younger," from 1630 till his death "the elder" F. Francken. These pictures are usually of a small size, and are found in considerable numbers in continental collections. Franz Francken the second was born in 1581. In 1605 he entered the gild, of which he subsequently became the president, and in 1642 he died. His earliest composition is the "Crucifixion" in the Belvedere at Vienna, dated 1606. His latest compositions as "the younger" F. Francken are the "Adoration of the Virgin" (1616) in the gallery of Amsterdam, and the "Woman taken in Adultery" (1628) in Dresden. From 1616 to 1630 many of his pieces are signed F. Francken; then come the "Seven Works of Charity" (1630) at Munich, signed "the elder F. F.," the "Prodigal Son" (1633) at the Louvre, and other almost countless examples. It is in F. Francken the second's style that we first have evidence of the struggle which necessarily arose when the old customs, hardened by Van Orley and Floris, or Breughel and De Vos, were swept away by Rubens. But F. Francken the second, as before observed, always clung to small surfaces; and though he gained some of the freedom of the moderns, he lost but little of the dryness or gaudiness of the earlier Italo-Flemish revivalists. F. Francken the third, the last of his name who deserves to be recorded, passed in the Antwerp gild in 1639 and died at Antwerp in 1667. His practice was chiefly confined to adding figures to the architectural or landscape pieces of other artists. As Franz Pourbus sometimes put in the portrait figures for Franz Francken the second, so Franz Francken the third often introduced the necessary personages into the works of Pieter Neefs the younger (museums of St Petersburg, Dresden and the Hague). In a "Moses striking the Rock," dated 1654, of the Augsburg gallery, this last of the Franckens signs D. o (Den ouden) F. Franck. In the pictures of this artist we most clearly discern the effects of Rubens's example.