Part I

Woden, Thor, and Tyr, of the pagan period, being influenced by the newer cult in religion. This is shown by the Sigurd Overlap, and the story of Sigurd the Volsung. The farmer Hreithmar had three sons Otter, Fafni, and Regin the smith; and three of the Scandinavian gods Woden, Hceni, and Loki wandered towards the farm, and, through misunderstanding, Loki killed Otter. For this the three gods were seized, and released only on payment of enough gold to cover the skin of Otter (fig. 2) when hung up by the nose. This price was procured by Loki, who compelled the dwarf Andwari to surrender all the gold he possessed, as well as a magic ring, which carried with it a curse that for eight lives the gold should be fatal to its owner. Then Hreithmar was slain by his surviving sons for the treasure, which was carried off to a great mound on Gnita Heath by Fafni, who lay round his plunder in the form of a dragon. Regin, his brother, in 'order to obtain the treasure, prompted Sigurd, his foster son, to slay the dragon. Sigurd, in testing his sword, broke it in twain; thereupon Regin made him a magic sword, with which he lay in the trail of the dragon, and pierced it through (figs. 1-4). Then Regin took out the heart of the dragon, which Sigurd cut into pieces and toasted while Regin slept. Sigurd, burning his fingers, placed them in his mouth, and tasted the blood of Fafni, the dragon (fig. i), and, lol he heard the voice of birds saying that Regin was plotting to kill him. Then Sigurd killed Regin, ate the heart of Fafni, placed the treasure on the back of the noble horse Grani, and departed, only to be slain for the gold by Gunnar, who for this crime was cast into the pit of serpents (fig. i). This myth explains much of the Scandinavian ornament, for in i and 2 the story is told in a series of incidents remarkable for tin- fertility of invention and dracontine ornamentation. Halton ' Cross, in Lancashire, and a slab at Kirk Andreas, Isle of Man, illustrate the same subjects, dating from the nth century. In later times, the dragon becomes more pronounced in character, until in tin 141)1 reiitury it fills the whole portal with the beautiful interlacing ornament (fig. 6). "Tlie I'a-.m Christian < )ver1ap in tlie North." liy H. To]' M M :r.l ilif Y..UUHL;," I y William \l. I >. (Ix>mU. BY SHARPE. 1 distinctive features which are character- istic of each period of the Gothic devel- opment. Sketch plans are here given showing the changes that took place in the section of the pier from 1066 to 1 500. The same general characteristics are observed in the arch mouldings and string courses. CHARACTERISTICS OF THE NORMAN PERIOD. NAVE ARCADING. The universal use of the round arch, cylindri- cal or rectangular piers, with semi-circular shafts attached to each face. Capitals cubical and cushion-shaped. Arch mouldings en- riched with concentric rows of Chevron and Billet ornament. TRIFORIUM. In early work, of one arch. In later work, two or four small arches carried on single shafts under one large semi-circular arch. CLEARSTORY. One window, with an open arcading in front, of three arches, the centre one larger and often stilted. This arcade forms a narrow gallery in the thickness of the Clear- story wall. The roof of the nave of wood, flat and panelled, roof of the aisles semi-circular quadripartite vaulting. An ar- cading of semi-circular arches was usually placed upon the wall, under the aisle windows. Early windows are narrow, flush with the external wall, and deeply splayed on the inside. Later windows are re- cessed externally, with jambshafts and capitals supporting an enriched moulded arch. A few semi-circular rose windows still remain, of which a fine example is to be found in I; irfrestone Church. Kent. EARLY ENGLISH OR LANCET PERIOD. The Lancet or pointed arch universal. CAPITALS, of three lobed foliage and circular abacus. The pier arch mouldings, alternate rounds and hollows deeply cut and enriched A with the characteristic dog's tooth ornament. hood moulding which terminates in bosses of foliage or sculptured heads invariably surrounds the arch mouldings. This moulded hood when used ex- ternally is termed a " Dripstone," and when used horizontally over a square headed window, a " Label." The TRIFORIUM has a single or double arch, which covers the smaller or subordinate arches, the spandrels being enriched with a sunk or pierced trefoil or quatrefoil. The Triforium piers are solid, having delicate shafts attached to them, carrying arch mouldings of three orders, and enriched with the dog's tooth ornament or trefoil foliage. The CLEARSTORY lancet windows are in triplets, with an arcading on the inner face of the wall. The vaulting shaft occasionally springs from the floor, but more usually from a corbel above the nave capitals, and finishes under the clearstory string with an enriched capital, from which springs the simple vaulting usually quadripartite or hexapartite in form. Early windows in small churches were arranged in couplets, and at the east end, usually in triplets, with grisaille stained glass. The example given on the previous page from the east end of Rievaulx Abbey shows a finely proportioned window and its arrangement. Figure sculpture, beautiful and refined in treatment, was frequently used upon external walls. The figures of Saints and Bishops were placed singly under triangular pediments and cusped arches, of which there are fine examples at Wells, Lichfield, Exeter, and Salisbury (fig. 5, plate 15;. Splendid examples of circular rose windows are to be seen in the north and south transepts of Lincoln Cathedral, also at York, but they are comparatively rare in England, while France possesses over 100 of the finest and most important examples of this type. They are to be seen in the Cathedrals of Notre Dame, Rouen, ("harm -. and Rheims. DECORATED OR GEOMETRIC PERIOD. In this, the piers have engaged shafts, with capitals having plain mouldings, or enriched with finely carved foliage of the oak, maple. or mallow, seen in perfection at Southwell Minster, which contains the finest carving of this period 1280-1315 (plate 18). The pier arches have mouldings of three orders, also enriched, usually with the characteristic ball flower, or foliage similar to that upon the capitals. The TRIFORIUM consists of double arches, with subordinate cusped arches adorned with Geometric tracery. The inner arcading of the Clearstory is absent, the one large window being divided by mullions 40 THE TRIFORIUM & CLEARSTORY. Plate 15. 