Minor evidence of French interest—and rising interest—in the Picturesque is not hard to find in these decades, but that is all there is. No Picturesque modes comparable to those of the Anglo-Saxon world became widely popular. In the first decade of the century the brothers Caccault built at Clisson[141] in the Vendée a whole village based on their memories of the Roman Campagna, a more considerable essay in the Italian Villa vein than anything carried out in England. But the asymmetrically towered Italian Villa[142] did not mature in France in the way that it did in England, Germany, and the United States. Séheult’s _Recueil_ of 1821, of which a second edition appeared in 1847, is one of the earliest and richest repositories of inspiration drawn from rustic Italian building; but the edifices Séheult illustrated, however Picturesque in other ways, are all symmetrical and quite in the Durand tradition. J.-J. Lequeu (1758-_c._ 1824)[143] had produced bolder projects a generation earlier. These are often asymmetrical, generally quite wildly eclectic, and very vigorously plastic; but such things rarely, if ever, came to execution in France except as garden fabricks. Lequeu had no success at all in his later years. Moreover, the Rustic Cottage mode seems to have struck no real roots in France, even though the painter Hubert Robert and the architect Richard Mique (1728-94), in designing the fabricks of Marie Antoinette’s Hameau at the Petit Trianon in 1783-6, had followed native rather than English rural models. Under the Restoration and the July Monarchy inspiration came generally from English Cottage books. Visconti’s Château de Lussy, S.-et-M., of 1844, though a fairly large structure, is really in the English Cottage mode with an asymmetrically organized plan and an irregularly composed exterior. This is almost unique and, in any case, quite undistinguished. A more vigorous flow of rustic influence entered France via Alsace and directly from Switzerland. The Chalet aux Loges of 1837 by Bonneau near Versailles was, as its name implies, a Swiss Chalet, but it quite lacked the integrity of structural expression and the originality of plastic organization of Eidlitz’s Willoughby house in Newport, R.I., which is, of course, considerably later in date. Occasional imitations of the _style François I_, such as the already mentioned country house by Canissié at Draveil, S.-et-O., have some irregularity both of outline and of plan; but in general the _François I_ of the July Monarchy, like so much of the Jacobethan of Early Victorian England, is Picturesque only in detail, not in general conception.