While Italy excelled in sculpture at this time, as indeed in every department of art, the other countries of Europe practically all enjoyed a magnificent period of development in plastic art, not a little of it thoroughly national in character and some of the most precious of it quite apart from Italian influence. Besides, there was a marvellous accomplishment in the subsidiary arts and artistic crafts well deserving of mention which confirms the place of this period among the greatest of productive eras. A very noteworthy development of sculpture took place in the Netherlands, where in the midst of the rising democracies and the commercial prosperity there was a great outburst of artistic genius. Wealthy patrons had the good taste to recognize artistic genius and encourage it. There has never been a period or country when tradesmen proved more discriminatingly beneficent. It would be indeed surprising if the country that produced the Van Eycks and the first great evolution of oil painting with the work of Van der Weyden, Memling, Quentin Matsys, Gerard David and so many others on canvas, should not have given us sculpture worthy of this fine artistic development. We do not, as a rule, know the names of the individual sculptors in the Netherlands, because apparently they looked upon themselves as artist artisans, whose duty it was to do their work faithfully and thoroughly, looking for no reward of fame and no special recognition beyond their own consciousness of having done good work. Their sculptures are to be seen in many places, in the cathedrals, the town halls and the other beautiful buildings erected at this time. Louvain, Brussels and many of the other towns of what is now Belgium {98} particularly must have had many artistic workers in stone who well deserved the name of sculptors. They executed not only beautifully decorative work, but also full-length statues, busts, medallions in high and low relief, and plastic ornaments of all kinds. The high quality of their accomplishment can scarcely be disputed, and yet the lack of their names has often left the impression that there were no great sculptors at this time; the fine sculpture that has come down to us is, however, an emphatic contradiction of any such notion. Some of the work done in the humble medium of wood is particularly interesting. The charmingly artistic wood-carving of the consecration of St. Eloi in the Church of Notre Dame at Bruges is a striking example. The choir seats of the Church at Louvain are quite as worthy of high praise, and the wood-carvings in the choir at Harlem so often admired come from this same period. Perhaps one of the best examples of the wood-carving of the time is the pulpit of the Cathedral at Leyden, which was made in this century.