3 -ecxDerwc 4 peiW:r?Dicuui and geometrical tracery, or by equilateral triangles enriched with circular and bar tracery (fig. 3, plate 1 5). Above the pier capitals an enriched corbel is usually placed from .which springs the vaulting shafts, terminating with a richly carved capital under the Clearstory string. The aisle arcading, as a rule, is very beautiful, having geometric tracery and finely proportioned mouldings, the aisle windows with mullions and bold geometric tracery. The circular rose windows of the transepts are typical of this period. PERPENDICULAR AND TUDOR. The PIERS of this style are lofty and enriched with shallow mouldings carried round the pier arch ; where capitals are introduced they frequently resemble a hand round the pier at the springing of the arch, or occasionally they are octagonal in form, and decorated with an angular treatment of the vine. In some instances the upper part of the plain octagonal capital is relieved with an embattlement. The latter is also frequently used as a cresting for the elaborate per- pendicular screens, or for relieving the clearstory strings, or on the transoms of the lofty windows. The TRIFORIUM is absent in this period, the bay consisting of two horizontal divisions only. The CLEARSTORY, owing to the sup- pression of the Triforium, becomes of more importance. The windows are large and often in pairs, with vertical mullions extending to the arch mouldings of the window head. The aisle windows are similar, and when lofty have horizontal transoms, on which the battlement ornament is displayed. The aisle arcading being also suppressed, all plain wall space was covered with perpendicular surface tracery. Enrichment of this type was used in the greatest profusion upon walls, parapets, buttresses, and arches, also upon the jambs and soffits of doorways. This, together with the use of the four-centred arch, forms the characteristic feature of the Perpendicular and Tudor periods. The remarkable growth of the Gothic style during the I3th and 1 4th centuries was contemporary in England, France, Flanders, Germany, and in a less degree in Italy. One of the most beautiful churches in Italy is S. Maria della Spina, at Pisa, with its rich crocketed spires and canopies, features which were repeated a little later at the tomb of the famous Scaligers at Verona. Venetian Gothic is differentiated by the use of the ogee arch with cusps and pierced quatrefoils. At Venice there are many magnificent examples of Gothic arrhi- tecture, remarkable for the beautiful central grouping of the windows, arcades, and balconies and the prevalence of the ogee arch, with cusps and pierced quatrefoils and rich foliated capitals. The facade of the Doge's Palace, with its great colonnade of 36 pillars with rich foliated capitals (see Ruskin's " Seven Lamps of Architecture," plate V.\ and the Porta della Carta, or entrance, with its magnifi- 42 cent doorway flanked by figures and canopies and surmounted by a traceried window, and gable enriched with exquisitely carved crockets and tinials of foliage and figures, are by Bartolommeno Buon (1420-71), who also built the Foscari Palace. Other examples are the Casa, or Ca d'oro, and the Palazzi Pisani, Conterini Fasan, and Danieli, each with beautiful central grouping of windows, pierced quatrefoil, and rich balconies. It was in France and England that Gothic architecture reached its culmination. The abbeys and cathedrals, with spires and towers enriched with vigorous and beautiful sculpture, arcadings and canopies, with cusps, crockets, and finials, and the splendid traceried windows, filled with glorious stained glass, are all tributes to the religious zeal and splendid craftsmanship of the middle ages. The west fronts of the larger cathedrals of France have deeply- recessed triple porches, covered with figure sculpture (pages 53, 165), magnificent towers with lofty open tracery, as at Amiens and Rheims, and splendid rose windows, as those at Chartres (an early example of plate tracery), Rheims, Amiens, and the Cathedral and S. Ouen at Rouen, the latter with rich flamboyant tracery. French cathedrals are invariably of the periapsidal plan, with the semi-circular eastern ambulatory, surrounded by three or five radia- ting chapels. Aisle chapels also are frequently introduced between the bases of the flying buttresses, giving a greater width across the church. In early cathedrals, the triforium chamber, or upper aisle and its arcade, was similar to English examples; but early in the 13th century the triforium gallery was reduced to the thickness of the nave wall, and the outer arcading glazed. Later, the triforium, with its glazed arcading, became merged into the great clearstory windows, with their wealth and glory of coloured glass. Knglish cathedrals show a marked contrast in scale to contemporary French buildings. The English nave and choir are less in height and width but greater in length than French cathedrals. For instance, Westminster is the highest of our English cathedrals, with its nave and choir 103 ft. from floor to roof, 30 ft. wide, and 505 ft. in length. York is next with 101 ft. from floor to roof, 45 ft. wide, and 486 ft. in length. Salisbury is 84 ft. from floor to roof, 32 ft. wide, and 450 ft. in length; and Canterbury 80 ft. from floor to roof, 39 ft. wide, and 514 ft. in length. Lincoln with 82 ft. and Peterborough with 8 1 ft. are the only other examples reaching 80 ft. in Iici-ht: York, with 45 ft., being the only one reaching above 40 ft. in width of nave. The measurements of contemporary French cathedrals, on the other hand, being as follows: Chartres, 106 ft. from floor to roof, 46 ft. wide, and 415 ft. in length ; Notre Dame, i 2 i ft. from floor to roof, 46 ft. wide, and 410 ft. in length; Rhfimv 123 ft. from floor to roof, 41 ft. wide, and 485 ft. in length: while that at Beauvais reaches the great height of 153 ft. in the nave, 45 ft. in width, and only 263 ft. in length 43 NORMAN DETAILS. Plate 1 6. LIMCOLtt CATHEDRAL WLLET MOULDING ZIGZAG e>BALL . LIMCQLn . tr- . 30UTH DOOPx. BEAK HEADS CHURCH UPON AKCH 5T PCTEP.-? . MOfVTHHAMPTOn . t> KEY PATTERN, CATHEOIVAL , 44 ORMAN ORNAMENT. Norman Architecture was distinguished by the use of the traditional semi-circular arch, superseded by the pointed arch of the early Gothic period. These semi-circular arches in the earlier dates were decorated with rudely executed carvings, cut or worked with the axe. Later Norman work is very rich, the mouldings being well carved with enrichments of the Chevron, the Cable, Billet, Star, Fret, or Key Patterns; the Lozenge and the Beading or Pearling. Characteristic features of this period also are the Beakhead (fig. 5), and the Corbel-table, which was a series of heads of men or animals, from which spring small arches supporting the parapet. Many rich examples of Norman surface ornament are still extant; at Christ- church, Hants, a beautiful intersecting arcading of semi-circular arches occurs, the enrichment above being a scale or imbricated pattern ; at St. Peter's, Northampton, a very rich example of surface ornamenta- tion may be seen (fig. 6). Floral forms are but rarely used in Norman ornament; instances are known of the use of the rose and the fir-apple, but they are the exception and not the rule. Early doorways usually have a square head recessed under semi- circular arch mouldings, decorated with the Chevron, Key, or Beak- head. The semi-circular Tympanum over the door was plain or enriched with rude sculpture in low relief. Later doors show a great profusion of ornament