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By Henry A. Millon

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He often changed plans while the building was under construction and would brook no interference with his ideas. Mansart, who He never went to received few royal commissions. Italy, staunchly developed his own and purposefully restrained was succeeding generations even intensely rational, highly polished, architecture that virtually determined a national style that to have profound influence on all across the borders of France. His pre-eminence among teenth-century classical Baroque architects in France is seven- due pri- marily to his forceful, assured handling of clearly defined mass forms that achieve carefully calculated climaxes.

Nave. St. Peter's, Rome, 1606-12. Plan of nave and facade. 12. Carlo Maderno. St. Peter's, Rome. Facade. 13. Carlo Maderno. 14. Rome, S. St. Peter's Susanna, Rome, 1597-1603. Facade. Square c. 1638. Drawing by Israel Silvestre, detail. A. Hit O •4t m II I If *'•' ; if }| » 4 » ( i5. Gian Lorenzo Bernini. St. Peter's Square, Rome, begun > ( ) < » t » « » ( 1656. Plan. 16. Gian Lorenzo Bernini. St. Peter's Square, Rome. Colonnade. 17. 18. Pietro da Cortona. S. Maria della Pace, Pietro da Cortona.

The Maisons goes through four around the side of a square. As at Blois it is covered with a dome and has a narrow oval gallery at the second level to allow passage from one side of the building to the other. The details of the stair stairwell at baluster than at level, Blois flights and sculptured decoration are much more restrained Blois; and, due to the lack of windows above the second the striking is less effect effective at of the sequence of spaces achieved at On Maisons. the exterior, however, the more complex than at Blois and there is much greater emphasis on relief The central frontispiece, for example, shows the most relief on the first floor at the doorway where it is also narrowest.

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Baroque & Rococo Architecture by Henry A. Millon


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