The buildings of this period are quaint and charming. If somewhat lacking in serious architectonic qualities, they are inseparably connected with the national sentiments; they stand as lasting evidences of human emotion expressed through the medium of brick and stone. The streets lined with ancient houses are witnesses of a great past, and bring to remembrance those strong and earnest men who honoured hearth and threshold and fought to save their fatherland from tyranny and threatened ruin. Above all, the structures bear upon them the impress of the intellectual life which was concerned with their production. The work itself is thoroughly Dutch in character, full of suggestion, and the materials are well handled. That of the early Renaissance is the best, and in it the two streams of thought--mediæval and classic--are seen harmoniously blended. A good example from Leiden, by Lieven de Key, is illustrated opposite; signs of the new influence are obvious in the details, yet it has the traditional form of stepped gable; while there is a freedom of handling discernible in the disposition of the ground floor features which was dictated by convenience rather than symmetrical arrangement. All the work, however, was not so reasonable as this. Gables of extraordinary and curious outline began to appear, remarkable certainly for fertility of invention, but often lacking in delicacy and restraint. Isolated stone ornaments, unconnected with constructive principles, were applied to vacant wall spaces. They were decorated with lion-heads, armorial bearings, strapwork, cartouches, winged heads and panels in relief, all vigorously carved. Many of the subjects were seemingly derived from published pattern books and decorative designs, and lack that independence of conception which distinguishes all inspired craftsmanship. Evidence goes to prove that the men who made the designs for the buildings had not yet become detached from the building trades. They were not architects within the present meaning of that term. They were described as masons, stonecutters, and the like, and no doubt were master-builders who, in addition to supplying the design, had a personal hand in the execution of the work of their own particular craft. The idea that a trained director should conceive the work as a whole, and marshal all the supplementary arts to proper subjugation, had not yet been evolved. Architecture as a separate force was not recognised.