Garamond and The French Renaissance and The French Renaissance Compiled from Various Writings Edited by Kylie Harrigan For Everyone ever

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Garamond

The French Renassaince Garamond, An Overview

Garamond is a typeface that is widely used today. The namesake of that typeface was equally as popular as the typeface is now when he was around. Starting out as an apprentice punch cutter 2 quickly made a name for himself in the industry. Even though the typeface named for Claude Garamond is not actually based on a design of his own it shows how much of an influence he was. He has his , typefaces named after him and typeface based on his original typefaces. As a major influence during the 16th century and continued influence all the way to today Claude Garamond has had a major influence in typography and design. Claude Garamond was born in , France around 1480 or 1490. Rather quickly Garamond entered the industry of typography. He started out as an apprentice punch cutter and printer. Working for Antoine Augereau he specialized in as well as punching cutting and .

Grec Du Roi Type

The Renaissance in France It was under Francis 1, king of France The Francis 1 gallery in the Italy, including Benvenuto Cellini; he also from 1515 to 1547, that Renaissance art Chateau de Fontainebleau imported works of art from Italy. All this While artists and their patrons in France and and architecture first blossomed in France. rapidly galvanised a large part of the French the rest of Europe were still discovering and Shortly after coming to the throne, Francis, a Francis 1 not only encouraged the nobility into taking up the Italian style for developing the Gothic style, in Italy a new cultured and intelligent monarch, invited the Renaissance style of art in France, he their own building projects and artistic type of art, inspired by the Classical heritage, elderly Leonardo da Vinci to come and work also set about building fine Renaissance commissions. Thanks to the enlightened was beginning to emerge. The first flowering in France. Leonardo came to live at Amboise, buildings in his capital city, and outside it. influence of Francis 1, the Renaissance took of the Italian Renaissance came in the early bringing with him paintings and drawings The most magnificent examples of early hold firmly and strongly on French soil. years of the fifteenth century; but it was many of which are still in France today, French Renaissance architecture are the Chateau de Chenonceaux, on the Cher. not for another hundred years, when the notably at the Louvre, which has the world’s royal chateau at Chambord, in the Loire Following the example of Chambord, Renaissance was well established in Italy, largest collection of Leonardo’s paintings, valley, and the rebuilding of the royal palace other Loire valley castles were either built that it began to flourish in France. including of course the Mona Lisa, known in at Fontainebleau south of Paris. The design or rebuilt in the Renaissance style; among The earliest Renaissance architecture in France as La Joconde. of the chateau at Chambord is attributed the most famous and beautiful of these are France is said to be parts of the Loire valley to da Cortona, though it is also suggested Chenonceaux, Azay le Rideau, Valan√ßay and chateau at Amboise, which King Charles that Leonardo da Vinci, who was then Villandry. Thus, along with Paris, it was the VIII began to rebuild in the “Italian manner” living nearby, had a part in the plan. For Loire valley area, notably between Orleans from 1495, employing for this purpose the Fontainbleau, Francis relied on the French and Angers, that saw the finest flourishing Italian architect Domenico da Cortona. mason Gilles le Breton, and a French of the Renaissance in France, and to this day architect Philippe Delorme, who had studied offers a fine choice of monuments from this in Italy. period. To decorate his royal residences, Francis brought other artists and craftsmen from 3 His most influential mentor though was Geoffrey Tory. After about Working by himself from the year 1545 and on Garamond was a ten years of Tory, Garamond‚ Äôs first came out. Having been independently designing and publishing new typefaces. With the new approached by a fellow printer and scholar to cut development of the modern paperback book demand for slimmer types Garamond developed a Roman style font that was first published typefaces arose. New printing methods were being developed that in Paraphrasis in Elegantiarum Libros Laurentii Vallae by . allowed for smaller books. With smaller books smaller type was needed 4 Following the type De Aetna by Claude Garamond but it still had to be readable. changed and tweaked it to fit the needs of his commissioner and his Italic were the solution that many designers saw to this new own personal tastes. format. Italics could be condensed and the design of italics lent itself to King Francois I saw the typeface and liked it enough to commission slimmer letters which took up less space. Garamond was one of the first a personal typeface. The commission of a typeface from King Francois I to design an italic typeface. While he did not start the trends he used signified Claude Garamond‚Äôs move from talented designer to hugely in his design (slanted uppercase letters as well as lowercase letters), his popular talented designer. The king asked for a Greek influence type. designs were so important that they would later influence many other In 1540 Garamond produced the typeface Grec Du Roi for the King typefaces of that nature with the same characteristics. Garamond‚ Äôs that was exclusively used for the printing of Greek books by Robert new designs were published in his first book Pia et Religiosa Meditatio Estienne. From this on Garamond started to work on original by David Chambellan. The typefaces in the book were exclusively typefaces sans commissions and started publishing independently designed by Garamond. The publishing of his first book started his as well. personal business. He from this point started to sell his typefaces. He was the first person to start a type foundry. In 1530 he started his business of developing and creating typefaces and then selling them to printers. While being a pioneer in the typeface selling business he was not very successful and ended up at the end of his life with little money and little typefaces left.

