And let us not imagine that the architecture of the age developed itself only in cathedrals, abbeys, or churches of any kind; all other buildings evince the same spirit: a barn of the thirteenth century shows the nobleness of the pervading style as clearly as even the cathedral itself, and what remains of their domestic architecture tells the same tale. Everything was done _well_, in good taste, and in accordance with reasonable and practical requirements and the means at command. Nor was it to architecture alone that the arts of the period were devoted: we find the same art expended on stained glass, on metal-work of all sorts, on enamels of the most magnificent character, on the illumination of manuscripts, the painted decoration of the buildings, on jewellery, on ivory-carving, on embroidery, on woven fabrics, tapestry, seal-engraving--in fact, on every branch of decoration; every one of which arts were carried out with a degree of skill and instinctive taste truly amazing. All these branches should, however, be treated of separately. In my enumeration of buildings I have limited myself to our own country; but we all know that in France the same great facts are, if possible, yet more wonderfully proved. The architecture of the thirteenth century, in France, is rendered illustrious by an endless category of buildings, the most glorious perhaps which the world has produced. Germany, though her style is broken harshly by the cause I have before alluded to, nevertheless furnishes, whether in the native variety of the former or in the adopted one of the latter half of the century, a series of buildings of which any country might well be proud. In Italy the style was certainly imported from the North; but was it an unnatural transplantation? I should say by no means so. Had not Italy her own Romanesque, which she had in some degree exported to Northern countries? and have I not shown that Pointed architecture was a natural and logical development from Romanesque? Why, then, should it be accounted foreign to the land from which Romanesque itself had sprung?--and if the growth of Pointed architecture was aided by ideas culled from Byzantium and the East, why should those ideas be less suited to Italy than to France or England, whose communications with the East were far less direct? Did not she take part in the same Crusades? nay, did not the Byzantine element in French art actually come there through the medium of Italy? Let us not, then, deny to her a fair participation in the architecture of the age. We had it before her, it is true, but let us not on that account say that it is none of hers.