk Pr i nc e i 1 0 4 . e,
“
, ,
. i, 1 7 .
ant i qu e vas e s and troph i e s w orks on , ,

i, F eu ill e t cab i n e t -mak e r i i 9 5
, , ,
.
1 04 . Fi e u b er t M hous e i 2 1 1 , .
, , , .
b i rth 1 6 0 6 i 9 9
, , ,
. Fi tzwill i am Mus e um L e Cl e rc i 1 5 9 , , ,
.
bur i al i 3 0 n , , . Fl e ury Card inal i 8 2 ; i i 1 6 9 1 7 2

, , , .
Church Of l A ss u mpt ion R u e S Honoré ’

,
.
, Fo ntain e bl e au
Par i s i 1 0 5 1 0 6 1 1 1 1 1 2 ; i i 1 1 2 6
, , , , , , , . Colb ert controll e r i 4 6 , , ,
.
d e ath 1 6 8 9 i 2 9 3 0 1 0 4
, , , , , . Cott e D e controll e r i i 4 1
, , , , .
d e corat i v e w ork i 1 0 0 1 0 1 1 0 3 , , , ,
. D O r b ay arch i t e ct i 4 9
’
, , , .
Fland e rs v i s it i 1 0 4 , ,
. Er r ar d d e corat i ons i 1 0 1, , ,
.
marri ag e s i 1 0 5 , , . H e rm i tage bu i ld ing i i 1 2 3 , ,

.
m e dal struck i n h onour of i 2 9 , ,

. L e Vau ( e ld e r ) i nsp e ctor -g e n e ral O f bu i ld ,
p e ns i on i 1 0 0 , ,
. i ngs i 5 5 , , .
R e nn e s Parl iam ent Hous e d e corat i on O f

, , M iqu e R i chard w orks by 11 1 5 8
, , , ,
.
c e i l in g i 1 0 1 , ,
. mon e y sp e nt on i 1 9 8 , ,
.
Sai nt G e rmai n -en Lay e i 1 0 1 -

, ,
. O rm e Ph ilb e rt d e l arch it e ct i 4 5
,
’
, , ,
.
salary i 4 7 , , . Pr imati cc i o arch it e ct i 4 5 , , ,

.
stat e age nt i n Italy for purchas e of w orks staircas e i 8 1 , ,

.
o f ar t , i, 2 8, 2 9 . Fontai n e ( Pe r c ie r an d Fontai n e ) arc h i te cts ,
V e rsai ll e s ,
P e t i t Ch at e au d e c o rat i ons , Arc d e Tr i omph e Carr ous el i i 1 8 3 n , ,
.
i, 1 01 . Louvre courtyard i i 1 3 0 , ,
.
E r ra r d ( fath r e Of C harl e s ) , i , 9 9 . V e rsai ll e s r e storat i on i i 1 2 9 , , ,

.
E sp i e, Comt e d , Vault i ng Ecol e

’
M i l i tai re , Font ana th e Vat i can Ob e l i sk i 7 9 n
, , ,
.
i, 222 n . F on dat i on s fa i ts par l e R oi d e Pologn e ,
L sculptor L e s Inval i d e s
E s pig n o la ,
’
, ,
i 208 . Re cu e i l d e s i i 1 0 4 n , ,
.
E sp i n e D e l arch i t e ct ii 5 7 n
,
’
, , ,
. F or t ie r arch i t e ct Popp elsdorf Castl e 1 1 4 6
, , , , ,
E str ee s D uc d ambassador at Rom e i,

’
, , ,
1 7 8, 47 0
I 79 Fouqu e t ,
i, 62 ; and Vau x le Vicomte ,
E t i e nn e , D .
, arch it ect
B e san c on Ar ch évech é ii 1 7 2 , , ,
Fragonard pai nt e r ii 1 4 5 n , , ,
.
Bord e au x Ar ché v e ch é i i 1 4 0 n 1 7 2 , ,
.
, .
Franc in i Al e x andre e ngi n ee r, , , L i vr e d A r cfii
’
E t i val A bbay e Church i i 1 6 7

, , , . t ect u r e, i , 4 8 n .
Et o i l e l A rc d e Tri omph e d e d e s i gn i i
,
’
, , , ,
1 87 . Franc in i P i e rr e and Fran c o i s
,
E vr e u x Comt e d i 1 4 5
,
’
, , .
hydraul ic e ngi n eers i 4 8 , ,
.
w at e r supply for Ve rsa i ll e s i 1 7 1 , , .
Fran c oi s I i 1 2 2 5 4 4 n ; ii 6 , , , , ,
.
,
.
F ana r t glazi e r
, , ii, 49 . Frankfort i i 4 6 n , ,
.
Fé l i b i e n d e s Avau A ndré x, Franqu e J e an Bapt i st e arch i t e ct

, ,
H i stor i ograph e d es b as t i m e ns d u R OI 1 A bbe y of M o n t maj ou r rebu i ld ing ,

i, 1 1 0 .
47 A cad e my at Rom e stud e nt i 3 6 , , ,

.
I N D EX 21 5
Franqu e J e an ,
Bapt i st e — con fi nu eo ’
. Gabr iel Jacqu es Jul e s — conti n u ed
,
.
Cas e rn e Condé ii 1 7 1 1 7 2 , , , . Bord e au x Plac e d e la Bours e ll , , ,

6 2, 6 3,
H Ot e l d e s R ec e v e urs d e s Ta i ll e s V i v i e rs , , 64, 1 21 ,
1 22, 1 72 .
i, 221 n . br i dg e s d e s ign e d by 1 1 6 0 , , .
S e m i nary at Bo u rg e s i , ,
221 . Chamb ord c ontro ll e r ii 5 6 , , , .
sta i rcas e s st o n e i 2 2 1
, , ,
. Chambre d e s C ompt e s d e s ign 1 1 5 9 , , ,
.
Ch oi s i compl e t i o n i i 5 8
, , , .
Church O f Sai nt e Cro i x O rl é ans i i 6 0 , .
Gabr ie l A nge Jacqu e s arch it ect

, , Cath e dral Orléan s i i 4 3 6 0 , , , , .
A cad e my O f A rch i t e cture m e mb e r , ,

11, 7 9, d eath 1 7 4 2 i i 6 6
, , ,
.
hon ours i i 6 6 1 6 0 , , , .
A cade my of Pai nt i n g and Sculpture , i i, H Ot e l d e la D uch e ss e d u Ma i n e 1 1 5 9 , , .
1 60 . H Ot e l d e L assay i i 5 9 , , .
A rch i t e ct e d u R o i, ii, 1 22 . H Ot e l d e F e u q u i e r e i i 5 8 , ,
.
b i rth 1 6 9 8 ii 1 2 1
, , ,
. H Ot el d e M oras d e s i gn e d wi th A ub ert ,
ll
bust by J B L e m oyn e i i 1 3 2
. .
, ,
.
7 2, 7 6 .
Cho i s i controll e r ii 1 2 2
, , , . h ous e for Madam e d e Varange vill e i i 5 8 , ,
.
C o mp i egn e alt e rat i ons i i 1 2 2 1 3 0 , , , . La R och e ll e i i 6 5 6 6 1 6 7 , , , , .
d e ath 1 7 8 2 i i 1 2 1 1 3 2 1 4 5 n
, , , , ,
. o ffic e r of royal bu i ld i ngs ii 5 5 5 6 , , , .
Ecol e R o yal e M i l i tai r e ii 1 2 6 1 2 8 , ,

-
,
1 69 n .
,
Palai s d e Bourbon ii 5 9 , , .
1 72 . pat e nt O f nob il i ty ii 1 2 1 72 , , .
i ntr i gu e s
Mari gny 1 1 Of , , 1 31 . Pr e m ie r A rch i t e ct e 1 1 1 2 2 , , .
Int e ndant et Contr o l e ur d e s B at i me n t s d u R e nn e s ii 6 1 6 2 1 2 1 , , , , .
R oi , i i , 3 , 1 22 . re t i re m e nt and d e ath i i 5 4 , , .
La Roch e ll e cath e dral 1 1 1 6 7 , , . salar i e s and o fii c e s ii 5 7 , , .
L o uvr e i i 1 2 9 1 3 0
, , , . Gabri e l Mauric e c o ntractor ll 5 5
, , , , .
Marly alt e rat i ons i i 1 2 2

, , ,
. Ga ill on i 1 8 1 6 7
, , , .
m arr i age ii 1 2 2 , ,
. Gamare arch i t ect Church of S S u lpi ce i 1 2 5
, , .
, , .
Plac e Lou i s X V ( Plac e d e la Concord e ) , Gat e ways ( P o rte s )

i i, 3 7 , 1 23, 1 2 4, 1 2 5, 1 3 6, 1 7 2, 1 84 n .
, Bord e au x i i 1 8 2 , ,
.
Chalons sur Marn e Port e St e Cro ix 1 1 , .

, ,
t t T ri ano n ii 1 3 0 1 3 1
Pe i , , ,
.
Pos i t i on ii 1 5 9 , ,
. D s ille s P ort e
e 8 , ,
i i, 1 2 .
Pr e m i e r A rch i t e ct e i i 1 2 2 , ,
. D ijon Port e Gu illaum e
, ,
1 1, 1 82 .
R e t i r e m e nt i i 1 3 1 , , . Li ll e Port e d e Tournai ii 1 8 2
, , , .
V e rsa ill e s grand proj e ct

“
,
1 1, 1 2 2, 1 2
3, Montp ell i e r La Port e d u P eyrou , ,
11, 1 8 n .
,
1 9 .
V e rsai ll e s Sall e d Opera ii 1 2 8 ’

, ,
.
N ancy A rc Tr i omph e Porte D e s ill e s
,
de , ,
Gabri e l Charl e s i i 5 6
, , , . Port e Stan i slas P o rt e d e la C i tad e ll e , ,
Gabr ie l fam i ly i i 5 4 5 6 , , ,
.
ii , 1 1 8, 1 82 .
Gabri el Fran c o i s C o ns e i ll e r d u R oi 1 1 5 6
, , , , . Pari s Plac e e t P o rt e d e Franc e 1 1 1 7 5 ;
, , ,
Gabri e l Jacqu e s e ntr e pr e n e ur d e ma conn e r ie

, , , S A nt oi n e i 9 1 1 3 8 n 1 3 9 n ; ii 9
.
, , , .
,
.
, ,
ii, 5 4 . 1 7 7 ; S B e rnard i 9 1 1 3 7 1 3 8 ; ii 1 7 7 ;
.
, , , , ,
Gabri e l Jacqu e s Jul e s ( fath e r of A ng e

, S D en is i 1 6 9 2 1 3 7 1 3 8 n 2 1 8 ; ii
.
, , , , , .
, ,
Jacqu e s ) : 9 1 7 7 1 8 2 ; S Mart i n i 9 2 1 3 8 1 3 9 ;
, ,
.
, , , ,
A cad e my O f A rch i t e cture 1 1 5 6 , ,

.
A cad e my O f Pai nt ing and Sculpture i i , , P e ronn e ii 1 8 2 , , .
1 60 . Rou e n Port e Gu i llaum e 1 1 1 8 2

, , , .
b i rth ,
1 66 7,55 ii, . Gau t h e y M and t h e Panthéon d e s i gn by
,
.
,
Blo i s E v é ch é d e s i gn , i i , 6 0 .
S o u ffl o t , ii, 1 38 .
2 m A I“ S T O R Y ( H
.
T
F R E NC H l U H H H T E C T U R E
Ge o ffr in , Madam e ,
Corr e sp o nd e nc e ,
i i, Gros P i erre
, L e, sculptor Port e S Mart i n ,
.
,
1 96 n i, 1 39 n .
G eay M de arch i t ect i n B e rl i n i i 1 6 1 n