in the archivolt and arch mouldings, which are often carried down the jamb mouldings. The recessed columns are also enriched with the Chevron, or diagonal lines of pearling (fig. i). and have sculptured capitals showing a classical tendency in the arrangement of acanthus foliage and the volute. Fine examples of this period may be seen in the west front of Lincoln Cathedral (fig. i). tin Galilee porch at Durham, and the west door of Iffley Church, A Oxfordshire. fine, deeply recessed semi-circular Norman doorway is at Tutbury Church, having a richly recessed window over, now filled with flamboyant tracery. Early Norman capitals are usually cubical or cushion-shaped, with a square or cruciform abacus, or occasionally octagonal as at Durham, or circular as at Gloucester, and enriched with the Chevron, Star, or Anthemion, the Capitals being escalloped with segments of circles, or enriched with Volutes or the Anthemion. Early examples are in the \Yhite Tower, and St. Bartholomew, London. Later Capitals. usually rirh in ornamentation, are found at St. Peter's, Northampton, and at Wooton, more frequently they have interlacing bands of ornament and animals; there are others with figures, or "Storied Capitals," as in the North Porch, Wells. In tin- transition period end of I2th century Capitals \cre con- or bell-shaped, with foliage of the serrated water leaf type cling- ) thr bell and turning up under the ! .i -rtning a Volute. m Thi- t<>li.i-< \va- varied in type and vigorous in technique. 1 examples are at Christ Church Oxford, and at Canterbury Cathedral. 45 EARLY GOTHIC DETAILS. Plate 17. :RWr COTWO ^UflSS SflUJSKJIW ARLY GOTHIC. The NORMAN style was succeeded by the pointed, or GOTHIC style, remarkable for its variety, its beauty of proportion, and the singular grace and vigour of its ornament. Showing no traditions, beyond Sicilian and Arabian influence, it grew rapidly, and reached a high degree of perfection in France and England. The massive and barbaric character of the Norman style gave place to the light clustered shafts and well-proportioned mouldings of the early English Gothic, with its capitals characterized by a circular abacus, and the typical three-lobed .foliage growing upwards from the necking of the shafts, thence spreading out in beautiful curves and spirals under the abacus. This tendency to the spiral line is peculiar to the early Gothic, and differentiates it from the Decorated and Perpendicular Period. The diagrams of the three crockets here given show the distinctive character of English Gothic ornament. Early Gothic, three-lobed leaves arranged in spiral lines. Decorated Gothic, with natural types of foliage, such as the oak and maple, with a flowing indulating line. Perpendicular Gothic, showing the vine and leaves as elements, and arranged in a square and angular manner. The same features and characteristics are observed in the borders here given. The beautiful carved spandril from the Chancel Arcade, Stone Church, Kent (fig. i), is one of the most beautiful examples of English ornament, remarkable for the vigour and flexibility of curve, its recurring forms of ornamentation, and admirable spacing, typical of much of our early Eng- lish foliage from about 1 1701280. The type of foliage in early English stained glass is somewhat similar to contemporary carved work, but showing more of the profile of the leaf; it has a geometric or radiating arrangement in addition to the spiral forms of foliage (plate 42), and the admirable spacing of the ornament shows the skill in design that the mediaeval craftsman possessed. 47 DECORATED GOTHIC DETAILS. Plate 1 8 CAPITALS FPOM CHAPTER HOU5.5OUiHWEUL FROMTHE TRITORIUM OFhAVe.5IALBAM5. ECORATED OR GEOMETRIC GOTHIC, Decorated Gothic is remarkable for its geometric- tracery, its natural types of foliage, and the undulating character of line and form, in its ornamental details. The foliage of the oak, the vine, the maple, the rose, and the ivy were introduced in much luxuriance and profusion, being carved with great delicacy and accuracy. Lacking the dignity and architectonic qualities of the early Gothic foliage, it surpassed it in brilliancy and inventiveness of detail. The capitals, enriched with adaptations from nature, carved with admirable precision, were simply attached round the bell (page i62),giving variety and charm of modelling, but lacking that unity which was so characteristic of early work. The illustrations from Southwell are charac- OWCKET5. EXETEft CATHEDRAL teristic examples of the richly-carved clustered capitals of this period. The arch mouldings were also enriched with foliage of a similar type, and at the springing of the vaulting shaft of the nave, beautiful carved corbels, such as those at Exeter, were used ; while the walls, screens, and parapets, were diapered with low relief carving. Crockets and finials, which were introduced in the early Gothic period, were now treated with exceeding richness and used in the greatest A profusion. characteristic example is given here from Exeter Cathedral. The Queen Eleanor crosses (erected 1291-4). are perhaps the richest examples of the decorated period, showing the exuberance of model- ling and the versatility and skill of the English craftsman in the finest period of Naturalistic foliage (1280-1315). These- crosses were erected at Lincoln, Grantham, Stamford, Stony Stratford, Woburn, Duns- table, St. Albans, Eastcheape, and Charing, all of which have been destroyed, but those at Geddington, Northampton, and Waltham still remain. The statues of Queen Eleanor are probably by William of Ireland. The placed " Ball Flower " so characteristic the equally characteristic " Tooth of the decorated Ornament " of the period, repreceding st\le. and was much used in some buildings, even to excess as in the south aisle of Gloucester Cathedral. It is found in the hollows round doorway>. windows arches, and canopies, and it frequently alternates " with the Foui petalled Flower." 49 ! PERPENDICULAR DETAILS. Plate 19. COBNUT TOON B15HOP BtJCKIMOTOn5 5t1BlNC WCLLJ CATHEDRAL 2 rPICZC TROM ROOD 5CRCtn TRUMCH CHURCH HOLfOLK TRUMCH CHURCH. HOLfOLK 5CRKMO lAWCHAPtL rWKHESTTR CATHEDRAL 9 7 UPPtR P^DT orSOUTH PORCH . L AVChHAM CHURCH Q nKPLACt in TATTCU5HAU. CA3TI f ERPENDICULAR GOTHIC. Late or rectilinear Gothic is characterized by a rigidity of line in construction and ornament. The one exception is the beautiful fan-vaulting, such as that in the cloisters at Gloucester Cathedral, and in Henry VII. Chapel at Westminster, which are not approached by any Continental example for beauty of craftsmanship or the scientific precision of "their masonry. The many splendid towers, having elaborate panelled tracery, and capped with pinnacles, open parapets and battlements, such as those at Wrexham and S. Mary's, Taunton, are also characteristic of this period. The windows, with vertical mullions running to the window-head, which is frequently a four-centred arch, have one or more transoms, enriched with battlements or Tudor flowers, to divide the lofty windows horizontally (plate 1 5). The many choir screens and stalls, .with their canopies, have panels, friezes, crestings, and finials, and are frequently carved with an angular treatment of the vine and its tendrils, more or less conventionalized (figs. 1-7), the Tudor flower being perhaps the most prevalent. The freedom and flexibility of the modelling and carving of the middle period of Gothic, was replaced by a stiff symmetrical arrangement of foliage, and the painted diapers succeeded the carved ones of the earlier period. The terminals of the ends of pews were frequently en- riched with foliated " Poppy-heads," often of great beauty. Heraldic forms, such as shields, with their supporters, together with badges and crests, were largely associated with the ornament in the richer buildings of this period, such as King's College Chapel at Cambridge, and Henry VII. 