Rembrandt's influence upon Dutch art was far-reaching, and appeared immediately in the works of his many pupils. They all followed his methods of handling light-and-shade, but no one of them ever equalled him, though they produced work of much merit. Bol (1611-1680) was chiefly a portrait-painter, with a pervading yellow tone and some pallor of flesh-coloring--a man of ability who mistakenly followed Rubens in the latter part of his life. Flinck (1615-1660) at one time followed Rembrandt so closely that his work has passed for that of the master; but latterly he, too, came under Flemish influence. Next to Eeckhout he was probably the nearest to Rembrandt in methods of all the pupils. Eeckhout (1621-1674) was really a Rembrandt imitator, but his hand was weak and his color hot. Maes (1632-1693) was the most successful manager of light after the school formula, and succeeded very well with warmth and richness of color, especially with his reds. The other Rembrandt pupils and followers were Poorter (fl. 1635-1643), Victoors (1620?-1672?), Koninck (1619-1688), Fabritius (1624-1654), and Backer (1608?-1651). Van der Helst (1612?-1670) stands apart from this school, and seems to have followed more the portrait style of De Keyser. He was a realistic, precise painter, with much excellence of modelling in head and hands, and with fine carriage and dignity in the figure. In composition he hardly held his characters in group owing to a sacrifice of values, and in color he was often "spotty," and lacking in the unity of mass. THE GENRE PAINTERS: This heading embraces those who may be called the "Little Dutchmen," because of the small scale of their pictures and their _genre_ subjects. Gerard Dou (1613-1675) is indicative of the class without fully representing it. He was a pupil of Rembrandt, but his work gave little report of this. It was smaller, more delicate in detail, more petty in conception. He was a man great in little things, one who wasted strength on the minutiae of dress, or table-cloth, or the texture of furniture without grasping the mass or color significance of the whole scene. There was infinite detail about his work, and that gave it popularity; but as art it held, and holds to-day, little higher place than the work of Metsu (1630-1667), Van Mieris (1635-1681), Netscher (1639-1684), or Schalcken (1643-1706), all of whom produced the interior piece with figures elaborate in accidental effects. Van Ostade (1610-1685), though dealing with the small canvas, and portraying peasant life with perhaps unnecessary coarseness, was a much stronger painter than the men just mentioned. He was the favorite pupil of Hals and the master of Jan Steen. With little delicacy in choice of subject he had much delicacy in color, taste in arrangement, and skill in handling. His brush was precise but not finical. [Illustration: FIG. 83.--J. VAN RUISDAEL. LANDSCAPE.]