on display in the Musée de Cambrai). It is therefore difficult to establish a chronology. In recent years a number of paintings of varying levels of quality have been attributed to him. He painted in a wide range of genres including architectural scenes, city views, genre scenes, allegorical compositions and history paintings. His genre scenes deal with a wide variety of subjects: carnivals on ice, fireworks, bull-fights, outdoor scenes and allegories of the five senses. A frequent theme was that of the indoor or outdoor banquet with large groups of elegant figures foreshadowing the fête champêtre (garden parties) scenes in later French painting. The theme of the garden of love was linked to this and was also developed by other Flemish painters such as Rubens and Frans Francken the Elder. These scenes were painted in the spirit of the Fontainebleau School. The tallness of his figures, their exquisite postures, smooth faces and bare foreheads characterize his style. He borrowed his figures and compositions freely from other masters, which explains their static appearance. His men usually have thin legs and pointed shoes. The female figures typically have high hairdos, a long neck, a high front, a thin nose and small mouth. The faces are not individualised. While these elegant figures, not always depicted in the correct scale, they were still popular with his patrons as well as other artists who copied them in their works. He repeated some of his motifs such as a stilt walker and a rearing horse. His originality showed in the manner in which he combined the various elements in his compositions. Under the influence of Italian models, his palette proved to be an innovation in Flanders: he used half tones, ochre-yellow, Veronese green and Burgundy red. His depiction of buildings shows him to be concerned with fine detail and very skillful at presenting perspective. In his architectural scenes the pictorial space and the settings draw direct inspiration from Hans Vredeman de Vries's designs in the publications Scenographia (1560), Perspective (1604) and Architectura (1507). He painted city views of Rome and Venice and a few views of the Escorial. His cityscapes often depict Italian cities bustling with people engaged in festivities or carnivals. He painted a number of allegorical paintings of the seasons. An example is the Triumph of Spring (c. 1615–1620, private collection) He also painted rural landscapes with peasants at work or relaxing after work