Claude Perrault - East Façade Of The Louvre

Claude Perrault East fa ade of the Louvre

The East fa ade of the Louvre is no doubt a pioneer and is representative of Architectural Classicism in France. It is the most celebrated architectural work among the few masterpieces designed by Claude Perrault. Being a seeker of knowledge, he wrote treatise on science, natural history and architecture. It is vital to first look into the background of this knowledgeable man a man who was interested in a wide range of subjects and has integrated them with good reason. Next, the contemporary architectural style has to be examined before the links between the building element and the theories behind it are established.

East fa ade of the Louvre[1]

The background of Claude Perrault

Claude Perrault (September 1613 October 1688) was an architecture amateur, a physician, an anatomist and a philosopher. He was born into an educated family, in which his father, Pierre, was an avocate at the Parliament de Paris while his youngest brother, Charles, was a world-famous author who specialised in producing fairy tales for children. He was a docteur r gent who graduated in cole de M decine of Paris and later on became one of the few members of the medical faculty at the University of Paris. For two years, he was the chair professor of physiology. He was an enthusiast about the animal structure, and henceforth the construction machines. He assembled models of his inventions including a sun-dial watch, warfare machines, and a telescope.

In 1673, Perrault translated Vitruvius De architectura libri decem (The ten books of architecture), which were regarded as a foundation of all rules in architecture. Perrault added an extensive commentary to the text based on his scientific research, in which he questioned the necessity of optical correction (adjusting the distortion of dimensions caused by viewing a building in certain positions). Perrault attended meetings held in Acad mie Royale d Architecture (established in 1671), which was an institution fortifying the structure of the teaching of architecture and discussing questions related to architecture.[2] Through applying scientific rational to his designs, and through studying, understanding and elucidating the theoretical knowledge of Vitruvius, his architectural instinct was acquired.

In 1683, the Ordonnance des cinq esp ces de colonnes selon la m thode des Anciens (Ordonnance for the five kinds of columns after the method of the Ancients) was written and was considered to be one of his greatest achievements. The book constituted a veritable French declaration of architectural independence from Italian Renaissance and Baroque. The purpose of the book was to establish rules that could be rounded up easily and directly applicable in order to help architects to achieve beauty. The manuscri pt mainly focused on calculations of the dimensions for each part of the classical orders by positive reasoning - finding the probable mean dimensions (average between extreme dimensions, juste milieu) and examining buildings or treatises of ancient and modern architects.

His rational architectural designs include an Observatory, the church of St Beno t le B tourn , a triumphal arch on Rue St Antoine and an obelisk in honour of the King on the left bank of the Seine.

Classical architecture - the Orders

As Perrault was designing the east fa ade of the Louvre according to the rules of classical architecture, one must look at the conventional characteristics of the era. At the end of 1500s, there was a switch from the old cosmic order - in which women were accused of conducting sorcery - to the new mechanical world. There was a revival and derivation of Classical architecture from the two style dominating Europe at that epoch - the Baroque (an exuberant and splendid style with lots of ornate details) and Rococo (more elaborate than the Baroque) styles. After the establishment of the Academies of Science and of Architecture, there was a clear rational progression in France. Although the designs differ from country to country, they were based on ancient Greece and Rome, and have been recurring since the end of Renaissance period. This meant conforming to standards, authoritative rules and models of Greek or Roman antiquity. It was a purge of enrichment. The style was associated with perfection, severe serenity and restraint it was defined by its plain clarity within precise boundaries, symmetry, and harmonious proportions.

The orders noted in the Classical period existed prior to its beginning. These canonic orders differed in their slenderness and embellishments. The Greeks preferred the Doric order while the Romans preferred the less subtle and more ornate Corinthian. The Romans used the three orders from Greece and derived others such as the Tuscan (a simplified version of Doric) and the Composite (a mixture of the Ionic and Corinthian).

