Information AboutPierre Lescot |
| CATEGORIES ABOUT PIERRE LESCOT | |
| 1578 deaths | |
| lescot, pierre | |
| french architects | |
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Though Lescot was confirmed in his position after the king's death by his heir 's panels of bas-reliefs crowned by a sloping roof, a traditional feature of French building and practical in a rainy climate. The deeply recessed arch-headed windows of the ground story give the impression of an arcade, while the projecting pavilions bear small round ''oeil de boeuf'' windows above them. In the second storey slender fluted pilasters separate the windows, which alternate delicate triangular and arched pediments. Goujon's noble sculpture and architectural ornaments, are cleverly subordinated to the construction, but the surviving groundfloor ''Salle des Caryatides'' (1546–49) is named for Goujon's four Caryatid figures that support the musicians' gallery. Of Lescot's constructions at the Louvre there also remain the ''Salle des Gardes'' and the Henri II staircase. His first achievements (1540–45) were the rood-screen in St-Germain-l'Auxerrois , of which only some sculptures by Goujon have been saved and in Paris the Hôtel de Ligneris (1548–50, now the Musée Carnavalet]], which was thoroughly altered by François Mansart ). Here and especially in the design of the Fountain of Nymphs (1547–49), his moderate part is outshone by Goujon's sculpture. Lescot's career is so scantily documented it is not known whether he ever visited Italy, or whether his knowledge of Italian practice was derived through the architecture and engravings that issued from the School Of Fontainebleau . All of Lescot's known works have sculptural decoration by Trebatti and by Jean Goujon , who collaborated with him at the Louvre. Unlike the other architects of the French Renaissance, Pierre Lescot was not from a line of masons but the son of a seigneur. His father, also Pierre Lescot, was sieur of Lissy en Brie and Clagny, not far from Versailles, seigneuries his son Pierre inherited. Although, according to a letter from Ronsard , Pierre Lescot busied himself zealously in early youth making drawings and paintings, and, after his twentieth year, with mathematics and architecture, his wealth and the duties of his offices appear subsequently to have interfered with his artistic activity. No other documented works are identified. See also the other outstanding architects of the French Renaissance:
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