As for French literature in Belgium during the Burgundian period, its output was mainly devoted to the aristocracy, and consisted chiefly of historical material. The names of the historians Jean le Bel, Jean Froissart, Monstrelet, and Chastelain are well known. Froissart was a cosmopolitan writer, and most of the historians of this school showed only a dynastic learning. There was no question of patriotism. They praised the Burgundian dukes because these dukes were their protectors and benefactors. Artistic life, on the other hand, was not divided into two separate currents, as was the literary life. In matters of art, Flemish and Walloon collaborated during the fifteenth century and together produced a real Belgian art. The masters of this period were the Flemings Jan and Hubert Van Eyck and the Walloon Roger de la Pasture or Van der Weyden. Since the end of the thirteenth century Belgian art had become completely original. It was the wealth of city life that rendered that phenomenon possible. The wealth of the burgesses served to found many art industries. Sculpture, painting, and the goldsmith’s art were no longer exclusively religious; they became more and more secular. The erection of large churches ceased. Painters were busy decorating guild halls and city halls, banners and tents, and painting for craft guilds and for dramatic societies. The oldest products of Belgian art are to be found in sculpture, especially monuments in stone or yellow copper. The cleverness of technique and the realism of outline compel admiration. The artists copied with exactness what they noted in their surroundings. For the stiff meagerness of the Gothic style they substituted a more rounded form, and produced a truer art as a result. One of the most famous sculptors of this period was Claus Sluter, native of Zeeland, creator of the celebrated sculptures of Dijon. Those masterpieces, made when Ghiberti and Donatello flourished in Italy, enable the Netherlands to share with that country the first place in art of this period.