{"id":6788,"date":"2012-09-19T17:56:44","date_gmt":"2012-09-19T21:56:44","guid":{"rendered":"http:\/\/pages.vassar.edu\/rosso\/?page_id=6788"},"modified":"2013-05-02T09:56:47","modified_gmt":"2013-05-02T13:56:47","slug":"a-4-rosso-chapel-of-saint-saturnin-and-the-chapelle-haute-du-roi","status":"publish","type":"page","link":"https:\/\/pages.vassar.edu\/rosso\/catalogues\/architecture\/a-4-rosso-chapel-of-saint-saturnin-and-the-chapelle-haute-du-roi\/","title":{"rendered":"A.4. Rosso? Chapel of Saint Saturnin and The Chapelle Haute du Roi"},"content":{"rendered":"
\"\"<\/a>

St. Saturnin, Top Level<\/p><\/div>\n

Cour Ovale, Ch\u00e2teau, Fontainebleau.<\/p>\n

1531-1540<\/p>\n

In the specifications of 28 April 1528 for the rebuilding of the ch\u00e2teau at Fontainebleau, there appear the following details (BN ms. fr. 11.179, fol. 75V<\/sup> [Laborde, I, 1877, 41]):<\/p>\n

\u201cItem<\/em> joignant le pan de mur de ladite grande Salle [Salle du Guet] en retournant par forme d\u2019esquerre du cost\u00e9 du portail neuf de l\u2019entr\u00e9e dudit chasteau,… fault laisser une place de la longueur de 6 toises dedans oeuvre de telle longueur que sera advis\u00e9 pour le mieux pour y faire et \u00e9riger une chappelle….\u201d1<\/sup><\/a><\/p>\n

In the next item (fol. 75v<\/sup>) the place of this chapel is mentioned to locate the proposed building fifteen toises long between it and the new entrance to the ch\u00e2teau (the Porte Dor\u00e9e).\u00a0 From within the Cour Ovale, the building to the right of the chapel would have a gallery on the first floor, the Small Gallery (see L.41<\/a>), later replaced by the existing Salle de Bal.\u00a0 On the ground floor there would be four offices, two kitchens, and \u201cun revesti\u00e8re pour servir \u00e0 ladite chapelle,…\u201d<\/p>\n

Slightly over three years later, on 5 August 1531, Gilles Le Breton contracted to build this chapel.\u00a0 The document of this date recording this agreement is lost and is known to have existed only by a reference to it in another contract made with Le Breton on 10 March 1541 (BN, ms. fr. 11.179, folios 188-188v<\/sup>).\u00a0 This contract is about the \u201crechangement du grand escalier dudit cha(steau) et autres ouvrages contenus et d\u00e9clarez au devis cy devant escrit [which is not known], et ce, outre le contenu et march\u00e9 fait avec luy pour raison dudit grand escallier et de la chappelle dudit cha(steau), datt\u00e9 du samedy 5e<\/sup> d\u2019aoust 1531, et pour ce faire sera tenu ledit Breton faire \/ toutes les desmolissions et retablissemens qu\u2019il conviendra pour ce faire, desquelles desmolitions il remettera en oeuvre tout ce qui poura servir ausdits ouvrages, et le reste il sera tenu serrer et mettre en tas en la court dudit cha(steau) au profit du Roy,…\u201d<\/p>\n

The contract of 1541 is preserved with the record of another agreement made within the two years 1 October 1548 and 30 September 1550 with Philibert De Lorme, who had become \u201carchitecte dudit Seigneur [Henry II]\u201d on 3 April 1548.2<\/sup><\/a>\u00a0 De Lorme was to visit presumably to inspect, \u201cles ouvrages de ma\u00e7onnerie et taille de l\u2019\u00e9diffice, fait de neuf audit Fontainebleau, auquel il y a deux chappelles, l\u2019une basse e l\u2019autre haulte, et aussy le grand escallier fait de neuf audit chasteau par maistre Gilles le Breton, maistre des oeuvres de ma\u00e7onnerie du Roy, assavoir si ledit \u00e9diffice desdites deux chappelles et ledit grand escalier ont est\u00e9 et sont bien deuement faits et parfaits ainsy que ledit Breton est tenu et oblig\u00e9 faire par deux devis et marchez de ce faits.\u201d\u00a0 It is from this document that one can assume that the references to a chapel in the contracts of 1531 and 1541 were to the building of it.<\/p>\n

