Page:An Elementary History of Art.djvu/461

 In Antwerp. 431 Crucifixion and Mary Magdalen, by his disciple Herri Bles (1480— aft. 1521). All these men were more or less intimately connected with the school of the Van Eycks, whilst certain peculi- arities in their treatment of the nude and of life in action give them a resemblance to the masters of the sixteenth century, whom we have now to consider. We may, in fact, look upon the latter part of the fifteenth and the whole of the sixteenth century as a transition time — Flemish and Dutch art not having reached their highest development until the seventeenth century. (d) The Italianized Flemings. The sixteenth century was marked by an unfortunate attempt to combine the peculiar excellences of the school of the Van Eycks with those of the Italian Cinque-cento masters. In his later works Mabuse was guilty of this mistake. Jan Gossart (ab. 1470 — 1532), commonly called Mabuse, a native of Maubeuge, went to Antwerp, entered the Guild, and bid fair to rival the works of Matsys ; but unfortun- ately for the truth of his art, he went to Italy, and there lost his best qualities in attempting to emulate the works of the great Italian masters. He is well represented in England : for we have two of his masterpieces, an Ador- ation of the Magi at Castle Howard ; and the Children of Christian II. at Hampton Court. He was followed by Barend van Orley (1488-90 — 1542), a Magdalen by whom is in the National Gallery. Jan van Schoreel (1495 — 1562), who first introduced the Italian style into Holland, and is represented in the