+THE CLASSIC PERIOD: HENRY IV.+ Under this energetic but capricious monarch (1589-1610) and his Florentine queen, Marie de Médicis, architecture entered upon a new period of activity and a new stage of development. Without the charm of the early Renaissance or the stateliness of the age of Louis XIV., it has a touch of the Baroque, attributable partly to the influence of Marie de Médicis and her Italian prelates, and partly to the Italian training of many of the French architects. The great work of this period was the extension of the Tuileries by _J. B. du Cerceau_, and the completion, by _Métézeau_ and others, of the long gallery next the Seine, begun under Henry II., with the view of connecting the Tuileries with the Louvre. In this part of the work colossal orders were used with indifferent effect. Next in importance was the addition to Fontainebleau of a great court to the eastward, whose relatively quiet and dignified style offers less contrast than one might expect to the other wings and courts dating from Francis I. More successful architecturally than either of the above was the +Luxemburg+ palace, built for the queen by _Salomon De Brosse_, in 1616 (Fig. 180). Its plan presents the favorite French arrangement of a main building separated from the street by a garden or court, the latter surrounded on three sides by low wings containing the dependencies. Externally, rusticated orders recall the garden front of the Pitti at Florence; but the scale is smaller, and the projecting pavilions and high roofs give it a grace and picturesqueness wanting in the Florentine model. The +Place Royale+, at Paris, and the château of Beaumesnil, illustrate a type of brick-and-stone architecture much in vogue at this time, stone quoins decorating the windows and corners, and the orders being generally omitted. Under Louis XIII. the Tuileries were extended northward and the Louvre as built by Lescot was doubled in size by the architect _Lemercier_, the Pavillon de l’Horloge being added to form the centre of the enlarged court façade. +CHURCHES.+ To this reign belong also the most important churches of the period. The church of +St. Paul-St. Louis+, at Paris (1627, by _Derrand_), displays the worst faults of the time, in the overloaded and meaningless decoration of its uninteresting front. Its internal dome is the earliest in Paris. Far superior was the chapel of the +Sorbonne+, a well-designed domical church by _Lemercier_, with a sober and appropriate exterior treated with superposed orders.