greatest men were even more rudely hampered, but in the time of Henry VIII. the transformation was beginning. In the next generation a phrase was common which is one of the keys of the time, and is very much the key to these more ambitious territorial schemes. This or that great lord was said to be "Italianate." It meant subtler shapes of beauty, delicate and ductile glass, gold and silver not treated as barbaric stones but rather as stems and wreaths of molten metal, mirrors, cards and such trinkets bearing a load of beauty; it meant the perfection of trifles. It was not, as in popular Gothic craftsmanship, the almost unconscious touch of art upon all necessary things: rather it was the pouring of the whole soul of passionately conscious art especially into unnecessary things. Luxury was made alive with a soul. We must remember this real thirst for beauty; for it is an explanation—and an excuse.
The old barony had indeed been thinned by the civil wars that closed at Bosworth, and curtailed by the economical and crafty policy of that unkingly king, Henry VII. He was himself a "new man," and we shall see the barons largely give place to a whole nobility of new men. But even the older families already had their faces set in the newer direction. Some of them, the Howards, for instance, may be said to have figured both as old and new families. In any case the spirit of the whole upper class can be described as increasingly new. The English aristocracy, which is the chief creation of the
