510 Painting His so-called chef-d' oeuvre, an altar-piece in the of Deurne, near Antwerp, was long ascribed to Rubens. Sandrart and Houbraken consider him the best painter on glass of his time. He is also famous for his designs for book illustrations. Theodoor van Tulden (1607 ?— 1676 ?), painter and en- graver, was one of Rubens's favourite pupils ; he helped him in his design for the triumphal arches erected on the occasion of the entry of Ferdinand into Antwerp, and also assisted in his Apotheosis of Marie de Medicis. Erasmus Quellinus (1607 — 1678), under Rubens's able tuition, became a tolerably good painter. He aimed higher than his master's style, but did reach his mark. The museum and churches of Antwerp possess good speci- mens of this master. His son, Jan Erasmus Quellinus (1634 — 1715), also a painter, visited Italy in 1640, and there studied the works of Paolo Veronese. His works are usually large and by no means good, and in them, more especially as regards colour, one sees signs of the decline of Flemish art. His chief claim to fame is based on his composition, which is generally very fair. The museum and churches of Antwerp contain several of his works. Other disciples of Rubens, who are not worthy of separate notice, were Deodaat del Mont, Cornells Schut, Frans Wouters, Willem van Herp, and Pieter van Mol. (c) The later Antwerp School. We must now return to the painters of Flanders, who were not pupils of Rubens, though a few of them w T ere imitators of his style. David Teniers, called "the elder " (1582—1640) to
