With the accession of Frances I in 1515 the Renaissance came into its own in France.  He was a great patron of art and letters, and under his fostering care the people knew new luxuries, new beauties, and new comforts.  He invited Andrea del Sarto and Leonardo da Vinci to come to France.  The word Renaissance means simply revival and it is not correctly used when we mean a distinct style led or inspired by one person.  It was a great epoch, with individuality as its leading spirit, led by the inspiration of the Italian artists brought from Italy and molded by the genius of France.  This renewal of classic feeling came at the psychological moment, for the true spirit of the great Gothic period had died.  The Renaissance movements in Italy, France, England and Germany all drew their inspiration from the same source, but in each case the national characteristics entered into the treatment.  The Italians and Germans both used the grotesque a great deal, but the Germans used it in a coarser and heavier way than the Italians, who used it esthetically.  The French used more especially conventional and beautiful floral forms, and the inborn French sense of the fitness of things gave the treatment a wonderful charm and beauty.  If one studies the French chateaux one will feel the true beauty and spirit of the times—­Blois with its history of many centuries, and then some of the purely Renaissance chateaux, like Chambord.  Although great numbers of Italian artists came to France, one must not think they did all the beautiful work of the time.  The French learned quickly and adapted what they learned to their own needs, so that the delicate and graceful decorations brought from Italy became more and more individualized until in the reign of Henry II the Renaissance reached its high-water mark.

The furniture of the time did not show much change or become more varied or comfortable.  It was large and solid and the chairs had the satisfactory effect of good proportion, while the general squareness of outline added to the feeling of solidity.  Oak was used, and later walnut.  The chair legs were straight, and often elaborately turned, and usually had strainers or under framing.  Cushions were simply tied on at first, but the knowledge of upholstering was gaining ground, and by the time of Louis XIII was well understood.  Cabinets had an architectural effect in their design.  The style of the decorative motive changed, but it is chiefly in architecture and the decorative treatment of it that one sees the true spirit of the Renaissance.  Two men who had great influence on the style of furniture of the time were Androuet du Cerceau and Hugues Sambin.  They published books of plates that were eagerly copied in all parts of France.  Sambin’s influence can be traced in the later style of Louis XIV.

[Illustration:  Louis XIII chair now in the Cluny Museum showing the Flemish influence.]

[Illustration:  A typical Louis XIII chair, many of which were covered with velvet or tapestry.]