THE STYLES OF HENRY IV. AND LOUIS XIII. 



251 



before the accession 

 of Henry IV., but 

 Frenchmen and 

 Flemings were taking 

 their place. The 

 character of the 

 earlier phases of the 

 Renaissance was long 

 retained here and 

 there in decoration, 

 as, for instance, in 

 Maria de' Medici's 

 chamber at the Lux- 

 embourg (c. 1620), 

 though the tendency 

 was towards the in- 

 fluence of Flemish 

 barocco. In all but 

 the most splendid 

 apartments the bare 

 plaster and beams 

 were exposed, though 

 often decorated, the 

 former with frescoes 

 and the latter with 

 small painted pat- 

 terns, as in the Gale- 

 rie des Cerfs at 

 Fontainebleau and 

 the Guard-room at 246< CHATEAU OF LASSON: CHIMNEY-PIECE (c. 1630). 



Cheverny (c. 1640). The views of the royal palaces in the former 

 are attributed to Toussaint de Breuil (1561-1602), who decorated 

 the Galerie des Rois in the Louvre (the present Galerie d'Apollon) 

 with portraits of all the kings of France. The Fleming Ambroise 

 Uubois (1543-1614) was also employed in the royal palaces, especially 

 at Fontainebleau, where he decorated the Galerie de Diane and the 

 Chambre Ovale. In the latter the main girders are visible, but the 

 joists between them and the upper parts of the walls are concealed 

 by a stucco decoration in large panels containing figure subjects, 

 while the intervening portions, girders, and piers are decorated 

 with cartouches, foliage, and swags similar to those of the Italians. 

 The lower part of the walls is wainscoted in small panels painted with 

 landscapes and natural flowers, an innovation of the period. In the 

 fine decoration of the Trinity Chapel (1608-15) carried out by Martin 



