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 A 
 
 HAND-BOOK 
 
 HISTORY OF PAINTING. 
 
 DR. FRANZ KUGLER. 
 
 PART II. 
 
 THE GERMAN, FLEMISH, AND DUTCH 
 SCHOOLS OF PAINTING. 
 
 TRANSLATED FROM THE GERMAN BY A LADY. 
 
 EDITED, WITH NOTES, 
 
 SIR EDMUND HEAD, BART. 
 
 LONDON: 
 JOHN MURRAY, ALBEMARLE STREET. 
 
 1840.
 
 LONDON : 
 GEORGE WOODFALL AND SON,
 
 stack 
 Annex 
 
 5 
 
 CONTENTS. 
 
 Editor's Preface, p. iii. 
 
 General Literary Materials for the Study of the History of old 
 German, Flemish, and Dutch Painting, p. xlv. 
 
 BOOK I. 
 
 Earliest German Painting Productions of the Ninth to the Thir- 
 teenth Century. 1 7. 
 
 BOOK II. 
 
 The German Style Works of the Thirteenth to the Fifteenth 
 Century. 813. 
 
 BOOK III. 
 
 Independent Development of Flemish and German Art. 
 
 CHAPTER I. Masters of the Fifteenth Century. 14. 
 
 A. The old Flemish School. 15-20. 
 
 B. German Schools. 2125. 
 CHAPTER II. Masters of the Sixteenth Century. 26. 
 
 A. Albert Diirer, his Scholars and Followers. 2729. 
 
 B. - Saxon Schools. 30, 31. 
 C.-The School of Holland. 32. 
 
 D School of Upper Germany. 33 35. 
 E. Masters of the Netherlands and their Followers. 
 36-38. 
 
 BOOK IV. 
 
 Northern Art under Italian Influence. Masters of the Sixteenth 
 Century. 39, 40. 
 
 2015257
 
 BOOK V. 
 
 Revival of Northern Art. Masters of the Seventeenth Century. 
 Introduction. 41. 
 CHAPTER I. Historical Painting. 42. 
 
 A. School of Brabant. 43- 45. 
 
 B. School of Holland. 4648. 
 
 C The Imitation of Italian Art. 49. 
 CHAPTER II. Genre Painting. 5057. 
 CHAPTER III. Landscape Painting. . 58 68. 
 CHAPTER IV. Animal Painting Still Life, &c. 6972. 
 CHAPTER V. A Glance at Modern Art in the Netherlands. 
 
 73. 
 
 Additions and Corrections, 3oa. 
 Index, 357.
 
 EDITOR'S PREFACE. 
 
 THE Editor is conscious that this second part of 
 Kugler's Hand-book of Painting appears under great 
 disadvantages. The volume already published bears 
 on its title-page the name of an editor, in whom 
 literary acquirements are combined with a most 
 extensive knowledge, and with first-rate excellence 
 in the practice of that art to which the book relates 
 The reader will remember that such qualities can- 
 not be expected often to meet in one and the same 
 person, as the editor of a popular manual, and he 
 will look with indulgence on the remarks of a mere 
 amateur, in whom scanty opportunities for observa- 
 tion, and a sincere love of the productions of art, 
 will have to supply the place of so much*. 
 
 The volume now published contains the old Ger- 
 man, together with the Dutch and Flemish schools. 
 The Spanish, French, and English schools will form 
 a third. For this departure from the original plan 
 of the work there are several reasons. It has been 
 
 * The Editor has received all the information and assistance 
 which he could desire from Mr. Eastlake, Mr. Gruner, and Mr. 
 Ford, the author of the excellent Hand-book of Spain, recently 
 published, and he takes this opportunity of acknowledging his 
 obligations to these gentlemen.
 
 VI EDITORS PREFACE. 
 
 felt that to compress the whole into a single volume, 
 when the Editor's notes were added, would be ex- 
 ceedingly difficult; whilst Kugler's sketch of the 
 History of the English School appeared rather too 
 slight for the readers of this country, though per- 
 haps sufficient for the German public, when con- 
 sidered in relation to the whole subject. The ac- 
 count of the Spanish school too will probably be 
 re- written ; the Editor has had some opportunities 
 of making himself acquainted with the works of 
 the schools of Seville and Madrid, though he has 
 no knowledge of that of Valencia, beyond what can 
 be gleaned in the Museum of the capital. 
 
 With reference to what this volume professes to 
 furnish, the Editor trusts it will be borne in mind, 
 that he pretends to no such critical knowledge as 
 would enable him to give a decisive opinion on the 
 genuineness of a particular work, or would justify 
 his undertaking to settle a disputed point in the 
 history of art, on the internal evidence of a picture. 
 He has ventured in one or two instances, however, 
 to express his own views of the merits of what he 
 has seen; his main object has been to append to 
 the text information necessary to supply omissions 
 in the original, or such as may interest the ordinary 
 English reader, though in itself of a common-place 
 character. It must be remembered that he has not 
 endeavoured to enumerate all the pictures of a master 
 which are to be found even in this country. The
 
 EDITORS PREFACE. Vll 
 
 utmost he could do was to point to those which are 
 at once most remarkahle, and most easily accessible, 
 as specimens to which the reader might refer. 
 
 Having thus explained the nature and profes- 
 sions of the volume now presented to the public, 
 the Editor may be allowed to advert to some ques- 
 tions connected with the theory of art, which, it 
 appears to him, may be very fitly discussed at the 
 commencement of a work treating of the schools of 
 Germany and the Low Countries. The masters of 
 these schools have been the subjects of exaggerated 
 contempt and exaggerated praise ; whilst they are 
 despised by some as deficient in that much misun- 
 derstood quality, the Ideal, they have been lauded 
 by others as the only genuine imitators of nature. 
 
 In art, as in many other branches of human 
 knowledge and industry, exclusiveness or the ten- 
 dency to depreciate that which does not at once con- 
 form to our own taste and feelings, is a fertile source 
 of error and of mischief. Such a disposition de- 
 prives mankind of the free and unrestrained enjoy- 
 ment of much which is calculated to cheer and 
 improve them. There was a time when amateurs 
 in this country thought only of the grand style of 
 painting, and the works of the great Italian masters 
 (often, by the way, meaning the later Bolognese 
 school) ; and then again there have been and are 
 many who have either lacked the opportunity or 
 have shrunk from the exertion of so cultivating the
 
 viii EDITORS PREFACE. 
 
 taste and elevating the feelings, as to enable them to 
 enjoy the great works of the Southern schools, and 
 who thus remain absorbed in the high finish and the 
 minute nature of the Dutch and Flemish masters. 
 Some can see no beauty in Kubens on account of his 
 coarseness; others cannot appreciate Pietro Peru- 
 gino or Fra Angelico, because they are stiff and hard. 
 Just as at one moment the classical rules of Vitru- 
 vius are upheld as the sole standard in architecture, 
 and at another, pure taste is supposed to be shown 
 by an extreme admiration of Gothic buildings. The 
 Cathedrals of Cologne and Strasburg were once 
 treated as the work of barbarians, and now St. 
 Peter's runs some risk of being talked of as no- 
 thing but a splendid error. 
 
 Each set of principles in its turn becomes exclu- 
 sive: the fashion shifts and oscillates m rtrt as in 
 other things, and it is always easier to assume supe- 
 rior knowledge by the skilful use of a sneer, than 
 it is really to feel the value of works which are beau- 
 tiful in their own way, though unlike each other. 
 Nor does it follow that men are free from this sort 
 of illiberal feeling, because they refuse to follow the 
 fashion of the day in matters of taste : there are 
 persons who cling with a sort of perverse vanity to 
 some peculiar fancy of their own, just because it is 
 opposed to that fashion, and who unreservedly pro- 
 scribe as heretical in art everything which does not 
 conform to their own standard of orthodoxy.
 
 EDITOKS PREFACE. IX 
 
 In truth, however, in the works of art as in those 
 of nature heauty is various ; the sources of pleasure 
 are manifold in both, and one of the most mis- 
 chievous impediments in the way of all improve- 
 ment, and all true enjoyment, is this feeling of ex- 
 clusiveness. It is interesting to speculate on the 
 causes of such a disposition to narrow our capacity 
 for receiving pleasure, and it would certainly be pro- 
 fitable to show that no such fastidious limitation is 
 necessarily implied by the nature of art itself. We 
 should thus vindicate for the Northern schools the 
 praise wlu'ch is their due, without allowing them to 
 withdraw our admiration from the merits of the great 
 Italian painters ; and therefore it is, as has been said, 
 that a few words on such a subject may properly be 
 prefixed to a history of Dutch and Flemish painting, 
 though they involve in some degree a discussion of 
 the general principles of the arts of design *. 
 
 The difficulty of seizing the common principle 
 which pervades all the fine arts, has been much en- 
 hanced by the very disposition already described, to 
 refer to some one particular school, or some favourite 
 examples, as the sole measure of excellence, and 
 then to reject, as unworthy of a moment's considera- 
 
 * Whenever the expression " the fine arts" is used in this preface 
 it is meant to include music, poetry, and architecture, with sculpture 
 and painting : the term " arts of design " is limited to the two last, 
 with their subsidiaries, such as modelling, engraving, &c. &c.
 
 X EDITOK 8 PBKFACE. 
 
 tion, all that does not more or less conform to this 
 arbitrary standard. 
 
 The fine arts differ from each other in one or 
 more of three points, that is to say in the sub- 
 ject itself which is treated, in the manner in which 
 that subject is conceived by the artist, or in the 
 means by which the conception of the artist is con- 
 veyed to the spectator or the hearer. In architec- 
 ture the principle of imitation is from the nature of 
 the case completely subordinate to utility ; and the 
 general qualities of beauty of form and proportion 
 are its principal points of contact with sculpture and 
 painting ; all these three, however, agree, in appeal- 
 ing to the eye. In music, on the other hand, imi- 
 tation is generalized and deprived of its more defi- 
 nite character ; but as architecture and sculpture have 
 their common principles in form and proportion, so 
 music and poetry have theirs, in the fact that they 
 produce their effect through the ear, and in the prin- 
 ciples of rhythm and metre. No subjects, again, 
 which can be treated by painting or sculpture, can be 
 wholly incapable of being dealt with by poetry. 
 Whatever a man can model, or can trace on the can- 
 vass, must first be embodied in his own mind, and 
 the form it there assumes may be in some sort de- 
 scribed by the poet. Such an idea may of course be 
 more or less fit for being conveyed in words, and 
 after all any description may be necessarily defective
 
 EDITORS PREFACE. XI 
 
 still it is not wholly impossible. But the converse 
 is not true; there are many subjects which the poet 
 can describe, at any rate imperfectly, and there are 
 many sources of pleasure to which he can have re- 
 course, which are wholly beyond the reach of the 
 painter or the sculptor. There are conditions of ac- 
 tion and modes of expression entirely inconsistent 
 with the means and the materials employed by the 
 arts of design : the difference of the subjects acces- 
 sible to them on the one hand, and to poetry on the 
 other, will thus often be implied by their respective 
 natures. For instance, with the poet, words are the 
 instrument, and with those words he forms proposi- 
 tions, which whether in his own mouth, or in those 
 of his personages, necessarily assert, whilst it is evi- 
 dent that the arts of design can never assert. Nor 
 can any single work of theirs present a succession 
 of images their mode of representation is moment- 
 ary: that is to say, the qualities of a scene or a 
 person must be conveyed in painting or sculpture by 
 the selection of some single point of time which is 
 conceived by the artist as a whole, and fixed in the 
 colour or in the marble as sufficient to tell the story, 
 or reproduce the characteristic qualities of the man. 
 To explain this a little more fully, in telling a 
 story the painter will seize the moment which most 
 completely implies all that has preceded, and all 
 that is to follow; his accessories will aid him in 
 making the tale intelligible; his work is to be a
 
 Xll EDITORS PREFACE. 
 
 drama, consisting of a single scene*. The power of 
 effecting this object is one that characterises the 
 highest masters, nor can anything be named more 
 essential than such an instinct of suggestion. In 
 portraits too, or in a single statue, there is room for 
 similar and perhaps equal excellence. The charac- 
 ter of the individual, his past career, and the habits 
 of thought resulting from it, are to be as it were 
 fixed and concentrated in the single figure before us, 
 to be afterwards evolved from its rigid and un- 
 changing features by the mind of successive specta- 
 tors. It is of course impossible that this effect can 
 be produced in all cases, especially on uncultivated 
 and ignorant spectators ; nor can the artist know, or 
 if he knew, could he re-embody in a single view all 
 that forms the complex nature of an individual ; his 
 object, therefore, is to seize what is most character- 
 istic, and what implies least previous knowledge as 
 essential in the spectator, whilst it is best adapted to 
 the means of representation which he has at his com- 
 mand. If such a view of the task of a portrait 
 painter is at all a correct one, we cannot wonder that 
 good portraits are so rare, nor should we be disposed 
 to class them when successful among the inferior 
 productions of artf. 
 
 * The attempts of some of the early masters to introduce suc-- 
 cessive events into the same picture, only go to show that the dif- 
 ficulty was felt, and that the evasion of it is inconsistent with the 
 conditions of the art itself. 
 
 j- See, with reference to the points discussed above, the Editor's
 
 EDITORS PREFACE. 
 
 The subject then treated by the painter, may be 
 the same as that selected by the poet, but the mode 
 of conception proper to each art must in some de- 
 gree differ, and must have relation to their respec- 
 tive means for communicating the creations of their 
 own minds to others. The painter besides being 
 limited to the single moment, and debarred from the 
 successive and cumulative action on the feelings 
 which is possessed by the poet must necessarily 
 dwell on qualities and on circumstances such as are 
 capable of being set forth visibly by colours on a flat 
 surface. He must endeavour to make these quali- 
 ties as significant of all which he cannot attempt 
 to imitate directly, as his means will allow. The 
 second point, therefore, the mode of conception, is 
 necessarily affected by the third ; that is to say, by 
 the means which each art employs as the medium 
 of expression. These means thus impose on the 
 artist conditions by which the original idea of his 
 work, as well as its technical execution, is in a 
 great degree regulated and defined. In what man- 
 ner such conditions ought to affect the choice of an 
 artist's subject, and to regulate the extent to which 
 he should attempt to imitate nature, is matter for the 
 deepest reflection. The rules which have been de- 
 
 Preface to vol. i. p. xii. of this Hand-book, and Rumohr Italienische 
 Forschungen.
 
 EDITORS PREFACE. 
 
 veloped from the habitual consideration of these 
 principles, are in fact what constitutes style. 
 
 Mr. Eastlake, in his preface to the former volume 
 of this Hand-book, has well shown that these regu- 
 lating principles of taste may be either such as are 
 common to all the arts of design, and are dictated 
 by the general relation which those arts bear to 
 nature ; or they may be such as are peculiar to each 
 art, being dependent on the means specially em- 
 ployed by each, and therefore controlled by the rela- 
 tion which that particular art bears to its kindred 
 arts. These two sets of principles he has properly 
 treated as forming the groundwork respectively of 
 general and specific style. 
 
 It may be worth while to illustrate this point more 
 fully. If we compare the means employed by paint- 
 ing with those adopted by sculpture, and the 
 characteristic qualities of each art as depending on 
 these means, we shall be struck with the greater 
 power of painting to represent emotion and transitory 
 feeling, whilst sculpture can pourtray, more succes- 
 fully perhaps than painting, the broad and permanent 
 lines of character. Painting employs colour *, and 
 
 * It is unnecessary to observe that the use of colour, which 
 without doubt prevailed in connection with ancient sculpture, was 
 of a different kind. Its application there was purely subsidiary to 
 sculpture, and its object was to secure a successful display of form. 
 Its application in painting is far more extensive, and is peculiar to 
 the latter art.
 
 EDITORS PREFACE. XV 
 
 can deal with the eyes, in which feature particularly a 
 momentary expression is often manifested ; sculpture 
 on the other hand has the advantage in the modelling 
 of the forehead, and of those lines about the mouth 
 in which character is especially seen. The power of 
 dealing with the eyes affords great facilities to a painter 
 in telling a complicated story, or in giving unity to 
 a group of figures. The direction in which the eyes 
 of the principal figure in a picture look, may give 
 the key to the whole. Painting moreover enables 
 the artist to connect his figures, and explain his 
 meaning completely through the medium of acces- 
 sories and subordinate objects. Independently, 
 therefore, of such subjects as landscape, which can- 
 not be said to be fitted for sculpture at all, there are 
 many points in which the specific style of the two 
 arts imposes very different conditions on every step 
 in the process to be gone through by the artist : the 
 choice of his subject, his mode of conceiving and 
 treating that subject when chosen, and his manner 
 of conveying his own conception to the spectator, 
 would all in their turn be affected most materially 
 by such considerations. It will thus follow that we 
 cannot apply the same standard as the measure of 
 skill, in the case of the sculptor and the painter, 
 without probably foregoing the characteristic excel- 
 lencies of both arts. 
 
 Mr. Eastlake has further shown, that within cer- 
 tain limits a work may compensate for what is
 
 Xvi EDITORS PREFACE. 
 
 defective in its subject, or in the treatment of that sub- 
 ject, as viewed in relation to nature, by its excellence 
 as a picture. In other words, that a certain viola- 
 tion of the principles of general style may be made 
 up for by peculiar merits., as regards specific style ; 
 for instance, the scene embodied in a work of 
 Rubens may be coarse and revolting ; the associations 
 may be such as disgust rather than delight us, yet 
 that very work probably gives the full vigorous 
 effects of flesh and blood, such as no other painter 
 ever attained, joined with the utmost physical rich- 
 ness of colour, and wonderful harmony of composi- 
 tion. Such a picture, therefore, may produce, upon 
 the whole, far more pleasure than pain, and may 
 claim a very high place as a painting ; since that 
 which is faulty in the moral associations suggested 
 by it, or in the individual form, may be made up for 
 in some degree by its other merits. 
 
 It is true that no such picture can be, as a work 
 of art, absolutely perfect ; it is true, also, that the 
 qualities thus supposed to compensate for one ano- 
 ther are not, strictly speaking, commensurable. Yet 
 when we talk of the "merit of a picture," all this has 
 to be considered, and it is owing to such a principle 
 of compensation that the judgments of connoisseurs 
 and of the public so often differ. When this is the 
 case, both parties probably go too far. A technical 
 eye, fully conscious of their value, assigns too much 
 weight to the qualities of specific style, and treats
 
 EDITORS PREFACE. XV11 
 
 them as counterbalancing defects of a general cha- 
 racter, such as are necessarily offensive to the lay 
 spectator. The latter, on the other hand, sees these 
 defects in their full deformity, and makes no al- 
 lowance for qualities which neither practical know- 
 ledge of the art, nor any hahitual training of his 
 own mind, has taught him to appreciate. The 
 lesson, however, to be learnt from all this is 
 one of great toleration in estimating the works of 
 any master or any school. How can there be any 
 one fixed and certain kind of excellence, which 
 excludes all others, when the sources of pleasure 
 are various in themselves, and when the principle of 
 compensation adverted to above must and will ope- 
 rate on our minds ? 
 
 It may fairly be assumed, that the essential qua- 
 lity of all successful works of art, is their power to 
 produce, upon the whole, a balance of pleasurable 
 sensation. The three principal sources of this plea- 
 surable feeling in the arts of design, are first, form ; 
 secondly, colour, and light and shade ; thirdly, the 
 moral feelings and mental associations awakened by 
 the work and its story. 
 
 Of these the last is common to all the fine arts, 
 and it is unquestionably at once the most im- 
 portant and the most difficult to deal with. But 
 the others are evidently essential to the work. A 
 picture speaks to us through the eye : the eye is so 
 formed by nature as to derive pleasure from a cer-
 
 EDITORS PREFACE. 
 
 tain symmetry, and from certain combinations of 
 colour and of light : these conditions, imposed as 
 they are by the physical structure of the organ 
 through which the impression is received, cannot be 
 neglected with impunity. No intrinsic beauty in the 
 story represented will make that work a good picture 
 in which the painter has neglected to attend to form 
 and colour : the panel may be'curious as a record, 
 or useful as conveying a moral, but it will not be a 
 work of art. On the other hand it has been observed, 
 that the effects of form and colour may lessen, 
 though they cannot entirely remove, disgust at the 
 story told in the picture ; they may satisfy the eye 
 of the artist and the connoisseur in some degree, 
 when the full deformity of the work is felt by the 
 ordinary spectator : but this is the necessary result 
 of all technical or professional cultivation : means 
 come to be partially considered as ends, and if they 
 were not so treated, the progress towards excellence 
 would be far slower and more uncertain than it is ; 
 for it is not every mind which can estimate the rela- 
 tive worth of each department of the subject on which 
 it is engaged. More than ordinary vigour and clear- 
 sightedness must exist in that individual who can, 
 at the same time, properly appreciate the subordi- 
 nate character of mere technical skill, and yet strive 
 with undiminished energy to attain it. 
 
 To follow this somewhat further at the risk of re- 
 petition we shall find that as certain combinations
 
 EDITORS PREFACE. 
 
 of sounds produce pleasure through the ear, so cer- 
 tain combinations of colour and of chiaroscuro pro- 
 duce pleasure through the eye, though they do not 
 necessarily suggest any definite mental image. A 
 work may be, like Poussin's pictures, admirable on 
 account of its qualities of form and composition, 
 whilst its colour is defective : again, it may have the 
 brilliant colour of Etroens, or the light and shade of 
 Kembrandt, combined with ugliness in the indivi- 
 dual form. That work no doubt will possess the 
 highest merit which unites the three elements of 
 pleasurable sensation properly balanced and mutually 
 supporting each other that is to say, in which the 
 subject or story is pleasing in itself, and in which 
 the form as well as the colour and chiaroscuro are 
 appropriate to the subject, whilst in themselves they 
 are such as afford physical pleasure to the eye. All 
 this is requisite in a perfect work, but it does not 
 follow that a picture may not possess high merit 
 which wants one or more of these qualities. It does 
 not follow that excellence in the qualities of specific 
 style, when unaccompanied by other merits, is to be 
 rejected as worthless, and that consequently no 
 schools but those which may be called classical are 
 to be considered as capable of affording pleasure 
 by their productions, and that too as works of art, in 
 the proper sense of the word. 
 
 These principles of toleration toleration, not of 
 ichat is lad, but of excellence of different kinds
 
 EDITORS PREFACE. 
 
 are capable of being widely applied: they -would 
 teach us to reject exclusive doctrines in our estimate 
 of old pictures of different ages and schools, as 
 compared with one another, and in our apprecia- 
 tion of modern works as compared with those of 
 the earlier masters. The naivete of the early 
 German and Italian painters, the earnest simplicity 
 with which they conceived and expressed the de- 
 votional subjects treated by them, and the moral 
 beauty of those subjects themselves, may excite 
 our admiration, without disqualifying us for duly 
 admiring the brilliant breadth of light and shadow 
 of Eembrandt, or the genuine truth and humour of 
 Wilkie. 
 
 I have said nothing of one subordinate kind of 
 pleasure which exists, without doubt, in connection 
 with the arts of design the pleasure derived from 
 contemplating a successful imitation of any object, 
 and recognizing it as such. Imitation, however, is 
 a mean, not itself the end, of those arts : if higher 
 qualities be wanting, the most successful imitation 
 is a mere piece of handiwork. In the same man- 
 ner too mere technical execution or power of hand 
 may excite admiration, and enhance other qualities, 
 but it will never of itself make a good picture, or a 
 good statue. 
 
 With regard to imitation, however, it is difficult 
 to leave untouched one question which materially 
 affects, or is supposed to affect, the merits of the
 
 EDITORS PREFACE. XXI 
 
 classical schools of art, as compared with any other. 
 This question is the Ideal*: a subject so wide, and 
 which has been so much and so angrily disputed, as 
 to leave little hope of saying anything satisfactory 
 upon it within the limits of a preface. Yet it is one 
 which can hardly be passed, over unnoticed, espe- 
 cially as the want of feeling for the Ideal is one of 
 the current accusations urged against the Dutch 
 and Flemish schools. 
 
 It appears to have been held by many writers 
 and many artists, that an artist must improve 
 and ennoble nature by having recourse to some 
 storehouse of grand forms existing in his own imagi- 
 nation : at the same time, it is not easy to get a 
 distinct and definite statement of what is meant by 
 expressions similar to these : perhaps the following 
 passage from Meyer and Schulze's notes to Winkel- 
 mann may be taken as boldly implying, if it does 
 not set out in words, the theory in question : 
 
 " The works of ancient art would neither have 
 deserved nor have obtained the reputation which 
 they enjoy, had it not been for the predominance of 
 that Ideal which was imagined by each artist inde- 
 pendently of external objects (frei gedichtet], and 
 
 On this topic particularly Baron v. Rumohr's remarks, in his 
 Italienische Forschungen, are most valuable, and have supplied 
 the substance of much that follows. See also C. O. Miiller, de 
 vita et operibus Phidiae, p. 63.
 
 XX11 EDITORS PREFACE. 
 
 which stood complete before his mental eye. If 
 Phryne were all that was faultlessly beautiful in 
 form, and if she gave Praxiteles every opportunity 
 for studying her form, still his Cnidian Venus was 
 no portrait of her ; since portraits require the imi- 
 tation of individual features, and ideal forms exclude 
 individual features. If, according to the analogy of 
 all the remaining works of Greek art, we are com- 
 pelled to believe that the celebrated Cnidian Venus 
 of Praxiteles was an ideal statue of the goddess 
 an universal symbol of the highest female loveliness 
 and beauty of form then we must maintain, on 
 irresistible grounds, that this statue resembled every 
 beautiful woman that the most beautiful that ever 
 lived must resemble it. Inasmuch, therefore, as 
 Pliryne was endowed with extraordinary beauty, the 
 ancients could believe and maintain with truth that 
 the master- piece of Praxiteles resembled her." * (Win- 
 kelmann's Werke, Dresden, 1811, vol. iv. note 158.) 
 Now, in this passage it seems to be distinctly 
 implied, not merely that most individual models are 
 imperfect, and may be improved by omitting certain 
 defective peculiarities, or supplying that which is 
 requisite from the imitation of better forms, but 
 that no individual model, however beautiful, can 
 
 * It may be observed in passing, that such a generalized notion 
 of portraiture, as existing in this statue, is scarcely consistent with 
 the words of Athenaeus, lib. xiii. p. 591 .
 
 EDITOR S PREFACE. XX111 
 
 possess that indescribable something essential to the 
 highest works, simply because it is individual; 
 that is, in other words, because it really exists. 
 
 The artist's first business is to conceive in his 
 own mind, distinctly and forcibly, the scene or the 
 person to be represented : his next step must be to 
 find forms corresponding to the idea which he has 
 so conceived, and to embody in those forms the con- 
 ception which he wishes to convey to others. Such 
 forms must, no doubt, be appropriate to the object 
 in view, and they must be significant of those quali- 
 ties and feelings which it is intended to express. 
 They must, moreover, be such as are free from acci- 
 dental defects. The question at issue is, where are 
 these forms to be found ? 
 
 Is there any source whence they can be drawn, 
 other than the endless variety of individual forms 
 presented to us by nature ? Surely, it is among these 
 that he must look, and among these, under favour- 
 able circumstances, the form in which to clothe 
 the image he has conceived will be found by the 
 artist. Assuming that a form has been found thus 
 suited to the subject, so far from the artist possess- 
 ing any power of amending or improving it, the 
 work will be better in proportion as it approaches 
 (subject to certain conditions imposed by the 
 material) to the truth of individual nature ; and so 
 far as it departs from that truth, it will be diluted 
 down to a vague generalization, deficient in the sub-
 
 XXIV EDITORS PREFACE. 
 
 stance and the life so essential to all excellence in 
 the arts. It was thus that the Greeks stamped on 
 the statues of their gods and heroes a double cha- 
 racter of reality and grandeur. The nicest discern- 
 ment and the finest taste selected and appropriated 
 to a hero, or to a faun, the form which exactly 
 fitted the conception of the artist, and the real 
 spirit of the subject: that form was repeated in 
 the marble with the utmost technical skill, and with 
 an adherence to nature as close as the laws imposed 
 by the material would permit. 
 
 The sentiment of the work, like the feeling which 
 pervades a poem, is the creation of the artist's own 
 mind, and we are, of course, only treating of the Ideal 
 so far as regards the physical form in which the 
 .sentiment is to be embodied. If that form is taken 
 at random, or is not raised in character so as to 
 suit the conception, it will be deficient in ideality ; 
 if, on the other hand, it is properly selected, and 
 exactly suit the feeling of the artist, no such want 
 will be perceived merely because it is individual. 
 It may be, and in fact it must be, difficult in most 
 cases, to find individual forms which in all respects 
 serve to express the artist's thought : defects caused 
 by accident or disease will have to be omitted ; and 
 the artist's previous studies must enable him to 
 make that appropriate which would fail to be so 
 without some aid of the kind. This does not, how- 
 ever, bear out the extreme theory of the Ideal,
 
 EDITORS PKEFACE. XXV 
 
 properly so called. Let the model exactly suit 
 the conception which the artist wishes to convey, 
 and he cannot imitate it too closely ; its indivi- 
 duality will he a merit instead of a defect. The 
 real question is, whence are the accidental imper- 
 fections of ordinary models, or common nature, as 
 it is called, to be supplied ? Have we any evi- 
 dence that another source of original forms exists 
 except the visible world around us ? Is there any 
 store of innate images, exceeding nature in beauty, 
 stamped on the mind of the artist, and capable of 
 being reproduced at will by him ? Assuredly such a 
 doctrine would require the most stringent proof, 
 and could only be rendered probable at all by the 
 total impossibility of accounting otherwise for the 
 phenomena of art. Nor is it by the mere mechanical 
 selection of parts belonging to different models, that 
 a successful result can be produced ; but the true 
 theory of the ideal is, upon the whole, well stated by 
 Burke, in his letter to Barry, (see Prior's Life of 
 Burke, vol. i. p. 421,) " Without the power of com- 
 bining and abstracting, the most accurate knowledge 
 of forms and colours will produce only uninteresting 
 trifles : but, without an accurate knowledge of forms 
 and colours, the most happy power of combining 
 and abstracting will be absolutely useless ; for there 
 is no faculty of the mind which can bring its 
 energy into effect, unless the memory be stored with 
 ideas for it to work upon. These ideas are the 
 VOL ir. b
 
 XXvi EDITOBS PREFACE. 
 
 materials of invention, which is only a power o 
 combining and abstracting, and which, without sucl 
 materials, would be in the same state as a paintei 
 without canvass, board, or colours. Experience is 
 the only means of acquiring ideas of any kind ; anc 
 continual observation and study of one class o. 
 objects, the only way of rendering them accurate. 
 
 " The painter who wishes to make his pictures 
 (what fine pictures must be) nature, elevated anc 
 improved, must, first of all, gain a perfect knowledge 
 of nature* as it is. 
 
 " It is not by copying antique statues, or by giving 
 a loose to the imagination in what are called poetica 
 compositions, that artists will be enabled to pro 
 duce works of real merit, but by a laborious anc 
 accurate investigation of nature upon the principles 
 observed by the Greeks : first, to make themselves 
 thoroughly acquainted with the common forms 
 of nature, and then, by selecting and combining, tc 
 form compositions according to their own elevatec 
 conceptions. Homer and Shakspeare had probably 
 never seen characters so strongly marked as thost 
 of Achilles and Lady Macbeth ; at least, we ma] 
 safely say that few of their readers have, anc 
 yet we all feel that these characters are drawn fron 
 nature ; and thus, if we have not seen exactly the 
 
 * By nature here is meant the objects which chance constantly 
 to present themselves. See p. xxxiv.
 
 EDITORS PREFACE. XXV11 
 
 same, we have seen models and miniatures of them. 
 The limbs and features are those of common nature, 
 but elevated and improved by the taste and skill of 
 the artist. This taste may be the gift of nature, the 
 result of organization ; and the skill may be acquired 
 by habit and study; but the groundwork, the know- 
 ledge of the limbs and features, must be acquired by 
 practical attention and accurate observation." 
 
 The subject, however, is best dealt with by touch- 
 ing in some measure on the history of the doctrines 
 alluded to, and this course, in truth, furnishes the 
 best means for their refutation. 
 
 It seems probable, that among the ancients them- 
 selves, at least in later times, there existed two sets 
 of opinions, corresponding pretty nearly to those of 
 the idealists on the one hand, and on the other to the 
 extreme view which would uphold illusive imitation 
 as the object and end of art. Some expressions of 
 Quintilian, and the well-known passage of Cicero 
 (Orator, ii. 9), scarcely admit, perhaps, of being 
 explained otherwise than as favourable to the ideal; 
 whilst more than one quotation might be made 
 from Pliny, which would seem, like the passage in 
 Plutarch (de audiendis Poetis, iii.), to make illusion 
 the test of excellence *. It does not appear likely 
 
 * Quintilian, xii. 10, says of Polycletus, " Nam et humanae 
 formse decorem addiderat supra verum," &c. 
 
 Cicero, Orator, 9 : " Nee vero ille artifex (Phidias) quum faceret 
 Jovis formam, aut Minervse, contemplabatur aliquam e quo simili-
 
 EDITORS PREFACE. 
 
 that either theory, as such, had much influence 
 during the "better ages of Greek art : in truth, the 
 discussion of doctrines of this kind may be almost 
 called (as Fuseli said of academies) " a signal of 
 art in distress." In modern times, such early at- 
 tempts as Cimahue's Virgin, are necessarily vague 
 and general in their forms, because they are the 
 first steps from paintings which were nothing 
 more than conventional symbols or types: such, 
 too, were the early statues of Canachus. In the 
 same manner as in ancient art the promise of future 
 life is visible in the Eginetan marbles, so in 
 modern painting the germs of reality to be deve- 
 loped hereafter are seen in Giotto. It remained for 
 Phidias among the ancients, and Michael Angelo 
 among the moderns, to subdue, each in the lifetime 
 
 tudinem duceret : sed ipsius in mente insidebat species pulchritu- 
 dinis eximise qusedam, quam intuens in eaque defixus ad illius simi- 
 litudinem artem et manum dirigebat. " 
 
 It appears to me impossible to explain this latter passage, espe- 
 cially if taken with what precedes it, except on the ideal theory, 
 though C. 0. Miiller, de Vita et operibus Phidise, p. 63, n. c. 
 says, " sed veliui Ciceronem non ex mente idealistarum explices." 
 
 This last-named writer has stated the case with his usual ability 
 and thorough knowledge of art (ibid. p. 61). " Nam et id (the ideal 
 theory) formas quasdam atque numeros et rationes invenit et 
 condidit et sanxit quodammodo, quse pulcriores credebantur quam 
 quas natura rerum usquam offerret, itaque iis, quos eo pulcritudinis 
 genere ornatos volebat, sicut diis suis Epicurus, non corpus sed 
 quasi corpus, non sanguinem sed quasi sanguinem, impertiebat 
 At profecto pulcrum illud, quod in rerum natura non est, nihil est, 
 neque quidquam ea pulcrius ne cogitari quidem potest."
 
 EDITORS PREFACE. XXIX 
 
 of a single man, the influences which continued to 
 impede and block up the approach to nature. It 
 may he regretted that this process, in the case of 
 Michael Angelo, was not completed without some 
 sacrifice of simplicity, and some taint of mannerism ; 
 but this position of the great leader in modern art 
 he alone is, and ever will be, entitled to claim. 
 
 Now, if we look to the manner in which the 
 contemporaries of Giotto judged of his efforts to 
 emancipate art from her thraldom to types and 
 symbols, we shall find that a reference is always 
 made to what seemed to them his wonderful imita- 
 tion of external nature. 
 
 Giovanni Villani (lib. xi. 12) calls him " quelli 
 che piu trasse ogni figura ed atto al naturale." Bo- 
 caccio (Giorno, vi. nov. 5.) says, " hebbe uno in- 
 gegno di tanta eccellenza, che niuna cosa dalla 
 natura madre di tutte le cose ed operatrice col con- 
 tinuo girar de' cieli, fu, che egli con lo stile e con 
 la penna 6 col pennello non dipignesse si simile a 
 quella, che non simile, anzi piu tosto dessa paresse :" 
 &c. Thus, too, the old chronicle praised Meister 
 Wilhelm of Cologne, in the words " Er malet einen 
 als wie er lebte." (Passavant, Kunstreise, s. 405.) 
 This was to them the measure of merit, and though 
 illusion be a faulty test, yet it excludes the suppo- 
 sition that the guiding principle of these revivers of 
 art was any fancy of the ideal. The predecessors 
 of Kaphael, such as Domenico Ghirlandaio, and
 
 XXX EDITORS PREFACE. 
 
 Benozzo Gozzoli, imitated nature carefully enough, 
 as we know from their works. The masters of the 
 Umhrian school, who bequeathed to Raphael him- 
 self the simplicity of the old types imbued with a 
 beauty such as the traditional church-painter never 
 dreamt of, inhaled that beauty, so far as their means 
 would allow, through the contemplation of real 
 nature. The anatomical studies of Leonardo or 
 Michael Angelo, and the diligence of Raphael, do 
 not support the doctrine, that a painter must think 
 out his forms independently of human models. 
 
 Where then do we find the earliest trace in 
 modern times of the doctrine of the Ideal, properly 
 so called ? 
 
 It seems to occur in the celebrated letter of 
 Raphael to Balthasar Castiglione, in which he 
 speaks of the Galatea. In this letter he certainly 
 says, " Ma essendo carestia e di buoni giudici e di 
 belle donne, io mi servo di certa idea che mi viene 
 alia mente." Now, it is rather remarkable that in 
 the Roman edition of the Lettere Pittoriche, some 
 words were omitted from the sentence preceding 
 that just quoted*, which alone would go far to 
 
 * See the translation of Quatremere's Life of Raphael, by 
 Longhena, p. 528, note, on the authority of which the state- 
 ment in the text is made. The sentence is omitted also in 
 the Milan edition of 1822. The letter is printed complete in 
 Passavant's Raphael, vol. i. s. 533. The passage translated in the 
 text is as follows in the original : " Delia Galatea mi terrei un 
 gran maestro se vi fossero la meta delle tante cose che V. S. mi
 
 EDITOR'S PREFACE. xxxi 
 
 destroy a sense such as the idealists have wished 
 to affix to the latter. These words are, " che per 
 dipingere una hella mi bisogneria veder piu belle ;" 
 and this portion of the letter may be translated as 
 follows. 
 
 Balthasar Castiglione had written to Kaphael, 
 praising his Galatea : to which Raphael answers 
 
 " As regards the Galatea, I should esteem myself 
 a great master if the half what your lordship writes 
 of that work were true : but I recognize in your 
 words the affection which you bear to me, and I tell 
 you that to paint a beautiful figure I must see others 
 more beautiful on condition, too, that your lordship 
 were with me to select that which was the best, 
 But, as good judges and handsome women are both 
 scarce, I avail myself of a certain idea which sug- 
 gests itself to my mind. Whether this has any pre 
 tence to excellence in art I know not : I strive hard 
 to attain to it." 
 
 The original passage, as it is printed by Passavant, 
 is given in the note ; and certainly nothing can be 
 imagined less favourable to the doctrine of the Ideal, 
 in its usual sense, than the expressions of this letter. 
 Instead of saying that he does not want external 
 
 scrive : ma nelle sue parole riconosco Pamore che mi porta, e le 
 dico che per dipingere una bella mi bisogneria veder piu belle, 
 con questa condizione che V. S. si trovasse meco a fare scelta del 
 meglio. Ma essendo carestia e di buoni giudici e di belle donne, 
 io mi servo di certa idea che mi viene nella mente. Si questa ha 
 in se alcuna eccellenza d'arte, io non so : ben m'affatico d'averla."
 
 xxxii EDITOR'S PREFACE. 
 
 nature as a model, he says that the hest models and 
 the best judgment in selecting from them are essen- 
 tial to his success ; those models were the materials 
 on which, as Burke says, he was to exercise his powers 
 of combining and abstracting. 
 
 There seems no necessity, therefore, for resorting 
 to the supposition that Raphael might have adopted 
 the fashionable tone of his friends about the Papal 
 court, and thus, as it were, have Platonized in his 
 letter to Castiglione. Nor would even the mutilated 
 words necessarily imply more than his dissatisfac- 
 tion with the forms which he could at that moment 
 obtain, and the assertion that his own memory, 
 stored as it was already by diligent study of real life, 
 supplied something which could improve bad models ; 
 not that it would make up for the want of good ones, 
 or that his imagination had derived its materials 
 from some source independent of individual objects. 
 This latter interpretation is the only one which 
 could assist the supporters of the pure ideal theory. 
 Perhaps Michael Angelo's sonnet to Vasari must 
 be held to advocate such a doctrine, when he says 
 
 " Se con lo stile, 6 coi colori avete 
 Alia Natura pareggiato Parte, 
 Anzi a quella scemato il pregio in parte 
 Che'l bel di lei piu bello a noi rendete." 
 
 In the same tenor, too, are Vasari's observations 
 after his visit with Michael Angelo to Titian, of whom
 
 EDITORS PREFACE. XXX111 
 
 he says, " Non puo farebene di prattica da se " but 
 it is unnecessary to quote the passage at length : we 
 all know what practical success, as compared with 
 that of Titian, this " fare da se" had in the hands of 
 Vasari and his fellows. 
 
 To continue, however, our observations on the 
 doctrine of the Ideal, without professing to give an 
 express history of it, we may observe, that Winkel- 
 mann, when he devoted himself to the study of 
 art, came to the subject with a deep feeling of 
 respect for what were considered its true and re- 
 cognized principles. These he derived mainly from 
 Mengs and Oeser, artists of a debased period and 
 an insipid school. Passages certainly occur in 
 Wiukelmann's works which appear at variance 
 with his own good sense, and his deep and lively 
 feeling for the real beauties of ancient sculp- 
 ture. 
 
 It is not very easy to say what precise theory was 
 held by Sir Joshua Eeynolds : in his discourses he 
 sometimes clings to the vagueness of the pure 
 idealists, and talks of " reducing the variety of na- 
 ture to the abstract idea ; " yet he was well aware 
 that " this great ideal perfection and beauty are not 
 to be sought in the heavens, but upon the earth." 
 We may perhaps receive the " abstract idea" in the 
 first of these two passages as bearing the same 
 meaning as abstraction in the letter of Burke quoted 
 above : but the contrast between the variety of na- 
 
 b3
 
 xxxiv EDITOB'S PREFACE. 
 
 ture and the abstract idea, as something free from 
 the taint of individuality, makes the sense suspicious 
 Sir Joshua himself was mainly a portrait painter : 
 as such he necessarily conformed to individual 
 nature, but had he, unfortunately for art, habi- 
 tually " reduced the variety of nature to the abstract 
 idea," his works could not have enjoyed the reputa- 
 tion which they now so deservedly possess. As ii 
 is, he will always live as a great master : his picture* 
 are flesh and blood, not mere abstractions ; the} 
 bear the stamp of reality and of individual life, anc 
 are executed on technical principles, carefully cullec 
 from the pictures of Rembrandt, Coreggio, Vandyck 
 and Rubens. The reverse is the case with Fuseli 
 his works are now comparatively forgotten, because 
 he cultivated that " fare da se" which Yasari re- 
 commended, and he is said accordingly to hav< 
 complained that " nature put him out." 
 
 In attempting, however, to fix a definite meaning 
 on the words of those authors who have written or 
 art, we must admit that the Italian word " idea' 
 passed with all its vagueness and ambiguity intc 
 the jargon of art in all European languages. It it 
 exceedingly difficult on such a subject to seize ot 
 any statement of the purely ideal theory which car 
 be called clear and precise. The exhortations tc 
 cultivate the sublime are generally wrapped up in t 
 mystic solemnity of phrases, which sometimes seen: 
 to imply the extreme opinions I have endeavoureC
 
 EDITORS PREFACE. XXXV 
 
 to refute, and at others, resolve themselves into 
 what is pretty obvious namely, that every model 
 thrown in the way of an artist is not fit for every 
 subject, and that the accidental defects of an indivi- 
 dual form before him must be omitted or corrected, 
 by a reference, not to some unknown creation of his 
 own mind, but to the recollection or the reality of 
 finer forms, and better models. The cardinal point 
 of difference between the two theories is this ac- 
 cording to one, under the most favourable circum- 
 stances, and with the purest taste for selection, the 
 artist can create a degree of beauty which surpasses 
 any individual form, simply because the latter is indi- 
 vidual : according to the other, it is admitted that 
 most individual models have some defects, but that 
 the correction of these defects must be drawn from 
 the contemplation of other individual forms, and that 
 forms may and do exist which the artist cannot 
 copy too closely in which the individual character, 
 that is, in other words, the life and reality of nature, 
 will be, if he can attain to it, a source of the highest 
 excellence, not a subject for censure. In correcting 
 the defects of the model before him at the moment, 
 his recollection of finer models is better than no- 
 thing : but the reality of those finer models would 
 be better than the recollection. 
 
 The fact is, however, that many of those persons 
 who have been most fluent in their praise of the 
 Ideal, have had a very indistinct notion of their own
 
 EDITORS PREFACE. 
 
 meaning. At one time the feeling was definite 
 enough : the vague mannerism of the Eclectic 
 painters produced exaggerated adherence to what 
 was called " Nature," on the part of the " na- 
 turalists." * The theory of the pure Ideal was the 
 direct antithesis to the doctrine of this latter school, 
 who asserted in practice, if not in words, that it was 
 right to adhere to the reality of the world around 
 them so closely, as to adopt any form which happened 
 to present itself, and apply it to every subject which 
 they wished to paint ; the former, shocked hy the 
 violation of all propriety, exaggerated and main- 
 tained more strongly than ever the power and the 
 necessity of surpassing and elevating nature. 
 Painters like Caravaggio, and some of the Nea- 
 politan masters, would occasionally take a model 
 at random, and set a beggar or a clown to represent 
 a saint or a hero : thus painting with all the vulgar 
 associations of common life the highest and most 
 pathetic subjects, and depriving them of their real 
 force and beauty. They erred, not because they 
 imitated nature, but because they imitated nature 
 in a form unsuited to their end, and perhaps other- 
 wise offensive. According to their view, by the 
 word " Nature" we were to understand any single 
 object which accidentally presented itself, without 
 selection and without reference to its fitness for 
 conveying any particular conception. In this sense, 
 
 * See vol. i. of this Hand-book, p. 412.
 
 EDITORS PREFACE. XXXV11 
 
 undoubtedly, it will be true that the painter and the 
 sculptor must refrain from the imitation of nature. 
 But nature does not necessarily mean this, or any- 
 thing Like this, and there is an ambiguity in the 
 word as applied throughout these arguments. At 
 one time it is taken to signify, as has been said, 
 any chance object; at another the aggregate of the 
 visible world around us, from which aggregate must 
 be derived by the artist that form which best fits the 
 feeling of his subject. Now in the latter sense it is 
 clear either that nature, and nature only, is the ulti- 
 mate source of every image conceived by the artist, 
 or that we must maintain the existence of certain in- 
 nate types or forms in the mind of every great genius 
 types which are supposed not to be the result of 
 contemplating the natural objects round us, but to 
 have been drawn in some mysterious manner from 
 the invisible world. When thus nakedly stated, how- 
 ever, there are few or none who would maintain the 
 doctrine of the Ideal ; and the dispute might pro- 
 bably resolve itself into the question of how far in 
 practice it is necessary to omit certain defects, and 
 improve portions of most individual models, by com- 
 bining the result of the study or the recollection of 
 such as may be more perfect in those portions. It 
 has probably too been felt with truth that a minute 
 and rigid study of individual nature will often taint 
 with these accidental imperfections the works of those 
 masters who devote themselves to it. In this shape
 
 xxxviii EDITOR'S PREFACE. 
 
 the question would be a very narrow one, and would 
 assume a totally different aspect. 
 
 If, however, we reject the pure Ideal, we must still 
 admit that genius is shown in working up the 
 materials furnished by the study of individual ob- 
 jects into an organic whole; and tliis is true of each 
 single figure, as well as of a whole composition. If 
 the artist, like Kaphael in the Galatea, is obliged to 
 use imperfect models, it is not merely by patching 
 up what is wanting, and glossing over what is 
 offensive in each successive form, that beauty can 
 be produced. A great master will organize the 
 whole, as if it were naturally and properly so com- 
 posed; he will " abstract and combine," in the 
 sense of Burke. Still, to return to the point, all the 
 elements employed by an artist are derived from the 
 study of external nature only, not from the imagina- 
 tion of the artist : nay more, as has been stated, no 
 effort of the greatest genius ever has, or ever will, 
 surpass or equal the appropriate forms existing in 
 individual life ; provided only those forms be pro- 
 perly selected, the closer the adherence to them the 
 better will be the work. 
 
 What reasoning seems to teach us, all the history 
 of art confirms. Has any school ever existed, or 
 any single artist ever painted, independently of the 
 peculiarities of the external world around them ? 
 Do we not recognize in the productions of their 
 respective schools the characteristic forms of the
 
 EDITOR'S PREFACE. xxxix 
 
 Greek race, and the local character of the Venetian, 
 Siennese, or old Cologne masters ? Yet if their forms 
 were merely the reflection of a sort of Platonic type 
 existing in the mind of all great masters, why should 
 they have been so powerfully and so universally 
 modified by the accidents of place and country ? 
 
 There remains to be discussed one more point, 
 which has concurred with the ambiguity of the word 
 nature, and with the indistinct consciousness that 
 certain conditions limiting literal imitation were 
 imposed by the material in which an artist works, to 
 give to the advocates of the pure Ideal a show of 
 reason. This point is the influence of a type, by 
 which is to be understood such a similarity of cha- 
 racter as is visible in certain subjects treated by a 
 succession of ancient sculptors, or by the early 
 Christian painters. The forehead of Jupiter, the 
 slender proportions of Diana, the short compact 
 limbs of the early Apollo, were all characteristics 
 of this kind; and there can be no doubt that, taken 
 together with the necessary influence of style, many 
 peculiarities of Greek art, really owing to this prin- 
 ciple, have been referred to some faculty for improv- 
 ving nature implanted in the artist. 
 
 Such a perseverance in the use of the same, or of 
 kindred forms and features, may be traced to two 
 sources : in some cases, as probably in the two first 
 of the instances referred to above, the adoption of 
 these peculiarities was owing to the natural fitness of
 
 xl EDITOR'S PREFACE. 
 
 the form to the poetical idea of the being to be 
 represented, but the form itself had evidently to be 
 sought out and selected, not invented, by the artist. 
 In other cases, it has arisen frpm a religious re- 
 verence for the traditional character impressed in 
 earlier times on the statues or pictures of heroes and 
 divine beings; or which has so been appropriated 
 to them, as to have become essential to their indi- 
 viduality. As art advanced, types referable to the 
 former of these two classes would be developed and 
 adhered to, whilst those of the latter would in very 
 many instances be softened down, fade away, and 
 become extinct. Art has derived much benefit from 
 the influence of particular types ; the very indi- 
 vidual existence which they seem to give to the 
 being with whom they are connected, in itself 
 increases the impression of reality; we recognize 
 the characteristic form with which our earliest asso- 
 ciations have linked the name of the person repre- 
 sented. Independently too of such associations, 
 and the undoubted influence which they thus 
 exercise, a certain adherence to a given type has a 
 manifest tendency to prevent the intrusion of vulgar 
 form and character where it would be inappropriate, 
 and it acts as a powerful safeguard against affecta- 
 tion and exaggerated expression. That such a 
 modified observance of an ancient type is not in- 
 compatible with the highest perfection of art, we 
 may learn from the Greeks. They are in nothing
 
 EDITOR'S PREFACE. xli 
 
 more admirable than in the power which they 
 showed of grafting on the rude block derived from 
 early superstition, that perfect beauty, to which the 
 utmost technical skill and the most refined taste 
 could alone attain. Excellence of a similar kind is 
 most striking too in the works of Eaphael's middle 
 time ; in these, the head of Christ contains all the 
 dignity, and awakens all the associations connect- 
 ed with the early Byzantine type, whilst there is 
 breathed over it a beauty true to nature, and an 
 expression such as matured art could alone bestow *. 
 
 * See particularly on this subject, W. Grimm, die Sage vom 
 Ursprung der Christus-bilder, Berlin, 1843, s. 6. A very curious 
 volume has lately been published, which shows the long continuance 
 of types in the Greek Church. It is entitled " Manuel d'lcono- 
 graphie Chretienne Grecque et Latine." The translator from 
 the Greek is M. Paul Durand ; the editor is M. Didron, who 
 procured the manuscript at Mount Athos. It is printed at the 
 Imprimerie Royale, Paris, 1845. The first part contains technical 
 receipts for colours, varnishes, &c. ; the second, explicit directions 
 for painting every person and every scene fit for church decoration. 
 It is curious to see how perfectly mechanical these conceptions 
 have become. Thus, for instance, the following paragraph appears 
 a p. 222 : 
 
 " THE PARABLE OF THE CANDLESTICK. 
 
 " Neither do men light a candle, &c.' Matt. v. 15. 
 
 " Description The temple : a priest preaching in a pulpit ; an 
 angel is whispering in his ear, and there is a great light round him. 
 Below, persons are listening attentively and lifting up their hands. 
 Christ blesses him from above, and says, according to the gospel, 
 ' Let your light so shine before men that they may see,' &c.'' 
 
