Stained Glass Up to the Gothic period the painted mural decoration required a fairly strong light, and that colorless as pos sible, for its appreciation; therefore stained glass was not in over-frequent use. Now, how ever, the talents of the artist in glass work come into full use. Stained glass in windows from the 13th century and for a long time thereafter were of medallion form, such as quarterfoil, lozenge, circular, elliptic, etc., sym metrically disposed over a ground of mosaic, with borders of strapwork, crockets of foliage. Green, red and blue predominated, yellow, brown, etc., being used sparingly. °Gnsaille° decoration also appears (this is a pattern of gray or black strapwork, on white). The fashion spread rapidly and human figures soon were the usual motifs; bishops, abbots, barons and knights who were the donors were com monly depicted, their appended names acting, at the present day, as date authentications. Stained glass windows dating from the later centuries are, of course, the more common; and the date of production is the easier of verifica tion from the fact that much of the detail is given over to architectural decoration, which changes as the Gothic periods advanced from primitive or (Early), Pointed (or pure), to Florid (or Flamboyant). Fine examples are the follow ing: Of the 13th century (Early Gothic), those at Chartres Cathedral; those in the cathedrals of Le Mans, Bourges, Poitiers, Rouen, Chalons sur-Marne, Angers, Laon, Coutances, Beauvais, Rheims, Sens, Tours, Auxerre, Troyes, Amiens, Notre Dame de Semur, Sainte Chapelle and Notre Dame, in Paris; the Becket windows in Canterbury Cathedral and those of York, Lin coln and Salisbury. Of 14th century (or mid dle Gothic), are those in Gloucester Cathedral, Tewkesbury Abbey, Merton Chapel and Saint Michaels (both in Oxford), in the churches at Willesborough, Selling, Chartham, in York Minster; cathedrals of Bristol, Exeter, Wells, Hereford, Lincoln, Ely, all in England. In France are windows of that century in the cathedrals of Evreux, Sees, Beauvais, Nantes, Narbonne, Toulouse, etc. In Germany are those at the cathedrals of Cologne, Strassburg, Regensburg, Augsburg, Erfurt, etc. In Italy are examples in the cathedral of Saint Francis of Assisi, and Santa Croce and Maria Novella in Florence, etc. Of the 15th century (or Late Gothic) specimens of note are those in the Minster All Saints, Saint Michael's, Saint Martin-le-Grand, all in York; in Winchester Cathedral; Saint Stephen's Chapel, Westmin ster (London); Saint George's, Windsor; and in many county churches. In France are those in Rouen Cathedral, Le Mans Cathedral, Lady Chapel of Evreux Cathedral, Bourges Cathe dral, church of Saint Severin, Paris. In Ger many they are found in the cathedrals of Munich and Ulm and Saint Lorenz at Nurem berg.
Paintings and Niccola Pisano, who founded the Pisano school, did the sculp tured "Deposition" at the cathedral of Lucca (1233), then the pulpits of the Baptistery at Pisa and the cathedral at Siena; the shrine (arca) of Saint Domenic at Bologna. Ar nolfo, Niccola's pupil, did the Gothic ciborium at S. Paolo fuori le Mura, Rome (1285); Gio vanni Pisano did the marble shrine of S. Donato in the cathedral of Arezzo, the pulpit of Pistoja Cathedral (1301) and that at Pisa Cathedral. Andrea Pisano did the bronze doors of the Baptistery of Florence (now removed and replaced by Ghiberti's 'Gate of Paradise)) and many bas-reliefs on the Campanile. Or cagna started the shrine of the Madonna of Orsanmichaele, to be finished by Ugolino. Agostino and Agnolo of Pisano did the tomb of Guido Tarlati, bishop of Arezzo (in the cathedral) in 1330. Pietro de Stefani did the Gothic altar of Minutoli, Naples. Andrea Cic cione created the Gothic tombs of Ladislas of Hungary (1414) and of Ser Gianni Caraccio, both at S. Giovanni a Carbonara. Giotto did the mosaic in the Navicella di S. Pietro, Rome, painted the wall decorations in the chapel (Bar gello) at Florence of St. Mary Mag dalen)), also the frescos in the chapel of the Arena, Padua, 28 large frescoes in the Assisi Upper Church and five in the Lower Church; 'Coronation of the Virgin) in S. Croce, Flor ence ; 'Agony in the Garden) in the Uffizi gal lery; the crucifix in the chapel of the Ognis santi, etc. (d. 1337). Pietro Cavallini, of Rome (1259-1334), did the in Lower Church of Assisi; Taddeo Gaddi created the frescoes in the chapterhouse of S. Maria Novella (now Capella degli Spagnuoli) and others in the southern sacristy of the S. Croce. i Giovanni di Milano did the great altar piece n Ognissanti, as well as the frescoes (about 1371). Duccio di Buonensegna (1310)
painted the cathedral altar at Siena; Simon de Memmo, in 1332, started painting fresco in chapterhouse of S. Spirito, Florence, in 1333 did the 'Annunciation' for Siena Cathedral (now in Uffizi palace) assisted by Lippo di Memmo; in 1317 he did the fresco Madonna in Sala dei Consegli, S. Gimignano. Pietro and Ambrogio di Lorenzo flourished middle of the 14th century; the former did the 'Fathers of the Desert' fresco in Campo Santo, Pisa, and Ambrogio did the allegorical frescoes of the Sala delle Balestre (Palazzo Pubblico). Taddeo di Bartolo did the painting in the chapel of the Palazzo Pubblico (1414).