's Chapel at \W-t- minster. The piers of the nave are usually rectangular or lozenge in section, consisting of a few rounds and double ogee moulds, which are frequently carried round the arch without the intervening capital; or an octagonal capital, with the typical square foliated ornament, is led by some of the round members of the pier; or a series of moulded capitals, without enrichment, is employed. The only enrichment in the hollows of the strings and arch-mouldings is a four-petalled flower, alternate square and circular (figs. 7 and 8). 51 FRENCH GOTHIC. Plate 20, F-AftLY OOTHIC 5TOT1E CARVING . MOIRE DAME . IUBI5 - 1 ^^f "^IPf =^ r : ; CARVINGS. WOOD CARVIMC CAMOPYOF 5TALL5 in OVTHEDiiAL. LATT OOTHIC RENCH GOTHIC. * French cathedrals show a marked contrast in scale and enrichment to those of England, being wider, shorter, and higher in proportion, and the sculpture bolder, more profuse, and larger in scale than in temporary English cathedrals. The principal doorways are also on a large scale, and are usually enriched with numerous statues, placed under canopies, which cover the whole of the recessed arch; whilst the cen- tral pier of the door, carrying the figure of the Madonna or a bishop, supports the tympanun (the space within the arch), which is also covered with horizontal bands of sculpture. The figure sculpture of the late 1 3th and early i4th centuries has considerable skill of composition, and well-arranged draperies; broad and simple in mass, and vigorous in execution (page 165). The gables of the doors are fre- quently enriched with crockets and finials, or with beautiful open tracery as in the west doors of Rouen Cathedral. The Cathedral of Amiens has a delightful series of sculptured reliefs of Biblical subjects, called the Bible of Amiens, enclosed within quatre-foil panels, which extends across the lower part of the facade. The early relief ornament of the 1 3th century is remarkable for its >rous carving and boldness of relief. It differs from contemporary English work in having a rounder form of leaf, divided into lobes, with strongly marked radiating mid-ribs (compare fig. I, plate 20, with fig. I, plate 17). The capitals, with the foliage clinging closely to the bell (fig. 3), have not the spiral tendency which characterized English ornament of ihe same period. The abacus is generally square (page 159), and the clustered pillars and the bell-shaped moulded capitals, without foliage, which are typical of English work, are almost un- known in France. In the I4th century, the foliage, like contemporary carving in England, is naturalistic (figs. 4 and 5, plate 20, and page , with a ribbed tool-mark following the direction of the leaf. Among the many splendid examples of the i^th century, or flam- boyant period, are the stalls of Amiens (fig. 2), where flowing tracery is intermingled with rich cusped-arches, open gables, and crocketed pinnacles. 53 RENASCENCE ORNAMENT. Plate 2 i txtwrnnf bndict_ :no.|tVr m mahr.concf nobisTHttiJIn m7Jj^cc.Rr.3lma. iLcftumj. ulnrj fit f^K n fn lilwno.7qujft PACC ro TMC BOOK or HOURJ.OT boriA STDVA,OOCMC or MI LAM (477-90 THE MTHC CHURCH OTMMTA COUM^O AT nexxr BT LUC A DCLLA nOBftA. W-SO in THI; CHURCH or 5 onomao BMMTCD oviAMrT ron THE DUCAL B^LACC MAMTUA BY GKJVAWMI OA UDIMC AND JULIO I53O 54 ENASCENCE ARCHITECTURE & ORNAMENT. Lombardy, in the north of Italy, had witnessed a singular blending of the old classic art with the vigorous traditions and myths of the Longobards, and the symbolisms of the old Byzantine; thus producing the architecture known as Lombardic, with its multiplicity of small columns and arches, quaint imagery of sculpture, and the frequent use of a lion or dragon as a support for the columns. These are features of the early art at Lucca, Bergamo, Padua, Verona, and other towns illustration from in Lombardy (see Lucca is given in Romanesque, the appendix page 33) ; a to Ruskin's beautiful " Stones of Venice," Vol. i. Contemporary with this period came the Gothic influence, with its clustered columns, pointed arches, its cusps and crockets, and its strong vitality, impressing the arts and architecture with a lasting influence; hence, during the I2th and I3th cen- turies in Italy, this intermingling of styles, traditions, religious beliefs and myths, produced an art barbaric and vigorous in character, the imagery full of suggestiveness, and the detail rich and varied in con- ception". Yet it was but the herald of a style which culminated in the glorious epoch of the Renascence, a style where symmetry was to play an important part, as in classic art, where refinement of line and detail, of culture and craftsmanship, are found ; and which, though beautiful in proportion, unity of parts, and perfect adaptability, yet lacked that symbolism, suggestiveness, inventiveness and rugged strength of the early Byzantine, Lombardic, and Gothic styles. Italian Renascence is broadly divided into three periods, viz. : The Tre-Cento, A.D. 1300-1400; the Quattro-Cento, 1400-1500; and the Cinque-Cento, 1500-1600. In the Tre-Cento period the sculpture and decorative arts are marked by dignity of conception, and a mingling of Gothic and classic traditions. Two of the earliest examples showing Renascence in- fluence are the hexagonal pulpits in the Baptistery at Pisa and the Cathedral at Siena by Niccolo Pisano. These are transitional in style having sculptured panels, distinctly classical in treatment, associated with cusped Gothic arches. Niccolo also executed the beautiful octagonal fountain at Perugia and was assisted in much of his work by his son Giovanni Pisano, who was the author of the A beautiful pulpit in the Cathedral at Pisa. fine monumental work showing these characteristics, is the tomb of S. Peter, the martyr, in the Church of S. Eustorgio at Milan. In the architecture, Gothic forms prevail, together with panelling of white and grey marble, lofty pilasters, pinnacles, and gables, en- riched with a geometric patterning of marbles or mosaic, and also a frequent use of the twisted pillar. 