, .
, , , . Grotto e s :
G iard in i arch i t e ct Palai s d e B ourbon
, , , i i, fash i on i n i 1 5 3 , ,
.
3 3, 5 9 Marot d es igns i 1 5 2 1 5 3 , , ,
.
G i bbs Jam e s arch i t ect 1 1 1 3 8

, , , ,
. Ru e l e ngrav i ng by A dam P e r ell e 1 1 6 2
,
.
G iral arch i t e ct Montp e ll i e r Prom e nad e

, , , du S G e rmai n e n Lay e i 1 5 2
.
, , .
P e yrou i i 1 7 7 , , . Vau x L e Vi comt e by L e NOtr e i 1 6 5 , , ,

.
Gi rard J ean arch i t e ct and contractor

, , 1 Gucht Van d e r e ngrav e r ii 9 7
, , , , .
1 23 ; i i, 9 5 . Gu ep i er e M La arch i t ect St u tgar t 1 1

, .
, , , ,
G i rardon sculptor , ,
i, 4 7 , 9 2 , 1 7 2, 1 7 7, 1 87 ; 1 61 n .
it Gu e rin Gi l l e s sculptor i 4 7 1 7 2
, , , , , .
D an ie l arch i t e ct
Gi tt ar d , , G u i b al sculpt o r N ancy founta i ns 1 1 1 1 4
, , , ,
.
A cad emy Of A rch i t e cture ,

i, 1
3, 1 25, Gu ib e rt sculpt o r V e rsaill e s Sall e d O pe ra
, ,
’
,
I 47 ii , 1 28 .
A rch i t ect e d u R oi , i , 4 9 . Gu ilds m onopoly of i 1 3 0 1 3 1 II 1 90

, , , , ,
.
b i rth 1 6 2 5 i 1 2 5
, , , . Gu illai n S i mon sculptor i 8 1 0 1 1 0 2
, , , , , , .
br i dge s and foundat ion s i 2 0 , , . Gu ill e t d e S G e org e s M émoi r es i n edi zs e t c

.
,
‘
,
.
,
Ch ant illy i 1 2 6 1 2 7 , , ,
. i, 2 7 nu .
, 99, 1 00 1 0 6, 1 0 7, 1 08,
Church O f S Jacqu e s e t S Ph il i pp e d u . . 1 64 n .
,
1 65 .
Haut Pas i 1 7 1 2 6 , , ,
. Gu illot Aubry S ee A ubry
,
. .
Church of S Sulpic e i 1 7 1 2 5 1 2 6 .
, , , , . Gu i llot M hous e ii 7 9 8 0
,
.
, , , , .
d e ath 1 6 8 6 i 1 2 8 , , ,
. Gu i s e H Ot e l d e i i 6 9
, , ,
.
D ij on H Otel d e Vill e i 1 2 7 2 0 8
, , , , .
H Ot el d e la M e i ll e ra i e i 1 2 6 .
S Maur i 1 2 6 1 2 7
.
, , , . Hall e nc ourt Charl e s Fran c o i s d B i shop Of
,
’
,
G it t ar d J e an mast e r carp e nt e r i 1 2 5
, , , , . V e rdun i i 4 9 , ,
.
Glass pri c e i 5 0 n 5 1 , ,
.
, . Halle s t h e ii 1 0 6
, , ,
.
Gob e l ins m anufacture s i 6 4 1 4 7

, , , , , . Hampto n Court gard e n i 1 5 4 , , ,
.
Gob e rt arch it ect :

, Hardou i n M i ch e l contrac t or for masonry
, , ,
A cademy O f A rch i t e ctur e i 1 2 0 1 2 3 , , , . i 4 8 1 8 3 and n 1 8 8 2 0 2

, ,
.
, ,
L i br ry O f t h e C onv e nt O f t h e P e t i ts P é r e s
a
,
H a rdou i n M i ch e l C ontr ol e ur G en e al alt e r
, ,
r
i, 1 23 . n a t i f d es b at i m e n t s d u R oi , i , 8 7 ; ii, 5 6 n .
Cloud Tri anon i 1 1 4 1 2 3 , , , , . Hardou in , Raphael , pai nt e r Of t h e Cab in e t d u

Gob e rt M ich el paint e r i 1 2 3
, , , , . R oi , i , 1 8 2 .
Gob e rt P i e rre pai nt e r an d acad e m i c ian

, , ,
i, (
H ar d o u i ns n e ph e w s of Mansart ) Stud e nts ,
1 2
3 . A cad e my i n Rom e i 3 3 ; ii 8 6 77 , , , .
G o d e au ,arch i t e ct Plac e Lou i s X V comp e t i H au b e r at D arch i t e ct ii 4 6 4 7 5 7

’
, , , , ,
.
, ,
t i on d e sign i i 1 8 4 n
, , ,
. Haussmann Baron i 1 4 0 , , , .
Gon dou in arch i t e ct ,

Hazon arch i t e ct Plac e Lou i s X V comp e t i
, ,
b i rth 1 7 3 7 ii 1 9 7
, , , . t ion d e s i gn ii 1 8 4 n
, , , .
Ecol e d e M é d e c i n e ii 1 9 7 , , . H e nr i IV
Ital ian v i s it i i 1 9 5 1 9 7 , , , . A rts and A rch it e cture i 1 2 ; i i 1 8 8 , , , , .
Goth i c A rch it e ctur e appr e c i at i on Of ii 4 3 , , , ,

Country hous e s ii 6 , ,
.
Louvr e Gall e ri e s as art c e ntr e i 2 5 , ,

.
Gouj on J e an ,
Sch e m e s for i mprov e m e nt Of Pari s 1 6 8 ;
Ion i c column Tu il e r i e s i 6 3 n , , ,
. ii , 9 , 76 1 75, 1
Port e S A nto i n e i 9 1 1 3 9 .
, , ,
. H e nri etta Mar ia , i , 6 9 , 1 5 1 .
Gourvi ll e M d e S Mau r i 1 2 6 1 2 7
, .
, .
, , , . H e n r i ss e t , e ngrav er , i , 8 2 .
Goy Mar i e s e cond wi fe of E r r ar d i 1 0 5

, , , , . H e ns el i n , M .
,
hous e 1 60 .
21 8 A H I ST O RY O F F R E N C H A RC H I T E CT U R E
H o t els— coni i n uea ’

. Hot e ls —con fi n u ea ’
.
Laon ston e fly i ng stai rcas e i 2 2 1

, , , . R o t eli n ( H Ot e l d e Charolai s ) d e s i gn by ,
Lassay d e s ign by L A s s u ra n ce i i 3 3 3 4
,
’
, , , ,
L As s u r a n c e , ii ,
’
2 9,
3 0 n .
72 1 6 3 ; Gabr i e l J J
,
d e s i gn i i 5 9 ,
. .
, , ,
. S D enys
.
,
l A b b ay e d e ,
’
d e s ign by D e C ott e ,
Léon Faubourg S G e rmai n d e si gn by

, .
,
ii, 5 0 .
R o b el i n , i , 1 2 1 . S Pol alt e rat i ons by Bull e t

.
, ,
i, 1 45 .
L e strad e d e s ign by Rich e r 1 1 2 1

’
, . Sal e d i t d e Ju ign e R u e
, , de Th or igny ,
L i mu r Vann e s ii 1 4 1
, , , . d e s ign by Le Vau i 5 7 , , .
Li onn e d e sign by L e Vau i i 7

, , ,
. S e ign elay d e s ign by G ,
. B offra nd , ii,
Lorge d e s ign by J H Mansart

, . . 1 2 1 1 ; 1 00 .
ii, 7 , 8 . Soub is e d e c orat ions by ,

B o ffr and , 1 1, 6 8,
Lud e d e s ign by
, De Cott e ,
ii , 5 0 , 5 1 , 93, 1 01 ,
1 0 2, 1 65 ; d e s ign by D e la
1 63 . Mai r e ii 68 7 0 , ,
-
,
1 02 n ; engrav i ngs Of .
Luyn e s d e s ign by Le Mu e t 1 1 1 6 3
, , , . d e s igns by B offr an d i i 1 0 2 n , , .
L y onn e d e s i gn by L e Vau i 6 1, , , . S ully R u e S A nt oi n e i i 7

,
.
, ,
.
Mai n e d e s ign by D e Cott e ii 5 0

, , , , 51, Tallard H Ot el d u D u e d e d e s ign by
, ,
52 . Bull e t i 1 4 5 , ,
.
Ma isons , Ru e d e L Un i v er s i t é,
’
d es i gn by Torcy d e s ign by G B offr an d 1 1 1 0 0
,
.
, ,
.
’
L A ss u r ance, i i , 8 n .
,
2 9, 3 1 , 3 2, 1 64 . Toulous e d es igns by D e } Cott e ii 5 0 5 1
, , , , ,
Marai s d e s ign by L A ssu r an ce ii 2 9

,
’
, , .
9 1 7 93 , 73 1 °
Mat ignon d e s i gn by J e an Courtonn e , 1 Vauvray by Bull e t i 1 4 5

,
d e s ign , ,
.
222 ; i i, 7 6 , 7 7 , 7 8 , 1 63 V e n d Om e d e s i gns by L Bruand i 1 8 2 ; ,

.
, ,
M e ill e rai e d e s ign by Git ta r d i 1 2 6 , , , . masonry c ontract i i 5 5 ; w orkm e n s , ,

’
M onnaie Anto i n e i i 1 9 8 , , ,
. comp e nsat i on i 5 2 , , .
M on b as on d e s i gn by L A s s u r an c e i i 2 9 ,
’
, ,
. V ill eroy c o ntractor for masonry Rob e rt
, ,
Montmore ncy d e s i gn by B o ffr an d i i 1 0 4 , , , . d e Cott e i i 5 5 , , .
M oras d e s igns by Gabri e l and A ub e rt i i

, , ,
V r il l ie r e d e s ign by A ubry 1 1 3 5
, , ,
.
76 .
H Ot e l s d e V i ll e
N oa ill e s d e si gn by ,
’
L A s s u r an ce , i i, 29 ; A bb evill e i i 1 7 3 , ,
.
ntranc e d e s i gn by J e an R i ch e r i 1 2 1
e
, , . A i re i i 1 7 3 , , .
N o i rmouti e r d e s ig n by J e an Courtonn e , ,
A r i e s, i, 2 0 8, 2 2 2 .
i i, 7 6 , 7 8 . A uray i i 1 73 , ,
.
O rge ,L d es ign by J H Mansart 1 1 1 0 ’

, . .
, , .
B e auvai s ii 1 7 3 1 7 8 n , , ,
.
O utre m ont H Ot el d d e s ign by R ich e r 1 ,

’
,
Chat eaudu n ii 1 7 3 , ,
.
1 21 . D ijon i 2 0 8 ; i i 1 7 2 1 7 3
, , , ,
.
Plac e d e la Conc ord e H Ot els by A J , , . . Lyons ii 4 3 4 7 , , ,
Gabr iel ii 1 7 2 , , . Macon i i 1 4 1 1 6 1 , , ,

.
Pompadour d e s ign by D e la M are 1 1 3 6 , , , ,

M e tz ii 1 4 8 , ,
.
6 8, 7 1 . N ancy i 2 2 1 ; 1 1 1 7 3 , , ,
.
d e s ign by J e an Mar ot i 1 5 0
P u s s or t , , , .
R e nn e s 1 1 6 1 1 2 1 , , ,
.
R e c e v e urs d e s Tai ll e s V i vi e rs d esign by , ,

Toul ous e ii 1 7 3 , ,
.
J B Franqu e i 2 2 1 n
. .
, , .
Houass e M pai nt e r R e ctor Acad e my at
,
.
, ,
R i ch el ie u acad e my quart e rs ii 1 5 n , , , .
Rom e i i 3 2 8 6 , , ,
.
Rohan C h e v eau x d u S ol e il
, by L e ,
”
H o udon sculptor i i 1 3 9 1 9 9
, , , ,
.
Lorrai n i i 1 0 2 ; d e corat i ons by J B , , . . H u pea u e ng i n e e r O rl e ans bri dg e 1 1 1 7 7 n

