Simultaneously with the Italianising of French art a similar wave of novelty was spreading over the Netherlands and Germany. The Flemish Renaissance approaches more nearly to the English in the adaptation of the Italian style, or it would be more accurate to say that the English is more closely allied to the art of the Netherlands, as it drew much of its inspiration from the Flemish wood-carvers. The spiral turned legs and columns, the strap frets cut out and applied to various parts, the squares between turnings often left blank to admit of a little ebony diamond, are all of the same family as the English styles. Ebony inlay was frequently used, but the Flemish work of this period was nearly all in oak. Marqueterie of rich design was made, the inlay being of various coloured woods and shaded. Mother-of-pearl and ivory were also employed to heighten the effect. [Illustration: FRENCH CABINET. Ebony and ivory marquetry work. MIDDLE OF SIXTEENTH CENTURY. (_From the collection of M. Emile Peyre._)] [Illustration: SPANISH CABINET AND STAND. CARVED CHESTNUT; FIRST HALF OF SIXTEENTH CENTURY. Width of cabinet, 3 ft. 2 in.; depth, 1 ft. 4 in.; height, 4 ft. 10 in. (_Victoria and Albert Museum._)] The Italian Renaissance laid a light hand upon the Flemish artists, who, while unavoidably coming under its influence, at first copied its ornateness but subsequently proceeded on their own lines. Much quaint figure work, in which they greatly excelled, was used by the Flemish wood-carvers in their joinery. It is grotesque in character, and, like all their work, boldly executed. The influx of foreign influences upon the Netherlands was in the main as successfully resisted as is the encroachment of the sea across their land-locked dykes. The growth of the Spanish power made Charles V. the most powerful prince in Europe. Ferdinand of Spain held the whole Spanish peninsula except Portugal, with Sardinia and the island of Sicily, and he won the kingdom of Naples. His daughter Joanna married Philip, the son of Maximilian of Austria, and of Mary the daughter of Charles the Bold. Their son Charles thus inherited kingdoms and duchies from each of his parents and grandparents, and besides the dominions of Ferdinand and Isabella, he held Burgundy and the Netherlands. In 1519 he was chosen Emperor as Charles V. Flooded with Italian artists and Austrian and Spanish rulers, it is interesting to note how the national spirit in art was kept alive, and was of such strong growth that it influenced in marked manner the English furniture of the late sixteenth and early seventeenth century, as will be shown in a subsequent chapter. [Illustration: SPANISH CHEST; CARVED WALNUT. SIXTEENTH CENTURY. (_In the National Museum, Madrid._)] RECENT SALE PRICES.[1]