55 The Cathedral at Florence, with its panelling, pointed arches, and rich tracery, was by Arnolfo di Cambio (died 1300) and Francesco Talenti, who completed the nave, choir, and apses in 1321. Arnolfo and Talenti were also the architects for the Church of Santa Croce and the Palazzo Vecchio, Florence, (1290), where, in 1434, Michelozzo added the beautiful cortile, and C. Salviati and De Faenza, pupils of Vasari, enriched the circular and octagonal pillars with beautiful stucco ornamentation (plate 22), in 1565. The beautiful campanile by Giotto (1336), Andrea Pisano, and Francesco Talenti, who introduced the upper Gothic windows, is a A noble accessory to the Cathedral of Florence. charming illustration of one of these windows is given in the " Seven Lamps of Architec- ture," by John Ruskin. In 1293 angles of " Arnolfo introduced San Giovanni," the some Prato marble pilasters at octagonal Florentine Baptistery, the an ancient building where many of the great citizens of the Republic received their baptism, and it was here that Dante was baptised in May, 1265. The last of the Tre-Cento masters was Andrea Pisano, who made the first bronze gate of " San Giovanni," or the Baptistery of Florence. This gate has 28 quatre-foil panels in relief, and bears the inscription " ANDREAS UGOLINI NINI PISIS ME FECIT, A.D. MCCCXXX." The true Renascence or Quattro-Cento period is remarkable for the vitality of the arts, and the naturalism and versatility of its craftsmen. Brunelleschi is the earliest architect (page 66), and Lorenzo Ghiberti the first ornamentist and sculptor, whose chief works are the two bronze gates for the Florentine Baptistery. The first gate (1403-24), has 28 quatre-foil panels similar to the earlier one by MONUMENT TO II.AKIA 1)1 CARRKTTO, BY JACOPO DEI I A QUKRC1A. Andrea Pisano, and the last gate (1425-59), has 10 rectangular panels with incidents from the Old Testament in high relief (plate 47). The styles or framework of these gates, have a series of single figures in niches with circular medallions between them. The bronze architrave round each of the Ghiberti gates and the earlier gate by Andrea Pisano, are rich examples of Quattro-Cento design. The details are natural fruits, flowers and foliage, banded together with ribbons, with the introduction of birds, squirrels, etc. The egg-plant and pomegranate portion (fig. i) is a familiar example. Other masters of this period were Jacopo della Quercia, who executed the beautiful monument shown on the previous page, to Ilaria di Carretto, in the Cathedral at Lucca. The recumbent figure of Ilaria is sculptured in white marble with perfect simplicity and beauty; another famous work of Jacopo was the fountain at Siena. THE "CANTORIA," OR SINC.INd CAI.I.KkY, KY I><NATKU.O (1435)- Luca della Robbia executed a beautiful organ gallery in marble for the Cathedral at Florence (1431-40), now in the museum of the Opera del Duomo, Florence, with admirable singing and dancing figures, in relief. Donatello was remarkable for the singular grace and sincerity of his portraiture, especially of children. The dancing figures in relief on the panels of the singing gallery of the c.nhedral of Florence are perfect examples of his art. This frieze of children is a delightful example of one phase of Donatello's craftsmanship, showing the vitality and exuberance of his conception. The peculiar relief, called " staffitttn" of the figures 57 which shows a series of almost flat surfaces, upon which is carved exqui- sitely delicate reliefs, contrasted with an abrupt contour giving strongly-marked shadows, is typical of much of Dona- An tello's relief-work. illustration is also given of the famous S. George, from the Gothic Church or oratory of Or San Michele, Florence. This church has niches and canopies on the exter- nal walls, each with its statue by great Quattro-Cento masters. Three statues in marble of S. Peter (1412), S. Mark (1412), and S. George (1415), are by Donatello; three in marble, S. Philip (1408), Four Crowned Martyrs, and S. Eligius (1415), by Nanni di Banco; S. John (1415), S. Matthew (1422) and S. Stephen (1428), in bronze, by Ghiberti; Christ and S. Thomas (1483), bronze, by Verrochio; and S. Luke (1601), in bronze, by Giovanni da Bologna. The Monastery of San Marco is one of the remarkable buildings in Florence. Built in 1437-50 by Michelozzo for Cosimo de Medici, it was enriched with the most beautiful frescoes by Fra Angelico. Savonarola, the great preacher and reformer, was Prior of San Marco from 1489-98. The art of the medallist, which had declined since the time of the Roman S. GEORGE, BY DONATEI.I.O. Empire, now took its position among the arts of the Quattro-Cento period, under Vittore Pisano, called Pisanello. The vigour of his modelling and the individuality of his medals of the contemporary princes of Italy, are exceedingly fine. Among other RELIEFS FROM Till. MM1IN<; CALLERY, BY DONAI1.1 .!.<>, IN THE MUSEUM OF THE OI'KRA DEL DUOMO, FLORENCE. RENASCENCE ORNAMENT. Plate 22. MARBLE. PORTION OF OCTAGONAL COLUMN wd^JIUCOD rMBCHMENT. PALAZZO vtccnio MARBIC twig., s MicHae.vtNia: WPLOMBAMX 59 remarkable medallists, were Sperandio of Verona, Caradossa of Milan. Yincentine of Vicenza, Benvenuto Cellini of Florence, Lione Leoni, Pompeoni Leoni, and Pastorino of Siena. Other names of this period were Desiderio da Settignano, his masterpiece being the tomb of Carlo Marsuppini, in the Church of Santa Croce, Florence; Mino da Fiesole (see frontispiece); Andrea Verrocchio, the author of the fine equestrian statue of Bartolommeo Colleone at Venice (see Bronzes); Matteo Civitali; and the Rossellini. a remarkable family of five brothers, of which the most famous was Antonio Rossellino, who executed a charming tomb to Cardinal Jacopo di Portogallo, in the Church of the Nunziata, Florence. The Cinque-Cento period was the culmination of the Renascence, when architecture, sculpture, painting, and the decorative arts, were under the magnificent patronage of the popes and princes of Italy. Palaces, churches, and public buildings were completed (see Renas- cence Architecture, pages 66-69), and embellished with beautiful sculptures and decorations; hung with the most sumptuous fabrics of the Venetian, Florentine, and Genoese looms; decorated with altar paintings and mural decorations by the most renowned of painters; and enriched with the magnificent productions of the gold and silversmiths' art, and the loveliest of intarsia, or inlaid woodwork. The Sistine Chapel, built for Sixtus IV., in 1473, by Baccio Pintelli, is decorated with fresco paintings on the walls by the great Cinque-Cento rnasters, Luca Signorelli, Sandro Botti- celli, Cosimo Rosselli, Perugino, the master of Raphael, Domenico Ghir- landajo, painted and " The Michelangelo, who Last " Judgment on the end wall, and the famous ceiling, with incidents from the Old Testa- ment, and with the prophets Joel, Ezekiel, Jeremiah, Jonah, Daniel, Isaiah, and Zechariah, and the sibyls Cum Erithraea, Perscia, Lybica, .1 a. and Delphica. These are splendid examples of decorative painting, where unity and dignity of conception, powerful draughts- manship, and marvellous execution are shown in a remarkable degree. The New Sacristy of San Lorenzo, Florence, designed and executed by Michel Angelo, having the magnificent tombs of Lorenzo and Giuliano de Medici, with the reclining figures of Dawn and Twilight, Day and Night, shows his remarkable versatility, power, and concep- tion of art. 60 The art of mural decoration reached its highest degree of achievement during this period in the hands of Raphael and his contempor- aries. The earliest Fresco paintings by the Quattro-Cento masters such as those in the Arena Chapel at Padua and the Church of San Fran- cesco at Assisi by Giotto, and the series of panels by Benozzo Gozzoli in the Chapel of the Riccardi I'al- ace at Florence un- doubtedly exercised a stimulating influence upon the CinqueCento masters, but a more potent influence was the discovery of the ancient baths of TOMB OK I.ORKX/.O !