At home, the Flemings grew ever more and more realistic, weaving into their woollen pictures types of character, costumes and scenes with which they were familiar; and while their technical skill was appreciated in Italy, their pictures certainly were not liked. All the orders sent from princely patrons to the looms of the Low Countries were accompanied by cartoons, which became the property of the workshop, and were repeated again and again as their popularity asserted itself. The Italians introduced perspective, clearness of grouping and a dramatic feeling entirely opposed to the Flemish school. The Italian cartoons, particularly those of Raphael and Romano, had a great influence upon the Flemish tapestries. Like all the other industrial arts, that of the goldsmith flourished under the patronage of the Dukes of Burgundy. They spent an enormous amount of money in acquiring fine pieces of gold and silver and richly set jewels for their own treasury and use, and to give as presents. It was not long before the chief cities in Burgundy, Artois and Flanders saw the workshops of gold and silversmiths multiply greatly and gain a widespread reputation. These goldsmiths not only produced vases and chalices for the churches and chapels and beautiful articles for the Duke’s _dressoirs_, but they particularly excelled in the setting of jewels and in making beautiful pieces of delicately worked gold and silver, with which the costumes were laden to such an extent that Martial d’Auvergne, the author of _Arrets d’amour_, says “_on s’harnachoit d’orfévrerie_.” Some of the Duke’s silver is especially described in his inventory, and among his possessions at the end of the fourteenth century, we find two silver chandeliers for the chapel. The central bulbs were fluted and they were hung with crystal. On the foot, the arms of France were engraved. There were also three other chandeliers (these were evidently what we should now rather call candlesticks), and were carved profusely with big leaves; and also three candlesticks of silver for the “_fruiterie_,” bearing on the base the arms of the Duke of Burgundy. The foot of another silver-gilt candlestick was decorated with three dragons; another candlestick of white silver (_argent blanc_) was decorated with the arms of the Dowager Countess of Hainault. In all probability these were among the candlesticks that Charles the Bold took to the Abbey of St. Maximin.