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Contributions: Louisbourg Institute and Yvon LeBlanc

YVON LEBLANC ~ FORTRESS OF LOUISBOURG 
PROJECTS PAST AND PRESENT

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PAST PROJECT

THE ARCHITECTURAL HERITAGE OF LOUISBOURG 
(A General Survey) 
Notes for course given to the University  College of Cape Breton, Summer Sessions  
(1977 - Reviewed 1978 and 2001)

CHAPTER ONE

(1) The Heritage of Louisbourg

- Heritage: something passed on from one generation to another.

- In Louisbourg? 

Names: Louisbourg, Catalone, Mira, Main-à-Dieu &

A Story - An Incident in French History,

Traces of Ruins.

Many Artifacts - no really precious ones, in the sense of what is found in Egyptian tombs, etc. - But most important for our purpose

- No continuity in tradition of original Louisbourg

- Except for objects found that can be related to the Historical Documents.

* It is not as at Williamsburg, Quebec, Upper Canada Village, King's Landing, Village Acadien at Caraquet, etc. where local people find a continuity with their own past

Here: The continuity does not exist, the past being rediscovered is totally foreign to the present-day animators.

- Whence: Difficulty of interpretation with available means to date:

The proper form of animation still remains to be found.

(2) European Architectural Heritage of Louisbourg

-As far as we are concerned now, past and present cannot be separated.

-Why? 

- Not really enough EXCEPTIONAL ARCHITECTURAL VALUE TO WARRANT RECONSTRUCTION i.e. - not a "Monument Historique" as the term is normally used, (to designate things like Versailles, Palaces, etc.)

- The main interest of the project is perhaps the very fact of its reconstruction; this is what impresses most European architects involved in historical architecture, who have knowledge of Louisbourg (very few)

- Construction and Reconstruction cannot but reflect adaptation to circumstances, and present-day practices based on tradition. 

- Generally: Classical Architecture (16th to 19th century)

- Although always concerned with whole building process:

Commodity = Function = Utilitas (Vitruvius 1st Century B.C.)

Strength = Structure = Firmitas (Vitruvius 1st Century B.C.)

Delight = Appearance = Venustas (Vitruvius 1st Century B.C.)

(a) Appearance as a reflection of appropriateness for social standing and position ("Magnificence" "convenance") but not necessarily in the sense of present-day snob or showing-off approach, which so often ends up in bad taste. 

(b) Orders as a system of decoration, proportions, etc. based on ancient Greek and Roman "canons" ( = Classicism): regulating use of columns with capitals, pediments, etc.

- Therefore it makes a distinction between: 

(a) Building, as providing basic shelter 

(b) Architecture, as conscious design to provide additional comfort and appearance for more sophisticated functions. Both aspects very important as complementary contributions to total picture.

(3) State of Architecture in Europe and 
French America At The Time Of Louisbourg:

- England - Remains close to Renaissance (16th and 17th centuries) up to 19th, even 20th centuries

- Spain, Germany, Italy: Exuberant Rococo, mannerism, etc; highly decorated.

- France - More sober and refined exteriors maintaining lightened classical orders 

- Some limited -amount of above exuberance in the form of curvaceous "Rocaille", more subdued than "Rococo" 

- Orders are less in evidence

- New France, Louisiana reflect France, but with limiting local influences;; little trace of "rocaille" even in highly decorated Quebec churches.

- Louisbourg Architecture compared:

Generally less sophisticated and down to earth.

But: 

good vernacular architecture as such,
(is very appealing to present-day French architects interested in the Historical) 
with a classical feeling for The Monumental:
the King's Bastion "Casernes"
The Frederic, Maurepas & Dauphine Gates

Stylistically, where does Louisbourg fit?

The main building 

- The King's Bastion Casernes, said to be the longest building in America at the time.

harkens back to Louis XIII, a good 100 years before, even to the Place Royale in Paris, started by Henri IV, before 1610: Typically "Brick and Stone."

- This is not to be taken derogatorily; it was normal for functional buildings to stay on to the beaten track, where passing fads and fancies leave way to good basic design.

