Lesser artists than Raphael also divided the border into squares and oblongs, and with charming effect. The sides were built up after the same fashion, but instead of the delicate architectural divisions he affected, partitions were made with massed fruit and flowers, vines and trellises. The scenes were surprisingly dramatic, Flemish artists showing a preference for such Biblical reminders as Samson with his head being shorn in Delilah's lap, while Philistines just beyond waited the enervating result of the barber's work; or, any of the loves and conflicts of the Greek myths was used. The colouring--too much cannot be seen of the warm, delicate blendings. There is always the look of a flowerbed at dawn, before Chanticleer's second call has brought the sun to sharpen outlines, before dreams and night-mist have altogether quitted the place. Plenty of warm wood colours are there, of lake blues, of smothered reds. Precious they are to the eye, these scenes, but hard to find now except in bits which some dealer has preserved by framing in a screen or in the carved enclosure of some nut-wood chair. For a time borders continued thus, all marked off without conscious effort, into countless delicious scenes. Then a change begins. After perfection, must come something less until the wave rises again. If in Raphael's time the border claimed a two-foot strip for its imaginings, it was slow in coming narrower again, and need required that it be filled. But here is where the variance lay: Raphael had so much to say that he begged space in which to portray it; his imitators had so much space to fill that their heavy imagination bungled clumsily in the effort. They filled it, then, with a heterogeneous mass of foliage, fruit and flowers, trained occasionally to make a bower for a woman, a stand for a warrior, but all out of scale, never keeping to any standard, and lost absolutely in unintelligent confusion. The Flemings in their decadence did this, and the Italians in the Seventeenth Century did more, they introduced all manner of cartouche. The cartouche plays an important part in the boasting of great families and the sycophancy of those who cater to men of high estate, for it served as a field whereon to blazon the arms of the patron, who doubtless felt as man has from all time, that he must indeed be great whose symbols or initials are permanently affixed to art or architecture. The cartouche came to divide the border into medallions, to apportion space for the various motives; but with a far less subtle art than that of the older men who traced their airy arbours and trailed their dainty vines and set their delicate grotesques, in a manner half playful and wholly charming.