Catherine de' Medici's building projects

699: 376: 491: 475: 602: 714:, however, has left us a set of plans for the Tuileries. One engraving shows a grandiose palace, with three courts and two oval halls. This design is atypical of de l'Orme's style and so is likely to have been du Cerceau's own proposal or his son Baptiste's. It recalls the houses with tall pavilions and multiple courtyards that du Cerceau often drew in the 1560s and 1570s. Architectural historian David Thomson suggests that the oval halls within du Cerceau's courtyards were Catherine de' Medici's idea. She may have planned to use them for her famously lavish balls and entertainments. Du Cerceau's drawings reveal that, before he published them in 1576, Catherine decided to join the Louvre to the Tuileries by a gallery running west along the north bank of the Seine. Only the ground floor of the first section, the 265: 463: 510: 311: 992: 895: 388: 168: 673:, today is having built at Paris ... The other reason why I wanted to use and to show the Ionic order properly, on the palace of Her Majesty the Queen, is because it is feminine and was devised according to the proportions and beauties of women and goddesses, as was the Doric to those of men, which is what the ancients have told me: for, when they decided to build a temple to a god, they used the Doric, and to a goddess, the Ionic. Yet all architects have not followed that , shown in 742: 400: 946: 809: 104:. Francis died in 1547, and Catherine became queen consort of France. But it wasn't until her husband King Henry's death in 1559, when she found herself at forty the effective ruler of France, that Catherine came into her own as a patron of architecture. Over the next three decades, she launched a series of costly building projects aimed at enhancing the grandeur of the monarchy. During the same period, however, 20: 3110: 326:, she commissioned a magnificent and innovative tomb for Henry and herself. The design of this tomb should be understood in the context of its planned setting. The plan was to integrate the tomb's effigies of the king and queen with other statues throughout the chapel, creating a vast spatial composition. Catherine's approval would have been essential for such a departure from funerary tradition. 879: 120:, an empty tomb at Saint-Denis. The sculptures she commissioned for the Valois chapel are lost, or scattered, often damaged or incomplete, in museums and churches. Catherine de' Medici's reputation as a sponsor of buildings rests instead on the designs and treatises of her architects. These testify to the vitality of French architecture under her patronage. 354:, who had built previous royal tombs. Whereas de l'Orme had designed the tomb of Francis I to be viewed only from the front or the side, Primaticcio's design allowed the tomb to be viewed from all angles. Art historian Henri Zerner has called the plan "a grand ritualistic drama which would have filled the rotunda's celestial space". 593:. He set it on a base made to look like natural rock, from which guests could watch the games while taking refreshments. The work was completed in 1558 but has not survived. The château ceased to be used as a royal residence after 1640, and had fallen into ruin by the time it was demolished by revolutionary decree in 1798. 1498:"With the rise of naturalistic representations beginning in the fifteenth century, the afterlife was imagined as an exact replica of earthly existence. As a result, the tombs of the mighty often insinuated an ambiguous conflation of the glorious Life Eternal with a glorification of their earthly lives." Zerner, 380. 686:

to make room for inscriptions. Only a part of de l'Orme's scheme was ever built: the lower section of a central pavilion, containing an oval staircase, and a wing on either side. Though work on de l'Orme's design was abandoned in 1572, two years after his death, it is nonetheless held in high regard.

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reign, after making too many enemies. De l'Orme mentioned the project in his treatises on architecture, but his ideas are not fully known. It appears from the small amount of work carried out that his plans for the Tuileries departed from his known principles. De l'Orme is said to have "taught France

908:

After de l'Orme's death, Jean Bullant replaced him as Catherine's chief architect. In 1572, Catherine commissioned Bullant to build a new home for her within the Paris city walls. She had outgrown her apartments at the Louvre and needed more room for her swelling household. To make space for the new

300:

You will find here the edifices, columns, and pyramids that she had built both at Rhodes and Halicarnassus, which will serve as remembrances for those who reflect on our times and who will be astounded at your own buildings–the palaces at the Tuileries, Montceaux, and Saint-Maur, and the infinity of

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wounds in 1559 changed Catherine's life. From that day, she wore black and took as her emblem a broken lance. She turned her widowhood into a political force that validated her authority during the reigns of her three weak sons. She also became intent on immortalizing her sorrow at the death of her

1563:

Zerner suggests that these two, apparently superfluous, recumbent effigies, as rigid as those from the thirteenth century, might have been a "call to order". In the context of the wars of religion, they may have represented a pulling back from the sensuality of the tomb, which "was bound to appear

439:

The remains of the King and Queen originally lay in the mortuary chamber below, but in 1793, a mob tossed Catherine and Henry's bones into a pit with the rest of the French kings and queens. Catherine's effigy suggests sleep rather than death, while Henry is posed strikingly, with his head thrown

1839:

De l'Orme wrote that Catherine, with "an admirable understanding combined with great prudence and wisdom," took the trouble "to order the organization of her said palace (the Tuileries) as to the apartments and location of the halls, antechambers, chambers, closets and galleries, and to give the

2381:

Reigle generalle d'architectvre des cinq manieres de colonnes, á sçauoir, Tuscane, Dorique, Ionique, Corinthe, & Coposite; enrichi de plusieurs autres, à l'exemple de l'antique; veu, recorrigé & augmenté par l'auteur de cinq autre ordres de colonnes auiuant les reigles & doctrine de

1042:

Jacques Androuet du Cerceau was a favourite architect of Catherine's. Like Bullant, he became a more fantastical designer with time. Nothing he built himself, however, has survived. He is known instead for his engravings of the leading architectural schemes of the day, including Saint-Maur, the

636:

was the first palace that Catherine had planned from the ground up. It was to grow into the largest royal building project of the last quarter of the sixteenth century in western Europe. Her massive building schemes would have transformed western Paris, as seen from the river, into a monumental

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joined to two halls that flank the original house. These drawings may not be a reliable record of Bullant's plans. Du Cerceau "sometimes inserted in his book designs embodying ideas which he himself would have liked to see carried out rather than those of the actual designer of the building in

853:

De l'Orme died in 1570; in 1575 an unknown architect took over at Saint-Maur. The new man proposed to heighten the pavilions on the garden side and top them with pitched roofs. He also planned two more arches over de l'Orme's terrace, which joined the pavilions on the garden side. In historian

111:

Catherine loved to supervise each project personally. The architects of the day dedicated books to her, knowing that she would read them. Though she spent colossal sums on the building and embellishment of monuments and palaces, little remains of Catherine's investment today: one

415:

Several of the monuments built for the Valois chapel have survived. These include the tomb of Catherine and Henry, in Zerner's view, "the last and most brilliant of the royal tombs of the Renaissance". Primaticcio himself designed its structure, which eliminated the traditional

193:

royal court of France. Her father-in-law impressed Catherine deeply as an example of what a monarch should be. She later copied Francis' policy of setting the grandeur of the dynasty in stone, whatever the cost. His lavish building projects inspired her own.

988:. Now Catherine set out to efface or outdo her former rival's work. She lavished vast sums on the house and built two galleries on the extension over the bridge. The architect was almost certainly Bullant. The decorations show the fantasy of his late style. 490: 1055:

Catherine spent ruinous sums of money on buildings at a time of plague, famine, and economic hardship in France. As the country slipped deeper into anarchy, her plans grew ever more ambitious. Yet the Valois monarchy was crippled by debt and its

668:

I will not go on to other matters without pointing out to you that I chose the present Ionic order, from amongst all others, in order to ornament and to give lustre to the palace, which Her Majesty the Queen, mother of the most Christian King

681:

Catherine de' Medici was closely involved in planning and supervising the building. De l'Orme records, for example, that she told him to take down some Ionic columns that struck her as too plain. She also insisted on large panels between the

729:

After de l'Orme died in 1570, Catherine abandoned his design for a freestanding house with courtyards. To his unfinished wing she added a pavilion that extended the building towards the river. This was built in a less experimental style by

444:

of Catherine and Henry wearing their crowns and coronation robes. In this case, he portrays Catherine realistically, with a double chin. These two statues were intended to flank the altar of the chapel. Pilon's four bronze statues of the

2699:

Academic website containing texts, drawings, and bibliographical material about sixteenth- and seventeenth-century French architects, including Philibert de l'Orme, Jacques Androuet du Cerceau, and Jean Bullant. A large-scale project in

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to illustrate the poem. The drawings were subsequently turned into tapestries, none of which survive; but, according to Knecht, fifty-nine of the drawings survive. Hoogvliet, 108, on the other hand, says that sixty-eight of the drawings

2569:

Architecture de Philibert de L'Orme. Oeuvre entiere contenant unze livres, augmentée de deux; & autres figures non encores veuës, tant pour desseins qu'ornemens de maison. Avec une belle invention pour bien bastir, & à petits

249:, it became the dominant decorative fashion in France in the second half of the sixteenth century. Catherine later herself employed Primaticcio to design her Valois chapel. She also patronised French talent, such as the architects 677:'s text ... accordingly I have made use, at the palace of Her Majesty the Queen, of the Ionic order, on the view that it is delicate and of greater beauty than the Doric, and more ornamented and enriched with distinctive features. 556:

Pilon had by this time developed a freer style of sculpture than previously seen in France. Earlier French sculpture seems to have influenced him less than Primaticcio's decorations at Fontainebleau: the work of his predecessor

561:, for example, is more linear and classical. Pilon openly depicts extreme emotion in his work, sometimes to the point of the grotesque. His style has been interpreted as a reflection of a society torn by the conflict of the 474: 365:

led the work. Du Cerceau made minor alterations to Bullant's designs and completed the walls to the top of the second story when construction was abandoned in 1585. The chapel was demolished in the early 18th century.

1872:• Pons, 79. Counts Jérome and Charles Pozzo di Borgo bought sections of the ruins during the demolition of the Tuileries in 1883 and used them to construct the Château de la Punta in Corsica, overlooking the gulf of 649:

the classical style—lucid, rational and regular". He notes, however, that in this case he added rich materials and ornaments to please the queen. The plans therefore include a decorative element that looks forward to

462: 924:

that could be dismantled in winter. The actual construction work was carried out after Bullant's death in 1582. The building was demolished in the 1760s. All that remains of the Hôtel de la Reine today is a single

1802:

De l'Orme recorded that Catherine told him "to make several encrustations of different kinds of marble, gilded bronze and of minerals, like marcassites" on both the inside and the outside of the building. Knecht,

152:). There she watched the leading artists and architects of the day at work in the city. When she later commissioned buildings herself, in France, Catherine often turned to Italian models. She based the 424:, who had provided statues for the tomb of Francis I, carved the tomb's two sets of effigies, which represented death below and eternal life above. The King and Queen, cast in bronze, kneel in prayer ( 2720: 760:

brought English diplomats to the gardens to "see the designs of his mother", and they dined in a slated-roofed open-sided pavilion or banqueting house. According to the French military leader

350:

in coloured marble. The building would contain six other chapels circling the tomb of Henry and Catherine. Primaticcio's circular design solved the problems faced by the Giusti brothers and

277:

husband. She had emblems of her love and grief carved into the stonework of her buildings. She commissioned a magnificent tomb for Henry, as the centrepiece of an ambitious new chapel.

772:

were butchered in Paris. The gardens had been laid out before work on the palace halted. They included canals, fountains, and a grotto decorated with glazed animals by the potter

2028:, of whom he writes: "In these last years, Bullant's desire for the colossal seems to have grown greater, and in this case it could not be harmonized with the existing building". 375: 870:, emptied of its contents, and its terrains divided up among real-estate speculators. The structure was demolished for the value of its materials; virtually nothing remains. 1159:" (12 May 1588), in which a mob took over the streets of Paris, "reduced the authority and prestige of the monarchy to its lowest ebb for a century and a half". Morris, 260. 577:, near Paris, which Henry II gave her in 1556, three years before his death. The building consisted of a central pavilion housing a straight staircase, and two wings with a 695:

show that the columns, pilasters, dormers and tabernacles of the Tuileries were the outstanding masterpieces of non-figurative French Renaissance architectural sculpture".

916:

in about 1650 and a plan from about 1700 show that the Hôtel de la Reine possessed a central wing, a courtyard, and gardens. The walled gardens of the hôtel included an

292:, as a tomb for her dead husband. Artemesia had also acted as regent for her children. Houël laid stress on Artemesia's devotion to architecture. In his dedication to 827:, south east of Paris, was another of Catherine's unfinished projects. She bought this building, on which Philibert de l'Orme had worked, from the heirs of Cardinal 1532:

was originally commissioned to carve the queen's corpse, but his effort, in which Catherine looks emaciated, was left unfinished in 1566 and is now in the Louvre.

1047:, a beautiful publication dedicated to Catherine. His work is an invaluable record of buildings that were never finished or were later substantially altered. 136:, "she was driven by a passion to build and a desire to leave great achievements behind her when she died." Born in Florence in 1519, Catherine lived at the 738:, to mark proportion. Some commentators have interpreted his different approach as a criticism of de l'Orme's departures from the style of Roman monuments. 890:: the central and right-hand sections are those built during Catherine's lifetime. The Colonne de l'Horoscope can be seen in the background, to the right. 756:

Despite its unfinished state, Catherine often visited the palace. She held banquets and festivities there and loved to walk in the gardens. In June 1572,

92:

King Francis set his daughter-in-law an example of kingship and artistic patronage that she never forgot. She witnessed his huge architectural schemes at

2235:

write an account of it. He concluded that plague resulted from poisoning of the air and was "often sent by the just anger of God punishing our offences".

862:. The work was only partly carried out, and the house was never fit for Catherine to live in. The Château de Saint-Maur, still in the possession of the 3087: 1112: 2727: 1060:

was in steep decline. The popular view condemned Catherine's building schemes as obscenely extravagant. This was especially true in Paris, where the

1615:

Zerner, 383. Whereas the "Resurrection" for the tomb of Francis I was positioned close to the corpses, this design would have involved the visitor.

855: 698: 338:, who had worked for Henry at Fontainebleau. Primaticcio designed the chapel as a round building, crowned by a dome, to be joined to the north 1346:"Catherine's lifelong mourning was not only a manner to express grief: it was also the legitimisation of her political role." Hoogvliet, 106. 1098:

in 1589, a few months after her own, brought the Valois dynasty to an end. Precious little of Catherine's grand building work has survived.

3097: 1107: 3132: 1894:

Thomson, 168. In June 1565 and September 1581, Catherine had temporary oval structures built to house entertainments for state occasions.

1716:, 104. Catherine planned a grid of streets to replace the palace, with houses designed by de l'Orme, but the work was never carried out. 1778:• Randall, 82–84. The reasons for de l'Orme's disgrace are not clear, but it seems that he was prone to arrogance and had made enemies. 969:. She had not forgotten that Henry had given this crown property to Diane instead of to her. In return, she gave Diane the less prized 148:. After moving to Rome in 1530, she lived, surrounded by classical and Renaissance treasures, at another Medici palace (now called the 601: 545:

now stands in the church of St Jean and St François. In art historian Anthony Blunt's view, it marks a departure from the tension of

1903:

Thomson, 173. The reliefs on the arches of the Petite Galerie, like those on the court front of the Louvre, symbolise the might and

3147: 1320:

Hoogvliet, 111. Some scholars believe that the intertwined letter Cs may also refer to crescent moons, the emblem of Henry's lover

322:, where the kings of France were traditionally buried. As the centrepiece of this circular chapel, sometimes known as the Valois 831:, after the latter's death in 1560. She then commissioned de l'Orme to finish the work he had begun there. Drawings by Jacques 624:. To replace the Tournelles, she decided in 1563 to build herself a new Paris residence on the site of some old tile kilns or 2750: 912:

The new palace was known in Catherine's time as the Hôtel de la Reine and later as the Hôtel de Soissons. Engravings made by

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may shed light on Catherine's intentions for Saint-Maur. They show a plan to enlarge each wing by doubling the size of the

687:

According to Thomson, "The surviving portions of the palace scattered between the Tuileries gardens, the courtyards of the

468:

Drawing of how the tomb of Henry II and his wife originally looked; it shows the Effigies at top and the double tomb below

2492:

Edited by Martin Gosman, Alasdair A. MacDonald, and Arie Johan Vanderjagt. Leiden and Boston, MA: Brill Academic, 2003.

