Before the opening of the sixteenth century, however, there was a remarkable activity in all the arts; and a coming change can be felt. The spirit of the Gothic and of the Classic style—Christian and Pagan— were already at war. In the Low Countries, this transitional period is noticeable during the last days of the House of Burgundy. Simultaneously, architecture and ornament insensibly underwent modifications, in which we recognize the earliest Renaissance, as it appeared also in France under the reign of Louis XII. Building and furniture have already become Classic in form and general aspect: the antique column becomes a leading feature of decoration, although the pilaster, which offers a convenient flat surface for the carving of arabesques, is often preferred. These arabesques are particularly characteristic of this transitional period. They consist of rather slender and simple branches, allowing considerable spaces of the background to appear; and very frequently they are divided into two symmetrical parts about a strongly accented middle axis. There is little relief and little projection in the composition. The details of ornamentation are taken especially from the floral world; and, if human figures or animals are used, they are attenuated and expressionless, and play an unimportant rôle. Figures of this description appear in Plate V that represents a coffer in carved wood in the Flemish style, from the Cluny Museum, Paris. The panel in the centre represents the _Annunciation_, rudely carved. Pilasters decorated with leaves separate it from two niches that contain figures boldly but crudely carved. Above the _Annunciation_ is a lock of fine workmanship, the flap of which bears the figure of the crowned Virgin, in high relief. Another typical coffer, or _huche_, of Flemish workmanship of the sixteenth century appears on Plate VI. Here we have three panels separated by caryatides. The subjects of the panels are _Christ on the Cross_, the _Annunciation_, and the _Adoration of the Infant Jesus_. The panels are also decorated with the heads of cherubs. Another _huche_, or _bahut_, of the sixteenth century, of more delicate workmanship, is shown in Plate VII. The subject of the central panel is taken from the story of David. Allegorical figures decorate the pilasters, and Mercury and Cybele fill the niches. This is also from Cluny and is of French work of the sixteenth century. [Illustration: PLATE V.—_Coffer in Flemish Style._ CLUNY MUSEUM, PARIS. ]