 The third part of the manual instructs the artist where he is to
 
 xlii EDITOR'S PREFACE. 
 
 The particular manner in which a successful ad- 
 herence to types of this description may appear to 
 countenance the theory of the Ideal, need hardly 
 be set out at length. The process, however, is pro- 
 bably this : in contemplating a work in which the 
 ancient type is combined with truth to nature and 
 technical skill, we cannot but be conscious that an 
 element is present not derived immediately from 
 the study of any model before the artist : if this 
 element be wanting we feel the defect, and thus we 
 are led hastily to infer that the artist had the power 
 of elevating and improving the models which nature 
 set before him. The true solution of the difficulty 
 would seem to be that the type is a quality neces- 
 sarily connected with the person or the object to be 
 represented, and it thus forms part of that concep- 
 tion of the subject, in the mind of the artist, to 
 which an external form must be appropriate, if the 
 work is to be successful. Thus we may imagine 
 that Eaphael bore about with him, stamped on his 
 memory, the type of the Virgin which had been 
 transmitted down through successive painters of 
 earlier schools: this type, in a modified form, he 
 treated as an essential element in every conception 
 of the Virgin's face : if he sought a model from 
 which to paint that subject, he would select one 
 
 place the different subjects in the church, with reference to the 
 parts of the building. The manual is, according to the editor, still 
 in use.
 
 EDITOB'S PREFACE. xliii 
 
 consistent with so much of the type in question 
 as he deemed it necessary to preserve. But looking 
 to the doctrine of his own letter with reference to 
 the Galatea, would he not have considered himself 
 as working under greater advantages, when he had 
 found a peasant woman, whose face and form agreed 
 with the essential part of that conception, than 
 when he painted in the head from a defective model, 
 and supplied the higher character from his own 
 memory of other faces in other pictures ? Would 
 he have told us that he could have imitated too 
 closely a model of the former kind ? 
 
 An erroneous conclusion of the same sort is not 
 unfrequently drawn from the nature of style, espe- 
 cially as applied to sculpture. That by style, in its 
 proper and legitimate sense, is to he understood 
 those laws which the material employed by the 
 artist imposes, has been already stated to the reader. 
 These laws frequently require that nature should be 
 modified in imitating her, not because it is desirable 
 to make this change for its own sake, but because 
 certain defects in execution would otherwise result 
 from the imperfection of our materials, and would 
 mar the effect intended by the artist : the resem- 
 blance to nature, on the whole, would be less instead 
 of greater. Thus, for instance, the hard and uniform 
 substance of the marble cannot imitate the trans- 
 lucent effect of flesh, and some compensating prin-
 
 xliv EDITOR'S PREFACE. 
 
 ciple must occasionally be resorted to, to escape 
 from the unpleasing impression which would be 
 produced by a literal copy of the form in a material 
 of a different quality. The best illustration of this 
 fact, is to compare the cast, moulded from a face, 
 with a good bust ; or it may be understood by ob- 
 serving how the eyes in the antique are often set far 
 deeper than the eyes in nature ever are ; probably 
 because there is in the statue no eyebrow with its 
 shadow distinctly marked, and because the semi- 
 transparent and pulpy parts about the eyelids, would, 
 if copied exactly as to form, appear more prominent 
 in the uniform texture of the marble, than their 
 relative value, in connexion with the firm brow 
 and the cheek in nature, would warrant. 
 
 Now, all this, it will be seen at once, gives no 
 pretence for claiming the power of improving nature 
 from some ideal form ; but it is the result often the 
 unconscious result of that thorough knowledge of 
 the conditions of art, and their exact relation to 
 nature in her finest and best works, which the 
 ancients could boast in so wonderful a degree. 
 This is one of the reasons that the Ideal is best 
 studied in the antique. Many more illustrations of 
 this latter point, respecting style, might be given ; 
 but the most obvious examples are those connected 
 with sculpture. Accordingly the doctrine of the 
 pure Ideal has usually been based on an admira-
 
 EDITOR'S PREFACE. xlv 
 
 tion for ancient statues, and on the difficulty of 
 appreciating their relation to the living form. 
 
 It may be thought that more time has been spent on 
 the discussion respecting the Ideal, than is warranted 
 by its connexion with the subject of this volume, 
 or its own intrinsic importance more especially as 
 few will profess the theory in its full and complete 
 purity. The true nature of the doctrine, however, 
 is most important in forming an estimate of those 
 schools which have been peculiarly charged with 
 gross ignorance of its value ; and its practical ten- 
 dency, in the more mystical shape, has often been 
 highly pernicious to the success of art. It is pre- 
 cisely the highest class of minds which are most 
 exposed to danger, and most easily beguiled by the 
 apparent simplicity and elevation of the notions 
 floating about on this subject. It is men like 
 Fuseli, who, unfortunately, thus suffer their real 
 genius to be led away from the diligent observation 
 and study of nature, until they sink into the empti- 
 ness of mannerism. That vivid substance and that 
 reality which are essential to success in art, dis- 
 appear from their works, and are replaced by vague 
 and shadowy forms, in wliich fine general propor- 
 tions and the observation of classical rules cannot 
 compensate for the life and truth which are wanting. 
 Such life and truth the reader will find in the pic- 
 tures of v. Eyck and of Kubens, though he may miss
 
 xlvi EDITOR'S PREFACE. 
 
 other qualities which are highly desirable in them- 
 selves. Let him enjoy what is before him, and 
 endeavour to extend, rather than to narrow, his 
 capacity for deriving pleasure from the works of 
 different masters and different schools.
 
 GENERAL LITERARY MATERIALS FOR THE 
 
 STUDY OF THE HISTORY OF OLD GERMAN, 
 
 FLEMISH, AND DUTCH PAINTING. 
 
 CAREL VAN MANDER : Het Schilder Boeck. Amster- 
 dam, 1618. 
 
 This work contains the earliest collected information respecting 
 Flemish art, from the time of van Eyck, down to that of the 
 author, who died in 1606. An account of the various 
 editions of it will be found in Waagen, iiber H. und J. v. 
 Eyck, s. 11. ; the first was printed in 1604. 
 
 ARNOLD HOUBRAKEN: de groote Schouburgh der Ne- 
 derlantsche Kunstschilders en Schilderessen, (en ver- 
 volg op het Schilderboeck van C. van Man der). 
 Hague, 1753. 
 
 This is the most important book for the history of the seven- 
 teenth century. 
 
 JOH. VAN GOOL : de nicuere Schouburg der Neder- 
 lantsche Kunstschilders en Schilderessen. Hague, 
 1750, -51. 
 This relates to the later period of art in the Low Countries. 
 
 JACOB CAMPO WEYERMAN : de Levens Besckryvingen 
 der Nederlandsche Konstschilders en Konstschilder- 
 essen. Hague, 1729. 
 
 Containing a general view from the time of v. Eyck to that of 
 the author.
 
 XlVlll LITERARY MATERIALS. 
 
 JOACHIM VON SANDRART: Deutsche Akademie der Bau 
 Bildhauer und Malerkunst, 1675-79. 
 
 A new edition was published by Volckmann, at Nuremberg, in 
 1768-73. It is a work of importance with reference to 
 the contemporaries of the author, who was born the year of 
 v. Manders's death (1606), and died in 1688. 
 
 JOHANN NEUDORFFERS : Nachrichten von den vorne- 
 hmsten Kiinstlern und Werkleuten, so innerhalb 
 hundert Jahren in Niirnberg gelebt haben. 1546; 
 nebst der Fortsetzung von Andreas Gulden, 1660. 
 Nuremberg, 1828. 
 
 DOPPELMAYR : Nachrichten von den Niirnbergischeii 
 Kiinstlern. Nuremberg, 1730. 
 
 J. D. FIORILLO : Geschichte der zeichnenden Kiinste in 
 Deutschland und den vereinigten Niederlanden. 
 Hannover, 1815-20. 
 This is a very useful work. 
 
 FUESSLIN : Geschichte der besten Maler in der Schweiz. 
 Zurich, 1755, 56. 
 
 DLABACZ : Allgemeines historisches Kiinstler Lexicon 
 fur Bohmen. Prag. 1815. 
 
 K. SCHNAASE : Niederlandische Briefe. Stuttgart u. 
 Tubingen, 1834. 
 
 A. HIRT: Kunstbemerkungen auf einer Reise iiber 
 Wittenberg und Meissen nach Dresden und Prag. 
 Berlin, 1830.
 
 LITERARY MATERIALS. XllX 
 
 J. D. PASSAVANT : Kunstreise durch England und 
 Belgium. Frankfort, 1838. 
 
 This work has been translated into English, at least so far as 
 relates to this country : the original, however, is referred 
 to. 
 
 DR. G. F. WAAGEN : Kunstwerke und Kiinstler iii 
 England und Paris. 3 vols. 12mo. Berlin, 1838. 
 The portion of this book, also, which relates to England has 
 been translated, and was published by Mr. Murray, but the 
 original has been referred to, because the volume contain- 
 ing Paris is wanting in the translation. 
 
 DR. G. F. WAAGEN : Kunstwerke und Kiinstler iu 
 Deutschlaud. Leipzig, Vol. I. 1843, Vol. II. 1845. 
 This work, when complete, will throw great light on the various 
 collections scattered throughout Germany. 
 
 DR. Franz KUGLER : Handbuch der Kuustgeschichte. 
 Stuttgart, 1842. 
 
 (By the author of this Hand-book : a small portion only relates 
 to the history of painting. ) 
 
 GEORGE PIATHGEBER: Annalen der Xiederlandischen 
 Malerei und Kupferstecherkunst. Gotha, 1830-44, 
 fol. 
 
 The author attempts to give a complete list of the known 
 works of the artists referred to, as well as a chronological 
 history of the progress of art. It is a very useful book. 
 
 FiissLi : Allgemeines Kiinstlerlexicon. Zurich, 1779. 
 (With supplements of 1806 and 1824.) 
 
 NAGLER: Neues Allgemeines Kiinstlerlexicon. Munich, 
 1835. 
 This Dictionary is not quite finished, but contains more than 
 
 any other work of the kind. 
 VOL. II. C
 
 LITERARY MATERIALS. 
 
 DESCAMPS : Vies des Peintres Flamands Allemands et 
 Hollandais. Paris, 1753-04. 
 
 DESCAMPS: Voyage Pittoresque de la Flandre et du 
 Brabant. Paris, 1792. 
 
 D'ARGENVILLE: Abrege de la Vie des plus faineux 
 Peintres. 4 vols. 8vo. Paris, 1762. (2 vols. 4to. 
 Paiis, 1745.) 
 
 FELIBIEN : Entretiens sur les ouvrages des plus excel- 
 leus Peintres, aiiciens et modernes. Paris, 1G85. 
 
 F. X. DE BURTIN : Traite des connaissances qui sont 
 necessaires a tout amateur de tableaux. Brussels, 
 1808. 
 
 This book has just been translated, and published by Long- 
 man. 
 
 DE PILES: Abrege de la Vie des Peintres. Paris, 
 1699 and 1715. 
 
 DE PILES: Dissertations sur les ouvrages des plus 
 fameux Peintres, avec la vie de Rubens. Paris, 
 1681. 
 
 H. FOKTOUL : de 1'Art en Allemagne. 2 vols. Svo. Paris, 
 1842. 
 
 BETAX'S Dictionary of Painters and Engravers. 2 vols. 
 4to. London, 1816. 
 
 PILKIXGTOX : Dictionary of Painters. 4to. London, 
 1810, and subsequently in 8 TO.
 
 IJTERARY MATERIALS. K 
 
 SMITH : Catalogue raisonne of the Works of the most 
 eminent Dutch, Flemish, and French Painters. 
 8 vols. Svo. London, 1829-38. 
 
 BUCHANAN : Memoirs of Painting. London, 1824,. 
 2 vols. Svo. 
 
 J. T. JAMES : The Flemish, Dutch, and German Schools 
 of Painting. London, 1822, 2 vols. Svo. 
 
 WALPOLE : Anecdotes of Painting in England, edited 
 by Dallaway. London, 5 vols. Svo. 1826. 
 
 MRS. JAMESON : A Hand-book to the Public Galleries of 
 Art in and near London. London, 1842. 
 
 MRS. JAMESON : Companion to the most celebrated 
 Private Galleries of Art in London. London, 1844. 
 
 These two books of Mrs. Jameson's have supplied a want long 
 felt, in the manner which might have been expected from 
 her familiarity with the subject, and her good taste. 
 
 XOTE. It did not seem expedient to enumerate here 
 all the lives of individual artists, or all the books of a 
 mere local character, nor is it necessary to do more than 
 refer in passing to the lithographic works of so many 
 galleries, which are now publishing, or have recently 
 appeared. We have the Boisseree Collection, and the 
 Dresden and Munich Galleries are in progress, as well 
 as that of Madrid and other places. 
 
 I have felt some doubt whether, in a manual of this 
 kind, the reader, and particularly the traveller, is on the 
 whole assisted by the number of particular pictures-
 
 Ill LITERARY MATERIALS. 
 
 being given as they stand in the catalogues of their 
 respective collections : these numbers are liable to 
 change, and thus may become a source of embarrass- 
 ment. Upon the whole, however, I have thought it 
 expedient to refer to numbers, especially in the case of 
 the Berlin and Munich Galleries. I have done so in 
 the first instance, because the references are so numer- 
 ous as to make it very desirable to direct the reader at 
 once to the work referred to, and because the catalogue 
 is really a good one ; in the second, it often afforded the 
 shortest way of saying, that pictures quoted in the text 
 as being at Schleissheim were transferred to the Pina- 
 cothek at Munich. The Catalogue of the Berlin Gal- 
 lery used is Waagen's, 8vo. Berlin, 1834. The Cata- 
 logue of the Munich Gallery is that of 1839. The 
 Catalogue of the Madrid Gallery that of 1843. The 
 English collections are generally referred to as they 
 are described in Mrs. Jameson's useful Hand-books.
 
 HAND-BOOK 
 
 OF THE 
 
 HISTORY OF PAINTING 
 
 15 
 
 GERMANY AND THE LOW COUNTRIES. 
 
 BOOK I. 
 
 EARLIEST GERMAN PAINTING. 
 
 PRODUCTIONS OF THE NINTH TO THE THIRTEENTH 
 CENTUBY. 
 
 I. To trace the historical development of painting 
 in Germanj-, and in the Low Countries, is far more 
 difficult than to investigate its progress in Italy. It is 
 not only that pictures, here as elsewhere, have offered a 
 more feehle resistance to the destroying influence of time, 
 than the productions of sculpture and architecture, and 
 that the old has consequently often heen obliterated to 
 make room for the new but, in reviewing the fate of 
 art in Germany, another fact must be taken into con- 
 sideration, which has done more to deprive us of the 
 works of painting than even time itself. 
 
 The reformation of the church, whilst it early in- 
 spired Germany with the spirit of a new epoch, 
 assumed at the same time a position hostile to those 
 arts which had contributed to embellish the ancient 
 faith. For three hundred years, by open force and 
 blind fury, as well as by cold contempt, the Reforma- 
 
 VOL. II. B
 
 2 EARLIEST GERMAN TAINTING. [BOOK I. 
 
 tion has endeavoured to destroy and to annihilate all 
 that preceding times had left of great and excellent. 
 It was reserved for the nineteenth century, which now 
 sees hefore her the termination of the struggle, to make 
 the first efforts free from prejudice or fear of relapse 
 to throw light upoii the past, and to collect together its 
 scattered remains. Here indeed the inquirer meets 
 with many important hlanks, and the written evidence 
 of works which once existed serves but to show the 
 greatness of our loss. There is also a great deficiency 
 of the sound criticism necessary for appreciating those 
 works which we do possess, so that a satisfactory review, 
 particularly as regards the earlier epochs of German art, 
 is for the present at least impossible. 
 
 In the following observations an attempt is made to 
 supply this want, from what the author has gained by 
 reference to the works of others, and from what he him- 
 self has had an opportunity to investigate and observe. 
 In the absence of great and original productions of art, 
 it has been necessary, in the earlier periods particularly, 
 to refer to the illuminations in manuscripts, which are 
 preserved in greater numbers, and the age of which, 
 even when without date, can in general be determined 
 by external evidence of a different kind *. 
 
 1 II. The first germ of the arts of design in Germany, 
 so far as it produced any results of importance, is not to 
 
 * See " Studien in deutschen Bibliotheken," printed in the 
 Periodical, edited by the Author. " Museum, Blatter fur bildende 
 Kunst." 1834. No. 11-13, 21, 22. Particular points in this 
 essay, and other essays also, will be specially referred to.
 
 III.] EARLIEST GERMAN PAINTING. 3 
 
 be sought earlier than the time of the Carlovingians. 
 Some remains of German art anterior to Christianity, 
 found in the tombs of the original inhabitants, such 
 03 vessels in clay and bronze utensils, often display 
 surprising taste and a happy feeling for form, and 
 would seem to give evidence of an earlier and general 
 disposition for art ; but these belong altogether to the 
 very first steps in the progress towards civilization, 
 and we nowhere find indications of that higher feeling, 
 the true foundation of which is the imitation of nature. 
 The establishment of Roman colonies on the Rhine and 2 
 Danube, must have given a more important impulse to 
 the development and culture of art, at least among the 
 neighbouring tribes. But it should at the same time 
 be borne in mind that these colonies, as in all the 
 Roman provinces, lay isolated, like hostile camps in the 
 midst of the conquered population, which still preserved 
 its distinct national character ; the influence which 
 they perhaps did gradually exercise over the surround- 
 ing tribes, would naturally again be lost in the confusion 
 of their migrations. At most we can attribute no 
 more to these relations than a general readiness to 
 receive the impressions made by art-, and we may infer, 
 perhaps, in the dwellers on the Rhine and Danube, a 
 certain aptitude for adopting the rudiments of civiliza- 
 tion from the Romans. 
 
 III. Charlemagne had brought together the last 1 
 elements of classic Italian art, in the form which 
 it had assumed under the influence of a new spirit*, 
 * See von Rumohr, Italienische Forschungen i. s. 216 ff. 
 
 B 2
 
 4 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 and had established it in his court on this side the 
 Alps. Here, under his successors, a peculiar school 
 remained in full and constant activity. Of this we have 
 a proof in the illuminations already mentioned in our 
 review of Italian painting (Vol. I. ix. 2 4), as belong- 
 ing to the splendid manuscripts * of the ninth cen- 
 
 2 tury. Of larger paintings, such as the frescoes which 
 adorned the palace of Charlemagne at Aix-la-Chapelle, 
 uo thing indeed has come down to us ; but we may be 
 
 3 certain that the same feeling for art, which prevailed in 
 the central point of the empire, spread also in its other 
 portions, wherever the desire showed itself for such 
 decoration as art could afford : this feeling, for in- 
 stance, was introduced into the interior of Germany by 
 the extension of the Christian faith. Such a view is 
 borne out by the miniatures of a manuscript, which 
 although insignificant in itself, becomes of great import- 
 ance in the absence of other memorials, f This is the 
 
 4 vellum manuscript of the convent of Wessobrunn, 
 of the year 814 or 815, which among other things con- 
 tains the celebrated Wessobrunu prayer I, one of the 
 two remaining relics of the oldest German poetry. The 
 manuscript is now in the Royal Library at Munich. 
 In the first part of it is a series of designs to illustrate 
 
 * Compare Fiorillo, Geschichte der zeichnenden Kiinste in 
 Deutschland, &c., i. s. 31 ; and v. Rumohr. Ital. Forschungen. 
 i. s. 211. 
 
 t Museum, 1834. No. 13, s. 99, 1. 
 
 + [A specimen of this prayer will be found in the preface to 
 Bosworth's Anglo- Saxon Dictionary, p. cxxvi. It was published 
 by J. Grimm, at Cassel, in 1812 ; by Massman, at Berlin, in 
 1824; and in Wackernagel's Altdeutsches Lesebuch. 8vo, Basel. 
 1835. ED.]
 
 S III.] EARLIEST GERMAN PAINTING. 
 
 the text, -which represent the events attending on the 
 discovery and verification of the Holy Cross*. They 
 are very rude pen and ink drawings, executed with an 
 unsteady hand and with little colour ; they have besides 
 suffered much, and been roughly painted over in parts. 
 Still they evince a certain feeling for form, and an 
 indication of dignity in the drapery, with somewhat too 
 of the sort of antique treatment which is found in the 
 Vatican manuscript! of the History of Joshua already 
 mentioned. (Vol. I. viii. 1.) 
 
 The Royal Library at Munich contains another re- 5 
 markable example of the manner, in which the work 
 executed in the school of the Carlovingian court, in- 
 fluenced the cultivation of art in Germany, consist- 
 ing of the miniatures in a missal from the archives of 
 the cathedral of Bamberg, of the year 1014, a gift of the 
 Emperor Henry II. In style they are nearly related to 
 those in the celebrated Gospel manuscript of St. Emme- 
 ram, of the year 870, brought into Germany from France 
 towards the end of the ninth century (although in the 
 latter miniatures the traces of the severer style then com- 
 mencing are already apparent) indeed, as the second 
 illumination in the missal presents an actual copy of the 
 large drawing of the Emperor in the Gospel manuscript, 
 it is evident that the artist of the former had made the 
 latter his model. 
 
 Besides the drawings in the Wessobrunn manuscript 
 
 * [The orthodox mode of representing this event in painting 
 will be found set out at length in Didron, Manuel d'Iconographie 
 Chrelienne, Paris, 1845, p. 344, n. As to this work, see note to 
 the Editor's preface Eu.] 
 
 f This MS. is marked B. No. 7 Museum, as above, No. 21, 
 
 s. 162-6.
 
 6 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 there are several other manuscripts in Germany of the 
 ninth century embellished with miniatures, which in the 
 impasto of the colour, as well as in several peculiarities of 
 the drawing, closely resemble the more splendid works 
 executed at the Carlo vingian court. Like these too in 
 spite of their extreme degeneracy, they still contain cer- 
 tain reminiscences of the technical details of the antique 
 
 6 one such is the Gospel manuscript in the Royal 
 Library at Munich * (from the convent of Scheftlarn), 
 
 7 and another is in the archives of the abbey church f at 
 Quedlinburg. The last was, perhaps, a gift of Henry I. 
 to the newly founded chapter, and may belong, as has 
 been assumed, to the beginning of the tenth century, 
 since in the somewhat rare remains of art of this period, 
 many technicalities closely resemble those of the 
 Garlovingian period J. In proof of this fact we may 
 
 8 adduce the drawings in another manuscript of the Gos- 
 pels in the Munich Library, and those of two more in 
 
 9 the Public Library of Bamberg . But in these, and 
 
 * Cod. lat. Membr. cum pictt. No. 56. Museum, as above, 
 s. 162, 3. 
 
 + No. 65 of the catalogue. A description of this church and its 
 works of art, which Director Ranke and the Author are about to 
 publish, as the result of their joint labours, will contain more parti- 
 culars as to this MS., and other objects in the same collection 
 hereafter referred to. [Published by Gropius. Berlin. 1838 ED.] 
 
 J Cod. lat. Membr. c. p. No. 51. Museum, as above, s. 162-4. 
 
 [An interesting account of the Bamberg MSS. will be found in 
 Professor Waagen's new work Kunstwerke and Klinstler in 
 Deutschland, I. s. 91, and the following pages. Since the publi- 
 cation of this hand-book, Count Auguste le Bastard has done much 
 to throw light on the history of early illuminated MSS. Besides 
 having prepared a catalogue of those in the Royal Library, and the 
 other libraries in Paris, he has commenced the publication of a
 
 III.] EARLIEST GERMAN PAINTING. 7 
 
 particularly in the two last *, we also find in the draw- 
 ing indications of the peculiar mannerism which was 
 probably the result of Byzantine influence, and which 
 is visible in the works of art of the eleventh century. 
 A similar style must be presumed to have existed in the 
 larger works of this timef; for instance, in the repre- 10 
 sentation of the triumph of King Henry I. over the 
 Hungarians, executed by order of this prince in his 
 palace of Merseburg, which appeared to his contem- 
 poraries more as a reality];, than a mere picture . Some 
 
 costly work, containing fac-similes of the more important MSS. 
 Much interesting information will be found in Professor Waagen's 
 Kunst\vcrke and Kiinstler in Paris, 1839, p. 193; and our author 
 has treated generally of the subject in his later work, Handbuch 
 der Kunstgeschichte. 1842. 8vo. p. 388. ED.] 
 
 * No. 588, and A. ii. 18. Museum, as above, No. 22, s. 171, 
 1 and 2. 
 
 t Fiorillo, Gesch. der z. Kiinste in Deutschland, I. s. 67. 
 
 t [The expression quoted by Fiorillo is " adeo ut rem veram 
 potius quam verisimilem videas." The words of Villani and 
 Boccaccio, with reference to Giotto, and those of the old Chro- 
 nicle on Mcirfer Willielm, of Cologne, have been referred to in 
 the preface. It is curious to observe how completely the judgment 
 of men as to what is an accurate imitation of nature is relative, 
 and depends on the habits of observation and the degree of know- 
 ledge of the time at which they write. We should not say that the 
 pictures of Giotto or those of the early Cologne school were such 
 as to be mistaken for life, whatever may be their merit in other 
 respects. In the Midsummer Night's Dream, when Hippolyta ex- 
 claims, " This is the silliest stuff that ever I heard " Theseus 
 replies, " The best in this kind are but shadows, and the worst 
 are no more if imagination amend them." (Act V. sc. 1.) Ima- 
 gination, however, can only do this when the artist has exercised 
 the great prerogative of genius ; when he has roused her power, and 
 suggested the materials whence she is to construct reality. ED.] 
 
 Museum, as above, No. 21, s. 166. [Compare Fiorillo, Gesch. 
 der z. Kiinste in Deutschland, I. 453, and our author's Handbuch 
 der Kunstgeschichte, 1842, p. 475 ED.]
 
 8 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 1 1 remains of frescoes on the pillars of the former convent 
 church at Memleben on the Unstrut, were for a long 
 time incorrectly ascribed to the ninth century, whereas 
 it is evident from certain peculiarities in the style, that 
 they cannot have been executed at an earlier time than 
 the beginning of the thirteenth. 
 
 12 The above-mentioned illuminations of manuscripts, 
 taken as examples of the state of art in Germany in the 
 ninth and tenth centuries, appear to our conception little 
 calculated to form the eye and feeling of the people, or 
 to render the mind susceptible of the influence of art. 
 Yet if we consider the infantine condition of cultivation, 
 the total absence of pictorial representations, and the 
 want of feeling for the deeper meaning of art always 
 observed in the earlier stages of a people's progress 
 we shall be constrained to admit that these works are 
 well adapted to accomplish their immediate end. For 
 though indeed the execution is very rude and coarse, 
 they were not only well fitted to awaken attention to the 
 possibility of art, and of imitation by design, but they 
 presented to the eye of unformed barbarians a species 
 of writing, which must produce a more direct and 
 impressive effect than the mere dead letter. They 
 retained moreover a faint glimmering of ancient 
 classic art, such as at any rate accustomed the eye to 
 the simple conception of a subject, and by certain in- 
 dications of an ideal treatment, they led the mind of the 
 spectator, unconsciously to recognize in the world of art 
 a higher sphere, separated from the common occurrences 
 of daily life. 
 
 IV. The marriage of the Emperor Otho II. with
 
 EABUBST GERMAN PAINTING. 
 
 the Greek Princess Theophano,* and the consequent 1 
 connection of the German and Byzantine courts, appears 
 to have exercised a wider influence on the efforts of art 
 in Germany, and to have awakened in a higher degree 
 the desire for its works. In spite of much corruption, 
 Byzantium alone retained a technical execution of a 
 delicate and artist-like character. Art still contributed 
 there to supply a demand for the elegancies of life, and 
 together with the manners and the luxury of the Greek 
 court, this love of art, such as it was, naturally found its 
 way into Germany f . With what zeal the study and 2 
 exercise of art, individually at least, was pursued by 
 the cultivated men of Germany, is evident in the life 
 of St. Bernward, Bishop of Hildesheirn, about the end 
 of the tenth century. Numerous works were executed 
 under the guidance of this active prelate he was 
 accompanied always on his journeys by artists, whom he 
 employed to copy every beautiful work with which he 
 chanced to meet. 
 
 There exists a series of manuscripts of the eleventh 3 
 century, in parts very splendid, the illuminations of which 
 show evident traces of the influence exercised by Byzan- 
 tine art. These manuscripts, or at least the most im- 
 portant of them, are now in the Royal Library at Munich, 
 and were taken from the archives of the cathedral of Bam- 
 berg, for which no doubt they were executed as offerings 
 from rich patrons ; the greater number perhaps were 
 gifts from the Emperor Henry II. Some are still in 
 
 * [ See Gibbon's Antiquities of the House of Brunswick, MiscelL 
 
 Works, 4to. vol.iii. p. 182 ED.] 
 
 t Fiorillo, Gesch. der z. Kiinste in Deutschland, i. s. 78. 
 
 B 3
 
 10 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 the public Libraiy of Bamberg *, and others in variotM 
 places. They are distinguished most decidedly from 
 the works of the Carlovingian period, by their pecu- 
 liarity of style and treatment. On the one hand, 
 they are far less pleasing, but on the other they are in 
 a technical point of view far more important. In spite 
 of the want of confidence, and the clumsy rudeness of 
 execution, the Carlovingian works always show a feeling 
 for form, and always preserve the general proportions of 
 the human frame, and the great lines of the drapery. In 
 the Bamberg manuscripts we find no trace of these merits; 
 the figures are most unhappily distorted and crippled, 
 the outlines are whimsical and capricious, the forms full 
 and exaggerated. These defects are most striking, and 
 can be attributed to nothing but the influence of foreign 
 models. In those models it could originate only in 
 some moral degeneracy, and in such a stagnant state of 
 society as actually existed in the Byzantine empire. 
 Nevertheless the lines are throughout drawn with more 
 certainty and precision. The system of colouring also 
 differs. The juiciness of the irnpasto disappears, and 
 in its place we find the dry manner of laying on the 
 colour which henceforth belongs particularly to minia- 
 ture painting ; with this is united the finest and neatest 
 execution, and the most careful finishing, so as to 
 form a strong contrast, and for the works in question 
 for once an advantageous one, with the uncertain pen- 
 cilling of the Carlovingian period. Still more surprising 
 
 * Munich Library, B. No. 4. 5, 2. Cod. lat. Membr. c. p. 
 No. 86 ; Bamberg Library, A. II. 42, A. I. 47 ; Ed. v. 4. 
 See Museum, as above, No. 21, 22.
 
 IV.] EARLIEST GEKMAN PAINTING. 11 
 
 than this elegance of execution is the peculiar, and if I 
 may use the expression, the phantasmagoric play of 
 'colour, which appears especially in the grounds of 
 these illuminations. Stripes of delicate colour inter- 
 mingle in beautiful harmony behind the figures, and 
 produce a veiy peculiar and pleasing effect to the eye. 
 Besides these technical defects and advantages, we must 
 linally mention that ingenious ideas are often embodied 
 in symbolical forms, suited to the infantine state of art, 
 and that in spite of the imperfect drawing, there is con- 
 siderable expression in the gestures and position of the 
 figures. 
 
 A description of the illuminations in one of these 4 
 manuscripts *, which contains a collection of the Gospels, 
 will better explain these observations. After the calendar, 
 with which for the most part manuscripts of this kind 
 begin, and of which the columns are as usual enclosed in 
 pillars and arches, the general contents of the book are 
 indicated by a peculiar allegorical representation ; Christ 
 within a rainbow, closed elliptically, stands in the centre 
 in front of a tree, of which he holds a branch with his 
 left hand ; in his right is a globe, the symbol of 
 sovereignty. The tree is adorned with mushroom- 
 shaped groups of leaves and small red fruits, and repre- 
 sents without doubt the tree of knowledge, from the 
 branches of which, according to old tradition, the Cross 
 was formed; this accounts for its introduction here. 
 In the four rounded corners of the rainbow are on the 
 right of Christ, Sol, a red head with rays on his left, 
 Luna, blue, with the crescent above, Uranus, an 
 * Munich Library, B. No. 2. Museum, as above, s. 163.
 
 12 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 old head of a bluish-grey colour; and below a brown 
 figure of a woman for Tellus, with the upper part of 
 her body naked, and holding the stem of the tree. In ' 
 the outer corners are the four symbols of the evangelists, 
 borne by siren-like figures of a greenish hue. These 
 last signify, as the text explains, the four rivers of 
 Paradise, from which the rivers of the earth receive their 
 supplies, and which at the same time according to the 
 old system of symbols, betoken the four evangelists (see 
 vol. i. 4, 5). The rainbow, with the four rounded cor- 
 ners, is enclosed in stripes of gold the ground within 
 it is olive-green, with a bluish-green frame the outside 
 is lilac, in the upper part melting into rose colour, in 
 the lower into green. Before each Gospel is also, as is 
 common at this time, the figure of the evangelist, 
 seated at a desk. Each of these figures is enclosed be- 
 tween two columns, which support a horizontal label 
 with. an explanatory inscription; over it is a flat arch, 
 always containing the symbol appropriated to each 
 evangelist, and also a figure which has reference to the 
 sacrifice of Christ. Here also we meet with ingenious 
 allusions ; for example, at the side of the lion of Mark, 
 Christ is represented rising from the grave with the 
 Cross ; in the under part of the picture the evangelist 
 himself raises his hands and head in an attitude of 
 astonishment, which the following inscription explains : 
 
 " Ecce leo fortis transit discrimina mortis : 
 Fortia factastupet Marcus qui nuntia defert." 
 
 Luke, on the contrary, over whom is represented a 
 dying Lamb, looks down and drops the scroll he has 
 just been writing. In other manuscripts we find
 
 V.] EARLIEST GERMAN PAINTING. 13 
 
 perhaps a greater abundance of historical subjects, 
 that is, of events from sacred history, in which, as the 
 meaning has to be conveyed by the figures themselves, 
 the defective drawing strikes the eye far more forcibly 
 than in mere allegorical designs. 
 
 We may properly consider the cycle of these works 5 
 as a second step in the progress of German Art. They 
 display the first attempt at a technical execution, more 
 careful and more highly finished, and the first dawn of 
 a taste for bright lights, and vivid play of colour. The 
 highly mannered drawing (which could only proceed 
 from the foreign influence of a degenerate school of 
 art, and which is far removed from the mere typical 
 constraint of a rude but original style) would indeed 
 appear a serious defect, if it had had any important 
 consequences. But in the succeeding period we do 
 not trace too deep an impression of this element ; and 
 perhaps some consciousness of that higher feeling which 
 is to be found hi the works of the Carloviugian artists, 
 and was then for the first time incorporated with the 
 taste for art, may have been sufficient to protect the 
 rudiments of sounder principles from this injurious 
 influence. How soon the imagination was of itself 
 able to employ these technical powers, so as to express 
 its own original ideas, we have already sufficiently 
 seen, in some at least of those works which we have 
 attempted to describe. 
 
 V. Contemporary with these works, that is to say, I 
 in the first half of the eleventh century, another style 
 of painting arose in Germany, which continued to prevail
 
 14 EARLIEST GEKMAX PAINTING. [BOOK I. 
 
 during this and the succeeding century, and even to the 
 beginning of the thirteenth. The degenerate mannerism, 
 and the arbitrary caprice in the drawing of the figure 
 of the previous period, are no longer generally visible, 
 but appear only here and there in single instances and 
 in a less degree. The drawing, on the contrary, follows 
 a severe typical rule ; we see everywhere an endeavour 
 to seize the form with sharpness and precision, and 
 to dispose the figures as far as possible in proper sym- 
 metrical order. A more accurate knowledge of the 
 organic connection of the pails of the human frame is 
 still indeed wholly wanting ; this is a later step in the 
 development of art. The feeling for strict regu- 
 larity of arrangement is most strongly marked in the 
 lines of the drapery, as well as in the animals and 
 plants introduced as accessories, which are treated 
 much in the style of arabesque. The whole mass of 
 objects indeed, when occasion offers, is often inter- 
 woven in this manner, and the arabesque itself, with 
 its fantastic union of different forms, appears here 
 with peculiar force and variety. An* architectural 
 
 * [This may appear to want a little explanation, and suggests 
 reflections of great interest which are far too long for a note. 
 
 The subordination of the other arts to architecture in the earlier 
 period of their growth, has always been strikingly marked. The con- 
 nection between architecture and the material wants of man, is closer 
 than any which exists in the case of the arts of design, and painting 
 and sculpture have won their way, both in ancient and modem 
 times, by acting as the handmaids of the former. Sculpture first 
 presented itself as an adjunct to building, and long retained its 
 architectural stiffness: in modern times, the same close union 
 between painting and architecture, gave an architectural character 
 to pictures, which they long kept when differently applied.
 
 V.] EARLIEST GERMAN PAINTING. 15 
 
 principle is essentially the basis of the art of this period, 
 which had the character rather of ornament than of direct 
 
 To fill a certain space on the wall ornamentally, was the first 
 object and the principal requisite: in order to effect this, it 
 was necessary to weave the various parts into a symmetrical and 
 orderly structure. The stiffness of the early painters is mainly 
 attributable to this feeling : an altar-piece of theirs is not a mere 
 moveable picture : it is a sort of building, or, as it is called in 
 Spanish, a " retablo." The gold ground throwing off its upright 
 forms, accurately balanced one against the other, the conventional 
 nature of the accessories, the architectural precision with which 
 saints of different ages are grouped round the cross or the throne of 
 the Virgin all these are the legitimate consequences of this prin- 
 ciple. 
 
 But the time was to arrive when ancient sculpture and modern 
 painting were alike to be emancipated from immediate subserviency 
 to architecture. It cannot be denied that by this separation art has 
 lost as well as gained : she has lost in precise symmetry and dignity : 
 she has gained in resemblance to nature and in the power of touching 
 the feelings. "Without such a change progress was impossible. 
 
 This revolution was the consequence in ancient times of the 
 genius of Phidias, and in modern of that of Michael Angelo ; 
 though probably neither master saw the complete result of the 
 change which he strove to bring about. 
 
 When the group or the picture had acquired a substantive relation 
 to nature and was able as it were to walk alone, the architectural cha- 
 racter of the art became less prominent, and at length entirely 
 disappeared. Mere accessories, such as the landscape background, 
 (afterwards destined in its turn to form a separate branch of art,) were 
 executed so as to be consistent with the new craving for reality. 
 
 I must be permitted to add a few words on the subject of patterns, 
 with reference to the principle which regulates the symmetry of 
 ornamental parts, destined to fill a given space, in the manner of 
 arabesques alluded to in the text. In this application of art at all pe- 
 riods an architectural feeling ought to predominate most decidedly : 
 the imitation of natural objects indeed supplies the materials which 
 compose the decoration, but the imitation is only a mean to an end. 
 Hence the superiority of the patterns of the middle ages over those of
 
 10 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 imitation, as -\vell in the large masses of decoration for 
 the walls, as in the smaller embellishments of books. This 
 is the earliest indication of life in art, which here as else- 
 where, at the first step of its progress, is characterized 
 by severe regularity ; such regularity, however, as merely 
 affects the outward form, and implies no knowledge of 
 organic structure. This quality has at least the good 
 .Affect of restraining within definite limits the extrava- 
 g nicies of the artist's fancy. At the same time, 
 the traditional influence of foreign models preserved 
 the ideal types of classical antiquity which are to 
 
 >ur own days. The artists' first aim then was to fill a given 
 -pace with effective decoration, and jwhat they copied from nature 
 they modified in form so a; to suit this peculiar object; just as the 
 acanthus of the Corinthian capital does not grow in all the wild 
 luxuriance of the original leaf, but is necessarily cramped into a 
 form more regular and more symmetrical than its natural prototype. 
 All this bears strongly on the character of such ornamental 
 illustrations as those described by our author. The forms of which 
 they are made up, are not derived from a study of nature with the 
 view of direct imitation, but for the sake rather of extracting from 
 her, in a modified and conventional shape, such elements as may 
 be recomposed into symmetrical ornaments. Perhaps one reason 
 why the patterns of Eastern nations (such as are employed in the 
 decoration of the Moorish remains in Spain, or are sometimes found 
 on Eastern stuffs) are of such exquisite beauty and richness, is to 
 be found in the fact which would seem most to have impeded the 
 progress of those races in the fine arts that is, in the inconsistency 
 of direct imitation of living forms with the strict principles of the 
 Koran. No such imitation could habitually become the primary, 
 instead of the secondary object, as it often does in European orna- 
 ment. All efforts were therefore directed, and often most success- 
 fully applied, to giving pleasure by the contrast of colours, and by 
 the symmetrical disposition of the various parts of a pattern con- 
 sidered simply as such ED.]
 
 V.] EARLIEST GERMAN PAINTING. ] 7 
 
 be traced in the works of the Carlovingian period, 
 and which form the foundation also of those of the 
 Byzantine school. To them it is owing that this atten 
 tion to regularity in outward form is accompanied by a 
 higher dignity. In the treatment of colours, there pre- 
 vails in the works of this style, at least in the minia- 
 tures of the manuscripts, the same neatness and fine 
 execution, the same brightness of colour, as in the Barn- 
 berg manuscripts referred to above, and these qualities 
 without doubt may in this instance also be ascribed to 
 Byzantine influence. We are accustomed to designate 
 the style of art of tliis period by the general name of 
 " Byzantine," and unquestionably, without reference to 
 the direct influence already mentioned, it resembles 
 that school in its external severity, more than it does 
 the freer handling of the time of Charlemagne ; it stands 
 parallel too with what we usually characterize by 
 the same name in Italian Art. Still these illumina- 
 tions do not appear as imitations of the Byzantine 
 school, intentional on the part of the artists, but rather 
 as necessarily modified by the peculiar position of Ger- 
 man Art, and there are manifold proofs of original and 
 profound conception in the works of this style. 
 
 The number of the manuscripts of the eleventh century 
 which are embellished with miniatures of this kind is not 
 very considerable ; but there are some which belong even 
 to the early part of that period*. One book of the Gospels 
 in the Royal Library at Munich, may be particularly men- 
 tioned, which was the work of Ellinger, Abbot of Tegern- 
 see, and contains the figures of the Evangelists in a 
 
 * Cod. lat. Membr. c. p. No. 31. Museum, as above, s. 164.
 
 18 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 severe style of drawing, neatly executed, with drapery in 
 straight and simple folds. Ellinger was abbot from 1017 
 to 1048, and established a name by his undertakings in 
 art, which was held in honourable remembrance in his 
 
 3 convent ; for instance, he enlarged the crypt, and caused 
 its vaulted roof to be painted *. He is said to have 
 drawn on the margin of a manuscript of Pliny the 
 animals described in the text. These drawings, in 
 which the main object would be a natural mode of con- 
 ception, must be of interest in the history of Art, if 
 the manuscript is still preserved. 
 
 4 In the twelfth century, the number of manuscripts 
 embellished in this manner increases very considerably. 
 In some the treatment of the drawings is more slight, and 
 the ideas poor and spiritless ; in others, the figures, 
 in spite of strict adherence to the style, such as it is, 
 bear a character of tranquil and serious dignity. In some 
 we find principally pen and ink drawings, with single 
 parts only lightly filled in with colour ; in others the 
 painting is carefully executed, and there is an endea- 
 vour to round the figures by light and shade, and to 
 raise them from the ground. The greater number of 
 these drawings, particularly those in the Gospels, 
 contain little more than single figures of saints, with 
 more or less variety and richness of ornament; in 
 many others, however, there is no deficiency of varied 
 and peculiar subjects, and the active imagination of the 
 artist especially shows itself in allegories and allusions 
 of greater or less significance. Very interesting ex- 
 
 * Giinthner, Geschichte der literarischen Anstalten in Baiem, 
 s. 192.
 
 V.J EARLIEST GERMAN PAINTING. 19 
 
 amples of this kind of symbolic art are contained 
 in a splendid Gospel manuscript in the Library of 5 
 Munich, taken from the Convent of Niedermiinster, ' 
 at Ratisbon*. At the beginning of the manuscript we 
 find various allegorical subjects, of a mystic character, 
 with rich tendril-like ornament and numerous inscrip- 
 tions. We may here give a description of one of 
 these, which represents the victory over death by the 
 sacrifice of Christ. In the centre Christ is represented 
 on the Cross, his feet fastened to a board with two nails, 
 in red drapery, with the royal crown and priestly stole. 
 Somewhat lower at each side of the cross stand, on the 
 left, Vita, a female figure having a crown adorned with a 
 cross and rich drapery, her face and hands raised up- 
 wards ; on the right, Mors, pallid in colour, with matted 
 hair, the countenance half-veiled, a deep wound in the 
 neck, the body half naked and the clothing mean, sinking 
 down with broken lance and scythe. A dragon, which 
 grows out from the foot of the cross, appears to bite this 
 figure in the arm. On both sides are smaller figures : 
 above are Sol and Luna, veiled : on the right, is the New 
 Covenant, a female figure crowned, with the standard 
 of victory, and the cup of the Sacrament on the crown. 
 On the left is the Old Covenant, her countenance con- 
 cealed by the border, the scroll of the Law and the 
 sacrificial knife in her hands. Below on the right are 
 the uprisen dead : on the left, the rent veil of the Tem- 
 ple. Further on in the manuscript, before each Gospel, 
 there is a representation of its evangelist, with the ap- 
 propriate symbol above the figure, and underneath, 
 
 B. No. 1. Museum, as above, s. 164.
 
 20 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 according to the allegorical notion * already mention- 
 ed, one of the four rivers of Paradise, here represented 
 in the form of a naked man, with two horns and a large 
 water urn. The painting of all these subjects is very 
 neat, and in the drawing a certain knowledge of form 
 is already perceptible. 
 
 ] VI. Towards the end of the twelfth and beginning 
 of the succeeding century, peculiar signs of life are 
 to be remarked for the first time in German Art. The 
 eye of the artist seems now to open to all surrounding 
 objects, and frequently with over anxious minuteness, he 
 endeavours to imitate exactly each single object in its own 
 peculiar form, andin its connection with others. Men, as 
 they were to be seen about him, distinguished according 
 to rank and occupation, the gallant equipment of the 
 warrior, the splendid attire of the women, the general 
 business and traffic of life, the tone of the mind as it 
 expresses itself in attitude and gesture, the violence of 
 passion, the stillness of sorrow, all this he endeavours 
 to portray, and in spite of his insufficient means 
 and the necessary want of complete and thorough 
 truth, he generally contrives to express his meaning 
 with clearness and precision. At the same time, although 
 the motives of the so-called Byzantine style still pre- 
 vail, the human form begins to escape at last from the 
 strict control of architectural rules : at any rate an 
 effort is visible to understand the more general relations 
 of its organic structure, the drapery begins to adapt 
 itself to the body and follow its movements, and finally 
 See Vol. i. p. 9.
 
 VI.] EARLIEST GERMAN PAINTING. 21 
 
 there are abundant evidences of a feeling for beauty 
 and grace, as well as for a more ideal and higher 
 dignity. It was particularly the types handed down 
 from classical antiquity which guided the feeling of the 
 artist in this nobler path. 
 
 The drawings in various manuscripts afford us examples 2 
 of these progressive stages of improvement*. Among 
 such we may first mention the splendid manuscript of 
 the Hortus Deliciarum, (a collection of extracts from the 
 fathers, ecclesiastical writers, and other works,) ex- 
 ecuted in the latter part of the twelfth century, in the 
 Convent of Hohenburg, hi Alsace, but at present in 
 the Public Library of Strasburg. It is adorned with A 
 great "number of miniature illustrations of the text, 
 and thus contains some subjects from sacred history, 
 some of an allegorical character, and some which repre- 
 sent scenes from real life. The latter display fully 
 the costume and fashions of the time in great variety. 
 The conception for the most part, particularly in the 
 tedious allegories, is rather poor, and requires nu- 
 merous marginal explanations to elucidate its meaning ; 
 nevertheless, in the figures of the saints, (which are re- 
 presented in the old Christian manner,) there is a 
 dignified grandeur and repose, and occasionally sur- 
 prising boldness and meaning in the ideas of the artist 
 himself. Amongst the most remarkable is a figure 
 of Superbia, a female in rich attire and flowing 
 drapery, seated on horseback, on a lion-skin, and 
 poising her lance. 
 
 * Ch. M. Engelhardt " Herrad von Landsperg, Aebtissin von 
 Hohenburg, oder St. Odilien, im Elsass, und ihr Werk : Hortus 
 Deliciarum." (With twelve engravings, in foi.)
 
 22 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 3 A peculiar school of miniature illustration appears to 
 have been formed at this time in the convents of Upper 
 Bavaria ; most of the drawings with which the manu- 
 scripts are illustrated are only in pen and ink, but the 
 flesh is generally distinguished from the drapery, and 
 even different parts of the latter are distinguished from 
 each other, by tints of red and black ink. In the 
 figures themselves there is seldom more colouring, but 
 the grounds are always filled in and enclosed with 
 
 4 borders of different colours *. Of these works we 
 may first mention the manuscript of the German 
 ^neid, by Henry von Veldeck, written about the year 
 1200, which was brought from Bavaria, and is now pre- 
 served in the Royal Library at Berlin. The drawings 
 represent in a long series the events narrated in the 
 poem. They in general deserve attention from the 
 care bestowed upon the costume and other details, but 
 in all that regards feeling for form and grace, they are far 
 inferior to the Hortus Deliciarum ; in the deformity of 
 many of the figures, they even remind us of the manu- 
 scripts of Bamberg ( iv. 35) already described. 
 Still they possess a peculiar interest as steps in the 
 history of German Art. There is here unfolded, in the 
 movements of the hands in particular, a complete lan- 
 guage of gesture, equally well adapted to convey the ex- 
 pression of tranquil intercourse or of passionate energy. 
 Thus, for example, when the solitary complaints of 
 love, or the sorrow for the death of the loved one, are to 
 be depicted, grief and suffering are admirably expressed 
 by a convulsive wringing of the hands. 
 
 * See the Author's Essay, Die Bilderhandschrift der Eneidt in 
 der Konigl. Bibliothek zu Berlin." Museum, 1836, No. 36-38.
 
 VI.] EARLIEST GERMAN PAINTING. 23 
 
 Far more important are the drawings of another manu- 5 
 script of the same time and school, containing the beautiful 
 German poem of Werinher, Deacon of the Convent of 
 Tegernsee, on the Life of the Virgin, which has lately 
 passed from the collection of v. Nagler into the Royal 
 Library of Berlin *. With respect to excellence of form, 
 these drawings are nearly equal to those of the Hortus 
 Deliciarum, and in single parts they surpass them in 
 quiet grace and naiivete. This is particularly shown in 
 those in which the expression of a serene and happy 
 tone of mind is the chief object, as for instance, in a 
 group of the blessed, in a vision of the Virgin. Others, 
 in which the artist represents passionate, and especially 
 sorrowful feelings, are of the highest excellence. In 
 spite of the insufficiency of his means, he has exhibited 
 in the positions, gestures, and cast of drapery, a tragic 
 pathos so peculiarly expressive as to excite our greatest 
 astonishment, when we consider the early epoch of art 
 at which the work was executed. The best of these 
 drawings are one that represents the damned, (also 
 in a Vision of the Virgin,) in which they are bound 
 together by glowing chains, and are driven hither 
 and thither by inward torments and another, of which 
 the subject is the lamentation at Bethlehem of the 
 mothers after the massacre of their children ; in this one 
 woman rends her garment, another cowers on the ground, 
 and supports her head on her hand, a third wrings her 
 hands, a fourth with a passionate movement raises her 
 hands, and appears to appeal to Heaven against the 
 horrible outrage. 
 
 * See the Author's dissertation, De Werinhero, saeculi xii. 
 monacho Tegernseensi, etc.
 
 24 EARLIEST GERMAN PAINTING. [BOOK I. 
 
 6 As a further step of progress, in connection with the 
 foregoing, we may mention the drawings of Conrad, a 
 monk of the convent of Scheyern, who was distinguished 
 as the author of many learned works, and lived about 
 the middle of the thirteenth century*. The Royal 
 Library of Munich contains several of the works, which 
 he embellished with drawings, amongst which a book of 
 the Gospels, and another of the lessons, are particularly 
 important. At the beginning of the latter manu- 
 script are several large subjects from the Apocalypse, 
 then two remarkable legends, in smaller drawings 
 one contains the history of Bishop Theophilus, the 
 oldest German version of Faust and lastly, a number 
 of illustrations of sacred history. The lines are not 
 drawn with the certainty and precision of those 
 before described; but, on the other hand, the desire 
 of imitating the forms of nature is still 'more evident, 
 the movements are still freer, the cast of the drapery 
 follows more easily the movements of the figure, and 
 its outline has at once softness and dignity. 
 
 7 One of the most interesting illustrated manuscripts 
 of this period, but of another school, is the Psalter, 
 written about the year 1200 for the Landgrave Her- 
 mann of Thuringia, formerly in the Convent of Wein- 
 garten, but at present in the King's Private Library at 
 Stuttgart f. The illuminations are miniatures, highly 
 finished, and executed with great neatness. The style 
 
 * Munich Library. Cod. lat. Membr. e. p. No. 7, b. c.; No. 
 13, a. Museum, 1834, No. 21, s. 165. 
 
 t Museum, as above, No. 13, s. 97. See Dibdin, " A Biblio- 
 graphical and Antiquarian Tour in France and Germany," vol. iii. 
 p. 158.
 
