these commonplace productions, to mannerism and affectation" (_The Dutch School_, p. 100). 154. A MUSIC PARTY. _David Teniers, the younger_ (Flemish: 1610-1694). Teniers, though a Fleming by birth, belongs rather to the Dutch School in style--being one of the principal _genre_ painters, of whom most of the other leading masters are Dutch. His art stands, however, in direct relation to that of the Flemish painters preceding him, through the want of spiritual motive common to him and to them. But Teniers and the _genre_ painters carry this banishment of spiritual motive a step further. "Rubens often gives instructive and magnificent allegory. Rembrandt, pathetic or powerful fancies, founded on real Scripture-reading, and on his interest in the picturesque character of the Jew. And Van Dyck, a graceful rendering of received Scriptural legends. But (with Teniers) ... we lose, not only all faith in religion, but all remembrance of it. Absolutely now at last we find ourselves without sight of God in all the world.... Farthest savages had, and still have, their Great Spirit, or, in extremity, their feather-idols, large-eyed; but here in Holland we have at last got utterly done with it all. Our only idol glitters dimly, in tangible shape of a pint pot, and all the incense offered thereto comes out of a small censer or bowl at the end of a pipe." The place of Teniers in art history is, therefore, so far as the ideals of art go, that he is, _par excellence_, "the painter of the pleasures of the ale-house and card-table" (_Modern Painters_, vol. v. pt. ix. ch. vi. §§ 10, 11; ch. viii. § 11). He did, indeed, occasionally venture on the ground of religious painting; but his essays in this sort are absurd. His devotion to _genre_ entirely hit the taste of his time, and his fame was rapid and enduring. He was taught the rudiments of art by his father, David Teniers, the elder, a mediocre painter of small rustic subjects (see 949); but his real masters were Rubens and Brouwer, though he did not actually study with them. In 1633, at the age of twenty-three, he received the dignity of master. Four years later he married the daughter of Velvet Breughel, the former ward of Rubens, who acted as witness at the marriage ceremony. His talents were in universal request. The Archduke Leopold-William, Governor of the Spanish Netherlands, appointed him his private painter, and gave him an office in his household. Queen Christina of Sweden and King Philip IV. of Spain were amongst his patrons. He gave Don Juan of Austria lessons in painting, and this prince painted the portrait of Teniers's son, and presented it to the master as a token of his regard. In 1644 he was chosen to preside over the Antwerp Guild