e. A more Netherlandish work, both in feeling and in treatment, is
the _Pieta_ in the Gallery at Brussels.

IAN SCOREL, born in 1495, was a pupil of Mabuse, and appears to have
been the first to introduce the Italian style into his native
country--Holland. When on a pilgrimage to Palestine he happened to pass
through Rome at the time his countryman was raised to the papal dignity
as Adrian VI., and after painting his portrait he was appointed overseer
of the art treasures of the Vatican. Returning to Utrecht, where he
died, he painted the picture of the _Virgin and Child_, with donors,
which is now in the Town Hall.

A fine portrait by Scorel of Cornelius Aerntz van der Dussen is in the
Berlin Gallery.

The decided and strongly realistic style in which Quentin Massys had
painted scenes from common life, as for instance the Misere or Money
Changers, became the model for various painters in their treatment of
similar subjects. First among these was his son, JAN MASSYS, born about
1500, who followed closely but rather clumsily in his father's
footsteps, and need only be mentioned for carrying on the tradition.
More interesting were the Breughels, namely, PIETER BREUGHEL the elder,
born about 1520, called Peasant Breughel, and his two sons Pieter and
Jan. Old Breughel is best studied at Vienna, where there are good
examples of his various subjects, notably a _Crucifixion_ and _The Tower
of Babel_--both dated 1563--and secular scenes like _A Peasant Wedding_
and a _Fight between Carnival and Lent_, which are full of clever and
droll invention.

His elder son, Pieter, was called Hell Breughel, from his choice of
subject. He is far inferior to his father or to his younger brother Jan,
called Velvet Breughel, born in 1568. Though more especially a landscape
painter, Jan also takes an important place in the development of subject
pictures, which, though seldom rising above a somewhat coarse reality,
are of a lively character, and worthy forerunners of the more
accomplished productions of Teniers, Ostade, and Brouwer.

It is in portrait painting, however, that the Netherlandish School
chiefly distinguished itself during its decline in the seventeenth
century, and had all its sons remained in the country to enhance its
glory, it is probable that the effect on the general practice of
painting would have been more than beneficial. But portrait painters
have not always been content to sit at home and wait for sitters to come
to