THE AGE OF EXPANSION 327

heavier types of Roman architecture. But now there was
a demand for grace and ventilation, and Gothic took the
place of the Romanesque. Lancet-shaped windows and
arches were constructed instead of the rounded windows and
wide round arches on massive round pillars; tall slender
spires were built in place of the massive domes and bell-
capitals. St. Peter's at Rome, St. Paul's in London and
St. Mark's and the Doge's Palace in Venice, may be cited
as the most interesting creations of this period. In the last
named, ' all influences built themselves in marble : the Greek
and Oriental columns, Roman and Gothic arches, Oriental
domes, Moorish ornament and colour, all combined into a
new beauty neither Gothic, Classic, nor Oriental, but Vene-
tian, a beauty rich in detail and daring in cosmopolitan
combination.'

As in architecture so in painting the Renaissance made
its own contributions. The gifted Van Eyek brothers,
Hubert and Jan (c. 1380-1440), began a new style in
Holland; their work was fresh, bright and delightful. A
kindred spirit was found in Albrecht Diirer (1471-1528) of
Nuremberg and Hans Holbein (1497-1533) in Germany. But
the greatest masters of all were in Italy. They were
Leonardo da Vinci (1452-1519) who painted his masterpiece
(Last Supper) on the wall of a convent in Milan ; Raphael
(1483-1520), 'the best beloved of artists', whose Madon-
nas are counted among the world's treasures; Michael Angdo
(1475-1564) with his wonderful frescoes (e. g. the Last
Judgment in the Sistine Chapel at Rome) ; and Titian
(1477-1576), the Venetian master, 'celebrated for his por-
traits which have preserved for us in the flesh and blood,
so to speak, many of the most noteworthy personages of
his time.' The change in artistic traditions brought about
by all these Renaissance artists is well summed up by