proposed in 1995. There is evidence that some workshops developed division of labour, with different artists specializing in figures, landscape or architectural backgrounds, and dividing the work on a particular painting between them, and different workshops specializing in one or two subjects. Compositions were often copied, repeated or adapted; for example at least six versions of an Adoration of the Magi triptych composition by Joos van Cleve and his workshop are known, though varying considerably in size, with the widths of the centre panel ranging from 56 to 93 cm. It has been possible to identify some of the artists. Jan de Beer, the Master of 1518 (possibly Jan Mertens or Jan van Dornicke) and Adriaen van Overbeke are some of the identified artists who are regarded as Antwerp Mannerists. The early paintings of Jan Gossaert and Adriaen Isenbrandt (in Bruges) also show characteristics of the style. The paintings combine Early Netherlandish and Northern Renaissance styles, and incorporate both Flemish and Italian traditions into the same compositions. A particular problem is that Antwerp was very badly hit by the Beeldenstorm of 1566, when a large proportion of the altarpieces in the churches were destroyed by iconoclastic rioters. Some of these are documented and probably many were signed, which would have helped greatly in attributing the mostly smaller paintings that have survived; these were no doubt still in private houses. The Sack of Antwerp or "Spanish Fury" of 1576, by unpaid Spanish troops caused much further destruction. Elsewhere in the Netherlands, artists in the large workshop of Cornelis Engebrechtsz. in Leiden seem to have pulled their reluctant master in the Mannerist direction, and at least the extravagant clothes and architectural settings are seen in the otherwise more solidly based works of the Master of Delft and in Haarlem Jan Mostaert. The Antwerp workshop of Joos van Cleve (probably originally German) could work in the style, as well as others. Subjects and style The Antwerp Mannerists typically depicted religious subjects, which they interpreted generally in a more superficial manner than the Flemish artists of the previous century in favour of a more fluid form and an abundance of meticulously rendered details. Although one scholar has described Friedlander's label as "utterly inefficient as a stylistic guide", there are communalities. Their "essentially late Gothic style is characterized by calligraphically complicated compositions peopled with elongated, theatrically-dressed figures animated by improbable poses and repetitive gestures". According