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 In Antwerp. 511 distinguish him from his more illustrious son, learned first from his father Julian Teniers, and is also said to have studied under Rubens. After a lengthened residence at Rome, where he received instruction from Elshaimer, Teniers returned to Antwerp, where he painted until his death. The Dresden Gallery contains seven works by him, all landscapes, or genre pictures, his favourite sub- jects. The National Gallery possesses three of these Landscapes with figures. Daniel Zegers (1590—1661), the "Jesuit of Antwerp," studied under Jan Brueghel at the time when that artist was a flower-painter. Of his pictures the Dresden Gallery contains six, and numerous specimens are in most of the public galleries of the Continent. He was, without ex- ception, the best flower-painter of his time. Jan Fyt (1609 — 1661) is without exception, next to Snyders, the finest of the Flemish animal painters. He especially excelled in painting the fur of animals and the plumage of birds. Of the numerous genre painters of Belgium of the period under review, David Teniers (1610 — 1690) holds the very highest rank. He was the son of the artist of the same name, of consider- able power, and is indeed said to have been the founder of the great Flemish School of genre painting; he enjoyed the instruction both of his father and of Rubens, without however, being sufficiently influenced by either of them to lose anything of his own distinctive character. He was not only the best delineator of his day of the manners and customs of his cotemporaries in every rank, but the greatest genre painter of any period. The leading characteristics of his style are force, combined with lightness