An account of Francois I and his "young Italian friends" makes mention of the visit of the king, in company with the Duchesse d'Etampes, to the studio of Serlio who was working desperately on the portico of the Cour Ovale. He found the artist producing a "melody of plastic beauty, garbed as a simple workman, his hair matted with pasty clay." He was standing on a scaffolding high above the ground when the monarch mounted the ladder. Up aloft Francois held a conference with his beloved workman and, descending, shouted back the words: "You understand, Maitre Serlio; let it be as you suggest." After the porticos, Serlio decorated the Galerie d'Ulysse which has since disappeared owing to the indifference of Louis XV and the imbecility of his friends; and always it was with Francois: "You understand, Maitre Serlio; it is as you wish." The _motif_ may have been Italian, but the impetus for the work was given by the _esprit_ of the French. The defeated monarch was not able to bring away from Padua any trophies of war; but he brought plans of chateaux, and gardens as well. He did more: he took the very artists and craftsmen who had produced many of the Italian masterpieces of the time. The tracing of the gardens at Fontainebleau, practically as they exist to-day, was one of Francois I's greatest pleasures. In their midst, on the shores of the Etang aux Carpes, was erected a tiny rest-house where the royal mistresses might come to repose and laugh at the jests of Triboulet. The edifice of Francois I is of modest proportions and of perfect unity; but it is with difficulty that it presents its best appearance, overpowered as it is by the heavier masses of the time of Henri IV, and suffering as it does because of the eliminations of Louis XIV and Louis XV when they made their additions to the palace. Under the Convention, later on, Fontainebleau's palace again suffered. Under the Consulate it became a barracks and a prison, and finally, not less terrible, were the restorations of Napoleon and Louis Philippe. A castle may sometimes suffer less from a siege than from a restoration. From every point of view, however, Fontainebleau remains an architectural document of the most profound interest and value, and, from the tourists' point of view, it is the most appealing of all European palaces of this or any other age. The expert, the artist and the mere curiosity-seeker all unite in their admiration in spite of the fact that the fabric has been denuded of many of its original beauties. [Illustration: _Palais de Fontainebleau_]