Beneath this great series of Rubens are a number of =Dutch and Flemish Pictures=, mostly admirable and well worthy of attention, but, so to speak, self-explanatory. They belong entirely to modern feeling. Dutch and Flemish art, in its later form, is the domestic development of that intense love of minute detail and accessories already conspicuous in Van Eyck, Memling, and Gerard David. Sacred subjects almost disappear; the wealthy burghers ask for portraits of themselves, their wives and families, or landscapes for their households. I would call special notice to the following among many which should be closely examined to show the progress of art:—512, _Teniers_; 691, _Rubens_; 518, _Teniers_; 238 and 239, _Van Huysum_; =*=425, a charming _Rubens_, in his smaller and more delicate style; 147, admirable portrait by _Van Dyck_; 513, an excellent _Teniers_; =*=461, a good portrait by _Rubens_; 125, exquisite, luminous _Gerard Dou_; next it =**=_Van der Helst’s_ Four Judges of the Guild of Cross-bow-men deciding on the prizes, one of the most perfect specimens of this great portrait painter. Notice the wonderful life-like expressions. Then 123, another exquisite luminous _Dou_; 542, _Van de Velde_; 41, splendid portrait by _Bol_; 130, _Gerard Dou_ by himself; =**=404, =Rembrandt=, Raphael leaving the house of Tobias, a master-piece of the artist’s weird and murky luminosity—strangely contrasted with Italian examples; 205, a good _Hobbema_; 133, fine portrait by _Duchâtel_; 369, excellent family group by _Van Ostade_; next it, 126, a delicious little _Dou_. But, indeed, every one of these Dutch paintings should be examined separately, in order to understand the characteristic Dutch virtues of delicate handling, exquisite detail, and domestic portraiture. They are the artistic outcome of a nation of housewives. On the =opposite side= the series is continued with admirable flower-pieces, landscapes by Van der Veldt and Karel du Jardin, and several noteworthy portraits, among which notice the famous =*=_Van Dyck_ (143) of the children of Charles I., most daintily treated. Beyond the Rubenses, again, on this side, 144, two noble portraits by _Van Dyck_, and several excellent examples of Philippe de Champaigne, a Flemish artist who deeply influenced painting in France, where he settled. =**=151, _Van Dyck’s_ Duke of Richmond, perhaps his most splendid achievement in portraiture, deserves careful study. I do not further enlarge upon these subjects because the names and dates of the painters, with the descriptions given on the frames, will sufficiently enable the judicious spectator to form his own conceptions. Devote at least a day to Dutch and Flemish art here, and then go back to the Salon Carré, to see how the Rembrandts, Dous, and Metsus, there unfortunately separated from their compeers, fall into the general scheme of Dutch development.