perfectly supported on the well-proportioned cornice and walls.  The floors were usually of marble.  Many of the houses kept to the plan of mediaeval exteriors, great expanses of plain walls with few openings on the outsides, but as they were built around open courts, the interiors with their colonnades and open spaces showed the change the Renaissance had brought.  The Riccardi Palace in Florence and the Palazzo della Cancelleria in Rome, are examples of this early type.  The second phase was represented by the great Bramante, whose theory of restraining decoration and emphasizing the structure of the building has had such important influence.  One of his successors was Andrea Palladio, whose work made such a deep impression on Inigo Jones.  The Library of St. Mark’s at Venice is a beautiful example of this part.  The third phase was entirely dominated by Michelangelo.

The furniture, to be in keeping with buildings of this kind, was large and richly carved.  Chairs, seats, chests, cabinets, tables, and beds, were the chief pieces used, but they were not plentiful at all in our sense of the word.  The chairs and benches had cushions to soften the hard wooden seats.  The stuffs of the time were most beautiful Genoese velvet, cloth of gold, tapestries, and wonderful embroideries, all lending their color to the gorgeous picture.  The carved marriage chest, or cassone, is one of the pieces of Renaissance furniture which has most often descended to our own day, for such chests formed a very important part of the furnishing in every household, and being large and heavy, were not so easily broken as chairs and tables.  Beds were huge, and were architectural in form, a base and roof supported on four columns.  The classical orders were used, touched with the spirit of the time, and the fluted columns rose from acanthus leaves set in an urn supported on lion’s feet.  The tester and cornice gave scope for carving and the panels of the tester usually had the lovely scrolls so characteristic of the period.  The headboard was often carved with a coat-of-arms and the curtains hung from inside the cornice.

Grotesques were largely used in ornament.  The name is derived from grottoes, as the Roman tombs being excavated at the time were called, and were in imitation of the paintings found on their walls, and while they were fantastic, the word then had no unkindly humorous meaning as now.  Scrolls, dolphins, birds, beasts, the human figure, flowers, everything was called into use for carving and painting by genius of the artisans of the Renaissance.  They loved their work and felt the beauty and meaning of every line they made, and so it came about that when, in the course of years, they traveled to neighboring countries, they spread the influence of this great period, and it is most interesting to see how on the Italian foundation each country built her own distinctive style.

Like all great movements the Renaissance had its beginning, its splendid climax, and its decline.