Cold academic compositions, painted under the influence of the chief of the Imperial French school of painting, Louis David, were the only productions of Belgian Art at the beginning of the nineteenth century. In no domain did the fashion change more abruptly, on the morrow of the Revolution, than in Belgian historical paintings. As early as 1833, G. Wappers of Antwerp exhibited a large canvas recording an episode of the recent Revolution. His example was followed by many artists at the time, and Belgian history became the subject of a great number of paintings, whose rather theatrical and pompous style does not entirely succeed in hiding their sincere and serious qualities. The French style of David was soon abandoned. Movement and colour, so inherent in the Belgian temperament, came again to the fore, and, though the influence of Rubens was overmastering, it was at least a national influence, and soon led, under the inspiration of Henri Leys (1815-69), to the production of historical works of great interest. The latter's frescoes of the Hotel de Ville in Antwerp, illustrating the old franchises and privileges of the town, may still be considered as a striking expression of municipal freedom. [_MODERN PAINTERS_] At the same time, a great number of painters, reacting against the rather artificial style of historical paintings, went back to genre pictures, in which Teniers and his followers had excelled in the past. Henri de Braekeleer (1814-88) translated the simple, intimate poetry of modest interiors, while Joseph Stevens (1819-92) devoted his genius to scenes of dog life. Later, when social questions came to the fore and when the attention of the public was centred on the sufferings of the poor and destitute, De Groux, Leon Frederic and, even more, Eugene Laermans (_b._ 1864) conveyed in their works a burning sympathy for the wretches and vagabonds straying through the towns and the Flemish country-side. The latter's work is strongly influenced by Breughel. Through an extraordinary paradox, Belgian Art, which only represented scenes of merriment during the darkest days of the Spanish occupation, gave far more importance to scenes of misery during the modern time of great public prosperity, so revolting did it seem that such prosperity should not be shared by all. Another artist in whose works Breughel's inspiration is apparent is Jacob Smits (_b._ 1856). He is almost the only one who may be considered as a representative of religious painting in Belgium. Like Breughel, he succeeded in bringing the Christian story close to the people's hearts amidst Flemish contemporary surroundings.