Theories of Claude Perrault

The translation of Vitruvius work accounts for the theories of Perrault. One should have a brief understanding of Vitruvius view of architecture before examining Perrault s theories. Vitruvius wrote that architecture was comprised of eight parts order, disposition, beauty, measurement, distribution, building, siting and mechanical engineering.[4]

between is r to remember.ever true

On beauty and proportion

Perrault suggested that positive beauty , Bon gout, was generated by visible qualities, by convincing reasons the richness and quality of building materials, precision and correct execution and taste (symmetry and disposition of craftsmanship). This beauty could please common people. By contrast, arbitrary beauty , Bon sense, was determined by customs and mutual agreement on invisible measures. Perrault believed that the best architects would balance the two architects should consider contemporary trends and innovation, as well as the theories behind it. [5]

To Perrault, beauty is never true but probable . Architectural proportions are not true in themselves and does not automatically lead to perfection. He doubted the authority of numerical ratios, the harmonic tones and intervals of music that were thought to be the key to beauty. His reasons were that proportions and beauty change constantly because different people have different standards of aestheticism they are arbitrary and fantaisies. [6] These directions were nevertheless pliant and adaptable.

About magnificence, he believed understood that "The first works of Architecture manifested richness of materials grandeur opulence and precision of workmanship symmetry good sense in matters where it is called for ... As a result, these works seem so beautiful and were so admired and revered that people decided they should serve as the criteria for all others." He also implied that, if architecture stands the test of time, it exhibits absolute beauty. As most people believed that these first works of Architecture could not be improved further, Perrault proposed some changes in the proportions of the constituent parts of the orders. However, he barely changed the proportions that were recommended by Vitruvius in his book The Ordonnance. It is inconsequential, like the fact that the division of a human face does not have a direct relationship as to how attractive it is. He wrote that there is latitude to leave architects free to increase the dimensions of different elements according to the requirements occasioned by varying circumstances. The book stated that architects should never carelessly submit to the prevailing arts and sciences, but that they should consider a combination of tradition, reason and national taste.

On function and purpose

My book contains nothing new ... as both proportions and characters of the orders have been modified throughout history. I would say my purpose is to extend change a little further, to see if I might cause the rules for the orders of architecture to be given the precision, perfection, and ease of retention they lack. Those who invented these proportions had no rule other than their own fancy to guide them, as their fancy changed they introduced new proportions, which in turn were found pleasing".

Perrault was one of the first architectural theorists to mention the connotation of thinking about function or purpose, as well as context, when designing a building. Since the context has changed, understanding proportion instead of uncritically imitating to the works of antiquity is more important when creating what we perceive as beautiful. If one blindly mimics, mistakes could easily be made.

On relation to science

Perrault related his scientific research to his theory of architecture. For example, he wrote that the measurements of the animals described were provided relative to the human body - it was necessary to agree one measure and one module, in the same way as it is done in architecture. He devised the petit module, a third of the diameter of a column (instead of the usual semi-diameter), which regulated the dimensions of the elements of the orders. This simplified unit - of whole natural numbers, prescri ptive instruction not proportional - not only allows impeccable harmonisation among the pedestals, shafts, capitals and entablatures of each order, but provided a series of dimensions that relate the five orders and their elements.

In the Preface of the Ordonnance, Perrault acknowledged that the rules that gave buildings of antiquity their beauty were based on the correlation of the human body.

Moreover, he thought that The perfect construction of a palace can only be achieved with material that had been cut and adapted to the particular structure , like the blood of one dog cannot nourish the flesh of another dog, a stone which is cut for a vault not only cannot used for the construction of a wall, but not even for another vault than the one for which it had been cut. [7]

On perfection

One of the first principles of architecture, as in all the other arts, is that it has not yet arrived at its final perfection.

Claude Perrault in the Preface of the Ordonnace[8]

Perrault believed that "since no single principle has ever been completely perfected, one may at least approach it more closely by reaching for it", so modern architecture was consequently better as it added up experiences from the past.

