In the fifteenth century German iron work was greatly influenced by the fine work which was being produced at this period in the Low Countries. Brussels had been noted for its extensive works in iron and steel from the fourteenth century. The brawny Flemish smiths were celebrated throughout Europe for their great achievements in moulded and hammered iron, such as in the spires of the cathedrals of Antwerp, Ghent, and Bruges, well-covers, railings, fonts, cranes, and grilles. The historical well-cover in front of the Cathedral of Antwerp has usually been ascribed to Quentin Matsys the painter, but as he was only twelve years old when this work was completed, it could hardly have been made by his hands. The explanation is that he has been confounded with another Quentin, a blacksmith and the son of Josse Matsys, the architect, smith, and clockmaker of Antwerp. The well-cover is more likely to have been the work of Josse Matsys. The design is Gothic in feeling and is very picturesque with its interlacing stems and vine-leaves, flowers, and figures. A rich font crane in iron work in the Cathedral of Louvain is said to be the authentic work of Josse, and a twelve-branched corona in the same church is ascribed to his son, Quentin Matsys. To the hand of the latter is also ascribed the rich Flemish gates of Bishop West’s Chapel in Ely Cathedral. Brabant was celebrated for its iron work, particularly in pierced and filed work in such things as locks, hinges, candelabra, tabernacles, and _guichets_ (little windows or wicket gates), most of these objects taking pronounced Gothic architectural forms, for the most part being composed of flamboyant tracery and little buttresses (Fig. 203). Much of the Brabaçon iron work found its way into England and Germany. This work is characterised by its flamboyant tracery, which is found on locks of doors and Flemish coffers, and in the design of the guichets, a fine specimen of the latter now being in the Kensington Museum. The locks of the doors in St. George’s Chapel, Windsor and in some other places are of Brabaçon workmanship. This Flemish style of lock work was imitated very much in England, but the workmanship was less refined although of a stronger character than the Flemish. The Germans, especially of Augsburg, Nuremberg, and in the Rhine Provinces, more particularly at Cologne, developed the chiselled iron work to an astonishing degree of elaboration. While the shapes of the lock-plates were of a decided Saracenic character, the design of the pattern ornamentation was either of an elaborate architectural composition, as in the large lock in the Klagenfurt Museum (Fig. 204), or of designs mainly developed from the thistle-plant. [Illustration: Fig. 203.—Tabernacle Grille from Ottoberg, Tyrol; Fifteenth Century. (S.K.M.) (G.)]