RENAISSANCE ARCHITECTURE IN EUROPE. 439 had an important influence — gunpowder which had changed the whole method of warfare ; the mariner's compass, which led to the discovery of the West Indies (1492) and America, and the foundation of colonies by European states ; and, lastly, printing, which favoured that stirring of men's minds which caused the reformation in religion, and the revival of learning. Copper- plate engraving was discovered in the third quarter of the fifteenth century. Galileo (1564-1642) proved that the earth was not the centre of the universe, but merely a minute planet in the solar system. 2. ARCHITECTURAL CHARACTER. The Renaissance of the fifteenth century in Italy, and of the sixteenth century in other parts of Western Europe, was a break in that orderly evolution of architecture which is based on the nature and necessities of materials. In place of such evolution there was the worship of style, that is, of the past results of the nature of materials as formulated into systems. Such results were worshipped for their own sake, and often to a great extent applied regardless of the materials of their execution. The main features in the style were the Classic orders (Nos. 38, 262), viz., the Doric, Ionic, and Corinthian, which were often used decoratively, as by the Romans, and at other times with their true constructive significance. Buildings designed for more modern wants were clothed in the classic garb of ancient Rome, but it must not be supposed that in this development no advance was made. It is true that Roman precedent w-as the basis, but columns and pilasters, whether plain, fluted or panelled, with entablature and details, were applied in many novel and pleasing forms, a system in their application being gradually evolved, and a style built up which has become the basis of all modern styles. Italy, the headquarters of the new movement, in the fifteenth century possessed skilful jewellers and excellent medallists, and it was by their help that the Renaissance commenced and expanded. From their well-known good taste, architects con- sulted them, and often, indeed, were their pupils, as Ghiberti, Donatello, and Brunelleschi. Men, therefore, who were at once painters, sculptors, architects, silversmiths, jewellers, and gold- smiths somewhat naturally only looked at the finished results as the goal to be aimed at, and were not troubled about the means to such an end. The development of the schools of painting also had their influence on architecture, and aided the tendency which caused structures to be looked upon as works of