628:. The site was close to the congested Louvre, where she kept her household. The grounds extended along the banks of the 2756: 1929:

Thomson, 173–4. The only elements Bullant harmonised with de l'Orme's work were the ground-floor Ionic columns and the

1907:

of the Valois monarchy. Those of de l'Orme at the Tuileries are purely classical in style and follow the principles of

1720:, who ruled France from 1589 to 1610, later constructed a square on the site called the Place Royale, now known as the 781: 289: 357:

Work on the chapel began in 1563 and continued over the next two decades. Primaticcio died in 1570, and the architect

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In the 1580s, Pilon began work on statues for the chapels that were to circle the tomb. Among these, the fragmentary

3172: 2435:

Journal of the Warburg and Courtauld Institutes, Vol. 22, No. 1/2 (Jan.–Jun., 1959), 71–87. Retrieved 29 March 2008.

496:

Close up of the Effigies on the tomb of Henry II and Catherine de' Medici at the Basilica of Saint-Denis, carved by

2713: 2231:

Cunningham, 280–81. So widespread and serious was the plague of 1565, for example, that Catherine had the surgeon

387: 3113: 2786: 2081: 2059:

Knecht, 230. Between 1575 and 1583, for example, the number of Catherine's ladies-in-waiting rose from 68 to 111.

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panels gives the effect of blurrier lines than in the more classical works de l'Orme had designed for Henry II.

3152: 2897: 210: 937:. Catherine's biographer Leonie Frieda has called it "a poignant reminder of the fleeting nature of power". 715: 2382:

Vitruue; au proffit de tous ouvriers besongnans au compas & à l'esquierre a Escouën par Iehan Bullant.

1950: 533:, was designed to face the tomb of Catherine and Henry from a side chapel. This work owes a clear debt to 264: 100:. She saw Italian and French craftsmen at work together, forging the style that became known as the first 3137: 2919: 214: 934: 844: 644:

from disgrace. This arrogant genius had been sacked as superintendent of royal buildings at the end of

428:) on a marble canopy supported by twelve marble columns. Their poses echo those on the nearby tombs of 285: 1748: 2924: 1381: 1176:) shows itself more and more and shines as you yourself take the trouble to project and sketch out ( 800:

set fire to the remainder in 1871. Twelve years later, the ruins were demolished and then sold off.

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Catherine loved gardens and often conducted business in them. At Chenonceau, she added waterfalls,

3046: 962: 954: 850:. That meant the extensions would not unbalance the masses of the building as seen from the side. 824: 54: 3056: 3041: 3036: 3015: 2736: 1946: 562: 509: 481: 436:. Pilon's feel for the material, however, invests his statues with a greater sense of movement. 319: 301:

others that you have constructed, built, and embellished with sculptures and beautiful paintings.

234: 137: 105: 101: 97: 42: 34: 23: 3051: 1772:, London, 1958), that Catherine may have been moved to rehabilitate de l'Orme after reading his 688: 617: 2980: 2944: 2914: 2810: 2563: 1169: 843:

next to the main block of the house. The house was to stay as one storey, with a flat roof and

816: 641: 351: 323: 250: 2538: 2387: 970: 776:. In 1573, Catherine hosted the famous entertainment at the Tuileries that is depicted on the 399: 310: 206: 171: 93: 2949: 2934: 2875: 2575: 2483: 1529: 1156: 1035: 991: 335: 281: 226: 2367: 2902: 2792: 2768: 1606:(prayer desk), was removed from the sculpture during the French revolution and melted down. 757: 670: 449:

stand at the corners of the tomb. Pilon also carved the reliefs round the base that recall

149: 141: 2696:

Architectura: Les Livres d'Architecture. Architecture, Textes et Images, XVI–XVII siècles.

2440:

The Four Horsemen of the Apocalypse: Religion, War, Famine and Death in Reformation Europe

978: 903: 858:'s view, the scheme would have given this part of the house, a "colossal, even grotesque" 840: 578: 50: 8: 3061: 3000: 2798: 2774: 2672:

Translated by Deke Dusinberre, Scott Wilson, and Rachel Zerner. Paris: Flammarion, 2003.

2543: 2395: 1396: 1095: 1027: 1003: 894: 832: 785: 711: 703: 610: 433: 362: 186: 175: 133: 86: 62: 3071: 965:, near Blois. On Henry II's death, she had demanded this property from Henry's mistress 863: 202: 108:

gripped the country and brought the prestige of the monarchy to a dangerously low ebb.

2975: 2939: 2929: 2908: 2804: 2762: 1756: 1717: 1062: 789: 719: 645: 218: 182: 82: 66: 1752: 27: 3020: 2995: 2985: 2954: 2673: 2658: 2643: 2615: 2600: 2585: 2550: 2523: 2508: 2493: 2461: 2443: 2421: 2406: 2352: 2335: 2320: 2316: 2297: 2275: 1512: 1325: 1321: 1190: 1069: 984:

Diane had carried out major works at Chenonceau, such as de l'Orme's bridge over the

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for Catherine and reinforced her right to serve as regent. The later female regents

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Knecht, 233. Ronsard addressed these lines to the financial official Raoul Moreau.

1721: 913: 883: 761: 749: 633: 606: 582: 446: 342:

of the basilica. The interior and exterior of the chapel were to be decorated with

222: 153: 117: 78: 46: 2232: 1776:, in which he defended himself against all charges and pleaded for fair treatment. 920:, a lake with a water jet, and long avenues of trees. Catherine also installed an 581:

at each end. Catherine wanted to cover the alley in the garden where Henry played

2839: 2834: 1904: 1400: 1057: 773: 735: 734:. Bullant attached columns to his pavilion, as advocated in his 1564 book on the 450: 167: 38: 2705: 2849: 2582:

Architecture and Panelling: The James. A. Rothschild Bequest at Waddesdon Manor

2206: 2038: 836: 828: 723: 538: 537:, who had designed the tomb and funerary statues for Catherine's father at the 89:. On doing so, she entered the greatest Renaissance court in northern Europe. 2636: 1094:

Ronsard was in many ways proved correct. The death of Catherine's beloved son

190: 189:. Though she kept in touch with her native Florence, her taste matured at the 3126: 3066: 2453: 2345: 1784:

and an incident in which de l'Orme and his brother killed two men in a brawl.

1385: 1277: 930: 514: 497: 421: 258: 229:

worked on the interior, alongside French craftsmen. This meeting of Italian

198: 157: 2315:. English language edition edited by Lawrence D. Kritzman and translated by 2307:

Babelon, Jean-Pierre. "The Louvre: Royal Residence and Temple of the Arts".

620:, where Henry had lain after a lance fatally pierced his eye and brain in a 128:

Historians often assume that Catherine's love for the arts stemmed from her

61:. Born in 1519 in Florence, Catherine de' Medici was a daughter of both the 2375: 2025: 1781: 1638: 1629: 995: 985: 950: 745: 731: 650: 534: 521:(1580s), commissioned by Catherine de' Medici for the Valois Chapel complex 358: 254: 973:. When Diane arrived at Chaumont, she found signs of the occult, such as 741: 181:

Catherine, however, left Italy in 1533 at the age of fourteen and married

132:

heritage. "As the daughter of the Medici," suggests French art historian

2892: 2312: 1392: 1328:). However, Catherine continued to use this monogram after Henry's death. 1281: 1023: 926: 661: 558: 113: 2309:

Realms of Memory: The Construction of the French Past. Vol. III: Symbols

1780:• Zerner, 402. Zerner, who calls him "haughty", mentions allegations of 1043:

Tuileries, and Chenonceau. In 1576 and 1579, he produced the two-volume

780:. This was a grand ball for the Polish envoys who had come to offer the 217:

into one of the great palaces of Europe, a project that continued under

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in Florence; and she originally planned the Hôtel de la Reine with the

145: 74: 2432: 1700: 706:

of an enlarged project of 1578–1579 for the Tuileries, with oval halls

361:

took over the project two years later. After Bullant's death in 1578,

233:

and French patronage bred an original style, later known as the first

2854: 1908: 1603: 1031: 1011: 974: 945: 909:

scheme and its gardens, she had an entire area of Paris demolished.

