Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting. In 1851 the influence of the French realism of Courbet began to be felt at Brussels, and since then Belgian art has followed closely the art movements at Paris. Men like Alfred Stevens (1828-), a pupil of Navez, are really more French than Belgian. Stevens is one of the best of the moderns, a painter of power in fashionable or high-life _genre_, and a colorist of the first rank in modern art. Among the recent painters but a few can be mentioned. Willems (1823-), a weak painter of fashionable _genre_; Verboeckhoven (1799-1881), a vastly over-estimated animal painter; Clays (1819-), an excellent marine painter; Boulanger, a landscapist; Wauters (1846-), a history, and portrait-painter; Jan van Beers and Robie. The new men are Claus, Buysse, Frederic, Khnopff, Lempoels. [Illustration: FIG. 80.--ALFRED STEVENS. ON THE BEACH.] PRINCIPAL WORKS:--Hubert van Eyck, Adoration of the Lamb (with Jan van Eyck) St. Bavon Ghent (wings at Brussels and Berlin supposed to be by Jan, the rest by Hubert); Jan van Eyck, as above, also Arnolfini portraits Nat. Gal. Lon., Virgin and Donor Louvre, Madonna Staedel Mus., Man with Pinks Berlin, Triumph of Church Madrid; Van der Weyden, a number of pictures in Brussels and Antwerp Mus., also at Staedel Mus., Berlin, Munich, Vienna; Cristus, Berlin, Staedel Mus., Hermitage, Madrid; Justus van Ghent, Last Supper Urbino Gal.; Bouts, St. Peter Louvain, Munich, Berlin, Brussels, Vienna; Memling, Brussels Mus. and Bruges Acad., and Hospital Antwerp, Turin, Uffizi, Munich, Vienna; Van der Meire, triptych St. Bavon Ghent; Ghaeraert David, Bruges, Berlin, Rouen, Munich.