Plate XVII.—Glass Cupboard, or Vitrine, by De Vries.
“There still flourish Cornelis Dale, who, with singular art, burns any colours, not only into glass, but into crystal, so that they appear like painting in oil; and his designs are elegant; Jodoc Vereg, a skilful artist, employed by the Emperor; James Florence, all of Antwerp. John Stass, son of the above Theodore and the heir of his father’s talents; John Zele of Utrecht. Nor in architecture and sculpture have excellent artists been wanting in the Netherlands. Such were Sebastian Oje of Utrecht, the celebrated architect to Charles V, and afterwards to Philip his son. He, to his great praise, planned the fortifications of Hesdin, Charlmont, and Philipville, strong towns on the frontiers. William Keur of Gouda, a good architect, a superior sculptor. Among others were John Dale, a sculptor and poet; Lucas van Leyden, a celebrated engraver (1495–1533); William of Antwerp, a famous architect. There still flourish James Bruck of St. Omers, a man of noble birth and an excellent sculptor and architect, who, while the Queen of Hungary governed the Netherlands, planned Bossu and Marimont and some grand buildings. John Bologne of Douay, his disciple, now employed by the Duke of Florence. John Minsheeren of Ghent, an excellent architect and sculptor, whose son Lucas, is an eminent painter, the inventor of many things and excels in poetry; Matthew Mandemaker of Antwerp, a famous sculptor, in the service of the King of the Romans; Cornelis Florence, brother of Francis, an excellent sculptor and architect, diligent and attentive, who has the praise of first bringing from Italy the art of accurately rendering the insides of caves called by the Italians grotescas. Henry Paschen of Antwerp, an excellent architect, who designed the Palace and office of the Hansa towns in Antwerp, and was afterwards called to London to plan the Exchange; Lambert Suaf of Liège, a good architect and engraver; James Iongeling of Antwerp, an excellent sculptor and statuary, who lately made those wonderful brass statues of the seven planets and Bacchus which the magistrates of Antwerp presented to the Prince of Parma; William Paludan, brother of the above Henry, a great and accurate sculptor, whose son Raphael is also of high repute; John Sart of Nymegen, an excellent sculptor, as are Simon of Delft and Jodoc Janson of Amsterdam; George Robins of Yperen, Theodore Volcart Cornhert and Philip Galle, both of Haarlem, exquisite engravers.”
Guicciardini continues: “The others it would be prolix to enumerate,” and informs us that most of these artists visit Italy. “Some return loaded with wealth and honour to their native country,” while “others go to Great Britain and Germany, but chiefly to Denmark, Sweden, Norway, Poland and even Muscovy, not to mention those who, allured by honours and rewards, visit France, Spain and Portugal.”
The younger De Vries (Paul), was born at Antwerp in 1554. He designed Plusieurs menuiseries comme Portaulx, Garderobes, Buffets, Chalicts, Tables, Arches, Selles, Bancs, Escabelles, Rouleaux à pendre, touailles, Casses à vertes et beaucoup d’autres ouvrages. The style of furniture shown in the works of the De Vrieses lasted till Rubens arose.
Plate XVIII.—Flemish Armoire.
Figs. 26–27: Hispano-Flemish Drawers.
Crispin de Passe, or Van der Passe the elder, was born in Arnemuiden about 1560, and was a pupil of Dirk Coornhert (born in Amsterdam in 1522, died in Gouda in 1590). He left a great number of compositions and many remarkable portraits painted in Germany, France, and England, as well as in Holland. A writer, too, of considerable merit, he published many works which he illustrated with his own engravings. In 1585, he became a member of the Guild of St. Luke of Antwerp. Being such a fine engraver, it is not astonishing to find that he excelled in niello-work. His composition in this medium, representing “The Five Senses,” resembles in its delicacy the lace, embroidery and incrustations of ivory of the same period. His patterns, sometimes in relief and sometimes in depression, sometimes in white and sometimes in black, are very beautiful. Crispin de Passe had three sons: Crispin (born in Utrecht in 1585); William (1590); and Simon (1591), all of whom were excellent engravers. His daughter, Madeleine (born 1583), was also a good engraver.
Among the famous engravers also were the Collaerts. Adrian Collaert, born in Antwerp in 1560, was admitted to the Guild of St. Luke in 1580, and died in 1618. He studied in Italy and on his return composed and engraved many designs of great merit. His son, Hans, born in Antwerp, was also a designer and engraver of note. He worked until 1622. His son, William, was a famous engraver.
Adrian Collaert’s designs for goldsmith’s work, silver plate and all artistic products of that nature had a great vogue, and worthily represent the decorations of the Flemish Renaissance. Two of his characteristic designs are reproduced in Plate [XXI] and Plate [XXII].
Wood-carving continued to be one of the glories of Flemish Art. Sixteenth century pulpits, bishops’ thrones and choir-stalls still exist in many of the old churches. The names of some of the masters of the chisel who executed these beautiful works have been preserved, and may properly be recalled here.