793: 769: 674: 546: 429: 246: 230: 318:

In memory of Henry II, Catherine decided to add a new chapel to the

2630: 2597:

Building Codes: The Aesthetics of Calvinism in Early Modern Europe.

1858: 1019: 921: 859: 847: 808: 657: 621: 616:

After the death of Henry II, Catherine abandoned the palace of the

347: 343: 339: 273: 2655:

Form and Decoration: Innovation in the Decorative Arts, 1470–1870.

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Hoogvliet, Margriet. "Princely Culture and Catherine de Médicis".

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and afforded a view of the countryside to the south and west. The

197:

Francis was a compulsive builder. He began extension works at the

1934: 1873: 1180:) the buildings which it pleases you to commission". Knecht, 228. 933:, which stood in the courtyard. It can be seen next to the domed 692: 586: 550: 19: 2082:

Plan of the Hôtel de la Reine, from an engraving of about 1700.

1930: 1854: 1599: 1015: 917: 722:, who ruled from 1589 to 1610, to add the second floor and the 683: 590: 530: 441: 242: 238: 161: 129: 70: 653:'s later work and to a less classical style of architecture. 81:. In 1533, at the age of fourteen, she left Italy and married 1453:

L'art de la Renaissance en France. L'invention du classicisme

1371:

of 1560, was the first to call Catherine the "new Artemisia".

949:

Catherine had two galleries built on Diane's bridge over the

887: 629: 268:

Initials of Henry II and Catherine on a chimney at Chenonceau

58: 1768:

Knecht, 229. Historian R. J. Knecht suggests, (after Blunt,

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drawn on the floor. She quickly withdrew to her château of

280:

In 1562, a long poem by Nicolas Houël likened Catherine to

2386:

Paris: Hierosme de Marnef & Guillaume Cauellat, 1568.

1380:

Quoted by Knecht, 224. Catherine commissioned the artists

878: 2612:

The Illustrated Dictionary of Architecture and Architects

1840:

measurements of width and length". Quoted by Knecht, 228.

69:. She grew up in Florence and Rome under the wing of the 2420:

Translated by Deke Dusinberre. Paris: Flammarion, 1995.

1403:(1643–60) revived this iconography in their own service. 2670:

Renaissance Art in France. The Invention of Classicism.

2351:. New Haven, CT: Yale University Press, 1999 edition. 589:. For this commission, Philibert de l'Orme built her a 2599:

Philadelphia: University of Pennsylvania Press, 1999.

1030:

made drawings of a grandiose scheme for Chenonceau. A

764:, it was in the Tuileries Garden that she planned the 710:

De l'Orme's original plans have not survived. Jacques

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Renaissance Paris: Architecture and Growth, 1475-1600

2072:, included the Hôtel Guillart and the Hôtel d'Albret. 1598:

Knecht, 227. Henry's gesture is now unclear, since a

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In 1576, Catherine decided to enlarge her château of

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Villas and Gardens in Early Modern Italy and France.

609:, designed by Philibert de l'Orme, drawn by Jacques 334:To lead the Valois chapel project, Catherine chose 16:

Series of French Renaissance architectural projects

1367:Frieda, 266; Hoogvliet, 108. Louis Le Roy, in his 420:and kept ornamentation to a minimum. The sculptor 2735: 2642:Berkeley: University of California Press, 1984. 1636:(1531) and carved the soldiers in Michelangelo's 1324:(the crescent moon was the symbol of the goddess 1034:lower court leads to a forecourt of semicircular 640:To design the new palace, Catherine brought back 453:work on the monument for the heart of Francis I. 3124: 1391:• Frieda, 266. The story of Artemisia formed an 718:, was completed in her lifetime. It was left to 2442:. Cambridge: Cambridge University Press, 2000. 2292:Châteaux de France au siècle de la Renaissance. 1369:Ad illustrissimam reginam D. Catherinam Medicem 1284:, were continued by the last four Valois kings. 929:column, known as the Colonne de l'Horoscope or 440:back. From 1583, Pilon also sculpted two later 37:was patron for building projects including the 2478:Histoire de l'architecture classique en France 1455:(Zerner, 1996: 349–54), quoted by Knecht, 227. 573:Catherine's earliest building project was the 2721: 2334:Cambridge: Cambridge University Press, 2001. 2319:. New York: Columbia University Press, 1998. 1485: 1483: 1066:was often asked to contribute to her costs. 796:was to dismantle sections of the palace. The 116:column, a few fragments in the corner of the 2567: 2520:Europe and England in the Sixteenth Century. 2476: 2399: 2379: 2290: 2037:Knecht, 231. The terrace was supported by a 1113:Catherine de' Medici's patronage of the arts 1089:It will be deserted within a hundred years. 752:, in an engraving of 1725 by Michel Félibien 245:in the shape of parchment or curled leather 2205:, 91. The original drawings are now in the 2119: 2117: 1976: 1974: 1972: 1970: 1354: 1352: 1241: 1239: 1079:Her lime must stop swallowing our wealth... 660:of Catherine's palace, de l'Orme chose the 480:Tomb of Henry II and Catherine de' Medici, 370:Architectural designs for the Valois Chapel 2728: 2714: 2627:Catherine de Medici and the Ancien Régime. 1732: 1730: 1480: 1193:accused her of preferring masons to poets. 1081:Painters, masons, engravers, stone-carvers 213:in 1539. He also transformed the lodge at 2657:London: Weidenfeld & Nicolson, 2000. 2438:Cunningham, Andrew, and Ole Peter Grell. 2401:Les plus excellents bastiments de France. 2349:Art and Architecture in France: 1500–1700 2162: 2160: 1133: 1131: 1129: 1127: 457:Tomb of Henri II and Catherine de' Medici 2490:Princes and Princely Culture, 1450–1650. 2405:Paris: Sand & Conti, 1988 edition. 2274:. Stuttgart: Edition Axel Menges, 2004. 2114: 2068:Frieda, 335. The area, in the parish of 1967: 1581: 1579: 1349: 1236: 1045:Les Plus Excellents Bastiments de France 990: 944: 893: 877: 807: 740: 697: 600: 508: 309: 263: 166: 18: 2418:French Art: The Renaissance, 1430–1620. 2135: 1954:, series 2 vol. 3 (London, 1827), p. 18 1727: 981:and never set foot in Chaumont again. 664:, which he considered a feminine form: 201:, He added a wing to the old castle at 3125: 2629:London: Historical Association, 1966. 2549:Cambridge, MA: Da Capo, 2001 edition. 2522:London and New York: Routledge, 1998. 2157: 2044: 1813: 1811: 1809: 1276:, 80. These extensions, supervised by 1124: 1108:Catherine de' Medici's court festivals 1083:Drain the treasury with their deceits. 3011:St. Bartholomew's Day massacre (1572) 3006:Peace of Saint-Germain-en-Laye (1570) 2805:Margaret, Queen of France and Navarre 2751:Lorenzo II de' Medici, Duke of Urbino 2709: 1576: 1050: 784:to her son, the duke of Anjou, later 726:that finally linked the two palaces. 314:The Valois Chapel in the 17th century 3109: 2574:Ridgewood, NJ: Gregg Press, 1964. 2507:London and New York: Longman, 1998. 1937:between the first and ground floors. 1018:, laid out three parks, and planted 873: 2433:"The Chateau of Montceaux-en-Brie." 1806: 1645: 1280:and featuring relief sculptures by 1085:Of what use is her Tuileries to us? 13: 3133:Renaissance architecture in France 2024:, 89, believes this architect was 1701:"The Chateau of Montceaux-en-Brie" 1519:may have influenced their carving. 1087:Of none, Moreau; it is but vanity. 792:later added to the Tuileries; but 381:Plan showing the chapel's location 290:Seven Wonders of the Ancient World 14: 3184: 2685: 1755:shows the complex in 1615, after 3108: 2547:Great Architecture of the World. 2535:The Age of Catherine de' Medici. 2296:Paris: Flammarion/Picard, 1989. 1628:, 95. Pilon based the Christ on 1564:somewhat pagan". Zerner, 382–83. 605:Detail of the court side of the 489: 473: 461: 398: 386: 374: 305: 294:L'Histoire de la Royne Arthémise 205:, and built the vast château of 53:in Paris, and extensions to the 3148:Burial monuments and structures 2757:Madeleine de la Tour d'Auvergne 2584:. London: Philip Wilson, 2001. 2247: 2238: 2225: 2212: 2195: 2182: 2169: 2148: 2126: 2105: 2096: 2087: 2075: 2062: 2053: 2031: 2014: 2001: 1992: 1983: 1958: 1940: 1923: 1914: 1897: 1888: 1879: 1864: 1843: 1833: 1824: 1796: 1787: 1762: 1739: 1706: 1693: 1684: 1671: 1658: 1618: 1609: 1592: 1567: 1557: 1544: 1535: 1522: 1501: 1492: 1467: 1458: 1446: 1433: 1424: 1415: 1406: 1374: 1361: 1340: 1331: 1314: 1305: 1296: 1287: 1266: 1263:Frieda, 79, 455; Sutherland, 6. 1257: 1248: 691:and the Château de la Punta in 541:in Florence. Pilon's statue of 329: 2220:Art and Architecture in France 2203:Art and Architecture in France 2190:Art and Architecture in France 2143:Art and Architecture in France 2022:Art and Architecture in France 2009:Art and Architecture in France 1851:Art and Architecture in France 1819:Art and Architecture in France 1714:Art and Architecture in France 1679:Art and Architecture in France 1666:Art and Architecture in France 1653:Art and Architecture in France 1626:Art and Architecture in France 1587:Art and Architecture in France 1552:Art and Architecture in France 1509:Art and Architecture in France 1475:Art and Architecture in France 1441:Art and Architecture in France 1274:Art and Architecture in France 1227: 1218: 1209: 1196: 1183: 1162: 1149: 1140: 1077:The queen must cease building, 866:, was nationalised during the 766:St. Bartholomew's Day massacre 1: 2981:Edict of Saint-Germain (1562) 2971:Siege of Florence (1529–1530) 2898:Charles, Cardinal of Lorraine 2537:London: Jonathan Cape, 1945. 2396:Du Cerceau, Jacques Androuet. 2263: 1172:wrote: "your good judgement ( 1072:captured the mood in a poem: 940: 803: 549:and "almost foreshadows" the 484:, with marble effigies on top 211:Charles V, Holy Roman Emperor 123: 1885:Knecht, 229; Thomson 165–66. 