Good view out of either window as you pass the next archway. Look out for these views in all parts of the Louvre. They often give you glimpses of the minor courtyards, to which the general public are not admitted. The =next two compartments= contain further Dutch and Flemish pictures of high merit—portraits, still-life, landscape, and other subjects. The scenes of village life are highly characteristic. Notice in this connection the growing taste for =landscape=, at first with a pretence of figures and animals, but gradually asserting its right to be heard on its own account. In Italy, under somewhat similar commercial conditions, we saw this taste arise in the Venetian School, with Cima, Giorgione, and Titian; in Holland, after the Reformation put sacred art at a discount, it became almost supreme. And note at the same time how the Reformation in commercial countries has wholly altered the =type= of northern art, focussing it on trivial domestic incidents. Among the many beautiful pictures in these compartments the spectator should at least not miss, on the L, the very charming =**=Portrait by _Rubens_ (not quite finished) of his second wife and two children, scarcely inferior to the lovely specimen at Munich. Near it, an admirable Crucifixion with the Madonna, St. John, and Magdalen, more reminiscent than is usual with Rubens of earlier compositions. On the R side, notice a portrait of Elizabeth of France (459), by _Rubens_, in his other, stiffer, and more courtly manner. We may well put down this peculiarity to the wishes of the sitter. His =*=Kermesse, near it, is an essay in the style afterwards popularized by Teniers, in which the great artist permits his Flemish blood to overcome him, and produces a clever but most unpleasant picture. The numerous admirable fruit and flower pieces, works in still-life, etc., which these compartments contain, must be studied for himself by the attentive visitor. In Rubens’ great canvas of the Triumph of Religion, painted for a Spanish commission, observe his curious external imitation of Spanish tendencies. After having completed his examination of the Long Gallery, the visitor may next proceed to the five small rooms—IX, X, XI, XII, and XIII on Baedeker’s map—devoted to The German, English and Early French Schools.