His reign educated Europe. If ambition led him towards Italy, it was as much to capture the arts of that classic land and to bear them back in triumph to France, as to acquire the actual territory. Francis introduced the French Renaissance, that subtle union of elaborate ornamentation with purity of design which was the renovation of art. When and how he acquired such exact appreciation of the beautiful is unexplained. That he possessed judgment and taste is proved by the monuments he left behind, and by his patronage of the greatest masters of their several arts. The wealth of beauty and colour, the flowing lines of almost divine expression in the works of the Italian painters of the Cinque-cento, delighted the sensuous soul of Francis. Wherever he lived he gathered treasures of their art around him. Such a nature as his had no sympathy with the meritorious but precise elaboration of the contemporary Dutch school, led by the Van Eycks and Holbein. It was Leonardo da Vinci, the head of the Milanese school, who blended power and tenderness, that Francis delighted to honour. He brought Cellini, Primaticcio, and Leonardo from Italy, and never wearied of their company. He established the aged Leonardo at the Château de Clos, near his own castle of Amboise, where the painter is said to have died in the arms of his royal patron. As an architect, Francis left his mark beyond any other sovereign of Europe. He transformed the gloomy fortress-home--embattled, turreted, and moated--into the elaborately decorated, manorial château. The bare and foot-trodden space without, [Illustration: Portion of the Roof of the Château of Chambord] enclosed with walls of defence, was changed into green lawns and overarching bowers breaking the vista toward the royal forest, the flowing river, and the open _campagne_. Francis had a mania for building. Like Louis XIV., who in the century following built among the sandhills of Versailles, Francis insisted on creating a fairy palace amid the flat and dusty plains of Sologne. Here the Renaissance was to achieve its triumph. At Chambord, near Blois, were massed every device, decoration, and eccentricity of his favourite style. So identified is this place with its creator, that even his intriguing life peeps out in the double staircase under the central tower--representing a gigantic fleur-de-lys in stone--where those who ascend are invisible to those who descend; in the doors, concealed in sliding panels behind the arras; and in many double walls and secret stairs.