"At Chambord," writes Mrs. Pattison, in her _Renaissance of Art in France_, "which was building in 1526, the stories are, it is true, forcibly indicated, but the whole building is pulled together in Gothic fashion by the towers of the _corps de logis_, and by those which flank the pavilions or wings which stretch out on either side of the main body. In a building of the size of Chambord the result of this treatment is hardly satisfactory, for the lines of the wings to right and left of the main body seem to droop away from the heavy towers on either side. Inside the court, however, the unpleasant effect, even at Chambord, disappears, for the apparent length of the wings is greatly abbreviated by the effect of the two spiral staircases which run up outside the building at the internal angles on opposite sides. [Illustration: PLATE LXXVIII CHAMBORD: FRANCIS I. WING] "Chambord is, indeed, throughout truly typical of the earlier stage of the new Renaissance movement. In the general arrangement, in the _ordonnance_, late Gothic caprice and fantastic love of the unforeseen rule triumphant. The older portions of the Château, the seemingly irregular assemblages of half Oriental turrets and spires, are debased Gothic, full of audacious disregard of all outward seeming of order. The architect, instead of seeking to bring home to the eye the general law, the plan on which the whole is grouped, has wilfully obscured and concealed it beneath the obviousness of the wild and daring conceits heaped above. [Illustration: VIEW OF CHAMBORD (1576) ENGRAVING FROM DU CERCEAU] "But even at Chambord the mark is set which promises other days. It is the transition moment; Gothic fancy may wildly distribute ornament and obscure design, but the ornament which it distributes is Gothic no longer. The _obscæna_ which haunt the cathedrals of the middle ages, which infest the earlier towers of Amboise, and linger defilingly about Gaillon, are banished. In their place come faint foliated traceries and arabesques in low relief, enriching every surface, disturbing none, moving with melodious adaptation of subtle line, winding, falling, rising in sympathy with every swiftly ascending shaft or hollowing curve.