FRENCH RENAISSANCE, 513 ITALIAN RENAISSANCE. great cornice, the later being nearly always balustraded (No. 210 a). Domes were relied upon for sky-line in churches (Nos. 193, 199,211 and 212). The "Bel- vedere " gives character to villas. K. Columns. — Pilasters were either plain, or carved with deli- cate foliage (Nos. 196, 200, 204, 206 D, 214 J, 217, 218), while star-shaped sinkings are un- common. The pilaster in Italy was preferred rather for its architectural importance as an " order," the panelled decoration being often omitted. An "order" was often made to include two or more stories of a building. In churches especially asingle order prevails, which was the type of Palladio (Nos. 200, 201, 203, 216). F. Mouldings — The heavy cor- nice was provided for protection from the glare of the Italian sun (Nos. igi, 192 and 197). In early examples, stringcourses were of slight projection, to give value to the top cornice. Where the orders were employed, the details as- signed to each were used in full. Mouldings are usually large but well studied in profile. G. Ornament. (Nos. 194, 206, 214 and 218). — Fresco and modelled plaster were much em- ployed, in the early period the two being combined, as in the arabesques of Raphael The frescoes were, however, some- times out of scale with the archi- tecture, and devoid of decorative value. Compare the Vatican, and the Palazzo del Te, Man- tua. Later stucco work suffered in the same way, Venice having some extraordinary examples of its abuse. Interiors, generally in late work, were regulated unduly F.A. FRENCH RENAISSANCE. as a feature (No. 223), and as it lent itself to pavilions, square or oblong, such features acquired great prominence, as at the Louvre, where they assume the importance of towers. E. Columns. — Pilasters were decorative adjuncts to Gothic features, rusticated or panelled in star - shaped patterns, but sometimes treated with foliage (No. 225 h). At Chambord (No. 225 k), the sinkings were treated with a black inlay, slates being nailed in the sunk faces of the stonework. An "order" or column was usually given each story (No. 220). Columns usually do not run through two stories. The influence of Vignola in this respect is visible (Nos. 221, 223). F. Mouldings. — Gothic influ- ence pervaded the early work, and combinations of methods, Classic and Mediaeval, in the profilings of mouldings were tried (No. 219). Some examples, as at Orleans, have extremely small members. The architecture gradually acquired a special character from the treatment of mouldings. G. Ornament (Nos. 225, 226). — The wood panelling of Gothic times continued in the early period, often splendidly carved with arabesque designs, as at Blois. In later work it continued, but gradually lost the character and scale of the material. The Raphael style of decoration was introduced by Italian artists, as at Fontainebleau. The tapestry and hangings of the early period were superseded by the universal Louis XI V. style of internal wood, papier mache, and stucco decora- tion in white and gold. It was L L
