In the reign of Charles IX. the Palace of the Tuileries was commenced (1564) for Catherine de Médicis, from the designs of Philibert Delorme. Of this building, that part only which fronted the garden was erected at the time. Our illustration (Fig. 74) shows the architectural character of a portion of it, and it is easy to detect that considerable alterations have by this time been introduced into the treatment of the features of Renaissance architecture. The bands of rustication passing round the pilasters as well as the walls, the broken pediments on the upper storey, surmounted by figures, and supported by long carved pilasters, and the shape of the dormer windows are all of them quite foreign to Renaissance architecture as practised in Italy, and may be looked upon as essentially French features. Similar details were employed in the work executed at about the same period, by the same and other architects, in other buildings, as may be seen by our illustration (Fig. 75) of a portion of Delorme's work at the Louvre. In these features, which may be found in the Château d'Anet and other works of the same time, and in the style to which they belong, may be seen the direct result of Michelangelo's Medici Chapel at Florence, a work which had much more effect on French than on Italian architecture. The full development of the architecture of Michelangelo (or rather the ornamental portions of it) is to be found in French Renaissance, rather than in the works of his own successors in Italy. Much of the late sixteenth century architecture of France was very inferior, and the parts of the Louvre and Tuileries which date from the reign of Henry IV. are the least satisfactory portions of those vast piles. [Illustration: FIG. 74.--PART OF THE TUILERIES, PARIS. (BEGUN 1564.)] Dating from the early part of the seventeenth century, we have the Palais Royal built for Richelieu, and the Palace of the Luxembourg, a building perhaps more correct and quiet than original or beautiful, but against which the reproach of extravagant ornament cannot certainly be brought. [Illustration: FIG. 75.--CAPITAL FROM DELORME'S WORK AT THE LOUVRE. (MIDDLE OF 16TH CENTURY.)]