Flanders was in advance of this country in renaissance art. This remark extends to ornament of all kinds, whether of church woodwork, glass-painting, or domestic furniture. Still the Flemish work of this renaissance, or (speaking of England) this early Tudor period retains a mixture of details of the pointed style that makes us sometimes doubtful how to characterise the style of individual pieces. We may point to sideboards and chests in illustration. Belgium abounds in examples of this transition period. [Illustration: English, 15th century.] [Illustration: Flemish, 16th century.] [Illustration: French, 16th century.] [Illustration: German, 15th century.] [Illustration: Italian, 16th century.] In France, the most advanced and most luxurious and cultivated of the transalpine courts, the renaissance art had advanced far beyond that of England. Not only had Francis the first and the Medici princesses invited famous artists out of Italy, but they aimed at imitating Florentine luxuries and refinements as completely as they could. Admirable schools of ornamental art, such as that of the Limoges enamellers and carvers in ivory, were and had been long established in France. Classic sculpture was produced of great merit in all materials. Primaticcio and Cellini founded new schools of architects, painters, and sculptors in France. They employed pupils, and the most promising found their way to Rome and Florence, associated themselves with the great masters then practising, and brought back all the instruction they could obtain. [Illustration] Jean Goujon stands at the head of these French masters. Besides being a sculptor and architect, there is little doubt of his having designed and even sculptured wood furniture. Probably the carved woodwork of the king's bedroom and adjoining rooms in the old Louvre are by his hand. Bachelier, of Toulouse, did the same, and pieces are attributed to him now in the Kensington Museum. Philibert de L'Orme was another artist in a similar field. Both Goujon and Bachelier showed the influence of the great Italian masters in their work. The table engraved (p. 81) is a very elegant example of French sixteenth century furniture. [Illustration] [SEMPER FESTINA LENTE 1577 A. REID. DEL.]