Francis I Azay le Rideau

The Renaissance took hold, nonetheless, very much in vogue. One of the most throughout France, and fine Renaissance extensive examples of Renaissance painting buildings were put up in towns and cities in France can be seen in the decoration of across the land. In Besancon, capital of the ceiling vaults of the Cathedral of St. Franche-Comte, now France but then part Cecelia in Albi (Midi-Pyrenees), painted in of the Hapsburg empire, Cardinal Granvelle, the early sixteenth century, even before the Chancellor to Francis’ arch rival the Francis 1 came to the throne of France. Emperor Charles V (Charles Quint), built During Francis’ reign, Fontainebleau himself a small but impressive Renaissance became the hub of artistic activity, but the palace which stands to this day. In nearby Fontainebleau school was the only home- Burgundy, the chateau of Ancy le Franc is grown school of French renaissance painting. one of the purest Renaissance chateaux It is best represented by Jean Clouet and his in France. The Renaissance even reached son Francis Clouet; other important painters the furthest corners of Brittany, where for of the school include Jean Cousin and instance the mid 16th century chateau Antoine Caron; but apart from the Clouets, de Kerjean is a fine example of French none made any great mark on posterity. Renaissance architecture. It was not until the seventeenth century While it is in architecture and interior that French painters were to make a major decoration that the French Renaissance contribution to the history of art. style is most visible today, the Renaissance also saw the slow development of a French school of art, though Italian artists remained

Azay le Rideau Claude Garamond died in 1561. He had at one time entertained Printing Office picked a typeface that had been used by the 17th financial success but by the end of his life he barely owned any of century Royal Printing Office. The typeface they picked, while at the his typefaces. He had been the first designer to create typefaces and time was under the name of another designer at the time, was later sell them but for him the business ventures did not end up working identified to be the work of Garamond. out favorably for him. After his death his widow was forced to sell Cardinal Richelieu had supervised the Royal Printing Office and had 6 what little typefaces he still owned as well as some of the punches name the font Caracteres de l’Universite which he used to print his he still had. As a result his typefaces and punches were distributed own writings. The French National Printing Office named the actual around Europe. With the scattering of his typefaces after his death font creator as Garamond. With this renaming the revival of “Claude Garamond’s fonts fell out of use for some time. With the decline in Garamond’s” typeface began. Christopher was major the use of his typefaces only the general idea of what characteristics they buyer of Garamond’s work and contributed individually to the contained were remembered. The foggy memory of his typefaces that revival but the real revival happned around the time of World War I. resulted from their decline in popularity is what caused the confusion Type foundries all over the world started producing their own versions about his namesake typeface. of his typefaces. The Revival Garamond’s typeface revival was huge. Different versions of his For almost two centuries Garamond’s typefaces were out of use typeface were being produced by every major foundry around the and out of the public eye even though they had had great success while world. The problem that arose was the typeface that was now Claude he was alive. The 19th century brought in the revival of his typefaces Garamond’s namesake was not even created by him. The American due to private buyers and foundry revivals. Type Founders foundry was the first to produce a version of the The beginning of the revival started with a French printing office Garamond typeface. After it was created and had been released the looking for a typeface to be exclusively theirs. The French National

