The arrangements, as well as the treatment, of the details drawn from plant life that are associated with this style of design are often most artificial and inorganic, as in the pulpit of Santa Croce before mentioned, where on the side of a console (Fig. 100) fruit and leafage issue from a nondescript receptacle of ungraceful shape, having a clumsy fluted stalk bound with a fluttering ribbon ending in a tassel. Such unnaturally composed details are unknown in the pure Gothic art which the men of the Renaissance thought so barbaric. The introduction of objects like the singular cornucopia and the ribbon of this design is common in Renaissance ornamentation. Without affirming that artificial objects may never enter into an ornamental composition, I think it may be said that such objects, if used as conspicuous features, ought to have some beauty of form,[113] and certainly every group of objects, of whatever kind, should be composed so as to produce an effect of organic unity. Each detail ought to have a place and a posture which should make it a part of some system of related ornamental lines. This is, of course, elementary, and the principle is usually carried out in the ornamentation of the Renaissance, though in a highly artificial way. But in the design on the triangular panel of this console there is no fine system of related lines. The fruit and leafage have a disjointed arrangement, and the wriggled ribbon has no beauty of line or surface. [Illustration: FIG. 101.--Leafage from the Ghiberti gates.] Instances of such disordered composition are conspicuous in the borders of the famous Ghiberti gates of the Florentine Baptistery, where the bosses of leafage set at regular intervals are composed in the same inorganic way (Fig. 101), and the bunches are bound with spiral fluted fillets. It is noticeable that the details are here elaborated with a minute naturalistic completeness that is incompatible with architectural effectiveness. The possibilities of the bronze material in which the design is wrought are developed to the utmost in the rendering of leaf veinings, serrations, and surface textures. This tendency to combine excessive naturalism with extremely artificial composition is a curious characteristic of both Roman and Renaissance art.