In 1967 Chastel, noting how different the stairway and portico – the \u201cgrand escallier\u201d – in the Cour Ovale were from Le Breton\u2019s usual work, attributed their design to Rosso (see A.2<\/a>).\u00a0 Breton would have served as the master mason to execute Rosso\u2019s design subsequent to the contract to the mason of 5 August 1531.\u00a0 After 10 March 1541 the external staircase was dismantled and replaced with one inside.\u00a0 The work by Le Breton was inspected by De Lorme in the late 1540s.\u00a0 But all the way along, beginning in 1531, the stairway was mentioned in the same context with the chapel that was built almost directly across from it and also facing the Cour Ovale.<\/p>\n

Palustre, I, 1879, 98, recognized the close similarity between the portico of this stairway and the apse of the chapel.\u00a0 Following Palustre, Gebelin, 1927, 98, went on to say that \u201cin the two buildings, there is the same superposition of two orders, each crowned by a projecting entablature, the lower level formed of large square piers, the upper of engaged columns.\u00a0 In both one recognized the same awkwardnesses: at the lower level of the apse the arched bays open at the back of large square openings, that are separated by meager buttresses; an awkward disposition that is found in the central opening of the portico, at ground level.\u201d\u00a0 Gebelin believed these \u201ctwin constructions\u201d reveal a complete renewal of Gilles Le Breton\u2019s inspirations under the direct influence of the antique.\u00a0 But he did not know how this came about.\u00a0 Bray, n.d. [1956], 5, recognized the Italianate character of the vault with coffers and of the order used on the walls.<\/p>\n

When attributing the design of the portico and the destroyed stairway to Rosso, Chastel suggested that they may have been related to a monumental scheme that incorporated the chapel across from it, the apse of which repeats the architectural motifs of the portico, including the capitals decorated with sirens that have fins in the place of feet and wings instead of arms (Chastel, 1967, 80; noted also in Knecht, 1994, 410).3<\/sup><\/a>\u00a0 Chastel did not go so far as to suggest that the chapel was also designed by Rosso, but this conclusion seems to follow from his attribution of the stairway and portico to him.\u00a0 Babelon, 1989, 200, 203-204, actually attributed the plan of the Chapel of Saint Saturnin to Rosso and related its fa\u00e7ade to the portico and stairway.4<\/sup><\/a><\/p>\n

In the specifications of 1528 the space of around twelve meters (\u201c6 toises\u201d) that is mentioned between the \u201cgrande salle\u201d (the Salle du Guet) and the Small Gallery is reserved for the building of a single chapel.\u00a0 The lost contract of 1531 (apparently) and that of 1541 again referred to a single chapel.\u00a0 But when De Lorme was required to inspect the work at the end of the 1540s, two chapels were indicated, one \u201cbasse,\u201d the other \u201chaulte.\u201d\u00a0 The first is the Chapel of Saint Saturnin.\u00a0 Above it is the \u201cChapelle Haute,\u201d also called the \u201cChapelle du Roi.\u201d5<\/sup><\/a><\/p>\n