Francis I (1494 - 1547) was King of France the arts in early modern Europe. Francis Other major artists to receive Francis’s from 1515 until his death. During his reign, patronized many great artists of his time, patronage include the goldsmith Benvenuto huge cultural changes took place in France including Andrea del Sarto and Leonardo Cellini and the exceedingly loyal painters and he has been called France’s original da Vinci; the latter was persuaded to make Rosso, Romano, and Primaticcio, all of Renaissance monarch. His permanent rivalry France his home during his final years. While whom were employed in decorating with the Emperor Charles V for hegemony Leonardo painted very little during his years Francis’s various palaces. Francis also in Europe was the origin of a long and in France, he brought with him many of his commissioned a number of agents in Italy to ruinous military conflict that gave rise to the greatest works, including the Mona Lisa procure notable works of art and ship them Protestant revolution. Francis was an ally (known in France as La Joconde), and these to France. of Suleiman the Magnificent, with whom remained in France after his death. Francis was also renowned as a man he formed the Franco-Ottoman alliance. His There is another version of the Mona of letters. When the subject of Francis great rivals were King Henry VIII of England Lisa, discovered by Hugh Blaker, which enters a conversation among characters and Holy Roman Emperor Charles V. never made it to France. It is known as in Castiglione’s Book of the Courtier, he is By the time he ascended the throne in the Isleworth Mona Lisa, and has for years referenced as the greatest hope of bringing 1515, the Renaissance had arrived in France, been the subject of much debate, since culture to a war-obsessed French nation. Not and Francis became a major patron of the it possesses many qualities that fit the only did Francis support a number of major arts. At the time of his accession, the royal history of the Mona Lisa which the Louvre writers of the period, he was a poet himself, palaces of France were ornamented with version does not. These qualities include the if not one of particular quality. Francis only a scattering of great paintings, and not a columns depicted in Raphael’s 1504 sketch worked hard at improving the royal library. single piece of sculpture, ancient or modern. of the Mona Lisa, completed in Leonardo’s He appointed the great French humanist During Francis’s reign, the magnificent art studio, and a younger woman (in her 20s) Guillaume Bud as chief librarian, and began collection of the French kings, which can still which better suits the age Lisa Gherardini to expand the collection. 7 be seen at the Louvre Palace, was begun. would have been in 1504. Francis I was one of the great patrons of The Cathedral of St. Cecelia In Albi Vaulted Ceiling librarian for the foundry, , felt as if something was a little wrong with the identification of Claude Garamond as the creator of the typeface that had influenced the new reproductions that were happening. With further research Bullen discovered that the font that the new versions were based on was not even from the 16th century but 10 rather from a more recent period in history. The 16th century was the height of Claude Garamond’s career and seeing that he died in that century he could not have been the designer. With avid cross referencing the real designer was identified as 17th century French designer Jean Jannon. Jannon’s letters while very similar to Garamond’s were more asymmetrical and had a more irregular slope and axis than his. Despite some differences that a discerning eye should have picked up the identification still came out wrong. While there was great confusion of the revivals of Garamond’s font, rather Jean Jannon’s, accurate revivals did surface.

Piece by Rosso

Piece by Benvenuto Cellini

Francis employed agents in Italy looking of the Italian renaissance, and perhaps even for rare books and manuscripts, just as he designed by Leonardo da Vinci. Francis had agents looking for art works. During rebuilt the Chateau du Louvre, transforming his reign, the size of the library greatly it from a medieval fortress into a building increased. Not only did Francis expand the of Renaissance splendor. He financed library, but, according to Knecht, there is the building of a new City Hall (Hotel de much evidence that he read the books he Ville) for Paris in order to have control bought for it, a much rarer event in the royal over the building’s design. He constructed annals. Francis set an important precedent the Chateau de Madrid in the Bois de by opening his library to scholars from Boulogne, and rebuilt the Chateau de St- around the world in order to facilitate the Germain-en-Laye. The largest of Francis’s diffusion of knowledge. In 1537, Francis building projects was the reconstruction signed the Ordonnance de Montpellier, and expansion of the royal chateau of decreeing that his library be given a copy of Fontainebleau, which quickly became his every book to be sold in France. Francis poured vast amounts of money into new structures. He continued the work of his predecessors on the Chateau d’Amboise and also started renovations on the Chateau de Blois . Early in his reign, he began construction of the magnificent Chateau de Chambord, inspired by the styles 11

