A few words have already been said about the development of the arts, especially architecture and sculpture, in the middle ages, and of the characteristics, original and national, Gallic and Christian, which belonged to them at this period, particularly in respect of their innumerable churches, great and small.  A foreglance has been given of the alteration which was brought about in those characteristics, at the date of the sixteenth century, by the Renaissance, at the same time that the arts were made to shine with fresh and vivid lustre.  Francis I. was their zealous and lavish patron; he revelled in building and embellishing palaces, castles, and hunting-boxes, St. Germain, Chenonceaux, Fontainebleau, and Chambord; his chief councillors, Chancellor Duprat and Admiral Bonnivet, shared his taste and followed his example; several provinces, and the banks of the Loire especially, became covered with splendid buildings, bearing the marks of a complicated character which smacked of imitations from abroad.  Italy, which, from the time of Charles VIII. and Louis XII., had been the object of French kings’ ambition and the scene of French wars, became also the school of French art; national and solemn Christian traditions were blended, whilst taking an altered form, with the Italian resuscitation of Greek and Roman antiquity.  Italian artists, such as Rosso of Florence, Primatice of Bologna, Niccolo dell’ Abbate of Modena, and Benvenuto Cellini of Florence, came and settled in France, and there inspired and carried out the king’s projects and works.  Leonardo da Vinci, full of years and discontented with his Italian patrons, accompanied Francis I. to France, and died in his arms at the castle of Clou, near Amboise, where he had fixed his residence.  Some great French artists, such as the painter John Cousin and the sculptor John Goujon, strove ably to uphold the original character and merits of French art; but they could not keep themselves entirely aloof from the influence of this brilliant Italian art, for which Francis I.’s successors, even more than he, showed a zealous and refined attachment, but of which he was, in France, the first patron.

We will not quit the first half of the sixteenth century and the literary and philosophical Renaissance which characterizes that period, without assigning a place therein at its proper date and in his proper rank to the name, the life, and the works of the man who was not only its most original and most eminent writer, but its truest and most vivid representative, Rabelais.

[Illustration:  Rabelais——­171]

Francis Rabelais, who was born at Chinon in 1495, and died at Paris in 1553, wandered during those fifty-eight years about France and Europe from town to town, from profession to profession, from good to bad and from bad to good estate; first a monk of the Cordeliers; then, with Pope Clement VII.’s authority, a Benedictine; then putting off the monk’s habit and assuming that of a secular priest in order to roam