Of Brueghel’s two sons, Pieter the younger, known as “Hell” Brueghel, is not represented at the Louvre, which, on the other hand, boasts possession of eight examples from the brush of “Peasant” Brueghel’s second son, Jan (1568-1625), known to fame as “Velvet” Brueghel, either owing to his love of splendid apparel or to the velvety softness of his brush. He began as a still-life and flower painter, in which capacity he often collaborated with Rubens. Having journeyed to Rome in 1593, he devoted himself more exclusively to landscape enlivened with many small figures, for which some Scriptural or mythological subject generally provided the excuse. Where his pictures contain figures on a larger scale, they are generally put in by Rubens, Rottenhammer, or Van Balen. The last-named is certainly responsible for the figures in _Air_ (No. 1920), one of a series of the Four Elements, painted by Jan Brueghel for his Roman patron, Cardinal Federigo Borromeo, in 1621. To the same series belongs _Earth_, or _The Earthly Paradise_ (No. 1919), a subject often repeated by him, as for instance in the versions at The Hague and at Budapest. Of his other pictures at the Louvre _The Bridge of Talavera_ (No. 1925), and the _Landscape_ (No. 1926), are signed and dated BRUEGHEL, 1619, and J. BRUEGHEL, 1620, respectively. _The Battle of Arbela_ (No. 1921) is a characteristic work with many minutely wrought figures. The _Landscapes_ (Nos. 1923 and 1924) are of doubtful authenticity, and were formerly attributed to Paul Bril. They are not now exhibited. There are scarcely any Flemish characteristics in the art of Paul Bril (1556-1626), the younger brother and pupil of Matthias Bril. He was born at Antwerp, but worked nearly all his life in Rome. There is little to distinguish this precursor of Poussin in the art of landscape from his Italian contemporaries. In _Duck Shooting_ (No. 1908), _Diana and her Nymphs_ (No. 1909), and _Pan and Syrinx_ (No. 1911) the figures are believed to have been painted in by Annibale Carracci. _The Fishermen_ (No. 1910) bears his signature PA. BRILLI, and the date 1624. THE FRANCK FAMILY Although the Louvre owns no picture by Frans Floris, the head of the Italianising mid-sixteenth-century Antwerp school, his uninteresting style may be studied in _The Story of Esther_ (No. 1989) by his pupil Frans Franck (1542-1616). To that second-rate artist’s son, Frans Franck the Younger (1581-1642), who already benefited to a certain extent by the example of Rubens, is given in the official Catalogue _Ulysses recognising Achilles among the Daughters of Lycomedes_ (No. 1991A). _The Parable of the Prodigal Son_ (No. 1990), which is also catalogued under his name, is obviously by his son Frans Franck III., since the date 1663 precedes the signature, and F. Franck the younger died in 1642.