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The phase of domestic art which is reviewed in this volume was essentially the expression of a nation urgently concerned with the material, matter-of-fact side of everyday life, and bore close kindred to its needs, its aspirations and its achievements; it was corporeal rather than spiritual in aspect, reflective of the market-place, the fireside and the home. And while the continuous building tradition of certain other countries was allied to ecclesiasticism, or was a movement instigated by the aristocracy, in Holland it was democratic in general trend, an art bound up in the interests of the people and existing for their good and welfare. It was urban rather than rural in its principles. Unlike the English growth, where the native building art developed vigorously and lingered longest in the countryside—as many an old village, manor-house or farm will demonstrate—the equivalent vernacular Dutch development was pre-eminently of the towns, and trade was the influence that gave it life. In a country notable for its manufactures and commercial activities men congregated together for mutual gain. A sturdy race they were, unimpressionable, but kindly and charitable, and their comfortable homes were in keeping with their temperament.