, , , ,
.
L e Rou x i i 3 4 ; d e s i gn by D e la Ma i r e , , ,
H u q u i e r e ngrav e r i i 84 8 7 8 9
, , , , ,
.
Huv e arch i t ect Mad el ei n e compl e t i on i i

, , , ,
Roqu e laur e compl e t i on by L e Rou x , ,

i i, 1 44 .
3 3 3 4 3 5 ; d e s i gn by L Ass u r a nc e
, ,
’
,
ii, fi brpner ol oma clzi a , Blond e l s r efer enc e s to ’
,
2
91 3 2 7 3 3 a 3 4 i, 9 3 n .
I N DEX
I nval i d e s , H Ot e l d e s, and Church Of the K ell e r J e an Bathazar statu e o f Lou i s
, ,
D om e Plac e V e n d Ome i i 6 4 n , ,
A cad my e Of A rch it ctur e e, c onsult ed ,

i, K ent arch it e ct i i 8 8
, , ,
.
1 43 n .
,
2 1
5 . K e w Bri dg e d e s i gn i i 6 1 77 , , , .
A rti sts mploy d e e , i, 2 08 .
A ssuranc L ii e,
’
, , 2 8, 2
9 . La Bo i ss i e r e aqu e duct i 5 2 , , , .
B ruand Li b e ral , ,
i, 1
3 2, 1 33, 1 3 4, 2 0 2, La F e rt e g ove rnor O f Lorra i n e i 1 5 9
, , ,
.
21 7; ii, 5, 3 0 n .
,
1 26 . La Foss e pain t e r i 1 1 9
, , , .
C ontroll e r,
Contant D I v r a y La Malgrange Palac e ii 1 0 4 1 0 5 1 1 3
’
,
ii, 1 43 .
, , , ,
Controll e r D e C ott e ii 4 2 , , , . La Roch ell e cath e dral and clock t ow ,
cost of con struct ion i 2 0 4 , , .
D es cr ipl i on g en er a l e, i ,
’ ’
1 32 n .
,
202 n .
,
203 n . La Savonn e rie manufactur e i 4 1 , , , .
engravings and draw ings i 1 5 7 , ,

. Labour :
Foundat i on e d ict O f i 1 3 2 n , , , . comp ensat i on allo wanc e s to w ork m
Mansart J H d e s i gns i 1 7 1 9 , . .
, , , , ,
1 32 n .
, 5 1 , 5 2 , 7 9, 1 9 4 , 2 1 0 n .
1 43 n .
,
1 95 , 2 0 2 -2 0 8 , 21 5 , 21
9 ; i i , 1 1 , c ond i t i ons of w orkm e n e mploy e d on
bu ild i ngs Lou i s X I V i 5 1 5 2 , , , ,

.
m e asure m e nts O f plan i 2 0 3 , ,

.
h ous i ng O f w orkm e n by t h e M i ss .
statu e s by D e sjard ins from Plac e d e s Vi c Sai nt Lazare i i 1 7 1 , , .
t oi r es , i , 209 n . sk i ll O f arch i t e cts workm e n i 1 2 8 i ’

, ,
sculptur e s i 2 0 8 2 1 0 , , ,
. Lamb e rt d e Thori gny Claud H OI , ,
I ron pric e i 5 0 5 1
, , , , . Lamb e rt i 5 6 , , .
Iss i Ch at e au d i 2 1 4 3
,
’
, , , ,
1 44 gard e ns , i, Lamb e rt P ie rr e arch it ect
, ,
'
1 44 .
Acade my of Arch it e ctur e m e m be r , ,
Ital i an arch i t e ctur e ii , 5 7 n .
i nflu e nc e i n Franc e ,
i, 1 ,
2, 1 6, 7 0 n .
; 11, Acad e my Of Pai nti ng and Scu l pt u
1 60 .
w orks of art purchas e for Lou i s X IV , , i, Mac hi n e d e Marly i 6 6 , ,

.
2 8, 2
9 . pupi l of Lou i s L e Vau i 6 6 , , .
Ivry Contant d
,
’
. S ee Contant . salary i i 5 7 n , , .
Ve rsai ll e s al ignm ent of hous e s i 6

, , ,
Lamour J e an sm i th N ancy i i 1 1 4
, , , , , ,
Jam e s John translat ion O f T/zeor i e et pr a l i gu e

, ,
’
Lan g u e doc vault i ng a la Ro u ss illon

, ,
cl u
j a r di n ag e, ii , 9 7 . Lao n H Ot el D i e u ston e stai rcas e i
, , , ,
Jard i n ,
M .
,
arch i t ect i n Cop e nhage n , 11 , 1 61 n . L e Blond J e an Bapt i s e A l e xandr e ar
, ,
J e n n e ss o n J e an ,
N icholas arch it ct to D uk ,
e e A rchb i shops palac e s d e sign e d by ’
, ,
of Lorrai n e ii 1 1 9 , ,
. b irth 1 6 7 9 1 1 9 5
, , ,
.
J e su i ts Ch at illon hous e at 1 1 9 8 , , , .
bu i ld ing e nt e rpri s e s i i 1 7 0 1 7 1 , , ,
. d e ath 1 7 1 9 ii 9 8
, , , .
e x puls i on from Franc e 1 7 6 4 ii 1 70 n , , , . drawi ng s and d e s igns i i 9 5 n 9 6 , ,

.
, ,
J o m b e r t publ i sh e r i
,
1 52 ii 1 4 7 , , ,
. H Ote l d e Cl e rm o nt i i 9 6 , ,
.
Jon e s In igo i 1 5 8 77 ; ii 1 3 8 1 8 9
, , , , ,
. Pupi l O f Girard ii 9 5 , ,
.
J o u v e ne t sculptor ,
Russ ian vi s i t d e si gns for t h e Czar , ,
L e s Inval i d e s i 2 0 8 2 1 0 Tlzéor i e ei P r a ti qu e o u j a r d i n ag e, i,
’
.
, , ,
V e rsa ill e s i 1 8 7 1 9 5 2 1 0 , , , , .
96 , 9 7 .
J os s e n a y D e n i s arch i t
,
e ct i i 4
7 4 8 n , , , ,
. Le Brun Charl e s ,
J u i gn e G i ll e s d e w i fe O f Maréchal
, ,
de Acad e my of Pai nt i ng and S cu lpt u
Lorge s ii 1 2 1 , , .
1 0, 1 01 ,
1 02 n .
,
1 03 .
Juvi sy Pont d e s B ell e s Fontain e s i i

, , , 61 ,
Acad my of S Luk i 9
e . e, ,
2 .
1 79 .
A rc d e Tri omph e d e s ign i , , ,
85 .
Le Brun Charl e s — con ti n ued

,
. Le Mu e t P i e rre — con ti nu ed
,
.
Ch at e au Montmor e nc i i i 7 9 , ,
. Church O f t h e Val d e Grace i 1 2 4 , ,
.
Church of S N i cholas d u Chard onn e t .

,
i, H Otel d e Luyn e s ii 1 6 3 , ,
.
1 06 . tre at i s e on th e fi ve ord e rs e ngrav i ng s by ,
Cons e i l d es B ati me n t s i 2 7 n 7 5 1 1 9 n , ,
.
, ,
. J e an Marot i 1 5 2 77 , ,
.
d e ath 1 6 9 0 i 6 n , , ,
. L e N Otr e A ndré gard e n d e s ign e r
, ,
d e corat i v e abil ity i 1 1 1 ; i i 1 6 4 , , ,

. A cad e my O f A rch i te cture i 1 7 9 , ,
.
d i ctator of Fre nch art i 6 , ,

. B irth 1 6 1 3 i 1 6 4
, , ,
.
d ire ctor of royal pai nt i ngs i 4 7 , , . Chant illy gar d e ns i 1 2 7 1 7 0 1 7 1 1 7 5 , , , , , ,
d i sgrac e unde r Louvo i s i 8 7 , , . 20 1 .
Gob e l i ns d i r e ctor of i 4 7 , , ,
. Ch at eau d I s si gard e ns i 1 44 ’
, ,
.
H Ot el d e Lamb e rt pa i nt i ng i 5 6 ,
Ch eval ie r Of th e O rd e r o f S M i cha e l . ,
i,
, .
,
O rdre Fran coi s L d e s ign for i 1 0 7 ,

’
, , , . 1 80 .
Sc e au x d e c orat i ons i 1 7 7 , , . Ch oi s i le R oi gard e ns i 1 7 8 , ,

.
Vau x l e Vi comt e d e corat ions i 5 9 , , . Colb e rt l e tt e rs from i 3 7 , , ,

.
Ve rsai ll e s d e c o rat i ons i 1 9 0 , , .

C o n tr Ol e u r gén é ral d e s b at i me nt s ,
i, 46 ,
L e D uc Gabri e l arch i t e ct
, , 1 68 .
Church O f S Lou i s e n l I sl e i 6 3 .
’
, , . D ampie rre gard e ns ,
i, 21 2 .
Church O f th e P e t i ts p er e s i 1 2 5 n ; 1 1 7 9 -
, ,
.
,
. d e ath 1 7 0 0 i 1 7 8 ; ii 9 5
, , , ,
.
Church O f t he Val d e Grac e i 3 1 2 4 1 2 5 ; , , , ,

d e s igns and gard e n sch e m e s ,
i, 4 8 , 1 6 7,
ii, 6 8, i i 6 97 1 7 6
1 1 . 1 1 7 0, 7 ; , 3 1, , 1 .
F a l c on i i 1 2 5
H Ot e l , ,
. grotto at Vau x L e V i comt e , i, 1 6
Hous e R u e S D om i n i qu e i 1 2 5
, .
, , . Ital ian m i ss i on i 1 7 8 1 7 9 1 9 2 , , , ,
.
L e H o ngr e sculpt o r V e rsa i ll e s Tr i anon

, , , , R i n c y gard e ns i 1 7 8 , ,
.
i, 1 95 . S Cloud gard e ns i 1 2 3 1 7 6
.
, , ,
.
’
L I le A dam Ponto i s , e, d e s ign of br i dge by S G e rmai n e n Laye t e rrac e fountai ns and
.
- -
, ,
Gabr ie l i i 6 0 , ,
. part e rr e i 1 7 4 1 7 5 , , ,
.
L I s l e D e arch i t e ct
’
, ,
S Maur gard e ns i 1 2 7
.
, ,
.
Acad e my Of A rch i te cture m e mb e r ,

I 1 2 0, salar i e s i 1 6 8 1 6 9 , , ,
.
1 21 ; i i, 5 7 n . Sch ool of L e NOt re ll 3 6 , ,

.
B e ll e vu e Ch at e au ii 1 2 3 n , , . Tu il e ri e s g ard e ns i 1 6 4 1 6 5 , , ,
.
Controll e r i 1 2 1 ; ii 5 7 n , , ,
. Vaux l e Vi comt e grounds i 5 9 1 6 5 1 6 6 , , , , ,
H Ot el d u Grand e Pr i e ur d e Franc e 1 1 2 1
‘
hous e s i 1 2 1 1 2 2 , , ,
. Ve rsa ill e s gard e ns car e of , ,
i, 1 6 9, 1 7 0,
L I sl e E dm e d e pa i nt e r uncl e t o H ar d o u i n s 9 3 ; ii , 6
’
, .
, , , 1 7 1 -1 7 4, 1 8 7, 1 91 ,
1 1 .
i, 1 21 . L e NOt re , Fran c o i s e ( s i ste r of André ) K e e p e r ,
Le Mans Church of t h e Vis i tat i on ii 1 4 2

, , , . of th e O range ry t h e Tu il e ri e s i 1 6 8 77 , , ,
.
L e m e rc i e r Jacqu e s arch i t e ct , , Le NOt r e J e an ( fath e r of A n dr e) k e e p e r O f

, ,
A rch i te ct e d u R o i i 5 9 , ,
.
t h e Tu i l e r i e s gard e ns i 1 6 4 , ,
.
Church of th e Sorbonn e i 2 0 5 1 1 1 1 , , ,
. Le Pau t r e A dr i e n cab i n e t mak e r i 1 1 1
, , , ,
.
Church of th e Val d e Gr ac e i 1 2 4 , , . L e P a u t r e , An t h o i n e
Louvr e d e s ign of t h e Pavi llon de l H o r
,
’
A cad e my Of Arch i te cture original , me m
log e i 6 2 8 1 ; ii 1 2 7 n 1 8 9
, , , ,
.
, . b er, i, 1 1 1 .
O ratory ii 1 8 9 , ,
. arch i t e ct and plann e r of house s ,
i, 5 9,
Ri ch e li e u d e s igns th e to wn of i 5 8 ; ii 4
, , , , , 1 1 1 , 1 1 2, 1 1 3 ,
i i, 6 , 7 .
1 75 . A rch i t ct d e u R o i, i , 4 9 , 1 1 2, 1 1 4 .
Le Mu e t P ie rre arch i t e ct
, ,
b i rth 1 6 1 4 i 1 1 1
, , ,
.
A rch i t e ct e d e S Maj e sté i .

