It is not possible to make any hard and fast division between Gothic and Renaissance work. The actual dates of the buildings form no conclusive key, for it has been demonstrated in the Introduction how the later development did not advance evenly throughout the country. Houses built in the traditional way, and in a mixture of styles, are to be seen in almost all old towns (page 45). Sometimes one influence shows predominantly, sometimes another. The brick and stone façade at Delft (page 46) has all the attributes of Gothic work, pointed arches, overhanging stories, stepped gable and pinnacles. But the spirit of the carved details is different. The heads in circles, cherubs, vases, cornucopias, lion-heads, dolphins, eagles and acanthus ornament are all subjects far removed from Gothic ideas, as are the delicately carved corbels from which the arches spring. Two other houses that owe much to Gothic influences are those from Haarlem (page 47) and Alkmaar (page 48). The first-named was built in 1637 and the second in 1673. The more recently dated example shows, in point of style, the earlier architectural form. Both have the customary stepped gable and window-heads, the Alkmaar examples being elliptically arched and those at Haarlem pointed. But in the latter instance the keystones are furnished with Renaissance ornaments, as is the crowning pediment of the gable. The three following buildings mark a further step forward in architectural development. In general disposition of masses they accord with olden practices, but the decorative details approximate Renaissance ideas. "De Crimpert Salm" at Dordrecht (page 51), of 1608, presents a rich appearance, but the profuse elaboration of the front was not achieved by accident or haphazard use of material. The balance of the design was obviously well considered. Horizontal motives, intensified below the first-floor level, give a stable base for the lavishness overhead; above, they repeat with less force and are finally carried up the gable by the steps. The vertical lines, obtained principally by the window openings and frames, are similarly reduced towards the top, and there the curved elements are concentrated. Upon a low wall of stone and brick stands the woodwork front of the ground floor. Next in order comes a broad band of mosaic decoration executed in brick and stone (page 50), bounded at each end by lion-heads in high relief, and divided centrally by a stone panel with a salmon carved upon it. Other mosaics show in the arched spaces over the windows of the next storey (page 50), while the equivalent space in the gable is filled with arranged brickwork. Moulded bricks and stonework, plain and carved, all contribute to the exuberance of the scheme. The small example from Franeker (page 49) is built in brick and stone and was erected in 1634. It has the traditional gable but the old type of step, small in height and width, was not followed. Two steps only suffice to