英语词汇mansard的起源、历史背景-英语词源词典

mansard. This type of roof, unlike the conventional peaked shape, has a double, almost vertical, slope on each side, with the upper part almost flat. Mansard refers to the roof and the high room under it, both designed by Nicolas-François Man- sart (1598–1666), a French architect of the Renaissance who is generally known as François Mansard. The roof he devised al- lows for high-ceilinged attics and was widely adopted by Victo- rian architects. Mansard’s great Church of Val-de-Grâce, Paris, is said to have influenced Christopher Wren’s plan for London’s St. Paul’s Cathedral. One of the most influential architects of his time, his pure classical designs have been an inspiration to others for centuries. Mansart, the son of a carpenter to the king, was chosen to design the Louvre, but refused to allow his design to be altered during construction, and so the Italian Bertini replaced him. His nephew Jules Hardouin-Mansart de- signed the magnificent Hall of Mirrors at the Palace of Ver- sailles, the Hôtel des Invalides (which houses Napoleon’s tomb), and the Place Vendôme, among other architectural masterpiec- es. One reason the mansard roof was so popular was taxes, writes my correspondent Eric Halsey: “There was a stiff tax on buildings higher than 6 stories, and the mansard roof allowed the addition of one, two, or three additional floors that officially counted as attic space.”

词汇	mansard
词源	mansard. This type of roof, unlike the conventional peaked shape, has a double, almost vertical, slope on each side, with the upper part almost flat. Mansard refers to the roof and the high room under it, both designed by Nicolas-François Man- sart (1598–1666), a French architect of the Renaissance who is generally known as François Mansard. The roof he devised al- lows for high-ceilinged attics and was widely adopted by Victo- rian architects. Mansard’s great Church of Val-de-Grâce, Paris, is said to have influenced Christopher Wren’s plan for London’s St. Paul’s Cathedral. One of the most influential architects of his time, his pure classical designs have been an inspiration to others for centuries. Mansart, the son of a carpenter to the king, was chosen to design the Louvre, but refused to allow his design to be altered during construction, and so the Italian Bertini replaced him. His nephew Jules Hardouin-Mansart de- signed the magnificent Hall of Mirrors at the Palace of Ver- sailles, the Hôtel des Invalides (which houses Napoleon’s tomb), and the Place Vendôme, among other architectural masterpiec- es. One reason the mansard roof was so popular was taxes, writes my correspondent Eric Halsey: “There was a stiff tax on buildings higher than 6 stories, and the mansard roof allowed the addition of one, two, or three additional floors that officially counted as attic space.”
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