elaborate cornice, dentils and modillions and the egg and dart are worked in with Gothic gargoyles and a corbel-table; while a rich parapet crowns the whole, and dormers of picturesque form, with pseudo-classic orders surmounted by gables and pinnacles, rise against the vast high-pitched roofs which are further broken by ornamented chimney-stacks. A survival of the later Gothic habit of design is further shown in the continuity of upright lines obtained by the ressauts already remarked. But the most remarkable feature of this façade is the great polygonal staircase tower that rises through it. Four vast piers like buttresses, reaching from the ground to the main cornice which is carried out so as to crown them, are treated like colossal pilasters with rich Corinthianesque capitals, and are banded above the middle with mouldings of classic profiling. Yet on the face of each of these members is a corbelled niche, with a rich canopy and statue in late Gothic style. These piers are connected by three stages of ramps with panelled parapets elaborately ornamented with small pilasters, carvings in relief, and gargoyles issuing from their base mouldings. The whole composition is crowned with a dormer having a square opening on each side, grouped pilasters on the angles, an entablature with compound ressauts over the pilasters, and with gargoyles reaching from the cornice, and a balustrade over all.
The reader should consider well the meaning of all this, and observe how the persistence of the native French habits of design, without the logic of the former time, was still giving a largely mediæval aspect to works in which details from the Italian Renaissance, modified and combined in strangely new ways, were being more and more freely introduced.
On the garden side this wing of Blois has a different design, and shows a survival of the Flamboyant depressed arch in the window openings necessitated by the form of the earlier façade, which is incased in that of Francis I.[1] The windows of this earlier façade were spaced and proportioned so as to make wide and narrow voids and solids alternate in a very irregular manner. In the work of the sixteenth century, which overlays this, superimposed pilasters are set in pairs on the wider solids,
- ↑ Du Cerceau's plate (Les Plus Excellents Bastiments de France, vol. 2, plate 4) is incorrect, like most of his other plates, in giving the semicircular form to the openings of this façade.
