[297]. Einstein, Gesch. der Musik, p. 67.
[298]. Coysevox lived 1640-1720. Much of the embellishment and statuary of Versailles is his work.—Tr.
[299]. See Vol. II, pp. 357 et seq., 365 et seq.
[300]. It was not merely national-Italian (for that Italian Gothic was also): it was purely Florentine, and even within Florence the ideal of one class of society. That which is called Renaissance in the Trecento has its centre in Provence and particularly in the papal court at Avignon, and is nothing whatever but the southern type of chivalry, that which prevailed in Spain and Upper Italy and was so strongly influenced by the Moorish polite society of Spain and Sicily.
[301]. Renaissance ornament is merely embellishment and self-conscious "art"-inventiveness. It is only with the frank and outspoken Baroque that we return to the necessities of high symbolism.
[302]. Jacob Burckhardt, Die Cultur der Renaissance in Italien. (An English translation was published in 1878.—Tr.)
[303]. Inclusive of Paris itself. Even as late as the fifteenth century Flemish was as much spoken there as French, and the architectural appearance of the city in its oldest parts connects it with Bruges and Ghent and not with Troyes and Poitiers.
[304]. A. Schmarsow, Gotik in der Renaissance (1921); B. Haendke, Der niederl. Einfluss auf die Malerei Toskana-Umbriens (Monatshefte für Kunstwissensch. 1912).
[305]. The colossal statue of Bartolommeo Colleone at Venice.—Tr.
[306]. Svoboda, Römische und Romanische Paläste (1919); Rostowzew, Pompeianische Landschaften und Römische Villen (Röm. mitt., 1904).