In no other style than this of the earlier Renaissance is the builder more inseparably connected with the decorator. The labours of the stone-carver, who provided altars chased with Scripture histories in high relief, pulpits hung against a column of the nave, tombs with canopies and floral garlands, organ galleries enriched with bas-reliefs of singing boys, ciboria with kneeling and adoring angels, marble tabernacles for relics, vases for holy water, fonts and fountains, and all the indescribable wealth of scrolls and friezes around doors and screens and balustrades that fence the choir, are added to those of the bronze-founder, with his mighty doors and pendent lamps, his candelabra sustained by angels, torch-rests and rings, embossed basements for banners of state, and portraits of recumbent senators or prelates.[36] The wood carver contributes _tarsia_ like that of Fra Giovanni da Verona.[37] The worker in wrought iron welds such screens as guard the chapel of the Sacra Cintola at Prato. The Robbias prepare their delicately-toned reliefs for the lunettes above the doorways. Modellers in clay produce the terra-cotta work of the Certosa, or the carola of angels who surround the little cupola behind the church of S. Eustorgio at Milan.[38] Meanwhile mosaics are provided for the dome or let into the floor;[39] agates and marbles and lapis lazuli are pieced together for altar fronts and panellings;[40] stalls are carved into fantastic patterns, and heavy roofs are embossed with figures of the saints and armorial emblems.[41] Tapestry is woven from the designs of excellent masters;[42] great painters contribute arabesques of fresco or of stucco mixed with gilding, and glass is coloured from the outlines of such draughtsmen as Ghiberti. Some of the decorative elements I have hastily enumerated, will be treated in connection with the respective arts of sculpture and painting. The fact, meanwhile, deserves notice that they received a new development in relation to architecture during the first period of the Renaissance, and that they formed, as it were, an integral part of its main aesthetical purpose. Strip a chapel of the fifteenth century of ornamental adjuncts, and an uninteresting shell is left: what, for instance, would the façades of the Certosa and the Cappella Colleoni be without their sculptured and inlaid marbles? The genius of the age found scope in subordinate details, and the most successful architect was the man who combined in himself a feeling for the capacities of the greatest number of associated arts. As the consequence of this profuse expenditure of loving care on every detail, the monuments of architecture belonging to the earlier Renaissance have a poetry that compensates for structural defects; just as its wildest literary extravagances--the _Hypnerotomachia Poliphili_, for instance--have a charm of wanton fancy and young joy that atones to sympathetic students for intolerable pedantries.