. The grammar of ornament . ed orna-mental carving and gave their attention, almost exclusively, toisolated statues and groups, or monuments in which generaleffects of beauty were made subservient to the development ofthe plastic features alone. Ornament was left in a great degreeto accident or caprice in its design, and to second-rate artistsin its execution. Favourable specimens of such ornaments maybe seen in our woodcuts. The painted arabesques of the Italianstyle, and the stucchi with which they were occasionally accom-panied, form so remarkable an exception to the above, that itwill be w
. The grammar of ornament . ed orna-mental carving and gave their attention, almost exclusively, toisolated statues and groups, or monuments in which generaleffects of beauty were made subservient to the development ofthe plastic features alone. Ornament was left in a great degreeto accident or caprice in its design, and to second-rate artistsin its execution. Favourable specimens of such ornaments maybe seen in our woodcuts. The painted arabesques of the Italianstyle, and the stucchi with which they were occasionally accom-panied, form so remarkable an exception to the above, that itwill be well to reserve them for special notice. Although thearchitecture which Eaffaelle has left to us in the PandolfiniSoffite Panel, from one of the Genoese Palaces. Palace at Florence, and the Cafferelli, late Stoppani, at Eome, is excellent; it is in his connexion with the subject of arabesque that his celebrity as an ornamentistconsists, and we shall not therefore further allude to him here. Neither shall we dwell upon the136. ITALIAN ORNAMENT. works of Baldassare Peruzzi, interesting though they be, since, so far as ornament was concerned, thevapproached so closely to the antique as to offer no striking individuality. Bramante, too, is to beregarded rather as a Eenaissance artist than in any other light. It is to the great Florentine, whosefervid genius, impatient of restraint, broke away from tradition, that we must lookfor that germ of self-willed originality that infected all his contemporaries in everydepartment of art, and engendered a license which, it is vain to deny, ultimately,and in feebler hands than his, resulted in a departure from taste and refinement inevery branch of art. Michael Angelo was born in 1474 of the noble Florentine family of theBuonarrotti, descendants of the Counts of Canossa: he was a pupil of DomenicoGrhirlandaio; and having early distinguished himself by his talent for sculpture, hewas invited to study in the school founded for its culture by Lore
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