Bells.— Pope John IX, about 900, ordered bells to be used in churches. Early so-called °Theophilus" bells are in Augsburg Cathedral, Halberstadt, etc. That at Erfurt dated 1497 weighs 13 tons 15 cwt. The greatest bell, called "Czar Rotokol," at Moscow, was cast in 1736, hut fell to the ground and broke in 1737; it serves as a chapel. The weight is about 193 tons. But most of the very large bells are for municipal or other civil, not ecclesiastical, pur poses. An interesting 15th century bell is that to-day in the church of Saint Pierre at Gaillac, but formerly in Candeil Abbey (France). Its upper inscription is in beautiful Gothic letters, nearly two inches high, starting with a Paschal lamb in bas-relief and above it a cross pattic in a circle; the second inscription is in smaller letters, also Gothic. In the middle of the body is the monogram of Christ (IHS) encircled by 14 flames.
Manuscripts.— Of illuminated manuscripts of this period the most noted German Gothic are: The Salzburg Missal (about 1350) in Munich Royal Library; Passionale of Abbess Cunigunde (1312) in University Library, Prague; °rationale (same date) in same library; Bible of Emperor Wenzel in Imperial Library, Vienna; Gospels of John of Oppavia (1368) in same library; Wiirzburg Bible (about 1400) in British Museum; Missal of Emperor Frederick III (1448) in Imperial Library, Vienna; Gos pels (1498) in Public Library, Choir Book of SS. Ulrich and Afra, Augsburg (1489), in Augsburg Library; Prayer Books of Albert of Brandenburg, William IV of Bavaria; Horne (late 16th century) in British Museum. Anglo-French works are Psalter of Queen Inge burga (1193-1236) in National Library, Paris; Psalter of Queen Blanche (about 1220) in Arsenal Library, Paris; Psalter of Saint Louis (about 1250) in National Library, Paris. Eng lish illustrated manuscripts of note are Alfonso Psalter (done in Blackfriars, London, about 1284) in British Museum; Ormsley Psalter (about 1295) in Bodleian Library, Oxford; Hours of John, Duke of Berry (1380) in Brus sels Royal Library; Bedford Breviary (about 1430) in National Library, Paris.
Renaissance Period.—The discovery of the manuscripts of Vitruvius, the work of Alberti and of Brunnelleschi and other Italian archi tects together with other influences brought into favor a revival of the Classic antique in art. It really meant the rebirth of Paganism in Christendom, and as such the ecclesiastic world accepted few religious structures to be so built in the 15th century; in fact, even in the 17th century Gothic architecture was employed largely in church construction, though civil buildings were erected in the new style. As to church plans, they will be found treated in the article ARCHITECTURE. Concerning orna ment in the places of worship, the most lovely stone carving was done on designs of the great est delicacy and perfect artistic character. Panels and friezes, pilasters and other architectural members were all covered with a profusion of decoration in animal and vegetable motifs in conventional form scrolled and interlacing in capricious but entrancing beauty. They are the Mohammedan Arab conceptions transferred to Italian art ideals and termed by them arabesques. They have not the slightest tend ency to the canons of ecclesiology, nor do they touch upon Biblical lore. The 16th century pul pit in Basel, Switzerland (see illustration), af fords a good conception of the blending of Gothic cusps, flamboyant traceries, quatrefoils, etc., into a Renaissance adaptation for a beauti ful piece of church furniture. The arts of painting and sculpture of this period are repre sented by such transcendent genius as that of Raphael and Michelangelo. But such art sub jects are treated in other articles as painting, sculpture, etc.; they scarcely belong to the present topic. For further special church equip ment see ALTAR, BASILICA; CHALICE; CROSSES