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We have seen that the fifteenth century brought a decisive change in the history of art because the discoveries and innovations of Brunelleschi's generation in Florence had lifted Italian art on to a new plane, and had separated it from the development of art in the rest of Europe. The aims of the northern artists of the fifteenth century did not, perhaps, differ so much from those of their Italian fellow artists as did their means and methods. The difference between the North and Italy is most clearly marked in architecture. Brunelleschi had put an end to the Gothic style in Florence by introducing the Renaissance method of using classical motifs for his buildings. It was nearly a century before the artists outside Italy followed his example. All through the fifteenth century they continued developing the Gothic style of the preceding century. But though the forms of these buildings still contained such typical elements of Gothic architecture as the pointed arch or the flying buttress, the taste of the times had greatly changed. We remember that in the fourteenth century architects liked to use graceful lacework and rich ornamenta- tion. We remember the Decorated style, in which the window of Exeter Cathedral was designed, figure 137. In the fifteenth century this taste for complicated tracery and fantastic ornament went even further

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