all parts of the work. This deeply reverent feeling lasted through the
best period of Gothic architecture, and while household furniture was at
a standstill church furniture became more and more beautiful, for in the
midst of the religious fervor nothing seemed too much to do for the
Church. Slowly it died out, and a secular attitude crept into
decoration. One finds grotesque carvings appearing on the choir stalls
and other parts of churches and cathedrals and the standard of
excellence was lowered.

The chest, table, wooden arm-chair, bed, and bench, were as far as the
imagination had gone in domestic furniture, and although we read of
wonderful tapestries and leather hangings and clothes embroidered in
gold and jewels, there was no comfort in our sense of the word, and
those brave knights and fair ladies had need to be strong to stand the
hardships of life. Glitter and show was the ideal and it was many more
years before the standard of comfort and refinement gained a firm
foothold.

Gothic architecture and decoration declined from the perfection of the
thirteenth and fourteenth centuries to the over-decorated, flamboyant
Gothic of the fifteenth century, and it was in the latter period that
the transition began between the Gothic and the Renaissance epochs.

The Renaissance was at its height in Italy in the fifteenth century, and
its influence began to make itself felt a little in France at that time.

When the French under Louis XII seized Milan, the magnificence of the
court of Ludovico Sforza, the great duke of Milan, made such an
impression on them that they could not rest content with the old order,
and took home many beautiful things. Italian artisans were also