 VI.] EARLIEST GEKMAX PAINTING. 25 
 
 essentially resembles that of the time, but the figures 
 have an air of more solemn dignity, while at the same 
 time their severity is often pleasingly softened by 
 an expression of mild and simple grace. Here \ve 
 find in single heads (especially in those of Christ) 
 traces of ideal beauty, the more surprising, since 
 in other works of the time, all the heads are still 
 stiff, and -without grace. At the beginning of this 
 manuscript is a calendar, in which each month is orna- 
 mented with a figure of its patron saint, and charac- 
 terized by a country scene. Representations of this 
 kind must have been very rare at so early a period ; 
 the costume and occupations throughout belong to the 
 north, and consequently testify that the drawings are 
 the productions of a native school. Then follow, in the 
 Psalms themselves, various subjects such as the 
 baptism of Christ, his death, descent into hell, ascen- 
 sion, etc. &c. The feeling in these is excellent, parti- 
 cularly in that which represents the Virgin and John, 
 in a simple attitude of thoughtful sorrow, standing at 
 the feet of the crucified Saviour. After this comes 
 the Litany, over which, in the upper part of the page, 
 are half length portraits of saints and princes ; those of 
 the Landgrave Hermann and his wife Sophia are the 
 first, and in these we see an example, remarkable for 
 so early a period, of an attempt at individual likeness 
 already crowned with signal success. 
 
 VII. It is very remarkable, in the history of Ger- 1 
 man civilization, that this first burst of life in art, which 
 appears in Italy only in a more advanced part of the 
 
 TOL. n.
 
 26 EAP.LIEST GKRMAX PAINTING. [BOOK I. 
 
 thirteenth century-, should have already shown itself hi 
 Germany before the commencement of that period. It 
 is hardly possible, however, to institute a closer 
 comparison \vith the works of Italy, since very few 
 original or great compositions are preserved in Ger- 
 many, and the larger number of the manuscript illus- 
 trations above described are drawings to be considered 
 as outlines or sketches. Whether the spirit and 
 feeling visible in those illustrations, was carried to 
 greater perfection in the larger and more artist like 
 undertakings of the time, must remain undecided. 
 That there was no want of such undertakings is evident, 
 both from numerous written descriptions and from sin- 
 
 2 gle remains, now more or less injured. Among the 
 former we have a full and particularly valuable cata- 
 logue f, written before the twelfth century, of many 
 sacred subjects, which were painted on the walls and on 
 the altar-tribune of the convent-church at Benedict- 
 
 3 beuera ;. On the walls of the cathedral of Worms are 
 several faded paintings in the Byzantine style, among 
 which a gig ntic Madonna, in one of the transepts, is 
 remarkable ; it reaches half-way up to the vault of the 
 
 * See Part i. Book ii. xi. to xviii. 
 
 f See Pezii Thesaur. Anecdott. Eccl. T. iii. P. iii, p. 614, quoted 
 by Fiorillo, Gesch. der Z. Kiinste in' Deutechland, I. s. 178, n. c. 
 
 J [The monastery of Benedictbeuern is more celebrated in the 
 history of modern science than in that of the fine arts. It is situated 
 about fifteen leagues from Munich, near the frontiers of Tyrol. On 
 the suppression of the monasteries in 1804, it was sold ; and here it 
 was that Utzschneider, Reichenbach, and Liebherr, established that 
 glass manufactory which Fraunhofer superintended, and of which 
 the lenses became so celebrated throughout Europe. The esta- 
 blishment was transferred to Munich in 1819. ED.]
 
 YII.] EARLIEST GEKMAN PAINTING. 27 
 
 nave. In a side-chapel next to the choir of the Church 4 
 of the Virgin at Halberstadt, in the vault over the 
 altar, may still be seen figures of saints painted in a 
 severe dry manner. On the roof of the crypt under 
 the abbey church of Quedlinburg, above the dilapidated 5 
 tomb of King Henry I., the old painting shows 
 through the plaster ; and in some places, where the 
 latter has fallen off, the drawing underneath appears 
 to have been cleverly executed in a pure, and com- 
 paratively noble style. In other churches of the so- 
 called Byzantine period, the white plaster has not 
 wholly obliterated the paintings of sacred subjects, which 
 formerly adorned the walls, though in many cases their 
 existence has only remained apparent in the glories of 
 the saints, once deeply cut in, or raised above the sur- 
 face. Some very excellent paintings of the kind have ft 
 lately come to light in the restoration of the splendid 
 cathedral of Bamberg, when it was freed from its 
 covering of plaster of many hundred years old. They 
 are in the niches of one of the cross walls of St. 
 Peter's choir, and must undoubtedly belong to the 
 beginning of the thirteenth centuiy. Easel pictures, in 7 
 the Byzantine style, are very rare in Germany. As 
 one example of such, we may mention a painting repre- 
 senting Christ enthroned on a rainbow, with four saints 
 at his side, which is in the provincial museum of 
 Minister, and was taken from the convent of St. 
 Walburg, at Soest*. 
 
 * Becker, " Ueber die altdeutschen Gemalde aus dem ehema- 
 ligen Augustiner-Nonnen-Kloster St. Walburg zu Soest. " Museum, 
 1835, No. 47, s. 374. 
 
 C 2
 
 28 EARLIEST GERMAN TAINTING. [BOOK I. 
 
 & Some works connected vrith painting, and in this 
 style, though in other materials, are also preserved, such 
 as the paintings on glass which fill the south window of 
 the nave in Augshurg cathedral, and are composed of 
 
 9 figures of saints. One of the most important of these 
 examples of the successful efforts made in art towards 
 the end of this period, is furnished hy the fragments 
 of tapestry preserved in the abhey church of Qued- 
 linburg, woven about the year 1200 by the abbess 
 Agnes herself with the assistance of her nuns, to 
 adorn the walls of the choir of that church*. The 
 subjects are allegorical, and represent the marriage of 
 Mercury with Philology, (after Marcianus Capellaf.) 
 The original drawings were evidently by different 
 hands; while some are in the common style of the 
 
 * Compare the note iii. 7. Other works yet extant prove 
 that the time of the abbess named in the text was distinguished by 
 a remarkably flourishing state of art. Among these works, a 
 reliquary may be particularly mentioned : its sides are of ivory, 
 carved with the figures of the Apostles, and the bottom is formed 
 of a silver plate, with beautiful niellos. Upon this plate is the figure 
 and name of the abbess, with an inscription stating that the box 
 was made by her orders. The execution again of some of these 
 single figures, in ivory, is in a style of the most surprising purity, 
 fhey are of the same character, and finished in the same manner, as 
 the ivory carvings on the covers of the two splendid manuscripts in 
 the Royal Library at Munich, (B. No. 3 and 7,) and may in some 
 degree serve to fix the date of the latter. We may hope for more 
 information on the subject of these from Dr. E. Forster, of 
 Munich. 
 
 f [Marcianus Capella wrote about A.D. 470. The two books, 
 " De Nuptiis Philologies et Mercurii," form a sort of allegorical 
 introduction to his whole work, which is divided into nine books. 
 
 Bo.]
 
 VII.] EABLIEST GERMAN PAINTING. 29 
 
 day, others contain single figures of such beauty of 
 form, and so much symmetry in the limbs, with a cast 
 of drapery so grand, and arranged with so much artistic 
 knowledge, yet so entirely free from the peculiarities 
 of the ancient Christian models, that we may imagine 
 we here see art approaching to full perfection. In the 
 cathedral at Halberstadt there are also tapestries in the 10 
 Byzantine style, but they are far ruder in the drawing 
 than those of Quedlinburg *. 
 
 In the early part of the thirteenth century, a style 11 
 different from the so-called Byzantine, developed itself 
 in German art, and soon prevailed universally. But in 
 the illuminations of manuscripts executed in the lone- 
 liness of the cloister, far removed from the influence of 
 innovation, the older models were still imitated, and the 
 older style maintained itself even far down into the 
 fifteenth century. 
 
 There are numerous examples which go to prove this 12 
 factf. 
 
 * Museum, 1833, No. 7, s. 53. 
 
 f Public Library at Stuttgart, Bibl. 4, No. 40. Lib. of Munich, 
 Cod. lat. membr. c. p. No. 39, 40. a, 42, 49, 63, 84. See Museum, 
 1834, No. 12, s. 89; No. 21, s. 165.
 
 30 THE GERMAN STTLE. [BOOK IL, 
 
 BOOK II. 
 
 THE GERMAN STYLE. 
 
 WORKS OF THE THIRTEENTH TO THE FIFTEENTH 
 CENTURY. 
 
 1 VIII. IN the thirteenth century, a new and differ- 
 ent style appears in German art. The stiffness and 
 severity the seriousness the forms prescribed by tradi- 
 tion, now disappear, and are replaced by a softer execu- 
 tion and a peculiar flow of outline. Instead of a 
 position without movement, or angular and abrupt turns 
 of the figure, we find a sort of gracefulness of demean- 
 our and gesture ; the drapery flows softly down, in long 
 lines and masses ; the countenances have a pleasing and 
 frequently a sentimental expression, which, though not 
 always perhaps free from mannerism, is generally sim- 
 ple and naive. This is the beginning of a new direction 
 in art, and marks the first attempt to express the 
 artist's own feelings in his works, or at any rate, denotes 
 that such a "subjective" principle was allowed uncon- 
 sciously to pervade them. The same element forms 
 the ground- work of the Italian art of the fourteenth 
 century, and for an account of its further development 
 in that country, we may refer to the introduction of the 
 third Book of Vol. I. That it prevailed so much earlier 
 in the north, is owing to the relative condition of general 
 cultivation on this side of the Alps. Here, that is to 
 say, in France, England, and Germany, in the beginning
 
 VIII.] THE GERMAN STYLE. 31 
 
 of the thirteenth century, we find in full vigour that 
 romantic principle which pervaded life in all directions, 
 and which has peculiar interest for us, as it manifests 
 itself both in the numerous productions of an original 
 popular poetry, and in a new style of architecture, the 
 so-called Gothic. With this last the new style of paint- 
 ing exactly corresponds : the same feeling is seen 
 in the law regulating the constant recurrence of 
 forms used in painting, as is found to pervade the con- 
 temporary style of architecture. It must be observed 
 that in general, at this period, painting stood low in 
 all that relates to resemblance to the life, or all that 
 concerns individuality and truth to nature. These 
 qualities are not visible, at least in any great degree, 
 except in the latest works of this style, towards the 
 end of the fourteenth century, and instead of these 
 higher elements, the law of architectural symmetry was 
 at an earlier period constantly predominant #. 
 
 A proposal has already been made to substitute the 
 appellation " German" f for the common but not very 
 suitable one of ' ' Goth ic" architecture ; and as this design 
 ation appeal's perfectly satisfactory and comprehensive 
 in architecture, the contemporary style in painting may 
 also be best distinguished by the same epithet. 
 
 In the thirteenth century, the peculiarities of this 2 
 German style appeal' in a more glaring manner, and 
 occasionally border on caricature. So it is in eveiy 
 new process of development, where the struggle is made 
 against prescriptive authority; the difficulty was, in 
 this case, naturally increased by the very limited coni- 
 
 * Compare the Editor's note, p. 14. 
 
 + See v. Rumohr, Italienische Forschungen, iii. s. 170.
 
 THE GERMAN STTLE. [BOOK II. 
 
 mand of appropriate technical means which still 
 existed, and the consequent recourse to what was most 
 decisive and most accessible. In the following century 
 these exaggerations are less striking ; a purer and more 
 noble character pervades the art of that time, and the 
 German style reached its highest point at the end 
 of the fourteenth and the beginning of the fifteenth 
 century. 
 
 1 IX. It is in France, and particularly in the northern 
 parts, that the real development of the German style 
 of architecture is to be traced *. Here too, without 
 doubt, we must also look for the earliest examples of this 
 German style in painting. The most ancient historical 
 monuments of the style properly authenticated, which 
 exist, are to be seen in the Church of St. Ursula f, at 
 Cologne. They are pictures of the Apostles, painted 
 on slabs of slate, placed partly on the centre altar, 
 feeing the choir, and partly on the walls of the right- 
 hand aisle; the latter of these especially, thoagli 
 injured, have never been retouched. The Apostles are 
 represented sitting, and the figures are, strictly speaking, 
 
 * Passavant, Kunstreise durch England und Belgien, s. 403. 
 
 + [Compare " Die wichtigsten Stiidte am Mittel und Nieder- 
 rhein im Deutschen Gebiete mil Bezug auf alte und neue Werke 
 der Architektur, Sculptur, und Ma'.erei charakterisirt von Wilhelm 
 Fiissli. Zurich u. Winterthur. 2 vols. sm. 8vo. 1842-3." (vol. ii. 
 s. 336.) Also our author's Handbuch der Kunstgeschichte, 
 s. 598, 867, in the last of which passages he corrects himself, and 
 states that the paintings on the wall at Brauweiler, (see xiii. 1,) as 
 well as these in the Church of St. Ursula, are relics of the Roman- 
 esque style of art, rather than "works of a true German character. 
 Eo-1
 
 IX.] THE GERMAN STILE. 33 
 
 only sketched with a dark outline, filled in with colour. 
 The date on one of these slabs is 1224. 
 
 The fact that painting flourished very early at Co- 2 
 logne, is proved by a passage in the Parzival of Wolfram 
 von Eschenbach, which was composed about the year 
 1200*. To this time of the Cologne school we must 3 
 also ascribe the nearly obliterated paintings on the 
 walls of the crypt in S ta . Maria in Capitolio f. We shall 
 return in the sequel to the later development of the 
 same style in this city. 
 
 Among the earliest examples of the German style 4 
 are the illuminations in the manuscript of Tristan, by 
 Gottfried of Strasburg, now in the Royal Library at 
 Munich I. This manuscript probably came from Swit- 
 
 * The lines are thus quoted by Passavant, s. 403. 
 Als uns die aventiure gicht 
 Von Chiilne noch von Mastricht 
 Dechein sciltere entwurf en baz 
 Denn' als er ufem orse saz. 
 That is to say, 
 
 As our tale runs, 
 
 No painter of Cologne or Mastricht 
 Could have painted him more comely 
 Than as he sat upon his horse. 
 
 The word" sciltere," painter of shields or panels, is used in con- 
 tradistinction to painter of books and illuminations. A well-known 
 and beautiful passage of the Nibelungen Lied alludes to the latter 
 kind of artist, and describes one of the heroes as being fair, as if 
 drawn on the vellum by a good master. 
 
 f [Compare Passavant, s. 403, who says that the state in which 
 these paintings are, and the fact that they can be only seen by 
 candlelight, prevent him from hazarding any observations upon 
 them. ED.] 
 
 | Cod. Germ. No. 51. Dibdin's Bibliographical Tour, iii. 
 p. 263. Museum, 1834. No. 22, s. .170. The illuminations of 
 the manuscript are, however, by two different hands. Those only 
 
 c 3
 
 34 THE GERMAX STYLE. [BOOK If. 
 
 zerland, and was written in the first half of the thir- 
 teenth century. The illustrations remind us of the 
 works of the Upper Bavarian school, of about the close 
 of the twelfth century, already mentioned, VI. 3 6 : 
 like them they are pen and ink drawings, with coloured 
 grounds behind the figures, but here the shadows in 
 the drapery are, in many cases, put in with colour. The 
 drawing is in the new style, and consequently is not free 
 from a certain taint of mannerism and exaggeration. 
 
 5 The embellishments of manuscript German poems 
 are of importance in tracing the further progress also 
 of the style in question ; such are the illuminations of the 
 manuscript of the Minne-Singers, from the convent of 
 Weingarten, now in the King's private library at Stutt- 
 gart * : they are simple coloured drawings, not particu- 
 larly poetic in conception. At the beginning of each 
 poet's works, he is represented as occupied in some 
 appropriate employment. Still more important is the 
 
 6 celebrated manuscript of the Minne-Singers, of about 
 the year 1300, which formerly belonged to Riidger 
 Manesse, and is now in the Paris Library f- It contains 
 
 which occur in the first half are executed with the neatness of an 
 artist, and even those are partly coloured over in the same rough 
 style as the latter ones. The illustrations given in the " Anzeiger 
 fur Kundedes Deutschen Mittelalters," 1832, p. 222, belong to the 
 last class. 
 
 * See Museum, as above, No. 13, s. 99. 
 
 t Professor von der Hagen, of Berlin, is engaged in publishing 
 all the illuminations of this manuscript. [ Facsimiles of the text 
 are given in the fourth volume of his great work.] 
 
 Riidger Maness was, in 1280, a member of the Council of 
 Zurich; in 1304, he bought the castle of Maneck, and was hence 
 called Maness von Maneck. He collected all the works of the
 
 IX.] THE GERMAN STILE. 35 
 
 portraits of each poet, the motives of which resemble, 
 for the most part, those of the figures in the former 
 manuscript, to which they are so similar, that either they 
 have been copied from it, or both have been taken from 
 a common model. In the Paris manuscript, however, the 
 size is larger, and the technical execution is more worthy 
 of an artist; whilst the feeling for the peculiar circum- 
 stances of each subject is more delicate, and the style in 
 which they are conceived and treated has greater truth 
 and spirit. Sometimes the poet is represented alone, and 
 sometimes with his lady-love, it may be in the clia- 
 racter of a hardy huntsman, or of an armed knight. 
 In some the meditative feeling and reflection of the 
 poet are admirably expressed, as in the figure of 
 Henry of Veldeck, who sits amongst flowers and birds, 
 thoughtfully resting his head upon his hand, or in 
 that of lieinmar der Zweter, who is placed on an elevated 
 seat, and dictates to two secretaries busily occupied at his 
 side. The portrait of the Hardegger * is very gracefully 
 
 Minne -Singers which he could obtain, and the manuscript referred 
 to in the text belonged to him. How it came into the Paris Library 
 does not appear very clear. The collection which it contains was 
 published at Zurich, in 2 vols. 4to. 1758, under the title, " Samm- 
 lung von Minnes'angern aus Schwabischen Zeitpuncte, CXL. Dichter 
 enthaltend Durch Ruedger Manes.se, weiland der Rathen der 
 uralten Zurich." This collection also forms the two first volumes 
 of Prof. V. d. Hagen's work, " Minnesinger," in 4 vols. 4to. 
 Leipsic, 1838. For a description of the manuscript the reader may 
 refer to Waagen. Paris, p. 308. ED.] 
 
 * [" The Hardegger " is oneof the Minne- Singers whose works are 
 included in the Maness Collection, (see p. 120 of the edition of 
 1758, and No. 95 in the series of v. d. Hagen). According to 
 this latter author, "the Hardegger" was probably Heinrich v. Har- 
 degge, one of a noble family who were vassals of the Abbey of St. 
 Gall. v. d. Hagen, s. 446, v. iv.-ED.]
 
 30 THE GERMAN STYLE. [BOOK II. 
 
 treated. He lies under a tree, a falcon on his wrist ; 
 his head supported on the lap of his mistress who is 
 bending tenderly over him. The movements, indeed, 
 particularly in difficult attitudes, are not always easy or 
 natural, and of this defect the last-named drawing affords 
 an instance; yet, for the most part, the feeling for form 
 is rather purer, and the draper)' generally falls in beauti- 
 
 7 ful and well-chosen lines *. Some miniatures very pleas- 
 ingly executed are to be found in the beautiful manu- 
 script of William of Oranse, of the year 1334, preserved 
 in the Public Library at Cassel. A certain tenderness 
 and naivete is seen in these works, and the expression 
 of the figures is mild and beautiful ; the feeling of the 
 details in the drapery is good, and shows much taste. 
 
 8 Larger works, with the general type of the German 
 style more or less strongly marked on them, are 
 numerous enough; such as paintings on panels or on 
 walls, painted glass for church-windows, and tapestry. 
 
 9 A piece of the latter of remarkable dimensions may be 
 observed in the Church of St. Elizabeth at Marburg, 
 the principal subject of which is taken from the history 
 of the prodigal son. 
 
 10 Among the pictures on panel of this period there 
 are two examples, excellent of their kind, in the 
 Berlin Museum. The subjects are, two Angels 
 holding a monstrance, and a Madonna, with the 
 Child espousing St. Catherine: (III. No. 177, 178.) 
 The heads are of a fair size, and the figures half 
 length ; their forms are rather full, but pure and noble, 
 with an open expression of gentleness and serenity. 
 In one of the angel's heads, in the first picture, there 
 Museum, 1834, No. 5, s. 35 j No. 11, s. 82.
 
 IX.] THE GERiMAN STYLE. 37 
 
 is sometliing touchingly serene and natural, the veiy 
 spirit of youthful purity and innocence. The painting 
 is extremely smooth, hut, as in the miniatures of the 
 time, the dark outline of the figures is still strongly 
 marked. A great number of very interesting pictures 1 1 
 of this kind are to he seen at Nuremberg, especially in 
 the two principal churches of St. Sebald and St. 
 Laurence. In the choir of the former, a picture * which 
 represents St. Anna, with the Virgin, and the infant 
 Christ on her lap, deserves particular notice. A 
 Madonna, with the child, which hangs next to the 12 
 Sacristy door, in St. Laurence, is still more beautiful, 
 and the head of the Virgin in it is full of grace. The 13 
 Church of the Virgin, as well as the gallery of paintings 
 in the castle, contains various pictures of the same 
 kind, but generally of less merit. In some we already 
 see the transition to the later manner of Nuremberg 
 art. For the most part the older pictures of this 
 school display a certain sharpness in the forms, which 
 appears to distinguish them from the contemporary 
 works of German masters. It is singular that in Nurem- 
 berg no closer examination has hitherto been insti- 
 tuted into specimens so important as these are in 
 tracing the history of art. 
 
 * [As regards the picture in St. Sebald, see Waagen Kunst- 
 werke and Kiinstler in Deutschland, v. i. s. 233, who considers its 
 probable date as about 1430 or 1440. The style, he says, may be 
 looked on as a sort of transition from the style of the fourteenth 
 century to that of Wohlgemuth. See also on the pictures in St. 
 Laurence, s. 246, 247-8; and on the Church of the Virgin, 
 s. 258. Some interesting remarks on the style of the early Nu- 
 remberg school will be found in the passages referred to. ED.]
 
 38 THE GERMAN STYLE. [BOOK II. 
 
 1 X. Iii Bohemia, a peculiar school of painting 
 appears in considerable activity from the middle of the 
 fourteenth century, in the reign of the Emperor 
 Charles IV. (1346 78). Nicolas Wurmser of Stras- 
 burg, Kunz, and Thcodoric of Prague, are particularly 
 named among the artists of this school *. Besides them, 
 we find, on several panels of the time painted for 
 Bohemia, the name of the Italian, Thomas of Matina, 
 (see vol. i. xxxvi. 6). Charles IV., a prince who lived 
 in splendour, endeavoured to enrich his capital with 
 embellishments and treasures of all kinds, and besides 
 his patronage of architecture and sculpture, strove to 
 open an extensive field for painting. 
 
 2 The greatest number of the works of these artists are 
 to be found in the palace of Karlsteiu, erected by 
 Charles in the neighbourhood of Prague. The Church 
 of the Holy Cross, in the great tower of the Castle, de- 
 serves special notice. The lower part of the walls is 
 inlaid with rough amethysts, chrysolites, onyxes, and 
 other precious stones. The upper part is covered with 
 panelling, divided into a great number of square com- 
 partments, which contain half-figures of holy persons. 
 one hundred and thirty in number, painted by Theo- 
 doric of Prague. On the walls are several scenes from 
 Scripture, ascribed to Wurmser and Kunze. The 
 paintings in the lower Church of the Assumption of the 
 Virgin are also attributed to these artists. They represent 
 the Emperor, Charles IV., giving the Cross to his son, 
 
 * Fiorillo, Geschichte der zeichnenden Kiinste in Deutschland, 
 i. s. 126 ff. Hirt Kunstbemerkungen auf einer Reise nach 
 
 Dresden und Prag. s. 175 ff. [Waagen, Deutschland, ii. s. 323 
 
 ED.]
 
 X.] THE GERMAN STYLE. 39 
 
 Wenceslaus, bestowing a ring on Sigismund, and again 
 kneeling absorbed in his devotions. In the little chapel 
 of St. Catherine adjoining, which like the Church of 
 the Holy Cross is richly adorned with precious stones, 
 a Madonna with the Child, and the emperor and his 
 wife kneeling before her, are painted in a niche. This 
 last is not only the best picture, but the best preserved, 
 of all referred to above, since the rest have been a good 
 deal painted over in later times. Some pictures from 
 the castle of Karlstein have been removed to the im- 3 
 perial gallery of the Belvidere at Vienna ; one of these 
 is a crucified Christ with the Virgin and St. John, 
 ascribed to Wurmser, which together with two half- 
 figures of saints, belongs to the series painted for the 
 Church of the Holy Cross, by Theodoric. We must 4 
 also mention the still older paintings in the Chapel of 
 St. Wenceslaus in the Cathedral, on the Hradschin at 
 Prague. They are painted on the under part of the 
 walls, interspersed with ornaments of unpolished pre- 
 cious stones, similar to those in the churches already 
 noticed : they too have, however, been much painted over *. 
 
 The works of this school, in their general manner, 5 
 show much of the pure and simple dignity of the 
 German style, but are by no means to be considered as 
 among its happiest efforts. On the contrary, they 
 entirely want the finer and higher feeling for beauty, 
 and the eye is constantly offended by the rudeness and 
 
 * On the walls of this chapel of St. Wenceslaus are also three 
 other series of paintings above 'those just described; they are of a 
 later period, about 1500, and bear a general affinity to Cranach's 
 compositions. Hirt's account (as above, s. 179,) wants correction 
 in this matter.
 
 40 THE GERMAN STYLE. [BOOK II. 
 
 clumsiness of their forms. In many single points the 
 works of Theocloric of Prague have the advantage, 
 as for instance, in the peculiarly soft treatment of 
 
 6 his colour. This appears in an altar-picture in the 
 Gallery at Prague (xv. No. 33,) ascribed to him. The 
 picture is divided into two parts : above is a Madonna 
 and Child, before them kneel the Emperor Charles IV. 
 and his son, Wenceslaus ; at their side are two saints, 
 and underneath, the Archbishop of Pi-ague, Oczko of 
 Wlassim, with four Bohemian saints close to him. 
 Here also we find the same heaviness of form as in the 
 other works of this school, but at the same time there 
 is a peculiar softness hi the youthful countenances 
 which already approaches to grace; the drapery too 
 is treated with great softness. The most beautiful 
 
 7 paintings of the old Bohemian school, with which the 
 author is acquainted, are in the Thein church at Prague : 
 these are an Ecce Homo, and a Madonna with the 
 Child, both half-figures ; the last particularly is very 
 graceful, and full of soft and tender feeling. 
 
 8 A large mosaic, on the south side of the exterior of 
 the Cathedral of Prague, remains still to be noticed. 
 It is divided into three compartments ; in the middle is 
 Christ, in a glory surrounded by angels, six Bohemian 
 saints below him, and still lower the donors, Charles 
 IV. and his wife ; on the left is the Virgin with several 
 saints, and below is the resurrection of the dead. On 
 the right is seen John the Baptist, with saints also, and 
 underneath are the condemned. The style of this work 
 is again rather rude, and only worthy of notice, as a 
 whole, on account of its execution in mosaic, which was
 
 XI.] THE GERMAN STYLE. 41 
 
 rarely used in Germany. Excepting this brilliant period o, 
 under Charles IV. we know scarcely anything of the 
 development of art in Bohemia, where indeed the Hus- 
 site wars dealt but roughly with works of art. Still 
 much of a later peiiod may have been preserved, and 
 a closer examination might lead to conclusive results: 
 as an example, I may mention a picture in the Gal- . 
 lery at Prague ; (xv. No. 77,) an altar picture with wings, 
 which represents in the middle part the death of the 
 Virgin. To judge from comparison with the works de- 
 scribed above, it appears to belong to the more advanced 
 period of the Prague school in the fifteenth century. 
 
 XI. Another German school, that of Cologne, , 
 assumed a character of far greater importance towards 
 the end of the fourteenth century #. We have already 
 spoken ( ix. 1, 2,) of the early reputation of the masters 
 of this city, and of the early appearance of the German 
 style in their works : it was now carried by them to the 
 highest point of its peculiar excellence. The numerous 
 works which proceeded from the school of Cologne at 
 this period, are impressed with so pure, and, con- 
 sidering the general progress of art, so complete a 
 feeling for beauty, ideal conception and truthful 
 imitation of Nature are blended so happily that we 
 look in vain in the succeeding periods of German 
 art for so high a degree of perfection. A peculiar 
 sweetness of expression and a childlike serenity and 
 grace are shed over these figures. They glow with a 
 
 * Passavant, Kunstreise s. 404 ff. The author in the opinions ex- 
 pressed in the text, follows the judgment of this skilful connoisseur.
 
 42 THE GERMAN STYLE. [BOOK II. 
 
 warm and melting tone of brilliant colour, whilst the 
 softness with which it is laid on, and its technical treat- 
 ment, are more perfect than was attained elsewhere 
 
 2 before the introduction of oil painting. The written 
 accounts of the individual artists to whom these works 
 are attributed are extremely meagre. The hands of 
 two piincipal masters may be recognized with certainty, 
 and these works have been ascribed with the greatest 
 probability to two artists of the time, whose names 
 have been preserved in honourable remembrance. The 
 
 3 first of them, Meister Wilhelm, was probably born in 
 the little village of Herle, near Cologne, and was settled 
 in that city, at the latest, in 1370. In a contemporary 
 Chronicle, in the year 1380, it is said that he was ' ; the 
 best painter in all German, lands, and that he painted 
 men of all sorts as if they were alive." The most im- 
 portant pictures attributed to ^leister Wilhelm must 
 be noticed *. 
 
 One of these is the painting on the monument of 
 Cuno of Falkenstein, archbishop of Treves, in the 
 
 * [The author, in his later work, describes some paintings on the 
 wall of the choir in the Cathedral of Cologne, which were formerly 
 concealed by modern hangings. They represent scenes from the 
 legends of the three kings and of the pope Silvester. He considers 
 them as highly interesting with reference to the history of German 
 art, since their probable date is about 1300, or very little later. 
 A large painting of Christ crucified, with six saints, in the sacristy 
 of St. Severin at Cologne, is ascribed to Meister Wilhelm : it has 
 been disfigured by retouching. A smaller painting on the wall of 
 the crypt of the same church seems to be by an earlier master. 
 The little altar belonging to Herr v. Lassaulx, at Coblentz, our 
 author ascribes to a contemporary artist or to an imitator of Meister 
 Wilhelm. See Handbuch der Kunstgeschichte, s. 870 ED.]
 
 XI.] THE GERMAN STYLE. 43 
 
 church of St. Castor at Coblentz, of the year 1388; 
 the subject is Christ on the Cross ; on the left are the 
 Virgin and St. Peter ; on the right St. John the Evan- 
 gelist and St. Pastor. Archbishop Cuno kneels and 
 prays at the foot of the cross. It has been unhappily 
 much injured by modem restoration, but its excellence 
 as a whole, and particularly the decided and living 
 individuality of the archbishop's head, (which was 
 a rare merit in that day,) taken together with the 
 correspondence in date, are the chief reasons for as- 
 cribing the picture to Meister Wilhelm. There is a 5 
 connexion between this work and the paintings of the 
 large altar piece formerly in St. Clara at Cologne, but 
 now in one of the chapels of the cathedral in that 
 city. When the wings of this latter work are thrown 
 open, we find hi two series, one over the other, twelve 
 scenes from the period of Christ's youth, and twelve 
 from the history of his sufferings. On the outside of 
 the wings, in the upper series, Christ is seen standing 
 in the sepulchre, with several saints at his side: on 
 the lower series is Christ on the Cross, and saints 
 also about him. The heads in these and the following 
 pictures are generally beautiful, particularly those of 
 the women. Their form is somewhat round, the 
 chin rather pointed, the expression not very lively, 
 but correct ; the proportions of the figures are rather 
 long, and the attitudes somewhat affected. The execu- 
 tion is unequal, and as the work of three different hands 
 may almost with certainty be distinguished, it has 
 been assumed that two pupils worked with the master. 
 To these we must add two very beautiful pictures of 6 
 smaller dimensions. One of these is St. Veronica with
 
 I i THE GERMAN STILE. [BOOK II. 
 
 the handkerchief, and in the lower corners of the 
 picture angels playing on instruments. This picture was 
 formerly in the Boisseree Gallery, and now belongs to 
 
 7 the King of Bavaria*. The other is a Madonna, with 
 the Child, and two female saints on the side wings ; on 
 the exterior is the mocking of Christ. The latter 
 work is in the museum at Cologne. In both pictures 
 we find a wonderful softness and blending of the 
 colour, which, especially in the carnations, gives a 
 
 8 peculiar charm. Less finished, but closely allied to 
 these, are a small altar piece of the adoration of the 
 kings with saints on the wings, in the possession of the 
 inspector of architecture, Herr v. Lassaulx, at Coblentz, 
 
 9 and another in the gallery of the Berlin Museum, 
 (III. No. 175,) of the Virgin and Child, seated in a 
 
 10 meadow, with female saints at her side ; another such 
 picture is that containing a number of small scenes 
 from the sufferings of Christ, in the same gallery. (III. 
 No. 179.) 
 
 11 We may judge of the great influence of this master 
 on the art of his day, from the numerous pictures of 
 his scholars to be seen in Cologne and other places, 
 particularly from those comprised in the former 
 Boisseree collection. 
 
 1-2 It was the lot of one of Wilhelm's scholars to surpass 
 in excellence the works which he himself had left, and to 
 fulfil the fairest promise given by the efforts of his 
 
 * In Strixner's Lithographic Work " Sammlung alt nieder-und, 
 oberdeutschen Gemiilde der Briider S. und M. Boisseree, etc.", this 
 picture, as well as many others of similar style, is designated as a 
 work of the " Lower Rhenish Byzantine School;" a denomination 
 which appears hardly justifiable.
 
 XI.] THE GERMAN STYLE. 45 
 
 master. This scholar -was the painter of the celebrated 
 picture in the cathedral of Cologne, whose name, accord- 
 ing to -well-grounded conjecture, is believed to have been 
 Meistcr Stephan. In his work too we find the same 
 roundness of form, particularly in the female heads, 
 the same softness in the handling of his colours, united 
 with greater power and clearness of tone. His propor- 
 tions in the human figure are rather shorter than those 
 of his predecessor, and in his further progress, he parti- 
 cularly distinguishes himself from him, by a successful 
 attempt at greater individual truth. The following works 
 are ascribed with tolerable certainty to his hand : 
 
 The remains of a great altar piece, from the Bene- 
 dictine abbey of Heisterbach, near Bonn : the inner 
 side of the wings is painted with dignified figures of 
 apostles and saints, standing singly under tabernacles. 
 This portion was formerly in the Boisseree collection, 
 and is now in the possession of the King of Bavaria. 
 In the same collection are the Annunciation and Christ 
 on the Mount of Olives, and there are two more 
 panels in the city museum at Cologne. In these 
 pictures Stephan shows himself decidedly as the pupil 
 ofWilhelm. 
 
 The peculiarities of this master are most beautifully 
 exhibited in the celebrated altar picture formerly in 
 the chapel of the townhall at Cologne, now in one of 
 the chapels of the cathedral, and which bears the date 
 1410, according to the interpretations put on certain 
 marks found upon it*. It consists of a centre-piece 
 with wings, on which last, when closed, is represented 
 
 See Wallraf " Taschenbuch fttr Freunde Altdeutscher Zeit- 
 ind Kunst. auf das Jahr, 1816. Koln". s. 349389.
 
 40 THE GERMAN STYLE. [BOOK IT. 
 
 the Annunciation. In the inside, on the centre picture, 
 is the Adoration of the Kings the Holy Virgin is seated 
 on a throne, in a dark blue mantle lined vrith ermine ; 
 at her side are the two elder kings kneeling; the 
 younger one and the attendants stand around. On the 
 side panels are the patrons of the city on the right 
 St. Gereon, in his armour of gold and surcoat of blue 
 velvet, surrounded by his men-at-arms on the left St. 
 Ursula, with her escort and her host of virgins. 
 
 This picture is remarkable for its solemnity and 
 simple dignity of composition, for the depth and force 
 of tone, and the beauty and harmony of colour which, in 
 spite of the usual disadvantages of distemper, here 
 approach in splendour to the effects of Venetian oil paint- 
 ing. The arrangemen t of the figures is grand and simple, 
 and the execution of the rich details finished with the 
 greatest care. A feeling of ideal grace and beauty is 
 breathed over the whole work, and is just as conspicuous 
 in the loveliness of the Virgin with the divine Child, as in 
 the serene dignity of the kings who worship, and the 
 youthful fulness of form, and tenderness of expression, 
 in the holy virgins and the knights who accompany them. 
 16 With this grand work may be classed one of no less 
 excellence, though of smaller dimensions, in the pos- 
 session of Herr von Herwegh, at Cologne. It repre- 
 sents the Holy Virgin seated in a flowery meadow, in 
 an arbour of roses. The expression of her countenance 
 is full of sweetness, and she holds the infant Christ 
 on her lap. Enthroned in golden clouds is God the 
 Father, and near him hovers the Dove of the Holy 
 Spirit. This little picture is also clear and powerful in 
 colouring, and extremely soft in its execution.
 
 THE GERMAN STYLE. 47 
 
 Of a later period is Stephan's third great altar-piece 17 
 formerly in St. Laurence, at Cologne, but of which the 
 separate parts are now distributed in three different 
 places. The inner middle picture in the Cologne 
 Museum represents the last judgment. Christ sits 
 on the clouds, \vith the Virgin and St. John at his 
 side, and little angels with the instruments of the 
 passion around him. Below, on the right of the 
 Saviour, is the gate of heaven before it are St. Peter 
 and angels playing on musical instruments the host 
 of the blessed are entering the gate ; on the left of 
 Christ are hell and the damned. This picture is dis- 
 tinguished by correct drawing of the naked, studied 
 from the life, but it is more true than pleasing. 
 The subject lay beyond the peculiar sphere of the 
 artist's powers, to whom representations of repose and 
 beauty were more congenial, and in spite of the power- 
 ful tone of colouring, the picture fails in that depth 
 of character and earnest sublimity which the scene 
 demands. The same may be said of the wing pictures, 18 
 which represent in twelve compartments the martyrdom 
 of the twelve apostles, and are at present in the Stadel 
 Institution at Frankfort-on-the-Main *. Here the artist 
 had still fewer opportunities of exhibiting his peculiar 
 
 * [ Kuglcr, in the work referred to in my last note, expresses an 
 opinion, that the altar piece from St. Laurence was not the work of 
 Meister Stephan; and he appears to coincide with Fllssli (Stiidte 
 am Rhein. ii. 166), with reference to the series of martyrdoms 
 of the apostles, by whom they are termed " a set of abominable 
 scenes of butchery, (' Henkereien') each of which is more disgust- 
 ing than the one preceding it" Compare Fortoul, de 1'Art en 
 .AHemagne, ii. p. 139. The reader will find a very good descrip- 
 tion of the picture of the last judgment in the Athenaeum for Oct. 
 4, 1845, p. 96. ED.]
 
 48 THE GF.EMAX STYLE. [BOOK IT. 
 
 excellence, and the distorted expression of the lower 
 passions points to the faults of the succeeding period of 
 
 19 German art, and borders on caricature. The exterior 
 of these wings, on the contrary, representing three 
 saints, which formed part of the former Boisseree col- 
 lection, again shows the master in all his original 
 purity and gentleness. 
 
 20 A great numher of pictures, hy the scholars and 
 imitators of this Meister Stephan, are to be found, 
 particularly in Cologne. Among them is the series 
 
 21 in the church of St. Ursula with the legends of that 
 saint; several also which deserve notice are in the 
 city museum, and in the collections of Messrs. Lyvers- 
 
 22 berg, Schmitz, and others. The Boisseree Collection 
 contained a good many, and the beautiful coronation of 
 the Virgin, now in the chapel of St. Maurice, at Xn- 
 
 23 remberg, is peculiarly excellent *. There are several 
 also in the Berlin Museum, among which the Finding 
 of the Cross and the Adoration of the Kings deserve 
 notice (III. No. 161, 162); as well as a beautiful 
 
 04 Presentation in the Temple of the year 1447, in the 
 gallery at Darmstadt. 
 
 25 As one of this class of works we must reckon a 
 miniature of eight female saints, in the possession of 
 Dr. Kerp, at Cologne, which much resembles in touch 
 the works of Meister Stephan, and is remarkable for 
 the composition, as well as for the beauty of the 
 drawing, and for the grace of the movements f. To 
 
 [For this and other pictures of the Cologne School in the 
 chapel of St. Maurice, ses Waagen, Deutschland, i. s. 168 173. 
 -ED.] 
 
 t Beck-r. MUSCUT, 193 \ No. 49, s. 391 ff.
 
 . XII.]* THE GERMAN STYLE. 49 
 
 these miniatures also, which so richly adorn a missal in 
 the Pauline Library, at Miinster, formerly in the cathe- 
 dral of that place, must be added to the number of the 
 more important works in the style of the Cologne school 
 of this date-. 
 
 Traces of other influence are visible in the further 
 progress of the Cologne school, but they belong to the 
 history of art at a later period. 
 
 XII. A peculiar branch of the school of Meister 1 
 Wilhelm of Cologne existed in Westphalia, in the first 
 and second half of the fifteenth centuiy. Unhap- 
 pily, however, the history of ancient Westphalian art 
 is enveloped in darkness, since until veiy lately no 
 interest had been awakened, such as to lead either to 
 the examination or preservation of its monuments, and 
 even now this interest is shared but by few. A relation 
 between this school and that of Cologne may be observed 
 in some works formerly in the convent of St. Walburg*, 'i 
 atSoest, and at present in the provincial museum at Miin- 
 ster. The earliest of these, a large altar-piece, according 
 to the inscription, belongs to the earlypartof the fifteenth 
 century ; its subjects are, in the centre part the Death 
 of the Virgin on the wings the Annunciation, and the 
 Adoration of the Kings. This work is, in many respects, 
 still rude in execution, and it is only in its general fea- 
 tures that it bears a resemblance to the style of Cologne. 
 A second picture, containing the Coronation of the Vir- 3 
 gin, is more important; on the wings are the two 
 patrons of the convent, St. Augustine and St. Walburg. 
 
 * Becker. Museum, 1835, No. 47, s. 374 f. 
 VOL. ii. D
 
 50 THE GERMAN STYLE. [BOOK II. 
 
 The composition is grand and dignified, the expression 
 of the heads full of beauty, the drapery simple and noble, 
 and as a whole it reminds us forcibly of Meister Wil- 
 
 4 helm. Two smaller pictures, formerly the doors of a 
 tabernacle, representing St. Dorothea and St. Otilia, 
 combine -with these same qualities extraordinary grace, 
 and in some degree bear an affinity to the style of Fra 
 Giovanni da Fiesole. 
 
 5 A similar relation to the school of Cologne is visible in 
 several works in the Church of the Virgin, at Dortmund, 
 which it is said, however, are now abandoned to decay. 
 
 6 About the middle of the fifteenth century, the school 
 of Westphalia produced works of art of peculiar excel- 
 lence, of which the best example was a large altar- 
 piece in the church of the former convent of Liesbom, 
 near Minister, of the year 1465*. On the suppres- 
 sion of the convent this picture was carelessly thrown 
 aside : one portion was cut into pieces, and others 
 wholly destroyed. The remains, being part of the 
 middle picture, and consisting of the head of the 
 crucified Redeemer, and the upper part of six saints, 
 who stood on each side of him, are in the possession of 
 Herr Kriiger, late of Aix-la-Chapelle, but now of 
 Minden. The heads are of peculiar beauty, particu- 
 larly that of a St. Bernard, which has an expression of 
 gentle inspiration actually unearthly. Of the eight 
 pictures on the wings, there remain the Annunciation, 
 the Presentation in the Temple, and a fragment of the 
 Adoration of the Kings. They are executed with great 
 care, and the imitation of nature, though without that 
 
 * Passavant, Kunstreise, s. 400 ff.
 
 XII.] THE GERMAN STYLE. 51 
 
 truth which approaches to illusion, is often very success- 
 ful. There is in the painter of this excellent picture a 
 feeling of the ideal, and a peculiar depth of piety, which 
 again remind us of Fiesole, combined with some of the 
 ingenuous sweetness of Gentile da Fabriano ; still he 
 is wholly German, and in the treatment of the carna- 
 tions nearly related to Meister Wilhelm of Cologne. 
 In the cast of the drapery, he is simple and great; in 
 colour, clear and tender. The tone still has the 
 character of distemper, though the picture is finished 
 in oil. The style of drawing is higher than even 
 that of Meister Stephau in the picture of the Cathedral, 
 and the figures are well proportioned. 
 
 In the possession of Herr Kriiger is also a series of 7 
 seven pictures by another contemporary master, (a 
 Coronation of the Virgin, and six scenes from the 
 Passion,) which, however, are very inferior to the for- 
 mer works, both in depth and gentleness of character, 
 and in beauty of form. 
 
 A large altar-picture still exists, by a scholar of this 8 
 master of Liesborn. It consists of four panels : in the 
 middle, are the Crucifixion and the Descent from the 
 Cross on the wings, eight scenes from the life of 
 Christ*. A part repeats exactly the composition of 
 the picture in the possession of Herr Kriiger, but a 
 great difference is observable in the expression. The 
 technical execution of these artists is very similar : the 
 scholar, however, possesses less sweetness and depth of 
 feeling than the master. 
 
 * For this information the author is indebted to a letter from 
 Herr E. Becker, of MLinster. 
 
 D 2
 
 52 THE GERMAN STILE. [BOOK II. 
 
 9 Another considerable collection of the paintings of 
 the old Westphalian school is at present in the pos- 
 session of Herr Barthels, at Aix-la-Chapelle. 
 
 1 XIII. Finally, certain paintings on -walls are yet 
 to be considered, -which exhibit the German style in 
 greater or less perfection, and some of -which bear a 
 great affinity to the Cologne school. This would 
 appeal* to be the case with those paintings on the roof 
 of the Chapter Hall at Brauweiler, near Cologne, which 
 have lately excited attention*. The general charac- 
 ter of these works is said to consist of a simple and 
 antique dignity in the drapeiy, gentleness of expression 
 resembling that of the old masters of Cologne, and slen- 
 der proportions of the figures, united with purity of form. 
 
 2 The paintings also on the walls of the choir in the 
 Cathedral of Fraukfort-on-Main, of the year 1427, 
 whitewashed over in the last centuiy, but lately restored, 
 are similar in feeling to those of the Cologne school. 
 Their principal subject is the History of St. Bartho- 
 lomew, in a series of twenty-eight small pictures, 
 and in two larger ones near the altar, a scene from the 
 Revelations, and Christ appearing as the gardener to 
 Mary Magdalen. Here too we find repeated the 
 general type of the school; that is to say, the soft 
 expression of the heads, and the short proportion of the 
 figures. A head of Christ, crowned with thorns, pre- 
 served on a panel of the Gothic stone seat which 
 
 * Fr. Mertens. Museum, 1836, No. 22, p. 175 ? 
 [With reference to these paintings at Brauweiler, compare the 
 note, p. 32. ED.]
 
 XIII.] THE GERMAN STYLE. 53 
 
 stands against the -wall of the choir, is admirable. One 3 
 of the best \vorks of the time is a painting on the wall 
 of the Church of the Virgin, at Halberstadt, in a niche 
 of the south transept. This has lately been restored, 
 with great success, by Dr. Lucanus, of Halberstadt, 
 and its whitewash of many hundred years removed. 
 The subject is the Death of the Virgin ; and so far as 
 we can judge, in the present dilapidated state of the 
 church, and after the many injuries which the picture has 
 suffered in earlier times, it was distinguished, as well by 
 the dignity and beauty of the character it expresses, as by 
 the nobleness of its forms. A chapel in the south aisle 
 of the same church was painted in the same style ; and 
 though it has never been white-washed over, the paint- 
 ings are cruelly injured by damp and similar causes *. 
 Perhaps these works may supply means for ai-riving at 4 
 satisfactory conclusions respecting a peculiar and con- 
 temporary development of art in the district of Saxony, 
 where much evidence exists with reference to the earlier 
 period of its progress. Whether the remarkable paint- 
 ings on the walls of the Castle of Forcheim, near Barn- 
 berg, which have lately been discovered under a thick 
 coat of plaster and restored, belong to this or an earlier 
 time, we are not in a position to determine. To the 
 works already mentioned we may add those on the 
 walls of the Chapel of St. Veit, in the village of Miihl- 
 hausen, on the Neckar (two leagues from Stuttgart), 
 as interesting examples of early German art ; and in 
 the neighbouring chapel of Waldburg there exists a 
 series of altar-paintings of the same character. 
 
 * Tiibinger Kunstblatt, 1832, No. 37,
 
 54 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 BOOK III. 
 
 INDEPENDENT DEVELOPMENT OF FLEMISH AND 
 GERMAN ART. 
 
 CHAPTER I. 
 
 MASTERS OF THE FIFTEENTH CENTURY. 
 
 XIV. WITH the commencement of the fifteenth 
 century, a new element in art again appears amongst 
 the nations of the German race. This element is 
 that feeling for nature, which, later in the century, 
 prevailed in Italy, and which, by a more thorough and 
 complete study of all individual minutiae, and by a more 
 life-like representation of objects, struggled to free 
 painting from the trammels of architectural laws, and 
 endeavoured to give it an independent value. 
 
 A. THE OLD FLEMISH SCHOOL. 
 
 ] XV. The existence of the School of Flanders, at 
 the head of which stand the brothers Hubert and John 
 van Eyck, marks the first beginning of this new tend- 
 ency; in the great majority of its productions, it 
 offers a strong contrast to the feeling of art in the pre- 
 ceding period*. The principle of isolating each sepa- 
 rate ideal figure, or that of the group symmetrically 
 
 * Dr. Waagen, ueber Hubert, und Johann van Eyck, Bres- 
 lau, 1822. Compare Passavant, Kunstreise : Schnaase, Nieder- 
 landische Briefe: Johanna Schopenhauer. Johann v. Eyck, u. 
 eine Nachfolger, Frankfort, 1822.
 
 XV.] MASTERS OF THE FIFTEENTH CENTURY. 55 
 
 aiTanged, is abandoned; the hard brilliancy of the gold 
 ground is discarded*. The artist not only proves his 
 power to carry the eye far and wide into distant space, 
 but exemplifies this power in his works to the fullest 
 extent. The whole visible world around us heaven and 
 earth objects near and distant the graceful line of dis- 
 tant mountain the green meadow trees laden with 
 fruit the conveniences and elegancies of the dwellings 
 of men, and the various implements and necessaries of 
 life, are all reflected in the works to which the attention 
 of the reader is now turned. Human figures are natu- 
 rally associated with these objects ; they stand in neces- 
 sary relation to each other, and form, together with the 
 accessories, for the first time, one perfect and signi- 
 ficant whole. The execution shows a most attractive 
 and penetratirig study of individual nature, and suc- 
 ceeds in attaining a truth which is marvellous. Here 
 and there certainly many defects still exist, such as 
 hardness in the modelling, and in the folds of the 
 drapery, and a still prevailing want of a well-grounded 
 anatomical knowledge of the body. On the other hand, 
 we lose sight of these faults in the harmony which per- 
 vades the whole work, and which expresses itself outward- 
 ly by the unison of bright and clear colours, and the play 
 of light, and inwardly by the fulness sometimes even 
 by the depth of meaning, which characterizes the con- 
 ception; we may imagine such works to represent 
 an existence, still circumscribed indeed by its intimate 
 relations with earth, but holier and more glorious than 
 that which is enjoyed by us. The discovery, or rather 
 the improvements in oil painting effected by the brothers 
 * [Compare the Editor's note, p. 14-16 ED.]
 
 56 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 van Eyck*, secured the technical means necessary for the 
 further progress of painting. The height and power to 
 which the Flemish cities had arisen at this time, the 
 prevailing enjoyment of the luxuries of life, and the 
 love of country, together with the general diffusion of a 
 powerful religious feeling, had prepared a soil well 
 adapted to foster and support such an art. 
 ! Hitherto no specimens of the transition from the 
 earlier feeling of the German School to this new style 
 have heen pointed out. It may be presumed that the 
 closer study of nature, visible particularly in the highly 
 finished landscape back-grounds, could not have been 
 introduced without some preliminary steps : in every 
 point of view, however, the amount of progress made at 
 this time should be considered rather as marking an es- 
 sentially new epoch in art, than as the last link of a con- 
 nected chain of improvements gradually unrolled. These 
 great strides in the history of art are rarely the result of 
 [With reference to the invention of oil painting, Passavant 
 (Rafael v. Urbino, i. 13) observes that the passage in Cennino 
 Cennini, supposed to bear on the subject, in reality proves nothing 
 against the claim of v. Eyck, since the work of Cennini appears to 
 have been finished in 1437, whereas J. v. Eyck was bom about 
 1400, and Hubert did not die till 1426. Passavant should, how- 
 ever, have said that the passage in the Laurentian manuscript of 
 Cennini, which states that it was written in 1437, is supposed by 
 Rumohr to refer only to the transcriber, not to the author. The 
 words are as follows: 
 
 " Finito libro referamus gratia Christi, 1437, a di 31, di luglio, 
 ex stincarum F." 
 