, , 47 . church and m onast e ry of Port Royal , i,
Church of th e P e t i ts p ere s -
,
i, 1 2 5 n .
,
1
34
ii , 7 9 . C lagny plans ,
i, 1 1 5, 1 82 .
222 A H I S T O RY OF F R E N C H A RC HI T E C T U R E
Lou i s X IV— con ti nu ed . Lou i s Vi ctor— conti n u ed
,
.
bu i ld ing e nt e rpr i s e s , g r e at p e riod ,

i, 1 8 4, Pari s i i 1 9 6 n
, ,
.
P or tef eu il l e [ c/znog r ap/zi ou e V L ou i s ,

’
95 9 8 ; ii , 3 . 4 , 5 , 7 , 9 , 2 6, ae
-
1 . 1 1 0, 1 1 ,
.
ii , 1 96 n .
Cab in e t d u R oi, coll e ct i on of e ngravin g s . W arsa w, ii, 1 96 n .
i, l s4 , 1 5 6, 5 7, 1 ii, 9 1 Louvo is M me d e Cho i s i l e R o i 1 1 5 8

, .
, , ,
.
characte r , i, 3 —
6 ; ii, 2 . Louvo i s Marqu i s d e sur i nt e ndant e t ordo n
, ,
financ ial d ifficult i e s , i, 3 , 1 43 , 1 9 5 ; ii , 3 , n a t e u r g é néral :
1 61 . A cad e my at Rom e appo intm e nt of L a ,
J e su it i nflu e nc e ii 1 7 1 , , . T e u l i er e , i , 3 0 .
Maint e non M me d e i 5 ; i i 3 ,
.
, , , . adm in i strat i on of, i , 5 , 6 , 3 1 .
Manu facture and Art i 4 1 , ,

. A qu e duct of Ma i nt e non , i , 1 7, 2 0, 54 n .
,
Mansart J H i 3 1 1 8 2 1 8 3 1 8 4 2 1 2
, . .
, , , , , , ,
1 72 .
21
3 i i 1 8 9 S ee a l s o und e r Mansart
,
‘
. . A rc d e Tr iomph e by P e rrault , ,
i, 1 28 .
M i ss i onarie s s ent to Ch i na and Ind ia ,

d e ath 1 6 9 1 i 2 0 9 2 1 2 ; ii 1 7 6
, , , , , .
i, 1
97 . e n e my of Claud e P e rrault i 2 1 , ,
.
Mont e span M me d e i 5 1 5 2 ,
.
, , , . E st i mat e s by M me d e S ev i gn e and Sa i n t .
Par is plans for i mprov e m e nt

, , i, 2, 1 38 ; S i mon i 8 7 , ,
.
i i, 9 , 1 0 . Po we r i 1 9 0 , ,
.
Publ i c bu i ld ings l i st ii 1 6 8 1 6 9 , , , , . Sur int endant d e s B at i me n ts i 4 6 4 8 5 3 , , , , ,
Royal bu ild ings i 1 9 8 ; ii 1 6 8 , , , . ii, 1 7 77 .
Stat e c o ntrol of A rt xv i 6 1 8 4 , , , ,
. War Of 1 688 and La Fen etre de Trianon ,
statu e s o f i 1 7 9 2 0 9 ; i i 4 2 6 4 n
, , , , , .
,
1 7 6, i,98 1 .
1 77 n . Louvr e, t h e
to w n plann i ng 1 1 8 9 1 0 6 0 1 7 6 , , , , , ,
. Acad my quart rse ,
e 1 21 1 03 ; 1 1, 1 5 77 .
Vall ie r e M me d e la i 1 5 2
, .
, , . A rt c ntr as i 5
e e, , ,
2 .
V e rsai ll e s S ee Ve rsaill e s .
.
B ern i n i d e s i gns , , i, 7 0 , 7 1 , 7 2 , 7 4,
Lou i s X V 82 n .
d e ath 1 7 7 4 i i 1 2 9 1 3 2
, , , , . C e rc e au J A ndrou e t d u i 4 5 5 8
,
.
, , ,
.
Plac e Lou i s X V t h e gre at comp e ti t i on , ,

C e ssat i on O f bui ld i ng i 8 2 , ,
.
i i, 1 84 -1 87 . Colb e rt s plans i 6 8 ’
, ,
.
publ i c build in gs i mprove m e nt i n C i v il ,

D uban d e sig n i i 1 3 0 n , ,
.
A rch i t e cture ii 1 6 9 , ,
. e ngrav i ngs by L e Cl e rc i 1 5 5 , , .
statu e s i n hon our o f i i 3 7 6 1 6 2 6 3 6 4 , , , , , , ,

e ngrav i n g s by Mar o t i 1 5 1 1
53 , , ,
.
E r r ar d d e corat ions i 1 0 5
, , ,
.
Ve rsaill e s S ee V e rsaill e s . . e xp e nd i tur e on w orks i 8 2 , ,

.
Lou i s X VI 1 1 1 5 8 , , . Gabr i e l Ang e Jacqu e s d e s i gn for compl e

, ,
Lou i s Ph i l i ppe ii 1 2 8 1 8 3 77 , , , . t i on i 8 2 ; i i 1 2 9 1 3 0
, , , ,
.
Lou i s Vi ctor arch i te ct

, , Gouj on i 7 7 , , .
A cade my at Rom e i i 1 9 6 , ,
. Ital ian w orkm e n i 1 5 5 1 5 6 , , , .
A nt iqu e r evi val i i 1 9 5 , , . L e Brun d e corat i on Of t h e Gall e ry O f

,
b i rth 1 7 3 6 i i 1 9 5
, , , . A pollo i 1 1 9 n , ,
.
B ord e au x Th e atre ii 1 9 6 , , . L e fu e l d e s i g n ii 1 3 0 n
, , ,
.
Chartr e s Cho i r i i 1 9 6 , , . L e m e rci e r d e s ign of th e Pav il i on de l H or

,
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Comm e rcy ii 1 9 6 , , . loge i 6 2 8 1 ; ii 1 2 7 n 1 8 9

, , , ,
.
,
.
d e ath 1 8 0 2 ii 1 9 6
, , ,
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, , , , , , ,
.
Flat vault i ng H Ot el Sa ig e Bord eau x , , , 1, L e Vau add i t i ons and alt e rat i ons i 6 1
, ,
221 .
Lun evill e ,
1 1, 1 96 . Mansart Fran c o i s d e s i gns , , ,
i, 6 .
N ancy ii , , 1 96 . Marot ( e ld e r ) d e s i gn i 8 1 , , ,
1 50 .
22
3
Maint e no n A qu educt O f ,
Mod e l to scal e Of Pe rr au l t
’
s d e s i gn , 1, construct i on d e s i gns , ,
1, 1 7, 20, 5 2, 53,
Mon e y sp e nt on i 1 9 8 , ,
. cost i , ,
P e r c i e r and F on t a in e i i 1 3 0 , , .
failur e i 5 3 5 4 , , , .
P e rrault Claud e d e s ig ns of n ew bu ild ings

, , ,
labour e mploy e d cond i t i ons o f i 5 1 5 2 , , , , .
P e r i styl e o r Colonnad e i 1 3 1 9 , , , ,
mat e ri al suppl ie d i 5 0 , , .
21 , 6 1 , 6 2 , 6 9, 7 9, wat e r supply for V e rsa i ll e s w orks and ,
8 2, 8 4, 8 8 n , 2 1 8 ; ii, 2 6, e x p e ns e s 1 1 7 1 272
. 2, 1 2 5, 1 3 0, , , , .
Mai nt e non M me d e , .
S o u ffl o t , i , 8 2 ; 1 1 , 1 2 9 , 1 3 0 .
d e ath 1 7 1 9 i i 1 6 9
, , ,
.
Ston e , pr i c e, i , 5 0 . i nflu e nc e o n Lou i s X IV i 5 ; 1 1 3 , , ,

.
surround ings , ii , 1 0 6 , 1 7 5 , 1 7 6 . Marly i 1 99 , ,

.
Vi scont i, i i, 1 3 0 n . S Cyr i 1 8 2 n 2 1 1 ; 1 1 1 6 8
.
, ,
.
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L oyr, pai nt e r i 4 7 , , . Ma ire P ie rr e Al e xi s d e la arch i t e ct 1 1

, , , ,
Lucas Claud e engrav e r 1 1 1 0 2 n

, , , ,
.
,
1 84 77 . 68 .
Lucy d e arch it e ct ii 1 8 4 n
, , , , . d e ath ,
1 7 4 5, 11, 68 .
Lull i compos e r i 1 2 6 1 8 6 n
, , , ,
. H Ot e l d e D uras ,
i i, 6 8 .
Lun ev i ll e Ch at e au H Ot e l d ePompadour 1 1 3 6 6 8 7 1 , , , , .
B o ffr an d , i i , 1 04, 1 0
5 . H Ot el d e Rohan i i 6 8 6 9 7 0 , , , ,
.
H er e d e Corny ii 1 1 8 , ,
. H Ot e l d e Soub i s e ii 6 8 7 0 1 0 2 77 , ,
-
, .
Lou i s Vi ctor i i 1 9 6
, , , . Marr i age ii 6 8 , , .
Mansart J H i 2 1 1 ,
. .
, , . Mai sons h ous e ii 4 1 8 9 2 1 8 ; g rotto i
, , , , , , , 1 53 .
Lu x e mbourg d e s ig ns O f Solomon , de Bross e ,

Mai stre P i e rre l e contractor i 1 8 7
, , , , , 1 93,
i, 4 5 ; i i . 4 , I S 9 I 9 4 ; ii , 4 5
A
Luyn e s , l b e rt d e , i , 21 2 . Mai str e L e arch it ect 1 1 5 7 77
, , , , .
Lyons Mai tr e s Jur e s :

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A bbay e Royal e d e S P i erre i 1 1 0 .

