He had several pupils. Of these Quiryn van Brekelenkam (1620?-1668)
holds a respectable place among the Small Masters of Holland, as we
see from his _Consultation_ (No. 2337) in this collection rather than
from his _Monk Writing_ (No. 2338). Herman van Swanevelt (1620-1655),
who from his journeys south earned the name of Herman of Italy, gives
us three _Landscapes_ (Nos. 2584-2586). Karel de Moor (1656-1738),
a native of Leyden, who has signed his _Dutch Family_ (No. 2477),
worked under both Dou and Frans van Mieris the Elder (1635-1681). The
latter owes much of his technique and meticulous work to Dou, as is
revealed by a hasty inspection of his _Tea Party_ (No. 2471), with two
over-dressed women taking tea, and three other panels (Nos. 2469, 2470,
and 2472). Ary de Vois (1632-1680) was a pupil of the German painter N.
Knupfer and of his own countryman Abraham van den Tempel (1622-1672),
who is here represented by a _Portrait of a Lady with an Apple_ (No.
2586A); but he also came under the influence of the painter of the
_Dropsical Woman_ (Plate XXXII.), as is testified by his small interior
_Portrait of a Man_ (No. 2606), his _Portrait of a Painter at his
Easel_ (No. 2607), and his feeble _Woman cutting a Lemon_ (No. 2608).
Traces of Dou’s art are seen in J. A. van Staveren’s (1624?-1668)
_Philosopher in his Study_ (No. 2577); but P. C. van Slingelandt
(1640-1691) was a direct pupil. His _Dutch Family_ (No. 2568) is said
to have been bought by Louis XVI. from an English brewer, and the
_Portrait of a Man_ (No. 2569) and _Kitchen Utensils_ (No. 2570) have
long been in the collection. The _Magdalene_ (No. 2570A) and _St.
Jerome_ (No. 2570B) were bequeathed to the Louvre.
[Illustration:
PLATE XXXIII.—TERBORCH
(1617-1681)