It would be a tedious task to recount the names and works of the throng of lesser artists who studied at the feet of Rubens and Van Dyck during the fruitful years when those masters were giving their talents to the world with such amazing prodigality. Erasmus Quellin I, the Elder, was one of the first--a sculptor who founded a family of notable sculptors and painters who lived and gained renown at Antwerp for more than a century. Faid'herbe, whose work abounds at Malines, was another sculptor of the highest rank who was a direct pupil of Rubens; Dusquesnoy, Grupello and Verbrugghen were renowned sculptors who owed much to his influence. [Illustration: "AS THE OLD BIRDS SING THE YOUNG BIRDS PIPE."--JACOB JORDAENS.] After Rubens and Van Dyck the greatest name in the Flemish school of this brilliant period was that of Jacob Jordaens, who learned his art under Rubens' old master, Adam Van Noort, and married his teacher's beautiful daughter Catherine, who posed for many of his pictures. The numerous family gatherings depicted by this master are famous, one of the most characteristic of them all being the well-known "As the Old Birds Sing the Young Birds Pipe" in the Antwerp museum. His satyrs and peasants and rural scenes are among the finest products of the Flemish school. The religious pictures of Gaspard de Crayer and Gerard Zeghers, the portraits of Cornelius de Vos, and the animal pictures of Francis Snyders and John Fyts all belong to this epoch when Antwerp, although sinking in commercial and political importance, was making herself for all time one of the art capitals of the world. In pictures of homely Flemish life David Teniers, who belongs to the next generation of Antwerp artists, achieved a fame that places him in a sense in a class by himself, for none of the earlier masters surpassed him in his particular field. He, too, was prolific--one catalogue enumerating no less than six hundred and eighty-five of his works. Of the same genre is the work of Adrian Brauwer, whose early death prevented him from leaving so great a legacy to posterity. Besides these masters of the first rank, Antwerp boasts an almost innumerable throng of minor artists--pupils of Rubens, Van Dyck and their successors--much of whose work is of excellent merit. Any half-dozen of these would have rendered another city notable in the history of art, but here their achievements are lost as are the heroic deeds of the private soldiers in a great army. The mind cannot retain so many names, cannot appraise and classify so bewildering a mass of productions.