In the 15th century a remarkable revival occurred in literature and the
fine arts, showing a decided tendency to return to the old classic ideas of
the Greeks and Romans. After an almost complete neglect, which lasted for
centuries, artists and men of letters turned their attention to the long
neglected relics of pagan civilization as worthy of study for their
intrinsic beauty alone. Symbolism was relegated to a minor position, and
beauty was once more cultivated for its own sake. This epoch is termed the
Renaissance--which literally means a rebirth or revival.
1. _Renaissance Style._--The term Renaissance is also applied to one of the
early styles which came into vogue at this time. It flourished principally
in southern Europe. It is not a pure style, but marks a transition period
from the old popular Gothic and Saracenic forms to the revivified classic.
It naturally exhibits a queer mixture of conflicting elements--classic and
mediæval thrown together without much regard to propriety or fitness. It
still showed traces of symbolism.
2. _The Cinquecento Style._--The Renaissance reached its most perfect
development in the Cinquecento or the 15th century style. It followed the
Quatrocento or 14th century style. Entirely untrammeled by symbolism, and
with the whole field of classic and mediæval ornament to glean from, its
aim was to develop a perfect style of ornament. The best examples of this
period are founded on the soundest principles of ornamental art. Nothing
that could be turned into an element of beauty was neglected. Animals, real
and fictitious, flowers, leaves, fruit, the human form, etc., were
conventionalized and made to contribute their part to enhance the beauty of
the whole. Some of the principal characteristics of the Cinquecento style
are the delicate arabesque scroll work, the profusion and beauty of the
curves, its admirable variations of standard classic ornaments, such as the
anthemion and scroll. The coloring, also, was one of its most pleasing
features. This style flourished principally in Italy and France. Farnese
Palace and the tombs of the Medicis are noted examples.
3. _The Louis Quatorze._--This style succeeded the Cinquecento, but was
far inferior to it. It arose in Italy, and while preserving generally the
materials of the style that preceded it, it added as characteristic
features the scroll and the shell. Its principal object was to create
brilliant and startling effects in light and shade. Color was, in
consequence, decidedly secondary, gilding being used everywhere. The Palace
of Versailles, near Paris, is a gorgeous example of this style. Everything
in it is glittering and sparkling. Mirrors are everywhere placed to
intensify this effect. This style was followed by the Louis Quinze,
inferior to it in every respect, and in which symmetry, at least in detail,
seems to be carefully avoided. It still further degenerated into the
Rococo, the most extravagant and exaggerated of all the historic styles,
and which prevailed in the latter part of the 18th and the beginning of the
19th century.
The present century cannot boast of any great characteristic style in
either architecture or ornament. Whether it is only in a course of
development, and what will be the results, time only can show. All styles
are now in vogue, hence the importance of accurate knowledge on the
subject. To be able to judge of and appreciate the best, and to profit by
the labors of those gone before us, at the same time imparting
individuality and character to our own design, should be the aim and object
of the study of decoration, and it should enter into any scheme of general
education and culture.--_Journal of Education_.
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