, , . acad e m ie s quarr el wi th 1 7 , , , ,
1 01 ,
1 02 .
Br idg e o f La Gu illot ier e i i 6 0 , ,

. monopoly i 7 2 2 1 3 0 1 3 1 , , , , , .
C hurch Of t h e Ch artr e u x ii 1 3 4 , , . M anc i n i Marqu i s d e i 3 6 n

, , , .
H Ot e l D ie u i i 1 3 4 1 7 2 , , , . Mannh e i m D ucal Palac e ,
H Ot e l d e V i ll e i i 4 2 4 7 , , , . H au b e r a t , D ’
, i i, 4 6 n .
Plac e B e ll e cour ( Lou i s l e Grand ) -

,
11, 42, Marot ,
i,51 1 .
P i gage , M , i i, . 1 61 n .
T h e atr e d e s ign 1 1 1 3 6 , , , . Mant e s Br i dg e i i 1 7 9 1 8 0 n

, , , , .
vault i n g i n hous e s Rouss illon syste m , 1 Manufacture s and t h e Stat e i 4 1 4 2 , , , .
223 . Mansart Comt e d e Sag on e ( grandson o f

,
J H Mansart ) i 1 3 7 n
. .
, , .
Mansart Fran c o i s i ntrod x v i 6 1 5 5 9

, , .
, , , , ,
Maclauri n arch it e ct ii 1 1 2 n , , , . 61 ,
6 4, 1 4 9, 1
9 ; ii , 2 , 6 ,
84, 2 1 1 0, 1 89 .
Mad e l e i n e C hurch of t h e Par i s

, ,
Blo is Chat eau , i, 5 8 , 2 1 8 ; ii , 1 8 9 .
C ontant d I v r y i i 1 4 0 n 1 4 2
’
, , .
, ,
1 44, 1 68 . Church Of St e . Ma ri e, R u e S . Anto i n e 1
Huv e i i 1 44 , , . 1 0 6, 1 1 1 ,
1 1 2 ; i i, 1 8 9, 21 1 .
N apol e on alt erat i ons ii 1 6 8 , , , . Church O f t h e Val de Grac e ,

i, 1 24
,
20
5 .
Vign o n
’
s, i i, 1 44 . d e ath 1 7 0 8 i 3 4 , , , .
Madri d : H Ot e l
’
d A r g o u ge ( M u s é e C a r n av a l e t ) ,
Bu e n R e t i ro Palac e 1 1 4 5 , , . i i, 6 .
Marqu e t arch i t e ct i n i i 1 6 1 72
, , ,
. H Ote l d A u m o nt ,
’
Pari s i, 5 5 , 5 6,
.
Ma i n e D u e d e i 1 7 7
, , , . H Ot e l d e
‘
Mons ,
Le C o mma n d e u r d u Jar s ,
Ma i n e H Ot e l d e la D uch e ss e d u i i
, , , 5 9, 7 6 . i i, 6 .
Mansart Fran c o i s —cont i nued

,
. Mansart Jul e s Hardou i n —con ti n u ed
, .
Louvre i 6 , ,
. staff o f art i sts e mploy e d by i 1 5 8 ; , ,
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Mai sons i 2 1 8 1 1 1 8 9 , , ,
. 1 8 n .
, 2 7,
Mansart Jul e s Hardou in i 1 9

, , , , 35 ,
1 6 4, 1 81 , S Cyr for M me d e Mai nt e n on l
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2 1 7 21 8, 21 9 ; i i, S G e rmai n i 2 0 1
.
, , .
A cad my at R o m e i 7 8 n S l
e , , 2 ,
2 . ee a s o Saint O m e r E v é ch é 1 1 1 7 2 , ,
.
Acade my . salar ie s and appo i ntm e nts i 1 3 3 , , ,
A cad e my o f A rch it e cture i 4 6 n 4 7 , ,

1 .
,
1 , 21
3 77 .
5
21 6 S ,
l 21 Acad my . ee a so e . succ e ssful care e r x v i 3 3 1 8 1 , , , , ,
1 95 ,
21 3 n .
A cad my o f Pai nt ing and Sculptur e Pro

e , Surint e ndant d es B at i me nt s i , ,
2, 31 , 4 6,
t e ctor o f as Suri nt e ndant i i 1 6 0 , ,
.
5 5 , 6 6, 1 5 7, 2 1 2, 2 1 3, 2 1 6, 21 8 ; i i, 2 2,
A rchb ishop s Palac e Rou en i 2 1 1 ’

, , , .
A rch it ect e d u R oi i 1 9 5 , ,
. La 1 1 8 6
T e u l i er e , , , .
A rl e s H Ote l d e Ville dom e i 2 0 8

, , , , . Tours Pala i s d e Comm e rc e 1 1 1 7 0
, , ,
.
b irth 1 6 4 5 i 1 8 2
, , ,
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.
, ,
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,
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,
.
Bust by J L L e moyn e ii 1 3 2 n . .
, ,
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Chant i lly i 1 2 7 2 0 1 , , ,
. Marai s L e e ngrav ing by S i lv e stre i 1 6 1
, , , ,
.
Ch e val ie r of S M i chael i 2 1 2 .
, ,
. Maratt i Carlo and Fr e nch Acad e my at
, ,
C l ag n y , i , 5 1 1 8 3 ; i i , 3, 5
,
1 8 2, 1 . Rom e i 3 1 , , .
columns and p ilast e rs , i , 1 6 77 . Marbl e pric e i 5 0 5 1

, , , , .
control of t h e A rts i i 2 3 1 5 9 1 8 9 , , , , . Marc el P ie rre I n ven ta i r e a es papi er s ma nu

, ,
’
c o st of und e rtak ings ii 1 1 6 , ,

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s cr i t s ou
’
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’
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Court i ntr igu e i 5 4 7 5 , , ,
. i, 65 n ; . ii , 3 9, 40 nu .
, 41 n .
, 42 n .
,
D ampi err e i 2 1 2 i i 5 , , , .
45 n .
, 46 50 n n .
, 47 n .
, 49 n .
,
.
d e ath 1 7 0 8 i 2 1 4 ; i i 4 4
, , , , . Marie ,
Chr i stoph e , Pont Mari e , i , 5 6 .
D ijon H Ot el d e Vill e i 2 0 8 ; i i
, , , ,
1 7 2, Mar i e ,
P ie rr e , sm i th at V e rsai ll e s , i , 1 8 7 .
73
1 . Mar ie A nto i n ett e , i i, 1 2 8 , 1 3 0 n , 1 5 7 , . 1 5 8,
fam ily con n e ct ions i 5 2 1 6 , , ,
. 1 99 n .
financ ial d ifficult ie s i 2 1 4 , ,

. Mar ie tt e P J A b ec e dari o
, . .
,
honours i i 1 2 1 n 1 6 0 , ,
.
, . A r c/zi ves ae
’ ’
l Art F r a nco i s , 1 1, 4, 6, 8,
H Ot el d e Lorg e i 2 1 1 ; i i 7 8 1 0 , , , , ,
. 1 0, 1 2 .
House R u e d e s T o urn e ll e s i 2 1 1
, , , . Caylus Comt e ,
de, 1 1, 1 1 0 n .
Insp e ct o r G e n e ral O f Bu ild i ngs i 4 8 2 1 2 , , , . D av i l e r , ii , 1 7, 1 8 nu .
Lorrai n e D uk e of S A R Le opold
, , . . .
,
Iss i ,
i, 1 44 72 .
Palac e ii 1 1 3 , , . Le Cl e rc i 1 5 9 , ,
.
Lyons H Ot e l d e Vi ll e ii 4 2 4 7
, , , , . Le Blond i i 9 5 n , ,
.
96, .
Marly i 1 9 8 1 9 9
, , , . L e Pau tr e , J .
,
i, 1 56 n .
Mars eill e s i i 9 , ,
. L e P au t r e , P .
,
i, 1
57 .
M i rrors u s e of i n d e c orat i o n 1 1 5 1
, , , . Le vé i 2 2 , ,
.
Moul i ns i 2 0 8 ; ii 1 7 8
, , , . Mansart J H 1 1 , . .
, ,
1 8 .
N otre D am e H i gh A ltar i 2 1 8 , , , . Marot J i 1 5 4 ,

.
, ,
.
O ffic ial and Royal A rch it e ctur e of Franc e ,

Oppe n o r d , i i, 8 8 .
monopoly i 2 0 2 2 1 7 , , , . P er ell e, A , i , 1 6 2 . .
Plac e Ve n d Om e i 1 3 4 , ,
. P e r e ll e G i 1 6 1 ,
.
, ,
.
Plac e d e s V i cto ire s i 2 0 8 2 0 9 , , , . S ilve stre i 1 6 0 1 6 1 , , , .
Portrai t by H yaci n t e R igaud i i 1 5 , , . V ignola ii 1 9 , ,

.
Pr e s e nt from t h e D uc d e Lorrai n e i 2 1 3 , , . Mar igny Marqu i s d e D i r ect e ur Général

, ,
des
Royal favour i 3 1 4 9 1 8 2 1 8 3 2 1 2 , , , , , , ,
B at ime n t s
3 . d eath ,
1 78 1 , 1 1, 1 32 .
M e un ie r P ie rre stud e nt i 2 6 2 7
, , , , , . Moth e M l e arch it e ct 1 1 1 6 1 n
,
.
, , ,
.
M icha e l Angelo i 1 4 ; i i 1 8 1 9 , , , ,
. Mott e Coquart d e la I nt e ndant d e s B at i
, ,
M i gnard P i e rre arch i t e ct

, ,
m e ns i 4 6 , , .
A cad e my at Rom e i 3 8 n , ,
. Moul ins br idg e i 2 0 8 2 1 5 ; i i 1 7 8 1 7 9
, , , , , ,
.
A cad e my Of A rch i t e cture i 1 0 9 , ,

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, , , ,
.
A nc ie nt bu ild ings i 1 0 8 1 0 9 , , , . Mun ich 1 1 9 2 1 6 1 n , , , .
A rch it e cte d u Ro i i 4 9 , ,
.
Av ignon i 1 0 9 1 1 0
N arbonn Archbi sh p Palac
.
, , ,
b i rth 1 6 40 i 1 0 8 e, o , e, 1 1 , 96 .
,
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.
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d e corat ive pai nt e r i 1 0 8

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,
N ancy
Cath e dral 1 1 1 6 7
.
,
draw ings i n Pr ov e nc e and Langu e doc , , .
i, 1 08 .
,
tri umphal arch e s 1 1 1 8 2 , , .
S ee H e r e d e Corny V i ctor Lou i s R i chard

Franqu e J B l e tt e r to i 2 2 1 77
, . .
, , ,
.
, ,
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Hosp i tal at S Br i e uc Bri ttany i 1 0 9 .
N ant s
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, , ,
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Ital i an tour i 1 0 8 1 0 9 , , ,
bri dg e i 2 0
.
Scam ozzi translat i on of i 1 0 9

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e d i ct r e vocat i on of i 6 ; i i 1 70
M i gnard P i err e ( uncl e ) pai nt e r i 1 0 8
, , , , ,
1 2 2, , , , , .
hous e s of e i ght e e nth c e ntury ii 1 6 1 , , .
1 90 .
M i qu e R i chard arch i t e ct ii Pre fe ctur e i i 1 7 3

58,
, , .
, , , , 1 5 7, 1 1 59 .
M ir o m es n i l i i 1 8 8 Na t o i r e pai nt e r i 3 5 3 7 ; i i 1 0 2 a n d n
, , , , , .
, ,
N e u fforge d e d e s ign e r ii 1 5 3
.
M i rrors ii 5 1 1 6 5 , , , , .
, , ,
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.
M i ssi on O f Sai nt Lazare ii 1 7 1 , , , , .
,
N e uman arch i t e ct i i 1 0 5
.
,
M i ss i ss i pp i Company sp e culat ions i i 75

, , ,
.
, , ,
N im es i 1 0 9
.
M o i t t e sculptor i i 1 4 0 , ,
.
,
N oaill e s Card inal d e A rchb i shop o f Par i s
.
, ,
Moll e t Claud e d e s igns fo r gard ens

