rlaced
work, or by a different disposition of the coloured compartments, will
at once be apparent; it was worked out with singularly good effect by
the older artists in decoration of all kinds. The key (Fig. 10) and the
latch (Fig. 11) are examples of quaint old Gothic metal works. The
latter is copied from the old Hotel de Ville of Bruges; the dragon is
used as a lever to lift the latch, and is one of those grotesque
imaginings in which the old art-workmen frequently indulged.

[Illustration: Fig. 10.]

[Illustration: Fig. 11.]

When the Dukes of Urbino, dazzled with the brilliancy of the Moorish
potters, had determined to rival their workmanship in manufactories
upon their own principality, the so-called Raffaelle-ware soon
afterwards fascinated the Italians, by the quaint design and beautiful
colour of the dishes and vases there produced. Though popularly named
after the great painter, it was unlikely that he had aught to do
therewith; but his designs were occasionally adapted to its use by the
workmen. The circular plateau (Fig. 12) is a good example of the bold
character and vigour of effect occasionally produced in these works.

[Illustration: Fig. 12.]

Wood panelling we have already alluded to, and the large amount of
decoration it occasionally displayed. Fig. 13 is a beautiful instance of
the grace that characterised the style known as the _Flamboyant_, from
the flowing or flame-like curve adopted for the leading lines. In this
instance they are happily blended with the earlier Gothic cusps, and
the quaint ivy-leaves that spring easily out of the severer lines. The
ease with which heraldry may be introduced in the design, gave it a
peculiar charm to our ancestors; in this instance the shields bear the
sacred monograms--a purpose to which they were very commonly devoted in
the church; sometimes being further enriched with religious emblems, as
terse and striking as the heraldic ones we have given in a previous
page.

[Illustration: Fig. 13.]

[Illustration: Fig. 14.]

[Illustration: Fig. 15.]

We give two small drawings of cabinet-handles in Figs. 14 and 15, part
of the elaborate fittings of a piece of furniture which occupied the
place of honour in the state-rooms of the wealthy, and upon which the
art of the day was generally lavished with a most liberal hand. Ivory,
ebony, and the rarest woods were employed in their construction,
occasionally _plaques_ of lapis lazuli, or coloured marbles, were us