In the Yeth? Hands the influence of Italian art did not at first destroy the native development. The principal Flemish painter of the early teenth century, Quentin Id, troduped genre painting. life size figures and Renaissance background. the last innler Italian influence, to which he became subjected late in life. So did Lucas van Leyden (1491.1533 . the most important painter of the. earl?, D eteh school, whose works are original in composition and type, and brilliant in color. founded the school of ‘ntwerp. which henceforth be'inuc: the centre of Flemish painting. Its painters sought to graft Italian art upon the Flemish stock, as did also the less numerous contempo rary Dutchmen. Among the principal reprisen tither are :Ian Thibuse (r1. 1541), Barend van Orley (d. 1342), Lambert Lombard (1503-66), Frans Floris id. 1570). and others; the portrait ists Jan can score' and Antonis Slur; the land scapists Joachim Patinir (d. 1524), Hendrik Ries ivettal, Paul Bril, and the 11reugbcls.
In Prance during the sixteenth century Flem ish art, as well as Italian, found patronage at the Court of Francis 1. .lehan Chalet (d. 15411) and his (d. 1572), Court painters to Francis l., were thorough Flemings. But the King's chief importations were Italians, and the extensive decorations of 11 Rosso, Primatiecio, and others at Fontainebleau, gave the tone to French art of the century. The principal native artist was Jean Cousin (d. 1589), a man of great talent and versatility, whose surviving works show Italian influence.
In Spain the Netherlandish influence disap peared. except in portraiture, both Alonzo San chez Coello (died 1590) and his pupil Pantoja de In Cruz (d. 1609) preserving the manner of An tonis Slor. All native originality was engulfed in a mannered 1nvu7cn style, as exemplified in Berruguete (d. 1561). Becerra (d. 1570), and Morales (d. 15S6), of the Castilian school; and in Vegas (d. 156S) and Vicente doanes (d. 1579). founders respectively of the schools of Andalusia and Valencia. Toward the end of the century the influence of the Venetian colorists, combined with some originality, appears in the works of Navarete (d. 1579), called 'El Mudo,' and of Theotoeopuli 'El Greco' (d. 1625), at Toledo. whose chief pupil was Tristan (15S6 1640). The same tendency may be seen in the works of Roelas ((I. 1625), the chief master of the early Andalusian school, in whose works the national Spanish characteristics first appear. Pacheco (d. 1634), the master of Velazquez, was a mere teacher. At Valencia Francisco de Ribalta (d. 1625) was a pupil of the Carracei, and was influenced by Sebastiano del Piombo. The Va lencian school, however, became absorbed in the Andalusian. with a centre at Seville. chiefly MI. der Chureh patronage, while the chief seat of the Castilian school became Madrid, under Court patronage. The difference between the Spanish schools is rather geographical than artistic.