In his own country, he was called the king of architects. He may be called the Dutch Du Cerceau. He was contemporary with Du Cerceau; and was apparently greatly influenced by the work of the latter, or it may be that they both got their inspiration from the same Italian source. A comparison of the work of the two masters will show individuality in De Vries. His designs are not so light and graceful as the Frenchman’s. Besides all kinds of architecture, gardens, wells, fountains, vases, armour and decorative work for goldsmiths, he designed _Differents Pourtraicts de Menuiserie à sçavoir_, _Portaux_, _Bancs_, _Tables_, _Escabelles_, _Buffets_, _Frises_, _Corniches_, _Licts de camp_, _Ornements à prendre à l’essuoir les mains_, _Fontaines à laver les mains_. This collection of designs appeared about 1580, and forms a most valuable record for those who desire to study the style of the early Renaissance in the Netherlands. It is noticeable that the change is not so much in the general form of the furniture as in the ornamentation. As an example, let us take the bedroom (Plate X). This was published in 1580; but it evidently belongs to the transitional period, since the furniture reveals almost as many Gothic as Renaissance features. It will be noticed that De Vries expressly styles his design a _modern_ bedroom; so that it deserves study as the latest novelty about the middle of the sixteenth century. The first thing that strikes one is that though the ornamental details of Gothic tracery have almost disappeared, yet the linen-fold in the panelling is everywhere. Even the _dressoir_ on the left with its Classic columns and spiralled caryatides has Gothic panels; and the presses between the fireplace and the window have Gothic panels with a Renaissance daïs. The long heavy chests that serve as benches also belong to Mediaeval days. The massive table looks transitional also. It is also to be noticed that the furniture cannot yet be designated as “moveables”; it is still an integral part of the carpentry work that lines the walls of the room. The chair beside the bed is the sole note that tones down its severity. At the time the plate was published (1580), the Renaissance was in full flower, and its interest for us lies chiefly in the disposition of the furniture and the evidence it supplies of Gothic tenacity. The floor is tessellated diagonally with squares of wood or stone. The chimney-piece with its funnel-shaped top is essentially the same as represented in miniatures of the fourteenth and fifteenth centuries. The _credence_ or _dressoir_ is opposite to the door, the bed, well protected by woodwork and curtains against draughts, is close to the fireplace, and the table in front of the window. A general effect of coldness is noticeable, due to the almost total lack of upholstery; but this is doubtless owing to the artist’s intent to emphasize the woodwork.