Even a cursory survey of the great sculptural and architectural complexes executed in France from the early 16th century onwards will reveal the role that Italian masters and craftsmen played in them. This role is not always immediately recognizable in the documents, given the translation of their names into French. The study examines the Tuscan masters working in some cities in France. The first are members of the Giusti family of Settignano (who frenchified their surname as Juste). They were responsible for sculpting the tomb of the sons of Charles VIII at Tours between 1500 and 1506, clearly derived in its forms and decorative elements from the Florentine prototypes of Desiderio da Settignano and Verrocchio. The Juste family would receive many commissions in France, especially for funerary monuments: the magnum opus of the brothers Antonio and Giovanni, the great sepulchre of Louis XII and Anne de Bretagne in the basilica of Saint–Denis (1516–1531), reveals a possible echo of Michelangelo’s projects for the tomb of Pope Julius II, but also influences from previous funerary monuments by Tuscan masters such as the tomb of Gian Galeazzo Visconti in the Certosa of Pavia and, among contemporary masters, the works of Jacopo Sansovino. The tomb of Artus Gouffier at Oiron, the work of Jehan Juste (1532), reveals, by contrast, a preference for Quattrocento elements of style, so much so that it seems to belong to the previous century. Another French sculptor Domenico Rinucci (Dominique Florentin) was active at Troyes, where he created a series of sculptural complexes, including large altars, unfortunately destroyed or dismembered during the Revolution. Of the works in the city attributed to him some monumental portals survive; they include those of the church of Saint–Nizier and that of the church of Saint–André, in which decorative elements of Italian origin are used, or combined, in an original way. Nicolas Bachelier, a sculptor and architect of disputed origins, was working in Toulouse: some identify him as the son of a master from Lucca who moved to France in the last quarter of the 15th century, others have argued that he came from Northern France. The portals of private mansions built by Bachelier are striking for their ornate and imaginative ornament, with caryatids, sculptural and ornamental motifs that already herald the climate of Mannerism. His most important architectural work, the courtyard of the Hôtel d’Assézat in Toulouse, of 1555, exhibits a style again deriving from Italian models in its close–packed surface articulation.