 The Vatican manuscript ends in the same way. The Ricciardi 
 manuscript wants the passage. 
 
 " Le Stinche " was the debtors' prison at Florence, and Rumohr 
 asserts that the transcription of books was a common occupation for 
 debtors in confinement in that city. See Waagen iiber H. and 
 J. v. Eyck.s. 99, 100, note ED.]
 
 XV.] MASTERS OF THE FIFTEENTH CENTURY. 57 
 
 advancing gradually and continuously, but seem rather 
 to be the effect as it were of great single pulsa- 
 tions*. The present instance stands out with more 
 force and prominence, because the new style was called 
 into life by two masters at once, who are deservedly 
 ranked among the greatest artists of all times, and who 
 besides worked together, in all their best productions, 
 with brotherly union and harmony. 
 
 It is evident, however, from parts in particular works 3 
 of these brothers van Eyck, that even they stand on the 
 threshold of this transition ; for in single figures they still 
 preserve the statue-like solemnity and dignity of the early 
 style, and have only combined more life with the same 
 traditional motives. Such figures are without doubt to 
 be ascribed to the elder brother, Hubert, since the 
 younger, John, appears to have preferred an unrestrain- 
 ed imitation of nature ; together they give to their joint 
 works an elevation and grandeur never equalled by their 
 scholars and imitators. From certain accessories, it is 
 evident that, even in their own times and neighbourhood, 
 the old style was still in constant use f. Hubert van 4 
 
 * [This proposition is supported equally by the history of ancient 
 sculpture and modern painting. The former sprang, like Minerva, 
 fully armed from the work-shop of Phidias, and remained stationary 
 until the time of Adrian ; the latter cannot be said to have gained in 
 power since the age of Michael Angelo. ED.] 
 
 j- Thus, for instance, in the group of singing angels, in the pic- 
 ture of Ghent, we see in the embroidery of the priestly habit worn 
 by the angel in front, small representations of a Virgin with the 
 Child, and of Christ, which are completely in the old style. The 
 clasp which holds together the garment of the second angel, with a 
 figure of Christ in relief upon it, is of the same character. [Com- 
 pare the note at p. 60, and the quotation fcom Fr. Schlegel ED.] 
 
 D3
 
 58 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 Eyck was bom about the year 1366, and died in 1426. 
 The year of John's birth was probably about 1400 : he 
 died in 1445. The little town of Maaseyck is named 
 as the birth-place of both, and their subsequent resi- 
 dence was Bruges, which just at this time had reached 
 the summit of its prosperity. John was the scholar of 
 his brother : their father also is said to have been a 
 painter ; and their sister Margaret is celebrated as an 
 excellent artist. In Philip the Good, who, in the year 
 1419, assumed the government, as Duke of Burgundy 
 and Count of Flanders, John found a noble patron, 
 and was made by him one of his privy council*. 
 
 1 XVI. The most celebrated work of the two brothers 
 is the large altar-piece, painted by them for the church 
 of St. John (now St. Bavo), at Ghent, and finished 
 May 6th, 1432 f. Hubert, the elder, according to the 
 existing inscription, was the designer of the whole. He 
 died, however, before its completion, and is, as well as 
 his sister Margaret, interred in this church. It con- 
 sisted of several panels, and comprised two principal 
 pictures, one above the other ; each with double 
 wings painted inside and out. When the wings were 
 closed, the upper half represented the annunciation 
 
 * [John was also " valet de chambre de mon dit Seigneur de 
 Bourgoigne," as he is called in a document preserved in the 
 archives of Brabant. See Rathgeber, s. 36. ED.] 
 
 f See Dr. Waagen. Ueber das von dem Briidern, H. and J. 
 van Eyck zu Gent ausgefuhrte Altargemalde, in the Tubingen 
 Kunstblatt, 1824, Nos. 23-27. Translated under the title, Notice 
 sur le chef-d'oeuvre des freres van Eyck traduite de l'Allemand ; 
 augmentee de notes inedites sur la vie et sur le ouvrages de ces 
 celebres Peintres par L. de Bast. Gand. 1825.
 
 XVI.] MASTERS OF THE FIFTEENTH CENTUBY. 59 
 
 the promise of redemption to a sinful race ; the lower 
 part was executed in chiaroscuro, and contained statues 
 of the patron saints of the church, John the Baptist and 
 John the Evangelist ; heside them were kneeling figures 
 of the donor, a patrician of Ghent, Judicus Vyts and his 
 wife Lisbette. When the -wings were opened, which 
 occurred only on festivals, the subject of the upper centre 
 picture, consisting of three panels, was the Triune 
 God the King of heaven and earth at his side the 
 Holy Virgin and the Baptist : on the inside of the wings 
 were angels, who with songs and sacred music celebrate 
 the praises of the Most High : at the two extremities, each 
 inside the half-shutters which covered the figure of God 
 the Father, were Adam and Eve, the representatives of 
 fallen man. The lower central picture shows the Lamb 
 of the Revelation, whose blood flows into a cup ; over 
 it is the dove of the Holy Spirit ; angels, who hold the 
 instruments of the passion, worship the Lamb, and four 
 groups, each consisting of many persons, advance from 
 the sides ; they comprise the holy martyrs, male and fe- 
 male, with priests and laymen ; in the foreground is the 
 river of life ; in the distance the towers of the heavenly 
 Jerusalem. On the wing pictures, other groups are com- 
 ing up to adore the Lamb ; on the left were those who 
 have laboured for the kingdom of the Lord by worldly 
 deeds the soldiers of Christ, and the righteous judges; 
 on the right, those who, through self-denial and renun- 
 ciation of earthly good, have served him in the spirit 
 holy hermits and pilgrims ; a picture underneath, which 
 represented purgatory, finished the whole. One great idea, 
 the idea of the atonement, the ground- work of Christian- 
 ity, pervaded the whole of this rich work ; all the single
 
 60 MASTERS OF THE FIFTEENTH CENTURY. [BOOK IIT. 
 
 points of interest, various as they are, united in this one 
 centre. 
 
 > The work is now dispersed : the centre pictures and 
 the panels of Adam and Eve only are in Ghent. The 
 lower picture of purgatory was early injured and lost, and 
 the others form some of the greatest ornaments of the 
 gallery of the Berlin Museum *. 
 
 t The three figures of the upper centre picture are 
 designed with all the dignity of statue-like repose belong- 
 ing to the early style ; they are painted too on a ground 
 of gold and tapestry, as was constantly the practice in 
 earlier times : but united with the traditional type, we 
 already find a successful representation of life and 
 
 * [We could not expect, perhaps, that these pictures would ex- 
 cite much admiration in Reynolds, but it is somewhat provoking 
 to read the cool terms in which he mentions what is undoubtedly 
 one of the finest works of modern art. " In a chapel is a work of 
 the brothers, Hubert and John v. Eyck, representing the Adoration 
 of the Lamb a story from the Apocalypse. It contains a great 
 number of figures in a hard manner, but there is a character of 
 truth and nature in the heads; and the landscape is well coloured." 
 Journey in Flanders ; Works, vol. ii. p. 254. Fuseli, who saw 
 the pictures in the Louvre, in 1802, does more justice to them 
 " The pictures here exhibited as the works of Hemmelinck, Metsis, 
 Lucas of Holland, A. Diirer, and even Holbein, are inferior to 
 those ascribed to Eyck in colour, execution, and taste. The dra- 
 peries of the three on a gold ground, especially that of the middle 
 figure, could not be improved in simplicity, or elegance, by the taste 
 of Raphael himself. The three heads of God the Father, the Virgin, 
 and St. John the Baptist, are not inferior in roundness, force, or 
 sweetness, to the heads of L. da Vinci, and possess a more posi- 
 tive principle of colour." (Knowles's Life of Fuseli, i. p. 267.) 
 Frederic v. Schlegel recognizes the element of dignity derived from 
 the ancient type, and says very truly, " The Egyptian sublimity 
 and stiffness of these godlike forms, in all the straightness and 
 severity of ages long gone by, must inspire the deepest reverence." 
 Fr. v. Schlegel, Werke, Wien, 1823, b. vi. s. 55. ED.]
 
 XVI.] MASTERS OF THE FIFTEENTH CENTURY. 6 1 
 
 nature in all its truth. They stand on the frontier of 
 two different styles, and from the excellencies of both, 
 form a -wonderful and most impressive whole. In all 
 the solemnity of antique dignity the Heavenly Father 
 sits directly fronting the spectator his right hand 
 raised to seal by his oath the new covenant ; in his 
 left is a crystal sceptre ; on his head the triple crown, 
 the emblem of the Trinity. The features are such as 
 are ascribed to Christ by the traditions of the church, 
 but noble and well-proportioned ; the expression is forci- 
 ble, though passionless. The tunic of the Lord, ungirt, 
 is of a deep red, as well as the mantle, which last is 
 fastened over the breast by a rich clasp, and falling down 
 equally from both shoulders, is thrown in beautiful 
 folds over the feet. Behind the figure, and as high as 
 the head, is a hanging of green tapestry, adorned with 
 a golden pelican (a well-known symbol of the Redeemer); 
 behind the head the ground is gold, and on it, in a 
 semicircle, are tliree inscriptions, which again describe 
 the Trinity, as all-mighty, all-good, and all-bountiful. 
 The two other figures of this picture display equal 
 majesty ; both are reading holy books, and are turned 
 towards the Lord. The countenance of John expresses 
 ascetic seriousness, but in Mary's we find a serene 
 grace, and a purity of form, which approach very nearly 
 to the happier efforts of Italian art. 
 
 The upper middle pictures, at least the greatest part 
 of them, are considered as the work of Hubert : their 
 soft handling, and deep brown tone, are supposed to be 
 characteristic examples of his technical execution. The 4 
 side wings, with the singing angels, are on the contrary 
 ascribed to John, since they display greater precision,
 
 62 MASTERS OF THE FIFTEENTH CENTUKY. [BOOK III. 
 
 and a sharpness peculiar to the works exclusively his 
 own. On the wing next to the Virgin stand eight 
 angels, singing before a music desk*. They are repre- 
 sented as choristers in splendid vestments and crowns. 
 The brilliancy of the stuffs and precious stones is given 
 with the hand of a master, the music desk is richly orna- 
 mented with Gothic carved work and figures, and the 
 countenances are full of expression and life ; but iu the 
 effort to imitate nature with the utmost truth, so as even 
 to enable us to distinguish with certainty the different 
 voices of the double quartett, the spirit of a holier influ- 
 ence has already passed away. On the corresponding 
 wing, an angel (or it may be St. Cecilia) sits at an organ, 
 the keys of which she touches with an expression of deep 
 meditation : other angels stand behind the organ with 
 different stringed instruments. The expression of these 
 heads shows far more feeling, and is more gentle : the 
 execution of the stuffs and utensils is equally masterly. 
 5 The two extreme wings of the upper series, the sub- 
 jects of which are Adam and Eve standing opposite to 
 each other, are still in Ghent, but are inaccessible to the 
 traveller, being kept strictly locked up, as it is reported, 
 out of delicacy. The attempt to paint the naked figure 
 of the size of life, with the most careful attention to 
 minute detail, is said to have been eminently successful, 
 with the exception of a certain degree of hardness in the 
 drawing. Eve holds in her right hand the forbidden 
 fruit. In the filling up, which the shape of the altar- 
 piece made necessary over these panels, there are small 
 
 * [The force and truth of this picture of Van Eyck's always re- 
 minded me of the beautiful bas-relief by Luca della Robbia of a 
 somewhat similar subject, which is in the Florence Gallery ED.]
 
 XVI.] MASTERS OF THE FIFTEENTH CENTURY. 63 
 
 subjects in chiaroscuro ; over Adam, the sacrifice of Cain 
 and Abel ; over Eve, the death of Abel death, there- 
 fore, as the immediate consequence of original sin. '' 
 
 The lower middle picture, the worship of the Lamb, 6 
 is likewise, so far as concerns the execution, ascribed 
 to John Van Eyck. The arrangement is strictly symme- 
 trical, as the mystic nature of the allegorical subject 
 demanded, but there is such beauty in the landscape, 
 in the pure atmosphere, in the bright green of the grass, 
 in the masses of trees and the flowers, even in the single 
 figures which stand out from the four great groups, that 
 we no longer perceive either hardness or severity in 
 this symmetry. The handling in the two pictures which 
 make up the right wing of the lower picture (the Hermits 
 and Pilgrims) shows more of the manner of Hubert, 
 whilst in the opposite two we recognize the hand of John. 
 The picture to the extreme right, representing the holy 7 
 pilgrims, is, however, less striking than the others. Here 
 St. Christopher, who wandered through the wo rid seeking 
 the most mighty Lord, strides before all, a giant in sta- 
 ture, whilst a host of smaller pilgrims, of various ages, 
 follow him. A fruitful valley is seen through the slender 
 trees. The cast of the folds in the ample red drapery 
 of St. Christopher, as in the upper picture, reminds us 
 still of the older style, but it is not successfully treated. 
 The whimsical and singular expression in the counte- 
 nances of the pilgrims is also very remarkable. It is pos- 
 sible, therefore, that the execution of this picture was 
 entrusted to some other of Hubert's scholars, who, with 
 less originality, preserved only the technical execution of 
 the master, and exaggerated, even to caricature, his efforts
 
 04 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 8 to express character. The picture next in succession is 
 much more pleasing ; it represents the troop of holy an- 
 eftbrites passing out of a rocky defile. In front are Paul 
 the Hermit and Anthony, the two who set the first ex- 
 ample of retirement from the world ; and the procession 
 closes with the two holy women, who also passed the 
 greater part of their lives in the wilderness, Mary Mag- 
 dalene and Mary of Egypt. The heads are full of 
 character, with great variety of expression : on every 
 countenance may be traced the history of its life ; grave 
 old men stand before us, each one differing from the 
 other: one is firm and strong, another more feeble, 
 one cheerful and single-minded, another less open. 
 Some inspired fanatics wildly raise their heads, whilst 
 others with a simple and almost humorous expression 
 walk by their side, and others again are still strug- 
 gling with their earthly nature. It is a remarkable 
 picture, and leads us deep into the secret of the human 
 heart a picture which in all times must be ranked 
 amongst the master-works of art, and which to be in- 
 telligible needs no previous inquiry into the relative 
 period and circumstances of the artists who created 
 it. The landscape back-ground, the rocky defile, the 
 wooded declivity, and the trees laden with fruit, are all 
 eminently beautiful. The eye would almost lose itself 
 in this rich scene of still life, if it were not constantly 
 led back to the interest of the fore-ground. 
 
 9 The two other wings differ essentially in conception 
 from those just described as so full of character. Their 
 subject did not in itself admit such varied interest, and 
 it is rather the common expression of a tranquil har-
 
 XVI.] MASTERS OF THE FIFTEENTH CENTURY. 65 
 
 mony of mind, and of the consciousness of a resolute 
 will, -which attracts the spectator, combined at the same 
 time with a skilful representation of earthly splendour 
 and magnificence. The execution is evidently that 
 of John : clear, well-defined, and veiy neat in all 
 matters of detail, as the subject required, whilst the 
 softer handling of Hubert, following the feelings rather 
 than the understanding, was admirably adapted to the 
 scene of the hermits. Inside the wing to the left, we 10 
 see the soldiers of the Lord on fine chargers, simple 
 and noble figures in bright armour, with surcoats 
 of varied form and colour. The three foremost with 
 the waving banners appear to be St. Sebastian, St. George, 
 and St. Michael, the patron saints of the old Flemish 
 guilds, which accompanied their earls to the crusades ; 
 emperors and princes follow them. The landscape is 
 extremely beautiful, and highly finished, with rich and 
 fine-formed mountain ridges, and the fleecy clouds of 
 spring floating lightly across. The second picture (that 11 
 is the last to the left) represents the righteous judges ; 
 they also are on horseback, and are fine and dignified 
 figures. In front, on a splendidly caparisoned grey 
 horse, rides a mild, benevolent old man, in blue vel- 
 vet trimmed with fur. This is the likeness of Hubert, 
 to whom his brother has thus dedicated a beautiful 
 memorial. Kather deeper in the group is John himself, 
 clothed in black, with his shrewd, sharp countenance 
 turned to the spectator. We are indebted to an old 
 tradition for the knowledge of these portraits. 
 
 The upper wings, when closed, represented, as has 1-2 
 been already said, the Annunciation, and this was so 
 arranged, that on the outer and wider ones, (the backs of
 
 66 MASTERS OF THE FIFTEENTH CENTURY. [BOOK HI. 
 
 the two pictures of angels singing and playing,) were the 
 figures of the Virgin and the angel Gabriel on the 
 inner narrower ones (that is, on the back of the Adam and 
 Eve) a continuation of the Virgin's chamber. Here, as 
 was often the case in the outside pictures of large altar- 
 pieces, the colouring was kept down to a more uniform 
 tone, in order that the full splendour might be reserved to 
 adorn with greater effectthe principal subject within. The 
 angel and the Holy Virgin are clothed in flowing white 
 drapery, but the wings of the angel glitter with a play of 
 soft and brilliant colour : the heads are noble and well 
 painted : the furniture of the room is executed with great 
 truth, as well as the view through the arcade which forms 
 the back-ground of the Virgin's chamber, into the streets 
 of a town, one of which we recognize as a street in Ghent. 
 
 13 In the semicircles which close these panels above, on 
 the right and left are two prophets, whose heads have 
 great dignity, but are somewhat stiff and unsatisfactory 
 in their attitudes. In the centre, (corresponding to the 
 
 14 figures in chiaroscuro over Adam and Eve,) are two 
 kneeling female figures represented as sibyls. In these 
 the assistance of another of Hubert's scholars, Gerhard 
 van der Meeren, is supposed to be traced. 
 
 15 The exterior portion of the lower wings has been 
 already mentioned. The statues of the two St. Johns 
 display a heavy style of drapery, and there is something 
 peculiarly angular in the break of the folds, imitated 
 perhaps from the sculpture of the day, which had like- 
 wise already abandoned the older German style. This 
 peculiarity by degrees impressed itself more and more 
 on the style of painting of the fifteenth century, and 
 the drapery of the figures in the Annunciation already
 
 XVI. ] MASTERS OF THE FIFTEENTH CENTURY. 67 
 
 betrays a tendency towards it. John the Evangelist 
 appears, in the beautiful form of his face, and in the 
 drapery, as the most striking of the two figures. The 16 
 likenesses of the donors are given with inimitable life 
 and fidelity. They show the careful hand of John, but 
 already approach that limit, within which the imi- 
 tation of the accidental and insignificant in the human 
 countenance, should be confined. The whole, how- 
 ever, is in admirable keeping, and the care of the artist 
 can hardly be considered too anxiously minute, since 
 feeling and character are as fully expressed as the mere 
 bodily form. The aged Judocus Vyts, to whose libe- 
 rality posterity is indebted for this great work of art, is 
 dressed in a simple red gannent trimmed with fur; 
 he kneels with his hands folded, and his eyes directed 
 upwards. His countenance however is not attractive, the 
 forehead is low and narrow, and the eye without power. 
 The mouth alone shows a certain benevolence, and the 
 whole expression of the features denotes a character 
 capable of managing a large revenue, and easily led to 
 devote it to honourable purposes. The idea of ori- 
 ginating so great a work as this picture is to be found 
 in the noble, intellectual, and expressive features of his 
 wife, who kneels opposite to him in the same attitude, 
 and in still plainer attire. 
 
 About one hundred years after the completion of this 17 
 altar-piece, an excellent copy of it was made by Michael 
 Coxis for Philip II. of Spain*. The panels of this 
 
 * [As to this copy, compare Johanna v. Schopenhauer, Joh. v. 
 Eyck, u. seine Nachfolger, Frankfurt, 1822, vol. i. s. 68. Fiorillo 
 Gesch. d. Zeichn. Kunste in Deutschland, etc. ii. s. 285. Passavant, 
 Reise, s. 384. 
 
 The expense of the copy was 4,000 florins, and its execution
 
 G8 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 work, like those of the original , are dispersed ; some are 
 in the Berlin Museum, some in the possession of the 
 lung of Bavaria, and others in the private collection 
 of the King of Holland, which was formerly at Brussels, 
 and is now at the Hague. A second copy, which com- 
 prises the inside pictures of this great work, from the 
 chapel of the Town-house, at Ghent, was in the posses- 
 sion of Mr. Aders of London. 
 
 1 XVII. Of the works of Hubert van Eyck, but few 
 examples have come down to us, except those parts of 
 the great altar-piece, which may be distinguished as 
 exclusively his. Among these few however is an excel- 
 lent picture of the Adoration of the Kings, in the pos- 
 session of Professor van Rotterdam at Ghent. It 
 displays great power in the colouring, and has that 
 somewhat brownish tone peculiar to the works of 
 Hubert; the character of the heads is beautiful, the 
 handling exactly corresponds to that of the Pilgrims 
 on the wings of the altar-picture : the draperies are well 
 understood, and often show a feeling of great grandeur 
 in the arrangement. 
 
 2 Of works from the hand of John van Eyck, seve- 
 ral have been preserved. The following may be named 
 
 took Coxis two years. The ultramarine in the Virgin's mantle 
 is said to have cost 32 ducats. It formerly hung in the chapel of 
 the old palace at Madrid ; General Belliard sent the pictures to 
 Brussels, where they were offered for sale ; the result has unfortu- 
 nately been, that the different portions are scattered nearly 
 as widely as those of the original picture. The copy on canvas, 
 which was in the possession of Mr. Aders in London, contained all 
 the internal pictures of the original work. It formerly hung in the 
 chapel of the town-house at Ghent, and was sold by the French in 
 1796. See Passavant, Reise, s. 92. ED.]
 
 XVII.] MASTEBS OF THE FIFTEENTH CENTURY. 69 
 
 as the most important. A Head of Christ, with the 
 name of the artist, and the date of its completion, (Jan. 
 31, 1438,) is in the gallery of the Berlin Museum #. 
 The head faces the spectator, and the features agree 
 with the traditional type of the Church. The forms are 
 high, and rather long. The carnation is soft and beau- 
 tiful, and the execution delicate, hut it would appear as 
 if the form prescribed by tradition had here fettered 
 the artist's hand, who, in the imitation of Nature, has 
 elsewhere proved himself a master ; the eye has some- 
 thing contracted about it, the mouth is delicate but 
 devoid of power, and the features generally are without 
 much character. The old and new style do not harmo- 
 nize in this work. A similar head of Christ, also with the 3 
 name of the artist, is in the Academy of Paintings at 
 Bruges ; its authenticity, however, has been doubted. 
 In the same collection is the portrait of the artist's 4 
 wife, of the year 1439, half the size of life, veiy neat 
 and soft in execution. The original companion of this 
 picture, the artist's own portrait, has not been pre- 
 served. There is also in the Academy an altar- 5 
 piece of the year 1436, of the Virgin on a throne, with 
 the Child on her lap playing with a parrot and with 
 flowers ; at the side are two saints and the donor of the 
 picture kneeling: the back-ground is formed by the 
 choir of a church, in the style of architecture of the 
 twelfth century. The two saints are admirable figures, 
 manly and powerful : the aged donor is a portrait 
 
 * [On the adherence to the old type, visible in this picture at 
 Berlin, compare Wilhelm Grimm, Die Sage und Ursprung der 
 Christus-bilder, Berlin, 1843, 4to. s. 3146. Waagen, Hub. u. 
 Job. v. Eyck, s. 71, 150, 200 ED.]
 
 70 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 painted with the greatest life and truth : the Virgin 
 and the Child are less pleasing : the colouring is 
 forcible, and the whole is finished with a zeal and 
 truth, particularly in the accessories, which deserve the 
 
 6 highest admiration. Closely resembling this last work, 
 in its whole treatment and hi the softness of its execu- 
 tion, is an Annunciation, formerly a wing-picture of an. 
 altar-piece, in the private collection of the King of Hol- 
 
 7 land. In the Boisseree Gallery several works bore 
 the name of John van Eyck, but the most import- 
 ant of these is now attributed to a later artist (see 
 
 8 xix. 14). The remaining works of that collection 
 which inquire to be noticed here are the portrait of 
 Cardinal Charles of Bourbon, painted with much deli- 
 cacy and feeling, now in the Chapel of St. Maurice 
 
 9 at Nuremberg *, and the St. Luke painting the Vir- 
 gin and Child. The latter is a graceful and lovely 
 composition; the head of the Virgin, especially, is of 
 singular beauty; the execution of the accessories is 
 again excellent, particularly in the view from the 
 window into the street, which forms a charming 
 
 10 little picture in the picture itself. In other places, 
 as Vienna, England, and France, a good many works are 
 
 * [The chapel of St. Maurice was built by the family of Mendel 
 in the years 1313 and 1314. It is situated near the Church of St. 
 Sebald. In 1829 it was restored as a picture gallery by the architect 
 Heidelof : before that time it had been used as a magazine for 
 wood. See Waagen, k. u. k. in Deutschland, i. s. 167. 
 
 As to the portrait of the cardinal mentioned in the text, Waagen 
 is decidedly of opinion that it is not the work of J. v. Eyck, though 
 belonging to that school ; the artist died in 1445, and Charles of 
 Bourbon, who in the picture appears advanced in years, was not 
 made a cardinal until after this time : the forehead, nose and hair 
 havebeen restored. Waagen, k.u. k. in Deutschland, i. s.175. ED.]
 
 XVII.] MASTERS OF THE FIFTEENTH CENTURY. 71 
 
 ascribed to John van Eyck, among which there are 
 several of importance *. 
 
 Besides the smaller paintings just referred to, a very 
 
 * [A picture by van Eyck is now placed in the National Gallery 
 in London, which deserves to be particularly noticed on account 
 of its own merits, as well as on account of the curious fact connect- 
 ed with its history, to which no attention has yet been called that 
 I am aware of. 
 
 Carl van Mander, in his " Leven der Nederlandsche en Hoog- 
 cluitsche Schilders, (Amsterdam, 1764, vol. i. p. 24,) gives the 
 following anecdote : 
 
 " Our John," (i. e. van Eyck) " painted on panel in oil the 
 portraits of a man and woman, who appear to be entering into 
 wedlock and plighting their troth to each other. The piece after- 
 wards got into the hands or became the property of a surgeon at 
 Ghent, and was seen by the Princess Mary, aunt of Philip II. of 
 Spain, and widow of Louis, King of Hungary, who was very fond 
 of art. She was the sister of Charles V. and Governor of the 
 Netherlands : her husband, Lewis of Hungary, had been killed in 
 battle against the Turks," (at Mohacz,1526). " This princess was so 
 much pleased with the picture, that she bought it, and gave the 
 surgeon an office for it which produced a hundred florins a 
 year." 
 
 There can be no doubt, that the picture in our National Gallery 
 is the one described by van Mander, and it has thus turned up 
 when its history was long forgotten. It is said to have been pur- 
 chased for 600 guineas. 
 
 Compare Waagen, V. Eyck, s. 202. Fiorillo, Gesch. d. Zeichn. 
 Klinste in Deutschland, etc. ii. s. 286. The latter author strangely 
 mistakes the nature of the subject, and can hardly have referred 
 carefully to van Mander. 
 
 Waagen recognized a work of J. v. Eyck, in a charming little pic- 
 ture of St. Jerome, belonging to Sir Thomas Baring, and which had 
 been ascribed to Albert DUrer : he afterwards found a description of it 
 in the anonymous author whose journal was published by Morelli, 
 at Bassano, in 1800, as belonging in the sixteenth century to 
 Antonio Pasqualino of Venice, and by some ascribed to J. v. 
 Eyck. See England, ii. s. 253. The picture was this year (1845) 
 exhibited at the British Institution.
 
 78 MASTERS OF THE FIFTEENTH CEXTUBY. [BOOK III. 
 
 1 1 remarkable work claims our notice, the painter of 
 which, according to old tradition and the judgment of 
 approved connoisseurs *, was John van Eyck, or at any 
 rate some very excellent imitator of his. This is the 
 
 Perhaps also the pictures of v. Eyck which found their way into 
 Italy should be particularly alluded to as being important links in 
 the history of art. Vasari ( Introduzione, capitolo xxi.) says, 
 " inando la tavola a Napoli al re Alfonso, ed al duca d'Urbino 
 Federico II. la stufa sua, e fece un San Gironimo che Lorenzo 
 de' Medici aveva." The second picture represented a bath with 
 female figures. It is described with great minuteness by Facius, 
 who wrote in 1486. Compare Passavant, Rafael, v. i. s. 6. Waagen, 
 v. Eyck, s. 198. The original passage from Facius will be found 
 in Rathgeber's Annnlen der Niederlandischen Malerei. s. 101, 
 and in Fiorillo, ii. s. 287. ED. 1 
 
 * This picture is ascribed to Michael Wohlgemu'h, but without 
 any sufficient reason, in the " Verzeichniss von GemUlden und 
 Kunstwerken welche durch die Tapferkeit der Vaterlandiscben 
 Truppen wieder erobert worden, etc." Berlin, 1815. An ex- 
 cellent analysis of it, however, as a work of art, is there given. 
 A. Hirt, in his essay on the exhibition in the Berlin Academy 
 for 1815, declares it to be a work of Hugo van der Goes. Compare 
 Johanna Schoppenhauer, Johann van Eyck, und seine Nach- 
 folger, Frankfurt a. M. 1822, Bd. i. s. 79. ff.; and also Waairen, 
 v. Eyck, s. 241252. [Waagen, it is believed, now holds the 
 Dantzig picture to be the work of Jushis of Ghent; and this 
 seems very probable. Another altar-piece which in many respects 
 recalls the Dantzig picture, and the subject of which is in like 
 manner the Last Judgment, is to be seen in France, at Beaune 
 (Depart. Cote d'Or) in the Hotel Dieu. It is there attributed to 
 van Eyck. A special notice of it, with the remarks of Dr. Waagen, 
 will be found in the " Berlinische Nachrichten von Staats und 
 gelehrten Sachen," 1837, Sept. 2, and Nov. 11. Extracts are 
 given in the periodical edited by the author of this Handbook, 
 " Blatter fur bildende Kunst," 1837, No. 39, and No. 48. The 
 latter part of this note is derived from a letter addressed to Mr. 
 Eastlake by Dr. Kugler, dated December 31, 1840. Compare 
 " Handbuch der Kunstgeschichte, s. 747. n. ED.]
 
 XVTI.] MASTEES OF THE FIFTEENTH CENTURY. 73 
 
 celebrated Last Judgment, in the parish Church of 
 St. Mary, at Dantzig *. It consists of a centre and two 
 wings, painted on a gold ground. In the centre, on a 
 large and brilliant rainbow, which touches the horizon, 
 sits the Saviour, with the severe expression of the judge. 
 A red sword is suspended on the left, a lily branch on 
 the right of his head ; a golden ball (painted) hangs in 
 the air as His footstool, and reflects the nearest objects. 
 He is clothed in a red mantle fastened on the breast 
 and falling over the lap in beautiful folds. Above him 
 hover four angels with the instruments of the Passion, 
 and below him are three others with the trumpets of the 
 Last Judgment. At his right kneels the Virgin, with 
 an expression of mercy and motherly intercession ; on 
 the left is John the Baptist, and on both sides are ranged 
 the Apostles fine figures, with heads of great excellence, 
 though of different degrees of beauty. In the lower half 
 of the picture stands St. Michael, clad in golden armour, 
 so bright as to reflect in the most complete manner all the 
 surrounding objects. This figure is slender, but colossal 
 as compared with the rest, and he seems to be bending 
 earnestly forward ; a splendid purple mantle falls from 
 his shoulders to the ground, and he has large wings 
 composed of glittering peacock's feathers. He holds 
 the balance of justice in which the souls of men are 
 weighed ; the scale with the good rests on the earth, but 
 
 * [Fr. Schlegel observes, that the antiquity of this subject in 
 Christian art is shown by the story of St. Cyrillus and St Methodius, 
 who in their expedition, in the ninth century, to convert the Scla- 
 vonian tribes made especial use of a picture of the last judgment. 
 Fr. Schlegel, Werke, Wien. 1823, vi. s. 29. ED.]
 
 74 MASTEBS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 that with the souls which are found wanting quickly 
 mounts into the air : a demon stands ready to receive 
 the damned, and towards this scale St. Michael directs 
 the end of a black staff with a rich handle, which he holds 
 in his right hand. Around is a plain, out of which, as 
 well as in the depth of the landscape background, the 
 dead are rising from their graves ; on one side are the 
 blessed in the act of ascending to Heaven, on the other 
 the damned. Close behind the archangel, an angel and 
 a devil are contending for a soul. Inexpressible anguish, 
 grief, and despair bordering on madness, are depicted in 
 the various groups of the damned of every age and sex. 
 who are crowded together on the left of St. Michael. 
 Grotesque figures of devils, some of them decked out 
 with coloured butterfly wings, are mixed up with the 
 lost souls, and are driving them with demoniac glee 
 into the abyss. On the right all is holy peace, and the 
 countenances of the blessed already express a foretaste of 
 approaching bliss. The left wing represents Hell ; 
 between steep and craggy rocks flames are raging and 
 sparks and smoke burst forth, while the damned are 
 hurled downwards in frantic terror, and are tormented in 
 various ways. Here a pair of lovers, fastened together 
 with fine cords, are suspended between the teeth of a 
 bat-winged fiend ; there another stands on the throat 
 of a falling woman, whilst with his hooked fork he drags 
 a priest after him. Some ape-like devils are pulling down 
 the lost souls by the hair, whilst others bear their prey 
 upon their backs and torment them with firebrands. 
 The variety of attitude and the boldness of the fore- 
 shortening are masterly the gradations of tone given
 
 XVII.] MASTERS OF THE FIFTEENTH CENTUKT. 75 
 
 to the expression of sorrow and despair, which is one in 
 kind, are surprisingly varied. In the right side-picture 
 is a splendid gothic portal, adorned with columns, and 
 through its open gates the blessed are passing in. Sub- 
 jects from the Old and New Testament in bas-relief 
 embellish the facade and ceiling of the high-arched 
 vestibule, whilst augels of great beauty clothed in rich 
 vestments stand on the balustrades and on the two bal- 
 conies of the building, singing, playing and strewing 
 flowers. Clouds surround the building on both sides. 
 As the blessed draw near, they are received and guided 
 by angels, who clothe them in splendid garments. 
 Peter with the keys of Heaven, stands at the gate, and 
 beckons to the elect. His figure is majestic. A host 
 of priests has already ascended the steps. Here too we 
 find the same variety of countenances, all apparently 
 copied from nature, and the same truth which we have 
 noticed in representing grief and despair, but here 
 the prevailing expression is that of humble astonish- 
 ment and tranquil joy. The whole work is executed 
 with a truth to Nature such as places it in the same 
 rank with the altar-piece of Ghent, with regard to the 
 decorations, drapery, and rich accessories ; whilst in 
 the difficult drawing of the naked form, (excepting the 
 stiffness already mentioned,) and in the modelling and 
 cliiaroscuro, the picture attains to unusual excellence. 
 The spirit with which the subject is treated, and the 
 highly diversified expression of feelings the most dif- 
 ferent in their nature, certainly make it rank amongst 
 the greatest master-works of art. 
 
 The last work of John van Eyck, unfinished at LU 12 
 
 E 2
 
 76 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III- 
 
 death, and hung up in this state, in the Church of St. 
 Martin at Ypres, has only come down to us in an old copy, 
 in the possession of M. Bogaert Dumortier, at Bruges, 
 which in parts is in like manner unfinished. It consists 
 of a centre and two wings. In the first, the Holy 
 Virgin, as Queen of Heaven, splendidly crowned, with 
 long flowing hair, and a wide, richly ornamented purple 
 mantle, holds the infant Christ in her arms; before her 
 kneels the donor of the picture, and the back-ground 
 consists of ancient church architecture, through which 
 we look out on a rich and animated landscape. The 
 wings contain four subjects from the Old Testament, in 
 part only sketched, which must be taken to relate to the 
 mystery of the nativity, in the spirit of the ancient 
 Christian symbols. The subjects are, Moses and the 
 Burning Bush, Gideon with the Angel and the Mira- 
 culous Fleece, the Closed Gate of Ezekiel, and Aaron 
 with the Budding Rod. On the outside of the wings 
 there is the Virgin, in chiaroscuro, with the Child, 
 appearing to the Emperor Augustus, and the Tiburtine 
 Sibyl, who explains to him the meaning of the vision. 
 
 18 No works have come down to our time by Margaretha 
 van Eyck, the sister of these two artists, of which the 
 genuineness can be proved historically. Among the 
 miniatures in the style of van Eyck, in different libra- 
 ries and collections, several are ascribed to her, parti- 
 
 14 cularly those beautiful drawings in a manuscript* of the 
 
 * Camus. Notices, &c. &c. des Manuscrits de la Bib. Nat. 
 t. iv., Paris, an IX. p. 117. [A description of this manu- 
 script will be found at p. 343 of Waagen's " Kunstwerke und 
 Kiiustler in Paris." It contains altogether as many as five
 
 XVII.] MASTEBS OP THE FIFTEENTH CENTURY. 77 
 
 Paris Library, (No. 6829,) which contains an Epitome of 
 the Bible. A painting, in the possession of Mr. Aders, 
 of London, has lately excited observation * ; it probably 
 may be ascribed to Margaretha, as it bears the impress 
 of those qualities which generally characterize a woman's 
 hand and mind. The picture in question consists of three 
 compartments : in the middle, the Virgin sits reading 
 on a grassplat, and before her is the infant Christ on 
 a black velvet cushion : he is turning to St. Catherine, 
 who kneels with the ring of betrothal in her hand ; behind 
 her another saint is kneeling at a table, on which are 
 roses and fruit, and she herself holds up a small basket of 
 the former. Opposite to her another saint is sitting on the 
 grass, who receives white and red roses from a maiden 
 clothed in blue. Behind these holy women stand angels 
 of great beauty: three play on instruments, and a fourth 
 holds a plate with cherries under a stream of water, which 
 flows from a fountain in the centre. In the back-ground 
 
 thousand miniatures. Waagen, however, does not appear to 
 attribute them to Margaret v. Eyek, nor do they seem to have 
 been all executed by the same person. He thinks it probable 
 that the brothers v. Eyck were the illuminators of the celebrated 
 Bedford Breviary, in the same Library, and that a third hand, 
 which he conjectures to be that of Margaret, may be traced 
 (p. 352 357). Compare Rathgeber Annalen der Niederlandis- 
 chen Malerei, s. 4. Sir John Tobin, near Liverpool, possesses 
 the celebrated Mass-book of the same Duke of Bedford (the 
 Regent who married the sister of Philip the Good) ; but Waagen 
 does not think the execution of the miniatures in this latter manu- 
 script equal to those in the Paris Breviary, though belonging to the 
 same school. See Kunstwerke u. Kunstler in England, vol. ii. 
 s. 384. ED.] 
 
 * Passavant, Kunstreise, s. 92. [Compare Rathgeber, Annalen 
 der Niederlandischen Malerei. s. 4. ED.]
 
 78 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 is a church, lighted up within, whilst trees, thick with 
 foliage, throw a deep shadow around the outside of it. The 
 subject of the left-wing picture is St. Agnes and other 
 saints wandering through a green meadow, under beau- 
 tiful orange trees. In the right-hand picture, St. John 
 the Evangelist kneels in front; behind him an angel is 
 gathering roses, and still further, under the orange 
 trees, a youth plucks fruit, which a maiden receives in 
 her lap. This beautiful composition has a sort of pas- 
 toral character, and a charm peculiarly its own : it is 
 most carefully executed ; the colour is rather subdued 
 than powerful ; the shadows light brownish. In the 
 forms and movements there is often a certain degree of 
 grace, although the countenances cannot properly be 
 called beautiful *. 
 
 1 XVIII. The school of the brothers van Eyck had 
 a very important influence, as is proved by the numerous 
 pictures of their scholars and imitators which exist in 
 Flanders, and in foreign galleries, particularly in those 
 of Berlin, of the King of Bavaria, and in England : in 
 the latter more particularly, in the collection of Mr. Aders, 
 of London f. Many single pictures of great excellence 
 are to be found amongst these works; but the grandeur 
 and the power of expression of the two masters were 
 never equalled by their scholars. The most celebrated 
 
 * [As this sheet is passing through the press, I have received the 
 second volume of Waagen's K. u. K. in Deutschland. At p. 129, 
 he mentions a beautiful little " Pieta " by J. v. Eyck, in the pos- 
 session of Herr Kraenner of Ratisbon ED.] 
 
 + [ Mr. Aders's collection is unfortunately no longer in existence 
 as a whole. ED.]
 
 XVIII.] MASTERS OF THE FIFTEENTH CENTURY. 79 
 
 scholars and closest imitators of the van Eycks were 
 the following artists : 
 
 Gerhard van der Meeren, (also written Meere, '2 
 Meer, and Meire,) a scholar of Hubert, whose supposed 
 assistance in the altar-piece of St. Bavo, in Ghent, has 
 been already mentioned. His principal work, also an 3 
 altar-piece, is in the same church. In the middle pic- 
 ture is the Crucifixion of Christ ; on one wing, Moses 
 strikes the water from the rock ; and on the other is 
 the brazen serpent raised on the cross, both in symboli- 
 cal relation to Christ. The drawing in the long angular 
 figures is rather awkward ; the colour pale and clear : 
 the expression, however, is peculiarly mild, and parti- 
 cularly successful in the group of the fainting Virgin 
 and her companions. 
 
 Justus of Ghent was another scholar of Hubert *. His 4 
 principal works are the Communion, in the Church of 
 St. Agatha, at Urbino, and a small picture in the col- 
 lection of M. van Huyvetter, of Ghent, of which the 5 
 
 [ It appears uncertain in what year Justus of Ghent was at Ur- 
 bino. The brotherhood of the " Corpo di Cristo," for whom his 
 picture was originally painted, began to receive contributions 
 towards the cost of the picture as early as 1465. They paid him 
 three hundred florins in 1475. The picture is described as very 
 beautiful, and still in fair preservation. See Passavant, Raphael 
 i. s. 429, Beitrag. 2. 
 
 It is singular that Giovanni Santi, in his Metrical Chronicle, does 
 not mention Justus of Ghent, though he expressly names 
 
 " E'l gran Joanes e'l discepol Rugero," 
 
 meaning J. v. Eyck and Roger v. d. Weyde. See Passavant, 
 Raph. i. s. 12, Appendix, p. 471. Compare Rathgeber, s. 15, 
 Vasari, p. 1100. (Edition of 1832-38.) With regard to the 
 Dantzig picture, see what is said in the author's note, 17, 11. 
 ED.]
 
 80 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III, 
 
 subject is the Finding of the True Cross, and its verifi- 
 cation by raising a dead woman to life. In this and other 
 works there is a want of depth of conception, and some 
 dryness of handling. 
 
 6 Hugo van der Goes. His chief work is in Santa 
 Maria Novella, at Florence, and represents the Birth of 
 Christ, with the adoration of the shepherds, together 
 with a beautiful group of angels hovering over the 
 child*. On the wings are respectively two male and two 
 female saints, and with them kneel the donor and hia 
 sons, and his wife with her daughters : all the size of 
 
 7 life, and all full of character. Four small pictures of 
 saints are in the private collection of the King of Hol- 
 land, formerly at Brussels, but now at the Hague. 
 
 8 There is an Annunciation in the former Boisseree Col- 
 
 9 lection, and several pictures in the Berlin Museum, 
 amongst which an Annunciation (II. No. 17), two heads, 
 of Christ crowned with thorns, and two- small works, 
 (another Annunciation (II. No. 24),. and a St. John the 
 Baptist,) deserve favourable notice. Neatness of execu- 
 tion in the accessories,, a rather limited feeling for 
 beauty, and a cold tone of colouring, are the charac- 
 teristics of these pictures -fv 
 
 * In the summer of 1835, the author only saw the two wings of 
 this picture hung up singly on the walls of the church. [ Rathgebec 
 (s. 118) says that the middle picture hangs separate on the opposite 
 wall. ED.] 
 
 f [Compare for a more detailed list of the pictures of van der 
 Goes, Rathgeber, s. 117. Passavant was inclined to attribute to 
 this master two wings of an old picture which he saw at Kensington 
 (Kunstreise, s. 49). They are now at Hampton Court, Nos. 509, 
 510, of Jesse's catalogue. Dallaway (notes to Walpole, i. p. 95), 
 speaks as if the centre picture was in existence when he wrote. ED. }
 
 XVIII.] MASTERS OP THE FIFTEENTH CENTURY. $1 
 
 Peter Christophsen *. In the gallery of the Berlin 10 
 Museum, inscribed with this name, is a portrait of a 
 young girl, favourably distinguished by its simple and 
 beautiful execution, as well as by the peculiar form of 
 the countenance. Another picture, of the year 1449, 1 1 
 is in the possession of Herr Oppenheim, at Cologne St. 
 Eligius, who, as a goldsmith, sells a wedding-ring to a 
 bridal pair. 
 
 Albert Ouwater, of Haarlem. A Descent from the 12 
 Cross, in the Museum of Cologne, is, according to an 
 abbreviated inscription, ascribed with probability to this 
 artist. The character is that of the school, but the 
 colouring is very bright : the drawing is stiff and 
 meagre. 
 
 Roger of Bruges is celebrated as one of the best 13 
 scholars of the van Eycks, but not one authentic 
 picture of his is known to exist f. At the same time 
 it has been conjectured that a cycle of four pictures, 
 hitherto ascribed to his scholar, Hans Hemling, should 
 
 * [This master is called Pietro Crista by Vasari, (p. 1100). 
 Compare Rathgeber, ss. 12. 32. 49, who states that a picture, 
 with the inscription, " Petrus XPR, me fecit. 1417." formerly in 
 the possession of Mr. Aders, of London, is now in the hands of 
 Passavant. See Kunstblatt, No. 4, 1841, s. 15 ED.] 
 
 f See Dr. Waagen, in the Allgemeine Preussische Staatszeitung 
 for July 1, 1836, p. 746. [It seems likely that Roger of Bruges 
 was the " Maestro Rogel" who worked in Spain in 1445. See 
 Rathgeber, s. 13. 44. It is now pretiy clear that the oratory or 
 portable altar by Maestro Rogel, which was presented by Juan II. 
 to the convent of Miraflores, near Bruges, in 1445, is the one 
 described by Waagen as a work of Hemling ( England, ii. s. 233 ), 
 now in the possession of the King o'f Holland. Compare Cean 
 Bermudez, Diccionario, iv 234 ; Waagen , Deutschland, ii. 309 ; 
 
 Passavant in the Kunstblatt, 1843, No. 59 ED.] 
 
 E3
 
 82 MASTERS OF THE FIFTEENTH CENTURY, [BOOK III. 
 
 rather be regarded as the work of Roger himself. 
 On the one hand, in the greater clearness, warmth, 
 power of colouring, and free handling, these paintings 
 are more nearly related to the works of the van Eycks ; 
 and on the other, they are not equal to the better 
 authenticated works of Hemling, in precision of form, 
 nor in the sharp and close attention to detail. The 
 subjects are scenes taken from the Old Testament, and 
 have a symbolical reference to the Last Supper : proba- 
 bly they formed the wings of a large altar-piece, of which 
 the centre contained the Supper itself, either painted or 
 
 14 carved in wood. Two of these paintings, taken from 
 the Brettendorf Collection at Aix-la-Chapelle, are now 
 in the gallery of the Berlin Museum ; the two others 
 formed part of the treasures of the former Boisseree Col- 
 lection, now in the possession of the King of Bavaria. 
 The first of the Berlin pictures represents the Feast of 
 the Passover. In a quiet chamber, arranged for a festival, 
 a family, as in readiness for a journey, with staves in 
 their hands, are assembled round the table, about to 
 celebrate the feast : they all have an expression of 
 solemn earnestness and collected thought. In the 
 second, the Prophet Elias, sleeping in the wilderness, 
 is roused by an angel to eat and drink, and resume 
 his journey. Repose and dignity are well expressed 
 in the head of the prophet : the angel's movements are 
 soft and easy. In the distance, we look upon an 
 autumnal landscape, admirably painted in a clear, grand, 
 
 15 quiet tone. The subject of one of the Munich pictures 
 is, Abraham at the head of his household, and King 
 Melchisedeck, who offers him bread and wine of the
 
 XIX.] MASTERS OP THE FIFTEENTH CENTURY. 83 
 
 other, the miracle of the manna, and the people of 
 Israel gathering the holy food. Here, as in the Feast 
 of the Passover, the tranquil feeling of a religious 
 solemnity, rather than the bustle of daily life, pervades 
 the picture. The landscape back-ground is also ex- 
 tremely beautiful *. 
 
 XIX. Ham Hemling (or Memling)f, the scholar of 1 
 
 * [ Since the text was written many pictures, formerly attributed 
 to other masters, have been attributed to Roger of Bruges. Thus, 
 according to Rathgeber (s. 106), Passavant ascribes to him the 
 Adoration of the Kings, and the Annunciation and Circumcision, 
 which commonly pass as a work of v. Eyck, in the Munich Gallery 
 (Cab. Nos. 35, 36, 37), and which is spoken of afterwards ( xix. 
 14) as possibly being a work of Hemling's. Compare Waagen, 
 Deutschland, ii. s. )69. I have mentioned the altar from Mira- 
 flores in the last note ED.] 
 
 t The dispute as to the name is not yet terminated. In the 
 meantime the author may be pardoned for using the name to 
 which our ears are accustomed. 
 
 [The reader who is curious on this point may refer to Passa- 
 vant, Kunstreise, s. 358. Waagen, in his recent work, " Kunst- 
 werke u. Kiinstler in Deutschland," i. s. 235, speaking of a pic- 
 ture in the Church of St. Sebald, at Nuremberg, says" Lastly, I 
 observe that in the label held by the angel, the letter M occurs 
 twice in the same form as that which it has in the inscription on the 
 picture in the Hospital of St. John at Bruges, and which Descamps 
 mistook for an H. It was this which occasioned him to turn the 
 painter Hans Memling into a Hans Hemling ; a name which passes 
 current to a great extent, even at the present day." Waagen, and 
 I believe most Germans now, think the dispute is TERMINATED. 
 En.] 
 
 Compare on Hemling " Le Baron de Keverberg -. Ursula, Prin- 
 cesse Britannique d'apres la legende et les peintures d'Hemling, 
 Gand. 1818." Also Passavant, Kunstreise, and Schnaase Nieder- 
 liindische Briefe.
 
 84 MASTERS OF THE FIFTEENTH CENTUR7. [BOOK HI. 
 
 Roger of Bruges, was one of the best artists of the school 
 of van Eyck, and the one by whom its principles, so far 
 as we may judge from existing works, have been most suc- 
 cessfully carried out ; at once with the greatest freedom 
 and originality. Of the personal career of this artist 
 little is known. This only is certain, that from the year 
 1479, he worked a great deal in the hospital of St. 
 John, at Bruges, according to tradition, out of grati- 
 tude for having been received and attended there, 
 when a sick and indigent soldier. At an earlier period 
 he is said to have lived for some time in Italy * ; and in 
 the last years of the fifteenth century, to have worked 
 in Spain. This last supposition rests on his identity 
 with an artist called Juan Flamenco, (John the Fle- 
 ming f,) who gained a considerable reputation in Spain. 
 2 Hemling adopted the mode of conception peculiar to 
 the school of van Eyck, tinged, however, with peculiar 
 severity. The features are less lovely, but toore earnest ; 
 the figures less elegant; the movements less soft ; the 
 handling, as before remarked, sharper, with greater 
 finish of the detail. His grouping is strictly symmetri- 
 cal, and he confines himself in general to the characters 
 absolutely necessary; whilst, on the other hand, he 
 endeavours to exhaust the history, and often introduces 
 the events which preceded or followed the principal 
 action, in a smaller size, in the back-ground. We 
 
 * [There appears no ground for this supposition, except the ex- 
 istence at Venice of the celebrated Breviary, and of another picture 
 which is said now to belong to the King of Holland. See Rath- 
 geber, s. 13, ft. 115, 116. ED.] 
 
 t [See the editor's note, p. 92 ED.]
 
