FRENCH RENAISSANCE. See page 246 for French Romanesque.) (See page 362 for French Gothic.) " In all new work that would look forth To more than antiquarian worth, Talladio's pediments and bases, Or something such, will find their places. — Clough. I. INFLUENCES (see page 437;. i. Geographical. — -Refer to pages 246, 362. France had now more clearly defined boundaries, which hereafter, in spite of the conquests of Louis XIV. and Napoleon, were not permanently extended. ii. Geological. — Refer to pages 246 and 362. Paris is built, so to speak, in a quarry of a fine-grained building stone, and is a stone city, as London is a brick city. iii. Climate. — Refer to page 246. iv. Religion. — The Reformation maintained practically no hold in France, the old order remaining until the end of the eighteenth century. As, moreover, the supply of churches erected during the mediaeval period proved adequate, it was the domestic work which took the lead in this period. Thus the Louis XIV. style, which had an universal influence upon interiors, and furni- ture, had little effect upon churches, the Jesuit style (page 496) prevailing in those built during this period. V. Social and Political. — Paris at this time was the capital of a compact and rapidly consolidating kingdom, and from Paris emanated any movement, not only in architecture, but also in science and literature. The number of chateaux erected during the early periods of the Renaissance in France was due to many social causes. The invasion of Italy by Charles VIII. in 1494, and by Francis I. in 1527, in vindication of their claims to the thrones of Naples and Milan, marks the distribution of Italian artists and workmen over Europe, and more especially France, many returning in the train of the French kings. Among the chief of the artists were Leonardo da Vinci, brought to France by Francis I. ; Cellini, Serlio, Vignola, Rosso, Prima- ticcio, and Cortona. In the later period, the Italian Bernini was F.A. K K