- This explains how Louisbourg, though only run-of-the-mill architecture in the classical sense, is very interesting and important as an expression of vernacular architecture performed under difficult conditions, while not forgetting the grand manner and feeling for the monumental typical of classicism: Gates, Casernes, etc.

- Present-day French architects are impressed by simple functionalism and classical quality of Louisbourg drawings.

(4) Louisbourg As A Fortified-City

- Typical - if somewhat less regular fortifications and much less elaborate - than other French ones (many by Vauban) built during the 17th and 18th century, all that was needed (See Bruce Fry: "An Appearance of Strength".

- Generally squared Street Pattern, with some feeling for the vista,

- although with less pronounced sense of grandeur, than in most continental French fortified places which is understandable under the circumstances.

(A) Streets named:

- After known personages or places of the time:

Orléans: The Regent Philippe in office at the founding of Louisbourg.

Toulouse: One of Louis XIV's legitimated sons, Admiral of France.

Condé & Conti: Military men belonging to a family of royal blood collateral to the Bourbons.

Estrée: A Maréchal de France & Vice-Admiral, also from a family close to the throne.

Dauphine: Named in 1716 after the 8-yr old Dauphin, but agreeing grammatically with the feminine of "rue", -- the same for "porte" below.

Canada, Etang, Hôpital, "Ramparts", etc. are self-explanatory

(B) Gates: Note 

- It would be interesting to speculate on why two gates are named after Jean Frédéric Phélypeaux, Comte de Maurepas. Granted he was in the King's higher service for many years, and in many functions from the "Maison du Roy" (which included Paris, Police, etc.) to the navy and colonies, but it is surprising that not one gate was named after the King. A very small one named after the Queen is not so surprising: she was such a retiring creature.

Porte Dauphine: 

-First drawn in 1729, the year a Dauphin was born to Louis XV - a very welcome heir to the throne, following the successive births of several girls.

(C) Author 

- Verville (Engineer between 1717 and 1725), responsible for overall design of the Town

Most of his basic design carried out - with some modifications and modifications by Verrier, Engineer 1725-45, who is therefore responsible for final appearance of the city, including the Gates

- Verrier may have been more architecturally-minded than Verville, but still first of all a military Engineer, and therefore trained in the elements of architecture (See Belidor book "Science de l'Ingénieur").

He also had an artistic background, since his father, Christophe Verrier, was a sculptor with known-works including an elaborate "retable" of a side altar in the cathedral of Toulon. Furthermore. a cousin, if not brother, Thomas Verrier, is the. architect of a small but refined domed church in Aix-en-Provence. Christophe Verrier was also nephew, by marriage, to the great French sculptor Puget.

- However - architectural unity, as was often the case when one man designed the fortified city as a whole (Richelieu, Neuf-Brisach, etc.) is not very evident in Louisbourg. 

Since: Except for King's Buildings, people generally looked after their own building construction. 

Note: The Louisbourg drawings are one of the best collections in the French Archives.

- Verrier's designs for the Gates and other detailing show great care and sense of proportion, especially Frederic Gate, which appears to have been very carefully planned according to a strict geometrical lay-out, based, on a proportion close to the golden number (see attached drawing). 

To see a larger view of a picture, please click on it Please hover over the image for the caption to appear

- There has been some speculation (unfortunately passed on to the guides),--- that the design shows oriental influence; this is apparently based on the following: that Verrier was part of an expedition, to the orient in 1721; and the roof design and flanking "needles" are reminiscent of a pagoda. This is not necessarily so. Firstly this expedition was, but a short unsuccessful attempt at a settlement off the shore of Viet-Nam. Secondly the flaring eaves of the roof (especially with the-high-sloped "Mansard" roof typical of French architecture) are basically functional, (i.e. to throw the rain-water away from the wall) and the curve normal at the change of slopes. It is only with time that the so-called "bell-roof" has become a stylistic feature. Similarly the flanking "obelisks" (whatever their original function) became stylistic elements in architecture from the original Egyptian to the sharper "needles" seen in Indonesian  architecture.

