Ture

TURE.) Ornamentation.—The ornamentation became, as the style advanced, more and more widely different from that of the Romanesque, more and more detailed and ornate. Yet this tre mendous amount of detail as is seen in some of the 15th century examples was always well-related and took its proper place in the structural ensemble. (See illustrations, GOTHIC ARCHITECTURE.) It consisted of a combination of geometrical designs based upon the circle inherited from the Romanesque period and upon similar curvilinear treatments of the triangular spaces left between the circle and the point of the arch. These shapes can best be likened to motives of the three- or four-leaved clovers or rose designs. On a structure of design so developed added ornamentation of two sorts was employed : first, naturalistic forms or very slightly con ventionalized forms of foliage, flowers and birds, with perhaps a more general use of ivy leaves than other leaves; second, grotesque forms of almost unbelievably dreadful and imaginative monsters seeming to spring suddenly from their beautiful surroundings like legendary gnomes, goblins and dwarfs from the forest.

Stained Glass.

Like jewels mounted in these delicately ornate settings of stone, the stained glass windows in all their variety of rich colours cast a burning glow of mysterious and ever-changing light throughout the interiors of the cathedrals in which they were used and incorporate in the design not only the architectural motives with which they were related but many subjects derived from the paintings of the time, including human figures and illus trating various biblical and historical texts. (See STAINED GLASS; SCULPTURE; and PAINTING.) These illustrative figures also were derived from the wealth of sculpture which was added to the exteriors and interiors of buildings and which, though during the 12th century they were treated with severely straight and often stiff and highly conventionalized draperies, soon developed in the 13th and 14th centuries into a beauty which has seldom been sur passed, incorporating what seemed to be living beings in carefully imposed restrictions which make them fall naturally into the spirit of the design.

The paintings followed this same development and were exe cuted either for the illustrations of books or missals or for archi tectural application in fresco or altar adornment, often for the enhancement of the reredos. There was not much mural treatment as there was little wall space upon which to execute it. Painting and sculpture alike were often treated with the richest of colours and enhanced by the application of gold or jewels. Much of the sculpture which was not primarily architectural was executed in wood, ivory and similar mediums, but the element which marks it all is its beautiful suitability in which never for one instant was the sense of structure forgotten.

Applied Arts.--It

veritably seems that during this period every carver of stone or wood or every metal-worker and every carpenter was an artist, for in the making of the simplest furnish ings, ornaments or objects of art, it seemed to be natural for them to use structural ornamentation. A simple casket was beautifully decorated by the enhancement of the hinges and lock; the metal studs of a door were made to reflect the feeling of the whole building in design and proportion; the latch became an ornament of rare beauty.

It is evident that a comparatively small amount of pottery and glass was executed aside from the glass used in archi tectural ornamentation, but in the carving of wood and stone and in the designing of furniture, such as beds, chairs, chests, etc., the greatest of artistry found its place. Among the most beauti ful examples of this art are the choir stalls of which a number of perfect examples exist. Notable among the crafts was the work of the great goldsmiths who in their execution of chalices, reliquaries, monstrances, caskets and jewellery helped to enhance the glory of this period. (See SILVERSMITHS' AND