By the seventeenth century the equalized _carreaux_ of the early geometrically disposed gardens were often replaced with the oblongs, circles and, somewhat timidly introduced, more bizarre forms, the idea being to give variety to the ensemble. There was less fear for the artistic effect of great open spaces than had formerly existed, and the avenues and alleys were considerably enlarged, and such architectural and sculptural accessories as fountains, balustrades and perrons were designed on a more extensive scale. Basins and canals and other restrained surfaces of water began to appear on a larger scale, and greater insistence was put upon their proportions with regard to the decorative part which they were to play in the ensemble.
This was the preparatory period of the coming into being of the works of Le Notre and Mansart.
The _Grand Siècle_ lent a profound majesty to royal and noble dwellings, and its effect is no less to be remarked upon than the character of their gardens. The moving spirit which ordained all these things was the will of the _Roi Soleil_.
_Parterres_ and _broderies_ were designed on even a grander scale than before. They were frequently grouped into four equal parts with a circular basin in the centre, and mirror-like basins of water sprang up on all sides.
Close to the royal dwelling was the fore-court, as often dressed out with flowers and lawn as with tiles and flags. From it radiated long alleys and avenues, stretching out almost to infinity. At this time the grass-plots were developed to high order, and there were groves, rest-houses, bowers, and _theatres de verdure_ at each turning. Tennis-courts came to be a regularly installed accessory, and the basins and "mirrors" of water were frequently supplemented by cascades, and some of the canals were so large that barges of state floated thereon. Over some of the canals bridges were built as fantastic in design as those of the Japanese, and again others as monumental as the Pont Neuf.
In their majestic regularity the French gardens of the seventeenth century possessed an admirable solemnity, albeit their amplitude and majesty give rise to justifiable criticism. It is this criticism that qualifies the values of such gardens as those of Versailles and Vaux, but one must admit that the scale on which they were planned has much to do with this, and certainly if they had been attached to less majestic edifices the comment would have been even more justifiable. As it is, the criticism must be qualified.