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It is in Italy, particularly in Florence, that the most rapid transition from medieval to Renaissance style took place. Gentile da Fabiano embodied the decorative and sumptuous traditions of the international Gothic style in his large tempera altarpiece, The Adoration of the Magi (1432). Masolino da Panicale in his frescoes at Castiglione d'Olona (c.1430) showed similar style qualities, with, however, a sharper sense of individuality and greater interest in local surroundings.With the advent of the Georgian style in the 18th century, both Protestant and Anglican churches followed the Gibbsian style. That there is no important architectural difference suggests how similar style to Protestantism Anglican worship had become. St. Paul's Chapel in New York City (built 1764-1766), designed by Thomas Mc-Bean, has a colonnaded portico at one end and a tower and steeple at the other. St. Paul's is Anglican, but equally fine steeples may be seen on the First Baptist Church in Providence, R. I., and on the Puritan Old South Meeting House in Boston.
During and immediately following the Han dynasty (202 B. C.-220 A. D.) various distinctive scripts, such as k'ai shu (model style), hsing shu (running style), and ts'ao shu (cursive or grass style) appeared. The k'ai shu became, and still is, the official style in which books, magazines, or similar style materials, are printed. The running and cursive scripts have been reserved for personal notes and calligraphic purposes. Calligraphers of repute have appeared in every dynasty. Some were known for the beauty of their lines, some for their vigorous and bold strokes, and others for their relaxed mannerisms. So Ching of the Chin dynasty, and Mi Fei and Su Shih of the Sung dynasty were only a few of the great calligraphers. The grand master of Chinese calligraphy, however, was Wang Hsi-chih (321-379), whose handwriting in the Lan T'ing Hsii (The Orchard Pavilion) is an example of calligraphy executed with great rhythmic skill and vitality. Handwriting is judged by the quality of the brushwork, by the abstract- beauty of the dots and lines that are formed. Wang Hsi-chih listed and defined what he thought were the four requirements for good calligraphy:
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