Flemish school; XVII century."Dancing scene in the gardens".Oil on copper.It presents faults in the pictorial surface and in the support.It has a Dutch frame of the twentieth century.Measurements: 57 x 73 cm; 77 x 94 cm (frame).A group of people meet in this scene, located in an exterior of palatial character. All of them are recreating themselves in an activity and are divided into independent groups. Both the attitudes, the environment and the clothing invite the viewer to think that these are characters of a high social position, as they represent the wealth, abundance and perhaps also the sophistication of the court. Beyond this representation, the scene also instigates to reflect allegorically, since the author proposes in the same scene different actions that allude directly to the senses, such as sight, hate and smell, represented by the great protagonist garden, and hearing through the musical instruments seen in the foreground. One of the characteristics to take into account is the architecture, not only represented by the great palace that is arranged in the right zone of the composition, but also by the presence of diverse architectures of classic cut but of fanciful conception, that reminds to a great extent to the type of ephemeral constructions that were commissioned to decorate the urbanism, in the commemorative days. These ephemeral architectures are reminiscent of the works of Hans Vredeman de Vries (Low Landscapes, 1527 - Antwerp, 1607), who was not only a painter and architect, but also a garden designer and military architect.This type of representation, closely linked to the amateur cabinet genre, which originated in Flanders, may have developed for two reasons. Firstly, because of the impulse of the devotio moderna and the influence of Holland with respect to the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and material, the sensitivity to the seemingly insignificant, made the Flemish artist commune with the reality of everyday life, without seeking any ideal alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect and masterful technique and a conceptual subtlety in the lyrical treatment of light.