The windows were divided into a number of lights, by vertical mullions, with arch headings, occasionally cusped. If of tall proportions, they were further divided by horizontal bars or transoms, and were glazed with small panes of glass set in lead frames, arranged in some cases to open in iron casements. [Illustration: No. 75. Tudor Window with leaded lights.] _The Reformation_ An important factor in the development of this period was the Reformation, with the resultant liberty of thought. Before this, architecture and the associated arts were entirely dominated by the Church, at the sacrifice of the individuality of the artist and craftsman, who after this emancipation were enabled to exploit their work untrammelled by clerical restriction. In some respects this was not productive of the best results, as it removed the various co-ordinated branches of work from the restraint of architectural dominance, with some loss to the unities. It also opened the way to the professional designer as distinct from the craftsman (who hitherto had been responsible for his share of the work) resulting in occasional loss of character. _Renaissance_ The Renaissance, which had its origin it Italy, was the next factor in the evolution of architecture and the arts. As early as 1422 there were indications of the coming change, though the medieval system of construction was still adhered to. Impetus was given to this revival by the taking of Constantinople by the Turks in 1453 A.D., resulting in the dispersion of the Greek scholars, who found refuge in Italy. Gothic, essentially a Northern style, scarcely affected Italy, where Byzantine tradition persisted until the Revival of Learning in the latter half of the fifteenth century brought a fresh impulse into all branches of Art and Literature. An awakened interest in classical remains was an integral part of the vitality with which the great change known in its culmination as the Renaissance was imbued; and the commercial prosperity of the times was favourable to its encouragement and development. _Early Exponents_ An active agent in this revival was Brunelleschi, a native of Florence, who in company with Donatello, visited Rome to study the remains of classical antiquity. His principal successor, Leo Battista Alberti, contributed largely to the new style. Ultimately the Roman Orders and their details were appropriated and adapted to local requirements. The most prominent artists of the day turned their attention to the designing and making of wood-work, and the decoration of rooms. [Illustration: No. 76. Strozzi Palace, Florence.] The earlier work is severely architectural in character, being closely based on the antique, with all the usual features of columns, pilasters, cornices and pediments.