 , XIX.] MASTERS OF THE FIFTEENTH CENTTJK7. 83 
 
 trace his more serious feeling particularly in the con- 
 ception and colouring of his landscapes. If in John 
 van Eyck these shone in the light of spring, in Hem- 
 ling they glow with the richness of summer; the greens 
 are darker the meadows more equally tinted the 
 foliage of the trees more dense the shadows stronger 
 the masses of light broader and more tranquil. In 
 other cases, the tone of his landscapes is a clear, uni- 
 form, autumnal tint. He is always successful in 
 scenes which require the highest brilliancy of strong 
 lights, as the rising sun or forcible and singular com- 
 binations of colour, as in visions and such like subjects. 
 The best collection of Hemling's works is in Bruges, 
 and particularly in the Hospital of St. John. Two of 
 them are inscribed with his name and the date of the 
 year, 1479. Both are altar-pieces with wings, and are 
 preserved in the common or chapter-hall. In the 
 larger is represented, as the principal subject, the 
 Marriage of St. Catherine. The Virgin is placed in 
 the centre, on a seat under a porch, with tapestry hang- 
 ing down behind it : two angels hold a crown, with much 
 grace, over her head : beside her kneels St. Catherine, 
 on whose finger the beautiful infant Christ places a ring 
 of betrothal : behind her is a charming figure of an 
 angel playing on the organ ; and further back St. John 
 the Baptist, with a lamb at his side. On the other side 
 kneels St. Barbara, reading ; behind her, another angel 
 holds a book to the Virgin ; and still deeper in the pic- 
 ture, is St. John the Evangelist, whose figure is of great 
 beauty, and of a mild and thoughtful character. 
 Through the arcades of the porch we look out, at each
 
 86 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 side of the throne, on a rich landscape, in which are 
 represented scenes from^the lives of the two St. Johns. 
 The panel on the right side contains the Beheading of 
 the Baptist, and at a distance, a building, with ;: 
 glimpse into the landscape, in which are again intro- 
 duced events from the life of the saint. On the left is 
 St. John the Evangelist, on the island of Patmos, 
 about to write in a book, and looking upwards, where 
 the vision of the Apocalypse appears to him the 
 Lord, on a throne, in a glory of dazzling light, encom- 
 passed with a rainbow. In a larger circle is the host of 
 the elders, with a solemn character of countenance, in 
 white garments, and with harps in their hands ; opposite 
 to them, among flames and mystic forms, is the four- 
 headed beast. Below all is a landscape, in wliich men 
 are flying away, and seek to conceal themselves among 
 the rocks, whilst the four horsemen, in the swiftness of 
 their might, are bursting on them. Finally, the sea, 
 with its deep-green crystal waves, reflects all together 
 the rainbow, the glow of the sky, the mystic figures, and 
 the forms on the shore, and thus unites these various 
 objects into one great whole. On the outside of the 
 wings are four saints, two male and two female, and 
 kneeling before them, men and women, in religious 
 vestments. The whole forms a work strikingly poetical, 
 and most impressive in its character ; it is highly finished, 
 both in drawing and in its treatment as a picture, and is 
 in excellent preservation. No other large work of Hem- 
 ling's, of equal excellence, is known to exist. The other 
 4 picture is smaller. In the centre, it represents the 
 Adoration of the Kings; on one of the wings, the Birth
 
 XIX.] MASTERS OF THE FIFTEENTH CENTURY. 87 
 
 of Christ, with angels worshipping ; on the other, the 
 Presentation in the Temple, with figures of great 
 beauty. On the exterior are St. John the Baptist and 
 St. Veronica. A third picture, of a Sibyl, in the same 
 hall, is ascribed to Hemling, but the genuineness of 
 this work is doubted. 
 
 In the chapel of St. John's Hospital is also the cele- 5 
 brated Reliquary of St. Ursula, a shrine about four feet in 
 length ; its style and form are those of rich Gothic church 
 architecture, such as we often find adopted for the 
 larger depositories of relics. The whole exterior of this 
 casket is adorned with miniatures in oil by Hemling. 
 On each side of the cover are three medallions a large 
 one in the centre, and two smaller at the sides. The 
 latter contain angels playing on musical instruments ; 
 in the centre, on one side, is a Coronation of the Virgin ; 
 on the other, the Glorification of St. Ursula and her com- 
 panions, with two figures of Bishops. On the gable-end, 
 in front, is the Holy Virgin and Child, before whom 
 two sisters of the hospital are kneeling. Behind is St. 
 Ursula, with the arrow, the instrument of her martyr- 
 dom, and the virgins, who seek protection under her out- 
 spread mantle. On the longer sides of the Reliquary 
 itself, in six rather large compartments, enclosed in 
 Gothic arcades, is painted the history of St. Ursula. 
 According to the legend, this saint was the daughter of 
 an English king, who, with an innumerable train of com- 
 panions, her pious lover, and an escort of knights, set 
 out, by the command of God t on a pilgrimage to Rome. 
 On their journey home, they suffered martyrdom at 
 Cologne. The subjects of each picture separately are,
 
 88 MA8TEB8 OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 1. The landing at Cologne, in the beginning of the 
 journey ; Ursula, clothed in princely purple, and her 
 hair braided with pearls, steps from the boat; whilst a 
 virgin at her side carries a casket of jewels. With 
 pious humility, she bends kindly to the virgins who 
 receive her. The view of Cologne is taken from the 
 place, so that the principal buildings are easily recog- 
 nized. 2. The landing at Basle. The princess, with 
 part of her followers, has landed, and goes towards the 
 old city. Two more ships approach the landing-place. 
 In the back-ground we see the Alps : here then the virgin 
 host have already set out on their land journey. 3. The 
 arrival in Rome. Pope Cyriacus receives the princess, 
 who is followed from the mountains by her train. 
 Youthful knights, with Conan, the lover of St. Ursula, 
 at their head, accompany them. The church is thrown 
 open, and in it some are in the act of receiving baptism, 
 whilst others are at confession. 4. The second arrival 
 at Basle. In the back-ground are the gates of the city, 
 from which the princess and her companions are ad- 
 vancing to the river. In the foreground, the embarka- 
 tion has already begun. In a large boat, sit the pope, 
 between two cardinals, and St. Ursula between two vir- 
 gins, engaged in devout discourse. 5. Commencement of 
 the martyrdom. The camp of the Emperor Maximin, the 
 enemy of the Christians, is seen on the banks of the Rhine ; 
 two ships are just putting in. Wild hordes, with clubs, 
 swords, and bows, surround the boat : the youths on 
 the banks fall beneath the weapons of the foe. A por- 
 tion of the virgins in the ships singing holy songs, 
 await the shower of arrows with tranquil resignation ;
 
 XIX.] MASTERS OF THE FIFTEENTH CENTURY. 89 
 
 whilst others, as well as their priestly companions, 
 are already stricken. 6. The death of St. Ursula : 
 she and two virgins are in the tent of the euiperor; a 
 soldier has already aimed his arrow at her ; she awaits 
 death with cheerful submission to the will of God; 
 some of the bystanders look on with interest, others, 
 with savage indifference. These little pictures are 
 among the very best productions of the Flemish school. 
 The drawing in these small figures is much more beauti- 
 tiful than in the larger ones by the same master : there 
 is nothing in them meagre, stiff, or angular ; the move- 
 ments are free ; the execution and tone of colour, with 
 all its softness, very powerful ; the expression in the 
 single heads, of the highest excellence. 
 
 Another series of small pictures, in the private collec- 6 
 tion of the King of Holland, formerly in Brussels, is 
 equally excellent. They contain, in two long panels, ten 
 scenes from the life of St. Berlin, and once served as a 
 covering to the splendid reliquary of this saint, pre- 
 served in the Abbey-church of St. Martin, at St. Omer. 
 The beautiful scene of the birth of the saint, his taking 
 the garb of a monk, the various meetings and inter- 
 course of holy men, are given with the liveliest feel- 
 ing. As in the pictures of St. Ursula we have rather 
 inspired holiness animating an active life, so here it is 
 the tranquil course of one of the elect of God which is 
 set before us. 
 
 Finally, a similar picture, of a long form, now at 7 
 Munich, and formerly in the Boisseree Collection, 
 deserves especial notice. It represents the principal 
 events of the life of Christ and the Virgin, (the seven
 
 90 MASTEKS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 joys and the seven sorrows of the Virgin) : not in sepa- 
 rate compartments, but as one great whole, united in a 
 landscape, with an endless number of subordinate events : 
 a whole world of life, and joy, and sorrow all executed 
 with wonderful grace and beauty. 
 
 8 There are two altar-pieces, by Hemling, preserved in 
 the Academy of Bruges. One contains in the centre 
 picture, the Baptism of Christ; in the back-ground, 
 other scenes from the life of Christ and John the Bap- 
 tist ; on the inner side of the wings are two saints, and 
 kneeling before them the family of the donor on the 
 outside, the Holy Virgin and Child, and kneeling to her 
 a woman and her daughter, recommended by Mary 
 Magdalen. It is an excellent and beautiful work, dis- 
 tinguished particularly by the charming character of all 
 
 9 the heads. The second picture, of which the date is 
 1484, is less important. In the centre is St. Christo- 
 pher, with the Child, whom he carries on his shoulders, 
 through a dark stream, whilst morning begins to break 
 in the distance ; more in the foreground are St. Bene- 
 dict and St. Giles ; on the wing pictures are other saints, 
 
 10 and the family of the donor. Besides these there are 
 in Bruges other works bearing the name of Hemling : 
 one is a small altar-piece, in a closed chapel, on the 
 right, in St. Salvator, representing the martyrdom of St. 
 
 1 1 Hippolytus, torn asunder by four horses. In the hall of 
 St. Julian's Hospital, is also a diptych, of the year 1487, 
 on one of the panels of which is painted the Holy Virgin 
 
 1*2 and Child; and on the other, the donor. In St. Peter's, 
 at Louvain, in a chapel of the choir, there is an altar- 
 piece, by Hemling, which consists of several panels :
 
 XIX.] MASTERS OF THE FIFTEENTH CENTURY. 91 
 
 like the picture in St. Salvator at Bruges it represents 
 the martyrdom of St. Erasmus; on the wings are 
 saints ; and above, the Last Supper, a simple symme- 
 trical composition of extremely delicate execution. 
 
 Among the pictures to be particularly noticed in the 13 
 Berlin Museum, marked with the name of Hemling, 
 besides those already described, ( XVIII. 14,) is an 
 altar-picture, consisting of three panels *. In the 
 centre is the Birth of Christ, with the kneeling donor 
 of the picture, and angels of great beauty, some of 
 whom kneel close to the Child, while others hover 
 over the roof of the stable. On one side is the An- 
 nunciation of the Redeemer to the Ruler of the West, 
 (Augustus,) with the Tiburtine Sibyl, and the Vision 
 of the Virgin ; on the other, the Annunciation to the 
 Rulers of the East, (the three kings, on their moun- 
 tain-watch, and the Child, who appears to them in 
 a glory.) The arrangement of this last picture is pe- 
 culiarly grand, and the heads highly characteristic. 
 Among the paintings in the former Boisseree Collection 14 
 is still to be named an altar-piece, ascribed to John 
 van Eyck, which contains, in the centre, the Adoration 
 of the Kings ; on one wing, the Annunciation ; on the 
 other, the Presentation in the Temple : it is very simi- 
 lar to the picture, already mentioned, in Berlin f. The 
 
 * [I cannot reconcile this description with the account of the 
 picture in the Berlin catalogue (II. No. 34). The one thus de- 
 described is a single wing of a larger work. Compare Rathgeber, 
 s. 107, from which it appears to have been ascribed to Roger of 
 Bruges. ED.] 
 
 + [Compare the editor's note above, p. 83. ED.]
 
 9'2 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 colouring is most splendid, and the heads full of cha- 
 racter: one of them (that of the king standing in the 
 
 15 centre picture) is the portrait of Charles the Bold of 
 Burgundy. There is also a second Adoration of the 
 Kings, on the wings of which are John the Baptist and 
 St. Christopher wading through a stream ; the latter, a 
 very expressive figure, with the infant Christ on his 
 shoulders, full of divine grace. The lights in the land- 
 scape of this picture, and the brightness of the rising 
 
 16 sun, which illuminates the dark rocky shore of the fore- 
 ground, are surprisingly effective. Lastly, there is a 
 head of Christ, very similar in its disposition to the 
 picture of van Eyck, at Berlin, ( XVII. 2,) with less 
 purity of form, but more expression of divine power and 
 mildness. The execution is highly finished. 
 
 17 There are also some excellent portraits by Hemling. 
 Two are in the private collection of the King of Holland, 
 formerly at Brussels : one represents a young lady : 
 the other, a man of middle age : the last is said to be 
 
 18 Hemling 's own likeness. A third, in the collection of 
 Mr. Aders, in London, represents a young and rather 
 sickly-looking man*, in the dress of St. John's Hospital, 
 
 * [Passavant has given an engraving of this picture, ( Kunstreise, 
 s. 94,) and he seems to entertain no doubt as to its genuineness, 
 although it does not appear to be distinctly traced to the Hospital 
 of St. John. The right sleeve is slit, as if the person whom it 
 represents had been wounded. If the picture really is the portrait 
 of Hemling, and if Hemling is to be identified with Juan Flamenco, 
 he must have been not less than 70 when he was in Spain. The 
 portrait represents a man of full 35 or 40 years of age : the date on it is 
 1462: Juan Flamenco painted the pictures in the Carthusian 
 monastery of Miraflores, between 1496 and 1499. (See Cean
 
 XIX.] MASTERS OF THE FIFTEENTH CENTURY. 93 
 
 at Bruges, with the date 1462, and is also taken to 
 be a portrait of the artist. In the same collection are 
 several remarkable pictures which bear the name of 
 Hemling. 
 
 Among the numerous excellent miniatures in the 
 style of van Eyck, which occur in different places, the 
 hand of Hemling is said to be often recognised, but of 19 
 these only one is historically authenticated. It is a 
 large Breviary*, in the Library of St. Mark, at 
 Venice : the text is enclosed in ornamented borders of 
 the most varied kind, and is broken by larger illumina- 
 tions, chiefly of sacred subjects. The richness of these 
 illustrations, their grand style, and fine execution, 20 
 give to this work the first place among similar manu- 
 scripts. These were executed by Hemling, with the 
 
 Bermudez, ii. p. 118.) Rathgeber, (s. 62,) treats the supposed 
 identity of the two masters as clearly erroneous. Fr. Schlegel says 
 of Hemling, " He has all the pathos and German feeling of Diirer, 
 without his caricature or other peculiarities. In spiritual beauty 
 and devotional feeling, as well as in clearness of meaning, he ex- 
 ceeds all painters of the school, and can only be placed on a level 
 with v. Eyck." Werke, vi. s. 182. Wien. 1823. The portrait 
 of Hemling referred to here, and one of the other pictures of that 
 master, formerly in Mr. Aders's collection, have passed into the 
 hands of one who is well able to appreciate their beauty Mr. 
 Samuel Rogers. Another picture in this country which may pro- 
 bably be ascribed to Hemling, is the altar-piece at Chiswick, which 
 Walpole supposed to be by van Eyck. According to this author 
 van Eyck's name is burnt on the back of the panel ( ? ). Compare 
 Walpole, i. p. 50; Waagen, England, i. s. 264. A picture in the 
 public museum at Strasburg, No. 53, ascribed in the catalogue 
 there to Hemling, is considered by Waagen as a work of Jan 
 Messys, Deutschland, ii. s. 356 ED.] 
 " Schorn, in the Tiibinger Kunstblatt for 1823, No. 14.
 
 94 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 assistance of two scholars, Livin of Antwerp, aud Ger- 
 ard of Ghent. 
 
 1 XX. With the particular style of Hemling's works, 
 those of another artist, of the year 1468, stand in close 
 connection. This painter was Dierick Stuerbout, of Har- 
 leni (Dirck of Harlem). There are two large pictures 
 by him in the private collection of the King of Hol- 
 land, formerly at Brussels, which came originally from 
 the Council-house of Louvain. On the one is repre- 
 sented the story of the Emperor Otho, who, on the 
 false accusation of the empress, orders one of his cour- 
 tiers to be beheaded. On the other, the wife of the 
 victim proves, by the fiery ordeal, the innocence of 
 her husband *. In spite of their speaking expression, 
 these works are distinguished from Hemling's (to whom 
 they were formerly attributed) by less fineness of con- 
 ception and by inferior depth of character. In the out- 
 line and lights there is a peculiar sharpness, and the 
 proportions of the figures are strikingly long. 
 
 2 A very excellent picture of the van Eyck school, 
 is an Adoration of the Kings, in the Munich Gallerv, 
 (engraved by C. Hess.) On one side, under antique 
 architecture, is the Virgin with the Child and Joseph ; 
 
 * [This picture also is engraved in Passavant's Kunstreise, s. 385. 
 The engraving gives a perfect idea of the peculiar drawing which 
 characterizes the original. The figures are very long and lean, but 
 have great truth. The story will be found in Grimm. Deutsche 
 Sagen, and in Feyjoo, Theatro Critico, vi. p. 120. The empress 
 of whom it is told was the wife of Otho III., Maria of Arragon. 
 ED.]
 
 XX.] MASTEKS OF THE FIFTEENTH CENTURY. 95 
 
 on the other are the Kings the two elder already kneel- 
 ing, and the younger in the act of kneeling down, with 
 several of their followers. There is peculiar dignity in 
 the figures, as well as much nature and mildness in the 
 heads. It has been ascribed both to J. van Eyck and 
 Hemling, but the soft and less assured handling contra- 
 dicts the supposition. On another Adoration of the 3 
 Kings, in the possession of Mr. Aders, in London, 
 which is nearly related to this last picture, the mono- 
 gram A. W. is found, probably the initials of some 
 unknown artist. 
 
 Among the latest followers of the Van Eyck school 4 
 are the following : Roger van der Weyde *, of Brus- 
 sels, who flourished about the beginning of the six- 
 teenth century. The principal work of this artist is in 
 the gallery of the Berlin Museum, and is a large Depo- 
 sition from the Cross, on a gold ground. It contains 
 some beautiful heads, full of character, and is clever in 
 the drawing of the naked form; in the movements, how- 
 ever, it is already very mannered. Also Antony Claes- 5 
 sens, the elder, who is not to be mistaken for a younger 
 artist of the same name, belonging to the Dutch school, 
 of about 1550. Two of his pictures are preserved in the 
 Academy of Bruges, and were formerly in the Town- 
 house : they represent the Judgment of Cambyses ; in 
 the one, he causes an unjust judge to be seized, and in 
 the other, orders him to be flayed : both are composi- 
 
 * Roger v. d. Weyde belongs rather perhaps to the artists men- 
 tioned XXXVI. and XXXVII. For other works of this artist, 
 compare Waagen, England, vol. ii. s. 394 ; Paris, vol. iii. s. 539.
 
 96 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 tions with numerous figures. The colouring is power- 
 ful and the drawing correct, but colour and handling 
 are deficient, in genuine life. 
 
 j6 One other very peculiar master of the Low Countries 
 claims our notice, who flourished in the second half of the 
 fifteenth century, and appears to have formed his style 
 quite independently of his contemporaries Jerome 
 Bosch. His pictures seem to he the production of a 
 highly romantic but extravagant fancy. They are complete 
 dreams, to the colouring of which, however, he imparts 
 a remarkable glow. There is a representation of hell by 
 him in the Berlin Museum*, in which the poor souls are 
 tormented in the most extraordinary fashion, by horrible, 
 serpent-like monsters. It is a true laboratory of hell. 
 With all its frantic horrors, one cannot but feel astonish- 
 ment at the invention displayed by the artist in the 
 creation of these fabulous creatures ; of humour, indeed, 
 there is scarcely a trace. Like many of his contem- 
 poraries, Bosch appears to have spent the greatest part 
 of his life in Spain, where his pictures were much 
 sought and imitated. It is asserted, from tradition, that 
 one of his pictures of infernal horrors, placed in the 
 cell in which Philip II. of Spain died, received the last 
 looks of the tyrant f. 
 
 * [Second Division, No. 87 ED.] 
 
 t [There were in Spain generally a very large number of pictures 
 by Jerome Bosch. As many as seven were said to be burnt in a 
 fire at the Pardo in 1608. A considerable number were in the 
 Escurial. See Rathgeber, Annalen der Neiderlandischen Malerei. 
 s. 124-127. Compare Ximenez, Descripcion des Escurial. Fol. 
 Madrid. 1 764.- ED.]
 
 XXI.] MASTERS OF THE FIFTEENTH CENTURY. 97 
 
 B. GERMAN SCHOOLS. 
 
 XXI. The successful activity of the Flemish schools 1 
 necessarily exercised an important influence beyond the 
 limits of their immediate sphere, and attracted many 
 imitators. The progress of German art in the fifteenth 
 century shows marks of such an influence on the part of 
 the Flemish masters ; at least we find certain elements 
 in most of its celebrated works, which more or less 
 plainly indicate this origin. 
 
 First in the school of Cologne, about the latter half 2 
 of the fifteenth century, we meet with an excellent 
 artist, who, with many traces of the elder Cologne school, 
 unites a conscious familiarity with the models afforded 
 by that of van Eyck. The name of this master is un- 
 known ; formerly, though without sufficient ground, 
 that of a contemporary goldsmith and engraver, Israel 
 von Mecheln, orMeckenen, was given to him*. His chief 3 
 work, a representation of the Passion, on eight panels, 
 is in the possession of Herr Lyversbergf, at Cologne, 
 and it is now usual to designate him as the " Master of 
 the Passion." His pictures have still indeed a gold 
 ground, and resemble the older school in this circum- 
 stance, as well as in the style of colouring, which is 
 lively, powerful, and clear, but they are painted in 
 oil, and moreover the manner of treatment, the atti- 
 tudes, and the arrangement, are generally borrowed from 
 the school of van Eyck. He appears to have been 
 an able, intelligent, and highly-gifted man, earnest in 
 
 * Passavant, Kunstreise, &c. s. 416. 
 
 f [I believe the Lyversberg collection is now dispersed ED.] 
 
 VOL. II. F
 
 98 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 seeking an insight into life, zealous and careful, but for 
 the most part, it must be owned, devoid of true inspira- 
 tion. The general character of his drawing is sharp and 
 cutting; his efforts to mark character in the lower class 
 of personages, such as the persecutors of Christ, degene- 
 rate into exaggeration. Besides this excellent work of 
 the Passion, there are several paintings evidently by the 
 same hand. The most important of those in Cologne are 
 
 4 a Descent from the Cross, of the year 1488, in the 
 city museum, less powerful than the Passion, and pro- 
 bably of the latest time of the artist ; the wings are 
 
 5 executed by a scholar or imitator two very good pic- 
 tures in the possession of Herr Zanoli the paintings in 
 
 6 the windows, and on the walls of the Hardenrath chapel, 
 in Sta. Maria, in Capitolio, of the year 1466 ; the first 
 of which, however, are injured, and the last considerably 
 retouched. The Crucifixion, on the wall of the same 
 place, belongs to a later period. There are, besides, 
 
 7 excellent altar-pieces by him in the churches of Linz and 
 Sinzig ; and a considerable number at Munich, in the 
 
 8 former Boisseree Collection, particularly an altar-piece, 
 with very dignified figures of the apostles (John the 
 Baptist in the place of Judas). Several are in the 
 
 9 chapel of St. Maurice, at Nuremberg *, and a beautiful 
 
 10 picture, with female saints, is in the Berlin Museum. 
 
 11 The influence of this artist on his contemporaries was 
 very important, as is proved by the various works of his 
 scholars or imitators, extant at Cologne, and in the 
 neighbourhood, or in the Boisseree Collection and Berlin 
 
 * [For instance, No. 6, Waagen, K. u. K. in Deutsc bland, 
 s. 171. ED.]
 
 XXII.] MASTERS OF THE FIFTEENTH CENTURY. 99 
 
 museum. Of those in the Berlin Museum, two panels 12 
 with male and female saints are particularly remarkable, 
 being distinguished as much by the dignity of the 
 figures and their noble drapery, as by the expression 
 and powerful painting of the heads*. 
 
 At a later period, in the beginning of the sixteenth 
 century, many whimsical fancies had crept into the style 
 of the Cologne school of painting. 
 
 XXII. Contemporary with the master of the Ly- I 
 versberg Passion, 'there flourished in Upper Germany 
 several remarkable artists, in whose works also the in- 
 fluence of the school of van Eyck is visible. Amongst 
 these we mention first, Frederick Herlin^, of Xordlingen, 
 of whom it is expressly said, in the city books of the 
 year 1467, that he could execute the " Flemish work." \ 
 
 * [The artist should also be referred to whose works have been 
 falsely ascribed to Lucas v. Leyden, but who really belonged to 
 the school of the Lower Rhine. Among these are the Descent 
 from the Cross, in the Louvre ( No. 556) ; the pictures of Saints 
 in the Munich Gallery (Cab. Nos. 38, 39, 40). See Waagen, 
 Paris, s. 553. ED.] 
 
 t Fiorillo: Geschichte der Zeichnenden Kiinste in Deutsch- 
 land, i. s, 332. Tub. Kunstblatt 1820, No. 17. 
 
 I [The following additional particulars respecting Herlin are ex- 
 tracted from Waagen, K. u. K. in Deutschland. His importance 
 consists in the fact, that he is a link between the schools of Southern 
 Germany and Flanders, as is stated in the text: his Flemish manner 
 prevailed more in the Swabian than in the Franconian school. 
 There is at Rothenburg, (a small place, formerly a free city of the 
 empire, not far from Anspach,)in the choir of the principal church, 
 an altar-piece, by Herlin, made up of carving and painting. The 
 whole treatment seems to resemble the Flemish school, and espe- 
 cially Hemling, and in parts appears to imitate actual known works 
 of J. v. Eyck. There is, however, more uniformity and lesa
 
 ] 00 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 His pictures existing in Xordlingen, particularly an 
 altar-piece in St. George's church of 1462, with the 
 
 2 Crucifixion, and Four Saints, and another of 1488 in the 
 principal church, of the Virgin, Child, and Saints, bear 
 
 3 the decided character of the school of van Eyck *. To 
 Frederick Herlin is also ascribed the large and very 
 
 beauty, as well as less expression in the heads, especially in those 
 of the men, and the drawing is weaker. The outer corners of 
 the eyes look as if they were drawn down. The pictures bear the 
 date of 1466 ; they were restored in 1819, but upon the whole are 
 not injured. 
 
 Of the pictures at Nordlingen mentioned in the text, that in the 
 church of St. George is considered by Waagen as inferior to the 
 altar-piece at Rothenburg. He adopts the date of 1462, since it 
 is proved by the chronicle of the town that the altar was founded 
 in that year. Schom has expressed doubts on this point; the 
 paintings formerly on the outside of the wings have been allowed 
 to be much injured. 
 
 There is another altar-piece in the same church, representing the 
 painter himself and his four sons before the Virgin and Child, with 
 Joseph. On the other side St. Margaret is presenting Herlin's wife 
 and five daughters ; the background contains a view of the to\vn 
 between two columns. The date of this picture is 1488, and 
 according to Waagen, although the scholar of v. Eyck is still 
 clearly visible, there is much more of coarseness and mechanical 
 execution, with a stronger taint of the German element, than 
 appears in his earlier works. 
 
 Waagen attributes two other pictures to Herlin one near the 
 first mentioned altar-piece, connected with a monument of the 
 Miiller family ; and the other, Pilate showing Christ to the People, 
 of the date of 1488. 
 
 Nos. 90 and 96, in the chapel of St. Maurice, at Nuremberg, are, 
 according to Waagen erroneously ascribed to Herlin, and are the 
 work of a far inferior master. See vol. i. ss. 192, 324-6, 347-353 ; 
 TO!, ii. s. 13. Jesse Herlin, the son of Frederick, was also a 
 painter. See Kugler, Handbuch der Kunstgesch. p. 754. ED.] 
 
 * Hirt. Kunstbemerkungen, &c. s. 21 ff.
 
 XXIII.] MASTERS OF THE FIFTEENTH CENTURY. 101 
 
 beautiful altar-piece in the choir of the cathedral at 
 Meissen, which represents the Adoration of the Kings ; 
 it is unhappily painted over in a shameful manner in 
 different parts. It shows indeed the most striking 
 relation to the works of the van Eycks in the whole 
 conception of the subject, and especially in the exe- 
 cution of the naked figure, of which his treatment is, 
 however, not quite so fine. He fails in giving the 
 character of the materials in the clothing, in the manner 
 which distinguished the works of John van Eyck at 
 least, but the cast of his drapery is on the contrary 
 grander, and more in the manner of Hubert. 
 
 XXIII. Martin Schon (properly Schongauer orSchon- 1 
 gawer) of Colmar, stands higher as an artist, and also takes 
 a distinguished place amongst the earlier engravers *. In 
 his engravings we frequently recognize an imitation of the 
 motives of the van Eyck school, but in a very peculiar 
 form. In the works ascribed to him in the galleries of 
 Nuremberg, Schleissheim, and Vienna, he appears as an 
 artist of great talents and deep thought, who coincides 
 with the Flemish masters in his views of life, but does 
 
 * Valuable information respecting Martin Schongauer, and the 
 means of distinguishing his genuine works from those falsely ascribed 
 to him, will be found in a paper of v. Quandt, in the Kunstblatt, 
 1840, Nos. 76 79. [Waagen, in the second volume of his K. u. 
 K. in Deutschland, disputes several of the conclusions of these 
 gentlemen. He considers Martin Schon as a pupil of Roger of 
 Bruges, and as belonging to the branch of the Swabian school 
 which was established at Ulm. This artist died in 1488, which 
 date does not, however, agree with the inscription on the 
 back of his portrait by Largkmair. Compare Waagen, ii. ss. 13, 
 14, 35, 139, 140, 291, 308, 317, 318, 355.-ED.]
 
 102 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 not thoroughly agree with them in his execution 
 his colouring in general is not powerful in tone ; the 
 cast of his drapery is dignified, but without any imitation 
 of particular materials his carnation for the most part 
 very soft. He gives to his figures a peculiar expression 
 of earnest mildness and piety, which seems the result 
 of a mind at rest within itself, and with the world ; 
 there is no feeling of narrow-minded devotion, or fan- 
 tastic enthusiasm, but the tranquillity of a noble and 
 manly soul. Hence arises the serene dignity of many 
 of his figures, and the tone of mature beauty in their 
 heads, so seldom attained in the older style of German 
 2 art. In the chapel of St. Maurice, at Nuremberg, are 
 six of his pictures with family groups, from the 
 domestic life of the Virgin, and a St. Barbara * ; in these 
 
 [This is denied by Waagen(K.u. K. in Deutschland, i. 159 and 
 191): in speaking of another picture in the castle of Nuremberg, 
 attributed to Martin Schon, he says, " An excellent altar-piece 
 is here erroneously marked with his name. The middle sub- 
 ject is the Adoration of the Kings, the wings contain, in four 
 divisions, the Annunciation, the Nativity, the Flight into Egypt, 
 and the Massacre of the Innocents. Up to the present time no 
 genuine pictures of Martin Schongauer are known except at 
 Colmar." Certain it is that many are attributed to him else- 
 where. Passavant speaks in the most confident manner of the 
 one in London, afterwards referred to in the text, which is not, I 
 believe, mentioned by Waagen in his England. There is a curi- 
 ous passage respecting Martin Schon in Lambert Lombard's letter 
 to Vasari, printed by Gaye, Carteggio d'Artisti, iii. 173. The 
 letter is dated April 27, 1575, and was written from Liege. He 
 says, " Da questo Bel Martino sono venuti tutti li famosi artefici 
 in Germania, il primo quel absolute amorevole Alberto Durero dis- 
 cepolo di esso Bel Martino." Fiorillo rejects the story that Diirer 
 was a pupil of Martin Schon, ii. s. 339 ED.]
 
 XXIII.] MASTERS OF THE FIFTEENTH CENTURY. 103 
 
 the simple tenderness of family union is pleasingly ex- 
 pressed. Among the pictures of the Schleissheim 3 
 gallery is a very excellent one, -which consists of two 
 panels, and represents the Holy Virgin as the Mother 
 of Grace protecting a crowd of worshippers from the 
 anger of the heavenly host. But the works of Martin 
 Scho'n, preserved in Colmar, are far more important*. 
 Among them the Virgin in the Rose-bush, a large piece 4 
 placed behind the altar in Colmar cathedral, is the 
 most celebrated, both on account of its size, its com- 
 position, and its excellent preservation. The Holy 
 Mother sits amongst roses, in which birds nestle, the 
 infant Jesus on her lap ; two angels hover over them, 
 holding a crown. The figures, almost larger than life, 
 are painted on a gold ground, as are almost all the 
 authentic pictures of Martin Schon. The head of the 
 Virgin is less beautiful than those of the angels, and of 
 other Madonnas ; as for instance, in the annunciation 5 
 and the worship of the child, now in the library at 
 Colmar f. The execution is most careful even to the 
 minutest detail ; the drawing more correct in the heads 
 than in the limbs, which are still meagre and stiff, the 
 colouring light and bright, the shadows clear, and the 
 colours so blended one with the other, that the touch of 
 the pencil is invisible. A Crucifixion in the Imperial 6 
 Gallery at Vienna, by this artist, is very deserving 
 
 * [See particularly Waagen, Deutschland, ii. s. 306-318, who 
 does not agree with v. Quandt in thinking that the upper garment 
 of the Virgin in the Rose-bush was originally blue. ED.] 
 
 + A communication from my friend C. Gruneisen, at Stuttgart, 
 extracted from his paper on N. Manuel. (Compare 35, 21, 
 note.) [See Waagen, Deutschland, ii. s. 308 ED.]
 
 104 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 7 of notice. In Mr. Ader's collection in London*, was 
 a Christ brought out to the People, a rich composition, 
 full of expressive heads; the countenance of Christ has 
 great mildness and beauty, but in the heads of his 
 accusers there is considerable caricature, the drawing 
 of the naked is meagre, the colouring thin, wanting in 
 depth of tone, but with a very spirited touch. This 
 painting corresponds particularly with the engravings 
 
 8 of Martin Schon, for instance with that of the Bearing 
 of the Cross, in which also we see, contrasted with the 
 mild dignity of the Saviour, the strangely carica- 
 tured and whimsical figures of his tormentors. This 
 fantastic element appears still more decidedly in other 
 engravings, as in the Temptation of St. Anthony, where 
 the saint is borne up into the air by the most extraor- 
 dinary demons. 
 
 9 The portrait of Martin Schon, painted in 1483, by his 
 scholar, Hans Largkmaier, is in the Schleissheim 
 Gallery f ; a homely, burgher-looking countenance, with a 
 serious but mild expression. The painting is warm 
 and good, but the outline still rather too severe. 
 
 10 A certain degree of affinity exists between the styles 
 of Martin Schon and his somewhat younger contempo- 
 rary, Hans Holbein the elder, of Augsburg, who reached 
 his highest fame about the end of the fifteenth century J. 
 The pictures of the latter, on the whole, are certainly 
 more mechanical. The forms are sharp and angular, 
 
 * Passavant. Kunstreise, s. 97. 
 
 + [No. 146, (Cabinets) Pinacothek ED.] 
 
 J [The Holbein family are the principal representatives of the 
 Augsburg branch of the Swabian school alluded to in a former note. 
 See Waagen, Deutschland, ii. s. 13 ED.]
 
 XXIII.] MASTERS OF THE FIFTEENTH CENTUBY. 105 
 
 yet with all this they have much life, and show the efforts 
 of a powerful mind. Sometimes too we find an expression 
 of peculiar dignity, and in his female heads particularly, 
 a pleasing grace, united with surprising softness and 
 finish in the teclmical execution. At the same time, 
 the fantastic element already mentioned in the works 
 of Martin Schon is here visible in a still higher degree ; 
 an inclination to violent and exaggerated character is 
 shown especially in the figures of the adversaries of the 
 faith, which occur in his numerous pictures of the suffer- 
 ings of the saints. He represents the principle of evil, 
 not as is generally the case, in German pictures of the 
 time, in an odious, disgusting, and vulgar form, but as if 
 stung by some irresistible and devilish passion, so as to be 
 moulded into strange and inharmonious forms. Many of 
 his figures appear to have been the prototypes of those 
 in our modem romantic poetry. Very frequently among 
 the adversaries in his pictures, there occurs a pale figure, 
 with a sharp, pinched Italian physiognomy, in a green 
 hunting suit, and a cock's feather in his hat. Pictures 
 of this kind are not rare ; a great number of them occur 
 in the collections at Nuremberg, in the chapel of St. 1 1 
 Maurice there, in the public galleries of Augsburg, and 
 the Stadel Institute at Frankfort-on-the-Maine. The 
 richest series is at Schleissheim : it consists of twenty 12 
 pictures, seventeen of which, representing the life and 
 sufferings of Christ, were taken from the convent of 
 Kaiserheim, and according to original documents were 
 executed in the year 1502. Where no such figures 
 of the adversaries could be introduced, there the ten- 
 dency to softness and grace prevails with the greatest 13 
 
 F 2
 
 106 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 freedom. This is so, for instance, in two excellent 
 chiaro-oscuro panels in the gallery at Prague, which 
 bear the name of the artist. They are wing pictures, 
 painted within and without with holy figures and 
 
 14 events from some legend ; the heads are very good. 
 So also in the small Madonna, on a Gothic throne, of 
 the year 1499, ascribed to him, in the chapel of St. 
 Maurice, at Nuremberg *, and especially so in two 
 
 15 pictures of the Munich Gallery, which represent St. 
 Elizabeth and St. Barbara ; the heads of these saints are 
 executed with great beauty, naivete and softness f. 
 
 * [This picture of the Virgin on a Gothic throne is, I suppose, 
 No. 126, mentioned by Waagen, K. u. K,in Deutschland, i. s. 196, 
 and which he is inclined to attribute to Sigismund Holbein, the 
 brother of Hans Holbein the elder, to whom is also ascribed an- 
 other work in one of the Nuremberg collections, marked S. Hol- 
 bein. Waagen treats the last as the only picture which bears the 
 name of this master. Sigismund Holbein is mentioned by Fiorillo 
 (Gesch. der Z. K. in Deutschland, &c. ii. s. 382), and by Walpole 
 (Anecdotes, i. p. 115). The latter author conjectures that he may 
 be the Holbein whose name appears in the registry of Wells. 
 According to Fiorillo, there are two pictures attributed to S. Hol- 
 bein in the gallery of Vienna. There is another at Basle, in the 
 Library, which Waagen assigns to Ambrose Holbein, the elder bro- 
 ther of H. Holbein the younger. There are two heads by this 
 master in the same collection (Nos. 28, 29). See Waagen, 
 Deutschland, ii. s. 280. Sigismund was born in 1456, and died 
 1540. Compare Nagler, KUnstler Lexicon. ED.] 
 
 f [A series of pictures, principally by the two Holbeins, and exe- 
 cuted for the convent of St. Catherine at Augsburg, are still pre- 
 served in the public gallery of that city. Four are by the elder 
 H. Holbein, the best of which Waagen considers to be that repre- 
 senting events from the life of St. Paul : indeed, he treats it as 
 the chef-d'oeuvre of the master. It resembles the series from Kaiser- 
 h'eim mentioned in the text, but is superior to it. A good picture of
 
 XXIV.] MASTERS OF THE FIFTEENTH CENTURY. JOT 
 
 XXIV. In Westphalia also, in the later part of the I 
 fifteenth century, we trace a preponderating influence 
 of the Flemish style, which produces a most singular 
 contrast with the older school of the country*. Instead 
 of its gentle dignity and graceful repose we perceive 
 exaggerated efforts pushed even to wild rudeness and 
 caricature, and compositions over-crowded, mainly by the 
 accumulation of different scenes of the same event in 
 one picture. We find here imitations not only of the 
 school of van Eyck, but also of the Upper German 
 masters, such for instance as Martin Schon. 
 
 Among the Westphalian artists of this time, a master 2 
 of Soest, named Jarenus, formed a more beautiful 
 and peculiar style. In the Berlin Museum there are 
 several remarkable panels by him on a gold ground, 
 which form one large altar-piece. The middle pic- 
 ture represents scenes from the Passion. It is a 
 large and varied work, the different groups of which 
 are certainly confused, with strange, hurried-looking 
 figures, hard and sharply-drawn; singly, however, 
 they are full of character, and the heads have much 
 beauty. The right wing contains, in four compart- 
 ments, the Resurrection of Christ, the Ascension, the 
 Pouring out of the Holy Spirit, and the Last Judg- 
 ment ; and as the groups are in this way sufficiently 
 
 the elder Holbein will be seen in the collection of Herr Abel at 
 Stuttgart; those in the Library at Basle appear of less value. 
 
 Compare Waagen, Deutschland, ii. ss. 13-23, 211, 269 ED.] 
 
 * For the greater part of the information relating to works of art 
 in Westphalia, the author is indebted to the kindness of First Lieu- 
 tenant Becker of Miinster.
 
 108 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 separated, the picture is clearer and more easily 
 understood. The left wing consists also of four com- 
 partments, the Annunciation, the Birth of Christ, the 
 Adoration of the Kings, and the Presentation in the 
 Temple. The groups here, especially in the two first 
 compartments, are still better arranged ; the figures of 
 the Virgin are simple and gracefully drawn beautiful 
 German heads, with their fair hair hanging down. 
 
 3 Another little picture, marked with the artist's name, 
 is in the possession of the Earl of Pembroke at Wilton * ; 
 it represents the Dead Body of Christ mourned by his 
 Followers. The execution is extremely good. 
 
 In Westphalia, at the beginning of the sixteenth cen 
 tury, there prevailed a feeling in art which resembled 
 much more closely that of van Eyck and his immediate 
 followers ; accordingly works of this time exist which 
 may fairly take their place by the side of the better 
 
 4 pictures of the Flemish school. Among these is a Ma- 
 donna, standing on the crescent, with a kneeling monk 
 of the Carthusian order at her feet, in the manner of 
 Hugo van der Goes. This picture was taken from the 
 Carthusian convent at Diilmen, and is now in the pos- 
 
 5 session of Herr Clement Brentano. In the Catholic 
 church at Dortmund there is an excellent altar-piece of 
 this class, which represents on the centre panel the 
 Crucifixion, on one of the wings the Adoration of the 
 Kings, and on the other the Mothers of the Apostles, 
 with the apostles themselves as children. The exterior 
 
 * [Compare Waagen, K. u. K. in England, ii. s. 284, who says 
 that this picture shows strong marks of the influence of the school 
 of v. Eyck ED.]
 
 XXV.] MASTERS OF THE FIFTEENTH CENTURY. 109 
 
 is wonderfully fine, with six saints nearly the size of 
 life. An altar at Schwerte also, with double wings, 6 
 which contains carved work in the inside, deserves 
 notice. Other pictures of merit are preserved in Soest, 7 
 and in many of the small towns of the Grafschaft of 
 Mark and elsewhere. 
 
 XXV. The artists of Nuremberg, where art attained I 
 its highest excellence about the end of the fifteenth 
 century, appear more independent of Flemish pecu- 
 liarities, and are for the most part related to that school, 
 only inasmuch as their stage of general progress is 
 parallel". The groundwork of their style is a dry, 
 truthful imitation of surrounding objects hard and 
 severe, it is true, but in particular cases with an 
 evident leaning to the nobler type of beauty visible in 
 the works of Martin Schon. 
 
 The most important of the Nuremberg artists is Michael 2 
 Wohlgenmfh (born 1434, died 1519). The greater 
 number of his works certainly show a master who exer- 
 cised his art rather as if it were a handicraft. In repre- 
 senting action and movement he falls into the hard and 
 unnatural, but whenever tranquil feeling is to be shown, 
 he then exhibits many indications of a sense for grace 
 in form, and tenderness in expression. An interesting 3 
 
 [On the early progress of art in Southern Germany, and 
 especially at Nuremberg, compare Waagen, Paris, s. 342; 
 K-u. K. in Deutschland, i. 163, 248, 261. Painting had made 
 great progress in this city before the time of Wohlgemuth, as a 
 proof of which Waagen refers to a picture of 1430, belonging to a 
 monument of the Waldpurg family. ED.]
 
 110 MASTERS OF THE FIFTEENTH CENTURY. [BOOK III. 
 
 comparison, in this respect, may be made of some pic- 
 tures by him in the Schleissheim Gallery * ; they are of 
 equal size, painted on both sides, and represent a con- 
 nected series of scenes from the life of Christ. Whilst, 
 for example, a Descent from the Cross falls far below 
 the proper dignity of the subject an Annunciation is 
 on the contrary attractive, and not without considerable 
 
 4 beauty in the principal lines. The same may be said 
 in essentials of Wohlgemuth's paintings in the castle, 
 and in the chapel of St. Maurice, at Nuremberg f, and 
 
 -5 of a series in the Church of the Virgin at Zwickau J, 
 
 * [See Nos. 22, 27, 34, 39, 82, in the Pinacothek at Munich. 
 ED.] 
 
 T [ For the pictures in the chapel of St. Maurice, see Waagen, 
 K. u. K. in Deutschland, i. s. 184, 190. At p. 60 of the same 
 work there is a full description of the elaborate altar-piece or " re- 
 tablo," in the church at Zwickau. It is composed of caning and 
 painting, executed by Wohlgemuth. Waagen reckons the paint- 
 ings as more mechanical in execution, and altogether inferior to 
 those in the chapel of St. Maurice. 
 
 Another large altar-piece by Wohlgemuth is to be seen at Nord- 
 lingen. This work was contracted for in 1507, and bears upon it 
 the date of the previous year. Waagen treats it as the latest 
 authentic picture of Wohlgemuth, who was seventy-three years old 
 at the time of its execution. The greater part, however, would 
 appear to have been executed by his scholars. An altar-piece 
 attributed to A. Diirer in the old convent of Heilsbronn is held by 
 Waagen to be one of the best works of Wohlgemuth. In the 
 public gallery of Augsburg there are five pictures by this master, 
 one of which (a pieta) resembles that at Heilsbronn in many respects. 
 Compare K. u. K. in Deutschland, i. s. 294, 307; ji. s.37 ED.] 
 
 t A very important work, edited by v. Quandt, has been pub- 
 lished by the Saxon Antiquarian Society. It contains outline* of 
 this series of pictures at Zwickau, together with a general character 
 of the master, and a review of his works. [Compare Waagen, 
 Deutschland, vol. i. p. 66. ]
 
 XXVI.] MASTERS OF THE FIFTEENTH CENTURY. Ill 
 
 which were publicly exhibited in Dresden in the autumn 
 of 1832. But far more important than the works we 6 
 have named, is an altar-picture of the latest time of the 
 master, 1511, in the Imperial Gallery of the Belvedere 
 at Vienna. The middle picture represents St. Jerome 
 on a throne, with the donors, a man and woman, kneel- 
 ing at his side ; there are double wings, on which the 
 figures of other saints are painted. The sharp cutting 
 style, which strikes us so disagreeably in the early works 
 of Wohlgemuth, is here much softened ; the colouring is 
 warm and powerful. In this picture we recognize the 
 master to whom Albert Diirer is indebted for his educa- 
 tion; indeed, Wohlgemuth here surpasses his great 
 scholar in the expression of gentleness and simplicity, 
 particularly in the heads of some female saints. The 
 heads of the donors, however, have the greatest 
 merit. 
 
 The other Nuremberg painters of this time do not 
 reach the excellence of Wohlgemuth's best works, 
 although they perhaps equal his average productions. 
 We may name amongst them Martin Zagel, by whom 7 
 there is a Crucifix with several saints, a simple and 
 excellent work, in the Imperial Gallery at Vienna. 8 
 Jacob Walch is another master, of whom a similar 
 picture is preserved in the Berlin Museum, and there 
 are others. 
 
 The contemporary artists of Bavaria are still less 
 interesting. By one of them, Gabriel MacJiselkircher, 9 
 of Munich, (who flourished about 1470,) there are two 
 pictures of very large dimensions in the Gallery of 
 Schleissheim, representing Christ Bearing the Cross,
 
 112 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 and the Crucifixion, which axe marked with a sort of wild 
 barbarism and fantastic extravagance. There is in the 
 
 10 same collection a large Crucifixion, by Ulrich Fiiteter, 
 of Landshut, (about 1480,) painted to imitate sculpture, 
 in compartments of Gothic architecture. It is a feeble 
 
 11 work. Hans von Olmdorf, Bavarian court painter, 
 (about 1490,) has rather more merit. In the castle at 
 Nuremberg is a picture by him worth observing. It is 
 a family piece, almost the size of life. A mother and 
 child are sitting at a window, and beside is a boy, 
 blowing soap-bubbles ; it is still hard and sharply painted, 
 yet not wanting in a certain happy treatment of nature. 
 The pictures of this artist in the Schleissheim Galleiy 
 were inaccessible to the author. 
 
 CHAPTER II. 
 
 MASTERS OF THE SIXTEENTH CENTURY. 
 
 XXVI. THE first quarter of the sixteenth century 
 witnessed the rise of the best painters of Germany, 
 whilst the same period produced the master-works of 
 Italian art. But there is a wide difference between the 
 highest points attained by German and Italian art, not 
 merely as regards the particular direction, and the views 
 and feelings peculiar to each school, but with reference 
 also to their relative completeness, and to the degree in 
 which art in each country attained to a satisfactory solu- 
 tion of the problem set before it. In Italy the bloom of
 
 XXVI.] MASTERS OP THE SIXTEENTH CENTURY. 113 
 
 art burst forth in all the fulness of perfect works ; the 
 wonders of ancient Greece again rose to life. Beauty 
 revealed herself to mortal eyes ; heavenly thoughts were 
 embodied in perfect forms, and the highest dignity of 
 man assumed a visible shape. In Germany, on the con- 
 trary, art never wholly cast off the early trammels of a 
 constrained style ; or other interests had here swayed 
 men's minds; so that, where originality, or peculiar 
 feeling, is unfolded in its works, we still find present, 
 almost without a single exception, an element very 
 different from that highest sense of beauty. 
 
 Nevertheless, the power to mould and to develope 
 beauty was not denied to the Germans. In the earlier 
 period, which we have distinguished as that of the 
 German style, there was a prevalent, and in some 
 cases a successful, struggle (especially on the part 
 of the masters of Cologne and Westphalia), to give an 
 ideal character to their conception of a subject. At a 
 later time, the Flemish and contemporary German 
 artists put before us the forms of common life, deline- 
 ated with greater or less truth to nature, but at the 
 same time elevated by the expression of fine and pure 
 feeling. These were assuredly elements which, in the 
 progressive development of art, we might expect to 
 have seen so carried out and combined as to have pro- 
 duced complete perfection. That such a result did not 
 follow, must have been occasioned by the interference 
 of some disturbing cause. 
 
 This cause was that principle in art which is com- 
 monly designated as " the Fantastic. " It forms a 
 striking point in the character of the nations of the
 
 114 MASTEBS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 North, and its best explanation is found in the great 
 features of northern nature. The bright skies of the 
 South, the clear, transparent atmosphere, the graceful 
 outline of the mountains, and the plastic forms of 
 the vegetable world, combine to give repose to the 
 eye, and satisfaction to the mind. It is not so in 
 the North, where clouds obscure the heavens, and 
 mists drive through the valleys ; where the earth, 
 deprived of her beauty, lies wrapped in slumber for half 
 the year ; there the imagination is stimulated to activity 
 within itself, and there it peoples the desert void with 
 self-created forms. Hence the fables of the North, 
 which have no representative in Italy or Greece, and 
 which rest on a foundation so essentially different from 
 the tales of the East. Hence, too, the wonderful 
 variety of fantastic ornament in our architecture of the 
 middle ages, and in the illuminated borders of our 
 oldest manuscripts. But if the fancy, whilst she seeks 
 to reign with arbitrary sway, wanders without restraint 
 or limit, and disregards the fixed organic laws regulat- 
 ing the types of nature, the sovereign power of beauty 
 will be exposed to constant peril. The dreams of fancy 
 may assume the form of sportive earnestness, or may 
 move in a sphere of gentle tenderness, but it is only 
 when she is subjected to the one true law of beauty, 
 and when the rude influence of supernatural agency is 
 overthrown, that imagination gives evidence of a noble 
 and pure feeling directed towards the highest ends*. 
 
 * [The Editor wishes to be understood as not subscribing to all 
 that is said in this chapter respecting the romantic element of art in 
 German painting. This is not, however, the place for a long disquisi-
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 115 
 
 Even in the early periods of the development of 
 northern art, this inclination to the fantastic betrays 
 itself, although in general it is visible only in subordi- 
 nate parts, and in some rare cases also is combined with 
 higher pretensions to beauty. It shows itself in the 
 exaggerated character visible in later works of the mas- 
 ter of the great picture in Cologne Cathedral ( XI. 
 17, 18), in the Hell of the celebrated Dantzig picture 
 by John van Eyck ( XVII. 11), in Hemling's Vision 
 from the Apocalypse ( XIX. 3), in the wild produc- 
 tions of Jerome Bosch ( XX. 6) ; more particularly, 
 however, in the works of the Germans of the latter part 
 of the fifteenth century, such as those of the school of 
 Cologne. It is seen in the pictures of Martin Scho'n, 
 the elder Holbein, the artists of Westphalia, and others. 
 But why was it that this disturbing element should 
 have re-appeared with overpowering strength in these 
 masters, at the very last moment, just when German 
 art was on the point of unfolding its full excellence ? 
 It would seem that this principle may be traced to 
 the general state of feeling and opinion at the time. 
 The spirit of Protestantism may be said to have an- 
 nounced itself thus, and it appeared to work injuriously 
 in the province of the fine arts, whilst it kindled anew the 
 light of science and of knowledge. This spirit invested 
 the reason with the right of opposing and controvert- 
 ing the feelings hitherto misguided; in freeing the 
 human mind from its ancient bondage, it stirred up 
 each man to investigate facts for himself, and sonie- 
 
 tion on the subject. The fantastic monsters of Norman architecture 
 might be specially quoted as supporting the author's views ED.]
 