Dan in 1642 stated that the Chapel of Saint Saturnin was founded by Louis VII in 1169, and in 1259 was dedicated and consecrated by Saint Thomas of Canterbury under the invocation of the Virgin and Saint Saturnin.6<\/sup><\/a>\u00a0 But Dan also pointed out that the entire chapel was entirely rebuilt by Francis I on the site of the original chapel or nearby.\u00a0 Castellan in 1840 believed that the old Chapel of Saint Saturnin, entered directly from the courtyard, was kept and became the foundation of the Chapelle Haute; Gebelin believed it was re-made.7<\/sup><\/a>\u00a0 Bray, 1935, 180, 200-201, thought that the old chapel of Saint Saturnin was certainly elsewhere and outside the precinct of the ch\u00e2teau, as it is not mentioned in the specifications of 1528 where the relevant old parts of the ch\u00e2teau are always named, and because in its foundation charter it is called the \u201c\u00e9glise \u00e0 Fontainebleau\u201d and not the chapel of the ch\u00e2teau.\u00a0 Thus the lower chapel of Saint Saturnin was most likely an entirely new structure entered from the courtyard.<\/p>\n

From the Cour Ovale, the upper chapel was on the same level as the Small Gallery to its right and could probably be entered from that gallery as now one has access to it directly from the Salle de Bal (Fig.Dimier, Plan under Francis I<\/a>).8<\/sup><\/a>\u00a0 In this manner the king could enter it approaching from his apartment.\u00a0 It may be that access at this level accounts for the addition of the Chapelle Haute to a plan that originally called only for a chapel at ground level contracted for on 5 August 1531 (see A.2<\/a>).\u00a0 It is also possible that the Chapelle Haute is a substitution for the chapel planned in 1528 for the east end of the gallery that became the Gallery of Francis I, a chapel that was then eliminated from this gallery (see P.22 and A.1<\/a>).\u00a0 That chapel would have been adjacent to the king\u2019s mother\u2019s apartment, but would almost certainly have been his chapel.\u00a0 Only upon the death of Louise of Savoy (22 September 1531) was the apartment taken by the king.<\/p>\n

The plan of the building containing both chapels, oriented north-south, is about twenty-three meters long and thirteen wide (Fig.Morgan Plan, Ground Floor<\/a>).9<\/sup><\/a>\u00a0 The fa\u00e7ade, now almost entirely concealed by the extension of the north wall of the Salle de Bal built early in the seventeenth century,10<\/sup><\/a> is partially visible in Du Cerceau\u2019s engraved view from the north (Fig.Du Cerceau, St. Saturnin<\/a>).\u00a0 It has two towers of four levels rising one storey above the height of the fa\u00e7ade.\u00a0 Between the towers is an arch at ground level, with a recessed doorway flanked by a column at each side (Fig.Morgan Plan, Ground Floor<\/a>).1<\/sup><\/a>\u00a0 The two levels above show single arched windows.\u00a0 In Du Cerceau\u2019s view the towers have, it seems, open arches on their two upper levels.\u00a0 Only visible now are the top levels of the towers composed of six arches, the lower levels invisible behind the wall later built in front of the fa\u00e7ade (Fig.St. Saturnin, Top Level<\/a>).12<\/sup><\/a>\u00a0 The two levels of the apse are composed of buttresses flanking round arched windows.\u00a0 Attached to the front ends of the buttresses on the lower level are piers set on high bases.\u00a0 The capitals of these piers have stags\u2019 heads at the corners and the royal F on three sides interlaced with cords (of St. Francis\u2019s habit, according to Castellan)13<\/sup><\/a> on the sides and ribbons on the front; the salamander of Francis I is set behind the F on the front (Fig.Apse Capital, St. Saturnin<\/a>; Fig.St. Saturnin Apse, Exterior<\/a>; Fig.View of Apse, Exterior<\/a>).14<\/sup><\/a>\u00a0 On the level above is the same arrangement but the front of each pier has an engaged column with a capital composed of sirens like the capitals of the portico in the Cour Ovale.15<\/sup><\/a>\u00a0 Beneath the center window is an oval plaque containing a salamander in relief; above the oval is a crown.\u00a0 The roof of the vault rises above the apse (on which see n. 23).<\/p>\n

