FRENCH RENAISSANCE

French Renaissance is a recent term used to describe a

cultural and artistic movement in France from the late
15th century to the early 17th century. The French
Renaissance traditionally extends from (roughly) the
French invasion of Italy in 1494 during the reign of Charles
VIII until the death of Henry IV in 1610. The reigns of
Francis I of France (from 1515 to 1547) and his son Henry
II (from 1547 to 1559) are generally considered the apex
of the French Renaissance.

Notable developments during the French Renaissance

include the beginning of the absolutism in France, the
spread of humanism; early exploration of the "New World"
(as by Giovanni da Verrazzano and Jacques Cartier); the
importing (from Italy, Burgundy and elsewhere) and
development of new techniques and artistic forms in the
fields of printing, architecture, painting, sculpture, music,
the sciences and vernacular literature; and the
elaboration of new codes of sociability, etiquette and
discourse.

Francis I (12 September 1494 – 31 March 1547) was

King of France from 1515 until his death.

Francis I is considered to be France's first Renaissance

monarch. His reign saw France make immense cultural
advances.

In 1515 Francis was crowned King of France in the

Cathedral of Reims. Despite being only twenty-years old,
he already had unprecedented humanist credentials.
Henry II (31 March 1519 – 10 July 1559) was King of
France from 31 March 1547, until his death in 1559.

The Italian War of 1551–1559, sometimes known as the

Habsburg–Valois War, began when Henry declared war
against Charles V with the intent of recapturing Italy and
ensuring French, rather than Habsburg, domination of
European affairs.

Henry II introduced the concept of publishing the

description of an invention in the form of a patent. The
idea was to require an inventor to disclose his invention in
exchange for monopoly rights to the patent. The
description is called a patent “specification”.

French Renaissance – Architecture

A. Plans.—The irregularity peculiar to Gothic buildings

was occasionally retained as suitable to the exigencies of
the country-side.
The typical town-house plan has a court enclosed on one
side by the " corps de logis," flanked on either side by
lower wings and cut off from the street by a screen wall.

B. Walls.—A country chateau is seen on all sides, and

picturesque grouping from every point of view was
therefore sought. The gables and prominent stone
dormers of the early period gradually gave place to
pedimented and balustraded facades. Pavilions crowned
with steep independent roofs mark the centre and ends of
facades. Stone was the chief material, sometimes
combined with red brick.

C. Openings.—Arcades were not usual, owing to the

northern climate. Doors of the early period often show
Mediaeval influence and are much elaborated, but later
are frequently treated plainly. Gothic mullions and
transoms continued, though changed in detail. Windows
were often superimposed, but with the use of the Orders
horizontal lines of the entablature prevailed. Symmetry
was so much considered that when there was a
mezzanine floor with windows, similar windows were
added in the upper part of main apartments adjoining. The
attic was a favourite feature, often with circular windows
(" ceils-de-bceuf "), as at the Hotel des Invalides, Paris.

D. Roofs.—High roofs are usual with dormer windows and

lofty chimney-stacks which give a picturesque sky-line
from a distance. The French " Mansard" roof, which gave
more internal space, was favoured ; while pavilions with
independent roofs assumed the importance of towers.
Domes were employed in churches of the later period.

E. Columns. — Pilasters, lozenge-panelled or carved with

foliage, were used to ornament quasi-Gothic features, as
at Chambord, where slate in the panels gives variety.
A separate " Order " was usually given to each storey,
according to the practice of Vignola.
F. Mouldings.—Gothic influence pervaded the early
period and combinations of Classic and Mediaeval
mouldings were often used. Some cornices have unusually
small members, while later mouldings gradually
developed a distinctive character.

G. Ornament.—Gothic wood panelling continued into the

early period, and was often splendidly carved with
arabesques, as at Blois ; whereas in later work the scale
suggested by the material was gradually lost. The Raphael
style of decoration was introduced by Italian artists, as at
Fontainebleau, and has continued to influence French art.
Tapestry and hangings were superseded by the Louis XIV
style of wood, papier-mache, and stucco -decoration in
white and gold, which was also applied to furniture and
every accessory, and thus gives fitness and unity to the
interiors. Sculpture acquired increasing importance, and
figure sculpture of great excellence appears in
combination with modern French architecture. Other
ornament is seen in panels, capitals, balconies, vases,
keystones, console, walls and ceilings, fountains, and
entablatures.