 116 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 times consequently to set up his own subjective views, 
 and generalize upon them. Such a course necessarily 
 produced some singular consequences in politics, and in 
 the other relations of life, nor were similar results want- 
 ing in art. When the understanding assumes undue 
 predominance in the productions of art, the forms 
 used readily assume the shape of hieroglyphics and 
 symbols ; a subordinate degree of perfection in the 
 forms themselves suffices to express the thought, and 
 fancy, as the interpreter between the two, thus acquires 
 a wider field and freer play. Thus it seems natural 
 that, under such circumstances, the imagination should 
 again take the ancient path, which indeed she had never 
 wholly deserted ; that the fantastic dreams of old should 
 be revived, and like mischievous demons, should hem 
 in and retard the progress of true beauty. However 
 profound and characteristic are the creations of a few 
 master-spirits of this period, they have scarcely ever 
 attained that perfection which completely satisfies us. 
 The sunshine of perfect beauty had rarely sufficient 
 warmth to dissipate the chilling frosts of these mists 
 and exhalations *. 
 
 * Besides the points adverted to in the text, many other circum- 
 stances must be taken into account, all of which influenced the de- 
 velopment of art at that time. For instance, the public theatrical 
 representations of biblical and other events in the so-called Mysteries, 
 Moralities, and Processions, as well as those of more fabulous and 
 satirical subjects at carnival time. Compare Schildener " bei 
 Gelegenheit eines alten Kirchenbildes," in the " Museum," 1836, 
 No. 44, s. 351.
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 117 
 
 A. ALBERT DUERER, HIS SCHOLARS AND FOLLOWERS-. 
 
 XXVII. Amongst the masters to whom we now 1 
 turn, our attention is most forcibly engaged by Albert 
 Diirer. In him the style of art already existing attained 
 its most peculiar and its highest perfection. He 
 became the representative of German art of this period. 
 His spirit was rich and inexhaustible : not content with 
 painting and the other arts of design, he exerted his 
 powers in the kindred studies of sculpture and archi- 
 tecture ; he was gifted with a power of conception which 
 traced nature through all her finest shades, and with a 
 lively sense, as well for the solemn and the sublime, as 
 for simple grace and tenderness ; above all, he had an 
 earnest and truthful feeling in art, united with a capa- 
 city for the severest study, such as is shown in the 
 composition of his various theoretical works f. These 
 qualities were sufficient to place him by the side of the 
 greatest artists whom the world has ever seen. But he 
 again was unable wholly to renounce the universal ten- 
 dency to the fantastic a tendency which essentially 
 
 * There are several special works on Dtirer. The oldest is by 
 H. C. Arend, Das Gedachtniss der Ehren Albrecht Durer's 
 Gosslar, 1728. Later ones are Weisse, A. Diirer und sein Zeit- 
 alter. Leipzig, 1819. Reliquien von A. Diirer, Niirnberg, 
 1828. J. Heller, das Leben und die Werke A. Durer's. Leip- 
 zig, 1831. Second volume, in three parts. The first and third 
 volume not yet out. [1844 ED.] 
 
 f Underweysung der messung mit dem zirckel und richtscheyt, 
 &c. 1525. Etliche underricht zu befestigung der Stett, Schlosz, 
 und Flecken, 1527. Vier bucher von menschlicher Proportion, 
 1528. There are different editions and translations of all the 
 above, of a later date.
 
 118 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 obstructed the pure development of his power as an artist. 
 It must be admitted that in his hands this principle gave 
 birth to single productions of such beauty and import- 
 ance as we rarely meet with elsewhere; it has called 
 into life works which may truly be called " Poems," and 
 of which the mysterious subjects excite the liveliest 
 interest ; but if we regard the highest aim of art the 
 representation of the beautiful whose province is to 
 disclose the one great mystery, and place before us the 
 inward subject and the outward form as one and indivi- 
 sible, we shall experience perfect gratification only in 
 some very rare exceptions. Albert Diirer's drawing is 
 full of life and character, yet we find some strange 
 attitudes, particularly in the representation of the 
 naked figure ; his drapery, too, is frequently cut into 
 singular forms, which were perhaps the fashion of his 
 day, but which are by no means favourable to the develop- 
 ment of the figure. In ideal drapery, his folds are 
 almost always cast in large and beautiful masses ; but 
 even here, in the breaks and angles, he cannot wholly 
 discard that singular mannerism which confounds the 
 eye, and disturbs the noble impression of the principal 
 forms. His colouring has a peculiar brilliancy, and a 
 beauty in itself, far surpassing that of most other painters. 
 It is not, however, an imitation of the full and power- 
 ful tone peculiar to the colouring of ^nature, but rather a 
 play of the fancy indulging itself in light and splendour, 
 which has certainly a magic charm for the eye, but 
 which detracts from the real beauty of the human form. 
 This charm is similar to that which meets us at a later 
 period, and in a different manner, in the fantastic ma-
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 119 
 
 nagement of light and shade (as, for instance, in Rem- 
 brandt) hut in Diirer it has a still more powerful effect, 
 from the almost total absence of chiaroscuro. Even 
 in the expression and form of the countenance, Diirer 
 follows a certain form, which cannot be called the nor- 
 mal type of ideal beauty, nor even a faithful copy of 
 common life after the manner of his predecessors, but 
 can only be explained from his prevailing tendency 
 towards what is singular. When, however, in spite of 
 all this, the greater number of his works make a deep 
 impression on the mind and feelings of the spectator, it 
 is a strong proof of the peculiar greatness of his 
 abilities as an artist. 
 
 The consideration of the single works of this master, 
 to which we now pass, will explain more clearly the 
 observations just made, and the chronological arrange- 
 ment of these works will afford an opportunity for some 
 interesting notices of his progress as an artist. I shall 
 especially consider his paintings, (so far at least as they 
 have come under my own observation,) since it is only 
 in them that the full extent of his unwearied powers 
 can be recognized. The most important of his nu- 
 merous woodcuts and engravings must also be noticed 
 with particular reference to their dates where they are 
 known. 
 
 Albert Diirer was born in the year 1471, at Nurem- 2 
 berg, and died in that city in 1528. His father was a 
 goldsmith. He learned the mechanical part of painting 
 from Michael Wohlgemuth, and travelled as an appren- 
 tice in the years 14901494. In the latter year he 
 established himself in Nuremberg. Little is known 3
 
 120 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 with certainty of his youthful works. In the collection 
 of Herr Campe at Nuremberg, there is a Crucifixion, with 
 numerous figures, bearing Diirer's mark, which, if its 
 genuineness could be proved by other evidence, would 
 appear to be one of the earliest works of the artist. In 
 essentials, it is still in the manner of the German 
 masters of the second half of the fifteenth century, with 
 the same exaggerated fantastic figures of the enemies of 
 Christ. There is nothing in the picture, however, to 
 remind us of Diirer's later manner, or even of Wohlge- 
 muth's school : in the drawing the lines are soft, and the 
 colour is thickly laid on. Moreover it struck me that 
 a certain type may be recognized in the nobler heads, 
 which I think I have seen in other paintings of this time, 
 without being able to ascribe it to any one master*. 
 It may be clearly perceived that the monogram of 
 Diirer has been painted over some older mark. We 
 must consequently pass over this doubtful work. 
 4 In the Florentine Gallery of the Uffizj, is a portrait 
 of an aged man, which is said to represent the father of 
 Diirer, and to bear not only his mark, but the date 
 1490 f. It is ai? excellent head, true to the life and 
 full of character but hung so high that it is impossible 
 to observe accurately the peculiarities of the technical 
 execution or to verify the date. The authenticity, 
 
 * In the work of Heller (Das Leben und die Werke Albrecht 
 Diirers, 11. i. s. 222) something is said of a resemblance to Israel 
 von Mecheln, which exists however only in a slight degree. An 
 outline from this picture is contained in the Anzeigen fur Kunde 
 des Deutschen Mittelalters," 1832, s. 290. 
 
 f Heller, as above, s. 162.
 
 XXVII." MASTERS OF THE SIXTEENTH CENTUEY. 121 
 
 particularly of the date, -we must therefore leave unde- 
 cided. 
 
 The oldest imdoubted picture by Diirer known to us*, 5 
 is his own portrait of the year 1498, to be seen in the 
 Florentine collection of artist's portraits painted by 
 themselves in the Uffizj ; the arrangement of the 
 picture is well known the artist, a half figure, stands 
 at a window, the hands resting on the window-sill. 
 He is arrayed in a peculiar holiday dress a shirt 
 
 * It is highly probable that this portrait of Diirer is the same 
 which was in the gallery of Charles I. of England, presented to him 
 by the city of Nuremberg. Passavant Kunstreise, s. 263. In 
 the same gallery, as a companion to it, was a portrait of Diirer's 
 father, " painted on a panel very much sprung." Can this be the 
 picture above-mentioned, at present in the Uffizj ? It is possible 
 that its size may have been curtailed, and the date thus defaced. 
 
 [In the catalogue of the Pinacothek, at Munich, (Cab. 
 No. 128,) a picture is mentioned, professing to bear an inscription 
 as the portrait of Durer's father painted in 1497. It is perhaps a 
 recent acquisition, as it does not appear to be in the old catalogue 
 of the Munich Gallery (1833). The mark attached to it in the 
 catalogue shows that it is the private property of the king. 
 
 In the collection of lithographic fac-similes, published from the 
 original drawings of great masters, now in the collection of the 
 Archduke Charles of Austria, (Mansfeld and Co.) is a portrait of 
 Albert Diirer, drawn by himself in chalk, from a looking-glass, in 
 1484, that is, when he was not fourteen years old. The inscription 
 is as follows : 
 
 " Dy hab ich vor einem Spigell nach mir selbst 
 
 kunterfeyt 1484 Do ich 
 
 noch ein kintwar Albrecht Diirer." 
 
 The drawing of the hair and face is careful ; the hand and part of 
 the drapery not quite so good. In the Madrid Gallery is a portrait 
 of Diirer, by himself, at the age of twenty. See Ford's Hand- 
 book of Spain, *p. 7G4. ED.]
 
 122 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 neatly plaited and cut low in the neck a white jerkin 
 striped with hlack a pointed cap of the same, and a 
 hrown mantle over the left shoulder the hair falls down 
 in carefully arranged curls. The painting, with some 
 sharpness in the drawing, has a breadth and softness, 
 especially hi the lights, which we rarely find at a later 
 period; the shadows of the carnation have a light 
 bronze tint. The expression of the countenance is 
 honest and homely, with a certain naive self-com- 
 placency, which is indeed tolerably manifest in the 
 letters written by him to Pirckheimer, about eight 
 years later*. 
 
 5 In the same year, 1498, appeared Diirer's woodcuts 
 illustrating the Revelations of St. John, which we 
 should perhaps regard as proofs of his activity in the 
 years immediately preceding ; such at least is the case 
 in similar works. In these compositions the artist had 
 already attained to a great and peculiar excellence, but 
 in these, as might be expected from the subject, the 
 fantastic element forms the ground-work of the whole. 
 These mystical subjects are conceived in a singularly 
 poetic spirit ; the wonderful and monstrous meet us 
 in living bodily forms. Some of them exhibit a 
 power of representation to the eye, and a grandeur 
 of conception the more surprising, since the shapeless 
 exuberance of the scriptural visions might easily 
 have led the artist astray, as has indeed frequently 
 
 * [Waagen, Deutschland, ii. s. 37, 38, mentions two pictures of 
 Diirer, one of the year 1497, both in his opinion genuine, which 
 are in the public gallery at Augsburg. Neither of them appear to 
 be very striking ED.]
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 123 
 
 happened in the case of others who have attempted 
 these subjects. How powerful is that second plate, in 
 which He with eyes of flaming fire, the seven stars in 
 his right hand, and a two-edged sword in his mouth, 
 sits enthroned among the seven golden candlesticks, 
 and John kneels in adoration before him ! In the 
 fourth plate, how mighty is the rushing down upon the 
 earth of the four riders, with bow, sword, scales, and 
 the weapons of death ! In the eighth, how the four 
 angels of the Euphrates dash to the ground with their 
 swords the mighty and the proud of the earth, whilst over 
 them ride the fearful company of horsemen on the lion- 
 headed horses, spitting forth fire ! But it would occupy 
 too much time to enter upon all the details of these 
 remarkable works. We now return to his paintings. 
 
 Several of Durer's pictures of the year 1500 are 7 
 known to us. The first and most important is his own 
 portrait * in the Munich Gallery, which represents him 
 in a front view, with his hand laid on the fur trimming of 
 his robe. There is a considerable difference between this 
 and the Florence portrait, although the artist is here 
 but two years older a difference from which we may 
 infer that a remarkable crisis had taken place in the 
 development of his mind. In the Florence picture he 
 is a good-natured, harmless youth ; in that at Munich, 
 he has suddenly ripened into manhood : his features 
 have become full and powerful, they have gained the 
 expression of a formed character; the forehead and 
 eyes give evidence of an earnest and deep-thinking 
 spirit. The technical treatment, too, which contributes 
 [Now No. 124 (Cabinets), Pinacothek. ED.] 
 
 Q 2
 
 124 MASTERS OF THE SIXTEENTH CEXTUEY. [BOOK III. 
 
 so much to give a peculiar stamp to the later works 
 of Diirer, is here fully matured, particularly the thin 
 glazing in the shadows of the carnations, which lends to 
 the picture we speak of an almost glassy transparency. 
 The modelling is excellent, although still somewhat 
 severe, and although considerable restorations are per- 
 ceptible. The hair falls down on both shoulders in 
 beautiful profusion, and is very finely painted ; the hand 
 which holds the fur of the upper garment over the 
 breast is still stiff in the drawing, and what is in striking 
 contrast to the painting of the face, the colour is thickly 
 laid on. That the repetition of this picture in the 
 castle at Nuremberg is a modern copy, there is not the 
 least doubt, and how the original was lost to the same 
 place, is also well known. 
 
 8 A second portrait, painted in the same year, and now 
 at Schleissheim, of a young man with a simple but 
 strongly-marked expression, is cleverly executed*. It 
 has been misnamed John, the brother of Diirer, and was 
 
 9 taken from the Praun Cabinet at Nuremberg. A third 
 painting in the same place is less important. It is an 
 altar-piece the dead Christ mourned by his followers. 
 The arrangement is good, but the character is that of 
 common, every-day life ; the painting of the dead body 
 is extremely diy ; the figure of the Virgin only is 
 pleasing, and displays a certain maternal dignity. 
 
 10 In the Gallery of the Belvedere, in Vienna, there is 
 a Virgin with the Infant at the Breast, of the year 
 1503. It contains little more than the heads of both 
 
 * [Now No. 147 (Cabinets), Pinacothek. The next picture is, 
 probably, No. 66, Pinacothek. ED.]
 
 XXVII."] MASTERS OF THE SIXTEENTH CENTURY. 125 
 
 figures. Though lightly and very pleasingly painted, 
 it is uninteresting in expression, and seems nothing more 
 than the portrait of the sturdy wife of some burgher. 
 
 But the engraving of the same date, of the coat of 11 
 amis with the Death's head, is far more interesting. 
 The two supporters the smiling woman with the 
 braided tresses and fantastic crown, and the wild man who 
 grasps her, and turns, as if to kiss her have a peculiar 
 and fantastic charm about them. The engraving, too, 12 
 of Adam and Eve, of the year 1504, also ranks amongst 
 the best of Diirer's works. 
 
 Of the same date is a series of sketches, of the Suf- 13 
 ferings of Christ, in the collection of the Archduke 
 Charles of Austria, lithographic imitations of which have 
 been published. They abound in ideas full of genius, 
 and have frequently been employed and worked up by 
 Diirer in later works. The Descent from the Cross, 
 among these sketches, is so grand in composition, and 
 so masterly in arrangement, that few artists could have 
 treated this subject so well. The date on this drawing is 
 however not quite legible, and may possibly be read 1 524. 
 
 In the year 1500, Diirer made a journey into Upper 14 
 Italy, and remained a considerable time at Venice. Of 
 his occupations in this city, the letters written to his 
 friend, Wilibald Pirckheimer, which have come down to 
 us, give many interesting particulars. He there exe? 
 cuted for the German Company a picture which brought 
 him great fame, and by its brilliant colouring silenced 
 the assertion of his envious adversaries, " that he was a 
 good engraver, but knew not how to deal with colours." 
 According to the common account, this picture was a
 
 126 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 Martyrdom of St. Bartholomew, and is said to have been 
 in the rich gallery of the Emperor Rudolph II. in the 
 beginning of the seventeenth century, but it has now dis- 
 appeared. This account, however, does not appear well 
 founded, and the story more probably refers to another 
 of Diirer's pictures, of the year 1500, which is in Prague, 
 in the Prsemonstratensian Monastery of Strahow. The 
 subject is the Virgin Crowned by Angels, and surround- 
 ed by the Emperor, the Pope, and several spiritual and 
 temporal princes #. 
 
 * The correction of the common account, which is given in the 
 text, I owe to the kindness of First-Lieutenant Becker of Munster, 
 who writes to me as follows : " Hirt, in his review of Durer's life 
 in the ' Berliner Jahrbuch flir wissenschaftliche Kritik, 1829,' s. 
 571, has already observed that the picture in question, though paint- 
 ed for the Church of St. Bartholomew at Venice, did not represent 
 the martyrdom of that apostle, but a Virgin Crowned by Angels, as 
 several Italian writers have told us. Van Mander, vol. i. p. 89, (edi- 
 tion of 1764,) speaks in the same manner of a Madonna ' In den 
 Tare 1506, eene Maria door twee Engelen met een rozenkrans gek- 
 rond wordende. ' Hirt believes that he has discovered this picture in 
 the Vienna Gallery. I think, however, that he is mistaken, and that 
 the picture is still at Prague, in the Prajmonstratensian Convent of 
 Strahow. I have not seen it myself; but I received, a short time 
 since, the following account from a friend, who at my suggestion 
 instituted an inquiry on the spot. The panel is about six or seven 
 feet wide, and four feet high. In the middle sits the Virgin with 
 the Child, crowned by two angels. The Emperor Maximilian, a 
 pope, and many spiritual and temporal princes, kneel before her, 
 and are crowned by the Virgin, by Christ, and a number of angels, 
 with garlands of roses. Diirer and Pirckheimer stand in the back- 
 ground to the right. Diirer holds a tablet with the words, ' Exegit 
 quinquemestri spatio Albertus D'urer Germanus MDVI.' (mono- 
 gram). Underneath, at the feet of the Virgin, is an angel playing 
 on the lute. In 1836, a small steel engraving from this picture was 
 published at Prague, engraved by Battman from a drawing by Friese. "
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 127 
 
 As another proof of his skill, he painted in the same 15 
 year, without doubt also in Venice, a Christ with the 
 Doctors, half-figures, now in the Barberini Palace at 
 Borne : from the inscription in his own hand, it appears 
 to have been finished in five days. If it possesses any 
 value as an example of rapid execution, it has certainly 
 none with regard to the higher elements of art. The 
 heads are common, in parts fantastically caricatured, 
 and the colouring is muddy-'-. There is no special influ- 
 ence of the Venetian school perceptible in Diirer's 
 works. 
 
 In the Gallery of the Belvedere, at Vienna, there is a 16 
 portrait of the year 1507, of a young man, with a high 
 colour. It is wonderfully beautiful, true to life, and 
 finely painted, so as to equal Diirer's best works in por- 
 trait; but it is unfortunately not in as good preservation as 
 \ve could wish. This picture allows us to judge of the 
 excellence of another which Diirer painted in the same 17 
 year, and which afterwards passed from the possession 
 of the Council of Nuremberg into the gallery of the 
 Emperor Rudolph II., but has now disappeared. It 
 represented Adam and Eve in Paradise : of these 
 figures an old epigram says, 
 
 " Angelus hos cernens miratus dixit : ab horto 
 Non itaformosos vosego depuleram." 
 
 A picture of the same subject, now in the Provincial 18 
 Gallery of Mayeuce, is a later copy, and painted over f. 
 
 * [Compare Beschreibung der Stadt Rom von Plainer, Bunsen, 
 
 u. a. iii. 2, s. 433 ED.] 
 
 f Heller, as above, s. 189.
 
 1 28 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 With these productions begins the zenith of this 
 master's fame, in which a great number of distinguished 
 works follow one another within a short period. Of 
 
 19 these we first notice a picture of 1508, in the Belvedere 
 Gallery at Vienna, painted by Diirer for Duke Frederick 
 of Saxony, and which afterwards adorned the Gallery of 
 the Emperor Rudolph II. It represents the Martyr- 
 dom of the Ten Thousand Saints. In the centre of die 
 picture stand Diirer and his friend Pirckheimer as spec- 
 tators, both in black dresses. Diirer has a mantle 
 thrown over the shoulder in the Italian fashion, and 
 stands in a firm attitude. He folds his hands, and holds 
 a small flag, on which is inscribed, "Iste faciebat anno 
 domini 1508 Albertus Diirer Alemanus." There are a 
 multitude of single groups around, exhibiting every spe- 
 cies of martyrdom, but there is a want of general con- 
 nection of the whole. The scenes in the background, 
 where the Christians are led naked up the rocks, and 
 are precipitated down from the top, appear to me parti- 
 cularly excellent. The whole is very minute and mi- 
 niature-like ; the colouring is beautifully brilliant, and 
 it is painted (the accessories particularly) with extraor- 
 dinary care. There is also much that is good in the 
 drawing of single parts, but the conception wants real 
 dignity, power, and individuality. It is only here and 
 there that pain is well expressed ; for instance, in the 
 last but one of the naked figures who are led up the 
 mountain, and who totters along, weary to the death, 
 with a deep wound in the head. The background 
 forms an excellent but fanciful landscape of rocks and 
 
 20 trees. In the Schleissheim Gallery there is a repetition 
 of this picture no doubt an old copy.
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 129 
 
 Iii the following year, Diirer painted the celebrated 21 
 Assumption of the Virgin for Jacob Heller of Frank- 
 fort, a picture which he executed with the most perse- 
 vering diligence, and the centre-piece without any assist- 
 ance. Here again the artist himself stands in the mid- 
 dle, leaning upon a tablet inscribed with his name, and 
 with the date. There are numerous ancient testimonies 
 to the excellence of this work. In the beginning of the 
 seventeenth century it was brought to Munich, and was 
 there destroyed in the fire at the palace. 
 
 In the Tribune of the Ufizj at Florence is an Adora- 22 
 tion of the Kings, bearing the monogram of Diirer, and 
 the date 15 09*. This picture is also finished with 
 great care, and painted in the same bright colours, 
 highly glazed, with a beautiful irnpasto in the lights. 
 It is not deficient in truth ; the conception is, however, 
 rather insipid, but the propensity to the fantastic is visi- 
 ble only in a few heads. 
 
 Two excellent woodcuts may also be mentioned as 23 
 examples of Diirer's activity as an artist in 1510. The 
 first is the beautiful cut which represents a Penitent, 
 
 * I know nothing authentic of the history of this picture. Hirt, 
 in his Kunstbemerkungen, &c. s. 24, states that it is the same pic- 
 ture which Diirer painted for Frederic the Wise. According to 
 other accounts, (see Heller as above, s. 253,) this latter picture 
 passed from its destined place at Wittenberg to the gallery of the 
 Emperor Rudolph II. at Prague, and afterwards to Vienna^where 
 however it is no longer to be found. It is said also to have borne 
 the date 1504. It is easily possible, however, that the date on the 
 Florence picture, if it really be the same, may have been read 1509 
 by mistake, since the form of the 9 on it approaches somewhat to 
 that of a 4. It is nearly the same figure as the 9 in the Bearing the 
 Cross, in the series of wood-cuts of the smaller Passion. 
 
 G3
 
 130 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 kneeling before the altar, and scourging himself on his 
 naked back; and the second, that in which Death 
 seizes upon an armed warrior. 
 
 24 In 1511, Diirer published three great series of wood- 
 cuts, some of which, as shown by their dates, had been 
 executed in the two preceding years. These were the 
 greater and the lesser Passion of Christ : and the 
 Life of the Virgin. They are some of the best of 
 Diirer 's works which have come down to us; in them 
 we find, almost more than in any others, intimations of 
 a lively feeling for beauty and simple dignity, whilst 
 the fantastic features of his style, and the homeliness 
 of his conception, are less offensively prominent. We 
 can take but a rapid glance at a few of the cuts of this 
 rich series. 
 
 The Great Passion. The title-page represents 
 Christ sitting naked on a stone, with the crown of 
 thorns, whilst one of the soldiers thrusts into his hand 
 the reed. The form of Christ is most noble, full, and 
 beautiful ; the soldier, in the costume of the middle 
 ages, is fierce and scornful, but also a finely formed and 
 well-developed figure. Christ wrings his hands, and 
 turns his majestic head, full of divine compassion, 
 towards the spectator for, as a frontispiece, this repre- 
 sentation has here a symbolical meaning : it is not the 
 mockery of Christ, as an event of history, but the 
 lasting reproach cast upon the Saviour by sinners ; 
 hence the stigmata on the hands and feet are already 
 marked*. The Bearing of the Cross is a composition 
 
 * [The true explanation of which are called " anachronisms " in 
 old pictures is often similar to that here given. ED.]
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 131 
 
 with numerous figures thickly grouped, yet conveying 
 the most perfect view of the subject, and the clearest 
 development of the action. In the middle, the Saviour 
 sinks on his knee under the weight of the cross ; on the 
 right, the executioner, in whose figure there is an os- 
 tentations display of muscular power, drags him up by 
 the rope ; on the left is Veronica, kneeling, with the 
 handkerchief in her hands, and Christ turns to her 
 with an expression of tender love. Behind him is 
 another executioner, who, with savage haste, appears to 
 throw Jesus forward among stones and thistles ; whilst 
 Simon of Cyrene, a benevolent old man, is in the act 
 of taking the weight of the cross from his shoulders. 
 Further back, on one side, are the centurion and soldiers, 
 and on the other, the Virgin and the friends of Jesus ; 
 behind them, the Thieves are being led through the 
 city-gate. The composition bears a similarity, not to be 
 mistaken, to Raphael's Bearing the Cross, (Lo Spasimo di 
 Sicilia,) and though in this latter work we acknowledge 
 the hand of a more matured artist, yet, in single parts, 
 the comparison is certainly favourable to the older 
 German composition. The figure of Christ, particularly, 
 is more important, more dignified, and more decidedly 
 the central point of interest in the action. Christ's 
 Descent into Hell displays the wildest fancy in the 
 figures of the demons, perfect majesty in that of the 
 Redeemer, and excellent drawing of the naked in the 
 figures of those released. The Body of Christ taken 
 down from the Cross, and mourned over by his fol- 
 lowers, is a composition which may unhesitatingly be 
 placed by the side of the most profound works of
 
 132 MASTERS OP THE SIXTEENTH CEKTURY. [BOOK III. 
 
 the great Italian masters. The most perfect grouping 
 is made consistent with the greatest simplicity of 
 design; and, however indifferently the engraver has 
 executed his part, the very varied expression of the 
 single figures, and the peculiar grace of the lines and 
 movements, cannot be concealed. When we look at 
 such works, we easily comprehend why the later Italians 
 valued Durer's compositions so highly, and how it was 
 that a translation of them as it were into Italian was 
 so much desired. 
 
 The Lesser Passion. Of this series, the most beau- 
 tiful compositions are Christ taking leave of his 
 Mother ; distinguished by the dignity and beauty of the 
 drapery Christ washing the Feet of his Disciples ; 
 remarkable for the excellent and simple arrangement 
 of a great number of figures in a small space, whilst die 
 principal group in the foreground is very beautiful and 
 full of feeling. Christ praying on the Mount of Olives, 
 is extremely simple, but with the highest dignity and 
 beauty, it is full of the most profound and tender feeling. 
 Christ appearing to his Mother in her chamber, and to 
 Mary Magdalene as the gardener, after his resurrection, 
 are both, (the latter particularly,) compositions of 
 peculiar grace and simple beauty. 
 
 The Life of the Virgin : the leading character of 
 the last-mentioned works is grand and tragic ; that of 
 this series is graceful and pleasing. In these we are 
 introduced into the more tender relations of family life, 
 where the master shows a refinement of amiable feeling 
 in which he has few equals. It appears almost super- 
 fluous to enter into the details of a work so well known,
 
 XXVII.] MASTERS OF THE SIXTEENTH CEXTUBY. 133 
 
 but we shall briefly notice a few compositions of par- 
 ticular beauty. The Golden Gate Joachim and Anna 
 support one another, after their mournful separation, 
 with the expectation of a joyful futurity the former is 
 a mild-looking, aged man Anna, full of womanly soft- 
 ness and resignation. In the background, the steward 
 and other servants of Joachim, who had come to 
 welcome their lord, are engaged in talking of the event. 
 The Birth of the Virgin a composition of the most 
 attractive naivete. The scene is the lying-in chamber 
 of a Nuremberg house, with a numerous company of 
 women and maidens, which offers an interesting com 
 parison with Florentine life, in similar scenes, by 
 Ghirlandajo and others *. The Circumcision : this sub- 
 ject, frequently so disagreeable, and bordering on the 
 absurd, even in the hands of great masters, here offers 
 a pleasing representation of a characteristic national 
 custom. Numerous as are the figures in this composition, 
 nothing is superfluous. Each seems necessarily and 
 individually interested in the action, and the whole is 
 formed into simple and natural groups. The Flight 
 into Egypt : in contrast to the Circumcision, the space 
 is here skilfully filled up with few figures ; the pleasant 
 aspect of a thick and fruitful wood, through which the 
 Holy Family are journeying, adds to the charm of this 
 attractive subject. The Repose in Egypt: a court, 
 with a dwelling built into the ruins of an ancient 
 
 * [As, for instance, in the frescoes of the Capella Sassetti, in 
 the Church of St 3 . Trinita ; and in the Choir of St a . Maria Novella, 
 at Florence; see vol. i. p. 122. Rumohr, It. Forsch. 11, ss. 
 280 284. ED.]
 
 134 MASTERS -OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 palace ; the Virgin, \vith a spiudle, sits beside the 
 cradle beautiful angels worship at her side ; Joseph is 
 employed in carpenter's -work, with a number of little 
 angels, who, in merry sport, assist him in his labour. 
 This is a scene of the most graceful repose and undis- 
 turbed serenity. The Death of the Virgin: perfect 
 composition, together with a simple division of the 
 principal groups fine forms, and indications of the 
 deepest feeling, in the solemn exercise of holy rites, 
 combine to place this design very high amongst the 
 works of Diii'er. It has frequently been copied in co- 
 lours by his followers, and in many galleries pictures of 
 this kind bear Diirer's name. 
 
 25 There are also some other woodcuts of Diirer's in- 
 scribed with the date 1511, such as the well-known 
 and grand composition of the Trinity, several Holy 
 Families, and others. 
 
 26 Between the years 1507 and 1513, but principally in 
 1512, was executed the great series of small copper- 
 plates, which contain a third representation ,of the 
 Passion of Christ. Among these are many of much 
 merit, the more interesting, as the delicate execution of 
 the master's own hand is visible throughout.* In order 
 not to weary the reader, I shall refrain from going into 
 the details of single plates. 
 
 27 To this fruitful time (1511) belongs also one of 
 Diirer's most celebrated paintings, the Trinity, sur- 
 rounded by the saints and the spirits of the blessed. 
 It was painted for a church in Nuremberg, wlience, 
 like many of his works, it was removed to Prague ; at 
 present it is in the Belvedere at Vienna. Above, in
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 135 
 
 the centre of the picture, are seen God the Father, who 
 holds the Saviour in his arms, and the Dove of the 
 Holy Spirit; some angels spread out the priestly 
 mantle of the Almighty, "whilst others hover near, with 
 the instruments of Christ's passion. On the left hand, 
 a little lower down, is a choir of females, with the Virgin 
 at their head ; on the right are the male saints with St. 
 John the Baptist. Below all these kneel a host of the 
 blessed, of all ranks and nations, extending over the 
 whole of this part of the picture. Underneath the whole 
 is a beautiful landscape, and, in a corner of the picture, 
 the artist himself, richly clothed in a fur mantle. 
 There is a tablet at his feet, with the words " Albcrtus 
 Diirer Noricus faciebat anno a Virginis partu, 1511." 
 The execution here also is masterly and of exceeding 
 delicacy, but again with the same glazing of the colours. 
 The cast of the drapery is in general grand ; the figures 
 in the Trinity are dignified and not without beauty. 
 In other parts the picture is deficient in loftiness of 
 conception, and a few only of the other heads, that of 
 David, for instance, can be called beautiful. In the 
 greater number, even in the figures of the saints, we 
 again find a fantastic feeling of common life, bordering 
 on caricature. It is evident, that at the time when 
 Durer designedly entered upon the execution of indi- 
 vidual minutiae, he did not strive to purify the earthty 
 form of man from its defects and accidents, but rather 
 assigned a value of its own to strict individuality of 
 character, with all its narrowness and imperfection 
 that he sought to give it elevation by a sort of miracle 
 (for what else can we call the phantasmagoric play of 
 ,1ns colour?) rather than to impart to it a higher dignity
 
 136 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 by the intrinsic significance of its form. It may be 
 assumed, beyond doubt, that he held in particular 
 esteem those pictures into which, he introduced his 
 own portrait. 
 
 28 There is in the Belvedere a picture, of the following 
 year (1512), of the Virgin, who holds the Child naked 
 in her arms. She has a veil over her head, and a blue 
 drapery. Her face is indeed of the form usual in 
 Diirer, but of a soft and maidenly character ; the Child 
 is beautiful the countenance particularly so. It is 
 painted with exceeding delicacy of finish, but, unfortu- 
 nately, -with grayish shadows in the flesh. 
 
 A series of Durer's paintings, to which there is no 
 precise date, may be mentioned here, since the greater 
 number of them must belong to the middle period of 
 the artist's career 
 
 29 The Virgin with the Child, in the Gallery of the 
 Ufizj, at Florence ; it hangs in an unfavourable place 
 for close examination, but we can distinguish the 
 beautiful and modest countenance of the Mother of God . 
 
 30 The Virgin, St. Anne, and the sleeping Infant, in 
 the Schleissheim Gallery also hangs unfavourably ; 
 the conception has no particular depth, the execution 
 appears clever. 
 
 31 A Mater Dolorosa, in the same^collection, standing 
 with folded hands, is beautiful, simple and dignified *. 
 
 32 An Ecce Homo, in the chapel of St. Maurice, at 
 Nuremberg! ; a half-figure, wringing the hands before 
 
 * [No. 153 (Cabinets), Pinacothek. ED.] 
 
 j- [This is probably No. 1O2, pronounced by Waagen to be a 
 decided copy by George Fischer, " a careful but spiritless imitator 
 of Diirer," Waagen, k. u. k. in Deutschland, i. 192. ED.]
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 137 
 
 the breast is very soft, and perfectly modelled, the hair 
 is very delicately painted. The form of both head and 
 body -wants, however, elevation of character. 
 
 An altar-piece with wings, in the Schleissheim Gal- 33 
 lery, painted at the request of the Baumgartner family, 
 for St. Catherine's Church, at Nuremberg, was brought 
 to Munich, in the beginning of the seventeenth century, 
 by the Elector Maximilian I*. The subject of the 
 middle picture is the Birth of Christ ; the Child is in 
 the centre, surrounded by five little angels, whilst the 
 Virgin and Joseph kneel at the side ; as a whole, the 
 picture is clever, but it still wants depth and fine feel- 
 ing. The wings contain portraits of the two donors, 
 under the form of St. George and St. Eustace ; that is, 
 as knights in steel armour, and red surcoats. One is a 
 highly interesting figure, though rather fantastic in 
 attitude; his countenance has much character, well 
 developed, and expressing at once decision and resigna- 
 tion. The thin figure who stands beside his horse, 
 reminds us of the knight in the print of " The Knight, 
 Death, and the Devil," and the defile and castle from 
 that design are also repeated in the background. The 
 man on the second wing is stouter, and less poetic. 
 The painting of both is peculiarly free. 
 
 The Body of Christ taken down from the Cross and 34- 
 mourned by his followers, is in the Chapel of St. Mau- 
 rice, at Nuremberg f. It was originally ordered by the 
 
 * [The wings of this picture are now Nos. 1 and 3, and the centre 
 No. 72, in the Catalogue of the Pinacothek. ED.] 
 
 t [Compare Waageu, k. u. k. in Deutschland, i. s. 186, and for 
 the copy, s. 234. Waagen holds this picture to have been painted 
 between 1515 and 1518 ED.]
 
 138 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 family of Holzschuher for the Church of St. Sebald ; 
 it then came into the possession of the Peller 
 family, and at a later period into the Boisseree 
 Gallery. The composition consists of numerous figures 
 beautifully arranged, particularly the dead body, the 
 drawing of which, though stiff, is of a fine character. 
 In this picture, again, that peculiar bi'illiancy of colour- 
 ing prevails, but the flesh is much painted over. There 
 is no great depth of expression in the heads ; the back- 
 
 35 ground is a rich mountain landscape. A repetition of 
 this picture, which is in the original place in St. Sebald, 
 is undoubtedly an old, but not worthless copy; the 
 colouring, particularly in the body of Christ, is, how- 
 
 36 ever, much dryer. The portraits of the Emperors, 
 Charlemagne and Sigismund, in the castle at Nurem- 
 berg, are two powerful and dignified figures, executed 
 with DYirer's forcible outline and free painting; they 
 have, unfortunately, suffered considerably, and are 
 
 37 much painted over *. Hercules attacking the Harpies, 
 in the same collection a fine, clever, powerfully-drawn 
 figure, but unfortunately executed only in distemper is 
 now much injured and painted over. 
 
 38 A portrait, in distemper, of a scholar, in the Schleiss- 
 heini Gallery, is a clever picture f. 
 
 Some engravings, which our historical survey now 
 
 * [Waagen (Deutschland, i. s. 202) states, that there is no 
 doubt of the originality of these pictures, and he also denies that 
 they have been repainted, though they require careful restoration. 
 -ED.] 
 
 h [Probably No. 51, Pinacothek. It is said to be the portrait 
 of James Fugger. ED.]
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 139 
 
 leads us to notice, are more interesting than the greater 
 part of the pictures just described. 
 
 The first of these is the celebrated print of The Knight, 39 
 Death, and the Devil, inscribed with the date 1513 *. I 
 believe that I do not exaggerate, when I name this print 
 as the most important work which the fantastic spirit of 
 German Art has ever produced. Imagination, without 
 the aid of reference or symbol, forms the real groundwork 
 of this wonderful poem; but, at the same time, she meets 
 us as subdued and restrained by a higher power, that of 
 the manly will, and consequently is represented in her 
 true relation. We see a solitary Knight, riding through 
 a dark glen : two Demons rise up before him, the 
 most fearful which the human breast can conceive the 
 personification of thoughts at which the boldest cheek 
 grows pale the horrible figure of Death on the lame 
 horse, and the bewildering apparition of the Devil. 
 But the Knight, prepared for combat wherever resist- 
 ance can avail, with a countenance on which Time has 
 imprinted his furrows, and to which care and self-denial 
 have imparted an expression of deep and unconquerable 
 determination, looks steadily on the path which he has 
 
 * [The author's praise of this print is by no means exaggerated ; 
 its execution, wonderful as that is, is its least merit. The concep- 
 tion may, perhaps, be described as a condensed expression of the 
 spirit of " Pilgrim's Progress," marked, not with the character of 
 the English puritans of the 17th century, but with the feeling of 
 Germany at the time of such men as Luther and the Frundsbergs. 
 With reference to Sikkingen it is scarcely necessary to refer the 
 reader to Ranke's History of the Reformation, and Goethe's Goetz 
 von Berlichingen. I do not feel sure that the author has given 
 the right view of Durer's intention in the next engraving to which 
 he refers, the Melancholy ED.]
 
 140 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 chosen, and allows these creations of a delusive dream to 
 sink again into their visionary kingdom. It is probable, 
 from the letter S annexed to the date, that Diirer in 
 the person of the Knight has given a portrait of Franz 
 von Sikkingen, but this circumstance takes nothing 
 from the general meaning of the composition. In this 
 view, however, the work must be considered as a testi- 
 mony in honour of that valiant knight, and not, as has 
 been said, an allegory referring to the obstinate wicked- 
 ness laid to his charge. By others the design is named 
 the " Christian Knight," but this name is not very 
 applicable, as there is no special reference in any part 
 to the exercise of the Christian religion. The masterly 
 execution of the engraving is well known. 
 
 40 Several excellent prints were also executed by Diirer, 
 in the year 1514. Of these we may first name his ' 'Mela n- 
 chohj," a purely allegorical design, and one consequently 
 of less interest than the preceding, but still conceived 
 with so much fancy as to invest this unpromising sub- 
 ject with a peculiar charm. It is impossible to express 
 the spirit which pores and broods over mystical and ill- 
 defined thoughts with greater force, than is done in 
 the powerful female form crouching in the foreground ; 
 the confused mass of objects and instruments spread 
 around her, serves to enhance this impression of whim 
 sical and ill-directed efforts. 
 
 41 A perfect contrast to the Melancholy is to be found in 
 its contemporary print of St. Jerome in his study. There, 
 too, we see the figure of a man sunk in deep thought, 
 and a chamber filled with various apparatus. The 
 whole is arranged with the most ingenious fancy, but per-
 
 XXV11.1 MASTERS OF THE SIXTEENTH CENTURY. 141 
 
 vaded by a serenity and grace "which keep aloof all the 
 dreams and visionary forms created by the imagination, 
 and which bring before us the simple reality of homely life 
 in its most pleasing form. Gerard Dow, the most feeling 
 of the Dutch genre-painters, has produced nothing so 
 pleasing and touching as this print, which, even in the 
 most trifling accessories, bears the impress of a high 
 and gentle nature. 
 
 During the twenty succeeding years Diirer engraved 42 
 various copper-plates of Madonnas and Apostles, among 
 which occur additional examples of dignity and fine 
 feeling. 
 
 Diirer's largest woodcut is inscribed -with the year 43 
 1515; it is the Triumphal Arch of the Emperor Max- 
 imilian ; a strange rambling work with an endless variety 
 of historical representations, portraits, and fanciful orna- 
 ments. Xo effect of a work of art, properly so called, is 
 to be expected from it as a whole, and the less so, since 
 the architecture which connects the parts, and separates 
 them into divisions, is much cramped by the portion 
 appropriated to the figures ; still altogether it is not defi- 
 cient in meaning, or in the relation of the several parts 
 to each other. To the architectural details the artist 
 has given the most grotesque and fantastic forms, yet 
 they are often composed with singular ingenuity and 
 skill; this applies particularly to the principal columns, 
 which are arranged in pairs ; their composition is remark- 
 able throughout for its strict consistency and its reference 
 to the office assigned to them ; they have not the weight 
 of a continuous entablature to support, but in reality 
 each pair only sustains isolated niches, which contain.
 
 142 MASTERS OF THE SIXTEENTH CENTUKY. [BOOK III 
 
 statues. The ornaments, taken singly, are very tasteful, 
 and drawn -with much force and spirit; the series of por- 
 traits which represent the predecessors and ancestors of the 
 emperor, from Julius Cassar and the Merovingian Clodovic, 
 with all his kindred, is very remarkable for the extraordi- 
 nary variety and character of the heads, *vhich the artist, 
 having no existing originals to work from, was obliged him- 
 self to invent. The historical representations relate to the 
 most brilliant events of the Emperor's life, but in them 
 we trace the hand of the imperial historiographer who ar- 
 ranged, rather than that of the artist who executed them*. 
 Very few of these compositions are remarkable for the 
 qualities which we look for in works of art, yet there are 
 parts, particularly where the action consists of few 
 figures, which are very striking. The whole work proves, 
 in a brilliant manner, the singular versatility of this 
 master's powers. 
 
 44 In the year 1515, Diirer executed also the celebrated 
 borders for the Prayer-book of the Emperor Maximilian, 
 at present in the Royal Library at Munich. In these 
 spirited pen and ink drawings, the fancy of the 
 artist revels in perfect liberty, sonfetimes serious and 
 dignified, sometimes gracefully playful, sometimes hu- 
 morous and gay. Here his task was not to represent a 
 given subject of particular depth of meaning, but merely 
 to fill up tastefully an allotted space, and if he does not 
 always seem to keep in mind the full meaning of the 
 text which he has adorned with his arabesques, still the 
 play of fancy is neither whimsical nor extravagant ; the 
 
 * Lithographed by Strixner, 1808 " Albrecht Diirer's christ- 
 lich mythologische Handzeichnungen. "
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 1-13 
 
 humour never degenerates into vulgarity, (as is often the 
 case in this kind of ornament,) and the combined effect 
 makes so pleasing an impression on the spectator, tha| 
 criticism is content to he silent. 
 
 Two of Diirer's pictures in the Florentine Gallery of 45 
 the Ufizj, which represent the Apostles Philip and 
 James, bear the date of 1516 ; they were gifts from the 
 Emperor Ferdinand III., in the middle of the seventeenth 
 century, to the Duke of Tuscany. Both are painted in 
 distemper and powerfully modelled; the character is 
 forcible and energetic. 
 
 Of the same year is the portrait cf Diirer's master, 46 
 Wohlgemuth, in the Schleissheim Gallery * a strangely 
 sharp, bony, and severe countenance. 
 
 The fantastic composition, consisting of four wood-cuts 47 
 of a pillar on which a Satyr is seated, was executed in 
 1517. In 1518, the charming wood-cut of the Virgin 48 
 as the Queen of Heaven, surrounded by Angels. 
 
 A Lucretia, the size of life, in the Schleissheim Collec- 49 
 tion, is merely a. spiritless and insipid academic figure f; 
 but of the same year is the celebrated picture in the 50 
 gallery of Count Fries, at Vienna, which represents the 
 death of the Virgin. The head of the Virgin herself is 
 u portrait of Mary of Burgundy, firstwife of the Emperor . 
 Maximilian, and among the surrounding figures, are the 
 portraits of the Emperor, his son, and several distin- 
 guished contemporaries. The painting is much praised 
 for force of colour and beauty of drawing {. The 
 author cannot speak of it from his own knowledge. 
 
 * [No. 139 (Cabinets), Pinacothek ED.] 
 
 t [No. 93. Pinacothek ED.] 
 f Compare Heller, as above, s. 26 J.
 
 144 MASTEKS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 51 In the year 1519, Diirer executed a portrait of the 
 Emperor Maximilian, a half-length, with a pomegranate, 
 ^(the symbol of the emperor) in the left hand ; it is in 
 the Gallery of the Belvedere, in Vienna, but is not par- 
 ticularly remarkable. 
 
 52 In the year 1520 21, Diirer undertook a journey to 
 the Netherlands. His journal is still preserved, and tells 
 us of the great honours with which he was received there 
 by the native artists. He appears at this time as a man 
 conscious of his long and ardent labours, and anxious to 
 derive from those labours only such advantages as 
 every honourable man must wish to enjoy. This 
 journey, however, it appears, must have exercised an 
 important influence on his tendency in art, and perhaps 
 opened his eyes to the peculiarity of his manner*. 
 There are at least changes in the feeling and treatment 
 visible in his later works, and Melancthon tells us from 
 Diirer 's own confession, that the beauty of nature had 
 not unfolded itself to him until a late period ; that he 
 had then only learned that simplicity is the greatest 
 charm of art ; that he sighed over the motley pictures 
 of his early days, and mourned that he could no longer 
 hope to emulate the great prototype Nature f. 
 
 [Compare Fr. Schlegel, Werke Wien, 1823, vi. s. 178. ED.] 
 f- Memint virum excellentem ingenio et virtute Albertum 
 Durerum pictorem dicere, se juvenem floridas et maxime varias 
 picturas amasse, seque admiratorem suorum operum valde Isotatum 
 esse, contemplantem hanc varietatem in sua aliqua pictura. Postea 
 se senera coepisse intueri Naturam, et illius nativam faciem intueri 
 conatum esse, eamque simplicitatem tune intellexisse summum artis 
 decus esse. Quam cum non prorsus adsequi posset, dicebat se jam 
 non esse admiratorem operum suorum ut olim, sed saepe gemere 
 intuentem suas tabulas, et cogitantem de infirmitate sua. Etc. 
 (Epistolse Ph. Melanchthonis, etc. Ep. 47, p. 42 E. apud Epist. D.
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 145 
 
 In the Gallery of the Belvedere, in Vienna, is a sin- 53 
 gular picture of Diirer's, of the year 1520, which differs 
 in a striking manner from the rest of his works ; in exe- 
 cution and conception it bears a likeness not to be mis- 
 taken, to the works of the artists of the Low Countries 
 of that period, particularly to those of Schoreel. It was 
 probably executed whilst he was on the journey, under the 
 influence of the new objects around him. The subject is 
 the Virgin, a half-length figure in a fur mantle the 
 Child, naked, with a string of amber round his neck, is 
 on her lap on the green table before her lies a cut lemon. 
 The head of the Virgin is particularly soft and mild the 
 Child is not remarkably beautiful. 
 
 In 1522, Diirer published the series of woodcuts 54 
 which form the Triumphal Car of the Emperor Maximi- 
 lian. The allegory is rather poor, and the elaborate, orna- 
 ments of the car are whimsical and even tasteless ; on 
 the other hand the allegorical female figures, despite 
 their heaviness, and the disagreeable crumpled appear- 
 ance of the drapery, ( which last may partly indeed be 
 the fault of the engraver,) display motives of extraor- 
 dinary beauty, such as might have proceeded from the 
 graceful simplicity of Raphael. This circumstance also 
 must not be overlooked with reference to the change in 
 the tendency of Diirer's feeling in his later time. 
 
 Erasmi Roter. et Ph. Melanch. Londml, 1642,fol.) Fiissli ( Allg. 
 kiinstler Lexicon, 11, s. 307 ) who first drew my attention to this 
 passage, speaks not of "Nature " as that to which Diirer turned 
 late in life, but of the " Statue." This must tlepend on a different 
 reading ; the words naturam and statuam might easily be con- 
 founded, and by the latter would be meant the antioue. The pas- 
 sage would thus acquire more meaning. 
 
 VOL. II. H
 
 146 MASTERS OF THE SIXTEENTH CENTURY. [BOOK Til. 
 
 55 The two half-length pictures of the Saints Joseph and 
 Joachim, Simeon and Lazarus, in the former Boisseree 
 Collection, are of the year 1553. They formed side- 
 wings* of an altar-piece; parts of the middle picture 
 are preserved at Cologne; the colouring is beautiful, 
 the expression dignified, but they are not essentially 
 
 56 different from Diirer's earlier works. A Holy Trinity 
 of the same year, in a private collection at Augsburg, 
 is praised for the noble treatment of the subject, and 
 its admirable execution f. 
 
 57 Among the paintings of the Bettendorf Collection at 
 Aix-la Chapelle, Heller mentions a " Farewell of Christ 
 and his Mother," with numerous figures, and the rather 
 indistinct date of 1525. "Diirer," he says, " appears in 
 parts of this excellent painting to have made use of 
 a drawing by Raphael, which was afterwards engraved 
 by Marc Antonio. If this picture (which the author lias 
 not seen ) be genuine, it furnishes another proof that 
 Diirer, at this advanced time of life, sought to strike 
 into a new path J. 
 
 58 In these twenty years, Diirer engraved in copper 
 those remarkable portraits of his celebrated contempo- 
 raries, Cardinal Albert of Brandenburg, the Elector 
 Frederick the Wise, Pirckheirner, Melancthon, Erasmus 
 of Rotterdam, and others, which are distinguished by 
 the most spirited conception of life, as well as by an exe- 
 
 * [Nos. 123 and 127 ( Cabinets), Pinacothek. They are described 
 in the catalogue as " pictures executed under the influence of the 
 school of the lower Rhine." ED.] 
 
 f Heller, as above, s. 140. 
 
 J Heller, as above, s. 134.
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 147 
 
 cution of wonderful delicacy. This was the time at 
 which religious confusion had burst upon Germany, and 
 Nuremberg especially was severely visited by it ; con- 
 sequently the desire for religious works of art may 
 naturally have decreased. It is probable, however, that 
 Diirer, whose mind had imbibed the new doctrine with 
 the deepest devotion, may have laboured with more 
 satisfaction in the province of every-day life, than in 
 many of the subjects which painting previously treated. 
 We are indebted, at any rate, to these circumstances, 
 for a series of most admirable works, which without 
 them would probably never have been called into 
 existence. 
 
 Two excellent portraits in oil exist, of the year 1520. 59 
 One in the Gallery of the Belvedere, at Vienna, repre- 
 sents a citizen of Nuremberg, John Kleeberger ; it is a 
 pale manly head, with large black eyes, altogether of a pe- 
 culiar beauty; the nose only is rather small ; the shadows 
 are unfortunately of a strong gray tone. The second is 60 
 in the possession of the Holzschuher family in Nurem- 
 berg, and represents one of their ancestors, Jerome 
 Holzschuher, painted at the age of fifty-seven. The ex- 
 pression of this head is very fine and dignified ; the eyes are 
 brilliant, and notwithstanding the white hair the whole 
 appears to possess the vigour of youth ; strictly speaking, 
 this picture is painted in Durer's thin glazed manner, 
 but it is extraordinarily well executed*. It combines the 
 
 * [The portrait of Holzschuher is still preserved in the original 
 wooden case, with the "armes parlantes" of the family (a wooden 
 shoe) painted on the outside : it is a most exquisite picture, and has 
 lately been well engraved by Wagner. Waagen, k. u.k. in Deutsch- 
 
 Ji 2
 
 148 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 most perfect modelling -with the freest handling of the 
 colours; and is certainly the most beautiful of all this 
 master's portraits, since it plainly shows how well he 
 could seize nature in her happiest moments, and re- 
 present her with irresistible power. 
 