886:of the Hôtel de la Reine in 596: 575:Château de Montceaux-en-Brie 568: 7: 3158:French architecture writers 3001:Treaty of Longjumeau (1568) 2781:Claude, Duchess of Lorraine 2175:Knecht, 232, quotes Blunt, 1101: 1004:Jacques Androuet du Cerceau 504: 272:The death of Henry II from 10: 3189: 2950:Admiral Gaspard de Coligny 2650:. Retrieved 21 March 2008. 2614:. London: Headline, 1991. 2366:. London: Zwemmer, 1958. 1511:, 94. Blunt believes that 901: 286:Mausoleum at Halicarnassus 3106: 3080: 3029: 2976:Colloquy of Poissy (1561) 2963: 2888:Cardinal Silvio Passerini 2868: 2825: 2775:Elisabeth, Queen of Spain 2743: 2272:The Architecture of Paris 2255:Au tresorier de l'esparne 393:Plan of the Valois Chapel 209:, which he showed off to 185:, the second son of King 85:, the second son of King 3021:Edict of Beaulieu (1576) 2996:Surprise of Meaux (1567) 2986:Massacre of Vassy (1562) 2920:Louis I, Prince of Condé 2482:. Paris: Picard, 1943. 1254:Knecht 176; Frieda, 199. 1118: 998:planned enlargements at 768:, in which thousands of 3057:Palace of Fontainebleau 3042:Basilica of Saint-Denis 3037:Palazzo Medici Riccardi 3016:French Wars of Religion 2991:Edict of Amboise (1563) 2860:French Catholic Leagues 2460:London: Phoenix, 2005. 2041:, a covered passageway. 1830:Quoted by Thomson, 169. 563:French Wars of Religion 513:Surviving fragments of 482:Basilica of Saint-Denis 410: 320:Basilica of Saint-Denis 235:School of Fontainebleau 102:School of Fontainebleau 43:Basilica of Saint-Denis 2945:Henry I, Duke of Guise 2915:Francis, Duke of Guise 2811:Francis, Duke of Anjou 2787:Louis, Duke of Orléans 2568: 2477: 2400: 2380: 2291: 2288:Babelon, Jean-Pierre. 2179:(London, 1958), 89–91. 1189:Knecht, 228. The poet 1178:protraire et esquicher 1092: 1007: 958: 899: 891: 820: 813:Château de Saint-Maur, 753: 707: 679: 613: 522: 315: 303: 296:, he told Catherine: 269: 178: 30: 3143:Architectural history 3047:Château de Chenonceau 2940:Jeanne III of Navarre 2935:Claude, Duke of Guise 2564:L'Orme, Philibert de. 2544:Norwich, John Julius. 2505:Catherine de' Medici. 1849:Thomson, 171; Blunt, 1530:Girolamo della Robbia 1157:Day of the Barricades 1074: 994: 948: 897: 881: 825:Saint-Maur-des-Fossés 811: 744: 701: 666: 604: 543:St Francis in Ecstasy 512: 336:Francesco Primaticcio 313: 298: 267: 227:Francesco Primaticcio 170: 55:Château de Chenonceau 22: 3173:Catherine de' Medici 3114:Catherine de' Medici 2903:Mary, Queen of Scots 2793:Charles IX of France 2769:Francis II of France 2737:Catherine de' Medici 2595:Randall, Catharine. 2458:Catherine de Medici. 1550:Zerner, 379; Blunt, 1002:(c. 1572), drawn by 882:A 1650 engraving by 758:Charles IX of France 689:École des Beaux-Arts 284:, who had built the 35:Catherine de' Medici 24:Catherine de' Medici 3062:Notre-Dame de Paris 2925:Michel de l'Hôpital 2799:Henry III of France 2610:Sharp, Dennis, ed. 2364:Philibert de l'Orme 2177:Philibert de l'Orme 1770:Philibert de l'Orme 1382:Niccolò dell'Abbate 1170:Philibert de l'Orme 1028:Androuet du Cerceau 833:Androuet du Cerceau 817:Philibert de l'Orme 786:Henry III of France 712:Androuet du Cerceau 704:Androuet du Cerceau 702:Drawing by Jacques 642:Philibert de l'Orme 611:Androuet du Cerceau 585:, an early form of 363:Baptiste du Cerceau 352:Philibert de l'Orme 257:, and the sculptor 251:Philibert de l'Orme 187:Francis I of France 172:Château de Chambord 134:Jean-Pierre Babelon 106:religious civil war 87:Francis I of France 3153:Châteaux in France 3138:French Renaissance 3081:Patron of the arts 3030:Places in her life 2930:Antoine of Navarre 2909:Philip II of Spain 2876:Clarice de' Medici 2869:People in her life 2828:Groups in her life 2763:Henry II of France 2625:Sutherland, N. M. 2474:Hautecœur, Louis. 1853:, 55. The way the 1051:End of the dynasty 1008: 959: 935:Bourse de commerce 900: 892: 821: 754: 708: 614: 523: 316: 270: 221:. Artists such as 179: 67:French Renaissance 31: 3120: 3119: 3093:Building projects 3052:Château d'Amboise 2955:Diane de Poitiers 2905:(daughter-in-law) 2653:Thornton, Peter. 2317:Arthur Goldhammer 1515:'s Fontainebleau 1513:Benvenuto Cellini 1322:Diane de Poitiers 1070:Pierre de Ronsard 967:Diane de Poitiers 904:Hôtel de Soissons 874:Hôtel de la Reine 868:French Revolution 778:Valois Tapestries 164:Palace in mind. 142:Cosimo de' Medici 51:Hôtel de la Reine 33:The French queen 3180: 3112: 3111: 3072:Château of Blois 3067:Palais du Louvre 2882:Pope Clement VII 2845:House of Bourbon 2730: 2723: 2716: 2707: 2706: 2693: 2635:Thomson, David. 2572: 2562: 2480: 2473: 2431:Coope, Rosalys. 2403: 2394: 2384: 2374: 2362:Blunt, Anthony. 2294: 2287: 2258: 2251: 2245: 2242: 2236: 2229: 2223: 2216: 2210: 2199: 2193: 2186: 2180: 2173: 2167: 2164: 2155: 2152: 2146: 2139: 2133: 2130: 2124: 2121: 2112: 2109: 2103: 2100: 2094: 2091: 2085: 2079: 2073: 2066: 2060: 2057: 2051: 2048: 2042: 2035: 2029: 2018: 2012: 2005: 1999: 1996: 1990: 1987: 1981: 1978: 1965: 1962: 1956: 1952:Original Letters 1944: 1938: 1927: 1921: 1918: 1912: 1901: 1895: 1892: 1886: 1883: 1877: 1868: 1862: 1847: 1841: 1837: 1831: 1828: 1822: 1815: 1804: 1800: 1794: 1791: 1785: 1766: 1760: 1743: 1737: 1734: 1725: 1722:Place des Vosges 1710: 1704: 1697: 1691: 1690:Knecht, 228–229. 1688: 1682: 1675: 1669: 1662: 1656: 1649: 1643: 1622: 1616: 1613: 1607: 1596: 1590: 1583: 1574: 1571: 1565: 1561: 1555: 1548: 1542: 1539: 1533: 1526: 1520: 1505: 1499: 1496: 1490: 1487: 1478: 1471: 1465: 1462: 1456: 1450: 1444: 1437: 1431: 1428: 1422: 1419: 1413: 1410: 1404: 1397:Marie de' Medici 1378: 1372: 1365: 1359: 1356: 1347: 1344: 1338: 1335: 1329: 1318: 1312: 1309: 1303: 1300: 1294: 1291: 1285: 1270: 1264: 1261: 1255: 1252: 1246: 1243: 1234: 1231: 1225: 1222: 1216: 1213: 1207: 1200: 1194: 1187: 1181: 1166: 1160: 1153: 1147: 1144: 1138: 1135: 914:Israel Silvestre 884:Israël Silvestre 762:Marshal Tavannes 748:pavilion at the 736:classical orders 493: 477: 465: 447:cardinal virtues 402: 390: 378: 241:and high-relief 223:Rosso Fiorentino 183:Henry of Orléans 174:, built by King 118:Tuileries Garden 47:Tuileries Palace 3188: 3187: 3183: 3182: 3181: 3179: 3178: 3177: 3168:House of Valois 3163:House of Medici 3123: 3122: 3121: 3116: 3102: 3098:Court Festivals 3076: 3025: 2959: 2878:(paternal aunt) 2864: 2840:House of Valois 2835:House of Medici 2827: 2821: 2739: 2734: 2691: 2688: 2683: 2668:Zerner, Henri. 2560: 2471: 2392: 2372: 2346:Blunt, Anthony. 2285: 2270:Ayers, Andrew. 2266: 2261: 2252: 2248: 2243: 2239: 2230: 2226: 2217: 2213: 2200: 2196: 2187: 2183: 2174: 2170: 2165: 2158: 2153: 2149: 2140: 2136: 2131: 2127: 2122: 2115: 2110: 2106: 2101: 2097: 2093:Thomson, 176–7. 2092: 2088: 2080: 2076: 2067: 2063: 2058: 2054: 2049: 2045: 2036: 2032: 2019: 2015: 2006: 2002: 1997: 1993: 1988: 1984: 1979: 1968: 1963: 1959: 1945: 1941: 1928: 1924: 1919: 1915: 1905:moral authority 1902: 1898: 1893: 1889: 1884: 1880: 1871: 1869: 1865: 1848: 1844: 1838: 1834: 1829: 1825: 1816: 1807: 1801: 1797: 1792: 1788: 1779: 1777: 1767: 1763: 1753:Matthäus Merian 1746: 1744: 1740: 1735: 1728: 1711: 1707: 1698: 1694: 1689: 1685: 1676: 1672: 1663: 1659: 1650: 1646: 1634:Noli me tangere 1632:'s cartoon for 1623: 1619: 1614: 1610: 1602:, resting on a 1597: 1593: 1584: 1577: 1573:Knecht, 226–27. 