Yet, though tapestry in the Renaissance was no longer illustrative in the old sense, it still was decoratively fine; for the painting of Italy was founded on a mural art, and the decorative traditions still held true. Outlines are still clear and expressive. There was respect for architectural structure, and details, if less complex and sensitive, are still rich and full. Color, too, is still strong and pure, though the key is heightened somewhat and the number of tones increased. Moreover, the Renaissance introduced two important new resources, the wide border and the grotesque. Hitherto the border had been a narrow floral garland, a minor adjunct easily omitted. Now it became of major importance, always essential to the beauty of the piece, often the most beautiful part of it, designed with great resource and frequently interwoven with gold and silver. The grotesque, from being originally a border decoration, soon spread itself over the whole field (cf. No. 36), mingling with amusing incongruity but with decorative consistency goats and fair ladies, trellis, flowers, and heraldic devices. What the Renaissance lacked in subtlety it made up in abundance. During the Renaissance the tapestry industry was dominated by the Flemish cities, with Brussels at the head. She had the greatest looms, great both for the exceeding skill of the workers and for the enormous quantity of the production. Some workshops, of which the most famous was that of the Pannemaker family, specialized in exquisitely fine work rendered in the richest materials. Of this class, the most typical examples are the miniature religious tapestries in silk and metal thread, in which all the perfection of a painting was united with the sumptuousness of a most extravagant textile (cf. No. 35). But sometimes full-sized wall-hangings too were done with the same perfection and elaboration (cf. Nos. 23-25). Other shops sacrificed the perfection of workmanship to a large output, but even in the most commercially organized houses the weavers of Flanders in the XVIth century were able and conscientious craftsmen.