A newly discovered bit of information on the Frederic Gate may throw some light on an explanation for its careful design and wood construction, and perhaps also on the lack of written information. According to a 1999 article by John Millar, a Williamsburg historian, an English architect Peter Harrison, established in New England, would have, on a visit to Louisbourg in 1742, suggested wood to Verrier who could not count on receiving the proper stone.

(5) Domestic Architecture And Construction 

- This is the facet of Louisbourg 1 was more connected with. 

- House Planning in Louisbourg Period:

- Not highly developed in pre-classical times: 
But coming out on its own by beginning of l8th century: 
Serlio (16th c.); Le Muet (17th c.); De Briseux (18th c.) published books of plans for houses from very small (12 pied frontage) to very large country and town houses ("hôtels particuliers"). 

- Rooms are less defined in use, than in-our times. "Dining room" first used in this period (early 18th c.). 

- A "chambre" is a room in general 

- A "cabinet" usually a smaller room off or partitioned in a larger one. 

- An appartment was a suite of rooms: made up of:

- Antichambre or 2 (servants' waiting, sometimes used for eating) 

- Main room - sometimes the "Chambre de Parade" - official bedroom - often open to public and seldom slept in (in palatial houses) with service rooms ("garderobes") and stairs around it.

- "Cabinets" of various sizes or purposes and "garde-robes" in odd corners, for dressing, servants, commode chair, etc.

-  "entre-sols" (mezzanines) over smaller rooms, useful in winter for sleeping, i.e. more cozy & heatable spaces

A House - "Hôtel" ( = Large Town House) 

made up of: 

1. Entrance way with service areas, 

yards - service ("Basse Court") yard

& courtyard

stables & carriage houses 

2. Kitchens & servant's quarters 

3. Grand vestibule & staircase , often on the right on entering

4. Grand salon

5. Sometimes a gallery

6. Varying number of suites of rooms for each individual
 occupancy

Circulations: No  corridors except  for service areas, or sometimes on Upper Floors

- Doors lining up - for effect as well as function, (Italian Influence) very common in France: Theory: doors along exterior walls where drafts occurred.

Beds 

- Always on interior walls 

- Often in alcoves or curtained niches

- (Literally cupboards in rural houses, where common rooms prevailed) 

- For warmth & privacy 

- This explains freer use of rooms.

Changes in This Period Louis XV  

- move towards more comfort and less stateliness:

- Family rooms more and more common. 

- Low ceilings in sleeping rooms, "mezzanines over small "cabinets" & "garde-robes", which lay between high-ceilinged state rooms. 

- Toilets, some quite elaborate, were more & more. coming into use, with clever water works, even hot and cold.

New France, Louisiana, Louisbourg: show same trend, except for mezzanines, since grand houses with high ceilings were not common. 

Living Accommodations in Louisbourg reflect this: amongst other things. 

- Governor's apartment: The -"Salle du Gouvernement" has the curtained bed in it, according to one inventory. 

- Officer's lodgings (Isle St. Jean & Port Toulouse), commissaire-ordonnateur's house, show doors lined up along outside wall. 

- Foundations of some buildings found indicate same arrangement in many cases. 

- Ceilings are generally low, except in Governor's apartment.

- However; no toilet facilities but back-yard "latrines," and "commodity chairs" or simply "chaises percées."

Housing in Louisbourg

- Reflects small-town context (i.e. somewhat rural type-houses usually on street line), rather than city type (i.e. several floors, often narrow frontage with shop, and small inner court-yard)

- Timber framed buildings, with vertical log ("piquets") or stone fill are the most common, - to say nothing of fairly common plain "piquet" in the ground (palisade-wise) - due to more ready availability and pioneering nature of first wave of construction, whereas, by this period, showed pronounced dominance of masonry in urban as well as in many even modest rural areas and buildings i.e. choice of material was more associated with availability and need for permanence rather than expression  and status, etc., as such

Go to Chapter Two