Whatever appears coarse in the art of Rubens is accentuated to the point of grossness in the paintings by his fellow-student under Van Noort, Jacob Jordaens (1593-1678). He is the painter of _Le Roi boit_ (No. 2014) or _The Twelfth Night Feast_, which is by no means the best of his many versions of his favourite subject. He was a realist who, as may be seen from this picture and from the _Concert after a Meal_ (No. 2015), found his most congenial subjects in the carousals of Flemish merrymakers, which he depicted with more than a touch of coarse humour. That his temperament and limitations debarred him from achieving success in the higher flights of art is clearly shown by his large but by no means noble canvas _Christ driving the Moneylenders from the Temple_ (No. 2011). On the other hand, his firm grasp of character stood him in good stead in portraiture. The so-called _Portrait of Admiral de Ruyter_ (No. 2016), which was bought in 1824 for £800, is a good example. We can only briefly refer to a number of seventeenth-century Antwerp painters, who were either pupils of Rubens or close followers of his tradition. Gonzales Coques (1614-1684), the painter of the admirably lighted _Family Party_ (No. 1952), was essentially a portrait painter who became known as “the little Van Dyck,” although his manner had more in common with that of the Dutch “small masters” than with the tempered elegance of Charles I.’s Court-painter. FOLLOWERS OF RUBENS Gaspar de Crayer (1584-1669), a pupil of Raphael van Coxie, modelled his art entirely on Rubens, and was equally successful as a portrait painter and in his religious compositions. Both phases of his art figure in the Louvre collection, which owns the _St. Augustin in Ecstasy_ (No. 1953) and the life-size _Equestrian Portrait of the Infante Ferdinand, Governor of the Netherlands_ (No. 1954). It was a portrait of the same sitter that led to Crayer’s appointment to the position of Painter to the Infante’s Court, accompanied by considerable emoluments. Abraham van Diepenbeeck (1596-1675), Pieter van Mol (1599-1650), and Paul de Vos (1593-1676) need not here detain us. They are all capable followers of their master’s style, without any personal distinction. David Ryckaert (1612-1661), the third of four artists of the same family that bore this name, is outside the immediate circle of Rubens. His _Interior of a Studio_ (No. 2137), which bears the signature “D. RYC. f. 1638,” is of peculiar interest as a document illustrating the _milieu_ in which a Flemish artist of that period lived and worked.