The large central space of both chapels is about sixteen by seven meters.16<\/sup><\/a>\u00a0 The Chapel of Saint Saturnin has four bays and an apse.\u00a0 The first or entrance bay17<\/sup><\/a> and the second bay are covered by a single and somewhat flattened barrel vault that terminates in the groin vault of the third bay (Fig.St. Saturnin, Interior, Facing North<\/a>).\u00a0 The fourth bay is also covered by a groin vault leading to the vaults of the apse.\u00a0 The vaults of the nave rest upon flattened arches that form three chapels extending from either side of the nave in the second, third, and fourth bays.\u00a0 The sides of the entrance bay are filled in below the level of the vault to support and buttress the towers.\u00a0 On the west side the second and third bays must have abutted the building to the west, on the ground floor of which a sacristy had been planned that would have had an entrance into the Chapel of Saint Saturnin.\u00a0 There are large windows divided by slender columns supporting small arches and round windows in the large arched areas above the flattened arches of the third and fourth bays and in the apse.\u00a0 The window in the third bay on the west set against the adjoining building would seem to have been blind (as are now also all the others on both sides of the nave because of the later structures that have been built against the chapel).18<\/sup><\/a>\u00a0 The plan is reminiscent of the Basilica of Constantine in Rome but with somewhat flattened arches and vaults that resemble the central arches of the portico across from the fa\u00e7ade of the church.\u00a0 The apse has three rectangular chapels set between the heavy piers that support the vaults.<\/p>\n

The plan of the Chapelle Haute is almost identical to that of the chapel below except that the entrance end has the same plan as the apse but with two chapels or sacristies and a central door instead of three chapels (Fig.Morgan Plan, First Floor<\/a>).19<\/sup><\/a>\u00a0 An entrance from the Small Gallery was probably in the second bay.20<\/sup><\/a>\u00a0 The arches flanking the nave have the same flattened form as in the Chapel of Saint Saturnin, although they rise from slightly higher walls (Fig.Chapelle Haute<\/a>).\u00a0 The arches create side chapels that may originally have had two windows each (see n. 23).\u00a0 The walls supporting the arches have been extended into the nave as piers to support the engaged columns of the level above.\u00a0 The same projections appear between the other rounded arches of the apse and entrance to form twelve around the entire chapel.\u00a0 The twelve engaged columns, which have themselves high bases and composite capitals, have round arched windows between them subdivided as in the lower chapel, the six facing the nave larger than the six at the ends.\u00a0 On the west one or two of the large windows would have been blind, as all are now (see n. 23).\u00a0 An architrave, frieze, and cornice encircle the entire chapel coming forward above each column (Fig.Chapelle Haute, Interior, Facing East<\/a>; Fig.Chapelle Haute, Interior, Facing North<\/a>).\u00a0 These support a ribbed and slightly pointed barrel vault and ribbed and, at the ends, slightly pointed groin vaults that come together at two medallions, one showing a salamander, the other inscribed: FRAN[CISCUS]. FRAN[CORUM]. REX, ANNO DOMINI M.D. XL.V. ABSOLVI CURAVIT<\/em>.21<\/sup><\/a>\u00a0 Dan gives the height of the chapel as six toises, or about twelve meters.22<\/sup><\/a>\u00a0 This is in contrast to the considerably lower Chapel of Saint Saturnin.<\/p>\n

On the lantern and dome, which are probably not part of the original conception, see n. 23.<\/p>\n

