There were a number of Rubens's pupils, like Diepenbeeck (1596-1675), who learned from their master a certain brush facility, but were not sufficiently original to make deep impressions. When Rubens died the best painter left in Belgium was Jordaens (1593-1678). He was a pupil of Van Noort, but submitted to the Rubens influence and followed in Rubens's style, though more florid in coloring and grosser in types. He painted all sorts of subjects, but was seen at his best in mythological scenes with groups of drunken satyrs and bacchants, surrounded by a close-placed landscape. He was the most independent and original of the followers, of whom there was a host. Crayer (1582-1669), Janssens (1575-1632), Zegers (1591-1651), Rombouts (1597-1637), were the prominent ones. They all took an influence more or less pronounced from Rubens. Cornelius de Vos (1585-1651) was a more independent man--a realistic portrait-painter of much ability. Snyders (1579-1657), and Fyt (1609?-1661), devoted their brushes to the painting of still-life, game, fruits, flowers, landscape--Snyders often in collaboration with Rubens himself. [Illustration: FIG. 79.--TENIERS THE YOUNGER. PRODIGAL SON. LOUVRE.] Living at the same time with these half-Italianized painters, and continuing later in the century, there was another group of painters in the Low Countries who were emphatically of the soil, believing in themselves and their own country and picturing scenes from commonplace life in a manner quite their own. These were the "Little Masters," the _genre_ painters, of whom there was even a stronger representation appearing contemporaneously in Holland. In Belgium there were not so many nor such talented men, but some of them were very interesting in their work as in their subjects. Teniers the Younger (1610-1690) was among the first of them to picture peasant, burgher, alewife, and nobleman in all scenes and places. Nothing escaped him as a subject, and yet his best work was shown in the handling of low life in taverns. There is coarse wit in his work, but it is atoned for by good color and easy handling. He was influenced by Rubens, though decidedly different from him in many respects. Brouwer (1606?-1638) has often been catalogued with the Holland school, but he really belongs with Teniers, in Belgium. He died early, but left a number of pictures remarkable for their fine "fat" quality and their beautiful color. He was not a man of Italian imagination, but a painter of low life, with coarse humor and not too much good taste, yet a superb technician and vastly beyond many of his little Dutch contemporaries at the North. Teniers and Brouwer led a school and had many followers.