A dictionary of architecture and building : biographical, historical, and descriptive . chitectural traditions the clearest. Somefoundation for the Renaissance had been laiddaring the residence of the popes at Avignon,and later by a considerable influx of cultivatedItalian churchmen, who, if they had not hadany influence on architecture, had affected thedecorative arts and helped to introduce con-uoisseurship in ancient art. France had herRoman monuments in the south and along the NEOCLASSIC ARCHITECTURE Italy, and brought back, we are told, painters,jewellers, joiners, and gardeners, yet no a
A dictionary of architecture and building : biographical, historical, and descriptive . chitectural traditions the clearest. Somefoundation for the Renaissance had been laiddaring the residence of the popes at Avignon,and later by a considerable influx of cultivatedItalian churchmen, who, if they had not hadany influence on architecture, had affected thedecorative arts and helped to introduce con-uoisseurship in ancient art. France had herRoman monuments in the south and along the NEOCLASSIC ARCHITECTURE Italy, and brought back, we are told, painters,jewellers, joiners, and gardeners, yet no archi-tects. The beginning of the inFrance has been ascribed to the visit of FraGiocondo under Louis XII., and especially tothe importation of Rosso and Serlio by FrancisI. ; but shows that the Frenchbuilders had adopted the new style, slowly in-deed, being more than half a century behind theItalians, yet had fairly entered upcjn it beforethe appearance of Rosso and Serlio at Fontaine- bleau. But though the^si^ French architects giadu- ally accepted the neo-. NEOCLASSIC OF THE Itali. Classicismo: Colonnade in Piazza of S. Pietro, Rome; begun 1667. Rhine to claim study when the cultivated worldturned to the antique. Italian architects,Giuliano San Gallo and later Vignola and Palla-dio, it is said, travelled about to record them ;but she seems to have owed her classical Re-naissance, when it came, to her own and decorators were im]iorted by resi-dent Italians and by Frenchmen who had becomeenamoured of Italian art, and the new movementshowed itself first in smaller works, in tombs,altars, and the like. Charles VIII. came backfrom his conquest of Naples (1495) in love with1019 classic, they were too fixed in their habits andtastes to give themselves up to it kept their fondness for the high roofs, thetall dormers, turrets, chimneys, and pinnacles ofthe Gothic, as their chateaux of the sixteenthand seventeenth centuries
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