Hôtel d'Assézat

The main L-shaped structure was built along with the staircase pavilion in the corner. The design of the façades, featuring twin columns which develop regularly over three floors (Doric, Ionic, Corinthian), takes its inspiration from the great classical models such as the Coliseum. The careful treatment of the capitals systematically uses the most sophisticated antique expression known. The Doric on the ground floor is, for example, through Serlio or Labacco, an allusion to its most ornate known version: that of the Basilica Aemilia.[1][4]

This composition of the facades of the hotel bears no direct resemblance to that of the Lescot facade of the square courtyard of the Louvre Palace, to which it is sometimes compared.[2]

• Classical facades
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  Classical facades.
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  Superimposition of the three classical orders.
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  Influence of an engraving by Serlio.
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  Fluted and filleted columns.
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  Doric capitals.
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  Influence of Serlio's engravings
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  Ionic capitals.
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  Corinthian capitals.
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  Entrance of the Union of Academies and Learned societies.
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  It was the door of the counter.
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  Detail.
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  Window.
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  Window.
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  Serlian window.
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  Lion muzzle serving as a gargoyle.

The monumental gate designed by Dominique Bachelier combines power with delicacy. The gateway arch takes a certain rhythm from several projecting stones decorated with small dots. Serlio's Extraordinary Book of Doors contain this type of composition and it was used on several occasions by Toulousain architects (Hôtel de Molinier and Hôtel de Massas). The Doric pilasters that frame the gate display an alternating succession of diamond-shaped stone, which gives the ensemble a precious aspect. In the upper section the Ionic pilasters around the mullioned window are fluted and delicately ornamented. And with the table that surmounts it, the composition imparts a refined sophistication. Thus, Dominique Bachelier was able to offer the owner a complete composition which evoked both power and a delicate erudition.[1]

• Entrance pavilion
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  Entrance pavilion.
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  Main gate.
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  Influence of an engraving by Serlio.
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  Frieze of metopes.
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  Detail.
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  An Amerindian's head, the attraction of novelty.
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  Merchant's office window on the street.
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  Merchant's office window on the courtyard.
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  Knocker of the door.

In the courtyard, the passageway features arches decorated with diamond-shaped stone. They rest on large scrolled consoles, whose fronts are decorated with grotesque masks of different design. On the side, the rolls of the scrolls engender plant pods and cloves. Each console is borne upon a lion foot standing on a section of pilaster capped underneath with a magnificent rose. These consoles illustrate, by themselves, the manneristic aesthetic on the unusual and the association of opposites, combining mineral, vegetable and animal kingdoms. These refined motifs, heightened through the polychrome interplay and relief of the passageway, were much appreciated by contemporaries and inspired details on other buildings, such as Hôtel de Massas and Laréole Castle.[1]

The loggia, the upper floor of which corresponds to a 17th century elevation (except for the 16th century windows, which used to stand out on a high slate roof), is at that time independent of the left wing and is located above the semi-buried cellars. A porch with converging flights of stairs provides access to it. A sort of festive tribune from which the lively courtyard can be observed, it brought pleasure to outdoor life in the summer months.[2]

• Passageway and loggia
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  Passageway of the east wall.
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  Support arch of the passageway.
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  Mannerist decor.
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  Mannerist decor.
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  Mannerist decor.
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  A variety of sources of inspiration.
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  Ionic consoles and pods.
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  Loggia.
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  Loggia.
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  Loggia.

The large staircase with straight handrails takes place in a pavilion that projects into the courtyard. The architectural orders are repeated on the landings. On the landing of the first floor, stands the impressive figure of a male term. Half man, half pilaster, his face grimacing and his hands holding a cushion placed on his head to reduce the pain, this term was condemned to support the weight of the console. Although a symbol of knowledge in the sense that it alludes to mythology (Atlas and Hercules), this motif also amuses thanks to an association of opposites, such as the straining muscles and the soft cushion. Cariatid termes and other telamons were much appreciated in Renaissance Toulouse, notable examples can be found on the windows of Hôtel du Vieux-Raisin and on the main gate of Hôtel de Bagis.[1]

The brick crowning of the tower makes it the highest of the town's mansions. Probably finished by Dominique Bachelier, who gave it the shape of an Italian tempietto, it has two terraces and a parapet walk.[2]

• Staircase and tower
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  The tower.
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  The top of the tower.
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  The top of the tower.
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  Door of the main staircase.
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  Solomonic columns.
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  The staircase.
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  Staircase term.
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  Mannerist decor.