1572: 1568: 1562: 1558: 1549: 1545: 1540: 1536: 1528:Zerner 383–84. 1527: 1523: 1506: 1502: 1497: 1493: 1488: 1481: 1472: 1468: 1463: 1459: 1451: 1447: 1438: 1434: 1430:Hoogvliet, 109. 1429: 1425: 1420: 1416: 1411: 1407: 1401:Anne of Austria 1390: 1379: 1375: 1366: 1362: 1357: 1350: 1345: 1341: 1336: 1332: 1319: 1315: 1310: 1306: 1301: 1297: 1292: 1288: 1271: 1267: 1262: 1258: 1253: 1249: 1244: 1237: 1233:Hautecœur, 523. 1232: 1228: 1223: 1219: 1214: 1210: 1201: 1197: 1188: 1184: 1167: 1163: 1154: 1150: 1145: 1141: 1136: 1125: 1121: 1104: 1091: 1088: 1086: 1084: 1082: 1080: 1078: 1058:moral authority 1053: 943: 906: 876: 819: 814: 806: 782:crown of Poland 774:Bernard Palissy 599: 571: 507: 500: 494: 485: 478: 469: 466: 413: 406: 403: 394: 391: 382: 379: 346:, columns, and 332: 308: 126: 28:François Clouet 17: 12: 11: 5: 3186: 3176: 3175: 3170: 3165: 3160: 3155: 3150: 3145: 3140: 3135: 3118: 3117: 3107: 3104: 3103: 3101: 3100: 3095: 3090: 3084: 3082: 3078: 3077: 3075: 3074: 3069: 3064: 3059: 3054: 3049: 3044: 3039: 3033: 3031: 3027: 3026: 3024: 3023: 3018: 3013: 3008: 3003: 2998: 2993: 2988: 2983: 2978: 2973: 2967: 2965: 2961: 2960: 2958: 2957: 2952: 2947: 2942: 2937: 2932: 2927: 2922: 2917: 2912: 2906: 2900: 2895: 2890: 2885: 2879: 2872: 2870: 2866: 2865: 2863: 2862: 2857: 2852: 2850:House of Guise 2847: 2842: 2837: 2831: 2829: 2823: 2822: 2820: 2819: 2814: 2808: 2802: 2796: 2790: 2784: 2778: 2772: 2766: 2760: 2754: 2747: 2745: 2741: 2740: 2733: 2732: 2725: 2718: 2710: 2702: 2701: 2687: 2686:External links 2684: 2682: 2681: 2666: 2651: 2633: 2623: 2608: 2593: 2578: 2558: 2541: 2539:OCLC 39949296. 2531: 2518:Morris, T. A. 2516: 2503:Knecht, R. J. 2501: 2486: 2469: 2454:Frieda, Leonie 2451: 2436: 2429: 2414: 2390: 2388:OCLC 20861874. 2376:Bullant, Jean. 2370: 2360: 2343: 2330:Benes, Mirka. 2328: 2305: 2283: 2267: 2265: 2262: 2260: 2259: 2246: 2237: 2224: 2211: 2207:British Museum 2194: 2181: 2168: 2156: 2147: 2134: 2125: 2113: 2104: 2095: 2086: 2074: 2070:Saint-Eustache 2061: 2052: 2043: 2039:cryptoporticus 2030: 2013: 2000: 1991: 1982: 1966: 1957: 1939: 1922: 1913: 1896: 1887: 1878: 1863: 1842: 1832: 1823: 1805: 1795: 1786: 1761: 1738: 1726: 1705: 1692: 1683: 1670: 1657: 1644: 1617: 1608: 1591: 1575: 1566: 1556: 1543: 1534: 1521: 1500: 1491: 1479: 1466: 1457: 1445: 1432: 1423: 1414: 1405: 1399:(1610–20) and 1373: 1360: 1348: 1339: 1330: 1313: 1304: 1295: 1286: 1265: 1256: 1247: 1235: 1226: 1224:Frieda, 30–31. 1217: 1208: 1195: 1182: 1168:The architect 1161: 1148: 1139: 1122: 1120: 1117: 1116: 1115: 1110: 1103: 1100: 1075: 1052: 1049: 996:Jean Bullant's 942: 939: 902:Main article: 875: 872: 856:Roberrt Knecht 837:British Museum 829:Jean du Bellay 823:The palace of 812: 805: 802: 746:Jean Bullant's 724:Grande Galerie 716:Petite Galerie 598: 595: 570: 567: 539:Medici Chapels 506: 503: 502: 501: 495: 488: 486: 479: 472: 470: 467: 460: 458: 412: 409: 408: 407: 404: 397: 395: 392: 385: 383: 380: 373: 371: 331: 328: 307: 304: 150:Palazzo Madama 144:to designs by 125: 122: 41:chapel at the 15: 9: 6: 4: 3: 2: 3185: 3174: 3171: 3169: 3166: 3164: 3161: 3159: 3156: 3154: 3151: 3149: 3146: 3144: 3141: 3139: 3136: 3134: 3131: 3130: 3128: 3115: 3105: 3099: 3096: 3094: 3091: 3089: 3086: 3085: 3083: 3079: 3073: 3070: 3068: 3065: 3063: 3060: 3058: 3055: 3053: 3050: 3048: 3045: 3043: 3040: 3038: 3035: 3034: 3032: 3028: 3022: 3019: 3017: 3014: 3012: 3009: 3007: 3004: 3002: 2999: 2997: 2994: 2992: 2989: 2987: 2984: 2982: 2979: 2977: 2974: 2972: 2969: 2968: 2966: 2962: 2956: 2953: 2951: 2948: 2946: 2943: 2941: 2938: 2936: 2933: 2931: 2928: 2926: 2923: 2921: 2918: 2916: 2913: 2910: 2907: 2904: 2901: 2899: 2896: 2894: 2891: 2889: 2886: 2883: 2880: 2877: 2874: 2873: 2871: 2867: 2861: 2858: 2856: 2853: 2851: 2848: 2846: 2843: 2841: 2838: 2836: 2833: 2832: 2830: 2824: 2818: 2815: 2812: 2809: 2806: 2803: 2800: 2797: 2794: 2791: 2788: 2785: 2782: 2779: 2776: 2773: 2770: 2767: 2764: 2761: 2758: 2755: 2752: 2749: 2748: 2746: 2742: 2738: 2731: 2726: 2724: 2719: 2717: 2712: 2711: 2708: 2704: 2698: 2697: 2690: 2689: 2679: 2678:2-08-011144-2 2675: 2671: 2667: 2664: 2663:0-297-82488-0 2660: 2656: 2652: 2649: 2648:0-520-05347-8 2645: 2641: 2639: 2634: 2632: 2631:OCLC 1018933. 2628: 2624: 2621: 2620:0-7472-0271-0 2617: 2613: 2609: 2606: 2605:0-8122-3490-1 2602: 2598: 2594: 2591: 2590:0-85667-437-0 2587: 2583: 2580:Pons, Bruno. 2579: 2577: 2576:OCLC 1156874. 2573: 2571: 2565: 2559: 2556: 2555:0-306-81042-5 2552: 2548: 2545: 2542: 2540: 2536: 2533:Neale, J. E. 2532: 2529: 2528:0-415-15040-X 2525: 2521: 2517: 2514: 2513:0-582-08241-2 2510: 2506: 2502: 2499: 2498:90-04-13572-3 2495: 2491: 2487: 2485: 2484:OCLC 1199768. 2481: 2479: 2470: 2467: 2466:0-7538-2039-0 2463: 2459: 2455: 2452: 2449: 2448:0-521-46701-2 2445: 2441: 2437: 2434: 2430: 2427: 2426:2-08-013583-X 2423: 2419: 2415: 2412: 2411:2-7107-0420-X 2408: 2404: 2402: 2397: 2391: 2389: 2385: 2383: 2377: 2371: 2369: 2365: 2361: 2358: 2357:0-300-07748-3 2354: 2350: 2347: 2344: 2341: 2340:0-521-78225-2 2337: 2333: 2329: 2326: 2325:0-231-10926-1 2322: 2318: 2314: 2310: 2306: 2303: 2302:2-08-012062-X 2299: 2295: 2293: 2284: 2281: 2280:3-930698-96-X 2277: 2273: 2269: 2268: 2256: 2250: 2244:Thomson, 168. 2241: 2234: 2233:Ambroise Paré 2228: 2221: 2215: 2208: 2204: 2198: 2191: 2185: 2178: 2172: 2166:Thomson, 165. 2163: 2161: 2151: 2144: 2138: 2129: 2120: 2118: 2108: 2099: 2090: 2084:Thomson, 176. 2083: 2078: 2071: 2065: 2056: 2047: 2040: 2034: 2027: 2023: 2017: 2010: 2004: 1995: 1986: 1977: 1975: 1973: 1971: 1961: 1955: 1953: 1948: 1943: 1936: 1932: 1926: 1920:Thomson, 172. 1917: 1910: 1906: 1900: 1891: 1882: 1875: 1867: 1860: 1856: 1852: 1846: 1836: 1827: 1820: 1814: 1812: 1810: 1799: 1790: 1783: 1775: 1771: 1765: 1758: 1754: 1750: 1745:Thomson, 165. 1742: 1733: 1731: 1723: 1719: 1715: 1709: 1702: 1696: 1687: 1680: 1674: 1667: 1661: 1654: 1648: 1641: 1640: 1635: 1631: 1627: 1621: 1612: 1605: 1601: 1595: 1588: 1582: 1580: 1570: 1560: 1553: 1547: 1538: 1531: 1525: 1518: 1514: 1510: 1504: 1495: 1486: 1484: 1476: 1470: 1461: 1454: 1449: 1442: 1436: 1427: 1418: 1409: 1402: 1398: 1394: 1387: 1386:Antoine Caron 1383: 1377: 1370: 1364: 1355: 1353: 1343: 1334: 1327: 1323: 1317: 1311:Norwich, 157. 1308: 1302:Thornton, 51. 1299: 1293:Norwich, 158. 1290: 1283: 1279: 1278:Pierre Lescot 1275: 1269: 1260: 1251: 1245:Thomson, 176. 