were some of its exponents. The next division is known as the Quattrocento (1400), which is more properly the early form of the Renaissance. To this period belong the real founders of the style: Filippo Brunellesco (1377-1446), Lorenzo Ghiberti (1381-1455), and Donatello (1386-1468); the former more particularly in architecture, and the latter two in sculpture. The ornament of the Quattrocento period—the fifteenth century—is distinguished by its prominence of elaborate natural forms in festoons, scroll work, and other compositions; all the ornament was decoratively arranged more or less geometrically, but the details and actual working out were closely copied from nature. The bronze gates of the Baptistery of San Giovanni (1425-52) are the finest examples of the Quattrocento style, both as regards ornament and figure work. The modelled work in high relief of fruit, flowers, and foliage on these gates, and similar work on great medallions and altar-pieces of Luca della Robbia (1355-1430) is characteristic of this style. These natural forms, mixed with tracery ornamentation, acanthus foliage, treated in symmetrical arrangements, and occasionally cartouche or strap-work, were used in the Italian ornament of this period. The panel forms were usually Byzantine, but the rest of the ornament had no symbolic meaning. Besides Luca della Robbia, the name of Jacopo dell’ Quercia (1374-1438), the Sienese sculptor, may be mentioned as one who executed some of the finest work in figure and ornament in the above style. The Cinquecento style (1500) was the culminatory effort of the Renaissance. It is the art of Italy in the sixteenth century, and is entirely devoid of symbolism in its ornament. Although the difference is great in the matter of style between the classic ornament of the Greeks and that of the Italian Cinquecento, yet in their aim and expression they are identical, for in both there is the same striving to reach the highest possible æsthetic ideal, the same delight in the production of beautiful lines and forms for their own sakes, and a similar expression of appropriate fitness—the outcome of a correct conformity to architectural principles—pervades the ornament of both styles.