Flemish chests were in great demand in France. In an inventory, we learn that Marguerite des Bordes, Bordeaux, had, 1589, a "bahut de Flandres," barred with iron bands, two locks and keys; George Beaunon, a merchant of Bordeaux, had, in 1607, "more than one coffre de Flandres," garnished with bands of white iron and three little "cassettes de boys de Flandres" were owned by Nicholas Lemerotel of St. Malo in 1638.

Porcelain as yet was very rare, though kings and rich nobles had a few pieces of this ware on their shelves. Philip II had quite a respectable collection of ceramics, and wealthy Flemings were always fond of foreign and domestic wares of this nature. Palissy was at work and his productions were highly prized. The Netherlands had a brisk trade by sea with Portugal, and through Lisbon considerable quantities of porcelain were finding their way into the cupboards of the wealthy. Venetian glass also was highly prized, so that we are not astonished to find De Vries devoting a good deal of attention to designing vitrines, or small cupboards with glass fronts, for the preservation and safe display of glass, china and earthenware. In many instances, these were elaborately carved with all the Renaissance ornamentation. Four handsome glass cupboards or vitrines, designed by De Vries, are shown in Plate XVI and Plate XVII. In the centre of the broken pediments, we see Bacchus and Cupid. The supporting sides consist of Classic columns, pilasters or caryatides; and all the decoration is in harmony with the rest of the furniture of this period.

Plate XVI. - Glass Cupboard, or Vitrine, by De Fries.

On looking over the pictures by the great artists of the Netherlands, we cannot help noticing their delight in painting glass. The play of light and shade, and direct and reflected rays in flasks, bottles, vases, goblets and wine glasses of varied form strongly appealed to the great masters of genre and still life.

The Flemings of the sixteenth century undoubtedly manufactured much glass for home consumption and export. England took all they and Germany and France could supply. Queen Elizabeth tried to attract glass-blowers to settle in her realm. The first recorded name to accept the invitation is that of Cornelius de Launoy. In 1567, the Queen sent to the Low Countries for Jean Quarre a native of Antwerp, and other workers in glass, to establish a factory for making the same kind of glass as existed in France.

The windows not only of churches but of civic and palatial buildings were beautified with the work of great artists. Even in more modest dwellings, the windows of the hall, studio, or living-room were decorated with the coat-of-arms of the owner.

Designs for painted windows formed by no means an unimportant part of the activities of a great artist; in fact, they held the same rank as cartoons for tapestry. In 1567, Guicciardini notes as follows:

"But it is also proper to mention some eminent artists in encaustic or painting on glass, inasmuch as this department has also its pretensions to importance; and Vasari has observed that the Flemings have brought it to perfection. For, not to dwell on the beauty and vivacity of the colours, they invented the mode of burning them into the glass, so as to be safe from the corrosion of water, wind and even time; which was not the case when they were only tempered with gum and some other mixture. And the Flemings also invented the manner of making leaden casements.

"The first eminent painters on glass were Arnold van Hordt of Nymwegen, and a citizen of Antwerp, a great imitator of the Italian school and the first inventor of the art of burning colours into crystalline glass. Theodore Jacobs Felaet, an artist of eminent invention; Theodore Stass of Campen; John Ack of Antwerp, who executed the windows in St. Gudule's Church and the Chapel of the Sacrament at Brussels; Cornells of Bois-le-Duc.

PLATE XVII. - Glass Cupboard, or Vitrinc, by De Vries.

"There still flourish Cornells 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 Brack 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; Cornells 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 Liege, 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."