persecution of him by the École des Beaux Arts. Undaunted, however, Labrouste established an _atelier_ in Paris, to which flocked many intelligent students, sympathizing with the courage which could be so strong in the conviction of truth as to brave in its defence the displeasure of the powerful hierarchy of the School. Thus was founded the new Renaissance in France; and, in this genial atmosphere, Greek lines began to exercise an influence far more thorough and healthy than had hitherto been experienced in the whole history of Art. To the lithe and elegant fancy of the French this Revelation was especially grateful. For the youth of this nation soon learned that in these newly opened paths, their invention and sentiment, so long straitened and confined within the severe limits of the old system, could move with the utmost freedom, and at the same time be preserved from licentious excess by the delicate spirit of the new lines. Thus natural fervor, grace, and fecundity of thought found here a most welcome outlet. For some time the designs of the new school were not recognized in the competitions of the École des Beaux Arts; but when, in the course of Nature, some two or three of the more strenuous and bigoted professors of Palladio's golden rules were removed from the scene of contest, the _Romantique_ (for so the new system had been named) was received at length into the bosom of the architectural church, and now it may be justly deemed _the distinctive architectural expression of French Art_.