Shaded designs of an architectural kind, such as friezes, columns, bases, and pediments, with corpulent figure decoration and heavy mouldings, were compositions which in the latter end of the sixteenth and during the seventeenth centuries took the place of the earlier light arabesque scroll-work of the Italian school, which revelled in the beauty of purer outline and in flat treatment of black and white. Jean Goujon, Jean Cousin, Virgil Solis, Ducerceau, Stimmer, Jost Amman, and others, though versatile and vigorous to the highest degree, and clever French and German draughtsmen of the sixteenth century, their work in book decoration was more like designs for stone carving and sculpture than legitimate decoration for books. At the end of the century, however, a more correct appreciation of book-cover decoration was manifested. This was due to the happy influence of Arabian design when mixed with the prevailing Renaissance forms. The Oriental craftsmen who came to Italy, and the great commerce of Venice and Europe generally with the East, served to colour in a marked degree the design of the ornamental arts, and nowhere do we see the purely Arabian strap-work and peculiar Saracen leafage used to such advantage as in the tooled and stamped book-cover designs of this period. The Henri Deux book-cover design (Fig. 315) is Arabian in its details, but Renaissance in its general arrangement. It might have been designed by Ducerceau, but perhaps more likely by Solomon Bernard of Lyons—known as “Le Petit Bernard”—who was a prolific designer of small pictures for wood-engraved book illustrations. He died at Lyons in 1570. [Illustration: Fig. 315.—Cover of a Rook. Henri-Deux Style; Sixteenth Century.] Both of these designers, as well as another famous designer of book decoration, Geoffry Tory, were very partial to the use of strap-work and Arab foliation. The latter artist was also a scholar and author, and produced many fine designs for book-covers. Fig. 316 is a very delicate and rich design for the cover of a “Book of the Hours,” by Tory, and is a good example of the Franco-Renaissance of the sixteenth century.