The latter, constructed in a stone cage, consists of a double spiral stairway, respectively for ascent and descent. It communicates with small rooms in the angles of the square and in the turrets, and finally with the lantern, which commands a superb view of the surrounding country. This lantern, octagonal in plan, the crowning feature of the exterior design, rises above the surrounding roofs, dormer-windows, and chimneys in two tiers of arcades, noticeably Italian in their system of pilasters and entablatures. They are surmounted by a domed roof, which supports an elaborate cupola. While the sky line thus presents a richly picturesque confusion, the façades are comparatively severe and in the ordered repetition of their details reflect the Italian influence. This is especially perceptible in the orders of Corinthian pilasters, in the general emphasis of the horizontal features, and in the use of round arches in the arcades. Meanwhile, the uniformity of the façades are relieved by the projecting angle-turrets, and by the admirably disposed masses of solid masonry, which besides their decorative value serve the practical use of backings to the interior fireplaces. Other famous châteaux of =Touraine= are those of =Bury=, =Chenonceaux=, =Azay-le-Rideau=, and =Amboise=. Then came the day when Francis moved his court to Paris, thus shifting the scene of architectural activity. A rural palace sprang into form at Fontainebleau, a royal château at St. Germain-en-Laye, and a start was made with the city palace of the Louvre. =Palace of Fontainebleau.=--The =Palace of Fontainebleau= was begun in 1528 by the architect Gilles le Breton. It followed the plan of a convent which it replaced, so that a remarkable irregularity distinguishes its arrangement. The design of the façades was probably influenced by Vignola and Serlio, who were among the artists invited from Italy by Francis I. They included also the painters Niccolo dell’ Abbati, Il Rosso, and Primaticcio, and the sculptor, Benvenuto Cellini, who were employed upon the decoration of the interior. Indeed, it is for the magnificence of the interior decoration, especially in the Galerie de François I, and in the Salle des Fêtes, added by Henri II, and the Galerie de Diane and Galerie des Cerfs of Henri IV, rather than for architectural distinction, that Fontainebleau is celebrated.