Of Brueghel’s two sons, Pieter the younger, known as “Hell” Brueghel,
is not represented at the Louvre, which, on the other hand, boasts
possession of eight examples from the brush of “Peasant” Brueghel’s
second son, Jan (1568-1625), known to fame as “Velvet” Brueghel, either
owing to his love of splendid apparel or to the velvety softness of his
brush. He began as a still-life and flower painter, in which capacity
he often collaborated with Rubens. Having journeyed to Rome in 1593, he
devoted himself more exclusively to landscape enlivened with many small
figures, for which some Scriptural or mythological subject generally
provided the excuse. Where his pictures contain figures on a larger
scale, they are generally put in by Rubens, Rottenhammer, or Van Balen.
The last-named is certainly responsible for the figures in _Air_ (No.
1920), one of a series of the Four Elements, painted by Jan Brueghel
for his Roman patron, Cardinal Federigo Borromeo, in 1621. To the same
series belongs _Earth_, or _The Earthly Paradise_ (No. 1919), a subject
often repeated by him, as for instance in the versions at The Hague
and at Budapest. Of his other pictures at the Louvre _The Bridge of
Talavera_ (No. 1925), and the _Landscape_ (No. 1926), are signed and
dated BRUEGHEL, 1619, and J. BRUEGHEL, 1620, respectively. _The Battle
of Arbela_ (No. 1921) is a characteristic work with many minutely
wrought figures. The _Landscapes_ (Nos. 1923 and 1924) are of doubtful
authenticity, and were formerly attributed to Paul Bril. They are not
now exhibited.
There are scarcely any Flemish characteristics in the art of Paul
Bril (1556-1626), the younger brother and pupil of Matthias Bril. He
was born at Antwerp, but worked nearly all his life in Rome. There is
little to distinguish this precursor of Poussin in the art of landscape
from his Italian contemporaries. In _Duck Shooting_ (No. 1908), _Diana
and her Nymphs_ (No. 1909), and _Pan and Syrinx_ (No. 1911) the figures
are believed to have been painted in by Annibale Carracci. _The
Fishermen_ (No. 1910) bears his signature PA. BRILLI, and the date 1624.