This is one of the peculiarities of rudimentary art--of the art of the early Renaissance as well as of that of Persia and India, of Constantinople, of every peasant potter all through the world: that, not knowing very well its own aims, it fills its imperfect work with suggestion of all manner of things which it loves, and tries to gain in general pleasurableness what it loses in actual achievement; and lays hold of us, like fragments of verse, by suggestiveness, quite as much as by pictorial realisation. And upon this depends the other half of the imaginative art of the Renaissance, the school of intellectual decoration, of arabesques formed, not of lines and of colours, but of associations and suggestions. The desire which lies at the bottom of it--a desire masked as religious symbolism in the old mosaicists and carvers and embroiderers--is the desire to paint nice things, in default of painting a fine picture. The beginning of such attempts is naturally connected with the use of gilding; whether those gold grounds of the panel pictures of the fourteenth century represented to the painters only a certain expenditure of gold foil, or whether (as I have suggested, but I fear fantastically) their streakings and veinings of coppery or silvery splendour, their stencillings of rays and dots and fretwork, their magnificent inequality and variety of brown or yellow or greenish effulgence, were vaguely connected in the minds of those men with the splendour of the heaven in which the Virgin and the Saints really dwell. It is the cunning use of this gilding, of tools for ribbing and stencilling and damascening, which give half of their marvellous exotic loveliness to Simone Martini's frescoes at Assisi and his Annunciation of the Florentine Gallery; this, and the feeling for wonderful gold woven and embroidered stuffs, like that white cloth of gold of the kneeling angel, fit, in its purity and splendour, for the robe of Grail king. The want of mechanical dexterity, however, prevented the Giottesques from doing very much in the decorative line except in conjunction with the art--perhaps quite separate from that of the painter, and exercised by a different individual--of the embosser and gilder.