Mansart, François (1598–1666)

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Although François Mansart preserved classical intentions using Italian Renaissance architects as models, his architecture work was tempered by the contemporary French culture of the seventeenth century. It is known that he owned a copy of Vitruvius’ book and some examples of design by Vignola. His architecture was speaking a language of classicism, although there are no definitive records that he ever visited Italy.

Mansart was born in Paris in 1598 into a family of artisans; his father was a master carpenter. Most likely because of the death of his father when he was young, Mansart studied architecture with his brother-in-law Germain Gaultier. In 1623, at a young age, Mansart was working on his first architectural project for the façade of the Church of the Feuillants in Paris.

In 1626, he was commissioned to design the Château of Balleroy near Bayeu, and in 1635 he was given the large project to rebuild Château at Blois, the Orléans Wing. But it is the Château de Maisons-Laffitte in 1642 which may be viewed as the best example of his architectural style. This building features a high attic, distinctive of the French architecture of the time, and although it is named the Mansart roof he was not the first to use it. This building has a U shape plan, with a façade of pilasters and proportionally tall windows. The incorporation of small round windows, and an interior with ceiling carvings and moldings, expresses a less restrained interpretation of classicism.

This dense page of sketches displays the design and study techniques used by Mansart to renovate a room in the Hôtel de la Bazinière. Mansart was commissioned to improve the town house by the son of Macé Bertrand de la Bazinière in 1653. The historians Allan Braham and Peter Smith, in their book on Mansart, mention contracts from the period, demonstrating that Mansart added two staircases and a cabinet attached to the garden side of the building (1973). This page demonstrates an interior elevation with a corresponding plan placed in the center. The large section is not a
ruled drawing, but carefully delineated freehand. Around and on top of these drawings are many small study sketches and notes.

It would be logical to assume, from looking at this image, that Mansart first outlined the narrow wing of the house he was to alter and then proceeded to draw his modifications over the original image. The proposed cabinet has been attached to the left side of the room. The alternative details and capitals are presented at a smaller scale, and tiny sections can be viewed to the bottom right. The most compelling and revealing aspect of this sketch indicates that Mansart was sketching all of the alternatives on one page so as to continually reference the main image. It acted as a baseline or constant, the outside limits from which to respond.

This page becomes interesting as a device for decision-making. Mansart seems to have been evaluating and eliminating certain variations. Even though this sketch was partially rendered in chalk he did not bother to erase. Instead, he used strong diagonal lines to eliminate certain images that he no longer felt were valid. Many of the column capitals were only partially represented as he abandoned them to contemplate a new thought. A brief plan shows many changes and notes for the dimensioning of the space. As a renovation, certain constraints were placed on the solutions for his design. Again, the large outline/drawing may have acted as a boundary to his thinking, one that was easy to manipulate, alter, and continually reference throughout the process.

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