, , ,
i, 4 8, , , ,
ii , 1 0 5 .
Moll e t Charl e s i 1 6 8 n
, , , .
N obl t e ,
M i ch e l , A rch i t ect e d e s B at i me nts du
R o i, i , 31
Moll e t Charl e s ( fil s ) i i 5 7 n 1 .
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N o l sculptor V rsaill s i
.
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.
N Oi s i l Grand grotto i 5 3
.
,
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.
, , ,
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5 1
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.
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gr o tto e s i 1 5 2 1 5 3, , , .
, , ,
Lou i s X IV i 5 , , .
N ou vell es A r c/zi ves l A r t F r a nca i s , i , 5 9 ,

’ ’
ae
Trianon d e Por cel e i n e i 1 9 6 , , .
1 00 n 1 36 n 1 40 n ; ii, 5 5 , 5 6 n ,
Montmore nc i Chat e au i 2 ; i i 7 9 , , , , .
.
,
.
, . .
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Montmore nc i D uch e ss e d e Marie Fél icie d es n .
,
.
,
.
,
.
U r si n s , i ,
, ,
N ymph e n b o u r g, Amal i e n b ou rg , ii, 92 .
1 75 n .
M o ntmore ncy D uc e y 1 1 1 8 8 -
, ,
.
M ontp ell ie r O bs e rvatory , i , 8 4 .
Port e d u P e yrou 1 1 1 7 7 , , . Ob s tal , Van , sculptor , i , 8 .
Pro m e nad e d u P e yrou ii 1 7 7 1 8 0 , , , . O déon , th e, i i, 1 9 8 n .
statu e of Lou i s X IV i i 1 7 7 n , , . O l eron Isl e, forti ficat i ons, i , 9 0 .
Montp e nsie r M me d e , . Op e ra Hous e, Plac e Louvo i s , Par i s , 1 1 , 1 9 6 .
A rch i t e ct Jacqu e s Gabri e l ii 5 6 , , . O p e ra of O rph e us and Euryd ic e, d e corat i ons

C h oi s i l e R o i , i , 1 7 7 ; ii , 5 8 . by C . E r r ar d , i , 1 00 .
Moras H Ot el d e 1 1 7 2
, , ,
. G i ll e s Mari e arch it ect
Oppe n or d , ,
Mosco w P e te rhof i i 9 8
, , , . Acad e my at R om e stud e nt i , , , 39 ii, 8 3,
M or t emar D u e d e hous e
, , , i, 1 5 0 . 8 4, 8 6 .
227
Oppe n o r d, G i ll e s Mar i e— con ti n u ed .
bi rth 1 6 7 2 ii 8 3 , , , . 1 40 ; 1 1,
9, 1 0, 1 06 , 1
5 6, 1 57, 1 75, 1 7 6,
Church of S G e rmai n d e s Prés H i gh .
,
Altar ii 8 7 , ,
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.
Church of S Sulp i c e ii 88 1 2 5 1 2 6 1 6 8 .
, , , , ,
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d e ath 1 7 4 2 1 1 8 8 , , ,
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hous e of M Crozat l e J e un e i i 8 8 .
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Ital ian tour ii 8 5 , , . Pat e l P pai nt e r i 1 6 9 1 8 5

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.
, , , ,
.
Mansart J H appre nt i c e to i i 8 3 , . .
, , ,
. Patt e P arch i t e ct
, .
,
Monum e nt to Mar i e d e s E ssarts Church , b i rth 1 7 2 3 i i 1 5 5

, , ,
of S B e n oi t i i 8 7 .
, , . Cou r s d A r c/zi tectu r e by Blond el e d i t i ng
’
,
Palai s Royal i i 8 7 8 8 , , , . and compl e t i ng ii 1 5 5 1 5 6 , , ,

.
Sk e tch book i i 8 4 8 7 8 9 -
, , , , . d e ath 1 8 1 2 or 1 8 1 4 ii 1 5 7
, , ,
.
Te mpl e t h e i i 8 8 , , , . D i scou r s sur

’
l A r clzi tect u r e, 11 , 1 55 n .
tomb i n bronz e Church o f t h e Carm e s , draw i ngs and e ngrav ings i i 1 5 6 , , .
D ech au s se z, ii , 8 7 . D u e d e D e u x Ponts d e s i g ns for , ,

11, 1 5 5,
Vi ll e rs Cott e r e ts i i 8 8 , ,
. 1 61 n .
O ppe n o r d J e an cab i n e t mak e r 1 1, , , , 83 n .

E ss a i su r l A r cfi i tect u r e T/zéa t r a l e,
’
11, 1 55 n .
,
O rang e ry t h e V e rsaill e s i 1 9 1, , , , ,
1 92, 1 93 , 96 n
1 .
Et u d es cl A r c/zi tect u r e,
’
1 1, 1
55 n .
O rl ans
’
e : Gabr i el ,
ii, 6 1 n .
,
6 2, 1 83 .
br i dg e ii 1 7 7 n , , . H Ot el D ie u Lyons , ,
1 1, 1 37 n .
cath e dral ii 4 3 6 0 1 2 2 , , , ,
. Montp e ll ie r ,
ii, 1 77 n .
C hanc e ll e ry i i
’
tI/on u mens F r a nce a l a g l oi r e a e
’
g
’
1 7 7 77 , , . er i es en
Church O f Sai nt e Cro i x i i 6 0 , , ,

1 22 . L ou i s X V, x i i, x iv , i i , 1 4 0, 1 5 5, 1 5 6,
plann i ng i i 1 7 7 1 7 8 , , ,
. 1 61 n .
,
1 62 e tc .
O rléans D uc d i i 7 9 8 8 1 4 3
,
’
, , , ,
. N ancy ,
ii, 1 1 7 .
O rm e Ph il i b e rt D e L i 1 1 5
,
’
, , , , 45 , 6 2, 63, Pan t h eon , i i, 1 38 .
7 61 1 261 1 2 7) 1 309 1 78 ; ii) 47 1 27 1 37 Pari s ii 1 5 6 1 5 7

, , ,
.
24 . Plac e d e s Vi cto i r e s ,
ii, 7 6 77 1 .
O rry Ph i l i b rt D i re ct ur G en eral
, e ,
e -
,
i, 36 Plac e Lou i s X V i i , , 3 7 , 1 06, 1 2
3 n .
,
1 24 n .
,
5
1 2 3 6 , n .
,
1
O urscamp A bb y of i i 6 9 ,
e , ,
1 . Plac e V en d Ome , i i, 1 76 n .
O uvrard Ma i tr d Mus i qu e Sai nt C h ap ll

, e e ,
e e, Rou e n i i 1 8 3 n , ,
.
Par i s i, 1 9, 9 5 . Vault i ng i n t h e Rouss i llon 1 1 2 2 2 2 2 3 n , , ,

.
Fe rac D u arch i t e ct and draughtsman i 1

, , , , ;
ii, 1 3 .
Pae stum 1 1 1 3 6 n , , . P e r ci e r and Fontai n e , 11, 1 3 0, 1 65, 1 83 n .
Pajou sculptor i i 1 2 8 1 9 9
, , , ,
.
P e r e ll e Adam
,
:
Palai s Royal i 1 0 0 ; ii 8 7 8 8 1 9 6 n , , , , ,
. b i rth 1 6 3 8 i 1 6 1
, , , .
Pallad i o i 1 4 1 5 9 5 1 0 0 1 0 4 ; i i 1 2
, , , , , , , ,
Chant i lly i 1 6 2 , , ,
1 74 n .
,
1 76 n .
,
1 82 n .
,
Pan i n i J P pai nt e r ii 1 0 8 1 1 0
, . .
, , , ,
.
1 83 .
P a n t h eo n ( Church Of S G e n e v i ev e ) i i .
, , Chavi ll e i 1 7 4 , ,
.
1 4 0, 1 55 ,
1 6 8, 1 91 , 1 98 n .
,
1 99 . Cho i s i l e R o i i i 5 8 , ,
.
Pap i llon C l e rk , ,
ii , 5 7 . d eath 1 6 9 5 i 1 6 1
, , ,
.
Par i s draughtsman and e ngrave r , xi 1 , i, 1 20, 1 51,

Canal i 1 3 5 , ,
. 1 62 .
Cu s tom of P a r is , i, 1 44 n .
Franc e vi ew s ,
Of hous e s and gard e ns 1
Illum i nat i ons , i i , 1 1 1 .
i mprov e m e nt sch e m e s ,
i, 6 8, 1 35 ,
M e udon ,
i, 1 53 n .
,
1 78 n .
P e r e ll e , A dam—conti n u ed . P e t its P er e s Church Par i s

-
, ,
i, 1 2 5 and n .
,
Par i s vi e ws and p e rsp e ct i ve s i 1 6 2

, , ,
. 1 3 4 ; it 7 9 .
Ri n e y i 6 0 , , .
P e t i tot,arch i t e ct i i 1 6 1 n , ,
.
Rom e Venes de R ome ct a es envi r ons l

,
’
P e yr e l e J e un e A nto i n e Fran c o i s arch i t e ct , , ,
1 62 . fi, 1 9 5, 1 97 .
S Cloud i 1 2 2 1 2 3
.
, , ,
. P eyr e Mar i e Jos e ph arch i t e ct
, , ,
ii, 1 96, 1 97,
S Maur i 1 2 6 1 2 7 n
.
, , ,
. 1 98 n .
Tu il e r ie s i 6 3 , , . Ph il ippon Adam cab i n e t mak e r i 1 5 5

, , , , .
Vau x l e V icomt e i 5 7 n 5 8 n 1 6 5 , ,
.
,
.
,
. P i ga ge M arch i t e ct i i 1 6 1 n
, .
, , ,
.
V e rsai ll e s i 5 9 1 6 2 1 7 0 n 1 8 6 1 9 7
, , , ,
.
, , . P i gall e sculptor ii 1 4 5 n 1 8 3 1 9 1
, , ,
.
, ,
.
Pe re ll e Gabri e l e ngrave r i 1 6 1
, , , ,
. Pigan iol d e la Forc e D es cr ipti ons H is t or i q u es .
P e r e ll e N i cholas paint e r i 1 6 1
, , , ,
. de l a Vi l l e de P a r i s et de s es en vi r o n s :
P é r i g n o n pai nt e r i i 1 2 5 n
, , ,
. A rc de Tri omph e du Tr o n e i 86 n .
Pe r i gu e u x Allé e d e Tourny i i 1 8 0
, , ,
. B ell evu e ii 1 2 3 1 6 6 , , ,
.
P e r n s t M B e ll e vu e d e corat i ons i i 1 6 6
,
.
, , , Bull e t i 1 3 7 1 3 9 n 1 40 n 1 4 5
, , , .
,
.
,
.
P e rrault Charl e s s ecre tary t o Colb e rt

, ,
Bruand i 1 3 5 n , ,
.
Bu i ld i ng Paym e nts i 4 9 , , . Chant illy ii 7 3 n 7 4 , ,

.
, .
C o lb e rt s S e cr etary and Controll e r o f

’
Ch oi s i i 1 7 7 n ; i i 5 8
, ,
.
, .
Works i 1 6 6 9 8 7 , , , , . Church of S G e rmai ns d e s Pre s 1 1 .