Piece by Primaticcio The legacy of Garamond’s typeface starts to get complicated from the discovery of his namesake typeface not being his own design. One of the accurate revival producers wanted to distinguish their font from the now inaccurate Garamond font, so they gave the real revived Garamond font a name that refers to a different designer. G. W. Jones’s 12 Granjon font is one of the true revived versions of Garamond’s typeface but Jones decided to name it after a different French designer, Robert Granjon. Garamond now had a font named after him that he did not actually design nor influence but has a revived version of his actual font that is named after another French designer. There are versions of his font that do in fact contain his name and are really his typeface. Stempel Garamond is one of the accurate versions. It was based off of the Egenolff-Berner specimen sheet that was printed in 1592 and Aa Aa Stempel Garamond Typeface Granjon Typeface verified as accurate. The Stempel Garamond was released in 1924. The other accurate revision of Garamond‚Äôs roman typeface is the Adobe version. Created by in 1989 his revival was based on the real Garamond roman typeface. To add to the layers of confusion about Garamond‚Äôs font revivals Slimbach‚Äôs version of Garamond‚Äôs, Adobe Garamond, italic is actually based on designs by Robert Granjon the namesake of a different true revival of the

favorite place of residence, as well as the History residence of his official mistress (Anne, duchess of Étampes). Each of Francis’s An Imposing Creation of Francis I (16th projects was luxuriously decorated, both century) the counts of Blois, passionate inside and out. Fontainebleau, for instance, hunters, built a fortified castle in this out- had a gushing fountain in its courtyard where of‚Äìthe-way corner of the Boulougne forest quantities of wine were mixed with the abounding in game, at a distance of four water. leagues from their capital. That building was razed by Francis I. Chateau de Chambord In 1519 he began the current structure whose construction would be pursued with Chambord, which measures 156 meters passion. This edifice cannot not be compared by 117 meters and has 440 rooms, is the to any other construction of Francis I. With largest of all the Loire castles. In terms of this castle, the king meant to celebrate not sheer scale, it foreshadows Versailles. It only the power of his kingdom but also of appears suddenly at the edge of a path, himself. Chateau Fontainebleau and the sight of its white massive structure that widens and takes shape little by little, produces a dramatic impression, which is even more striking at sunset. Adding to that - the building‚Äôs construction, the richness of its Renaissance decor and, finally, its two 13 wonders: the grand stairway and the roof terrace. Garamond typeface. Even with the confusion of the accuracy of his typeface revivals and Claude Garamond’s designs have survived six centuries and are still relevant today. Claude Garamond started as an out as an apprentice punch cutter, became a successful typeface designer until his death, and beyond 14 death has still affected the typography industry. Dying at the age of 81, Garamond was not rich in any way after being the first person to sell his typefaces as a means of income. His business ventures were not successful and ultimately caused his fonts to spread across Europe. This spreading is what caused the confusion of his designs after death. Despite the confusion the revivals of his typefaces are widely used today. In life and death Claude Garamond has had an influential hand in the typography industry.Fonts designed by Claude Garamond

Grec Du Roi

Written in the , Upper and lowercase letters flow well together, looks like handwriting for the lowercase letters, the uppercase Wooden Type letters are very rigid.

Printing Press

Chambord was born out of a meeting pillaging the church treasuries or melting the between Francis I and Leonardo da Vinci. In silver of his subjects, the work at Chambord 1516, the young king brought Leonardo to continued at full throttle. France and set him up in Amboise, where he Francis, in his zeal, even wanted divert died in May 1519. During those three years, the Loire and bring it to the foot of the he entrusted him with several projects, in castle; but faced with the enormity of the particular the castle of Romorantin and, task, diverted the Cosson instead. In 1544, undoubtedly, Chambord. Plans for Chambord the work continued with the construction of were drawn up in 1518-1519. A wooden the wing which housed the royal apartments. model, which disappeared without trace in In 1559, upon the death of King Henry II, the 17th century, was created by Dominique de Cortone, ‚Äúthe Boccador‚Äù. In 1519, the king named Francis de Pontbriant superintendant of the construction of Chambord, and work began that same year. The work would continue into the 1560s with just one brief interruption when the king was held captive in Madrid. This was the project’s only interruption during the reign of Francis I. Even when the treasury dried up, Chateau Chambord Ceiling when the king needed money to pay Spain the ransom for his two sons who came 15 to replace him, when he was reduced to What was Happening In History

The Renaissance was happening. Garamond was a Renaissance designer. King Francis I was in power when the typeface Grec Du Roi was created. England’s King Henry VIII marries Anne of Cleves. 16 Thomas Cromwell is beheaded. France is colonizing Canada. The First Account of the Book on the Revolutions by Nicolaus Copernicus is released. Pope Paul III recognized the Jesuit order.

