The _François I_ character of the detailing of Lenormand’s Pollet church has been mentioned. In domestic architecture such national Renaissance precedent had rather greater success even if nothing very novel or original developed from it. In 1825 L.-M.-D. Biet (1785-1856), a pupil of Percier, brought to Paris the court façade of an early sixteenth-century house from Moret and applied it to a _hôtel particulier_—always called with no justification the ‘Maison de François I’—in a new residential area of Paris. This house shortly gave the name ‘François I’ to the entire quarter between the Champs Élysées and the Seine. The barrenness and brittleness of Biet’s own elevations were more of a tribute to his respect for the old work than to his creative ability. [Illustration: Figure 9. J.-I. Hittorff: Project for country house for Comte de W., 1830, elevation ] Within the next few years houses built by such architects as L.-T.-J. Visconti (1791-1853), another pupil of Percier, and Famin tended to grow ever richer. In 1835 P.-C. Dusillion (1804-60), an architect otherwise more active abroad than at home, used _François I_ detail with the lushest profusion on a house at 14 Rue Vaneau. The façade rather resembles an interior of the so-called _style troubadour_ turned inside out. Much the same may be said for the block of flats built by Édouard Renaud (1808-86), a pupil of Leroy, at 5 Place St Georges in 1841. But this was rather an exception to the severity and regularity of Parisian street architecture under the Restoration. This was generally maintained, moreover, under the July Monarchy for blocks of flats, even by men like Visconti and Lesueur whose private houses were often very rich indeed. Two country houses of 1840 make a more extensive and plausible use of _François I_ features. One is the Château de St Martin, near St Paulzo in the Nièvre, built by Édouard Lussy (1788-1868), a pupil of Percier; this is elaborately picturesque in silhouette but still rigidly symmetrical. Another by J.-B.-P. Canissié (1799-1877), a pupil of Hittorff, at Draveil, S.-et-O., is somewhat irregular both in plan and in composition. But the _style François I_ in the France of the second quarter of the nineteenth century had neither the general acceptance nor even the vitality—at that relatively low—of the revived ‘Jacobethan’ in contemporary England.