’
, ,
87 n .
C o mm i tt ee O f A dvi c e S e cr e tary i 1 2 n , , , . Church Of t h e Barnabi t e s ii 7 9 n , ,

.
Co ntroll e r of Bu ild i ngs i 4 6 n 4 7 8 7 , ,

.
, ,
. C la g n y , i , 1 74 n .
,
1 83 n .
F i nanc e und e r Lou i s X IV i 4 3 , , . Gob e rt ,

i, 1 23 .
Louvre d e s i gns i 6 9 n u 7 0 7 3 7 4 7 5 , ,
.
, , , , , H Ot e l d e Soub i s e 1 1 6 9 n , ,
.
76 n . H Ot e l D e smar e s i i 2 9 77 , , .
P e rrault Claud e arch i t ect

, ,
La Sal pé t r ier e , i , 1 31 .
A cad e my at Rom e i 2 6 , ,
. Le Brun ,
i, 1 07 n .
A rc d e Tri omph e d u T r On e Fau b ou rg , L I sle , D e , i ,

’
1 22 n .
S A nto i n e i 2 0 8 1 8 4 8 5 8 6 9 7 n
.
, , , , , , , .
,
Marly i 1 99 , ,
.
1 2 8, 1 5 9 ; ii, 2 , 1 7 7, 1 82 n .
,
1 89 . M e udo n i 1 7 8 n , ,
.
b i rth ,
1 6 1 3 , i, 8 8 . Palai s Royal i i 8 7 , ,
.
B d ea u x , Voy ag e a, i ,
or 1 0 8, 1 09 n . S Cloud i 1 2 2 1 2 3 n
.
, , ,
.
d e ath , 1 6 8 8 , i , 8 1 , 8 8 . S C yr , ii ,
. 1 69 .
financ i al e mbarrassm e nt i , , 88 n . V e rsai ll e s and L e N Otr e i 1 6 4 , ,

.
Louvo i s E n e my i 2 1 , , ,
. P i e tro d a Cortona arch i t ect ii 2 0 , , ,
.
Louvre i 1 3 6 1 6 2 6 9 n , , , , ,
.
75
, , 7 6, 7 7 , 7 8, P i nart arch i t e ct i 4 9 2 0 2 n
, , , ,
.
79 , 8 2, 88 n .
,
2 1 8 ; ii, 1 25 P i pau l t S i mo n mason i 1 8 3 2 0 2 n
, , , , ,
.
P i ran e s i ii 1 3 5 1 9 4 , , ,
.
O bs rvatory e ,
i, 8 4 . P i trou arch i t e ct ii 1 8 4 n 1 8 5
, , ,
.
,
.
p e ns i on i 8 7 , , . Plac e d Ar me s Strasbourg ii 1 4 8
’
, , ,
.
R e c e iv e r Ge n e ral ,
i, 4 3 n . Plac e D auph i n i i 1 7 5 , ,
.
Sc e au x i 1 7 7 , , . Plac e d e s V i cto i re s Par i s 1 2 0 8 2 0 9 ; , ,

ii, 3,
Vi t r u vi u s that t i tl e ed . S ee .
Wr i t i ngs on A rch i t e cture i i , ,

1 46 . Plac e Lou i s X V ( Plac e de la C oncord e ) ,
11 ,
P e rrault J e an E xp e rt d e s
, ,
B as t i m e n s , I 37, 1 2 3, 1 2 4, 1 2 5, 1 36, 1 44, 1 5 6, 1 8 4,
49
P e rrault per e Exp ert d e s B a s t i me n s i 4 9 n
, , , . Plac e Royal 1 1 5 5 1 7 5 , , ,
.
P e ronn e e ntranc e gat e i i 1 8 2

, , , . Plac e Ven d Om e Pari s i , , ,
1
34 ,
1 44, 1 45, 21 7;
P e r ro n e t J e an R D i r ec t e ur Ponts e t
, .
,
Chau ssé e s ii 1 7 9 1 8 0 n , , , . pa i nt e r
P oe r s on ,
P e ruzzi Baldassare i 1 4 ; i i 1 0 8
, , , ,
. Acad emy at Rom e ,
i, 34 ; 11 , 86 .
R i ch e r ,
Claud e illum i nator i 1 2 1 , , ,
.
S Mart in Port e i i 1 8 2
.
, , ,
.
Ri ch e r ,
Jacqu e s pai nt e r i 1 2 1 , , , .
S Maur i 1 2 6 1 2 7 ; ii 6 0
.
, , , , , 73 .
Ri ch e r ,
J e an arch i t e ct i 6 6 1 2 0 1 2 1
, , , , ,
. Sai nt Max e nc e Pont ii 6 0 , , , ,
1 80 .
R ich e r ,
J e an grave ur ord i n air e d u R oi
, ,
i, S Om e r ii 1 6 9 1 7 0 1 7 2
.
, , , ,
.
1 21 . S Paul s Cath e dral i 2 0 2

.
’
, , ,
203, 208 ; i i , 29,
M ich el mason
Ri gal lea u , , ,
i, 7 9 . 1 3 97 1 40 :
R igaud H y aci nt e pai nt e r

, , , i,
1 61, 1 6 3 ; ii , I S, S P et e r s Rom e 1 1 1 1
.
’
, , ,
.
39 S Sepol cr e Troy e s i 6 0
.
, , ,
.
R i n cy , Ch at e au de i 6 0 1 7 8 ; ii 4 5 , , , , , . Sai nt S i mon L e D u e d e M émoi r es

-
, ,
R iv e t draughtsman i i 5 7
, , ,
. Acad e my Rom e i 3 9 n , , ,
.
Roads mak ing and mai nt e nanc e o f Corvé e

, ,
A qu e duct Mai nt en o n i 5 3 5 4 , , , ,
.
Royal e i i 1 7 9 ,
”
, . L Ass u r an ce , ii,
’
28 .
R o b e li n M arch i t e ct i 1 2 1
, .
, , , . De Cott e ,
ii, 5 1 .
Rob e rt Hub e rt dra wi ngs i 1 6 3

, , , , . L e NOt r e, i , 1 6 4, 1 79 ,
1 80 .
R o chfort Harbour and A rs e nal i 6 5 9 0 , , , . L ou i s X IV i , , 3 , 4, 5 , 1 34 .
R og e sculptor i 2 6
, , , . Louvo i s i 8 7 , , ,
88 .
Rohan Card inal A rmand Gaston d e i i 6 9

, , ,
. Mansart J H ,
. .
,
i, 1 73 n .
,
1 81 , 1 86 n .
,
208 ,
Rohan d e G ue me ne e A rc h b is hop of B O 1 ’
.
d e au x i i 1 7 2 , , . Marly i 1 9 8 n 1 9 9 , ,
.
,
.
Rohan Pri nc e d e ii 1 0 1
, , ,
. Plac e d es Vi cto ir e s i 2 0 9 , ,
.
R omai n T h e Fr er e br idge d e s ign e r 1 1 1 7 8

, , , ,
. Sur i nt e ndanc e d e s B at i men s i 4 8 n , ,
.
Rond e l e t arch it e ct ii 1 3 8 , , ,
.
V e rsai ll e s i 6 2 1 7 3 1 8 5 1 8 7 1 8 9 , , , , , , ,
1 90 ,
Roqu e fort C hurch i 1 1 0 , ,
. 1 97 n .
,
1 98 n .
,
2 1 1 .
Ross i J J d e e ngrav e r 1 1 1 0 8 n 1 6 7 n
,
. .
, , ,
.
,
. Vi llac e rf C d e i 2 1 2 ,
.
, ,
.
R o ss i Matth ias Ass i stant to B ern i n i i 7 4

, , , ,
.
S Sulpi c e C hurch O f i
.
, , ,
1 7, 6 4, 1 25 and n .
,
Rou J e an i 2 9 n 1 26 i i 8 8 1 1 0, 1 68
;
.
, , , . , ,
Rou en i 2 1 1 ; i i 7 9 1 7 0 1 8 2 1 8 3 1 9 6
, , , , , , , .
Sa i nt U rbai n , F e rd i nand d e, arch i t e ct ,
11,
Rou en A rchb i shop of ii 1 2 1

, , ,
. 1 1 9 77 .
Rouss illon D i stri ct Flat Vault ing i 2 2 1 2 2 4 , , ,

- Sa int V i nc e nt d e Paul ,
11, 1 7 1 .
fi, 7 7 . Sai nt e s Bridg e ,
i, 20 .
Rou x J e an Bapt i st e
, Le, arch i t e ct , ii , 3 3 , 3 4 , S al pé t r i er e H Opi t al , 1 1 , 5 , 1 0 , 1 7 0 n .
Samb in , Hugu e s , ornam e ntal i st , ii , 8 2 .
Rou x Lou i s L e P e intre d u Ro i ii 3 4

, , , ,
. Sarazi n , Jac q u e s scul ptor : ,
Roy L e arch i t e ct i 1 8 5
, , , ,
.
A cad e my Of Pa int ing and Sculptur e ,
Roy e r d e la Valfe ni ére Fran c o i s arch i t e ct , , ,

i, R e ctor i 7 1 0 2 1 0 3 1 0 5 1 1 9 , , , , , ,
.
Saumur bri dge s 1 1 1 7 8 n 1 7 9 , ,

.
,
.
J J d e See Ross i J J
Ru b e i s , . . .
, . . de .
Sauval H enri A nti gu i tes de l a Vi l le de P a r i s
, ,
,
Ru e l Grotto i 1 6 2 , , . i, 5 6 nu .
, 79 n .
,
8 2, 1 1 3 .
Ry s w yc k p e ac e O f i i 1 1 3 , , ,
.
Sav e rn e Ch at e au ( Zab e rn ) i i 4 9 , ,
.
Savot Lou i s w r i t e r i 9 3 n 1 44
, , , ,
.
,
.
Sagonn e , Le Comt e de ( son Of Mansart ) ,

i, Saxe Maréchal d e i i 1 1 1 n
,
"
, ,
.
Scamozzi i 1 4 1 5 1 0 9 1 4 3 ; i i 1 2 , , , , , ,
.
S Bri e uc Br i ttany i
.
, , ,
1 09 .
Scarron M ic h ae l A nto i n e i 5 5
, , ,
.
S Cloud i 1 7 1 8
.
, , , , 1 1 4, 1 2 2, 1 23, 1 7 6 ; ii, Sc e au x i 2 1 7 7 , , ,
.
Schl e i ss h ei m ii 9 2 , ,
.
S Cyr i
.
, 1 6 8 and n
, 1 69 n .
,
.
Schn e id e r R Qu a t r emer e d e Qu i ncy ,
.
,
’
,
11, 1 40,
f
S G e n e v i ev e Church of S ee Pant h eo n
.
, . . 1 87 n .
,
1 98 n .
,
1 99 .
S G e rma i n d e s Pr es i 6 5 1 40 ; i i 8 7
.
, , , , . S egu i e r ,Mons l e Chanc e l ie r i 1 0 3 .
, ,
.
S G e rma i n e n Laye i 2 4 9 5 2 1 0 1 1 5 3
.
- -
, , , , , , ,
S e i gn elay Marqu i s d e ( son O f Colb e rt )
,
,
i, 9 1 ,
6 6, 1 i, 1 08
1 1 74 n .
, 1 7 5, 1 98 , 20 1 ; 3 9, 1 23 .
.
INDEX 23 1
S e mblan c ay Hous e of i 1 7 8 , , , . Jacqu e s Ge rmai n — con t i n u ed

S o u ffl ot , .
S e rl i o i 1 4 ; ii 1 3 2 4
, , , , . L e Mans Church i i 1 4 2 , , .
S e rr e s O l i vi e r d e M es nag e
, ,
a es
’
clza nz s , p i ,
Lo uvr e i i 1 3 0 , ,
1 66 . Lyons ii 1 3 4 1 3 6 1 7 2 , , , , .
J e an G e rom e
Se r v a n d o n i , Marly i i 1 3 6 , , .
A cad e my o f Sculpture and Pai nt ing ,

ii, M enars i i 1 4 1 1 4 2 1 8 9 , , , , .
N otr e D a me i i 1 40 , , .
A rch i t e ct and d e s ign e r of Sp e ctacl e s “

