Outward life, indeed, in the fifteenth and the early part of the sixteenth centuries, was polished and ennobled as among & no other people in the world. A countless number of those small things and great things which combine to make up what we: mean by comfort, we know to have first appeared in Italy. In | the well-paved streets of the Italian cities, driving was universal, while elsewhere in Europe walking or riding was the custom, and at all events no one drove for amusement. We read in the novelists of soft, elastic beads, of costly carpets and bedroom furniture, of which we hear nothing in other countries. We often hear especially of the abundance and beauty of the linen. Much of all this is drawn within the sphere of art. We note with admiration the thousand ways in which art ennobles luxury, not only adorning the massive sideboard or the light brackets with noble vases, clothing the walls with the movable splendor of tapestry, and covering the toilet-table with numberless graceful trifles, but absorbing whole branches of mechanical work - especially carpentering - into its province. All Western Europe, as soon as its wealth enabled it to do so, set to work in the same way at the close of the Middle Ages. But its efforts produced either childish and fantastic toy-work, or were bound by the chains of a narrow and purely Gothic art, while the Renaissance moved freely, entering into the spirit of every task it undertook and working for a far larger circle of patrons and admirers than the northern artists. The rapid victory of Italian decorative art over northern in the course sixteenth century is due partly to this fact, though the result of wider and more general causes.
