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516 Painting treatment. In the National Gallery, he is only represented by a Portrait of a Girl. Pieter van Bloemen (1649 ? — 1719) went when still young to Pome, where he remained some considerable time — sufficient to become imbued with an entirely Italian style of painting. His pictures frequently represent skir- mishes of cavalry — whence his name of Standaart — and landscapes ornamented with figures and architecture. (d) Franco-Flemish Painters. We may here mention a few artists who all copied the French style of painting of the period — more especially in regard to landscape. Several of them became disciples of Gaspard Poussin, at Rome. They stand in a half-way position between the painters of the Flemish revival under Rubens and the new school which has lately arisen in Belgium. Philippe de Champagne (1602 — 1674) spent the greater part of his life in Paris. In the Louvre there are the Legend of S. Gervasius and S. Protasius ; a Last Stepper, a cold imitation of the celebrated one by Leonardo da Vinci ; a Dead Christ, lying on a winding-sheet ; and also the Education of Achilles, shooting with a bow and in chariot races. De Champagne, as a portrait painter, is greater than as a historic painter. His faults are less sensible, his good qualities more prominent. In the National Gallery are his Three Portraits of Cardinal de Richelieu — a full face and two profiles, in one frame — painted for the Roman sculptor, Mocchi, to make a bust from. Jacobus van Artois, frequently called Jacques d'Arthois