The architecture of this chapel as well as that of the Chapel of Saint Saturnin cannot, as Gebelin pointed out, be related to architecture that is generally recognized as by Le Breton, such as the Porte Dor\u00e9e.\u00a0 The Italianate plans of the two chapels and the plasticity and robustness of the antique forms of the architecture of both that relate them to the staircase and portico in the Cour Ovale suggest that while Le Breton may have been the mason in charge of the construction of the two chapels, he was not the designer of them.\u00a0 The building dates of the chapels are not precisely known.\u00a0 They would seem to have been begun in the early 1530s and largely built by the end of 1539, for the Chapelle Haute can be seen rising above the east end of the Small Gallery in the small view of the ch\u00e2teau (Fig.Rosso View of Gallery Detail, Far Right<\/a>) beneath the Venus and Minerva<\/em> fresco in the Gallery of Francis I.23<\/sup><\/a>\u00a0 If the agreement of March 1541 pertains to the chapels and not only to the stairway then the chapels may not have been entirely finished at that time, which is also indicated by the date of 1545 inscribed on one of the medallions of the vault.\u00a0 But their designs and most of their construction would seem to pre-date Serlio\u2019s arrival in France in 1541.24<\/sup><\/a>\u00a0 De Lorme contracted to have a lead roof put on the building in August of 1548.25<\/sup><\/a>\u00a0 But he could not have been responsible for the designs of the chapels as he had just a few months earlier become architect at Fontainebleau.\u00a0 The introduction of Rosso\u2019s name provides an attribution that has the same credibility as the attribution to him of the exterior staircase and portico in the Cour Ovale.26<\/sup><\/a><\/p>\n

Rosso could have been responsible for the designs of the chapels, and for the fa\u00e7ade and bell towers that faced the Cour Ovale.\u00a0 Castellan\u2019s descriptions and illustrations of the capitals in the Chapelle Haute lend support to the attribution to Rosso.27<\/sup><\/a>\u00a0 Some of the figured capitals show the heads of old men with long beards, which suggest Rosso.\u00a0 Another group shows seraphim framing a chalice with the host.\u00a0 A third kind has winged cherubs holding a chalice with the host.<\/p>\n

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 <\/p>\n

\n
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<\/a>1<\/sup> Mentioned by Dimier, 1900, 251.<\/p>\n<\/div>\n

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<\/a>2<\/sup> Gebelin, 1927, 100.<\/p>\n<\/div>\n

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<\/a>3<\/sup> On Pressouyre\u2019s apparently false supposition that the resemblance may (partly?) go back only to 1748 when modifications to the portico would have been made, see A.2<\/a>.<\/p>\n<\/div>\n

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<\/a>4<\/sup> Prinz and Kecks, 1985, 426, 427, thought the Chapel of Saint Saturnin, the choir of which encloses the appended Upper Chapel, was by the same master who designed the portico in the Cour Ovale.\u00a0 But they brought up the name of Serlio, who was not in France when the portico was designed.<\/p>\n<\/div>\n

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<\/a>5<\/sup> It was also called, in a document of 1548 related to the roofing of it (see below and n. 25), \u201cla Chapelle neufve du Donjon.\u201d<\/p>\n<\/div>\n

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<\/a>6<\/sup> See Dan, 1642, 50-61, on this chapel and the Chapelle Haute.<\/p>\n<\/div>\n

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<\/a>7<\/sup> Castellan, 1840, 76-83, as repeated in Gebelin, 1927, 102, n. 15, believed the exterior buttresses may have been strengthened to support the Upper Chapel.<\/p>\n<\/div>\n

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<\/a>8<\/sup> From the reconstruction of the plan of the ch\u00e2teau before the Salle de Bal was built in Dimier, 1900, following 240.<\/p>\n<\/div>\n

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<\/a>9<\/sup> The dimensions are taken from the first floor plan, Pl. 17, of Morgan, 1956.\u00a0 The ground floor plan of Morgan, 1956, shows the later addition to the front of the building aligned to the north wall of the Salle de Bal (see below and n. 10).<\/p>\n<\/div>\n

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<\/a>10<\/sup> See Pressouyre, 1974, 33, Fig. 4, 36-37.<\/p>\n<\/div>\n

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<\/a>11<\/sup> See Morgan, 1956.\u00a0 Castellan, 1840, 77, recognized this door as that of the old chapel that he thought was on this site.<\/p>\n<\/div>\n

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<\/a>12<\/sup> See Pressouyre, 1974, 33, Fig. 4, showing the upper level of the towers behind the wall later placed in front of the chapel (see above and n. 10).<\/p>\n<\/div>\n

