Louis XII.’s visits to Italy encouraged the further spread of those artistic tastes introduced by King Réné. He imported the Italian crafts and architecture into France, and his choir, which afterwards graced the court of Francis I., had not its equal in Europe. It was Louis XII.’s influence and taste that laid the foundation of a new era in French musical art, a foundation upon which Francis I. built a solid structure. This monarch’s tastes were of great assistance to art, for he keenly encouraged the importations of Italy’s treasures and gave appointments at his court to the Netherlands musicians. He sanctioned the establishment of Petrucci’s system of music printing by Robert Ballard--who for many years rejoiced in the privilege of being “seul imprimeur de la musique de la chambre, chapelle, et menu plaisirs du roi.” The King was himself a lute and guitar player of no mean order, and he could sing his own “chansons” to the accompaniment of these instruments, excellently. It was this monarch who founded the royal “musique de chambre” by establishing a separate band which should perform in his anteroom and on particular occasions. The services of these musicians were quite independent of those of the members of the “chapelle” band, and included some of the best artists of the day, among them Claude Gervaise and the famous lutanist Albert were especially noted. Gervaise held a similar post in Henry II.’s regime and figured also in Charles IX.’s musical establishment. In 1556 he published seven books of “Gaillards, Pavan’s,” and popular songs for four and five viols. The appearance of these compositions in France nearly half-a-century before Morley’s “Consort Lessons for six different Instruments,” in England, is in the nature of an anomaly, seeing that both Maugars and Rousseau state that in their day (seventeenth century) the viol was in its youth in France, whereas the English,--who had received that instrument straight from Italy--were the finest performers in the world.