1242: 1240: 1230: 1221: 1212: 1205: 1199: 1192: 1186: 1179: 1175: 1171: 1165: 1158: 1152: 1143: 1134: 1132: 1130: 1128: 1123: 1114: 1111: 1109: 1106: 1105: 1099: 1097: 1090: 1073: 1071: 1067: 1065: 1064: 1059: 1048: 1046: 1040: 1037: 1033: 1029: 1025: 1021: 1017: 1013: 1005: 1001: 997: 993: 989: 987: 982: 980: 976: 972: 968: 964: 956: 952: 947: 938: 936: 932: 931:Medici column 928: 923: 919: 915: 910: 905: 898:Medici column 896: 889: 885: 880: 871: 869: 865: 861: 857: 851: 849: 846: 842: 838: 834: 830: 826: 818: 810: 801: 799: 795: 791: 787: 783: 779: 775: 771: 767: 763: 759: 751: 747: 743: 739: 737: 733: 727: 725: 721: 717: 713: 705: 700: 696: 694: 690: 685: 678: 676: 672: 665: 663: 659: 654: 652: 647: 643: 638: 635: 631: 627: 623: 619: 612: 608: 603: 594: 592: 588: 584: 580: 576: 566: 564: 560: 554: 552: 548: 544: 540: 536: 532: 529:, now in the 528: 520: 516: 515:Germain Pilon 511: 499: 498:Germain Pilon 492: 487: 483: 476: 471: 464: 459: 456: 455: 454: 452: 448: 443: 437: 435: 431: 427: 423: 422:Germain Pilon 419: 401: 396: 389: 384: 377: 372: 369: 368: 367: 364: 360: 355: 353: 349: 345: 341: 337: 327: 325: 321: 312: 306:Valois Chapel 302: 297: 295: 291: 288:, one of the 287: 283: 278: 275: 266: 262: 260: 259:Germain Pilon 256: 252: 248: 244: 240: 236: 232: 228: 224: 220: 216: 215:Fontainebleau 212: 208: 204: 200: 199:Louvre Palace 195: 192: 188: 184: 177: 173: 169: 165: 163: 159: 155: 151: 147: 143: 139: 138:Medici palace 135: 131: 121: 119: 115: 109: 107: 103: 99: 98:Fontainebleau 95: 90: 88: 84: 80: 76: 72: 68: 64: 60: 56: 52: 48: 44: 40: 36: 29: 25: 21: 3092: 2911:(son-in-law) 2703: 2700:development. 2695: 2669: 2654: 2637: 2626: 2611: 2596: 2581: 2566: 2546: 2534: 2519: 2504: 2489: 2475: 2457: 2439: 2417: 2416:Chastel, A. 2398: 2378: 2368:OCLC 554569. 2363: 2348: 2331: 2311:. Edited by 2308: 2289: 2271: 2254: 2249: 2240: 2227: 2219: 2214: 2202: 2197: 2189: 2184: 2176: 2171: 2150: 2142: 2137: 2132:Frieda, 148. 2128: 2123:Frieda, 144. 2111:Frieda, 455. 2107: 2102:Thomson, 176 2098: 2089: 2077: 2064: 2055: 2050:Knecht, 231. 2046: 2033: 2026:Jean Bullant 2021: 2016: 2008: 2003: 1994: 1989:Knecht, 230. 1985: 1980:Knecht, 232. 1964:Frieda, 306. 1960: 1951: 1942: 1925: 1916: 1899: 1890: 1881: 1870:Thomson, 171 1866: 1857:overlap the 1850: 1845: 1835: 1826: 1818: 1798: 1789: 1782:embezzlement 1773: 1769: 1764: 1741: 1736:Frieda, 335. 1713: 1708: 1695: 1686: 1678: 1673: 1665: 1660: 1652: 1647: 1639:contrapposto 1637: 1633: 1630:Michelangelo 1625: 1620: 1611: 1594: 1586: 1569: 1559: 1551: 1546: 1541:Knecht, 269. 1537: 1524: 1516: 1508: 1503: 1494: 1489:Zerner, 379. 1474: 1469: 1464:Knecht, 226. 1460: 1452: 1448: 1440: 1435: 1426: 1421:Zerner, 382. 1417: 1412:Zerner, 383. 1408: 1376: 1368: 1363: 1358:Knecht, 223. 1342: 1333: 1316: 1307: 1298: 1289: 1273: 1268: 1259: 1250: 1229: 1220: 1211: 1203: 1198: 1185: 1177: 1173: 1164: 1151: 1142: 1137:Knecht, 220. 1093: 1076: 1068: 1061: 1054: 1044: 1041: 1009: 983: 960: 911: 907: 864:Condé family 852: 822: 755: 732:Jean Bullant 728: 709: 680: 667: 655: 651:Jean Bullant 639: 625: 615: 572: 555: 542: 535:Michelangelo 527:Resurrection 526: 524: 519:Resurrection 518: 438: 425: 414: 359:Jean Bullant 356: 333: 330:Architecture 317: 299: 293: 279: 271: 255:Jean Bullant 237:. Featuring 196: 180: 158:Pitti palace 127: 110: 91: 32: 2893:Jean Fernel 2817:Descendants 2692:(in French) 2561:(in French) 2472:(in French) 2393:(in French) 2373:(in French) 2313:Pierre Nora 2286:(in French) 2257:(ca. 1573). 2154:Benes, 211. 1947:Henry Ellis 1774:Instruction 1393:iconography 1337:Knecht, 58. 1282:Jean Goujon 1215:Frieda, 24. 1146:Frieda, 79. 1039:question". 1032:trapezoidal 1026:. Jacques 815:architect: 662:Ionic order 559:Jean Goujon 418:bas-reliefs 140:, built by 79:Clement VII 3127:Categories 2826:Dynasties/ 2807:(daughter) 2783:(daughter) 2777:(daughter) 2264:References 1998:Ayers, 42. 1859:pedimented 1793:Sharp, 44. 1759:additions. 1757:Henry IV's 1204:The Louvre 1174:bon esprit 1022:trees for 1012:menageries 1000:Chenonceau 975:pentangles 963:Chenonceau 955:Chenonceau 941:Chenonceau 845:rusticated 804:Saint-Maur 798:communards 671:Charles IX 646:Henry II's 637:complex. 618:Tournelles 146:Michelozzo 124:Influences 49:, and the 2855:Huguenots 2765:(husband) 1909:Vitruvius 1876:(1885–7). 1749:engraving 1668:, 94, 97. 1604:prie-dieu 1202:Babelon, 1096:Henry III 1063:parlement 1024:silkworms 848:pilasters 841:pavilions 794:Louis XVI 770:Huguenots 750:Tuileries 675:Vitruvius 658:pilasters 634:Tuileries 626:tuileries 607:Tuileries 597:Tuileries 583:pall mall 569:Montceaux 547:Mannerism 451:Bontemps' 434:Francis I 430:Louis XII 405:Elevation 344:pilasters 282:Artemisia 247:strapwork 231:Mannerism 191:itinerant 176:Francis I 154:Tuileries 2884:(cousin) 2759:(mother) 2753:(father) 1718:Henry IV 1703:, 71–87. 1681:, 96–97. 1389:survive. 1102:See also 1020:mulberry 1016:aviaries 971:Chaumont 922:orangery 860:pediment 790:Henry IV 720:Henry IV 656:For the 579:pavilion 505:Statuary 348:epitaphs 340:transept 274:jousting 239:frescoes 219:Henry II 207:Chambord 94:Chambord 65:and the 2218:Blunt, 2201:Blunt, 2188:Blunt, 2141:Blunt, 2020:Blunt, 2007:Blunt, 1935:cornice 1874:Ajaccio 1855:dormers 1817:Blunt, 1747:• This 1712:Blunt, 1699:Coope, 1677:Blunt, 1664:Blunt, 1651:Blunt, 1624:Blunt, 1585:Blunt, 1507:Blunt, 1477:, 56–59 1473:Blunt, 1439:Blunt, 1272:Blunt, 1191:Ronsard 835:in the 693:Corsica 684:dormers 587:croquet 551:Baroque 442:gisants 426:priants 324:rotunda 156:on the 73:popes, 63:Italian 57:, near 2964:Events 2744:Family 2676: 2661: 2646: 2618: 2603: 2588: 2570:frais. 2553: 2526: 2511: 2496: 2464: 2446: 2424: 2409: 2355: 2338: 2323: 2300: 2278: 1931:frieze 1642:style. 1600:missal 1206:, 263. 1014:, and 1006:, 1579 918:aviary 591:grotto 531:Louvre 243:stucco 162:Uffizi 130:Medici 71:Medici 45:, the 39:Valois 2813:(son) 2801:(son) 2795:(son) 2789:(son) 2771:(son) 2222:, 91. 2192:, 90. 2145:, 89. 2011:, 49. 1821:, 55. 1655:, 95. 1589:, 94. 1554:, 95. 1517:nymph 1443:, 56. 1326:Diana 1155:"The 1119:Notes 1036:atria 927:Doric 888:Paris 630:Seine 622:joust 203:Blois 114:Doric 83:Henry 75:Leo X 59:Blois 26:, by 3088:Arts 2674:ISBN 2659:ISBN 2644:ISBN 2616:ISBN 2601:ISBN 2586:ISBN 2551:ISBN 2524:ISBN 2509:ISBN 2494:ISBN 2462:ISBN 2444:ISBN 2422:ISBN 2407:ISBN 2353:ISBN 2336:ISBN 2321:ISBN 2298:ISBN 2276:ISBN 1933:and 1803:228. 1384:and 986:Cher 979:Anet 951:Cher 432:and 411:Tomb 253:and 225:and 96:and 77:and 1751:by 953:at 553:. 517:'s 3129:: 2456:. 2159:^ 2116:^ 1969:^ 1949:, 1808:^ 1729:^ 1578:^ 1482:^ 1351:^ 1238:^ 1126:^ 788:. 565:. 261:. 2729:e 2722:t 2715:v 2680:. 2665:. 2640:. 2622:. 2607:. 2592:. 2557:. 2530:. 2515:. 2500:. 2468:. 2450:. 2428:. 2413:. 2359:. 2342:. 2327:. 2304:. 2282:. 2209:. 1911:. 1724:. 957:.

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Catherine de' Medici's building projects

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