part of "Northern Mannerism in the early sixteenth century", the movement is better distinguished from the Northern Mannerism of later in the century, which developed from Italian Mannerism. There was very little continuity between the two, with Northern Mannerism proper developing in the Netherlands only after a gap of about fifty years after Antwerp Mannerism declined in the 1530s, and after the next stylistic wave of Romanism, heavily influenced by Italian painting, as seen in the later works of Gossaert. Name The term Antwerp Manierists was first used in 1915 by Max Jakob Friedländer in his work Die Antwerpener Manieristen von 1520, in which he made a first attempt to put order in the growing number of works from the Netherlands that were catalogued under the "name of embarrassment 'pseudo-Herri met de Bles' " (usually now "Pseudo Bles" or "Pseudo-Blesius"). Friedländer used the term Antwerp Mannerism here as synonymous for "Antwerp style". Even though he added the location 'Antwerp' to name the artists and placed them in the year 1520, Friedländer made it clear that he did not intend to limit the group strictly to Antwerp and the time period to circa 1520, even though he was of the opinion that most of the "pseudo-Bles' works originated from Antwerp and Antwerp workshops. Friedländer placed the works attributed to the group in a time period between 1500 and 1530. Despite the name Antwerp Mannerism the style was not limited to Antwerp. The style also appeared in the north of France and the Northern Netherlands. Artists Although attempts have been made to identify the individual artists that were part of this movement, most of the paintings remain attributed to anonymous masters as the paintings were not signed. This anonymity has contributed to a lack of knowledge about or popularity of their works. Only a minority of the works have been attributed. The makers of the altarpieces have been given notnames based on any external knowledge about the works such as an inscription, a previous owner, the place where it was kept or a date found on the work. These include as the Pseudo-Bles, the Master of the Von Groote Adoration, the Master of Amiens, the Master of the Antwerp Adoration and the Master of 1518. Works that cannot be attributed directly to a named master are attributed to Anonymous Antwerp Mannerist. The Master of the Lille Adoration is a new figure, first