By Teniers’s pupil, François Duchatel (1616?-1694?) is the excellent _Portrait of a Gentleman_ (No. 1960). Duchatel is a very rare master, whose style in portraiture so closely resembles that of Gonzales Coques that his pictures have been at times ascribed to that painter. Jacob van Artois (1613-1684?), the painter of the _Landscape_ (No. 1901) in the La Caze room, was one of the leading Flemish landscape painters of his time, and frequently collaborated with Teniers, who added the figures to some of his landscapes. He was the master of Cornelis Huysmans (1648-1727), who frequently assisted the battle painter, Van der Meulen, and is here represented by eight pictures (Nos. 2002-2009). Among the landscape painters of that period must also be mentioned Jan Siberechts (1627-1703), who spent the closing years of his life in England, but does not seem to have had much influence on the evolution of the English landscape school. By him is the _Rustic Scene_ (No. 2140A). PHILIPPE DE CHAMPAIGNE Both Philippe de Champaigne (1602-1674) and Adam Frans van der Meulen (1634-1690), though born at Brussels, resided in France the best part of their life, and are therefore generally classed with the painters of the French school, which accounts for their being represented at the Louvre in a manner which is quite out of proportion to their artistic significance. Still, if Philippe de Champaigne appears second-rate when compared with Rubens and Van Dyck, he is unquestionably the leading portrait painter of the contemporary French school in which he received his training. His powers were insufficient for the higher flights of imagination, and when his ambition led him to such compositions as _Christ in the House of Simon_ (No. 1927) or _Christ celebrating Easter with His Disciples_ (No. 1928), he was as dull and bombastic as most of his French contemporaries, whom he far excelled as a colourist. His portraits, on the other hand, are painted in a broad, honest, straightforward manner which has nothing in common with the monotonous pompousness of his age, as may be seen from the admirable group of two nuns in prayer, _Mother Catherine Agnes Arnaud and Sister Catherine de Sainte-Suzanne_ (No. 1934). The younger of the two nuns represents the artist’s daughter, who was healed from paralysis by a miracle recorded by a Latin inscription on the wall. The twenty pictures from Philippe de Champaigne’s brush, which are actually on view, also include the fine group of the two architects _François Mansard and Claude Perrault_ (No. 1944), bought in 1835 for the low price of £80; _The Provost and Aldermen of Paris_ (No. 1945); and the signed and dated portrait of _Robert Arnaud d’Andilly_ (No. 1939). VAN DER MEULEN