The arabesque, which so often forms a central motive, is usually in the form of a flower stem, a knot of ribbon or a candelabra, symmetrically arranged with branches to right and left, and charged with trophies, vases, fantastic beings, animals, etc., at the caprice of the artist. These delicate ornaments flourish in the panels, mingling with the horn of plenty, bold sirens, and medallions of antique heroes in high relief. The arabesque was beautifully treated by many artists, but the most successful were Marc Gerard, a celebrated painter, sculptor and architect of Bruges, and Lucas van Leyden whose style of treating arabesques follows Albrecht Dürer. Examples of Lucas van Leyden appear in Figs. 10, 11 and 12. The pilaster is a decorative necessity of the upright, marking the division of the façades, or accenting the uprights of the chests, chairs, _dressoirs_, etc. The cartouche (Italian _cartoccio_) scrolled paper, is generally composed of a frame made of mouldings, or scrolls, enclosing a plain, convex, or concave space, of regular or irregular form intended for an inscription, coat of arms, cypher, etc. Vredemann de Vries and Theodore de Bry decorate their cartouches with swags of fruits, which were copied by Gerrit Hessels, a Dutch engraver whose compositions mark the transition between those artists and Crispin de Passe, Francouart and the school of Rubens. One of the peculiar features of the cartouche of the sixteenth century is the use of motives composed of strips of leather twisted, and variously decorated. Vredemann de Vries calls these “Compartments” in his well-known _Multarum variarumque protractionum (compartimenta vulgus pictorum vocat) libellus utilissimus, jam recens delineatus per Johannem Vreedemanum, Frisium Gerardus Judaeus exculpebat_ (Antwerp MDLV). This peculiar style of leather ornamentation known as _cuirs_, and consisting of strips interlaced in so many forms, is a much loved decoration of the Flemish school. A notable collection of _cuirs_ was published by Jerome Cock, the printer-engraver, in Antwerp, his native town. Among the favourite decorations is the banderole, the floating ribbon or streamer which had been much used during the Middle Ages. It was used in great variety by many artists during the Renaissance. The peculiar form of caryatid called _gaîne_ or _terme_, a species of support, is also extremely popular. It is used by Peter Coeck of Alost, in most of his compositions; and by his pupil Vredemann de Vries, who composed a special collection of _Caryatides ou termes_. [Illustration: PLATE XI.—_Flemish Bedstead_ (1580). Figs. 10–12: Designs by LUCAS VAN LEYDEN; Figs. 13–16: Designs by A. CLACES; Figs. 17–18: ÉCOINÇON, by DE VRIES. ]