a design of such requirements."

"It is well into the latter part of the fifteenth century before this pilaster treatment is prevalent. The Quattrocento work contains much less of it than the Cinquecento. The garlands and trophies, lions' and bulls' heads, dolphins and griffins, tridents and shells and rosettes, and numberless familiar forms appear in a new guise; the new forms being, for the most part, heraldic motives or town arms, such as the fleur-de-lis of Florence, the Biscione or viper of Milan, and lions which are rampant, a condition unknown to their classic prototypes. Shields, though used before, have a new form, and ribbons are developed into all sorts of knots and waving ends, the loops having the same cadences in relative size as other decorative compound motives."

XLI. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLIII. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLIV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLV. Panel from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLVI. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy.

XLVII. Panels from the Choir Stalls, Church of S. Pietro, Perugia, Italy.