enclosed with balustrades, and balustrades connect the buttresses over the main cornice. The roof is very low and invisible, thus there are no dormers, but large chimneys ornamented with blind arcading break the sky line.
Such is the early Renaissance architecture of France. Notwithstanding its factitiousness, and its ornamental incongruities, it still has, as I have said, a distinctly French expression, though it has not the reasonable character of the native art of the Middle Ages in its integrity. But the departure from their own ideals and traditions was destined to be carried further, and at length to reach results which should still more profoundly contradict the true native spirit. This further transformation was wrought during the second half of the sixteenth century under the influence of several noted architects who stand in relation to the French Renaissance very much as Vignola, Palladio, and their followers stand in relation to that of Italy. The art of these men will be considered in the next chapter.
