DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68274#0082
Dutch and Flemish Furniture
beyond the confines of their own provinces, and their
services were eagerly sought in England, France, Spain,
Italy and even Germany.
Although German wood-carvers were plentiful, John
Floreins was employed on the choir-stalls of the Cologne
Cathedral. In 1465, Flemish huchiers were called upon
to carve the stalls of Rouen. Italy attracted many
artists whose work still attests their ability. Among the
innumerable workers in intaglio and marquetry of that
period, we find the names of almost as many North-
erners as native Italians. The Church of St. Georgio
Maggiore, Venice, contains forty-eight stalls, adorned
by Van der Brulh of Antwerp with carved bas-reliefs
illustrating the life of St. Benedict. The armoires of
the sacristy of Ferrara bear the signatures of Henry
and William, two Flemish carvers ; and many other
examples might be cited.
In Spain, the entire Spanish school, until Berruguete
brought the New Art from Michelangelo's studio in 1520,
was led by Philippe Vigarny, a Burgundian, who was
considered the best wood-carver in Spain. His style
was frankly Gothic.
The influence of the Flemish and French was
so great in Spain at this time, that Juan de Arphe
severely reprimands his fellow-workers, who never
cease copying the " papelas y estampas flamencas y
francesas."
There was not a prosperous city in the Netherlands
whose public and private buildings were not embellished
with the products of the great artists in wood-carving.
The great masters of Bruges were Guyot de Beaugrant,
52
beyond the confines of their own provinces, and their
services were eagerly sought in England, France, Spain,
Italy and even Germany.
Although German wood-carvers were plentiful, John
Floreins was employed on the choir-stalls of the Cologne
Cathedral. In 1465, Flemish huchiers were called upon
to carve the stalls of Rouen. Italy attracted many
artists whose work still attests their ability. Among the
innumerable workers in intaglio and marquetry of that
period, we find the names of almost as many North-
erners as native Italians. The Church of St. Georgio
Maggiore, Venice, contains forty-eight stalls, adorned
by Van der Brulh of Antwerp with carved bas-reliefs
illustrating the life of St. Benedict. The armoires of
the sacristy of Ferrara bear the signatures of Henry
and William, two Flemish carvers ; and many other
examples might be cited.
In Spain, the entire Spanish school, until Berruguete
brought the New Art from Michelangelo's studio in 1520,
was led by Philippe Vigarny, a Burgundian, who was
considered the best wood-carver in Spain. His style
was frankly Gothic.
The influence of the Flemish and French was
so great in Spain at this time, that Juan de Arphe
severely reprimands his fellow-workers, who never
cease copying the " papelas y estampas flamencas y
francesas."
There was not a prosperous city in the Netherlands
whose public and private buildings were not embellished
with the products of the great artists in wood-carving.
The great masters of Bruges were Guyot de Beaugrant,
52