Part 2 (1/2)

It was at this period, that of Saint Louis and the apotheosis of Gothic architecture, that France was at the head of European civilization, therefore in no way can her preeardens of the Gothic era seldoh it, a spring, a pine tree giving a welcoer_ of fruit trees

The neighbours of France were often warring a down to beautifying his surroundings and franified andpictures Grass-plots appeared in dooryards, flowers cli castle walls and shrubs and trees caenuinely esthetic role in the life of the tier, banished from Italy, one Brunetto Latini, the e in France, wrote his views on the matter, which in substance were as above

About this tiloriettes_, which becahteenth century Practically the _gloriette_, a word in coette de plaisance_ The Spaniards, too, in their _glorietta_, a pavilion in a garden, had practically the sanification of the word

In the fourteenth century French garden the _gloriette_ was a sort of arbour, or trellis-like suarnished with vines and often perched upon a natural or artificial earden were tree-bordered alleys and the planting ofplants

Vine trellises and vine-clad pavilions and groves were a speedy development of these details, and played parts of considerable i under the French Renaissance

In this same connection there is a very precise record in an account of the gardens of the Louvre under Charles V concerning the contribution of one, Jean Baril, maker of Arlors, to this form of the landscape architect's art

”Ornamental birds--peacocks, pheasants and swans now caarden” This was the way a certain pertinent comment was ier de Paris,” a work of the end of the fourteenth century, one learns that behind a dwelling of a prince or noble of the time was usually to be found a ”_beau jardin tout plante d'arbres a fruits, de leguazon sur lesquels se proardens of various epochs are readily distinguished by the width of their alleys In the arden plots were very narrow; in the early Renaissance period they were soardens of Le Notre

Trieneral scheme in France towards the end of the fifteenth century Under Henri IV and under Louis XII trees were often triainly, fantastic forood taste which he propagated so widely prorotesques, which, for a fact, were an iloriettes_ Not by the reestion could a clipped yew in the foriraffe be called French Le Notre elieoes, where niches were frequently triolden balls, etc

The ardens developed as a result of the rations of the Frenchsuch palaces and chateaux as Fontainebleau, Aardens, though of Italian inspiration in the first instance, were actually the work of Italian craftsmen Pucello Marceliano at four hundred _livres_ and Edme Marceliano at two hundred _livres_ were in the enificent _Parterre de Diane_ at Chenonceaux, where Catherine de Medici later, being save the further commission of the _Jardin Vert_, which was intended to complete this _parterre_, to Henri le Calabrese and Jean Collo

The later Renaissance gardens divided themselves into various classes, _jardins de plaisir_, _jardins de plaisance_, _jardins de proprete_, etc _Parterres_ now became of two sorts, _parterres a compartiments_ and _parterres de broderies_, names sufficiently explicit not to need further comment

[Illustration: _”Parterre de Diane,” Chenonceaux_]

It is difficult to deter They may have been indirectly due to wo of these garden _broderies_ was a highly cultivated art Pierre Vallet, embroiderer to Henri IV, created much in his line of distinction and note, and acquired an extensive clientele for his flowers and ardens, with their _parterres_ and _broderies_ werearchitectural sche and Saint Ger with the edifices themselves, or at least those portions which they were supposed to embellish Harmony was then first struck between the works of the horticulturist--the garden-maker--and those of the architect--the builder in stone and wood This was the prelude to those majestic ensembles of which Le Notre was to be the coardens which are not centered upon the actual edifices hich they are more or less intiardens which in , is, Saint Germain, Amboise, Villers-Cotterets and Fontainebleau

These are rather parks, like the ”holand, which, while adjuncts to the dwellings, are complete in themselves and are possessed of a separate identity, or reason for being Chiefly these, and indeed reatly from contemporary works in Italy in that the latter were often built and terraced up and down the hillsides, whereas the French garden was laid out, in the h each made use of interpolated architectural accessories such as balustrades, statuary, fountains, etc

Mollet was one of the ardener of the Duc d'Auardens of the Chateau d'Anet while it was occupied by Diane de Poitiers, and for their time they were considered the most celebrated in France for their upkeep and the profusion and variety of their flowers This was the highest developarden up to this time

It is possible that this Claude Mollet was the creator of the _parterres_ and _broderies_ so largely used in his time, and after

Mollet's formula was derived chiefly fron oriental embroideries He arden His idea was to develop the sian his career under Henri III and ultiardener of Henri IV His elaborate work ”Theatre des Plans et Jardinage” ritten towards 1610-1612, but was only published a half a century later It was only in the sixteenth century that gardens in Paris were planned and developed on a scale which was the equal of ned in the provinces

[Illustration: PLAN of SUNKEN GARDEN (_JARDIN CREUX_)]

The chief na--before the days of Le Notre--were those of the two Mollets, the brothers Boyceau, de la Barauderie and Jacques de Menours, and all successively held the post of Superintendent of the Garden of the King

In these royal gardens there was always a distinctly notable feature, the _grand roiales_, the principal avenues, or alleys, which were here found on a ardens of the nobility The central avenue was always of thefro the equivalent of _Allee Royale_, that is, Avenue Royal

By the end of the sixteenth century the Garden of the Tuileries, which was later to be entirely transfor aspect of the _parquet_ at its best In ”_Paris a Travers les Ages_” one reads that froreat checker-board containing more than a hundred uniforitudinal alleys or avenues cut across by eight or ten sular effect Within sorouped trees; in others the conventional _quincunx_; others were ed in syn which showed the escutcheons of the arardens of the Tuileries were first modified by a project of Bernard Palissy, the porcelainiste He let his fancy have full sway and the criss-cross alleys and avenues were set out at their junctures with moulded ornas in porcelain It was this, perhaps, which gave the impetus to the French for their fondness to-day for similar effects, but Bernard Palissy doubtless never went so far as plaster cats on a ridgepole, as one may see to-day on many a pretty villa in northern France This certainly lent an element of picturesqueness to the Renaissance Garden of the Louvre, a development of the same spirit which inspired this artist in his collaboration at Chenonceaux This was the foreration of the taste of the epoch, but still critical of its tiardens of the Renaissance readily divided themselves into two classes, those of the _parterres a compartiments_ and those of the _parterres de broderies_ The foreohly in the taste of the Renaissance, but bordered frequently with representations of designs taken from Venetian lace and various other contemporary stuffs There were other _parterres_, where the compartments were planned on a ers_ which rendered the garden, said Olivier de Serres, one of ”profitable beauty” Some of the compartments were devoted entirely to herbs and iven over to flowers In general the coust