Designing for a large array of media during his career, the Bruges artist Lancelot Blondeel (1498-1561) is often regarded as a typical ‘product’ of the northern Renaissance. In this paper the gilded ornamental frameworks which so often dominate Blondeel’s paintings, will be taken as a starting point for an intermedial comparative analysis. While the few studies on Blondeel have mostly focussed on his role as painter, this paper aims to place his works in an immediate, dialectic relationship to contemporary metalwork, carved altarpieces and built architecture, set within a humanist social environment. The notion of architectural design and its connection to the liberal art geometry became instrumental in the growing artistic identity and changing status of the artist. As such, this paper seeks to understand how Blondeel’s training as a master mason informed his understanding of design as an intellectual concept by looking at the dynamics between painted architectural representations, early modern Netherlandish sculpture, architecture and metalwork as a synagonstic process.