The employment of half figures as starts cannot be defended; the illogical association of life, either human or animal, with foliage as employed by the designers of the later Italian Renaissance, is too incongruous to be excused on æsthetic grounds. Such were due to change in taste and desire for variety, and probably were suggested by the much earlier employment of compound animal forms as furniture supports. [Illustration: No. 249. Italian Renaissance Panel, Choir Stalls, St. Pietro, Perugia. Stefano Martelli, 1535.] The Acanthus leaf prominent in Renaissance detail, was at first deliberately reproduced from Roman examples, and its architectural employment as in the capitals of the Corinthian order, has survived to modern times as the most suitable rendering for such structural features. In more decorative positions marked changes are evident in the later phases, the Cinque Cento renderings being perhaps the high water mark of the Italian designer. In these the lobes were angular in general outline, with beautifully balanced minor lobations and the surface contours delicate and subtle in modelling. _Renaissance Influence_ The early examples of Italian Renaissance in France and England are generally pure in style, being in most instances of Italian design and execution. Later work by native exploiters in emulation of the style is invariably quite different, until the new style was better understood and assimilated; eventuating in versions that were distinctive and local. [Illustration: No. 250. Early French Renaissance Carving. Francis I.] In the early French Renaissance the acanthus leaf was generally displayed in profile, the lobe being elliptic and pointed in shape, with clearly defined minor divisions; the sectional form was comparatively simple. Similar treatment, without the precision and grace of line characterised the Jacobean work in England; the relief work of which, being rather in the category of flat carving, consisting mainly of incised lines and grooves by which leaf form was expressed in profile or silhouette. These were invariably archaic and crude, though in view of the direct and simple execution not without individuality and interest. _Jacobean._ A characteristic feature of the Jacobean style is the ornamental interlacing strapwork, with foliated or [Illustration: No. 251. Development of the Acanthus Leaf. A. Greek. B. Roman. C. Byzantine. D. Romanesque. E. Decorated Gothic. F. G. Italian Renaissance. H. French Renaissance, Period of Francis I.] scrolling ends. This doubtless was in emulation of the French work of the period of Henry II, when strapping composed of straight and curved lines entered largely into ornamental detail. In the period of Louis XIII [Illustration: No. 252. Development of the Acanthus Leaf. I. French, Louis XIV. J. English, Grinling Gibbons. K. French, Louis XV. L. English, Adam. M. French, Louis XVI. N. Louis XVI (Salombier). O. English, Late 18th Century.]