+ELIZABETHAN STYLE.+ Under Elizabeth (1558-1603) the progress of classic culture and the employment of Dutch and Italian artists led to a gradual introduction of Renaissance forms, which, as in France, were at first mingled with others of Gothic origin. Among the foreign artists in England were the versatile Holbein, Trevigi and Torregiano from Italy, and Theodore Have, Bernard Jansen, and Gerard Chrismas from Holland. The pointed arch disappeared, and the orders began to be used as subordinate features in the decoration of doors, windows, chimneys, and mantels. Open-work balustrades replaced externally the heavy Tudor battlements, and a peculiar style of carving in flat relief-patterns, resembling _appliqué_ designs cut out with the jigsaw and attached by nails or rivets, was applied with little judgment to all possible features. Ceilings were commonly finished in plaster, with elaborate interlacing patterns in low relief; and this, with the increasing use of interior woodwork, gave to the mansions of this time a more homelike but less monumental aspect internally. English architects, like Smithson and Thorpe, now began to win the patronage at first monopolized by foreigners. In +Wollaton Hall+ (1580), by Smithson, the orders were used for the main composition with mullioned windows, much after the fashion of +Longleat House+, completed a year earlier by his master, John of Padua. During the following period, however (1590-1610), there was a reaction toward the Tudor practice, and the orders were again relegated to subordinate uses. Of their more monumental employment, the +Gate of Honor+ of Caius College, Cambridge, is one of the earliest examples. Hardwicke and Charlton Halls, and Burghley, Hatfield, and Holland Houses (Fig. 184), are noteworthy monuments of the style. +JACOBEAN STYLE.+ During the reign of James I. (1603-25), details of classic origin came into more general use, but caricatured almost beyond recognition. The orders, though much employed, were treated without correctness or grace, and the ornament was unmeaning and heavy. It is not worth while to dwell further upon this style, which produced no important public buildings, and soon gave way to a more rigid classicism.