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<\/a>13<\/sup> Castellan, 1840, 83-84.<\/p>\n<\/div>\n

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<\/a>14<\/sup> See Pfnor and Champollion-Figeac, 1863, II, Pl. CXXXIX; see also 8-11, and Pls. CXXXVII-CXXXVIII, CL.\u00a0 The chapel is also discussed in Pfnor, 1889, 135-144, with Fig. of one capital.\u00a0\u00a0 See also Remard, 1820, 9, 33, 36-37.\u00a0 Blomfield, 1911, 51-52, and Pl. facing 50, commented on the remarkable capitals of the piers.\u00a0 His drawing seems to be of the capital at the far right.<\/p>\n<\/div>\n

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<\/a>15<\/sup> Similar fantastical capitals are found above the pilasters in the background of Rosso\u2019s Narcissus<\/em> drawing of 1531 or 1532 (D.44<\/a>).<\/p>\n<\/div>\n

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<\/a>16<\/sup> All measurements of the chapels are taken from the plans in Morgan, 1956.<\/p>\n<\/div>\n

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<\/a>17<\/sup> For its decor of 1639, see Lossky, \u201cDessins,\u201d 1971, 39, 40, Fig. 7.<\/p>\n<\/div>\n

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<\/a>18<\/sup> See Pressouyre, \u201cCadre architectural,\u201d 1972, 22, n. 8.<\/p>\n<\/div>\n

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<\/a>19<\/sup> The entrance bay has now a tribune or gallery that was originally designed by De Lorme and built by Scibec de Carpi in the 1550s (see Roy, 1929, 239-240, 267-269).\u00a0 According to Blunt, 1958, 58, only the pair of Ionic columns remains of De Lorme\u2019s project.<\/p>\n<\/div>\n

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<\/a>20<\/sup> The existing entrance from the Salle de Bal is in the first bay but the Small Gallery probably did not extend this far north (see above and n. 8, and the plan of around 1835 in Lossky, \u201cDessins,\u201d 1971, 39, 40, Fig. 6).<\/p>\n<\/div>\n

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<\/a>21<\/sup> See Castellan, 1840, 82-83.\u00a0 The inscription is also in Palustre, I, 1879, 197, n. 1, as transcribed here.\u00a0 The vaults are now coffered, which may not have been part of the first design.<\/p>\n<\/div>\n

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<\/a>22<\/sup> Dan, 1642, 58-59, gives the following dimensions of the Chapelle Haute in toises, which I have translated (approximately) into meters: the entire chapel, 18 meters long, 8 wide, and 6 high (the length and width slightly greater than on Morgan, 1931); the arcades at the sides, 3 meters long, 1.3 deep, and slightly less than 3 high; the lower piers, which he calls pilasters (and of which he counts only twelve), 3.5 meters; the engaged columns, architraves, friezes, and cornices, 5 meters.<\/p>\n<\/div>\n

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<\/a>23<\/sup> Castellan, 1840, 78-79, thought this showed only the old chapel.\u00a0 But the view shows none of the Chapel of Saint Saturnin, which is hidden by the ground floor of the block at the west, and only a small part of the Chapelle Haute.\u00a0 There is visible one of the large windows of the nave and possibly part of a second farther to the north that is largely blocked by the Small\u00a0\u00a0\u00a0\u00a0 Gallery.\u00a0 (There may also be two narrow arched windows below the fully visible large window, which would place them in one of the chapels under the large arches flanking the nave.)\u00a0 The roof is steeply pitched.\u00a0 This would seem to indicate that the octagonal domed lantern of the chapel is not part of its original plan but was added, probably when the Salle de Bal was built and all the windows on the west side along the nave were blocked by it.\u00a0 On the destruction and re-building of this lantern, and on the exterior appearance of the chapel in a drawing of 1831 by Viollet-le-Duc, see Lossky, \u201cCinq Dessins,\u201d 1970, 186-187, Pl. XIX, Fig. 1.\u00a0 (See Pressouyre, \u201cCadre architectural,\u201d 1972, 22, n. 8, on the insertion of blind windows under Henri IV.)\u00a0 Pressouyre, 1974, 31, said the chapel was completed in 1545 but did not say how she knew this; her evidence was probably the inscription on the vault medallion.\u00a0 Du Cerceau\u2019s views from the south, in which the lantern appears, show one nave window beyond the south side of the Salle de Bal but this is incorrect.\u00a0 Dan, 1642, 59, described the lantern and dome at length but did not say when they were built, commenting only that its exterior architecture matched that of the interior of the chapel.<\/p>\n<\/div>\n