>K MKDICI. Titus, and the house of Livia with their arabesques and mural paintings. These antique painted arabesques, or as they were termed Grottescki, were now utilized and developed to an extraordinary degree of richness and diversity of type. Pinturicchio was prob- ably one of the first masters to use this arabesque type in the decoration of the Papal apartments in the Castle Sant Angelo at Rome (1494) for Pope Alexander VI. Pinturicchio, doubtless with other artists in collaboration, also carried out the decoration of the Cathedral Library at Siena, one of the most complete decorative schemes in Italy. It was, however, at the Vatican that decorative art, especially arabesque painting, reached its highest development under Raphael and his school, in the decoration of the Loggia of the Court of S. Damaso (1515-20). This open Loggia of three storeys (plate 23) was decorated under the supervision of Raphael, with whom many artists collaborated, chief among them being Giovanni da 1 dim-. C.iulio Romano, Francesco Penni, and Perino del Vaga. 61 The first and second storeys of this Loggia are roofed with low cupolas. In the first storey the cupolas are decorated by Giovanni da Udine, two with trellis work alternate with one with coffered panels. The second storey is the most richly decorated, (plate 23), the walls, piers, pilasters, and ceilings being covered with arab- esques. In the cupolas of the ceiling are small rectangular panels painted by Raphael with Scriptural subjects, and called Raphael's Bible. The arabesques are painted in polychrome, chiefly in the secondary colours, on a light ground, with panels painted with festoons of fruit on a dark blue ground by Giovanni da Udine. The third storey was also largely the work of Giovanni (1520 30), but in 1580 Padre I. Danti painted upon the walls maps of ancient and modern Italy, and Tempesta and Paul Briel, towns and landscapes. .Modelled stucco work took a most important part in framing the pilasters and panels of this loggia, doubtless under the direction of Giovanni da Udine, for Georgio Vasari writes : " One Pietro Lorenzo Luzzi, a youth from Feltri, studied many of the graves and grottos, and earned for himself the name of Morto di Feltri. He re-introduced into ornamental art Stucco and Sgraffito, for al- though it may have been by Giovanni da Udine and other artists who are now distinguishing themselves, that these decorations have been brought to their ultimate perfection, yet it is not to be for- gotten that our first thanks and commendations are due to Morto di Feltri, who was the first to discover and restore the kind of painting we call ' grotesque,' seeming that they were for the most part hidden among the subterranean portions of the ruins of Rome whence he brought them." Morto went to Florence, and with Andrea di Cosimo, executed at the Gondi Palace the first sgraffito decorations. Contemporaneously with the Loggia of the Vatican, the Stanze, a series of four rooms, was enriched with mural paintings by Raphael. His first mural painting here was the " " Disputa ( 1 508) in the Camera della Segnatura, followed by the " Poetry, Philos- ophy, or School of Athens " and " Jurisprudence," the ceiling being painted with figures and arabesques by Sodoma (Bazzi). The Stanze of Heliodorus (1514) has the "Expulsion of Heliodorus from the Temple," " Miracle of Bolsena," " Leo I. and Attila," and the " Deliverance of S. Peter." In the Stanze Incendio del Borgo (1517), are the "Incendio del Borgo Vecchio," the " Justifica- tion of Leo HI., before Charlemagne," the " Coronation of Charle- magne by Leo III.," and the " Victory of Leo IV. over the Saracens." Perino del Vaga and Giovanni da Udine assisted Raphael in the last two paintings. The mural paintings for the Sala of Constantine were designed by Raphael, but were carried out by his pupils, Giulio Romano, Francesco Penni, and Raphael del Colle. r, 2 RENASCENCE ORNAMENT. Plate 23. ARABE5QUE5 fRcrnxE SECOND rLOOK SECTION THROUGH LOOOJA \Yith the death of Raphael in 1520 and the completion of the decorations, the Vatican School with its splendid tradition of artistic resource and skill was largely requisitioned by the nobles of Rome and North Italy for the embellishment of their palaces, the most important example of civic patronage being the decoration of the Farnesina Palace (1510-24) by Baldassare Peruzzi, Giulio Romano, Giovanni da Udine, and G. Razzi. The upper storey of the palace was decorated by Romano and Da Udine with the story of Psyche designed by Raphael. Da Udine also carried out the magnificent decorations of the Villa Madama (1520-4), where there is some of the finest stucco enrichments of this period. The best example of decorative painting by Peruzzi is the Villa Belearo, Siena (1535). Giulio Romano entered the service of Federigo Gonzaga, Duke of Mantua. the Palazzo He enriched with beautiful paintings Ducale and the Palazzo del Te (plates and 86-9, "arGarbaemsqmuaers of Ornament," by Owen Jones). Perino del Vaga carried the art to Genoa, decorating with arabesques and medallions the Palazzo Andrea Doria (plates 43-9, " Palast-Architakur, Genua.") Francesco Primaticco, who for six years was Giulio Romano's chief assistant at Mantua, was in 1531 invited by Francis I. to Fontainebleau, where he decorated the Great Gallery, or the Gallery of Ulysses, with the subjects from the " Odyssey," together with many delicate reliefs. All these Italian painted arabesques show a great inventiveness and skilful combination of parts, but they are not to be compared with the refined and beautiful modelling, and harmonious composition of the contemporary carved reliefs by Andrea Sansovino, Jacopo Sansovino, Agostino Busti, Pietro Lombardo, and his sons, Tullio and Antonio. These delicate reliefs have the traditional Roman acanthus, but treated with a refined feeling for modelling, and beauty and symmetry of line and mass. In many examples, vases, masks, shields, and similar accessories are found in profusion (plate 22). The ( omposition of the Cinque-Cento ornament is usually symmetrical, the details being varied and interesting in the best