, 11, Plac e L o u i s X V 1 1 1 2 4 1 3 6 , , , ,
1 42 n .
,
3 1 , 88, 1 0 8 , 1 0 9, 1 1 0, 1 1 1 and n .
, 1 1 2, 1 84 n .
, 1 85 n .
1 2 4, 1 60, i 84 n .
,
1 85 . Pa nth eo n i i 1 3 6 1 40 1 5 5 1 6 8 1 9 8 n , , , , , , .
Chambord ii 1 1 1 n , , . Ren n e s i i 1 4 0 1 4 1 , , , .
Chartre u x Lyons ii , , , 1 1 1 . Versai ll e s ii 1 2 8 , , .
Church Of S S ulp ic e .
, i, 1 2
5 n .
; ii , 8 8 , 1 1 0, Sou s m o n s Marqu i s d e 1 1 1 8 3 1 8 4
, , , , .
Stage Sc e n e ry S er va nd oni ii 1 0 8 1 0 9 , , , , .
C o ulang e ii , , 1 1 1 . Stan i slas L e cz in sky ii 1 1 2 1 1 3 n 1 1 4

, , , , .
, ,
d e ath 1 7 66 , , i i, 1 1 1 . 1
58 .
H Ot e l d Au v e r gn e ,
’
11 , 31, 1 1 1 . Strasbourg i i 5 0 1 4 8 1 4 9 , , , , .
L i sbo n i i 1 0 9 , ,
. B i shop of ii 4 9 n , , .
London i i 1 1 1 , , . Stuart and R e ve tt A n ti qu i ti es of , A t /zens , i i,
Plac e Lou i s X V 1 1 1 1 2 , , ,
1 2 4, 1 84 1 85 .
1 94 .
stag i ng and sc e n e ry ii , ,
1 08, 1 0 9, 1 1 0, S t u tgar d , 1 1, 1 61 n .
1 1 1 . S u a le m Of L i eg e R e né Mach i n e , , Of Marly ,
Ser vi e n , M .
, h ous e for ,
i, 1 78 . i, 172 .
S evign e ,
M me d e i , .
, 4 4, 8 7 n .
, 1 7 4, 1 75 n .
,
Su e ur , E ustach e Le , paint er ,
i, 8 , 5 6, 1 01 ,
1 02
1 77 .
Sforza M me la D uch e ss e
,
.
,
i, 1 79 .
S ilv e stre Israe l e ngrav er

, , ,
i, 4 8 ; 1 2 0, 1 60, T a m b o n n ea u , Pre s i d ent ,
‘
i, 6 1 .
1 61 . T e mpl e , t h e, i i, 8 8 .
S i lve str e S r Lou i s d e i 1 6 1

, .
, , . Templ e ou
’
G ou s t ,
‘
Voltai r e ,
i, 3 8 .
S i mon Claud arch i t e ct ii 4 7

, , , , . La :
T eu l i er e ,
Sl o d t z S e bast i an sculptor i 3 6
, , , , , 1 87 ; 1 1, 91, Acad e my at Rom e D i re ctor , , i 30, , 3 1 , 32,
1 2 4, 1 85 n .
,
1 86 .
sculptor x i i i i 1 1 4
S o n tg e n , , , ,
. Th eatre Fran c a i s Pari s ii 1 9 6 n , , , .
S o rb o nn e church ii 1 1 , , . Th eodor stud e nt i n Rom e i 3 1

’
, , , .
Soub i s e Pri nc e d e ii 1 4 3
, , , . Th ev enot P ie rre contractor i 2 1 0
, , , , .
S o u ffl ot Jacqu e s G e rma i n arch i t e ct

, ,
T ie pol o i 4 0 , , .
A cad e my of A rch it e cture ii 1 3 5 , , . Toulous e i 1 1 0 ; 1 1 1 7

, 3 1 79 , ,
-
,
.
A cade my of Pai nt i ng and Sculpture ,

ii, Tourn e h e m Lenor man t d e D i r ect e ur , , ,
1 60 . Général d e s B at i me nt s i i 1 2 3 n , , .
,
A rch i t e ct i, 3 6 , .
b i rth , 1 7 1 3 , ii , 1 3 3 . T ourn e y , D e, Int e ndant of Gu i e nn e ,

1 1, 6 4,
B ord e au x, H Ot e l d e Vi ll e , 11 , 1 40 . 1 69 .
Bourg H Ot el D i e u ii 1 3 3
, , , . T o urs ii 1 7 0 1 7 2 1 7 8
, , , , .
Ch e val i e r Of t h e O rd e r of S M i chae l .
, ii, T ow n Plann i ng
1 36 . Ai x e n Prov e nc e 1 1 1 8 1 , , .
C ont r Ol eu r G é néral , 11 , 1
36 n . A m ie ns ii 1 8 0 , , .
d e ath ,
1 7 8 0, i i, 1 3 8 , 1 4 5 n . Avallon i i 1 8 0 1 8 1 , , , .
E c ol e de D
roi t , Pari s , ii, 1 4 1 . B ord e au x 1 1 1 8 0 , , .
H Ot e l D i e u Macon , , ii , 41 1 . H e nr i IV ii 1 7 5 , , .
Ital ian Tour , i i, 1 3 5, 1 36 . Lill e ii 1 7 7 , ,

.
T ow n Plann i ng— conti n u ed . Tro ye s , H Ot el d e V ill e i 1 2 0 , ,
.
Lou i s X IV ii 8 9 1 0 6 0 1 7 6 , , , , , ,
. T r u d ai n e , D ire ctor P o nts e t Chaussée s ,
11,
Ly on s ii 1 7 7 , ,
. 1 69 .
M e tz i i 1 4 8 1 4 9
, , , . Tuby sculptor i 1 7 2 1 8 7 2 0 8
, , , , , .
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AHistoryofFrenchArchitectureFromtheDeathofMazarinTilltheDeathofLouisXV16611774 10513337

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AHistoryofFrenchArchitectureFromtheDeathofMazarinTilltheDeathofLouisXV16611774 10513337

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FRO M T HE D EAT H O F MAZA RIN

T ILL T H E DEAT H O F LO UIS X V

L o u i s X I V —J H M ans art did not d e v elop th e tra dition of pr e

r e ign — Grea t import a nc e of r e ig n of Lo u is X I V in r e organi zation of

a nc e — D a v i l e r born 1 6 3 — T a k e n pr l s o n e r on way to Rom e—St u di e s

His Co u rs d Ar Ch it e ct u r e — D e sgod e t z born 1 6 5 3 —Goe s w ith

O ran ge ry Ve rs aill e s—Controll e r a t P a ris— M e mb e r of t h e Ac a de my

of A rchit e ct u r e a n d profe ssor— D e ath I 7 2 8 - Val u e of his work in

sci e ntiﬁc m ethod an d draughtsm a nshi p .

ch u rch of th e Invalid e s —Controll e r a t M a rly an d Ch e va li e r of

A c ad e my an d profe ssor— Additions to ho u s e s for Mdlle D e sm are s

Mdll e D e sm a r e s — H Ote l d e Conty— Typica l O f ﬁrst h alf of e ight ee nth

of t h e Aca d e my of A rchit e ct u r e— His s al ari e s — Jo u rn e y to Lyons

— B u e n R e tiro a t M a drid— P a l ac e a t Bonn a n d vill a on t h e Rhin e for

cond u ctin g his practic e —Fr e sc ati n e a r M e t z— Ev é ch é at V e rd u n

S ave rn e ( Za b e rn ) a n d Stra sbo u rg— Hot e ls in Pa ris : d E s t r e e s d e Lu d e

d e To u lo u s e d e M a in e— D e Cott e an import ant p e rson an d a n hon e st

a n d c ap a bl e man b u t not a , gr ea t a rchit e ct .

T he Ga bri e l fa mily— J J Gabri e l Controll e r a lt e rn atif— C o n

troll e r at Ch ambord — A cad e mici a n — His sa la ri e s — Choisi — Ho u s e s

cath e dra l O rle ans

Pla c e d e la B o u rs e a t Bord eau x— T h e c ath e dral L a Roch e ll e — O n e ,

of the b e st a rchite cts of t h e e i ght e e nth c e ntu ry .

D i ff e re nc e b e twe e n t h e a ttitu d e of t h e e ight e e nth c e nt u ry

kno w n — D e L a M a ire — T h e H Ot e l d e So u bis e a n d t h e H Ot e l d e

si ze an d cost — Fin e q ua lity of th e ir d e si gn — C o n t r Ole u r d e s B at i m e n t s

its ﬂ at vau lting a n d H Ot e l d e N oirmo u ti e r — C ar tau d born 1 6 7 5

St u di e s in t h e Fr e nch A c a d e my at Rom e — D e signs ho u s e s for

A rchite cts di fﬁ c u lty in e sta blishin g l a stin g re pu ta tions

Signs of fa il u r e in t h e old Fr e nch tra dition — D a n ge r of t h e

Ac ad e my Rome — To u r in Ita ly— R e t u rns to P aris — High opinion

form e d of him in Rom e — N egle ct by M ansa rt — Hig h a lt ar S G e r ,

m a in d e s Pres— Mon u m e nts a nd d e coration s— S Su lpi ce— O ppe n o r d s ’

Ent e rs s e rvic e of t h e El e ctor of Colo g n e A rchit e ct to t h e E l e ctor of -

B ava ria a n d D ire ctor of Cro wn B u ildin gs — His son— B ad in ﬂ u e nc e

of t h e d e cora tors a nd orn a m e nta lists .

A rchbishops of A u ch and N arbonn e — H Otel d e Cl ermont— Ga rd e n

P e t e r t h e Gre at — D eath 1 7 1 9 — B offr an d— Introd u ction to J H M an

s art— His pl ays — B e com e s an Ac ad e mician — H Ot el s d e Torcy an d

for t h e O p e ra Pa ris—His s u cc e ss — E l e cte d Aca d emici an W ork at

S S u lpic e— His sc e n e ry an d ill u min ations— London 1 7 4 9— Paris

D eath 1 7 6 6 — 8 S u lpic e — H ere— His w ork limit e d to N a ncy and

its n e i ghbou rhood —T h e t w o to w ns o f N a ncy— St a nisla s sch e m e s for

H e micycl e— T h e cost r e la tive ly inconsid e r abl e— N ancy t h e locu s

N ancy— His triu mph al arch e s— Chu rch of Bon S e co u rs— D ea th 1 7 6 3 ,

— Here a ﬁ r s t-ra t e archit e ct —Compa rison w ith W ood of B ath .

s aill e s an d t h e Royal Pa la c e s — T h e comp e tition of 1 7 4 8 for t h e Pl a c e

proportion a nd s e ns e of s e l e ction — His q u arr e ls w ith t h e D ir ectors

Proj e t —Ga bri e l s a dditions— T h e P e tit T ri anon 1 7 6 3 t h e ﬁn e st

e xpr e ssion of Fr e nch a rchit e ct u r e — G a bri e l a n d t h e A c a d e my a n d

D i eu n ear Bo u rg—A ca d emici an 1 7 4 9—Visit to Italy with M ari gny

Lo u is X V— S o u ﬁl ot s d e sig n —D e sign of S Ge n e vi e ve ( th e P anth eon )

Ch u rch a t L e M a ns —His ch ara ct e r— Cont a nt d I vr y born 1 6 9 8 ’

A ca d e mici a n W ork a t S Clo u d and P aris — T h e C a th e dral A rra s

His tr eatm e nt of t h e pi e rs of t h e dom e —T h e e pisc op a l pal a c e

His M a isons d e Pl ais anc e 1 7 3 7 His school of archit e ct u re

M e mb e r of t he A c a d e my 1 7 5 5 an d profe ssor— D e si gns for M et z

C a mbrai an d Stra sbo u rg— N ot a g rea t d e sign er b u t a ﬁ ne critic

His Co u rs d Ar Ch i t e c tu r e an d A rchit e ctu r e Fran cais e

position a n d criticisms —His hi gh re sp e ct for a rchit e ctu re—D ifﬁcu l t i es

Franc e a l a gloire d e Lo u is X V — His s u gge stions for t h e improv e

Pre mi e r A rchit e ct e an d Controll e r G e n e ra l of B u ildin gs and Ga rd e ns -

N ot v ry m ch priv t b ilding don e in Fr nce in t h e e ight ee nth