Life of Calude Garamond

Claude Garamond (1490-1561) Henry VIII and Anne of Cleves Claude Garamond was born c. 1480 in Paris, France, died 1561 he bas based in Paris, France and was a type founder, publisher, punch cutter, type designer. Garamond Career Timeline

1510: trains as a punch cutter with in Paris. 1520: trains with Geoffroy Tory.

Thomas Cromwell Chateau de Blois the castle was unfinished. Its construction stopped, and it was not until the 17th century that the wing got a roof.

Royal visits.

From 1539 on, the king enjoyed saying to Emporer Charles V ‚welcome to my place‚ for a visit. A swarm of young women, dressed up as Greek divinities,came before the emporer and threw flowers at his feet. The visitor, charmed by the welcome and amazed by the castle, said to his host Chambord is the epitome of human ingenuity. Henri II continued its construction. It was at Chambord that, in 1552, a treaty was ratified with three German princes which brought the cathredral towns of Metz, Toul and Verdun to the crown. Henry II and Charles IX often came to Chambord to hunt in the forest. Henry III and Henry IV scarcely ever made an appearance there, but Louis XIII renewed the link. 1530: Garamond‚Äôs first type is used in an edition of the book Claude Garamond and his fonts: “Paraphrasis in Elegantiarum Libros Laurentii Vallae” by Erasmus. It is based on Aldus Manutius‚Äô type De Aetna, cut in 1455. A native of Paris, Garamond was an engraver and letter founder of high repute. He was regarded as the best typecutter of his day. He was 1540: King Francis I commissions Garamond to cut a Greek type. commissioned by King Francis First of France to make a new cast of 18 Garamond‚Äôs ensuing Grec du Roi is used by Robert Estienne in type for his own exclusive use, now known as . three sizes exclusively for the printing of Greek books. Garamond was the first to produce a reworking of the earlier From 1545 onwards: Garamond also works as a publisher, first with typefaces of Aldus Manutius, creating a face called Garamond. This Pierre Gaultier and later with Jean Barbe. The first book he published small became the standard European type of the day is “Pia et Religiosa Meditatio” by David Chambellan. The books are and was still in use in the 18th century. During most of the 20th set using typefaces designed by Garamond. After Garamond‚Äôs century, most foundries around the world have redrawn their death, Christoph Plantin from Antwerp, the Le B√© type foundry own versions of Garamond’s typeface, and Garamond’s roman is still and the Frankfurt foundry Egenolff-Bermer acquire a large proportion of Garamond‚Äôs original punches and matrices. The typefaces Garamond produced between 1530 and 1545 are considered the typographical highlight of the 16th century. His fonts have been widely copied and are still produced and in use today. Information About the Typeface Designer

Royal hunt. The Castle People are only allowed to stoll in the western part, which covers about 1500 The park surrounding the castle provided The Park. acres. Three observation towers have been wonderful hunting grounds. There were 300 built for the benefit of visitors wanting to falcons at Chambord. The numerous royal Today, the park is a National view the stag, buck and wild boar, which hunting dogs were the object of constant “Cynegenic” Park, a hunting reserve gather after sunrise and before sunset in care. For breeding, they had the best dogs since 1948. It is the largest enclosed forest search of food. in all of Europe brought to Chambord. park in Europe – with over 13,000 acres, The diverted Cosson, flows in front of the The kings, trained from childhood, were of which over 11,000 are made up of native castle. The channels which fed it were filled passionate hunters. Louis XII jumped ditches oak and pine, but also includes varieties in by Stanislaus Leczinski, giving the castle a of over 15 feet on horseback. which were planted such as chestnut, birch, somewhat weighed-down appearance. In spite of his blow his hunting horn elm and willow. A 19 mile wall, the longest until he spit blood. He fell ill after every in France, encompasses it. The wall has six expedition. But it was he who succeded this doors corresponding to six beautiful alleys. feat: to hunt down a stag without the use of dogs.

