Cornelius and James Floris developed a new style, still known in Flanders as the Floris style. The school included many able designers whose names still survive, including that of Vredemann de Vries. The ornamentation is principally composed of “_cuirs_” cut into various shapes and rolled, accompanied by a mixture of figures, animals, birds, flowers and fruits, all tied together by ornamental motives, ribbons, draperies, etc., a form of decoration which the Flemish masters carried to its highest point of perfection. It was the custom of the day for these masters of ornament to supply designs for furniture when “the newest thing out” was required. Their designs that have survived consist chiefly of grotesques, cartouches, “_cuirs_,” panels, compartments, friezes, trophies, “_pendeloques_” and other goldsmiths’ motives. Contemporary with Floris were Hans Liefrinck (1510–80); Cornelis Matsys (1500–56); Jerome Cock (1510–70); John Landenspelder (_b._ 1511); Adrian Collaert (_b._ 1520); Hans Collaert (1540–1622). These all worked at Antwerp. The most famous designers of the Renaissance, however, were the De Vrieses, father and son, Hans and Paul. Hans Vredemann de Vries, painter, architect, sculptor, designer, and poet, was born at Leeuwarden in Friesland (whence his name) in 1527. For five years he studied in Amsterdam in the studio of Reijnier Gerritsz, the painter, and he studied architecture under Coeck of Alost. His pictures are valued highly and are crowded with architectural details. He also studied painting on glass. Owing to his special aptitudes and varied knowledge, as well as the skill with which he treated the different styles of architecture and ornamentation, he may be said to sum up in himself the great period of the Flemish Renaissance. Vredemann published a great many collections of designs that are highly valued for the interesting studies they present of the Flemish Art of the Renaissance. His sons, Paul and Solomon, followed his style. De Vries was famous for his leather ornamentation (_cuirs_) and his _encoinçons_, which apply to oval frames and ornament the corners of twelve of his twenty-one oval plates among the fifty composing the collection, _Variae Architecturae formae a Joanne Vredemanni Vriesio, magno artis hujus studiosorum commodo inventae_. (_See_ Figs. 17 and 18.)