. The record. rators were not obliged to follow any ideassave those which governed the aesthetic. The Italian renaissancesprang from the Saracenic, the Venetian from the Byzantine, theFrench from both. The beautiful style of the Cinquecento, the finalaim of the Renaissance with its Arabesque scroll work and its wonder-ful assimulation of everything in nature, animal, and vegetable, endedwith the sixteenth century. The very fact of its comprehensivenesshas led to its decay, in that too large a field is presented to the de-signer for him to successfully draw from. The close of the seven-teenth c
. The record. rators were not obliged to follow any ideassave those which governed the aesthetic. The Italian renaissancesprang from the Saracenic, the Venetian from the Byzantine, theFrench from both. The beautiful style of the Cinquecento, the finalaim of the Renaissance with its Arabesque scroll work and its wonder-ful assimulation of everything in nature, animal, and vegetable, endedwith the sixteenth century. The very fact of its comprehensivenesshas led to its decay, in that too large a field is presented to the de-signer for him to successfully draw from. The close of the seven-teenth century saw a new style in the decoration of Louis XIV. Aprofusion and brilliancy of ornament without taste or elegance char-acterizes this period. THE RECORD. 17 On the left-hand side of Figure 4 is represented an example ofLouis XVI decoration. Exact symmetry is not here required; bythe name of Rococo this style has nourished at different times, butseldom attracts more than a passing attention. Louis XVI com-. DESICn LOI/I5 XV. XVI. STYLE. pletes this figure. A greater degree of regularity and a belter de-sign are there worthy of notice. The history of Prance is the his-tory of design at this time, and with the dawn of the empire, adecoration bearing that name and well suited to a victorious nation. 18 THE RECORD. unites the emblems of France with these decorations of former ar-tists and produces a style worthy of special notice. Figure No. 5 illustrates the severity and grace of the empire deco-ration. By the repetition of simple elements and the fitness of lineand space, combined with the curves of drooping garlands and thedisposition of floating ribbons with the adaptation of the Fluer de lis
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