Louis XIII
By the time of Louis XIII the principles of the Renaissance had become thoroughly assimilated in France, and a native school of architecture had arisen of marked distinction. France from then onward took the initiative, though strongly influenced by the Venetian school.
The orders were used consistently as to proportion and detail, but in the decoration considerable development in character is manifest.
The general construction and details developed on
No. 106. Louis XIII. Luxembourg Pavilion Entrance, by Salamon de Brose, 1615-24.
more architectural lines, and shew a better appreciation of the Italian originals. Pilasters were used to divide the wall surfaces, these and the entablatures closely following in detail the classic types. Panels were much wider than in the preceding style, generally occupying the whole space between the pilasters. The usual arrangement for these panels was to have them in two tiers—the shallow ones confined to the lower portions of walls and those of deeper proportions above. Fireplaces and doors were surrounded by boldly moulded architraves, and surmounted by panels occupied by carved details of scroll-work and foliage.
No. 107. Ste. Marie, Nevers. Louis XIII. Example of Barocco (Flemish influence).
No. 108. Upholstered Chair. Louis XIII.
Ceilings were modelled in stucco and sub-divided into compartments, which were richly moulded, and in some cases decorated with paintings.
During the reign of Louis XIII, chairs were made more comfortable by being upholstered in velvet, tapestry or needlework, instead of being smothered with carving. The frames were covered by velvet or other material, leaving only the legs and arms visible, and these were but slightly carved.