Though De Vries was the most important designer of furniture in the Netherlands during the sixteenth century, he was by no means the only one to influence the taste of the day. There were many architects, goldsmiths and engravers whose designs contributed to the development of the Renaissance style. One of these was Jacques van Noye. He was employed by Cardinal Granvelle, Bishop of Arras, to embellish the palace in Besançon, built by his father, Sebastian van Noye, also a notable architect. In 1550, Van Noye became architect of Philip II; and called to Spain by the King, died in Madrid. One of his important works was the palace that the Cardinal erected at Brussels on the Coperbeke. Other designers in decorative art who lived during the second half of the sixteenth century were Mark Geraerts (1530–90); Hendrick van Schoel; Martin de Vos (1531–1603); G. Tielt (1580–1630); Cornelius Grapheus (1549-?); Baltazar Silvius (_circ._ 1554); Guilhelmus de la Queweelerie (_circ._ 1560); Peter Miricenis (1520–66); Hans Bol (1535–93); Abraham de Bruyn (1538-?); Crispin de Passe, the Elder (1536-?); Peter van der Borcht (1540–1608); Peter Baltens (1540–79); Paul van Wtanvael (_circ._ 1570); Nicholas de Bruyn (1560–1635); Clement Perrete (_circ._ 1569); Assuerus van Londerseel (_b._ 1548); Jerome Wierix (_b._ 1551); John Wierix (_b._ 1550); John Sadeler (1550–1610); Raphael Sadeler (1555–1628); Ægidius Sadeler (1570–1629); Dominic Custode (_b._ 1560); Ger. Groningus; Cornelis Galle (1570–1641); Philip Galle (1537–1612); Theodore Galle (_b._ 1560); Cornelis Dankherts (_b._ 1561); John Sambuci (_circ._ 1574); Francis Sweert (_circ._ 1690); Jodocus Hondius (1563–1611); James Hannervogt, and some anonymous engravers. [Illustration: Fig. 19: BED, by J. STRADEN; Figs 20–22: TABLES, by DE VRIES; Fig. 23: CHAIR AND FOOTSTOOL, by DE VRIES; Figs. 24–25: FLEMISH CHAIRS. ] Of the above, the most prolific were the Galles. They were particularly rich in frames, but their ornamentation already shows signs of the Decadence; and the work of Philip alone shows traces of the pure Renaissance. Most of these masters of ornamental design were natives of, or were attracted to, Antwerp; though some of them travelled far afield. Custode worked at Augsburg; Ægidius Sadeler died at Prague; Geraerts died in England; Cornelius Bos worked in Rome; and Crispin de Passe, the Elder, worked in Utrecht, Amsterdam, Cologne, Paris and London. In the second period of the Renaissance, the general effect is more severe and geometrical; the projections are more restrained, and the general form of furniture more rectangular. The vertical lines are more conspicuous than the horizontal lines; and columns with elongated shafts and delicate flutings or grooves replace human figures that in the first period of the Renaissance act as uprights and supports. The bed on Plate XIV is a good example of the second period.