The result of this intellectual and artistic movement was stupendous. While the Récollets and Capuchins, Carmelites, Brigittines, Ursulines and Clarisses worked among the poor, the Jesuits succeeded in capturing the upper classes. All the children of the rich bourgeoisie and the nobility attended their schools and colleges, and, in 1626, the number of pupils with their parents who had entered the Congregation of the Virgin reached 13,727. One might say that the Jesuits had taken intellectual power from the hands of the laity in order to wield it for the benefit of the Church. From their ranks rose all the most prominent men of the period, philosophers like Lessius, economists like Scribani, historians like the Bollandists, physicians, mathematicians, architects and painters.
The direct result of this clericalization of Art and Letters was to thwart the progress realized during the last century by the vulgar tongue. Latin replaced French in philosophy, history and science, and even in literature the elite preferred to express themselves in the classic tongue. Flemish was completely disdained. According to Geulinx, "it ought not to have been heard outside the kitchen or the inn." This period, which from the artistic point of view was marked by such bold innovations, favoured a reaction towards the mediæval use of Latin in preference to the vulgar tongue. But Latin was not read by the people.
Rubens was not only the most successful religious painter of his time, he was also the favourite and ambassador of Albert and Isabella, the great courtier and portrait painter and the decorator of the Luxemburg Palace in Paris. He not only paid court to the Church, he also placed his talent at the service of the sovereigns and nobles of his day, and certainly the encouragement given by the latter to pagan subjects may account for the leniency of the Church towards them. In 1636 the King of Spain ordered from the Antwerp master fifty-six pictures illustrating the _Metamorphoses_ of Ovid, destined for his hunting lodge near Madrid. Rubens's pupil, Van Dyck, was the accomplished type of the court painter of the period. His portraits of Charles I and of his children and of Lord John and Lord Bernard Stewart are among the best-known examples of the work he accomplished in England.