112 THE FINE ARTS. 
the kind in churches. Miniature painting was brought to great perfection 
by Foulques, precentor at St. Hubert’s; and considerable progress was like- 
wise made in painting on glass. Of greater importance at that time for the 
advancement of art in France were the exertions of abbot Suger, a zealous 
patron and promoter of all the arts. A great deal too was done for the arts 
under Louis [X.; and his expeditions to the Holy Land, his imprison- 
ment, and his subsequent adventures, afforded to painters and sculptors a 
rich material for illustration. Thus we find a picture of this king of the 
year 1226, in the Saints’ Chapel in Paris, which is painted in very good 
taste and represents the king with a bird sitting on his left hand and holding 
in his right a sceptre; and in the abbey of St. Denis there are eight beautiful 
glass windows of the year 1350 with paintings from the life of that saint. 
When in the 14th century the French city of Avignon became a possession — 
of the pope and several popes ruled there, a closer union took place 
between France and Rome, the proper seat of art, and with this event art 
advanced considerably in France also. Gaddo Gaddi and Giotto both 
lived for some time in Avignon; and the latter at the command of the pope 
painted altar-pieces and frescoes for a number of French churches. In the 
year 1431 Charles IV. had a court painter, Jean de Bruges, perhaps the 
father of the famous John van Eyck, who is almost always called abroad 
John of Bruges. 
The history of painting in France properly begins with Francis I. It 
is true, his own attempts in Italy were crowned with more honor than 
success; nevertheless he succeeded in transplanting if not the art at least 
the artists from Italy to France. Leonardo da Vinci was the first,in 1515; 
but he lived only a few years in France, and died in the arms of his 
sovereign. Andrea del Sarto soon after, in 1518, entered the service of 
. Francis I. but behaved, as we have seen, very ungratefully towards him. 
It was with Rosso di Rossi, or Maitre Roux as the French call him, who 
came to France in 1530, that Italian art at length obtained a firm footing 
in France. Francesco Salviati also remained but. a short time in France, 
and after him the Duke of Mantua sent to Paris Francesco Primaticcio, 
whom Francis I., after Rosso’s death, raised to the dignity of chief court- 
painter. These Italian artists, instead of educating Frenchmen to be their 
assistants, drew other Italians to France; and thus French art remained 
for a long period in a sort of sleeping partnership with the Italian, and 
nearly all the important works of art which were executed in France were 
produced by Italians, and this state of things continued till the time of 
Louis XIV. The only French artists who distinguished themselves under 
Francis I. were Francois Clouet and Corneille de Lyon as portrait-painters, 
Arnoud Demoles as a painter on glass, and Pinaigrier who painted frescoes. 
The unquiet reigns of Henry II. and Francis II. witnessed little advance- 
ment in the arts; and the massacre of St. Bartholomew’s eve under Charles 
IX. cost many artists, among others Jean Goujon, their lives. A French 
school properly so called was at length formed under Henry IV., at the 
head of which stood Jean Cousin, several very good works by whom (he 
was living in 1589) are still preserved; he also painted a great deal on g'ass, 
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