Thus because the Gothic period happened to be a time when it was natural for the artists to make vivacious and decorative illustrations in clear, flat silhouettes with rich details, most of the Gothic tapestries have some measure of artistic greatness, sufficient to put them above all but the very greatest pieces of later times. Even when we discount the additions that time and our changed attitude make, the beauty of softened and blended colors, the charm of the unaccustomed and the quaint, the interest of the unfamiliar costumes, the literary flavor of old romantic times--even discounting these, they are still inherently superior. To be sure, they are rarely pretty and are sometimes frankly ugly, but with a tonic ugliness which possesses the deepest of all æsthetic merits, stimulating vitality. They have verve, energy, a pungent vividness that sharply reminds the beholder that he is alive. Their angular emphatic silhouettes and pure, highly saturated, abruptly contrasted colors catch and hold the attention and quicken all the vital responses that are essential to clear perception and full appreciation. They are a standing refutation of the many mistaken theories that would make the essence of beauty consist merely in the balanced form and symmetry, or smooth perfection of rendition, or photographic accuracy of representation. They are a forceful and convincing demonstration that in the last analysis beauty is the quality that arouses the fullest realization of life. Within the common Gothic character there are clearly recorded local differences: the division between the French and the Flemish, not marked until the middle of the XVth century, because up to that time the Franco-Flemish school was really one and continuous. It amalgamated influences from both regions and absorbed a rather strong contribution from Italy. The center of activity was at first Paris and then at the courts of the Burgundian dukes. But after the middle of the century the divergence is rapid and clear. The French is characterized by greater simplicity, clarity, elegance, and delicacy. Even the strong uprush of realism was held in check in France by decorative sensitiveness. The most characteristic designs of the time are the millefleurs, the finer being made in Touraine (cf. No. 8), the coarser in La Marche. The Flemish decoration, on the other hand, is sumptuous, overflowing, sometimes confused, always energetic, and strongly varied in detail. Nothing checks the relentless realism that sometimes runs even to caricature and often is fantastic (cf. the punishment scenes in No. 4). Typical of Flemish abundance are the cartoons with multiple religious scenes, heavy with rich draperies and gorgeous with infinite detail, yet not subordinating to theme the human interest of many well-delineated types of character (cf. No. 18). Brussels was the great center for the production of work of this kind, but beautiful pieces were being produced in almost every city of the