rs by using a gilt ground. His early works remind
one of David. Cocxie (1499-1592), the Flemish Raphael, was but an
indifferent imitator of the Italian Raphael. At Liege the Romanists,
so called, began with Lambert Lombard (1505-1566), of whose work
nothing authentic remains except drawings. At Bruges Peeter Pourbus
(1510?-1584) was about the last one of the good portrait-painters of
the time. Another excellent portrait-painter, a pupil of Scorel, was
Antonio Moro (1512?-1578?). He had much dignity, force, and
elaborateness of costume, and stood quite by himself. There were other
painters of the time who were born or trained in Flanders, and yet
became so naturalized in other countries that in their work they do
not belong to Flanders. Neuchatel (1527?-1590?), Geldorp (1553-1616?),
Calvaert (1540?-1619), Spranger (1546-1627?), and others, were of this
group.

Among all the strugglers in Italian imitation only a few landscapists
held out for the Flemish view. Paul Bril (1554-1626) was the first of
them. He went to Italy, but instead of following the methods taught
there, he taught Italians his own view of landscape. His work was a
little dry and formal, but graceful in composition, and good in light
and color. The Brueghels--there were three of them--also stood out for
Flemish landscape, introducing it nominally as a background for small
figures, but in reality for the beauty of the landscape itself.

[Illustration: FIG. 77.--RUBENS. PORTRAIT OF YOUNG WOMAN. HERMITAGE,
ST. PETERSBURGH.]

SEVENTEENTH-CENTURY PAINTING: This was the great century of Flemish
painting, though the painting was not entirely Flemish in method or
thought. The influence of Italy had done away with the early simplicity,
purity, and religious pathos of the Van Eycks. During the sixteenth
century everything had run to bald imitation of Renaissance methods.
Then came a new master-genius, Rubens (1577-1640), who formed a new art
founded in method upon Italy, yet distinctly northern in character.
Rubens chose all subjects for his brush, but the religious altar-piece
probably occupied him as much as any. To this he gave little of Gothic
sentiment, but everything of Renaissance splendor. His art was more
material than spiritual, more brilliant and startling in sensuous
qualities, such as line and color, than charming by facial expression or
tender feeling. Something of the Paolo Veronese cast of mind, he
conceived things largely, and painted them propo