Thus was founded the new Renaissance in France; and, in this genial atmosphere, Greek lines began to exercise an influence far more thorough and healthy than had hitherto been experienced in the whole history of Art.  To the lithe and elegant fancy of the French this Revelation was especially grateful.  For the youth of this nation soon learned that in these newly opened paths, their invention and sentiment, so long straitened and confined within the severe limits of the old system, could move with the utmost freedom, and at the same time be preserved from licentious excess by the delicate spirit of the new lines.  Thus natural fervor, grace, and fecundity of thought found here a most welcome outlet.

For some time the designs of the new school were not recognized in the competitions of the Ecole des Beaux Arts; but when, in the course of Nature, some two or three of the more strenuous and bigoted professors of Palladio’s golden rules were removed from the scene of contest, the Romantique (for so the new system had been named) was received at length into the bosom of the architectural church, and now it may be justly deemed the distinctive architectural expression of French Art.

Labrouste was not alone in his efforts; but Duban and Constant Dufeux seconded him with genius and energy.  Most of the important buildings which have been erected in France within the last six or eight years have either been unreservedly and frankly in the new style, or been refined by more limited applications of Hellenic principles.  Even the revived Mediaeval school, which, under the distinguished leadership of M. Viollet le Duc and the lamented M. J.B.A.  Lassus, has lately been strengthened to a remarkable degree in France, and which shared with the Romantique the displeasure of the Academy,—­even this has tacitly acknowledged the power of Greek lines, and instinctively suffered them to purify, to a certain degree, the old grotesque Gothic license.  Most of the modern buildings of Paris along the new Boulevards, around the tower of St. Jacques, and wherever else the activity of the Emperor has made itself felt in the improvements of the French capital, are by masters or pupils of the Romantique persuasion, and, in their design, are distinguished by that tenderness of Love and earnestness of Thought which are the fountains of living Art.  One of the most remarkable peculiarities of this school is, that it brings out of every mind which studies and builds in it strong traits of individuality; so that every work appears as if its author had something particular to express in it,—­something to say with especial grace and emphasis.  The ordinary decorations of windows and doors are not made in conventional shapes, as of yore, but are highly idiosyncratic.  The designer had a distinct thought about this window or that door,—­and when he would use his thought to ornament these features, he idealized it with his Greek lines to make it architectural, just