The year 1000 was looked forward to with abject terror, for it was firmly believed by all that the world was then coming to an end.  It cast a gloom over all the people and paralyzed all ambition.  When, however, the fatal year was safely passed, there was a great religious thanksgiving and everyone joined in the praise of a merciful God.  The semi-circular arch of the Romanesque style gave way to the pointed arch of the Gothic, and wonderful cathedrals slowly lifted their beautiful spires to the sky.  The ideal was to build for the glory of God and not only for the eyes of man, so that exquisite carving was lavished upon all parts of the work.  This deeply reverent feeling lasted through the best period of Gothic architecture, and while household furniture was at a standstill church furniture became more and more beautiful, for in the midst of the religious fervor nothing seemed too much to do for the Church.  Slowly it died out, and a secular attitude crept into decoration.  One finds grotesque carvings appearing on the choir stalls and other parts of churches and cathedrals and the standard of excellence was lowered.

The chest, table, wooden arm-chair, bed, and bench, were as far as the imagination had gone in domestic furniture, and although we read of wonderful tapestries and leather hangings and clothes embroidered in gold and jewels, there was no comfort in our sense of the word, and those brave knights and fair ladies had need to be strong to stand the hardships of life.  Glitter and show was the ideal and it was many more years before the standard of comfort and refinement gained a firm foothold.

Gothic architecture and decoration declined from the perfection of the thirteenth and fourteenth centuries to the over-decorated, flamboyant Gothic of the fifteenth century, and it was in the latter period that the transition began between the Gothic and the Renaissance epochs.

The Renaissance was at its height in Italy in the fifteenth century, and its influence began to make itself felt a little in France at that time.

When the French under Louis XII seized Milan, the magnificence of the court of Ludovico Sforza, the great duke of Milan, made such an impression on them that they could not rest content with the old order, and took home many beautiful things.  Italian artisans were also imported, and as France was ready for the change, their lessons were learned and the French Renaissance came slowly into existence.  This transition is well shown by the Chateau de Gaillon, built by Cardinal d’Amboise.  Gothic and Renaissance decoration were placed side by side in panels and furniture, and we also find some pure Gothic decoration as late as the early part of the sixteenth century, but they were in parts of France where tradition changed slowly.  Styles overlap in every transition period, so it is often difficult to place the exact date on a piece of furniture; but the old dies out at last and gives way to the new.