+COURTYARDS; ARCADES.+ These palaces were all built around interior courts, whose walls rested on columnar arcades, as in the P. Riccardi (Fig. 162). The origin of these arcades may be found in the arcaded cloisters of mediæval monastic churches, which often suggest classic models, as in those of St. Paul-beyond-the-Walls and St. John Lateran at Rome. Brunelleschi not only introduced columnar arcades into a number of cloisters and palace courts, but also used them effectively as exterior features in the +Loggia S. Paolo+ and the Foundling Hospital (+Ospedale degli Innocenti+) at Florence. The chief drawback in these light arcades was their inability to withstand the thrust of the vaulting over the space behind them, and the consequent recourse to iron tie-rods where vaulting was used. The Italians, however, seemed to care little about this disfigurement. +MINOR WORKS.+ The details of the new style were developed quite as rapidly in purely decorative works as in monumental buildings. Altars, mural monuments, tabernacles, pulpits and _ciboria_ afforded scope for the genius of the most distinguished artists. Among those who were specially celebrated in works of this kind should be named _Lucca della Robbia_ (1400-82) and his successors, _Mino da Fiesole_ (1431-84) and _Benedetto da Majano_ (1442-97). Possessed of a wonderful fertility of invention, they and their pupils multiplied their works in extraordinary number and variety, not only throughout north Italy, but also in Rome and Naples. Among the most famous examples of this branch of design may be mentioned a pulpit in Sta. Croce by B. da Majano; a terra-cotta fountain in the sacristy of S. M. Novella, by the della Robbias; the Marsupini tomb in Sta. Croce, by _Desiderio da Settignano_ (all in Florence); the della Rovere tomb in S. M. del Popolo, Rome, by Mino da Fiesole, and in the Cathedral at Lucca the Noceto tomb and the Tempietto, by _Matteo Civitali_. It was in works of this character that the Renaissance oftenest made its first appearance in a new centre, as was the case in Sienna, Pisa, Lucca, Naples, etc. [Illustration: FIG. 164.--TOMB OF PIETRO DI NOCETO, LUCCA.]