TENIERS scape, but occasionally biblical and mytho- logical subjects ; his earlier works are heavy tone and crude in colour, while in his in later pictures he approached, in freedom of treatment and harmony of colour, the man- ner of his famous son. Works : Rocky Landscape, Conversation, Playing at Bowls, National Gallery, London ; Christ on Mount of Olives, Seven Works of Mercy, St. Paul's, Antwerp ; Transfiguration (1615), Church at Dendermonde ; Landscape, Brussels Mu- seum ; do. with Castle, Brunswick Gallery ; Bleachery, Interior of Peasant Boom, Bam- berg Gallery ; Temptation of St. Anthony, Berlin Museum ; Peasant's Frolic by a Tav- ern, Cassel Gallery ; do., Darmstadt Muse- um ; Dutch Kirmess (2), Landscapes (4), Dutch Bleachery, Dresden Gallery ; Smoker and Tippler, Ferdinandeum, Innsbruck ; Kocky Ravine with Figures, Peasant carry- ing a Pole, Old Pinakothek, Munich ; Tav- ern Interior, Oldenburg Gallery ; Tempta- tion of St. Anthony, Gypsy Women in a Ravine, Schwerin Gallery ; Smoking Room (2), Stockholm Museum ; A Painter at his Easel (1641), Two Landscapes, Hermitage, St. Petersburg ; Pan with Nymphs and Sa- tyrs, Vertumnus outwitting Pomona, Juno demanding lo of Jupiter, Mercury putting Argus to Sleep (1638), Landscapes (4), Vi- enna Museum ; Physician with a Bottle, Uffizi, Florence ; Temptation of St. An- thony, Dutch Kitchen, New York Museum. F. J. van den Branden, 752; Ch. Blanc, Ecole flamande ; Immerzeel, iii. 130 ; Kramm, vi. 1608 ; vii. 145 ; Michiels, vii. 428 ; Rooses (Reber), 385 ; Van den Branden, 750. TENIERS, DAVID, the younger, born in Antwerp, baptized Dec. 15, 1610, died at Perck, near Brussels, April 25, 1690. Flem- ish school ; genre, landscape, and portrait painter, son and pupil of David the elder ; developed under the influence of Rubens, and especially of Brouwer. Master of Ant- werp guild in 1632, its dean in 1644-45, was made court painter to Archduke Leopold I Wilhelm, governor of the Netherlands, and j settled, between 1648 and 1652, in Brus- sels, where he was received into the guild in 1675. He was the prime mover in the foundation of the Antwerp Academy in 1663. Equally favoured by Leopold Wil- helm 's suc- cessor, Don Juan of Austria, who is said to have studied under him ; he received important commis- sions from Philip IV. of Spain, and marks of esteem from Queen Christina of Sweden and the great in England and other coun- tries. The Count of Fuensaldana sent him I to England to buy works by the Italian masters. He holds the first position among the genre painters of Flanders. Picturesque arrangement, exquisite harmony of colour- ing in all details, and a light and sparkling touch characterize his pictures, in which ! two periods may be distinguished the ear- lier, up to 1640, in which a somewhat heavy brown tone prevails, gradually attaining, up to 1644, a luminous golden tone, and the later, up to 1660, in which he changed into a cool silvery hue ; after that he again adopted a decided golden tone. In 1660 he published in Brussels a work containing about 200 engravings of pictures of the Italian and Flemish schools in the Arch- duke's gallery, executed from small copies made by himself from the originals. Of these copies 120 were sold in the Blenheim Palace sale (1886) for 2,002 10s. Works : Music Party, Boors Regaling, The Money- Changers. Players at Tric-Trac, eleven oth- ers, National Gallery, London ; Boors Danc- ing (1645), Frolic in Village Courtyard (1649), Detachment of Civic Guard (1657), seven others, Buckingham Palace, ib.; Al- chemist, Village Festival, five others, Bridge- water Gallery, ib. ; Landscape (1649), Farm- er's Family, two others, Grosvenor Gallery, 7
