In accordance with a custom of the time, he was placed as a page in the house of a nobleman of Antwerp. To the talented and restless boy this life was intolerable, and he soon induced his mother to allow him to enter the studio of Van der Haeght, a resident artist of some repute and a close follower of Italian Art. He was only thirteen at this time. Here he learned to draw skillfully and, through the influence of his teacher, he acquired a love of landscape art which never left him. From Van der Haeght and his mild but correct art, Rubens, feeling his weakness in figure work, went to the studio of the irascible and forcible painter Van Noort, about whom critics have delighted to tell stories of brutality.

Such are the main features of a Doric temple (those last mentioned not being peculiar to the Doric style). Little has been said thus far of variation in these features. Yet variation there was. Not to dwell on local differences, as between Greece proper and the Greek colonies in Sicily, there was a development constantly going on, changing the forms of details and the relative proportions of parts and even introducing new features originally foreign to the style. Thus the column grows slenderer from century to century. In early examples it is from four to five lower diameters in height in the best period (fifth and fourth centuries) about five and one half, in the post classical period, six to seven.

Such are the main features of a Doric temple (those last mentioned not being peculiar to the Doric style). Little has been said thus far of variation in these features. Yet variation there was. Not to dwell on local differences, as between Greece proper and the Greek colonies in Sicily, there was a development constantly going on, changing the forms of details and the relative proportions of parts and even introducing new features originally foreign to the style. Thus the column grows slenderer from century to century. In early examples it is from four to five lower diameters in height in the best period (fifth and fourth centuries) about five and one half, in the post classical period, six to seven.

In accordance with a custom of the time, he was placed as a page in the house of a nobleman of Antwerp. To the talented and restless boy this life was intolerable, and he soon induced his mother to allow him to enter the studio of Van der Haeght, a resident artist of some repute and a close follower of Italian Art. He was only thirteen at this time. Here he learned to draw skillfully and, through the influence of his teacher, he acquired a love of landscape art which never left him. From Van der Haeght and his mild but correct art, Rubens, feeling his weakness in figure work, went to the studio of the irascible and forcible painter Van Noort, about whom critics have delighted to tell stories of brutality.