19 Aldus Manutius regarded today as one of the classic typefaces. Garamond is the original typographic naming disaster--a source of ongoing confusion. There are many types called “Garamond”, almost to the point where garamond has emerged as a category among text faces. What most of the Garamonds have in common is that they are 20 more-or-less accurate revivals either of type cut by Claude Garamond in the late fifteenth century, or of type cut by Jean Jannon in the mid- 16th century. The basic story is this. A French punchcutter of the fifteenth century, Claude Garamond, was held in high esteem. In the early twentieth century the producers of matrices for machine setting were keen to revive or recut historical typefaces, and several versions of typefaces named for Garamond, and supposedly based on his typefaces, were produced: by ATF in 1918, by Lanston Monotype (drawn by ) in 1921, and by English Monotype in 1922. It turned out that the original of these types, then believed to be the work of Claude Garamond, were not: they were the work of a different French punchcutter, Jean Jannon. This was discovered and made public by in an article for The Fleuron in 1926. But by then the Garamond (or, as Goudy would have it, Garamont) name had stuck. Meanwhile there were and are other revivals (of which the most well-known is Adobe Garamond, designed by Robert Slimbach (1989) Chateau De Chambord

The Buildings. The layout of Chambord is feudal: a central donjon (keep) with 4 towers and an enclosure. But its Renaissance construction evokes no such war-like impressions. Chambord is a leisure residence for royalty. In its architectural planning, Chambord combined the most in-vogue Italian ideas with the most traditional French architectural styles. It was built according to the same conceptual principals as Italian churches and is reminiscent of the work of Leonardo da Vinci in the chancel of the Cathedral of Pavia in the 1490s. With Chambord, the use of coffered vaulted ceilings was employed for the first time in France. This Italian inspired innovation links Chambord to the architecture of St. Paul’s Cathedral in Rome. 22

The Donjon and the Stairway. The columns are decorated with unusual corner figurines: cherubs, lizards, a wingless Other aspects of Chambord‚Äôs architecture Pegasus coming out of Mars‚Äô temple. are, however, typically of the French At the top of the donjon, a lantern crowns traditional style ‚Äì notably the central donjon the grand stairway. This lantern is topped confined by 4 round towers and encircled by a narrow turret and then by a skylight.La by an enclosure. The ‚Äúdouble spiral‚Äù Chambre du Roi stairway (two parallel stairways wrapped around one another) is the most remarkable feature of the castle and is written into the lineage of French architecture. The donjon is found in the center of the edifice. Its construction began in 1519 and was completed in 1540. In its center we find the ‚Äúdouble spiral‚Äù stairway, which was most likely designed by Leonardo da Vinci. Its structure is very La chambre de la reineunusual: The parallel stairways ascend in such a way that two people can go up and down them without ever meeting. The casing has an openwork design, like the stairway of Francis I in Blois, so that one can see through the entire structure. Don Jon Inside Chateau De Chambord which are based on Claude Garamond’s type. or a script. In addition to , MvB Verdigris is another It is not hard, when the typefaces are seen side-by-side, to identify contemporary face that could be called a garamond. differences between the various Garamonds, and to perceive (broadly) Physiology of a typeface two different “families”; but the similarities are quite striking too. How many times have you heard someone exclaim “Isn’t a Garamond Generally choice depends on aesthetic preference rather than historical such a beautiful thing!” Without a doubt, it’s a beautiful typeface, 24 correctness. These are usable typefaces with a slight air of conscious even if I hate to use that expression. You could just as easily say a car refinement that appeals to some and repels others. Based on Garamond: Stempel Garamond, Adobe Garamond, Linotype Granjon, Sabon. Based on Jannon: Monotype Garamond, Simoncini Garamond, ATF Garamond (Linotype Garamond 3), LTC Garamont, Storm Jannon Antiqua Note that Jan Tschichold’s Sabon, though not called Garamond takes Garamond’s types as its starting point. ITC Garamond is very much a creature of the 1970s (designed by Tony Stan). It is a type which tends to arouse strong feelings (not usually good ones). But even its supporters accept that this typeface, with its large x-height is a Garamond only in name. Because of the profusion of garamond-like typefaces and the early confusion around its naming, it is common to see a typeface referred to as a garamond, the way we might categorize a typeface as a Frederic Goudy

The Apartments.

The stairway climbs three floors, and on each level, square apartments occupy the four corners Each apartment connects to another apartment contiguous with the central stairway. The cruciform space left open by this configuration is taken up by four large galleries. These galleries were not included in the original layout. There was only a simple terrace, giving the donjon a much more spacious effect. The king’s private apartments were located in the northeast corner of the building. The living quarters of the king matched the chapel located in the west wing. The Chapel The chapel was begun between 1545-1550 and completed under Louis XIV. Tapestries adorn the rooms of the apartments which were fixed up under Louis XIV. In these apartments are several

Chateau De Chambord Stair