ction to a great number of apprentices. They
admitted the gold beaters to membership in 1618, and the following year
the organization had increased to ninety-six members.

Working in alabaster was, during this epoch, a specialty with the
sculptors of Malines, which soon resulted in a monopoly with them, for
they made a law that no master workman could receive or employ more than
one apprentice every four years. The workers in gold covered the
statues with heavy ornaments of gold, it being forbidden to market
statuary not so gilded. The Gild of Saint Luke chafed under this ruling
of the Gild Master, and surreptitiously made and delivered some statuary
and paintings without any gilding whatever.

Charges being brought against the offenders, they were fined twenty-five
florins, and a law was passed authorized by the magistrate, permitting
domiciliary visits upon certain days known only to the officers, to the
houses of suspected men engaged in art work. Of course reputable workmen
were free from suspicion, it being only those mediocre craftsmen and
irregular apprentices who would engage in such traffic.

It was not until 1772 that any sculptor was permitted to paint or gild
for profit, nor was any painter allowed to model. The profession of an
artist was regarded as less than an industry, being a sort of hand to
mouth existence in which the unfortunate was glad to accept whatever
work the artisan could give him. In 1783 the Gild had dwindled to twelve
members, who finally were absorbed by the Academy of Design, established
by Maria Theresa in 1773. Thus perished the Gild of Painters and
Sculptors of Malines.

The following is a list of the principal artists and engravers,
chronologically arranged, who made Malines famous:

Jean Van Battele, one of the promoters of the Gild of Saint Luke of
Malines, was a successful workman in 1403. He was said to be more of a
painter-glazer than a painter of pictures, but there is sufficient
evidence that he practised both genres.

Gauthier Van Battele, son of the above, was admitted to the Gild in
1426, and figured in the artistic annals of the town in 1474-75.

Baudoin Van Battele, alias Vander Wyck, believed to be "petitfils" of
Gauthier, is mentioned in the chronicles of 1495. He painted many mural
pictures for the "Beyaerd"; the fresco of the Judgment Day in the great
hall of the "Vierschaer" is his greatest work. He died about 1508.

He had one son, Jean, who executed a tript