Jean van der Scheldein, carpenter and sculptor, made a monumental door in the Hôtel de Ville, Oudenarde, in the Renaissance style in 1531. This is ornamented with columns, a pediment, figures and rectangular panels adorned with arabesques in the best taste and with masterly execution. Peter van Dulcken carved the beautiful stalls for the _échevins_, and the balustraded screen of the Nimeguen Town Hall, in the second half of the sixteenth century. These are the finest that have escaped destruction except those of the Kampen Town Hall, which are even more elaborate. [Illustration: PLATE XIX.—_Cabinet, or Armoire, by De Vries; Design for Goldsmith’s Work, by Jerome Cock._ ] The Netherlands early enjoyed a reputation for music, and from about 1450 to 1550 the most celebrated “_maîtres de chapelle_” came from the Low Countries. They were engaged in the churches and in the courts of kings and establishments of the nobility in France, Germany, Italy, Hungary, Denmark and Spain. Guicciardini says they had brought music “to a state of perfection,” and praises the melodious songs of the men and the skill of the women who played all kinds of instruments. He also pays tribute to their knowledge of harmony and proficiency in composition and says that Flemish musicians are at the “Court of every Christian prince,” and he then gives a list of famous musicians of the Low Countries. These are “Giovanni del Tintore di Nivelli, Iusquino di Pres, Obrecht Ockegem, Ricciafort, Adriano Willaert, Giovanni Monton, Verdelot, Gomberto Lupus Lupi, Cortois Crequillon, Clementi non Papa and Cornelio Canis.” To these, “who are now dead,” he adds the following list of living celebrities: Cipriano de Rove, Gian le Coick, Filippo de Monti, Orlando di Lassus, Mancicourt, Iusquino Baston, Christiano Hollando, Giaches di Waet, Bonmarche, Severino Cornetto, Piero du Hot, Gherardo di Tornout, Huberto Waelrant, Giachetto di Berckem vicino d’Anversa, Andrea Peuermage and Cornelio Verdonk and “many other masters of music who are celebrated throughout the world.” This universal love of music is attested by the Dutch and Flemish masters. In tavern scenes, as well as scenes of domestic and social life, musical instruments are frequently introduced. To catalogue the works of Jan Steen, Terborch, Teniers, Metsu, Van Mieris and other painters of the seventeenth century directly inspired by music, such as musical parties, harpsichord lessons, duets, lute-players, ladies at the spinet, etc., would be quite a task.