sixteenth century in France is half explained."

PLAN OF THE CHÂTEAU OF CHAMBORD

"At Chambord," writes Mrs. Pattison, in her Renaissance of Art in France, "which was building in 1526, the stories are, it is true, forcibly indicated, but the whole building is pulled together in Gothic fashion by the towers of the corps de logis, and by those which flank the pavilions or wings which stretch out on either side of the main body. In a building of the size of Chambord the result of this treatment is hardly satisfactory, for the lines of the wings to right and left of the main body seem to droop away from the heavy towers on either side. Inside the court, however, the unpleasant effect, even at Chambord, disappears, for the apparent length of the wings is greatly abbreviated by the effect of the two spiral staircases which run up outside the building at the internal angles on opposite sides.

PLATE LXXVIII

CHAMBORD: FRANCIS I. WING

"Chambord is, indeed, throughout truly typical of the earlier stage of the new Renaissance movement. In the general arrangement, in the ordonnance, late Gothic caprice and fantastic love of the unforeseen rule triumphant. The older portions of the Château, the seemingly irregular assemblages of half Oriental turrets and spires, are debased Gothic, full of audacious disregard of all outward seeming of order. The architect, instead of seeking to bring home to the eye the general law, the plan on which the whole is grouped, has wilfully obscured and concealed it beneath the obviousness of the wild and daring conceits heaped above.

VIEW OF CHAMBORD (1576)

ENGRAVING FROM DU CERCEAU

"But even at Chambord the mark is set which promises other days. It is the transition moment; Gothic fancy may wildly distribute ornament and obscure design, but the ornament which it distributes is Gothic no longer. The obscæna which haunt the cathedrals of the middle ages, which infest the earlier towers of Amboise, and linger defilingly about Gaillon, are banished. In their place come faint foliated traceries and arabesques in low relief, enriching every surface, disturbing none, moving with melodious adaptation of subtle line, winding, falling, rising in sympathy with every swiftly ascending shaft or hollowing curve.

"It is not now possible to approach Chambord carrying in our eyes a vision of the great Renaissance palace, as engraved by Du Cerceau in his Plus excellens Bâtimens de la France. Burdened by the weighty labors of Louis XIV., weakened by eight improving years at the hands of Stanislaus Leszczynski, mutilated by Marshal Saxe, the Chambord which we now go out from Blois to visit is not the Chambord of Francis I. The broad foundations and heaving arches which rose proudly out of the waters of the moat no longer impress the eye. The truncated mass squats ignobly upon the turf, the waters of the moat are gone; gone are the deep embankments