tions have by this time been introduced into
the treatment of the features of Renaissance architecture. The bands
of rustication passing round the pilasters as well as the walls, the
broken pediments on the upper storey, surmounted by figures, and
supported by long carved pilasters, and the shape of the dormer
windows are all of them quite foreign to Renaissance architecture as
practised in Italy, and may be looked upon as essentially French
features. Similar details were employed in the work executed at about
the same period, by the same and other architects, in other buildings,
as may be seen by our illustration (Fig. 75) of a portion of Delorme's
work at the Louvre. In these features, which may be found in the
Chateau d'Anet and other works of the same time, and in the style to
which they belong, may be seen the direct result of Michelangelo's
Medici Chapel at Florence, a work which had much more effect on French
than on Italian architecture. The full development of the architecture
of Michelangelo (or rather the ornamental portions of it) is to be
found in French Renaissance, rather than in the works of his own
successors in Italy.

Much of the late sixteenth century architecture of France was very
inferior, and the parts of the Louvre and Tuileries which date from
the reign of Henry IV. are the least satisfactory portions of those
vast piles.

[Illustration: FIG. 74.--PART OF THE TUILERIES, PARIS. (BEGUN 1564.)]

Dating from the early part of the seventeenth century, we have the
Palais Royal built for Richelieu, and the Palace of the Luxembourg, a
building perhaps more correct and quiet than original or beautiful,
but against which the reproach of extravagant ornament cannot
certainly be brought.

[Illustration: FIG. 75.--CAPITAL FROM DELORME'S WORK AT THE LOUVRE.
(MIDDLE OF 16TH CENTURY.)]

With Louis the Fourteenth (1643 to 1715) came in a great building
period, of which the most striking memorial is the vast and
uninteresting Palace of Versailles. The architect was the younger
Mansard (1647 to 1768), and the vastness of the scale upon which he
worked only makes his failure to rise to his grand opportunity the
more conspicuous. The absence of features to diversify the sky-line is
one of the greatest defects of this building, a defect the less
excusable as the high-pitched roof of Gothic origin had never been
abandoned in France. This roof has been employed with great success in
many buildings of