examples; and whil-t I;K king the vigour and symbolism of the Lombardic and Byzantine styles, it excelled them in its absolute adap- tation to architectural conditions, with perfection of design and crafts- manship. Andrea Mantegna executed nine paintings or cartoons in tempera upon linen, representing the triumphs of Julius Caesar, which are a portion of .1 trie/e o, ft. high 64 and 80 ft. long, painted for Lodovico Gonzaga's Palace of S. Sebastian at .Mantua. They were purchased by Charles I. and are now at Hampton Court. An illustration of this frieze, from an engraving upon copper in the British Museum, is given here. It was also engraved on wood by Andrea Andreani in 1599. To Mantegna is also ascribed the illustrations to the " Hypnero- tomachia, or Dream of Poliphilus," printed in 1499, at Venice, by Aldus Manutius. Good reproductions of many of these early illustrated books are given in the "Italian Book Illustrations," by A. W. Pollard, N<> 12 of the Portfolio, December, 1894; and in "The Decorative Illustration of Books/' by Walter Crane. The study of classical architecture was stimulated by the publica- tion at Rome, in 1486, of the treatise by Vitruvius, an architect of the time of Augustus; an edition was also published at Florence in 1496. and at Venice in 1511. In 1570, Fra Giocondo, at Venire. published " The Five Books of Architecture," by Andrea Palladio. Another treatise upon architecture, by Serlio, was also published at Venice in 1537 and 1540. Beautiful types of the Renascence decorative art were the Venetian well-heads, situated as they were in most of the public squares of \Vmce, and in many of the court-yards of her princely palaces. Designed with details of the most varied and beautiful character by such artists as Andrea Sansovino, Pietro Lombardo, and his sons Tullio and Antonio, the Venetian well-head became a type of beauty, diversified in its treatment, but never losing its character- istics or its usefulness. The earlier examples are square or circular, with enrichments of Byzantine character, consisting largely of interlacing, circular, and angular lines, enclosing quaint bird and animal forms. In the .^^...jin i ___~, later examples the Renascence treatment is used with singular richness and appro- priateness, the grace, delicacy and diversity of detail being a tribute to the vivacity and artistic feeling of the Venetian Republic. These well-heads, worked mostly in white marble and evincing good judgment in the quality of relief, now show comparatively little injury after centuries of usefulness. Occasionally they were of bronze, of which two fine examples are still in position in the court-yard of the e's Palace. ; Many of these well-heads are carefully treasured in our Kuropean Museums, teaching us that beauty of form, and perfection and delicacy of ornament are quite compatible with usefulness, \vlirn used by an artistic people. 65 \am i iiimaamii i n iirar IZO THKSTROZZI PALACE, FLORENCE. The Renascence in Italy was distinguished by the many magnificent ecclesiastical and secular buildings erected during the 1 5th and 1 6th centuries in the chief cities in Italy. Florence was the first -to show activity, and with Brunelleschi the history of Renascence archi- tecture commences. The great dome of the Cathedral (1420-34), the Pazzi Chapel (with a fine frieze of cherubs' heads by Donatello and Settigiano) at S. Croce (1420), and the Church of S. Lorenzo (1425), were his first works, and were followed by S. Spirito (1433) and the Pitti Palace. The severe dignity of the bold rusticated stone work, which was usually varied in each storey, the circular-headed windows, and cornices of great depth and projection, became the type of the early palaces of Florence and Siena. The first Renascence palace was the Riccardi, built for Cosimo de Medici, in 1430, by Michelozzi; and it was followed by the Pitti (1435) and the Quaratesi (1442), by Brunelleschi; the Rucellai (1451), by Leon Battista Alberti, where pilasters with their entablature were used for the first time in a Renascence facade; the Strozzi (1489), by M. da Majano and Cronaca; the Gondi (1490), by G. da Sangallo; the Guadagni (1490), with sgraffito decorations in grey and white plaster; and the Nicolini, by Bramante, the Pandolfini (1520), by Raphael; and the Bartolini (1520), by Baccio d'Agnolo. The plan of these palaces was usually a rectangle, having an internal cortile, with open arcades on the ground floor, the next floor having windows, while the upper storey was frequently open. 66 THK KAK.NKSK I'AI.ACK. KOMK. In Rome the palaces were characterized by largeness of scale, the frequent use of the pilaster or attached super-imposed columns, and square-headed windows, with triangular or segmental pediments. The plan is rectangular, with a cortile of one or more storeys of open arcades of semi-circular arches, springing direct from the capital, as in the Cancelleria Palace. I he chief palaces are the Cancelleria (1495) ant^ tne Giraud(i5O3), by Bramante, the Farnesina (1511), the Massimi (1529), and the Villa Ossoli (1525), by Baldassare Peruzzi; the Palma and the Farnese (1517), by Antonio Sangallo; the Villa Madama (1516), by Raffaello and Giulio Romano; the Borghese (1590), by Martino Lunghi; the Laterano (1586), by Fontana: and the Barberini ( 1626), by Maderna, Borromini, and Bernini. The chief ecclesiastical building is S. Peter's (plan, plate 57 , com- menced in 1450 by Alberti and Rossellino for Pope Nicholas V. ; then carried on by Bramante and San Gallo (1503), Raphael and Peruzzi (1514-20), Antonio da San Gallo (1534), Michel Angelo (1546), Vignola (1556), Giacomo della Porta (1590). and Carlo Maderno (1608). In 1627 S. Peter's was dedicated by Urban VIII., and in 1667 the colonnade in the piazza was ! ti-d by Bernini. 67 as, THK PALAZZO VKNDRAM1M, VEXICK, BV PIKTRO I.OMKAKDO. The architecture of Venice is rich and varied in style, and the great />alazzi of the Byzantine, Gothic, and Renascence periods bear tribute to the versatility and skill of the Venetian architects and craftsmen. The Renascence period may be said to commence with Pietro Lombardo, who built Santa Maria dei Miracoli (1480), a building remarkable for the singular grace and refinement of the internal carved enrichments. Another work by Lombardo was the Spiiu-lli Palace (1480), which has mullioned windows, grouped centrally as in the Gothic palace. This feature, together with the use of pilasters or attached columns, became the type of the later Renascence palaces, such as the Palazzo Vendramini, also by Pietro Lombardo. Then followed the rebuilding of the court-yard of the Ducal Palace by Antonio-Bregni (1485), which was completed in 1550 by Scarpagnino; the Scuolo di San Marco (1485) by Martino Lombardo; the Palazzo Cornaro (1532), La Zecca (1536), the Loggetta of the Campanile (1540), destroyed by the falling of the Campanile in 1905, and the Library of S. Mark (1536), by Jacopo Sansovino; the Grimani Palace (1549) by San Michel; the Pesaro Palace (1650) and the Church of Santa Maria della Salute (1631) by Baldassare Longhena. I'AI.AZZO VER7.I, VERONA. Andre Palladio, of Vicenza, was the most famous of the later architects of the Renascence. His chief works are the Basilica Vicenza (1549), which has a fine elevation of two super-imposed orders of attached columns, with arched open- ings and coupled columns in each storey ; the Valmarana (1556), the Chiericati (1560), and the Tiene (1565) palaces; and the Teatro Olimpico (1580); all of which are in Virenza. In his later work, which is frequently built of brick and stucco, he adopted the device occasionally used by Peruzzi and San Michel, of an attached column, with or without pede- stal, reaching throughout the two storeys of the full height of the building, as in the Casa del Diavolo. Scamotzi, of Vicenza, succeeded Palladio. II- built the Trissino at Vicenza (1588), the Pr.M-uratie Nuove (1584), at Venice, and com pleted I'alladio's Church of San Giorgio < ASA DI.I I-IAVOIO. at Venice. 