Gerard Seghers (1591-1651), the painter of _St. Francis in Ecstasy_ (No. 2140), although a pupil of Van Balen and Abraham Janssens, and indirectly, through Manfredi, of Caravaggio, must be counted among those who were influenced by the dominating personality of Rubens. An important pupil of Snyders was Jan Fyt (1611-1661), who excelled as an animal painter and colourist. He was at his best when he treated animals more in the manner of still life, but remained vastly inferior to his master when he tried to emulate his hunting scenes. Not all the five pictures catalogued under his name can be accepted as his own work. His great skill in rendering the varied textures of furs and feathers may be judged from _Game in a Larder_ (No. 1993), which is unquestionably authentic although it does not bear the signature which testifies to his authorship of _A Dog devouring Game_ (No. 1994). ADRIAEN BROUWER Both the Flemish school and the Dutch have an equal right to claim Adriaen Brouwer (1605 or 6-1638), who, born at Oudenarde, carried on the tradition of Bouts and the elder Brueghel. While still young, he was at Haarlem powerfully impressed by the art of Frans Hals, although it is extremely doubtful that he ever actually worked in his studio. Finally, having settled at Antwerp in 1631, he benefited by the example of Rubens. _The Smoker_ (No. 1916), in spite of the doubts that have been cast upon it, is a characteristic work of his at the time when, inspired by Frans Hals, he adopted a full impasto instead of his earlier glazes. It is signed with his initials “AB” in the bottom corner on the right. The handling is far coarser than that of the later _Interior of a Tavern_ (No. 1912), which is quite Rembrandtesque in the rendering of light and chiaroscuro. His inclination towards grimacing expression often made him depict such scenes as _The Operation_ (No. 1915), in which the patient’s face is contorted with pain, while the surgeon is bandaging his left shoulder. Brouwer was the master of Joos van Craesbeeck (1606-1654?), who not only closely followed his teaching, but actually painted many replicas of Brouwer’s pictures which still pass under the better known artist’s name. _The Artist painting a Portrait_ (No. 1952D) was supposed to represent, and to be from the brush of, Brouwer, when the picture was bought for the Louvre. But on technical grounds it must be given to Craesbeeck—quite apart from the extreme improbability that the dissolute Brouwer, who spent most of his time in low taverns, should have lived in the elegant, not to say luxurious, surroundings here depicted, and died young. There can be no doubt that the painter seated before his easel, to whom a man-servant is offering a glass of wine, is Joos van Craesbeeck. DAVID TENIERS