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 In Antwerp. 509 the portraits of two other brothers ; these are Ludivig L, Duke of Bavaria, and his younger brother, known as Prince Rupert ; Don Francisco de Moncada, on horseback and in armour, perhaps the finest of the rare equestrian portraits by Van Dyck. Jacob Jordaens (1593 — 1678), a pupil of Van Noort, was Rubens' s most intimate friend and collaborates, but, though he is not inferior to the great master in colour, yet he frequently degenerates into coarseness and vulgarity. His pictures abound in the Netherlands, in churches, public buildings, and private galleries. His Triumphal Entry of the Prince of Nassau, executed in fresco, in the House in the Wood, near the Hague, is usually considered his masterpiece. Another fine work by Jordaens is a Young Satyr in the Amsterdam Gallery. An Adoration of the Shepherds, and a Last Supper in the Antwerp Gallery, also a Crucifixion in the church of S. Paul in the same city, only show how ill-adapted his style is for sacred subjects. His favourite subject was the old Flemish proverb, "Zo de Ouden zongen, zo pypen de Jongen." Examples are in several galleries. The Miracle of S. Martin, who is healing a demoniac before the pro-consul, and an allegory of the occupations and gifts of the Autumn, of much more sober colouring, though it loses nothing of its brilliancy, both in the Brussels Gallery, are two of his best works. Abraham van Diepenbeeck (1607 — 1675) first studied art as a painter on glass, but afterwards gave himself up to acquiring, as far as possible, the style of his great master, Rubens. He painted in Italy and in Antwerp. He stayed in England for several years during the reign of Charles I., and was much patronized by the Duke of Newcastle.