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This period of Ethiopian craftsmanship has been now and again depicted as time of “progress” since fine arts created during the sixteenth century actually incorporate expressive and iconographic components that are ordinary of the fifteenth 100 years, while portending advancements which will happen in the last part of the seventeenth hundred years. In any case, thusly, this depiction of change is pertinent to most authentic periods, and is consequently not especially accommodating. The craftsmanship delivered during the mid-Solomonic period mirrors the tough spot the nation was in. The act of beautifying compositions with pictures and mathematical themes declined impressively, and barely any crosses and chapels have been unhesitatingly credited to the sixteenth hundred years. Besides, albeit various symbols from this period have made due, these rarely accomplish the straight tastefulness of painted boards from the fifteenth-century.
The climb to the lofty position of Fasilides in 1632 imprints the start of a time of recharged solidness for Ethiopia and the Solomonic line. Fasilides requested another a capital, Gondar, around 50 kilometers north of Lake Tana (the biggest lake in Ethiopia). He and his replacements supported the development of castles meal corridors inside the illustrious compound that actually exist today and they advanced the structure of houses of worship close by and in the Lake Tana area. The reception of a round plan for the development of temples becomes standard (rather than the longitudinal organization of the basilica).

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