 61 The same year, 1526, was also distinguished by the 
 two pictures, corresponding to each other, of the four 
 Apostles, John and Peter, Mark and Paul ; the figures 
 are the size of life*. This, which is Diirer's grandest 
 work, and the last of importance executed by him, is 
 now in the Munich Gallery. We know with certainty, 
 that it was presented by Diirer himself to the council of 
 his native city, in remembrance of his career as an artist, 
 and at the same time as conveying to his fellow-citizens 
 an earnest and lasting exhortation suited to that stormy 
 period. In the 17th century, however, the pictures were 
 allowed to pass into the hands of the Elector Maximi- 
 lian I., of Bavaria. The inscriptions selected by Diirer 
 himself, might have given offence to a Catholic prince, 
 and were therefore cut off and joined to the admirable 
 copies by Vischer which were to indemnify the city of 
 
 62 Nuremberg for the loss of the originals; these copies 
 are still in the castle of Nuremberg f . 
 
 land, i. s. 126, mentions a fine portrait by Diirer, also painted in 1526, 
 of Jacob Miiffel, burgomaster of Nuremberg, and one of the artist's 
 friends. It is now in the collection of Count Schonborn, at Pom- 
 mersfelden. An old and good copy is in the collection of Herr 
 Merkel, at Nuremberg. See s. 291. ED.] 
 
 Heller, as above, s. 205. 
 
 f [The originals are Nos. 71 and 76 in the Pinacothek. Waagen 
 does not appear to admit the great excellence of the copies, which he 
 says have all the characteristic defects of copies. The originals were 
 taken from Nuremberg in 1627. See Waagen, k. u. k. in Deutsch-
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 149 
 
 These pictures are the fruit of the deepest thought 
 which then stirred the mind of Diirer, and are exe- 
 cuted with overpowering force. Finished as they are, 
 they form the first complete work of art produced by 
 Protestantism. As the inscription taken from the 
 Gospels and Epistles of the Apostles contains pressing 
 warnings not to swerve from the word of God, nor to 
 believe in the doctrines of false prophets, so the figures 
 themselves represent the steadfast and faithful guar- 
 dians of that holy Scripture which they bear in their 
 hands. There is also an old tradition handed down 
 from Diirer's own times*, that these figures represent 
 the four temperaments. This notion is confirmed by 
 the paintings themselves ; and though at first sight it 
 may appear to rest on a mere accidental combination, 
 it serves, in truth, to carry out more completely the art- 
 ist's thought, and gives to the figures themselves 
 greater individuality. It shows how every quality of 
 the human mind may be called into the sen-ice of the 
 divine word. Thus, in the first picture, we see the 
 whole force of the mind absorbed in contemplation, and 
 we are taught that true watchfulness in behalf of the 
 Scripture must begin by devotion to its study. John 
 stands in front, the open book in his hand ; his high 
 forehead and his whole countenance bear the impress 
 of earnest and deep thought : this is the melancholic 
 
 land, i. s. 204. Compare Ranke's History of the Reformation, 
 Transl. ii. p. 96 ED.] 
 
 * Neudijrffer (Nachrichten von den vornehmsten Klinstlern 
 Niirnbergs, Niirnb. 1828) in the notices on Durer.
 
 150 MASTERS OF THE SIXTEENTH CEXTTET. [BOOK III. 
 
 temperament, which does not shrink from the most pro- 
 found inquiry. Behind him, Peter bends over the book, 
 and gazes earnestly at its contents a hoary head, full 
 of meditative repose. This figure represents the phleg- 
 matic temperament, which reviews its own thoughts in 
 tranquil reflection. The second picture shows the out- 
 ward operation of the conviction thus attained, and its 
 relation to daily life. Mark, in the background, is the 
 man of sanguine temperament ; he looks boldly round, 
 and appears to speak to his hearers with animation, 
 earnestly urging them to share those advantages which 
 he has himself derived from the holy Scriptures. Paul, 
 on the contrary, in the foreground, holds the book and 
 sword in his hands ; he looks angrily and severely over 
 las shoulder, ready to defend the word, and to annihi- 
 late the blasphemer with the sword of God's power. 
 He is the representative of the choleric temperament. 
 Then what masterly finish there is in the execution ! such 
 as is only suited to a subject of such sublime meaning. 
 What dignity and sublimity pervade these heads of 
 such varied character ! What simplicity and majesty 
 in the lines of the drapery ! what sublime and statue- 
 like repose in their movements ! Here we no longer 
 find any disturbing element : there are no small angu- 
 lar breaks in the folds, no arbitrary or fantastic features 
 in the countenance, or even in the fall of the hair. The 
 colouring, too, is very perfect; true to Nature in its 
 power and warmth. There is scarcely any trace of the 
 bright glazing, or of those sharply-defined forrns, but 
 everywhere a free, pure impasto. Well might the
 
 XXVII.] MASTERS OF THE SIXTEENTH CENTURY. 151 
 
 artist now close his eyes he had in this picture 
 attained the summit of Art here he stands side by 
 side with the greatest masters known in history*. 
 
 Albert Diirer died in 1528. I know of no important 63 
 work of a later date than that just described. His por- 
 trait, in a wood-cut of the year 1527, represents him 
 earnest and serious in demeanour, as would naturally 
 follow from his advancing age, and the pressure of 
 eventful times. His head is no longer adorned with 
 those richly flowing locks, on which, in his earlier days, 
 lie had set so high a value, as we learn from his pic- 
 tures and from jests still recorded of him. That excel- 
 lence to which he had raised German Art in his last 
 master-work, passed away with him, and centuries saw 
 no sign of its revival f. 
 
 * Among the drawings in the collection of the Archduke 
 Charles of Austria, there is a study of drapery for the figure of 
 Paul, executed so early as 1523. This and three other finely 
 draped figures in the same collection, and of the same year, are 
 beautifully executed. Hence it is evident, that directly after the 
 journey to the Netherlands, Diirer endeavoured to lay aside his 
 capricious style in the cast of his drapery, and was eager to adopt 
 a more grand and noble one, grounded upon the study of Nature. 
 
 f It will strike the reader that I have in the above list omitted 
 many pictures in the galleries referred to, which bear the name of 
 Diirer. We cannot always trust names: the large picture of Christ 
 bearing the Cross, for instance, at Munich, does not show the hand 
 of Diirer, either in expression or technical execution : it is a weak 
 modern picture, in which one or two folds of drapery alone remind 
 us of the great manner of the pretended master. As a general 
 rule the presumption is against all that bears Diirer's name in 
 Italian galleries. [This Christ bearing the Cross is now No. 17, 
 (Pinacothek,) in the present catalogue of which a note is added, 
 stating that the picture in question has been by some persons
 
 152 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 1 XXVIII. The scholars and followers of Diirer 
 imbibed, as \vas ofteu the case in other schools, the 
 external characteristics of his manner, particularly the 
 peculiar motives of his drawing, without in general 
 catching the profound spirit of their master. But even 
 among them the fantastic principle of Art was carried 
 out with wonderful success in particular instances. 
 Most of these artists, like Diirer himself, are known 
 both as painters and engravers, and many of their 
 designs exist also in wood-cuts *. 
 
 One of the most pleasing of Diirer's scholars is 
 Hans ron Kulmbach (properly Hans Wagner) who came 
 to him from the school of Jacob Walch. In him also 
 
 attributed to John Fischer, an imitator of Diirer. I have already 
 spoken of the pictures of Charlemagne and the Emperor Sigismund, 
 in the Chapel of St. Maurice, at Nuremberg. The name of Albert 
 D'urer is a sort of generic attribute of all old Flemish and German 
 pictures in Spain, where, however, there are some genuine ones (see 
 Ford's Handbook, p. 764, 769). In this country it is right to refer 
 more especially to the beautiful picture in Her Majesty's private 
 collection. Waagen (England, ii. s. 487,) attributes to him a 
 picture at Burleigh, which bears the name of Herri de files. See 
 Mrs. Jameson, No. 42. ED.] 
 
 " [The author, in his preface, has supplied the omission in this 
 place of the name of Nicolas Glockenthon, a miniature painter of 
 Nuremberg. He refers to the ilissal executed by him which is 
 preserved at Aschaffenburg, formerly the summer residence of the 
 electors of Mayence. Waagen (k. u. k. in Deutschland, i. s. 382) 
 gives the following account of the artist and his work : 
 
 " In what relates to its embellishments this Missal is one of the 
 richest monuments of the kind that I know, and affords us, by the 
 following inscription at the end, what is rather rare, exact informa- 
 tion as to the artist who executed it, and the time of its completion, 
 ' Ich Nicklas Glockendon Zu Nurenberg 
 Hab Disses Bhuch Illuminist und 
 Volient . in . Jar. 1524.'
 
 XXVIII.] MASTERS OF THE SIXTEENTH CENTURY. 153 
 
 a fanciful element prevailed, particularly in the expres- 
 sion of the heads ; but it generally appears in a noble 
 and grand form. There is much that is merely me- 
 chanical in the technical execution of his pictures : 
 thus he fails entirely in marking variety of material. 
 
 Among his numerous paintings preserved in Nurern- 2 
 berg are two remarkable panels in the Chapel of 
 St. Maurice side pieces, "with figures of saints, 3 
 one of which, especially, is very grand. In St. 
 Sebald's, also, there is 'a very remarkable large paint- 
 ing, executed by Hans von Kulmbach, after a drawing 
 of Diirer*. It consists of three panels; in the middle 
 
 This Nicolas Glockenthon is a member of a very numerous family 
 of artists belonging to Nuremberg, and seems to me, like his father 
 before him, to have occupied himself with miniature painting only. 
 Such artists were, in the 16th century, called ' Illuminators,' to 
 distinguish them from painters. Glockenthon's principal excel- 
 lence consists in the variety and completeness of his technical skill, 
 as shown in the subjects themselves, and in the ornamental margins. 
 The drawing of the figures is often defective, and his power of 
 invention does not appear to have been his strong point, for most 
 of the thoughts are borrowed from prints and woodcuts of Diirer, 
 Kranach, and other masters. It must be admitted, however, that 
 some of the subjects show that he was not wanting, when needful, 
 in a certain power of imagination. He is especially excellent in 
 the way in which his landscape backgrounds are carried out." 
 
 Then follows a more detailed description of the Missal, and of 
 a prayer-book in the same library. It appears from Kugler's 
 preface that there was also a less celebrated brother of this master's, 
 Alexander Glockenthon by name. ED.] 
 
 [Compare Waagen, k.u.k. in Deutschland, i. ss. 185, 188, 231, 
 who, notwithstanding Sandrart's assertion that he possessed Diirer's 
 drawing, seems to hold the composition of the picture in St. Sebald 
 to be that of v. Kulmbach himself. He speaks very highly of it 
 
 and considers it to be the chef-d'oeuvre of the master ED.] 
 
 H 3
 
 154 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 one is the Virgin on a Throne, -with the Child, and 
 Angels bearing musical instruments St. Catherine 
 and St. Barbara stand beside them Bother saints, and 
 the kneeling figure of the donor, Lorenzo Tucher, are 
 on the side pictures. It is a beautiful work, but rather 
 more dry in the colouring than others by this master. 
 
 4 In the Schleissheim Gallery there are several paintings 
 by H. v. Kulmbach, of beautiful and brilliant effect, with 
 
 5 very excellent single parts-. In the Stiidel Institution, 
 at Frankfort, there is a good altar-piece by the same mas- 
 ter ; and in the Monastery of Heilsbronn, between Ans- 
 
 6 pach and Nuremberg, there are some pleasing figures 
 of saints from his hand. 
 
 7 Heinrich Aldegrever is, on the whole, a less import- 
 ant master; but a Last Judgment by him, in the Berlin 
 Gallery, well deserves notice. The upper group of 
 Christ with the Virgin and John the Baptist, is very 
 grand ; their draperies are agitated by the storm of the 
 Last Day. The Angels with the trumpets, and the 
 fantastic figures of the Demons among the damned are 
 excellent. The host of naked figures of the dead who 
 have risen are certainly very drily painted, yet there is 
 something striking in their solemn measured movements : 
 the saints in the foreground also are dignified figures. 
 
 8 Other pictures by this master, such, for instance, as 
 those in the Imperial Gallery at Vienna, are often dis- 
 
 [See Nos. 16, 21,43, 58, Pinacotheck. Waagen (Deutschland, 
 ii. s. 129,) mentions a genuine specimen of v. Kulmbach (the 
 Resurrection of Christ) in the possession of Herr Kranner of Ratis- 
 bon, and two others in the collection of Herr Abel of Stuttgart (s. 
 215). ED.]
 
 XXV [IT.] MASTERS OF THE SIXTEENTH CENTURY. 155 
 
 agreeably mannered ; or, like two little scenes from the 
 History of the Good Samaritan, in the Schleissheim 9 
 Gallery, treated like illuminated engravings, neat in 
 execution, but unimportant in all that regards feeling*. 
 The same may be said of his small engravings. Two 10 
 excellent portraits, freely and warmly painted, in the 
 Munich Gallery, are ascribed to Aldegreverf. A clever 11 
 portrait of a youth, of the same kind, is in the Lichtenstein. 
 Gallery, at Vienna. 
 
 Numerous pictures, by Hans Schevffelin, are distri- 
 buted about in various places. He was a clever and 
 dexterous mechanic, who worked himself into the 
 manner of his master, and succeeded as well as can be 
 expected by such means. All that implies a deeper 
 feeling in the conception of a subject he never attained. 
 His dry colouring is well known. Among his paintings 12 
 preserved in Nuremberg, a St. Bridget, in the Chapel of 
 St. Maurice, appeared to me most to deservenotice * : it is 
 prettily and neatly painted, and has some pretension to 
 
 [See Nos. 162, 166 (Cabinets), Pinacothek. -ED.] 
 f [Nos. 134, 140. (Cabinets), Pinacothek. ED.] 
 J: [Compare Waagen, k. u. k. in Deutschland, i. ss. 180, 189, 
 191, 198, 214. The last reference is to the picture of Judith, which 
 does not appear to be in the Chapel of St. Maurice, but in the 
 collection attached to the School of Design ( Kunstgewerbschule). 
 It certainly seems, from Waagen's account (s. 349), that Scheuffe- 
 lin's pictures at Nordlingen give a far higher idea of his powers 
 than those preserved elsewhere. The largest work of his now 
 extant is an altar in the old Monastery of Anhauscn, near Oet- 
 tingen, containing si xteen pictures, the centre one of which 
 represents the Coronation of the Virgin. An Adoration of the Lamb, 
 in the collection of Herr Abel, of Stuttgart, is a good specimen of 
 the master. There is a Crucifixion also in the choir of the church 
 at Tubingen. Waagen, Deutschland, ii. ss. 215, 232. ED.]
 
 156 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 13 grandeur of style. There is also, in the castle, a mocking 
 of Christ, of the year 1517, an animated picture of very 
 large size, in distemper, and unfortunately injured in 
 
 14 parts. A small picture with numerous figures, also at 
 Nuremberg, representing the History of Judith, reminds 
 us in some respects of Scheuffelin's more gifted fellow- 
 pupil, Altdorfer. I am not acquainted with the pictures 
 
 15 executed by Scheuffelin in his native town, Nordlingen ; 
 they are said to display greater originality *. 
 
 16 In Nordlingen appeared a weak imitator of Scheuffelin 
 and Diirer Sebastian Deig or Taig, as is evident 
 from his pictures in the Chapel of St. Maurice, at 
 Nuremberg, and in the Schleissheim Gallery f. 
 
 17 Bartholomew Beham has but little to interest: his 
 pictures exhibit a wild, mannered and grotesque imi- 
 tation of Diirer's style. Some of his heads, however, 
 are not deficient in life ; as, for instance, in a picture 
 in the Schleissheim Gallery of the year 1530 J, of a 
 Woman restored to Life by the Holy Cross. No 
 
 18 picture of his relation, Haus Scbahl Beham, is known 
 to the author . His small engravings are not of much 
 
 Compare the Tubinger Kunstblatt, 1820, No. 17. 
 
 f [Deig's pictures at Nordlingen are said to be superior to those 
 at Nuremberg, but they still show him, according to Waagen, as a 
 rough and mechanical imitator of Scheuffelin. See k. u. k. in 
 Deutschland, i. ss. 188. 356 ED.] 
 
 $ [No. '2, Pinacothek. ED.] 
 
 [The author, in the preface to this volume, states (hat a 
 book of prayers, containing illuminations by Hans Sebald Beham, 
 has been made known as existing at Aschaffenburg. These illumi- 
 nations are described at greater length by Waagen, k. u. k. in 
 Deutschland, i. s. 387. There are six of them : the composition 
 is simple and full of meaning : the execution like that of the French
 
 XXVIII.] MASTERS OF THE SIXTEENTH CENTURY. 157 
 
 importance, but he produced simple and pretty prints 
 from the story of the Prodigal Son. 
 
 Allert Altdorfer is, unquestionably, the most import- 19 
 ant and original of all Diirer's scholars and imitators. 
 He seized the fantastic principle of the time with a 
 poetic feeling at once rich and pleasing, and he de- 
 veloped it so as to attain a perfection in this sort of 
 romantic painting, such as no other artist has ever 
 reached. In general, he knows so well how to give to his 
 representations the peculiar charm of the fabulous, and 
 sets before the spectator what is marvellous in Nature in 
 such fulness, that we willingly give ourselves up to his 
 magic influence, and, stopping short on the way to the 
 highest perfection, we repose with pleasure among 
 these graceful dreams. Altdorfer's principal work is 
 among the pictures of the Schleissheim Gallery *. " It 20 
 represents the Victory of Alexander the Great over 
 Darius ; the costume is that of the artist's own day, as it 
 would be treated in the chivalrous poems of the middle 
 ages man and horse are sheathed in plate and mail, with 
 
 miniature painters. Besides these, however, there is in the Louvre 
 a picture by Hans Sebald Beham, painted for the same person, 
 Albert of Hohenzollern, Archbishop of Mayence. It contains four 
 subjects from the life of David. A description of it will be found 
 in Waagon, k. u. k. in Paris, s. 349. ED.] 
 
 * Fiorillo, Geschichte der zeichnenden Kiinste in Deutschland, 
 ii. s. 407, f. (if the author is not mistaken from the account of 
 Fried. Schlegel,) [See Fried. Schlegel, Werke, Wien. 1823, vi. 
 s. 166. The picture is No. 169 ( Cabinets), Pinacothek. The next 
 picture of Altdorfer's, which is referred to in the text as having 
 formed part of the Schleissheim Collection, does not appear to be 
 included in the Catalogue of the Munich Gallery. The Susanna 
 is No. 138 (Cabinets) of the Pinacothek. ED.]
 
 158 MASTERS OF THE SIXTEENTH CENTURY. "BOOK III. 
 
 surcoats of gold or embroidery ; the chanfrons upon the 
 heads of the horses, the glittering lances and stirrups, 
 the variety of the -weapons, form altogether a scene of in- 
 describable splendour and richness. There is no blood 
 or other disgusting object no scattered limbs or dis- 
 tortions deform this picture ; only in the immediate 
 foreground, if we examine very closely, we see under 
 the feet of the charging hosts, and the hoofs of their 
 war-horses, several lines of bodies lying closely together, 
 as in a web, forming as it were a ground-work to this 
 woi'ld of war and arms of dazzliug]weapons and of still 
 brighter fame and chivalry. It is, in truth, a little world 
 on a few square feet of canvass ; the hosts of combatants, 
 who advance on all sides against each other, are in- 
 numerable, and the view into the background appears 
 interminable. In the distance is the ocean, with high rocks, 
 and a rugged island between them ; ships of war appear 
 in the offing, and a whole fleet of vessels on the left is 
 the moon sinking, on the right, the sun rising ; both 
 shining through the opening clouds a clear and 
 striking image of the events represented. The armies 
 are arranged in rank and column, without the strange 
 attitudes, contrasts, and distortions, generally exhibited 
 in so-called battle-pieces. How indeed would this have 
 been possible with such a vast multitude of figures ? 
 The whole is in the plain and severe, or it may be the 
 stiff, manner of the old style. At the same time, the 
 character and execution of these little figures is most 
 masterly and profound. And what variety, what expres- 
 sion there is, not merely in the character of the single 
 warriors and knights, but in the hosts themselves ! Here
 
 XXVIII.] MASTEKS OF THE SIXTEENTH CENTURY. 159 
 
 crowds of black archers rush down from the mountain 
 with the rage of a foaming torrent, troop after troop ; 
 on the other side, high upon the rocks in the far dis- 
 tance, a scattered crowd of flying men are turning round 
 in a defile. The point of the greatest interest stands out 
 brilliantly from the centre of the whole, Alexander and 
 Darius, both in armour of burnished gold : Alexander, on 
 Bucephalus, with his lance in rest, advances far before his 
 men, and presses on the flying Darius, whose charioteer 
 has already fallen on his white horses, and who looks 
 back upon his conqueror with all the despair of a van- 
 quished monarch." It may moreover be remarked, that 
 the landscape rivals the works of the contemporary 
 Netherlaiiders (Patenier and others), or rather it sur- 
 passes them in truth and grandeur. A rocky mountain 
 in the middle of the picture, with beautiful hanging 
 woods, is particularly good ; above is a castle and a 
 path which leads to it ; at the foot of the mountain, 
 a ruin, illuminated by the setting sun. This ruin is 
 painted with so true a feeling for the beauties of Nature, 
 that a power of such high order would of itself have 
 qualified the artist for the most masterly productions. 
 
 A second picture of Altdorfer's, in the Schleissheim 21 
 Gallery, has also great merit ; it is painted on both 
 sides. In the front are the Virgin and Child: the 
 former is a graceful figure, with noble lines of draper}-, 
 and a lovely expression of countenance. The Child 
 stands on her lap, giving the benediction, in a thin 
 transparent dress, anJ holds a rosary in his hand. 
 Around them are a great choir of angels rejoicing with 
 music, and melting away by degrees into the mist of
 
 160 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 glory. The whole group hovers in the clouds over a 
 heautifully rich mountain landscape. On the back of 
 the picture is the Sepulchre of Christ. The figures 
 (Christ appearing to Mary Magdalene) are unimportant, 
 and rather seem to form the accompaniment to the 
 beautiful and fanciful morning landscape, which is seen 
 through the cave, illuminated by the full glow of the sun. 
 
 22 A third picture by this artist, in the same collection, 
 is inscribed with his monogram, and the date 1526. 
 It represents the history of Susanna. The garden with 
 the bath, on the left, and a mass of varied architecture 
 on the right, make up a rich and fanciful composition, 
 but it is not quite so important as the two preceding 
 
 23 works. The remainder of Altdorfer's pictures in the 
 Schleissheirn Gallery, of historical subjects, are less 
 pleasing, and only excellent in individual features of 
 the landscape background. 
 
 24 There is a good picture from the hand of this master 
 in the Chapel of St. Maurice, at Nuremberg *. It 
 
 * [See Waagen, k. u. k. in Deutschland, i. s. 191; who 
 says, " In such pictures as this, with its fanciful conception and its 
 striking effect of light, Altdorfer appears as the Rembrandt of his 
 school." The Crucifixion, mentioned in the text ( 25), is called 
 by Waagen (s. 216) "an excellent work of this varied and unequal 
 master;" and he also refers to a landscape (s. '218), and says, " In 
 this picture Altdorfer shows himself as the earliest German 
 landscape painter, and far excels his Flemish contemporary, Joachim 
 Patenier, in the truth of his forms, and in the freshness and 
 juiciness of his greens." One of this master's principal works is in 
 the public collection at Augsburg; the subject is the Crucifixion; 
 the date, 1516. Herr Kranner, of Ratisbon, has presented to the 
 " Historischer Verein," in that town, several pictures by Altdorfer, 
 one of which is an altar-piece, with the Adoration of the Shepherds
 
 XXVIII.] MASTERS OF THE SIXTEENTH CENTURY. 161 
 
 represents a crowd of people occupied in drawing the 
 body of St. Quirinus out of the water, and, in fact, 
 forms a well-arranged genre scene. The thickly- 
 covered banks of the river, are another instance of his 
 happy conception of nature. The light of the setting 
 sun a golden tint surrounded by a circle of clouds, 
 melting away into shades of red is full of imagination. 
 A crucifixion of Christ, by Altdorfer,atonce pleasing and 25 
 effective, is preserved in the castle of the same city. 
 
 In the Vienna Galleries, particularly in the Imperial 26 
 Gallery of the Belvedere, there are excellent pictures by 
 Altdorfer ; and in the Lichtenstein Gallery is a beau- 
 tiful Madonna with the Child and Angels, of the year 
 1511. 
 
 The engravings of Altdorfer are not inferior to his 
 paintings in grace and softness. 
 
 A master-work of such interest as Altdorfer 's Battle 
 of Alexander, naturally produced many imitations. 
 Thus, in the Munich Gallery, there is a painting by 
 Martin Fesele, of about 1530, of which the subject is 27 
 the siege of Kome under Porsenna*. This composition 
 
 in the centre. He retains in his own collection three more speci- 
 mens, among which a landscape, with the date 1507, shows how 
 early Altdorfer cultivated this branch of art. Altdorfer was a 
 citizen of Ratisbon as early as 1511, and filled many important 
 offices in that town. It does not seem probable that he was born, 
 as has been supposed, at Altorf, in Switzerland : it is far more 
 likely that he took his name from a small place near Landshut. 
 Compare Waagen, Deutschland, ss. 38, 123, 129 ED.] 
 
 * [No. 155 (Cabinets) Pinacothek. The siege of Alesia, men- 
 tioned afterwards in the text, is No. 35 in the Pinacothek. There 
 is a picture of this artist's at Ratisbon. He appears to have been 
 the principal painter at Ingoldstadt, in the first half of the 16th cen-
 
 162 MASTERS OF THE SIXTEENTH CENTURY. [BOOK 1H. 
 
 possesses the same richness, and the figures are as fine 
 and evince as much taste as those in Altdorfer's pic- 
 ture, but it is inferior to the latter work in poetic feeling. 
 
 28 A second picture of this artist, in the Schleissheim 
 Collection, the taking of Alesia in Gaul by Caesar, is 
 much less important ; and the same may be said of the 
 
 29 work of another master of the time, George Brew, in 
 the Munich Gallery *. The latter represents the Victory 
 of Scipio over Hannibal at Zama, and is an indifferent 
 imitation of Altdorfer. The composition is extremely 
 crowded, the masses not separated, and the execution in 
 detail hard. 
 
 George Pens, after being formed in Durer's school, 
 went to Italy, and entered that of Raphael. There is, 
 consequently, a great difference between his earlier and 
 
 30 his later works. In the Imperial Gallery at Vienna, 
 is a Crucifixion by him with small figures, painted 
 with great neatness, and with a graceful softening of 
 
 31 the Nuremberg manner. Another Crucifixion in the 
 Augsburg Gallery, an altar-piece with wings, also of 
 his early time, has, on the contrary, much less freedom. 
 
 32 A St. Jerome, in the Chapel of St. Maurice at Nurem- 
 berg f, is an aged head, full of thought, and cleverly 
 
 tury. It may be well to observe that his name is given as Melchior 
 in the catalogue of the Pinacothek and by Waagen. In Fiorillo it 
 is John Martin ; see Gesch. der Kiinste in Deutschland und den ver- 
 einigt, Niederl. ii. s. 403. Waagen, Deutschland, ii. s. 124. ED.] 
 
 * [This picture was No. 9 in the old Munich Catalogue (1833. ) 
 The name does not appear in the Catalogue of the Pinacothek. 
 -ED.] 
 
 t [Compare Waagen, k.u. k. s. in Deutschland, i. s. 189, who does 
 not consider this picture as a very good specimen of the master.
 
 XXVIII.] MASTERS OF THE SIXTEENTH CENTURY. 1G3 
 
 painted. Two pictures in the Munich Gallery, in the 
 Italian manner, bear the name of George Pens 
 Judith, with the head of Holofernes, a half-figure 33 
 naked, softly modelled, but hard in colouring ; and a 
 Venus and Love, somewhat sharp in drawing, and 34 
 almost Italian in colour. 
 
 Pens holds a distinguished place as a portrait 35 
 painter. In the Castle of Nuremberg, there is a capital 
 picture of this class by him : in the Berlin Museum 3G 
 there are three, equally distinguished by the excellence 
 of their composition, their light warm colouring, 
 and their free pencilling. All these pictures are in 
 the German manner of the artist. No. 1,295 bears 
 the date of 1534 : the other two that of 1544 and 1545 : 
 their numbers are respectively ii. 71, 72. 
 
 Amongst the engravings of Pens, a series of prints 37 
 from the History of Tobit is remarkable for a beau- 
 tiful and tender feeling. They combine, very happily 
 and simply, the German homeliness and naivete of 
 conception, with that higher grace which may be con- 
 sidered as an inheritance from Raphael. 
 
 Of the pictures by Pens, mentioned afterwards in the text as being 
 in the Munich Gallery, one only (the Venus and Cupid, No. 95,) 
 appears in the Catalogue of the Pinacothek. Pens's portrait at 
 Nuremberg, is probably that of Sibald Schirmer, now in the School 
 of Design ; if so, it is described as one of the best specimens of that 
 master. There is another portrait at Carlsruhe. See Waagen, 
 Deutschland, i. s. 204 ; ii. s. 243. There are portraits by Pens at 
 Windsor and at Hampton Court : the former is a copy from Hol- 
 bein's picture of Erasmus. George Pens is, according to Bottari, 
 the artist alluded to by Vasari, under the initials G. P., in his Life 
 of Mark Antonio ED.]
 
 164 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 38 Little is known of the works of Jacob Sink ; but in 
 general they bear the traces of the school of Diirer, 
 united \vith some influence of Italian art*. 
 
 39 Mathias Gruneicald is reckoned an excellent imi- 
 tator of Diirer. A Holy Family \ by him, in the 
 Schleissheim Gallery, is a pretty composition, and 
 
 40 quite justifies this character. A very good and simple 
 picture of his, containing portraits of the Emperor 
 Maximilian and his family, is to be seen in the Royal 
 Gallery at Vienna. 
 
 41 Two excellent portraits by Hans Grimmer, a scho- 
 lar of Mathias Griinewald, in the Chapel of St. Maurice 
 at Nuremberg J, differ entirely from the old German 
 manner, and correspond essentially in style with the 
 works of the contemporary Dutch portrait painters. 
 
 * Some new information respecting this master is contained in 
 E. A. Hagen's " Beschreibung der domkirche zu Konigsberg," etc., 
 1833, s. 157. 
 
 f [No. 87 (Cabinets) Pinacothek. Other pictures of the same 
 master in this collection, are Nos. 63, 68, 69, 70, 75. Waagen, 
 k. u. k. in Deutschland, i. s. 373, refers to the works in the Pinaco- 
 thek as the best specimens of the painter : he declares he is satisfied 
 that Grunewald was really the master of Lucas Cranach. This is 
 confirmed by what he says in his second volume (s. 215), when 
 speaking of Griinewald's pictures in the possession of Herr Abel of 
 Stuttgart ED.] 
 
 \ Compare Waagen, k. u. k. in Deutschland, i. s. 198, 199, 
 who says, " This master is new to me, but, though with some merits 
 of his own, he is far inferior to his teacher, Matth. Griinewald ; 
 the red tone especially is somewhat heavy." The woman's por- 
 trait he describes as far superior in conception and execution to 
 that of the man. Another portrait by Grimmer is in the hands of 
 Herr Kriinner of Ratisbon. Waagen, ii. s. 130. ED.]
 
 XXIX.] MASTERS OF THE SIXTEENTH CENTURY. 165 
 
 XXIX. Hans Burgkmair (1473 1559) \vas not a 
 scholar of Diirer's, though nearly connected with him *. 
 The influence of Durer's manner is evident in his 
 works, yet he is not destitute of original dignity. He 
 has the sharp manner peculiar to the artists of the time, 
 and instances of their fancifulness too may be traced 
 in many of his productions. The numerous pictures 1 
 ascribed to him in the Castle of Nuremberg, strongly 
 recalled to me the manner of Michael Wohlgemuth. 
 Among the works of Burgkmair, in the Chapel of St. 
 Maurice, which are on the whole unimportant, is an 
 interesting one of year 1510 the Virgin, sitting under 2 
 a tree, gives a bunch of grapes to the Child. The 
 figures are well grouped and somewhat graceful, but 
 
 * [Waagen.k. u. Lin Deutschland, i. s. 180 (comp. ii. ss. 11, 30), 
 speaks thus of Burgkmair: " It is stated, quite erroneously, in the 
 catalogue (i. e. of one of the Nuremberg Collections), that this master 
 was a pupil of A. Diirer, whereas he was only two years younger than 
 that painter, and was himself, with peculiarities of his own, one of the 
 heads of a school, in most essential points of conception, colour, and 
 mode of painting, entirely different from that of Diirer. This was the 
 Swabian school, of which Augsburg was the central point. The 
 year of his death also is erroneously stated, for he died, not in 1517, 
 but, according to the official register at Augsburg, as late as 1559." 
 Compare also Fiorillo, vol. ii. 415. For Burgkmair's pictures at Nu- 
 remberg, seeWaagen, i. ss. 180, 193,205, 216,289. The picture 
 of the Virgin and Child, referred to in the text, will be found described 
 by Waagen, s. 1 97, whose criticism agrees in the main with that of 
 the author. He says, the whole feeling of the picture, especially 
 the movement of the Virgin's left hand, is not unworthy of Raphael. 
 The tender brownish hue of the flesh, the warm and juicy colouring 
 of the drapery, and the fine execution of the landscape, remind 
 him strongly of the wings of the Ghent altar-piece, by the brothers 
 v. Eyck. ED.]
 
 100 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 the form of the Child is not good. The scene of the 
 picture is a pleasing landscape. One of the productions 
 of this artist in the Schleissheim Gallery has pecu- 
 
 3 liar merit. It is very large, and represents St. 
 John in the Island of Patmos * ; three palms 
 stand in the foreground, and between them is John, in 
 the act of writing, half kneeling, half looking upwards 
 at a vision of the Virgin. Around him is a southern 
 vegetation, and all kinds of animals, such as birds 
 and hares. It reminds us of Altdorfer, and conveys 
 the impression of a sort of enchanted woodland scene. 
 There are other excellent pictures from his hand in 
 
 4 the Schleissheim Gallery : particularly the portrait of 
 Dr. Joh. Geiller, of Kaisershurg, of the year 1510 haru 
 and severe, but full of life and character. His portraits 
 
 5 of Duke William of Bavaria, and his Wife, in the 
 Munich Gallery f, are also severe and sharp, but simply 
 
 G and carefully painted. The Public Gallery of Augs- 
 burg I, and the Church of St. Anne, also contain good 
 
 * [No. 65, Pinacothek. ED.] 
 
 f [Nos. 136 and 150 (Cabinets), Pinacothek. ED.] 
 J [ Some of those in this gallery formed a portion of the series 
 painted with H. Holbein the elder, for the Convent of St. Cathe- 
 rine. (See p. 106, above.) On one of them I find the follow- 
 ing memorandum, in a journal of my own, written in 1829 at 
 Augsburg:" The Burgkmair, dated 1501, is one of those pictures 
 which are truly wonderful. The Virgin and Christ are full of 
 simple majesty ; the saints on the shutters have much expression, 
 and the physiognomies are more varied than I should have ex- 
 pected. If the picture marked 1519 is really by him also, and has 
 not been wholly spoilt in cleaning, he must have gone backwards 
 in those eighteen years. Compare Waagen, Deutschland, ii. ss. 
 28. 33 ED.]
 
 XXIX.] MASTERS OF THE SIXTEENTH CENTURY. 107 
 
 pictures by Burglcmair : in the east choir of the latter 7 
 is Christ's Descent into Hell, \vith most extravagant 
 figures of demons *. 
 
 Two scenes from the life of the Virgin by John s 
 Acquila, in the Imperial Gallery at Vienna, show 
 a decided adoption of Diirer's feeling, with some 
 traces, as it -would seem, of the noble simplicity raid 
 mildness of Martin Schon. 
 
 Another contemporary of AlbertDiirer,Hans Baldung 9 
 Griin, who painted in Alsace and the Breisgau, is far less 
 pleasing (-. His historical pictures are conceived rather 
 in the Nuremberg style, but are colder and more dry in 
 colouring ; and the fanciful features of that school often 
 show themselves only in disagreeable and exaggerated 
 caricature. He is extremely weak in his portraits ; 
 many examples are to be found in the Berlin Museum, 10 
 the Chapel of St. Maurice at Nuremberg, and the 
 Gallery at SchleissheimJ. 
 
 * [See Waagen, Deutschland, ii. s. 67 ED.] 
 
 f The pictures which decorate the high altar of the Cathedral 
 of Freiburg, in Breisgau, are very important works of H. Baluung 
 Griin. They were executed in 1516, and prove him to have been 
 a considerable master : he should be reckoned, perhaps, as belonging 
 to the upper German school. See 33. [They are described by 
 Waagen, Deutschland, ii. s. 249 ED.] 
 
 | [See the portrait, now No. 148 (Cabinets) Pinacothek. For 
 other pictures, Waagen, k. u. k. in Deutschland, i. P. 192; ii. ss. 
 212, 281, 31G; at the last page he attributes to this painter a large 
 altar-piece in the library at Colmar, usually ascribed to Albert 
 Diirer.
 
 168 MASTERS OF THE SIXTEENTH CKNTUKY. [BOOK III. 
 
 B. SAXON SCHOOLS. 
 
 XXX. Parallel to Albert Diirer and his school, 
 stands the school of Saxony, with Lucas Cranach at its 
 head. Little is known of any of the predecessors of this 
 artist; but there are works which (like those belonging 
 to an earlier period, vii. 4, 5, 9 ; xiii. 3,) lead us to 
 infer, that art had diffused itself in Saxony and the 
 neighbouring states to a considerable extent, at the 
 beginning of the sixteenth century. 
 
 1 The principal altar at the Church of St. Maurice at 
 Halle, appears to belong to the fifteenth century, 
 and is a highly interesting work. It consists of a 
 shrine, with figures cut in wood, and with double side 
 doors, on all of which are" painted, within and with- 
 out, saints the size of life. In the principal lines of 
 the drapery, particularly in the female figures, there 
 is still some trace of the peculiar grandeur and soft- 
 ness which characterize the old German style; in 
 some parts, however, the motives of a later period 
 appear. In the fine and tranquil countenances of the 
 saints, especially in those of the women, in the singular 
 and national shape of the heads, and in the long narrow 
 form of the eyes, we recognize a distinct and very pecu- 
 liar school. The technical execution is still severe, and 
 the drawing sharp, but the details show an artist of con- 
 siderable cultivation, and some skill in his modelling. 
 
 2 The ornaments of the high altar in the Cathedral 
 of Brandenburg are not less pleasing *. It also consists 
 
 * Fiorillo, Gesch. der z. Klinste in Deutschland, ii. s. 193.
 
 XXX.] MASTERS OF THE SIXTEENTH CENTURY. 169 
 
 of a shrine of the year 1518, with statues of wood, and 
 saints painted on the wing doors. The latter are grand 
 solemn figures, drawn in a noble and dignified style, 
 and executed by a skilful hand, whose every touch is 
 made to tell ; the single heads, too, are modelled with 
 great boldness. Some of these heads bear the impress 
 of a serious, deep, reflecting character; whilst in others 
 there breathes the soft mildness so peculiar to the best 
 productions of the German school. Certain of the single 
 figures remind us generally of Albert Diirer's grandeur 
 of line ; ,but in some peculiarities of the detail, par- 
 ticularly the treatment of the stuffs, they recall Lucas 
 Cranach. On this latter account, without reference to 
 the general manner, the pictures have been erroneously 
 ascribed to Cranach *. 
 
 The painters of the pictures just mentioned, are 3 
 unknown. On a third, the master, John Raphon, of 
 Einibeckf has inscribed his name, and the date 1508. 
 It is in the choir of the Cathedral of Halberstadt. On 
 
 * Heller, Lcben Lucas Cranach?, s. 136. 
 
 f J. G. Biisching : Rcise durch einige Minister und Kirchcn 
 desNiJrdlichen Beuischlands, s. 249. Compare Fiorillo, as above, ii. s. 
 37. [Fiorillo, in the passage referred to in the author's note, speaks 
 of a picture executed in 1499, by Johannes Raphon, for en altar in 
 the Cistercian Monastery of Walkenried, and afterwards removed to 
 Prague in 1631. Kugler has, in his preface to his second volume, 
 supplied some further information respecting works of this master. 
 An altar-piece of the Crucifixion, with saints on the wings, by him, 
 is preserved in the Library of the University of Gottingen. Herr 
 Hausmann, of Hanover, possesses two v.-ings belonging to another 
 picture. Compare Dr. F. G. H. Lucanus "der Dora zu Halberstadt," 
 (Halberstadt, 1837,) in which an engraving of the altar-piece at 
 Halberstadt is given. ED.] 
 
 VOL. II. I
 
 ] 70 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 the centre picture is the Crucifixion of Christ ; on the 
 inside of the wings the Annunciation, the Offering of 
 the Kings, the Adoration of the Shepherds, and the 
 Presentation in the Temple ; on the outside are figures 
 of saints. In its general features, the picture resembles 
 the works of the Nuremberg school : the composition of 
 the middle picture is somewhat overloaded, and the heads 
 are distinguished rather by general power and indivi- 
 duality, than by truth in the expression of the inward 
 feeling of the moment. Another work of the same artist 
 is referred to, as having been executed as early as 1499. 
 
 XXXI. These and similar efforts are, however, 
 1 thrown into the shade by the widely extended works of 
 Lucas Cranach the elder *, favoured as he was by a long 
 life and happy circumstances. He was born in the 
 year 1472, at Cranach, in the diocese of Bamberg, and 
 died in 1 5 5 3, at Wittenberg. His family name was Sun- 
 der, not, as has been erroneously supposed, Miiller ; his 
 second name he took from his birth-place. He entered 
 early into the service of the electoral house of Saxony, 
 and was court painter to the three electoral princes, 
 Frederick the Wise, John the Steadfast, and Frederick 
 the Magnanimous. With the first he made a pilgrim- 
 age to the Holy Land in 1493 ; with the last he shared 
 his five years' imprisonment after the fatal battle of 
 Miihlberg, in 1547, and whiled away the tedium of cap- 
 tivity by his cheerful conversation and the bright pro- 
 
 Joseph Heller, Lucas Cranach, Leben und Werke, Bamberg, 
 1821.
 
 XXXI.] MASTERS OF THE SIXTEENTH CEXTUEY. 171 
 
 ductions of his art. In 1533 he -was appointed Burgo- 
 master of Wittenberg, and thenceforward lived on the 
 most familiar terms with the great reformers of the 
 church, particularly with Luther, whose marriage with 
 Katherine Bora was brought about principally by his 
 assistance. 
 
 Cranach, in his works, has much in common with 2 
 Diirer, particularly in his simple conception of nature, 
 and in his smooth and somewhat thin, but still powerful 
 colouring. The deep earnestness and grandeur of 
 Diirer is, however, replaced by a simple and childlike 
 serenity, and by a soft grace, bordering almost on bash- 
 fulness. In Cranach 's hands that imaginative element 
 in art to which we have already alluded, produced some 
 of its most fanciful and attractive results. 
 
 His works are extensively dispersed, particularly in 
 the Saxon states * : a few only of the most interesting 
 
 * [On Cranach's character as a painter of sacred subjects, com- 
 pare Fortoul, del' Art en Allemagne, ii. p. 200; Waagen, k. u. k. 
 in Deutschland, i. s. 57. The latter author describes at some 
 length the altar-piece in the church of Schneeberg, (a small town in 
 the Erzgebirge, not far from Chemnitz,) and states, that he considers 
 it the chef d'oeuvre of the elder Cranach, both with regard to iU 
 size and its excellence. He then goes on to say : 
 
 " I have given the subjects of these pictures singly, because they 
 furnish, without doubt, the most detailed and the most successful 
 example of a series of symbols and emblems connected with Pro- 
 testantism ; such as Cranach worked out, with the aid of his friends, 
 Luther and Melancthon. The same subjects are found in part, or 
 in a more condensed form, in other works of Cranach, as in the altar- 
 piece of the church at Weimar, in a picture in the Ducal Gallery 
 at Gotha, and in another in the Council House at Leipzig. Our 
 redemption from original sin by the blood of Christ, is the funda- 
 mental idea of the whole ; and Lucas Cranach may be properly 
 
 12
 
 172 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 3 need be mentioned. First, the large pictures of sacred 
 subjects, principally altar-pieces. A work of Cranach's 
 early time, of a kind not usually to be found, hangs over 
 the altar in the church at Tempelhof, near Berlin. Its 
 date is 1506; the centre piece represents the martyr- 
 dom of St. Catherine, and on the wings are single 
 figures of female saints. In power of colouring, it is 
 inferior to the later works of the master, but it is distin- 
 guished by the excellence and individual truth of the 
 heads *. 
 
 4 At Wittenberg are two important works by Cranach. 
 In the Town Hall there is a large representation of the 
 Ten Commandments, of the year 1516, which on the 
 whole does not equal his later pictures, but attracts us 
 by its energetic colouring, and the carefulness of its exe- 
 cution. The grotesque figures of devils, who attend 
 the transgressors of the commandments, deserve 
 
 considered as the church painter of the Reformation. The esta- 
 blishment of altars like that before us (by the Elector John, and 
 his son, John Frederick, in 1539), is the most striking proof how 
 far Luther's doctrine was from banishing pictures from churches as 
 something not befitting the place. We learn, moreover, what 
 Cranach could really do, when he put forth all his strength, as he 
 has done here, on the commission of his sovereign and especial 
 patron. It is clear, also, that from J530 to 1539 he was at tiie 
 highest point of his career." See also Ranke's History of the 
 Reformation, (translation,) ii. p. 91 and 96. It must not be for- 
 gotten that Cranach was one of the two partners who established 
 the first printing-press at Wittenberg. ED.] 
 
 * Since this passage in the text was written, it has been dis- 
 covered, on cleaning this picture, that it is not a work of Cranach's, 
 but probably a copy or an imitation from that master. The date, 
 1596, with the inscription " Daniel Fritsch, pinx'." was found on 
 the painting.
 
 XXXI.] MASTERS OF THE SIXTEENTH CKNTURY. 1 73 
 
 notice *. Among the altar-pieces of Cr"anach, that which 5 
 adonis the principal altar of the city church at Witten- 
 berg is one of the best. The centre represents the Last 
 Supper, and is peculiar in its arrangement, since the 
 disciples, with heads of varied character, are seated 
 round a circular table. On the right wing is painted 
 the sacrament of Baptism, administered by Melancthou, 
 in presence of an assistant and three sponsors. A 
 group of richly dressed women, as spectators, stand in 
 the foreground. A peculiar but pleasing tone of feeling 
 pervades the whole. The left wing, representing Con- 
 fession, is superior to the former picture. In the 
 confessor, we recognize the portrait of Bugenhagen, 
 who, with severe dignity, absolves a kneeling penitent, 
 (a citizen,) with the key in his right hand, whilst at the 
 same time, with the one in his left, he motions back a 
 warrior who has drawn near, with a haughty, rather 
 than a repentant air, and whose hands are still fettered. 
 On the pedestal is a fourth painting with smaller figures: 
 in the centre is the image of Christ crucified; on one 
 side a pulpit, from which Luther preaches, in front of a 
 graceful and simple group of listening maidens, and 
 women with children ; and deeper in the picture, is as 
 fine a group of serious men and youths. This work is at 
 once a representation of the most remarkable rites of 
 the Protestant Church, and a memorial of the most 
 honoured teachers of Holy Writ. Next to the Apostles of 
 Diirer, ( xxvii. 6,) which it by no means equals in exe- 
 
 * Schadow, Wittenberg's Denkmaler der Bildnerei, Baukunst, 
 und Malerei Wittenb. 1825, (with many illustrations,) s. 94, 105, 
 T. 8, 13-16.
 
 1 74 MASTERS OF THE SIXTEENTH CENTUEY. [BOOK III. 
 
 cution, it must be regarded as one of the most profound 
 and significant of those works of art which sprung from 
 the new creed. 
 
 6 At Meissen, also, there is an excellent altar-piece, over 
 the principal altar in the nave of the cathedral. The 
 centre consists of three divisions ; in the uppermost is 
 the Crucifixion of Christ, and underneath, with a sym- 
 bolical reference to that event, the Sacrifice of Isaac, 
 and the miracle of the Brazen Serpent. The Sacrifice 
 of Isaac is a very grand composition, much more so 
 than is usual with Cranach's works ; the donor of the 
 picture, at the side, is also one of his best portraits. 
 On the inside of the wings, in six compartments, is the 
 history of the finding of the Cross ; on the outside, 
 are Christ with the crown of thorns, and the Virgin : 
 there are besides two other wings, with the symbols of 
 the Evangelists. These wings, though certainly of great 
 merit, betray, in some respects, the hand of the younger 
 Cranach, who was accustomed to assist his father in his 
 later time, in the execution of important works. 
 
 7 A large altar-piece in the city church at Weimar * 
 represents, in the middle, the crucified Saviour, on one 
 side of whom stand John the Baptist, Cranach, and 
 Luther ; and on the other is the Ptedeemer, victorious 
 over death and the devil f . On the wings, are portraits 
 of the family of the Elector, Frederick the Magnanimous. 
 This picture is of the later time of the artist; like the 
 others it is excellent in parts, and distinguished for the 
 
 * H. Meyer, Ueber die Altar-Gemiilde, von Lucas Cranach, in 
 der Stadtkirche zu Weimar, 
 f [Compare Fortoul, de 1'Art en Allemagne, ii. p. 204 ED.]
 
 XXXI.] MASTERS OF THE SIXTEENTH CENTURY. 175 
 
 beauty of the portraits, among which, the likeness of 
 Luther is a master- work of the first rank. 
 
 Not to weary the reader with an enumeration of 8 
 similar works, we shall only mention a series, repre- 
 senting the Passion of Christ, in the Picture Gallery of 
 the Royal Palace at Berlin, in which the exaggerated 
 character, already mentioned in other artists of this 
 time, is again "visible : they belong to the years 1537 
 and 1 538. The Bearing the Cross is full of life ; and the 
 figures of the executioners and spectators have heads of 
 great force, admirably painted : this, and the Scourging 
 of our Lord, are the most remarkable pictures of the 
 series. The three scenes from the Passion of Christ 9 
 in the Berlin Museum, belong, as it appears, to the same 
 set. 
 
 In some smaller pictures of sacred subjects, the 
 graceful taste of Cranach is beautifully shown; but 
 sometimes, though more rarely, he exhibited that 
 tendency to exaggerated character which has been 
 already mentioned. Both elements are united in his 
 picture of the Woman accused of Adultery, in the 10 
 Chapel of St. Maurice, at Nuremberg * ; the expression of 
 
 * [This picture, in the Chapel of St. Maurice, Waagen (k. u. k. 
 in Deutschland, i. s. 188) says, is undoubtedly the work, not of the 
 elder, but the younger Cranach. The one mentioned afterwards 
 as belonging to the Schleissheim collection, is now No. 56 in the 
 Pinacothek. Fortoul (ii. 203) treats it as a copy by Fischer : it is 
 stated in the catalogue to have been enlarged by that artist. 
 
 It is worth while to mention, that in the Madrid Gallery there 
 are two curious hunting scenes, with portraits of the Elector 
 of Saxony and Charles V., attributed to the elder Cranach : the 
 numbers are 1006 and 1020. See Ford's Hand-book, p. 764. 
 -ED.]
 
 176 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 Christ is most mild and gentle ; that of the accusers, on 
 the contrary, rude and bestial. Repetitions of this 
 picture, with slight changes, occur in the galleries of 
 
 11 Schleissheim, the Esterhazy Palace at Vienna, and 
 elsewhere. 
 
 The subject of Christ Blessing the Children, which, 
 like the last, was often repeated by Cranach in different 
 
 12 forms, is far more attractive. One of the most beauti- 
 ful specimens is in the Church of St. Wenceslaus, at 
 Naumburg, which is perhaps unequalled by any other 
 production of the master, in the charms of innocence, 
 
 13 simple grace, and deep feeling*. A second is in St. 
 
 14 Anne's Church in Augsburg ; and a third in the possession 
 of the family of Holzhausen at Frankfort : in the last, 
 Luther and his wife are introduced as children. To 
 
 15 this class also belong several small pictures of holy 
 families; one very beautiful one, of the year 150-4, is 
 in the Sciarra Palace at Rome, and another is in the 
 possession of Herr Campe, at Nuremberg. 
 
