[15] See “Handbook to the Mediæval Court,” by M. Digby Wyatt and J. B. Waring. [Illustration: Plan of the French and Italian Mediæval Vestibule.] Once more regaining the Nave, we proceed on our journey southward, until a few steps bring us to THE RENAISSANCE COURT.[16] Man had wrought for centuries patiently and laboriously at Gothic architecture, and had advanced, by regular stages, to the perfection of that style, which, after reaching its zenith in the 14th century, as regularly and decidedly declined in excellence, until the indispensable principles of true art--simplicity and good taste--were, towards the close of the 15th century, overwhelmed by excess of ornament. Whilst this downward road was followed by most European artists, various causes led to the revival of the Antique in Italy, and at the commencement of the 15th century, the celebrated Brunelleschi produced a work founded on the Antique Roman style, of the highest merit, viz., the Dome of Florence Cathedral. In the year 1420, Ghiberti executed his wonderful bronze doors; and from thenceforward the new style of the revived art, or the Renaissance, as it is now usually called, advanced rapidly, first throughout Italy, and, in the succeeding century, throughout Europe. Amongst the causes which led to this revival may be included the decline of the feudal system, the growing freedom of thought, the recent discoveries of the New World, and of the art of Printing. With the rise of the spirit of personal independence was created a thirst for ancient literature and art; and a search for the hidden fountains of antiquity was enthusiastically persevered in, until in the end it proved eminently successful. [16] See “Handbook to the Renaissance Court,” by M. Digby Wyatt and J. B. Waring.