many cases the older castles remodelled or enlarged, and opened, by great windows cut through their massive walls, to the light and air.[1] And although there was no longer need for such defences as would withstand the siege of a feudal army, it was still for some time necessary to provide for security against roving bands of marauders which continued to move about, and thus the surrounding fosse and the drawbridge were retained for a considerable time after the loopholes and embattled towers of the Middle Ages had become unnecessary.
Fig. 110.—Cornice of Blois.
In cases where the château was a wholly new building, it was generally placed on even ground, and the plan became symmetrical. Yet still the outline remained broken with the steep gables, chimneys, and dormers that are proper to a northern climate; and even the towers, turrets, and other features of feudal architecture were largely retained. The French château, as has been often remarked, was never transformed into any likeness to the Italian villa; but it was, nevertheless, so radically changed as to lose that admirable logic of design which distinguishes the French architecture of the Middle Ages. The composition of the Renaissance château is factitious in the sense of being artificially made up; it is not, like the mediæval castle, an outgrowth and expression of natural conditions and actual needs. Thus while it is still peculiarly French in character, it is not an expression of the French genius in its integrity. The French genius in its integrity has not been manifested in architecture since the Middle Ages.
The earliest palatial houses of the Renaissance in France
- ↑ Cf. Viollet le Duc, s. v. château, p. 190.
