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| Jan Cornelisz Vermeyen The Holy Trinity before 1559 oil on panel Museo del Prado, Madrid |
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| Jan Cornelisz Vermeyen Triptych - The Micault Family with The Raising of Lazarus ca. 1520-50 oil on panels Musées Royaux des Beaux-Arts, Brussels |
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| Jan Cornelisz Vermeyen The Micault Family with The Raising of Lazarus (detail) ca. 1520-50 oil on panel Musées Royaux des Beaux-Arts, Brussels |
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| Jan Cornelisz Vermeyen The Micault Family with The Raising of Lazarus (detail) ca. 1520-50 oil on panel Musées Royaux des Beaux-Arts, Brussels |
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| Jan Cornelisz Vermeyen St Jerome in Meditation ca. 1525-30 oil on panel Musée du Louvre |
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| Jacob Cornelisz van Oostsanen Saul and the Witch of Endor 1526 oil on panel Rijksmuseum, Amsterdam |
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| Anthonie Blocklandt Baptism of Christ ca. 1560-80 oil on panel Palais des Beaux-Arts de Lille |
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| Pieter Aertsen Christ in the House of Martha and Mary 1559 oil on panel Musées Royaux des Beaux-Arts, Brussels |
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| Jan van Scorel Adoration of the Magi ca. 1519 oil on panel Art Institute of Chicago |
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| Jan van Scorel Madonna of the Daffodils, with Christ Child and Donors ca. 1535 oil on panel Museo Thyssen-Bornemisza, Madrid |
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| Jan van Scorel Apostle Paul ca. 1535-45 oil on panel Museum Catharijnconvent, Utrecht |
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| Jan van Scorel Triptych - The Entry into Jerusalem, flanked by Saints and Donors 1526 oil on panel Centraal Museum, Utrecht |
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| Jan van Scorel The Lamentation, with Donor ca. 1535 oil on panel Centraal Museum, Utrecht |
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| attributed to Cornelis Engebrechtsz The Taking of Christ before 1527 oil on panel Casa Museo Rodolfo Siviero, Florence |
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| Cornelis Engebrechtsz Crucifixion Group, with St Peter, St Margaret, and Donors ca. 1525-27 oil on panel Metropolitan Museum of Art, New York |
Sonnet: On being cautioned against walking on an Headland overlooking the Sea, because it was frequented by a Lunatic
Is there a solitary wretch who hies
To the tall cliff, with starting pace or slow,
And, measuring, views with wild and hollow eyes
Its distance from the waves that chide below;
Who, as the sea-born gale with frequent sighs
Chills his cold bed upon the mountain turf,
With hoarse, half-uttered lamentation, lies
Murmuring responses to the dashing surf?
In moody sadness, on the giddy brink,
I see him more with envy than with fear;
He has no nice felicities that shrink
From giant horrors; wildly wandering here,
He seems (uncursed with reason) not to know
The depth or the duration of his woe.
– Charlotte Smith (1783)