Second Period of the Renaissance—Court of Mary of Hungary—Charles V a Fleming—Influence of Burgundian Court in Spain—Gilded Leather— Wealth of the Nobles in the Netherlands—Margaret of Valois at Namur—Antwerp in the Sixteenth Century—Christopher Plantin— Cornelius and James Floris—Jerome Cock—Hans and Paul de Vries— Jacques van Noye—Famous Designers—Characteristics of the Second Period of the Renaissance—Bedsteads, Tables and Chairs, Armoires, Cabinets and Chests—Porcelain, Glass and Glass Cupboards—Windows and Glass-painters—Guicciardini on the Artists of the Low Countries—Paul de Vries—Crispin de Passe the Elder—the Collaerts— Wood-carving—Music and Musical Instruments.
The first half of the sixteenth century in western Europe was completely filled with the ambitions, intrigues and wars of three powerful sovereigns—Charles V, Francis I and Henry VIII. Each of these was a chivalrous and luxurious monarch, devoted to the arts, science and literature. At their courts, the Renaissance received every encouragement; and at their death, half-way through the century, the Renaissance is generally regarded as entering on its second period. Henry and Francis both died in 1547, and Charles in 1558.
On the death of Margaret of Austria in 1530, Charles had intrusted the government of his Burgundian inheritance to his sister, Mary of Hungary. She was as liberal a patron of the arts as her aunt Margaret had been. She kept a splendid court, and was entirely in sympathy with the new school. The artists who were struggling against foreign influence could not look to Mary for support. The stream of Flemish pilgrims to Rome was constantly broadening; and the Romanists under her Regency gained disciples daily in Brussels, Mechlin, Liège and Antwerp.
At this period, the Low Countries bowed to no foreign authority in the art domain except the Italian. It must be borne in mind that Charles was a prince of the House of Burgundy, who had been brought up by his aunt, the daughter of the heiress of Burgundy, and the Emperor of Austria. He was a Fleming by birth and training. He was born at Ghent in 1500, and spent the first sixteen years of his life in the Netherlands. His pride in his natal town is well known. It is recorded in his famous pun—that he could put the whole of Paris in his _Gant_ (glove). Spanish influence, therefore, did not affect the studios and workshops of the Flemish hives of industry till late in the century; for when Charles went to Spain, his train was full of Flemings, who influenced Spanish art; but we find no return influx of Spaniards to modify Flemish art. The splendid traditions of the Court of Burgundy still dominated in the Low Countries; and its unbending formality survives in Spain to-day. When Philip II joined his father Charles V in Brussels in 1548, his natural inclination led him readily to adopt the multitudinous equipage and minute and pompous etiquette of his Burgundian ancestors; all this he retained and transmitted to his descendants. Till the end of the century, the Flemish Renaissance was a domestic development of purely Italian inspiration. The principal things that the Netherlands obtained from the Iberian peninsula were ornamental leather and Oriental wares, through Lisbon.