In the fifteenth century Rene of Anjou (1408-1480), king and painter, gave an impetus to art which he perhaps originally received from Italy. His work showed some Italian influence mingled with a great deal of Flemish precision, and corresponded for France to the early Renaissance work of Italy, though by no means so advanced. Contemporary with Rene was Jean Fouquet (1415?-1480?) an illuminator and portrait-painter, one of the earliest in French history. He was an artist of some original characteristics and produced an art detailed and exact in its realism. Jean Pereal (?-1528?) and Jean Bourdichon (1457?-1521?) with Fouquet's pupils and sons, formed a school at Tours which afterward came to show some Italian influence. The native workmen at Paris--they sprang up from illuminators to painters in all probability--showed more of the Flemish influence. Neither of the schools of the fifteenth century reflected much life or thought, but what there was of it was native to the soil, though their methods were influenced from without. SIXTEENTH-CENTURY PAINTING: During this century Francis I., at Fontainebleau, seems to have encouraged two schools of painting, one the native French and the other an imported Italian, which afterward took to itself the name of the "School of Fontainebleau." Of the native artists the Clouets were the most conspicuous. They were of Flemish origin, and followed Flemish methods both in technic and mediums. There were four of them, of whom Jean (1485?-1541?) and Francois (1500?-1572?) were the most noteworthy. They painted many portraits, and Francois' work, bearing some resemblance to that of Holbein, it has been doubtfully said that he was a pupil of that painter. All of their work was remarkable for detail and closely followed facts. The Italian importation came about largely through the travels of Francis I. in Italy. He invited to Fontainebleau Leonardo da Vinci, Andrea del Sarto, Il Rosso, Primaticcio, and Niccolo dell' Abbate. These painters rather superseded and greatly influenced the French painters. The result was an Italianized school of French art which ruled in France for many years. Primaticcio was probably the greatest of the influencers, remaining as he did for thirty years in France. The native painters, Jean Cousin (1500?-1589) and Toussaint du Breuil (1561-1602) followed his style, and in the next century the painters were even more servile imitators of Italy--imitating not the best models either, but the Mannerists, the Eclectics, and the Roman painters of the Decadence. [Illustration: FIG. 57.--CLAUDE LORRAIN. FLIGHT INTO EGYPT. DRESDEN.]