The pervasive French influence on Gothic Revival architecture had more immediate causes, such as the part-French background of , and his and other major Victorian architects' Continental tours, as well as the work of the French architect and architectural writer . But perhaps nothing had a more direct impact than infectious enthusiasm for French cathedrals like those at and : "What a contrast, " he declaimed, "between the pitiful little pigeon-holes which stand for doors in the east front of Salisbury, looking like the entrances to a beehive or a wasp's nest, and the soaring arches and kingly crowning of the gates of Abbeville, Rouen, and Rheims, or the rock-hewn piers of Chartres...." (136). He goes on here to speak of Verona, and Ruskinian Gothic is generally associated with Italian or more specifically Venetian Gothic, but that is to over-simplify (see Crook on "Ruskinian Gothic").
Early in the reign Prince Albert and the Queen not only visited France but patronised European artists of all kinds, and brought in Continental trends when building or adding to their own residences. Architects, whether London-based or regional, continued to travel to France and import new ideas. Like the Flamboyant later French Gothic, the most highly decorated of other French styles (the Rococo, for instance) proved less appealing. But Curl notes that while French Renaissance architecture was less prized than the furniture of the period, there were still instances of "overt copying or covert allusions" to it (137). Thus, many grand private and public buildings of this period have French Chateaux and French Renaissance elements, sometimes with exaggerated French Mannerist touches. Not only churches and cathedrals but town halls and exchanges, banks, offices and warehouses, college buildings and city terraces, blocks of flats, clubs and hotels all sometimes display French features, such as "skylines of gabled dormers, high roofs, chimneys and turrets producing a romantic effect" (Watkin 251). From a little later came the mansard roofs named after François Mansart (1598-1666).
Fascinating lounge room in refined transitional style interior design. The home interior is plot on a nostalgic French style architecture in subtle ivory white color ceiling of classic trims and moldings combined with warming light gray stucco decorated walls that seamlessly blend to the luxurious Armani Grey Marble bordered flooring layered by a hand knotted fine contemporary rug . It’s simple yet classy oak wood lacquer finish door is in harmony with the high end contemporary style...