9 r, EARLY FRENCH RENASCENCE. Plate 24. PERIOD or LOUIS XD CLLnYrtU5tUM EARLY RtMASCtnascRifn aumrttU5turi CARVtD WOOD B\ntL RMIELor DOOR 5T MACLOU CLUT1Y MUSEUM ROUEMBYJCAM CXXJJON rWOM LIMOGES CATHEDRAL s=3i]RENCH RENASCENCE. At the close of the I5th century the Italian Renascence began to exert its influence upon the vigorous and beautiful Gothic art of France, Charles VIII. (1483-89) inviting the Italians, Fra Gioconda, Paganmo, Boccador, and various Italian craftsmen to assist in building the castle at Amboise. At first the influence of the Italian Amboise School was confined to the smaller architectural features, but at the commencement of the i6th century, the classic orders of archi- tecture, and the delicate arabesques of Italy, were incorporated with the high-pitched roofs, mullioned win- dows, dormers, crocketed gables and pinnacles of the beautiful flamboyant Gothic, and fused into the style known as the French Renascence, which is usually divided into eight distinct characteristic periods, . viz. : I., Frangois Premier, I 5 1 5-47 ; II., Henri Deux and Henri Quatre, 1547-1610; III., Louis Treize, 161043; IV., Louis Quatorze, 1643- 1715; V., The Regency, 1715- 25; VI., Louis Quinze, 1725-74; VII., Louis Seize, 1774-89; and VIII., The Empire, 1804-70. Typical examples of the early Renascence architecture are seen in the numerous chateaux planned upon the earlier type of fortified house, that of Chambord (1526), which is singularly flamboyant in style, has circular towers at the angles and flanking the entrance, with a roof of cones and cupolas having high dormer windows and chimneys. The Italian influence received further stimulus from Francis I., who in 1530 invited the Italians, II Rosso and Francesco Primaticcio, to the palace of Fontainebleau. The decoration of "Galerie de Frangois I*:!" in this palace by these Italians consists of figure subjects in fresco, surrounded with cartouches, and figures in stucco, and wood carvings by Siebecqi. A panel by Siebecqi (fig. i , plate 25) is a representative example of this period, showing the emblem of the King, a salamander, on a cartouche. Emblems of the various kings and queens arc important decorative features in French Ornamental Art. 7' FRENCH RENASCENCE, Plate 2 5 . CARVED PANEL BY f 51E5ECQJ . GALERIC DC FRANCOIS f FONTAINCBLEAU SILK BORDER TWE EMPIRE PERIOD . I8O5 . PAINTED PANEL BY JEAN BERAIN CALERIE D APOLLON . LOUVRE . In 1541 other eminent Serlio, architects, and Italians, Giacomo da Benvenuto Cellini, Vignolo, and " joined the Sebastiano School of Fontainebleau," which undoubtedly exercised a controlling influence upon the contemporary French architects, Jacques Androuet du Cerceau, Pierre Lescot, Philibert de I'Orme, and Jean Bullant, and the sculptor Jean Goujon. The Louvre was commenced by Lescot, who built the south-west angle, which was enriched with sculpture by Goujon. These two also collaborated in the building of the beautiful Fontaine des Innocents at Paris (1550), with its fine low relief panels of draped figures. The reign of Henri II. was a period of remarkable activity in the Arts; during this reign and that of Henri IV., the prevalence of interlaced strap-work, delicate reliefs, and the liberal use of the cartouche are the characteristic features. These are seen in the Oiron or Henry Deux pottery (plate 39), the geometrical interlacings of the Grolier bindings (plate 51), and the book illustrations of Orance Fine and Jean Cousin. The Ballroom or " Galerie de Henri II." at Fontainebleau has a richly coffered ceiling of wood by de I'Orme, and the wall painted in fresco by Primaticco (1564). de I'Orme commenced the Tuileries, and Du Cerceau and Duperiac continued the building of the Louvre. During the Louis Treize period, the tradition of fine architecture and ornament continued, but was considerably influenced by the Spanish and Flemish barocco manner of Rubens, who in 1622-6 decorated a gallery in the Luxembourg Palace, which was built by Salomon de Brosse in 1615-24. Other architects of this period were Jacques le Mercier, who continued the Louvre, and Francois Mansart, who built the new wing at Blois. a The decorative work prolific painter and was chiefly under the control designer who largely used of Simon Youet, the " barocco " or twisted and broken cartouche, together with masks and a massive UJM- of arabesque. The beautiful book-bindings by the brothers Eve (plate 5 1 ) are fine examples of the more delicate ornamentation of this period. Louis le Vau, the architect, and Charles le Brun, the painter, were the chief men who controlled the arts during the early period of the long reign of Louis Quatorze, and Claud Perrault. Daniel Marot, Jean le Pautre, and Jean Berain during the later period. Le Vau continued the building of the Louvre, the Tuileries. and \ < rsailles, and Le Brun painted his finest decorative work in the (ia!(-rie fl'Apollon" at the Louvre, and the " Galerie de^ diners" at \ i i-.nllr- i'''2-84). which was re-modelled by Man-art in 1680. The voluminous festoons and arabesques of Le Pautre and Jean Berain (plate 25), the beautiful Rouen pottery by Louis Poterat, and th ma^ninVcnt inlaid furniture by Andre Boule, are representative of the decorative arts during the latter part of thr n-i^n of Louis LATE FRENCH RENASCENCE. Plate 26 ROCOCO OP LOUIS QUJMZC WOOD CARVJrtO MOTRE DAME . TROPHIRS OF AWMS BY OIRAROOT1. VER.->AILLE5 74 Quaiorze, the chief architectural work being the colonnade and south front of the Louvre by Claude Perrault. The REGENCY, under the able for the development Duke of of the Orleans, " Rocaille was a period remark- " type of ornament in the hands of Francois de Cuvillie's, sen., Claude Gillot, Antoine Watteau, Just-Aurele Meissonier, and Gilles Marie Oppenord. In this rocaille, or scroll and shell work, symmetry was systematically avoided, the ornament showing no restraint or reticence of line or detail, reliance being placed upon the brilliancy and playfulness of modelling and design for effect. The " " rocaille of the Regency continued to