THE RENAISSANCE IN FRANCE, ENGLAND, SPAIN, AND GERMANY.
What had been the condition of sculpture in the other countries of Europe during the period we have been reviewing in Italy? It is easy to perceive that of the two currents which governed the Renaissance—the classic and the realistic—the latter would be the main factor in all the rest of Europe; for the love of ancient art, excited in Italy by familiarity with the monuments, could never be kindled where such monuments did not exist. Besides, the races of the North of Europe had not the same pre dispositions and traditions as had been handed down in the Latin race.
In studying- the sculpture of France and Germany during the fifteenth century it becomes evident that a change in ideal had taken place—that realism, a love of portraiture, a desire to copy nature, were first making their appearance as the dominant motive-power of the sculptor. But this art did not break entirely with that of the Gothic period, as in Italy; this took place only in the sixteenth century, when, through foreign conquest, Italy was opened lip more freely to French and Germans and the ideas of the Renaissance were first spread broadcast over Europe.
Ear/}' Renaissance in Fran CC. was in the northern provinces of France that the tide of realism first rose. The school of Dijon was founded by that complete realist Claux Slitter during the last years of the fourteenth century. This school of Burgundy produced many works of importance and lasted up to the middle of the fifteenth century. Then came that great artist Michel Colombe (1431-1514), who evolved out of his own con sciousness, without any communication with the Italian movement, the splendid figures of the monument at Nantes, full of character and breadth. But he was alone and stands as an isolated exponent of the Renaissance amid the degenerate forms of late Gothic sculpture which are still executed by the commonplace artists of the time.
The invasion of Italy by Charles VIII. of France, in t494, marked the turning-point in the artistic development of the period; it was one of the greatest events of the latter half of the century, and, as M. 'Mintz has
remarked, the point of departure for France of a new era, and for Italy of a decay the effects of which still continue to be felt. To the fresh and vigorous race from the North the vision of beauty unfolded in Italy must have been dazzling; the effect it produced upon them was lasting.
Italian Artists in began an inroad of Italian artists whom the munificence of French sovereigns, especially of Francis I., recompensed most royally. This has led many historians to assert that all the magnificent buildings of the sixteenth century of which France is still so proud—the castles of Chambord and Gaillon, Fontainebleau and Am boise, etc.—were the work of different Italian architects, whereas they were all erected by native artists and in a style that was purely national.
It must be confessed, however, that in sculpture the Italian influence took a deeper hold, and the school established in Paris at the Petit-Nesle, under Louis XII., by II Modanino and other Italian sculptors who fol lowed him to France, inundated the country with works which contrib uted greatly to spread the style of Italy. The Juste family of Florence established themselves at Tours soon after the expedition to Italy, and the three brothers—especially Jean—became sculptors of note.
.Na Artists: Jean greatest sculptor of the French Renaissance was Jean Goujon (about 1510-1572). Though he followed the antique, he arrived at quite different results from those attained by his Italian contemporaries or predecessors. He entirely abandoned the religious style, and plunged uncompromisingly into the classic vortex. His figures are thick-set and well poised, and he was a master in the treat ment of drapery. He co-operated with the architect Pierre Lescot in the production of the façade in the court of the Louvre, and the work of both displays the same qualities of inventiveness, elegance, and distinction.