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 craftsman. The temptation before which he fell was that of rivalling the painter, and as he advanced in facility of technique, and found wider resources at his command, he threw aside not only those restraints which necessity had hitherto imposed, but also those which good taste and judgment still called him to obey. In the plain unshaded arabesques of the Sala del Cambio, and even in the figure panels of the Certosa, the treatment is purely decorative; the idea of a plane surface is rightly observed, and there is no attempt to represent distance or to produce illusory effects of relief. Above all, the work is solid and simple enough to bear handling; the stalls may be sat in, the desks may be used for books, the doors may be opened and shut, without fear of injury to their decoration. Working within these limits, the art was safe; but they came in time 340