As a modern sovereign, bent on increasing the power of the State, Archduke Albert resented the encroachments of the clergy, as Charles V had done before him. But he was as powerless to extricate himself from the circumstances which identified the interests of his internal policy with those of the Church, as to liberate himself from the severe restrictions with which the Spanish régime paralysed his initiative in foreign matters.
If it be true that the spirit of a period can best be judged by its intellectual and artistic achievements, we ought certainly to find in the pictures of Rubens (1577-1640) an adequate expression of the tendencies and aspirations of the Counter Reformation in Belgium. Compared with the religious pictures of the Van Eycks and of Van der Weyden, such works as the "Spear Thrust" (Antwerp Museum), "The Erection of the Cross" and the "Descent from the Cross" (Antwerp Cathedral) form a complete contrast. There is no trace left in them of the mystic atmosphere, the sense of repose and of the intense inner tragedy which pervade the works of the primitives. Within a century, Flemish art is completely transformed. It appeals to the senses more than to the soul, and finds greatness in the display of physical effort and majestic lines more than in any spiritual fervour. Two predominant influences contributed to bring about this extraordinary transformation--the influence of Italy and that of the Catholic Restoration, specially as expressed by the Jesuits.
While, in the fifteenth century, Art, in the Low Countries, had remained purely Flemish, or, to speak more accurately, faithful to native tendencies, all through the sixteenth century the attraction of the Italian Renaissance became more and more apparent. We know that Van der Weyden, in 1450, and Josse van Ghent, in 1468, visited Italy, but they went there more as teachers than as students. Their works were appreciated by the Italian patrons for their intense originality and for their technical perfection. Jean Gossaert, better known as Mabuse on account of his being born in Maubeuge (_c._ 1472), was the first of a numerous series of artists who, all through the sixteenth century, considered the imitation of the Italian art of the period as an essential condition of success. Just as the primitive National school had been patronized by the dukes of Burgundy, the Italianizants were patronized by Charles V, Margaret of Austria and Mary of Hungary. The worship of Raphael and Michael Angelo, so apparent in the paintings of Van Orley, Peter Pourbus, J. Massys and many others, marks the transition between the primitive tendencies of Van Eyck and the modern tendencies of Rubens. Both tendencies are sometimes aptly combined in their works, and their portraits, especially those of Antoine Moro, still place the Antwerp school of the sixteenth century in the forefront of European Art, but the general decadence of native inspiration is nevertheless plainly apparent. The favour shown to these painters by the governors under Charles V and Philip II is significant. Whatever their personal opinions may have been, the Italianizants adapted themselves to the pomp displayed by the Monarchists and to the modern spirit of Catholicism, as opposed to the Reformation, whose critical and satiric tendencies were expressed, to a certain extent, by realists like Jérôme Bosch (1460-1516) and Peter Breughel (_c._ 1525-69) who painted, at the same time, genre pictures of a popular character and who remained absolutely free from Italian influence. The same opposition which divided society and religion reflected itself in Art.