The East fa ade of Louvre

East fa ade of the Louvre[9]

Background

The Louvre was built in the late 12^th Century, at the city s western edge it expanded throughout the years and is now situated in the centre of Paris. Under the reign of Louis XIV, architects had to follow strictly the predominant style. The King preferred architecture that was affirmative and dramaturgical, like the prevailing Baroque style at the same time, he favoured less flamboyant decorations and more correct and delicate ornamentations.

Jean-Baptiste Colbert, the King s chief advisor from 1665 to 1683 and leader of royal cultural patronage, asked Gian Lorenzo Bernini - one of the best contemporary architect from Italy - to design the east fa ade of the Louvre (the Royal Palace in Paris). As the Louvre was a representative building, Colbert hungered to create a perfect fa ade that was derived from classical principles.

Bernini s Louvre, east fa ade, a study for the First Project (The Courtauld Gallery, London)[10]

A bold, vibrant wall with colossal engaged columns [11]

Bernini s Baroque scheme was rejected by Louis XIV, thus in April 1667, Colbert set up a petit conseil to assist his eastern fa ade proposal. The committee was formed by three momentous men - Louis Le Vau, the Chief architect of the King, who had just completed the south wing and was extremely competent with plenty of commissions in the style of Italian Baroque Charles Le Brun, the one appointed by Colbert to preside the artistic activities of the Academies of France and Claude Perrault The Chief theoretician of the King . In 1667 1674 the east front of Louvre was built in Paris.

Claude Perrault s perspective bird s-eye view of the Cour Carr e (square courtyard) from the east, 1663[12]

The elevation and plans shows a proportional system and juxtaposition of parts portico is recessed (1756) [13]

Innovation in Architecture

In David Watkin s book, A History of Western Architecture, the east fa ade of the Sully Wing of the Louvre was described to be classical yet modern, rational yet grandiose, and French yet universal in its air of authority and detachment, it is the perfect example of the classical Baroque style of seventeenth-century France. [14] The massive and lucid trabeated fa ade a post and lintel building system where robust horizontal elements were supported by sturdy vertical elements contributing to the large spaces between them. In contrast to the precast wall-mass of the Romans, emphasis was put on the load-bearing columns of the Greeks. The use of freestanding column and structures were articulated in a new way. It had an airiness and lightness similar to the Gothic style and the Roman temples.

The grandeur of Perrault s east fa ade, essentially the rear of the Louvre, 1729[15]

The majestic east fa ade was composed of five parts (customary to French palaces) a pediment on an entablature, a central entrance, a colonnade of columns, and the two pavilions on each ends. The subtle pedimented centrepiece with pediment was held between the recessed coupled columns the end-pavilions with the in-antis columns were uncommonly of equal height as the wing. Influenced by Le Vau, Perrault hid the roofs behind a continuous railing, a balustrade and modelled the front without huge projecting wings or an obvious centrepiece this created an uncluttered language through the noble and grave frontage.

Building elements

The bare, primitive ground floor basement with its smooth, ashlar face gave a stripped appearance this transitioned the design away from the decorative norm.

Influences on later developments

Although controversial because of its plainness compared to the palatial style in the first half of the century, it was highly significant in founding the taste of Neoclassicism of the next century. Sir Christopher Wren was influenced into using twinned columns on the west front of St Paul s Cathedral in London and the Royal Hospital for Seamen in Greenwich (now the Old Royal Naval College). The segmental headed windows were used on the new wing of Hampton Court Palace. The motif of duo columns was adopted by many, such as Charles Garnier s Paris Op ra, Ange-Jacques Gabriel s two structures on the Place de la Concorde and Warren and Wetmore s New York Grand Central Terminal.

The restoration of the east fa ade of Louvre, has fulfilled the ideals of the architectural theories behind the design and the structure. Not being a mere copy of the Antiquity, Perrault applied archaeologically truthful themes. He returned to the first principles and found the perfect coherence among basic forms, strong geometry and lucid design. The building not only taught us about the history of the era, it examined the definition of architectural beauty.