ssion to examine the temples in question. The result was a
confirmation of the fact, the ridicule of Paris, the consequent branding
of the young artist as an architectural heretic, and a continued
persecution of him by the Ecole des Beaux Arts. Undaunted, however,
Labrouste established an _atelier_ in Paris, to which flocked many
intelligent students, sympathizing with the courage which could be
so strong in the conviction of truth as to brave in its defence the
displeasure of the powerful hierarchy of the School.

Thus was founded the new Renaissance in France; and, in this genial
atmosphere, Greek lines began to exercise an influence far more thorough
and healthy than had hitherto been experienced in the whole history of
Art. To the lithe and elegant fancy of the French this Revelation was
especially grateful. For the youth of this nation soon learned that
in these newly opened paths, their invention and sentiment, so long
straitened and confined within the severe limits of the old system,
could move with the utmost freedom, and at the same time be preserved
from licentious excess by the delicate spirit of the new lines. Thus
natural fervor, grace, and fecundity of thought found here a most
welcome outlet.

For some time the designs of the new school were not recognized in the
competitions of the Ecole des Beaux Arts; but when, in the course of
Nature, some two or three of the more strenuous and bigoted professors
of Palladio's golden rules were removed from the scene of contest, the
_Romantique_ (for so the new system had been named) was received at
length into the bosom of the architectural church, and now it may be
justly deemed _the distinctive architectural expression of French Art_.

Labrouste was not alone in his efforts; but Duban and Constant Dufeux
seconded him with genius and energy. Most of the important buildings
which have been erected in France within the last six or eight years
have either been unreservedly and frankly in the new style, or been
refined by more limited applications of Hellenic principles. Even the
revived Mediaeval school, which, under the distinguished leadership of
M. Viollet le Duc and the lamented M. J.B.A. Lassus, has lately been
strengthened to a remarkable degree in France, and which shared with
the _Romantique_ the displeasure of the Academy,--even this has tacitly
acknowledged the power of Greek lines, and instinctively suffered them
to purify, to a certain degree, the old gr