The sculpture, wherein the national flora is introduced, supersedes altogether the ornamentation previously employed; rosaces, trefoils, quatrefoils, and panelling are introduced to ornament their works in various ways. During the second period the style reached its noblest development. A greater elegance and richness pervade this period, whose characteristic features are thereby distinguished from those of the previous one. The flying buttresses are extremely graceful, those at quoins being placed diagonally. The parapets are pierced or embattled, as are also the pediments. The windows gradually assume a less pointed form, the head of the arch being in general equilateral. Replacing the small columns in the windows are moulded mullions, which form graceful flowing traceries in the head of the arch. The drip-stone is often surmounted by a canopy or pediment resting on masks, and enriched with crockets and a finial. The clustered columns composing the columnar piers are more elaborate, and generally placed diagonally. Their bases become more important, and are placed upon octagonal plinths clustered together. The ribs, bosses, and carved ornaments throughout have more relief and are more elegant. The third period is remarkable for its profuse ornamentation.

The panelled walls, with their niches, tabernacles, canopies, and screens, highly decorated, the flying buttresses enriched with pinnacles and tracery, the corbelled battlements and turrets, and the balustrades intricately carved and pierced, are characteristic of this epoch. The arch presents many varieties of form. Together with those common in the preceding periods, others exist very depressed, being in many cases almost flat. The ogee, or contrasted form, also appears in the openings and pediments. The doors are generally square-headed, the spandril above being enriched with traceries. The rose windows during the 15th century are most intricate in tracery. The ground vaults also are very elaborate, while their bosses and pendents are unequalled for their wonderful carvings. The mouldings of the archivolts, more prismatic in their forms than in the previous periods, continue down uninterruptedly to the foot of the openings, thus doing away with the columns heretofore employed. The appellations of perpendicular and flamboyant, by which this period is also known, arose from its peculiar modes of tracery.

VI. The Renaissance or Revival. With the reformation came the gradual abandonment of the pointed styles, accompanied as it was by the check of freemasonry occasioned by the withdrawal of the patronage of the pope. The consequent architectural reaction sprang less from admiration and a thorough knowledge of the classic styles than from necessity. The return, however, to the rules of the ancient schools of design was progressive, save in Italy, where they had constantly exercised a powerful influence over the artistic spirit, the architecture of the country having retained through the middle ages the characteristics of the classic schools. We find here, however, several beautiful edifices, termed by the Italians in maniera Tedesca, which, notwithstanding a contradictory statement made by Muratori and Maffei, were the work of German artists. During the 14th century, or the trecento period, we discover in Italy, in the secular structures more especially, numerous examples exhibiting a return to the classic styles, which possess simplicity and boldness. At length, in the 16th century, the classic taste prevailed throughout Europe, and hence the different names, cinque cento, renaissance, revival, given to that style which supplanted everywhere the so-called Gothic architecture.

Brunelleschi of Florence, who died in 1444, was among the first to encourage and disseminate this taste for a return to the classic architecture. He had numerous distinguished followers, among whom were Alberti, Bramante, Peruzzi, Sangallo, San Micheli, Palladio, Sca-mozzi, and many others, who obtained a well deserved reputation. In their productions the different elements of the classic style are happily introduced. The application of these elements to ecclesiastical, and more especially to secular structures, accounts for the liberties taken with them, among which we will cite the following: the great variety given to the intercolumniation of columns; the superposition of different orders, with and without broken entablatures; the frequent use of engaged columns and pilasters; the various forms given to the pediments; the substitution of columns for piers supporting arcades; the decoration of blank walls with medallions, foliage, and scrolls of various sorts, together with designs of animals arranged in imitation of ancient arabesques. These and many other so-called liberties originated a style peculiarly well adapted to the wants of modern civilization. Michel Angelo made several innovations in architecture, as well as in the other arts.

He abolished many capricious ornaments; and instead of superimposing several orders, distinguishing as many stories, he employed one, comprising the whole height of the edifice. To him we are indebted for certain bold elements of design, although generally wanting in grace and purity. To his followers, Bernini, Boromini, Fontana, and others, is to be attributed in a great measure the decadence which followed the architecture of the 16th century. From Italy the renaissance was introduced into France. Among those who distinguished themselves in this kingdom were Pierre Lescot, Philibert de Lorme, and Jean Bullant. Later appeared De Brosse, Androuet du Cerceau, and finally Perrault, under Louis XIV. England boasts Inigo Jones, her Palladio, followed by Christopher Wren, Sir Robert Taylor, Sir William Chambers, and many others of merit and distinction.