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<\/a>24<\/sup> Castellan, 1840, 94, recorded that the chapel had been thought to have been designed by Serlio, an attribution accepted by Herbet, 1937, 233, 293, 294, 315-325.\u00a0 The earliest notice of Serlio in France is 17 December 1541 (see Gebelin, 1927, 103, n. 17).\u00a0 Babelon, 1989, 206, thought that the Chapel of Saint Saturnin may have been completed on Serlio\u2019s plans in 1545.\u00a0 Vignola was brought to France by Primaticcio in 1541 to help in the casting of bronzes from moulds that had been made in Rome (Pressouyre, 1969, 224).\u00a0 At this time his career as an architect had not yet begun (see Blunt, 1973, 72).<\/p>\n<\/div>\n

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<\/a>25<\/sup> See Roy, 1929, 239, 261; mentioned by Babelon, 1989, 421.\u00a0 The document mentions also the roofing of \u201cdeux lanternes de dessus lad. Chapelle.\u201d\u00a0 This may refer to the open upper level of the towers, although it could also refer to the two octagonal lanterns, one on top of the other, that were built above the Chapelle Haute possibly when the Salle de Bal was built to replace the Small Gallery (see n. 23).\u00a0 De Lorme in his Architecture<\/em> (see Dimier, 1900, 148) stated that rain got into the chapel due to its faulty construction.<\/p>\n<\/div>\n

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<\/a>26<\/sup> Castellan, 1840, 94, thought that the architect of the Chapelle Haute was De Lorme, and Roy, 1929, 239, thought that the architecture of the interior of the Chapelle Haute recalled very much the style of De Lorme.\u00a0 But De Lorme never mentioned it as his, and it would seem to have been almost entirely built by the time he became in charge of the architecture at Fontainebleau.\u00a0 On the decoration of the chapels, see Dimier, 1925, 44-45, 73-74, 88-89, with Figs.<\/p>\n<\/div>\n

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<\/a>27<\/sup> Castellan, 1840, 96-97, Pls. 14 and 15.\u00a0 One capital shows the heads of a hind or stag with a garland of fruit between them held by the beak of an eagle, similar to what appears on the exterior.\u00a0 Castellan believed this was a replacement for a broken capital taken from the exterior decoration of the door when it was destroyed under Henri IV.<\/p>\n

 <\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Cour Ovale, Ch\u00e2teau, Fontainebleau. 1531-1540 In the specifications of 28 April 1528 for the rebuilding of the ch\u00e2teau at Fontainebleau, there appear the following details (BN ms. fr. 11.179, fol. 75V [Laborde, I, 1877, 41]): \u201cItem joignant le pan de mur de ladite grande Salle [Salle du Guet] en retournant par forme d\u2019esquerre du cost\u00e9 […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":821,"menu_order":4,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6788","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6788","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/comments?post=6788"}],"version-history":[{"count":19,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6788\/revisions"}],"predecessor-version":[{"id":9132,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/6788\/revisions\/9132"}],"up":[{"embeddable":true,"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/pages\/821"}],"wp:attachment":[{"href":"https:\/\/pages.vassar.edu\/rosso\/wp-json\/wp\/v2\/media?parent=6788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}