Painting, freed from the restrictions of the church, broke away from the Byzantine traditions, and revelling in realism, lost to some extent its decorative character. [Illustration: Dutch Wall sconce 17th Centy Brass No. 103.] _Evolution of Professional Designer_ Under patronage, the individual artist and craftsman was allowed to develop on his own lines, and no longer worked under the dominance of the architect. Demand, owing to growing appreciation of artistic production, eventuated in the evolution of the professional designer. _Inigo Jones_ [Illustration: Dutch Wall Bracket 17th Centy Brass. No. 104.] Although the Renaissance had come to stay, the manner of its interpretation in England by the native workers was very far removed from the Italian school which had supplied the first impulse, until the advent of Inigo Jones in the reign of James I. This artist, who had visited Italy and studied principally the architecture of Palladio and his school, was appointed King’s Surveyor of Works. Under his influence proportions and details were used, which conformed more nearly to classic types. Born about 1572 A.D., he studied in Italy, where he became acquainted with the work of Palladio, and was a follower of the Venetian school. Dying in 1652, he left a tradition which would have had a more immediate effect but for the internecine troubles of the later period of his life. [Illustration: No. 105. Banqueting House, Whitehall. Inigo Jones.] A typical example of his work in London is the Banqueting House in Whitehall, the only part built of the projected palace for James I, now used as a museum by the United Service Institution. Also the Church of St. Paul, Covent Garden. _Louis XIII_ By the time of Louis XIII the principles of the Renaissance had become thoroughly assimilated in France, and a native school of architecture had arisen of marked distinction. France from then onward took the initiative, though strongly influenced by the Venetian school. The orders were used consistently as to proportion and detail, but in the decoration considerable development in character is manifest. The general construction and details developed on [Illustration: No. 106. Louis XIII. Luxembourg Pavilion Entrance, by Salamon de Brose, 1615-24.] more architectural lines, and shew a better appreciation of the Italian originals. Pilasters were used to divide the wall surfaces, these and the entablatures closely following in detail the classic types. Panels were much wider than in the preceding style, generally occupying the whole space between the pilasters. The usual arrangement for these panels was to have them in two tiers--the shallow ones confined to the lower portions of walls and those of deeper proportions above. Fireplaces and doors were surrounded by boldly moulded architraves, and surmounted by panels occupied by carved details of scroll-work and foliage.