 It has been already stated that the general fantastic 
 tendency of the time showed itself in Cranach, with 
 peculiar force and originality, and with all the romantic 
 
 16 colouring of poetic fable. A small picture of this kind in 
 the collection of the "Gothic House," in the Park atWor- 
 litz, particularly interested me : it is in the catalogue de- 
 signated, not very happily, as "The Knight at the Cross- 
 way." A knight in steel armour sits thoughtfully on a 
 stone ; before him are three maidens, naked, except that 
 coloured drapery is thrown round their hips; their 
 heads are adorned with hats, nets, and chains : between 
 
 * [Compare Fortoul, de 1'Art en Allemagne, ii. p. 10.3. ED.}
 
 XXXI.] MASTERS OF THE SIXTEENTH CENTURY. ] 77 
 
 them and the knight stands an old man in golden 
 armour, his helmet decked -with heaks and wings, his 
 legs bare from the knees downward, who looks upon 
 the knight with a strange diabolical . sneer. In the 
 back ground is a rocky mountain. I suspect that the 
 subject of this picture is taken from the old tradition of 
 the Tannenhaiiser, who was enticed into the mountain 
 of Venus *. 
 
 Another picture, rich in story, for which the Old 17 
 Testament furnishes the subject, is in the Public Gallery 
 at Augsburg. Delilah is seated in a beautiful garden, and 
 Samson, as 'a proud knight, with rich golden greaves, 
 and the jaw-bone of the ass in his hand, sleeps in her 
 lap ; she is cutting off his hair with a pair of bright 
 scissors: the Philistines, well armed, creep stealthily 
 through the wood; a rich and beautiful view opens 
 itself at the side f. A small picture in the gallery of the 18 
 Berlin Museum, which apparently represents Apollo 
 and Diana in a forest, is also very pleasing. Both 
 figures are naked ; Apollo, a bearded man with bow and 
 arrow, is, like the generality of Cranach's male figures 
 of the time, not remarkably good ; the figure of Diana, 
 on the contrary, who is seated in a graceful and easy 
 attitude, on the back of a stately stag, has a peculiar 
 charm. She is indeed the virgin queen of the forest, of 
 
 * [Compare Grimm, Mythologie,, 2te Ausg.ii. ss. 888, 1230, and 
 Deutsche Sagen, s. 246. The story bears a resemblance, in some 
 respects, to those of Thomas the Rhymer and young Tamlane in 
 Scotch tradition. ED.] 
 
 f This picture has suffered much. There is a good Ecce Homo 
 by Cranach in the same gallery, and one or two other inferior 
 works. See Waagen, k. u. k. in Deutschland, ii. a. 40 El).] 
 
 i 3
 
 178 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 whom the hunter, in the lonely mid-day hour, may 
 sometimes catch a glimpse in her secret haunts; a 
 fanciful reminiscence of a forgotten image suggested 
 Ly ancient fable. 
 
 19 Cranach was much disposed to represent figures of 
 this sort* ; his Venuses, in particular, are often to he met 
 with in galleries. In them, however, especially if the 
 figures are large and in attitudes of repose, he frequently 
 deserted his own peculiar style, and ventured on a field, 
 for the proper cultivation of which, the technical per- 
 fection of the Venetian masters, and their peculiar glow 
 of colour, were absolutely necessary. One of the best 
 
 20 of these pictures is that in the gallery of the Royal 
 Palace at Berlin : it is a naked Venus lying near a 
 fountain; the figure has much grace and beauty of 
 form, and is highly finished in the execution; the back- 
 ground is a rich landscape. 
 
 21 Finally, we may notice another composition of this 
 kind in the Berlin Museum, of a very peculiar character 
 the Fountain of Youth f. A large basin, surrounded 
 by steps and with a richly adorned fountain, forms the 
 centre. On one side, where the country is stony and bar- 
 
 * [ Waagen mentions a good specimen at Nuremberg (i. s. 215). 
 With regard to the Venetian tendencies of Cranach, Fortoul 
 appears to me to exaggerate the matter considerably, when he 
 fays (ii. p. 198), " L'un des caracteres les plus evidents de la 
 maniere de Cranach, est en effet d'ajouter au naturalisme et aux 
 fantaisies de Pecole allemande une certaine imitation des Venitiens, 
 et d'entrer par le colons dans les formes de la renaissance Italienne, 
 comme Albrecht Duerer y avail penetre par le dcssin." ED.] 
 
 t [No. 56, in the second division of the Berlin Gallery. ED.]
 
 XXXI.] MASTERS OF THE SIXTEENTH CENTURY. 179 
 
 horses, waggons, or carriages, and with much trouble 
 are got into the water. On the other side of the foun- 
 tain they appear as young maidens, splashing about and 
 amusing themselves with all kinds of playful mischief; 
 close by is a large pavilion, into which a herald courte- 
 ously invites them to enter, and where they are arrayed 
 in costly apparel. A feast is prepared in a smiling 
 meadow, which seems to be followed by a dance ; the 
 gay crowd loses itself in a neighbouring grove. The 
 men unfortunately have not become young, and retain 
 their gray beards. This picture is of the year 1546, 
 the seventy-fourth of Cranach's age. 
 
 As a portrait painter, he takes a high place, and is 22 
 distinguished by his simple and faithful adherence to 
 the forms of nature. Some of his best portraits have 
 been already mentioned in the description of the altar- 
 pieces; many are to be found as independent pictures 
 in various galleries. In the Uffizj of Florence there are 23 
 several of great merit. The most important collection, 24 
 however, is in the Berlin Museum; among them, the fine 
 portrait of Duke George of Saxony is very simple and 
 dignified, and its warm colouring is very good. Another 
 is singular in conception : it represents the Elector of 
 Mayence, Albert of Brandenburg, as St. Jerome in the 
 brilliant dress of a cardinal, studying in the solitude 
 of a forest, surrounded by all kinds of fine and noble 
 animals *. 
 
 [Very good portraits of Luther and the Elector Frederick 
 hang in the choir of St. Anne's Church at Augsburg. With re- 
 gard to these and to Cranach's portraits at Nuremberg, see Waagen, 
 k. u. k. in Deutschland, i. s. 215 ; ii. s. 66. The two pictures in the
 
 180 MASTERS OF THE SIXTEENTH CEXTUttY. [BOOK III. 
 
 25 Cranacli was celebrated in his time as an animal 
 painter also, and delineated beasts and birds with such 
 
 26 truth as often to deceive and produce amusement*. 
 He has left an excellent example in the drawings to 
 the Prayer Book in the Court Library at Munich ; 
 the first part of -which was ornamented with borders by 
 Durer (27,44), and the latter by Cranach. He amused 
 himself here, by sketching lightly, with his pen, groups 
 of animals of the most various kinds. There exist in- 
 
 27 numerable woodcuts, the composition of Cranach 's early 
 days, the subjects of which are mostly from sacred his- 
 tory or legends. He has also engraved on copper several 
 portraits of celebrated contemporaries of his own. 
 
 Of the important influence exercised by Cranach on 
 those around him, and of the many imitations which it 
 called forth, we have sufficient proof in the numerous 
 paintings in a similar style, scattered through the Saxon 
 states, and frequently mistaken for his. Yet few of Cra- 
 
 28 nach's scholars, properly so called, are known. The best 
 of them was his son, Liicas Cranach the younger, who, 
 like his father, in his later years filled the office of 
 Burgomaster of Wittenberg. He appears to have 
 formed his style both on that of his father and of 
 Albert Durer as is evident from the different pecu- 
 liarities hi his works, which remind us sometimes of 
 the one, and sometimes of the other. He has, however, 
 
 Berlin Gallery, mentioned in the text, are respectively numbers 
 113 and 69 of the second division. ED.] 
 
 * Lith. of Strixner: Des iiltern Lucas Mailer's, genanntC.ranach, 
 Handzeichnungen ; ein Nachtrag zu Albrecht Diirer's Christl. 
 myth. Handz. Miinchen, 1818.
 
 XXXI.] MASTERS OF THE SIXTEENTH CENTURY. 181 
 
 a soft grace and a sweetness peculiarly his own, which 
 are particularly seen in his glowing, but, at times, some 
 what too rosy colouring. He died in 1586, and he was 
 one of those who most steadily adhered to the true 
 style of ancient art; whilst his contemporaries, almost 
 in a body, began to yield to the influence of foreign 
 mannerism. 
 
 In the principal Church at Wittenberg*, are pre- 29 
 served several of this artist's pictures : Christ and the 
 two thieves 011 the Cross, with the family of the donor 
 kneeling at the foot, is an excellent work ; a Birth of 
 Christ, ; in which the rafters of the stable are covered 
 with a crowd of joyous little angels : the Conversion of 
 Saul is unimportant. One singular subject bears again 
 a distinct reference to the state of the Church in his 
 time : it is the Vineyard of the Lord, one half of 
 which is being destroyed by the assembled clergy of 
 the Romish Church, whilst the heroes of the Refor- 
 mation are employed in cultivating the other a com- 
 position, it must be owned, in which the simple poetic 
 feeling of the conception far surpasses the merit as a 
 painting. In the church of the neighbouring town of 33 
 Kemberg, the inner wings of the altar-piece are also 
 by the younger Cranach. One of his most pleasing 31 
 pictures (I, at least, have no hesitation in naming him 
 as the painter) is in the Cathedral of Merseburg, hang- 
 ing on a pillar of the nave ; it represents the Marriage of 
 St. Catherine, with single figures of saints on the side 
 wings. Several panels, by the same hand as the last 82 
 
 * Schadow, Wittenberg Denkmiiler der Bildnerei, Bankunst und 
 Malerei, s. 99, ff. ; T. 9-12.
 
 IS'2 MASTERS OF THE SIXTEENTH CENTURY. [ROOK III. 
 
 picture, are in the west choir of the Cathedral of Naum- 
 burg ; two of them (wing pictures) with the Annunciation 
 painted on the outside; and the figures of Christ 
 crowned with thorns, and of the Virgin, on the inside, 
 belong to an altar-shrine, which was formerly filled with 
 carved work. The others together formed another 
 altar-piece, of which the Conversion of Saul (with some 
 bold figures of horsemen) was the centre ; above it was 
 an excellent painting of two Angels with the holy 
 handkerchief ; on the pedestal were the heads of the 
 four fathers of the Church, and on the wings figures of 
 single saints. These panels are sadly injured, but as 
 yet untouched by later restorations. 
 
 33 In the Chapel of St. Maurice at Nuremberg, several 
 pictures, decidedly by the same hand, are marked with 
 the name of the younger Cranach. In some, the 
 fantastic- tendency of the earlier artists appears, par- 
 ticularly in the Fall of Man, in which Death and the 
 Devil, with savage and grotesque gestures, pursue Adam. 
 The same remark applies to a second picture of this 
 subject, which has, however, greater insipidity of cha- 
 racter, owing to the introduction of numerous alle- 
 
 34 gories. There are several excellent portraits by the 
 younger Cranach, of the year 1561, preserved in the 
 Library at Weimar. 
 
 C. THE SCHOOL OP HOLLAND. 
 
 XXXII. NEXT to the masters already mentioned, 
 we may, with reference to general similarity of style,
 
 XXXII.] MASTERS OF THE SIXTEENTH CENTURY, 183 
 
 place the contemporary Dutch' painters. The first is 1 
 Cornelius Engelbreclitsen, of Leyden (14681533). 
 His principal -work, one of the few \vhich have come 
 down to us, is in the Town House of Leyden*. It is an 
 altar-piece ; on the centre is the Crucifixion of Christ, 
 in an extensive landscape, with several accessory 
 figures ; in the side pictures, the Sacrifice of Abraham, 
 and the Worship of the Brazen Serpent, with a sym- 
 bolical reference to the atonement. On the pedestal is 
 a naked dead body, out of which a tree springs, (Christ 
 as the Tree of Life,) and beside it kneel the donors. 
 The colouring is dark and powerful, but neither bril- 
 liant nor pleasing; the forms hard and dry; the move- 
 ments violent and angular. It is only in the group of 
 women near the fainting Virgin, that there is any expres- 
 sion of softness and feeling, and this perhaps gains in 
 intensity by the harshness of the accompaniment which 
 it has to overcome. In the private collection of the 2 
 King of Holland, formerly at Brussels, there is a 
 David and Bathshebaf, by the same artist. 
 
 One of the scholars of Engelbrechtsen, Lucas of Ley- 3 
 den, (1494 1533,) is more celebrated than his master. 
 In general, and especially in all that regards external 
 manner, this artist may be best compared with A. 
 Diirer ; but we rarely meet, in his works, with the grand 
 
 Schnaase, Niederlandische Briefe, s. 66. 
 
 f [Compare Passavant, Kunstreise, s. 392. Rathgeber, Anna- 
 len der Niederliind. Kunst, a. 127. The Descent from the Cross, 
 ascribed to Engelbrechtsen, in the Chapel of St. Maurice at 
 Nuremberg, is said by Waagen to agree in no particular with the 
 authentic works of the master, such as that in the Town House at 
 Leyden. See k.u. k. in Deutschland, i. s. 173. ED.]
 
 184 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 features which distinguish the latter master. Lucas of 
 Leyden was led by his own inclination rather to the 
 treatment of scenes of common life, which he some- 
 times delineated with naivete and simplicity, and some- 
 times in a manner which inclines to buffoonery. The 
 imaginative tendency of the day assumed a whimsical 
 character in his hands, such as often to injure the dignity 
 and significance of his figures. Thus at least he appears 
 in his engravings, both of holy figures and of scenes of 
 ordinary life *. 
 
 4 Paintings by him are very rare f . One of the most 
 important, at least in size, though not a pleasing 
 specimen, is a Last Judgment I, in the Town House 
 at Leyden : it is, however, so disfigured by repainting, 
 
 ' that little except the composition can be considered 
 as the work of the master. The old arrangement is 
 adopted in this picture ; in the centre is the Judgment 
 itself, and on the wings, Heaven and Hell ; the com- 
 position is strikingly poor and scattered ; the expres- 
 
 [Schlegel (Werke, Wien. 1823, vi. s. 181) appears to think 
 that some connexion may be traced between L. v. Leyden and the 
 old Venetian masters. He describes two pictures then in the 
 collection of Herr Lyversberg at Cologne, as works of this master ; 
 one was the Crucifixion, with Sts. Agnes, Alexius, John the 
 Baptist, and Cecilia ; the other, Christ in the Clouds, with Thomas 
 putting his finger into his side. ED.] 
 
 t See Schnaase, as above, s. 62. 
 
 J [Compare Rathgeber, Annalen der Niederl. Kunst, s. 210, 
 who remarks, that in other countries the name of Lucas of Leyden 
 had become a sort of general term, under which all pictures of the 
 old Flemish or Dutch school, not otherwise appropriated, were 
 usually ranged. The Last Judgment, at Leyden, is authenticated 
 by Van Mander's mention of it. ED.]
 
 XXXII.] MASTERS OF THE SIXTEENTH CENTURY. 185 
 
 sion of heavenly joy singularly flat and -weak : in the 
 figures of those risen from the dead, there is little more 
 than a careful study of the naked. It is only in a few 
 instances, and those chiefly in the representation of 
 Hell, that the figures or heads have any striking expres- 
 sion. On the contrary, two figures of St. Peter and 
 St. Paul, on the outside of the wings, have great dig- 
 nity, hoth in attitude and drapery. A small and interest- 
 ing picture, a company of men and women at a card- 
 table, is in the possession of the Earl of Pembroke, at 
 Wilton House; the outline is spirited, but rather 
 sharp*. A beautiful and finely painted work, of the 5 
 year 1553, forms part of the Schleissheim Collection f. 
 The composition consists of the Virgin and Child, 
 with Mary Magdalene, and a man praying at their 6 
 side. Another picture in the same gallery consists of 
 three panels, in the centre of which is the Adoration of 
 the Kings ; and, on the wings, the Birth of Christ, and 
 the Flight into Egypt. The execution of this last 
 also is very neat, united with peculiar dignity, and the 
 tendency to the whimsical no longer prevails. The 
 side picture, of the Birth of Christ, is particularly 
 pleasing, on account of the beautiful effect of light 
 which proceeds from the Child. Of the many pictures 
 
 * [Waagen says of this picture, " Although the roughly-exe- 
 cuted name of the artist is of later date, this picture must be 
 classed among the very rare and genuine works of L. v. L. The 
 heads have much life and spirit : the finishing is admirable, but in 
 his peculiar style, with yellowish lights and brownish shadows. It 
 has, unfortunately, been somewhat injured by cleaning." England, 
 ii. s. 284. ED.] 
 
 f [No. 151 (Cabinets) Pinacothek. ED.]
 
 186 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 attributed to Lucas of Leyden a great proportion are 
 doubtful. This is the case with a large painting in 
 7 the former Boisseree Collection, a middle picture with 
 wings, which contains figures of seven saints*. These 
 figures have something far-fetched, affected, and gro- 
 tesque about them, which coincides, generally speak- 
 ing, with Lucas's style ; but in the execution of the 
 flesh, whichls indeed neat but very soft, we appear to 
 recognize the hand of another master f. 
 
 D. SCHOOL OF UPPER GERMANY. 
 
 1 XXXIII. A PECULIAR school, differing from the 
 general style of German art, was formed at Ulna about 
 the beginning of the sixteenth century. The fanciful 
 tendency is here less prominent and characteristic a 
 peculiar dignity and gentleness, bearing a close affinity 
 to the style of Martin Schon, and certainly in some de- 
 gree derived from that artist, forms the principal feature 
 of the school J. 
 
 [Numbers 38, 39, 40, (Cabinets,) Pinacothek ED.] 
 t [Waagen and Passavant both agree in attributing to H. Mem- 
 ling a picture whicb bears the name of L. v. Leyden, in the 
 Public Museum at Strasburg. It is a marriage of St. Catherine, 
 (No. 39,) and the gem of the gallery. See Waagen, k. u. k. in 
 Deutschland, ii. s. 356. ED.] 
 
 | [Waagen, in his recent volume, (s. 139,) says, that the branch 
 of the Swabian school which was established at Ulm from the 
 middle of the fifteenth century, acquired a more ideal character 
 than that settled at Augsburg. It was to the latter what the old 
 Florentine school was to that of Umbria. The family to which 
 M. Schon belonged resided at Ulm, but there were numerous other
 
 XXXIII.] MASTERS OF THE SIXTEENTH CENTURY. 187 
 
 One of its most interesting artists is Bartholomew 2 
 Zeitlloom *. His works are distinguished by a conscious 
 and, in some cases, a successful effort to conceive his 
 subject with dignity, and to express it with force; whilst 
 he adheres faithfully to nature in the imitation of his 
 model. His forms are certainly still awkward ; the arms 
 and legs meagre and stiff; but so much the more striking 
 is the beauty of the heads, with their expression of mild 
 serenity and repose. His colouring too is brilliant and 
 powerful ; the carnations, with all his softness of expres- 
 sion, are firm and vigorous in tone. A great number of 3 
 excellent paintings, by this master, are in the collection 
 of the works of the Upper German School, in the pos- 
 session of Herr Abel, at Stuttgart, Such are, for instance, 
 four very expressive heads of the Latin Fathers, from 
 the Parish Church at Eschach, near Gaildorf; an 
 Annunciation, and St. Anne, as large as life, from the 
 same place ; and the powerful picture of St. George 
 and St. Florian, from the Church of Kilchberg, near 
 Tubingen f. Several others are in the collection of the 4 
 
 masters, by some of whom Waagen supposes the pictures at Nu- 
 remberg attributed to M. Schon, to have been executed. Some 
 of the names which occur are, Acker, Scltiihlein, and Knechtelmann ,- 
 but the most distinguished artist was B. Zeitbloom, mentioned in 
 the text. He was probably a pupil of Frederick Hcrlin the elder. 
 _D.] 
 
 * [Compare Fortoul, 1' Art-en Allemagne, ii. p. 191 ; and see 
 Barthol. Zeitbloom und seine Altarbilder, fol, Stettin, 5 plates. 
 ED.] 
 
 t For these details the author is indebted to his friend, C. Grii- 
 neisen, of Stuttgart. [The reader will find more details respecting 
 these pictures of Herr Abel's in Waagen, k. u. k. in Deutschland, 
 ii. s. 209. In the Public Gallery at Augsburg, there is a series of
 
 188 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 Canon von Hirscher, at Freiburg ; among which, a Head 
 of St. Anne is highly distinguished for its technical ex- 
 
 5 cellence, and its grace and dignity of expression. Others 
 also are dispersed about in various parts of Suabia, as 
 in the old Church on the Heerberg, near Sulzbach ; in 
 the neighbourhood of Gaildorf ; at Hundsholz, near the 
 
 G Monastery of Adelsberg; and elsewhere. In the chapel 
 
 7 of St. Maurice, at Nuremberg, is a St. Ursula, ascribed 
 to Zeitb'loom ; a simple and beautiful form of statue-like 
 dignity * : the countenance expresses fervent piety, 
 with something noble in its air. Various works which 
 give evidence of Zeitbloom's extensive influence must 
 
 8 be considered as the productions of his school ; such are 
 those of the high altar in the church of the former Con- 
 vent of Blaubeuren, which contain scenes from the life 
 of Christ and St. John the Baptist: the expression 
 in the heads is excellent, and the colouring fresh and 
 powerful. They are still very antiquated, it is true, 
 in the drawing of the figures ; but even this is meagre 
 rather than stiff. On the front of the gable of the 
 same church, is painted a colossal figure of John the 
 
 scenes from the life of St. Ulrich, painted by Zeitbloom, as well as 
 other works. The altar-piece of his in the small church about 
 a German mile from Gaildorf, which is mentioned afterwards in 
 the text, is described at length by Waagen. Compare Deutsch- 
 land,ii. ss. 34, 168,250. ED.] 
 
 * [See Waagen, k. u. k. in Deutschland, i. 185-189. There 
 are two of these pictures in the Chapel of St. Maurice : one, a 
 St. Margaret, badly retouched ; the other, and the better of the 
 two, the St. Ursula mentioned in the text. They are on a geld 
 ground. Two pictures ascribed to the master, are in the Pinaco- 
 thek at Munich. Numbers 122, 126 (Cabinets). ED.]
 
 XXXIV.] MASTERS OF THE SIXTEENTH CENTURY. 189 
 
 Baptist, extremely grand in effect. Other paintings of 9 
 the Ulm school may be seen in the Church at Murr- 
 hardt (figures of saints) and in that of St. Urban, at Hall. 
 
 XXXIV. The best artist of this school is Martin I 
 Scliaffiier, who flourished about the twentieth year of 
 the sixteenth century*. The greater number of his works 
 are in the Schleissheiin Gallery, of which four, taken 
 from the Bishopric of Wettenhausen, deserve especial 
 notice. These are the Annunciation, the Presentation 2 
 in the Temple (of the year 1524 j), the Outpouring of 
 the Holy Spirit, and the Death of the Virgin. From 
 these works we should be led to believe that Schaffner 
 was a gentle and amiable man, full of deep feeling, and 
 endowed with a strong sense of what was delicate and 
 noble in form ; more especially as regards the drawing 
 of the heads. His colour only is defective, particularly 
 in the flesh; it has a peculiarly clear grayish tone, 
 without however being cold. The last of the pictures 
 just referred to is remarkably good the sinking form 
 
 * [Between 1500 and 1539. Compare Waagen, Deutschland, ii. 
 s. 141, who considers Schaffner as having formed himself on the 
 style of Burgkmair, with the addition of a certain Italian character. 
 His pictures in the Gallery at Augsburg, and in the Cathedral of 
 Ulm, are noticed by Waagen, ss. 36, 151, 156-7 ED.] 
 
 f Numbers 7, 18, 25, and 36, Pinacothek. Waagen describes 
 a work of Schaffner's in the Chapel of St. Maurice (Deutsch- 
 land, i. s. 183; compare s. 299). He also mentions a master 
 whose works he saw, for the first time, in that collection Cramer, 
 of Ulm. He appears to have been an earlier painter than Schaff- 
 ner, but a member of the same school: his drawing is more 
 clumsy, and his execution more antique and more mechanical, than 
 that of Schaffner. Deutschland, i. s. 179. ED.]
 
 100 MASTERS OF THE SIXTEENTH CENTURT. [BOOK III. 
 
 of the Virgin, who kneels in prayer with the Apostles, 
 (a peculiar and touching mode of conceiving the 
 subject,) and the different degrees of sympathy in the 
 countenances of the latter, are very happily expressed. 
 
 3 Another series from the Passion of Christ, in the same 
 gallery, is treated more in the style of genre. Over the 
 
 4 principal altar of the Minster of Ulm, is another im- 
 portant work hy Schaffner, of the year 1521. The 
 centre consists of a carving in wood, representing the 
 Holy Family; the wings are painted by Schaffner; 
 on the inside are family groups of the kindred of the 
 Virgin, and on the outside different saints. The forms 
 are somewhat round, and remind us of Italian art ; the 
 heads are soft in expression : the cast of the drapery is 
 still occasionally angular, but grand in form, and in 
 
 5 long masses. A very excellent female portrait, un- 
 doubtedly by Martin Schaffner, together with other 
 works of the older German schools, is in the possession 
 of Count Leutrum, at Stuttgart. 
 
 1 XXXV. After these artists must be placed one of 
 the most important masters in the whole range of Ger- 
 man art, Hans Holbein the younger*, (1498 1554,) a 
 
 * Ulrich Hegner, Hans Holbein der jiingere, Berlin, 1827. 
 C. Freiherr v. Ruraohr, H. Hn. der jiingere, in seinem Verhalt- 
 niss zura deutschen Formschnittwesen, Leipzig, 1836. On the 
 other side, Gotzman, in the Tubinger Kunstblatt. 1836. No. 30- 
 32 ; and again, C. Freiherr v. Rumohr : auf Veranlassung und in 
 Erwiederung von EinwUrfen eines Sachkundigen gegen die 
 Schrift H. Holbein der jungere, &c. Leipzig, 1836. Chretien 
 de Mechel ceuvre de Jean Holbein, ou recueil de gravures d'apres 
 ses plus beaux ouvrages. Basle, 1780.
 
 XXXV.] MASTERS OF THE SIXTEENTH CENTURY. 191 
 
 son of the artist of the same name already noticed. 
 s He was horn at Augshurg, and spent the earlier part of 
 his life at Basle, where he appears to have soon im- 
 bibed the soft and life-like conception of nature peculiar 
 to the artists of South-western Germany, and to have 
 thus formed his own style. Poverty at home, and the 
 hope of better prospects abroad, induced him in the 
 year 1526 to visit England; there he met with an 
 honourable reception at the court of Henry VIII., and 
 was soon intrusted with various commissions by him, 
 as well as by the nobles of his court. He remained in 
 England till his death, which was caused by the plague, 
 and only paid occasional and short visits to his native 
 country *. 
 
 Holbein is particularly distinguished as a portrait 2 
 painter: his numerous likenesses possess a close, simple, 
 and perfect adherence to nature ; his figures preserve a 
 fine dignified repose, and although, in careful attention 
 to detail, they may be placed on a level with similar 
 works of his German contemporaries, they must be 
 allowed to surpass them considerably in power, warmth, 
 and intensity of colour, as well as in the beautiful 
 fulness of their forms. 
 
 Works of this kind, some of them of the highest merit, 
 are to be found in all great galleries ; the richest selection 
 
 * [Where he was buried is not known. It is asserted that 
 Thomas, Earl of Arundel, in the time of Charles I., endeavoured 
 to find out the place, but could not succeed. See the conjectures 
 on this point, and on the house in which he died, in Walpole's 
 Anecdotes, (Dallaway,) i. p. 126. It is probable that the removal 
 of the family of Holbein from Augsburg to Basle took place about 
 1517; see Waagen, Deutschland, ii. s. 259 ED.]
 
 192 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 3 is in England. Besides many others, the portraits in 
 
 4 Windsor Castle, and at Longford Castle, near Salisbury, 
 
 5 are particularly distinguished. As a large composition, 
 the picture by Holbein in the Barbers' Hall in London 
 is interesting : it represents Henry VIII. seated on a 
 throne, presenting to the Company of Barber Surgeons 
 
 G their new charter ; fifteen persons kneel on the right 
 hand, and three on the left. The heads are excellent, 
 but it is unfortunately somewhat injured. There is 
 another picture of the same kind in the hospital of 
 Bridewell, in London*. 
 
 Among the pictures in German galleries, the best 
 and most beautiful is one in the Dresden Gallery ; the 
 Virgin, as Queen of Heaven, is standing in a niche, with 
 
 * [Dallavvay, in his notes to Walpole's Anecdotes (i. 136), lias 
 given a catalogue of the supposed works of Holbein now remain- 
 ing in England. Besides his pictures, we possess the royal col- 
 lection of his drawings; fac-similes of which were engraved, 
 mostly by Bartolozzi, and published with biographies, by Lodge. 
 Sse note, Walpole Anecdotes, i. 145. 
 
 With reference to the two portraits in Longford Castle, see 
 Waagen, England, ii. s. 263, 4. For the pictures in the Barbers' 
 Hall and in Bridewell, ibid. ii. s. 197, 8, and Walpole Anecdotes, 
 i. p. 151. How the former of these two pictures has suffered, may 
 be inferred from Pepys's account of it, even in 1668: he says, 
 " After dinner he and I to Chyrurgeons' Hall, where they are build- 
 ing it new, very fine ; and there to see their theatre, which stood 
 all the fire, and (which was our business) their great picture of 
 Holbein's, thinking to have bought it by the help of Mr. Pierce for 
 a little money : I did think to give 2007. for it, it being said to be 
 worth 1,000/. ; but it is so spoiled that I have no mind to it, and is 
 not a pleasant though a good picture. (Pepys's Diary, iv. p. 160.) 
 For those in the Royal Galleries, see Mrs. Jameson's Public Gal- 
 leries. ED.]
 
 XXXV.] MASTERS OF THE SIXTEENTH CENTURY. 193 
 
 the Child in her arms, and at her side kneel the family 7 
 of the Burgomaster, Jacob Meyer, of Basle. With the 
 utmost life, and a truth to nature "which brings these 
 kneeling figures actually into our presence *, there is 
 combined, in a most exquisite degree, an expression of 
 great earnestness, as if the mind were fixed on some 
 
 * [Frederick Schlegel's observations on Holbein's works in gene- 
 ral, and on this Dresden picture in particular, are worth quoting. 
 With regard to his portraits, he says very justly, that Holbein pro- 
 ceeds on principles essentially different from those of Titian : 
 
 " He aims not only at producing an impression such as charms 
 our senses, and at attaining an effect in itself strikingly great 
 and forcible, but he endeavours to give the truest and most pro- 
 found representation of character, joined with the most perfect 
 objective truth. Hence it is, that the position which he chooses is 
 generally quite straight and simple, and the background only a dark 
 green uniform surface; whilst all the details of the dress are exe- 
 cuted with the greatest diligence and exactness." Werke, \Vien. 
 1823, vi. s. 43. 
 
 Of the Dresden Madonna, Schlegel says, that there is no picture 
 by Holbein, at Basle, to compare with it (s. 285). According to 
 him, " in it humility and holiness are so beautifully combined, 
 that I think it corresponds better with the ideal of the Divine Mother 
 than even the Madonna of Raphael in the same collection. This last 
 is, indeed, godlike in look and form, but the Divine character is of 
 too general a nature, so that she might pass for a Juno or a Diana, 
 and perhaps the idea of these two ancient goddesses, and of both of 
 them combined, may have presented itself to the mind of the 
 artist (vi. s. 54)." 
 
 This praise of Holbein's great work, and its distinctive excellence 
 as compared with the master-piece of Raphael himself, is scarcely 
 exaggerated. There is a homely German feeling, in the former, 
 which has been, in this instance, combined with the most exquisite 
 beauty. The very ugliness of the burgomaster and his family 
 heightens the contrast, and is itself softened and elevated by the 
 earnest piety and deep feeling expressed in their countenances. 
 ED.] 
 
 VOL. II. K
 
 194 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 lofty object ; this is shown not merely by the introduc- 
 tion of divine beings into the circle of human sympa- 
 thies, but particularly in the relation so skilfully indi- 
 cated between the Holy Virgin and her worshippers, 
 and in her manifest desire to communicate to those 
 who are around her, the sacred peace and tranquillity 
 expressed in her own countenance and attitude, and 
 implied in the infantine gestures of the Saviour. In 
 this direct union of the divine with the human, and in 
 their reciprocal harmony, there is involved a devout 
 and earnest purity of feeling, such as the arts among 
 
 8 our fathers only were capable of representing. In the 
 galleries of Berlin and Vienna*, and particulai'ly in the 
 Uffizj at Florence, there are many excellent portraits 
 
 9 from the hand of Holbein. In the public Libraiy at 
 Basle, there are several portraits of his earlier time, 
 amo7ig which, one of a female, with the inscription 
 " Lais Corinthiaca" is especially remarkable. 
 
 Few historical paintings of sacred subjects by Holbein 
 
 10 are in existence; one example is an altar-piece in the 
 Cathedral at Freiburg, in the Breisgau, of which the 
 subjects are the Birth of Christ and the Adoration of 
 the Kings, with numerous figures, and with the portraits 
 
 11 of the donors. In the library at Basle, painted on eight 
 
 * [I do not believe, with Fortoul,(l'Arten Allemagne, p. ii. 195,) 
 and some others, that the portrait in the Dresden Gallery, usually 
 called Ludovico Sforza, and attributed to Leonardo, is really Hol- 
 bein's. These persons consider it as the portrait of Mr. Morritt, an 
 English jeweller ; mainly, if I do not mistake, on the ground of 
 its resemblance to an old print. In the Berlin Gallery are the 
 portraits of George Frundsberg and of the merchant, George 
 Gysi (Nos. 73, 75, 2nd div.). ED.]
 
 XXXV.] MASTERS OF THE SIXTEENTH CENTUBY. 195 
 
 connected pannels of small size, is a series of the Pas- 
 sion of Christ; the separate scenes are extremely rich in 
 composition, and are executed with great life and the 
 most careful finish. In the same gallery are ten 12 
 washed drawings, by Holbein, of the same subject, and 
 of equal merit. * 
 
 From Holbein's decided tendency to a pure and 13 
 objective conception of nature, and from the repose and 
 regulated tone of his compositions, we should have 
 expected to trace in him, less than in others, any con- 
 siderable influence of the fantastic principle of the 
 time. Yet he is one of those persons who have seized 
 this principle in its deepest meaning, and carried it 
 out with the most forcible poetic feeling. I allude par- 
 ticularly to the woodcuts of his celebrated Dance of 
 Death. Even in this work, however, the enigmatical, 
 the visionary, and the marvellous, into which the un- 
 bridled fancy is so easily seduced, are kept in subor- 
 dination to a higher aim. But this aim, it must be 
 acknowledged, tends not to the elevation and ennobling 
 of what is earthly, nor to the exemplification of those 
 universal laws of beauty, which are as it were the found- 
 ation of all the changing forms of life ; on the con- 
 trary, it seizes only what is external and imperfect 
 the misapplication and perversion of earthly good 
 
 * [ On the numerous pictures and drawings in the public Library 
 at Basle, see Waagen, Deutschland, ii. s. 268 284. Among 
 them are the portraits of Jacob Meyer and his wife, for whom the 
 Dresden picture was painted. In the same collection are two por- 
 traits by Ambrose Holbein, the elder brother of Hans Holbein the 
 younger ED.] 
 
 K 2
 
 196 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 and presents them to us in all their worthlessness and 
 vanity. Death is not here the gentle genius with in- 
 verted torch, who steals softly upon mortal man ; he 
 is a fantastic skeleton a grotesque goblin who inter- 
 rupts all joy and pleasure, and everywhere cuts down the 
 flowers of life at their very roots. On the other hand, 
 however, nothing hut the most profound conception of 
 the real character of human life could have produced 
 the daring humour or the cutting irony which pen-ad es 
 this composition, and only the most intimate acquaint- 
 ance with all the various relations of this world, could 
 give to the hony form, that expression of hitter mockery, 
 with which he apes the gestures of the proud and mighty, 
 that devilish power with which he falls upon them, sunk 
 in their pleasures, or that humorous good fellowship 
 with which he takes to himself the poor and needy. 
 Frequently hefore Holbein, throughout the whole of the 
 fifteenth century, and even earlier, the Dance of Death 
 was a favourite subject in German art, derived indeed 
 from the general prevalence of a fantastic element; 
 but what appears in these earlier works as the expres- 
 sion merely of an obscure and almost unconscious 
 instinct, has been worked out by Holbein with the full- 
 est insight into his subject, and with the highest powers 
 14 of art. These woodcuts, a series of about forty prints, 
 form an independent work, of which the first edition 
 appeared in 1538 #; numerous later editions and imi- 
 
 * [On the Dance of Death, compare the editor's note in Dal- 
 laway's edition of Walpole, i. p. 132, and the authorities there 
 referred to. See also Waagen, Deutschland, ii. s. 294. With 
 reference to the Dances of Death formerly on the walls of the
 
 XXXV.] MASTERS OF THE SIXTEENTH CENTURY. 197 
 
 tations attest the continued estimation in which they 
 were held. With them we may mention several other 15 
 woodcuts by Holbein, such as a small Alphabet with 
 representations from the Dance of Death, and two 16 
 prints, on which are executed two dagger sheaths 
 embellished with similar figures. There are also 17 
 several of his woodcuts existing, of which the subjects 
 are scenes from the Bible history. 
 
 Amongst the followers of Holbein, properly so called, 
 this fanciful principle was no further developed ; their 
 chief merit consists in portraits, many of which, like 
 those of their master, are excellent. The most important 
 of these artists are Hans Aspcr and Christopher Amber- 18 
 <jer. Two good portraits by this latter master are in the 19 
 Berlin Museum*, and several historical works in the 
 Chapel of St. Maurice, at Nuremberg, in the gallery of 20 
 Munich, and in St. Anne's Church at Augsburg ; in all 21 
 of which the prevailing feature is a soft and somewhat 
 feeble tone of sentiment. 
 
 Besides Holbein's Dance of Death, a second rep re- 22 
 sentation of the same subject was executed by his con- 
 Dominican cloisters at Basle, and of another convent in the neigh- 
 bourhood, compare Waagen, Deutschland, ii. s. 258 ED.] 
 
 * [One of these portraits, in the Berlin Gallery, is a very good 
 one of Charles V. Waagen treats the Martyrdom of St. Sebas- 
 tian, in the Chapel of St. Maurice, at Nuremberg, as totally un- 
 like the works of Amberger, and attributes it to some master of 
 the school of the Lower Rhine, Deutschland, i. s. 192. There 
 was a good portrait by Amberger in the private collection of the 
 King of Holland, when at Brussels. In the sacristy of the choir 
 of the Cathedral of Augsburg is a large picture by Amberger, 
 with the date 1554 ; that in the church of St. Anne was painted in 
 1560. Compare Waagen, Deutschland, ii. ss. 62, 67. ED.]
 
 ] 98 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 temporary, Nicolas Manuel*, (surnamed the German. 
 1484-1530,) of Berne ; it was painted on a wall, after- 
 wards demolished, in the Dominican Monastery of 
 Berne, but exists in accurate copies, and is well 
 known by lithographic outlines f. In it also there 
 are many points which show peculiar cleverness. 
 Manuel was an able and influential adherent of the 
 Keformation ; he ridiculed the abuses of the Catholic 
 23 Church in several extremely witty farces, and left also 
 some masterly drawings of a similar import. Of these 
 one only need be noticed, (in the possession of Herr 
 Grlineisen of Stuttgart,) which represents the Kesurrec- 
 tion of Christ : the guardians of the sepulchre, are 
 however not Eoman soldiers, but priests and monks, 
 who sit round about it with their concubines, and, scared 
 by the appearance of the Saviour, are running away 
 with all speed.]; 
 
 * S. Scheurcr: Leben Niklaus Manuals, Fanners der Stadt 
 Bern. Bern, 1742. A comprehensive work by C. GrUneisen on 
 the subject of Manuel, and which will be important for the history 
 of all German, but especially of Upper- German art, is in the press 
 (published by Cotta, 1&37, 8vo). 
 
 t Niklaus Manuel's Todtentanz lith. nach W. Stettler's Copien. 
 Bern, R. Haag and Co. 
 
 \ [There are three pictures by Manuel in the library at Basle. 
 Waagen doubts whether the two wings with saints in the library at 
 Colmar, attributed by Griineisen to this master are good enough 
 for him, though in his style. Compare Deutschland, ii. s. 283, 
 317. ED.]
 
 XXXVI.] MASTERS OF THE SIXTEENTH CENTURY. 199 
 
 E. MASTERS OF THE NETHERLANDS AND THEIR 
 FOLLOWERS. 
 
 XXXVI. IT is now necessary to cast a glance i 
 at the state of art in the Low Countries, from the 
 beginning to the middle of the sixteenth century. 
 The echo of the lofty tones struck by Hubert and John 
 van Eyck had gradually died away, drowned in the 
 tumult of the century ; whilst the child-like feeling of 
 love with which all natural objects were reflected in 
 their works and those of their immediate followers, no 
 longer satisfied the more aspiring spirit of the day. 
 The desire now arose to separate man from the objects 
 immediately around him, to bring out individual cha- 
 racter more prominently, and to develop, in all its living 
 harmony, the beauty of the human form and its organ- 
 ization. . The artists of this new school do not, like the 
 former ones, belong to Flanders, but for the most part to 
 Brabant. At their head stands Quintin Messys, of Ant- 2 
 werp, who died in 1529. Little is known of his history, ex- 
 cept that in early life he was a blacksmith, and learned the 
 art of painting, as it is said, without a teacher, in order 
 to render himself worthy of the hand of his mistress. 
 His most important work is an altar-piece*, formerly in 3 
 the Cathedral f, but now in the Academy of Antwerp, 
 
 * Schnaase, Niederlandische Briefe, s. 234. Hotho. Vorstu- 
 dien fur Leben und Kunst, s. 239, ff. 
 
 f [Compare Sir Joshua Reynolds's journey in Flanders, Work, 
 v. it p. 288, who says, " there are heads in this picture not ex- 
 ceeded by Raphael, and indeed not unlike his manner of painting
 
 200 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 which he undertook in the year 1508. The centime 
 represents the Body of Christ after the descent from 
 the Cross, mourned over by his friends and the holy 
 women : the Virgin, sunk in the deepest grief, is sup- 
 ported by John ; two venerable old men, Joseph of 
 Arimathea and Nicodemus, sustain the head and the 
 upper part of the body, whilst the holy women anoint the 
 wounds of the Saviour. The figures are nearly the 
 size of life, and so arranged that each appears distinct 
 and significant. On the right wing, the head of John 
 the Baptist is placed on the table of Herod, whilst 
 musicians absurd and disagreeable figures play on an 
 elevated platform. On the left wing is John the 
 Evangelist in the cauldron of boiling oil, and the execu- 
 tioners, who, with brutal jests, stir up the fire whilst the 
 spectators are disputing. This picture is highly finished 
 in execution, full of reality, and profound in the de- 
 velopment of individual character. In the mourning 
 figures of the centre division, a fine pathetic feeling is 
 expressed in all its various degrees. In these qualities 
 it might stand by the side of the works of Leonardo da 
 Vinci, if it also possessed the repose and the beauty 
 of form which characterize this master, and were 
 it not that something abrupt and violent betrays a 
 struggle on the part of the artist to master his 
 materials. 
 
 portraits : hard and minutely finished. The head of Herod, and 
 that of a fat man, near the Christ, are excellent. " Passavant ( Kunst- 
 reise, s. 383) compares it, in some respects, to the works of 
 Leonardo, and I remember thinking the comparison a just one. 
 ED]
 
 XXXVI.] MASTERS OF THE SIXTEENTH CENTURY. 201 
 
 In other pictures, whose subject excludes the pathetic, 
 Quintin's style is softer, and exhibits a peculiarly cheer- 
 ful and fresh conception of life. This is perceptible in 4 
 an altar-piece in the private collection of the King of 
 Holland, fonnerly at Brussels *. The Virgin, with the 
 Child in her arms, stands as Queen of Heaven on a 
 crescent moon, surrounded by angels ; below are seven 
 figures of mystical meaning, partly from the Old Tes- 
 tament, partly from legends. Similar to this, is an 5 
 altar-piece in St. Peter's, at Louvaiu, (in a side chapel 
 of the Choir,) which represents the Virgin with the 
 Child, and the holy personages of her family ; on the 
 side wings are scenes from the life of her parents. 
 There is another in the Berlin Museum, in which the G 
 Virgin is seated on a throne, kissing the infant Christ. 
 In front, on a small table, are articles of food, well 
 painted. This already indicates a palpable reference to 
 earthly wants, which, like the more animated move- 
 ment of the whole picture, would have been foreign 
 from the feelings of the older masters ; but the work- 
 manship of the throne, particularly the agate pillars, 
 and their embossed capitals of gold, are executed en- 
 tirely in the serious style of earlier art. 
 
 In Windsor Castle, there is a picture of Quintin's 7 
 called the TW T O Misers f, the strength and excellence of 
 
 * [This picture came from the Church of St. Donatus, at 
 Bruges : compare Passavant, Kunstrcise, s. 391. ED.] 
 
 ( [Waagen (k.u. k. in England, i. s. 177) expresses himself dis- 
 appointed with the picture at Windsor, and seems to doubt its ori- 
 ginality. Compare Mrs. Jameson's Public Galleries. Windsor, 
 No. 67. There was (?) at Corsham House a picture by Quintia 
 
 K3
 
 202 MASTERS OF THE SIXTEENTH CENTURY. [BOOK TIT. 
 
 which lie essentially in the effort at character in the con- 
 ception of his subject. Two men sit at a table; one, 
 who counts his gold and notes down the sum in his ac- 
 count-hook, appears to be a merchant ; the other, who 
 familiarly lays his hand on his shoulder, and looks with 
 malicious pleasure towards the spectator, seems to have 
 just succeeded in outwitting him. The whole picture, 
 particularly the heads and the furniture of the counting- 
 house, is painted with a masterly hand, and forms a 
 remarkable example of the transition from sacred to 
 worldly subjects. There are several repetitious and 
 copies of this picture in existence, besides free imita- 
 tions by later artists with slight changes, such as the 
 introduction of female figures. 
 
 8 No school of any note appears to have been formed 
 around Quintin Messys. Only his son, John Messys, 
 is known as his scholar, and his pictures, from their 
 disagreeable colouring and common style of conception, 
 
 9 have little to interest us. Two of them in the private 
 collection of the King of Holland, formerly at Brussels, 
 (an Ecce Homo and a Christ Bearing the Cross,) may 
 serve as examples *. 
 
 * XXXVII. Contemporary with Quintin Messys, 
 and up to the middle of the sixteenth century, we meet 
 
 Messys, which Waagen places on the same level as that at Lom'ain. 
 England, ii. s. 305 ED.] 
 
 * [Passavant (Kunstreise, s. 392) does not praise these pictures. 
 There is at Keddleston Hall, in Derbyshire (Lord Scarsdale's), a 
 picture attributed to Quintin Messys, which Waagen assigns to the 
 son, John Messys. (K. u. k. in England, ii. s. 475). ED.]
 
 XXXVII.] MASTERS OF THE SIXTEENTH CENTURY. 203 
 
 with many artists of the Netherlands, who sought to 
 supply the deficiencies of the older school in another 
 manner. The fame of the great Italian masters had 
 reached even to the North ; the greater purity of their 
 forms had opened a new field to the sense of beauty ; 
 and with the recent experience gained from their 
 studies in Italy, the artists of the Low Countries might 
 hope to obtain more satisfactory results. The feeling 
 of the old compositions was retained, without their 
 hardness and inaccuracy ; the forms were more full and 
 more correct; the groups better disposed and more 
 pleasing ; and thus, certainly, pictures were produced 
 agreeable in many ways to the eye. But with the 
 naivete of the old works disappeared their deep and 
 mysterious interest, whilst, at the same time, these 
 artists were not so wholly emancipated from their 
 influence, nor endowed with such power of their own, 
 as to fathom the deep source from which had sprung 
 the more perfect style of Italy. Hence it arises, that 
 in the greater number of these works of the Low 
 Countries, despite of much external excellence, there 
 is a poverty of sentiment, very different from the grand 
 force of Quintin Messys ; and it is only in individual 
 examples, particularly among the earlier masters, that 
 this defect was supplied by strong and serious feeling. 
 The best artists of the period in question are the fol- 
 lowing : 
 
 Bernard ran Orley. In the Museum of Brussels is a 2 
 beautiful picture of his early days *, when he still fol- 
 
 * [Compare Passavant, Kunstreise, s. 395, and Sir Joshua 
 Reyuolds's Tour, Works, ii. p. 359, who saw this picture in the
 
 204 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 lowed the style of Iris native country, and obeyed the 
 impulse of his own feelings. The subject is the Body 
 of the Saviour wept over by his Friends and by the 
 Women. A profound expression of sorrow and sympathy 
 prevails in this work, and the heads are gracefully 
 drawn. A great number of portraits are introduced on 
 
 3 the wing pictures. A very similar picture, without 
 wings, is in the Stiidel Institution at Frankfort, and 
 
 4 is there attributed to Gian Bellini. A picture in the 
 former Boisseree Collection represents St. Norbert 
 refuting the religious opinions of the heretic Tanchlin * ; 
 it contains very fine heads and rich Italian architecture. 
 
 5 There is an extremely well-executed female portrait, 
 in the manner of Andrea del Sartof, in the private 
 
 6 collection of the King of Holland, formerly at Brus- 
 sels ; and a picture of the artist's later time in St. 
 Jacob, at Antwerp, representing the Last Judgment, 
 with saints and the family of the donor on the wings. 
 In the naked figures of those risen from the dead, 
 which occupy the chief part of the centre picture, it is 
 evident that the aim of the artist was to display the 
 
 Church of St. Gudule, at Brussels, and says of it, " it has great 
 nature, but is hard, as the whole picture is in a dry, Gothic style." 
 En.] 
 
 * [No. 59 (Cabinets.) Pinacothek. Tanchlin, or Tanquelin, 
 was a wild enthusiast, who preached in the Netherlands between 
 1115 and 1124, in which latter year he was killed. His opinions 
 and actions, like those of many heretics, are mostly known by the 
 reports of his enemies. ED.] 
 
 + [This portrait shows what B. v. Orley might have been, or 
 rather might have continued to be : the woman holds a cat in her 
 arms. ED.]
 
 XXXVII.] MASTERS OF THE SIXTEENTH CENTURY. 205 
 
 utmost variety of beautiful forms. Many other pictures 7 
 by van Orley are dispersed in different galleries ; some 
 good ones are in the Belvidere of Vienna. 
 
 John Mabuse, (or Maubeuge, properly Gossaert.) 8 
 There are excellent pictures of his early time*. A 
 Descent from the Cross, -with single saints on the 
 wings, of the year 1521, is in the possession of Mr. 
 
 [He was born between 149G and 1500, and died, according to 
 Waageri (k. u. k. in Deutschland, i. s. 177) in 1532; according 
 to Fiorillo, in 1562: compare the note to Walpole, i. p. 87. 
 Maubeuge is a town in Hainault. It appears from a passage in 
 van Mandcr, quoted by Rathgeber, s. 136, n. 13, that Paul v. 
 Aelst, the son of Peter Koeck, painted excellent copies from the 
 works of Mabuse : it is very probable that many of these now pass 
 for originals. 
 
 Fiorillo (Gen. d. zeichn, K. in Deutschland, ii. s. 442) de- 
 nies that Mabuse was ever in England : compare Walpole's 
 Anecdotes, i. p. 91 . It is clear that many of his pictures remain in 
 this country. His Adam and Eve, and the portraits of the children 
 of Henry VII., are at Hampton Court : see Mrs. Jameson's Public 
 Galleries, H. C. Nos. 305, 487. These came from the collection 
 of Charles I. There are repetitions of the portraits at Wilton, 
 and at Corsham : compare Waagen, k. u. k. in England, i. s. 
 387 ; ii. 284, 31 1. Walpole's Anecdotes, i. p. 91, with Dallaway's 
 note. 
 
 The Descent from the Cross, belonging to Mr. Solly, came 
 ft-om the Church of St. Donatus, at Brussels, (see Passavant, 
 Kunstreise, s. 350). Sir Thomas Baring possesses a Virgin and 
 Child, with Angels, which Waagen admires much, (k. u. k. in 
 England, ii. s. 254,) and he attributes to this same master the 
 picture usually called a van Eyck, at Corsham, (ibid, s.302). 
 That of the mother of Henry VIII., in the same collection, he 
 rakes for a faded picture by Holbein, (s. 304,) but the great pic- 
 ture, at Castle Howard, of the Adoration of the Kings, formerly 
 in the Orleans Gallery, is, according to Waagen, not only the 
 finest work extant of Mabuse, but one of the very best of the old 
 Flemish school, (s. 41 J).
 
 200 MASTERS OF THE SIXTEENTH CENTURY. [BOOK III. 
 
 9 Solly, of London. The Trinity, with allegorical figures 
 of Peace and Charity, in the private Collection of 
 the King of Holland, is excellent in drawing and ex- 
 pression. His later works show a mannered imi- 
 tation of the Italians, such, for instance, as the two 
 10 large pictures of the Berlin Museum of Adam and Eve, 
 and Neptune with Amphitrite, which contain only large 
 insipid academical figures. Other works are in va- 
 rious galleries *. 
 
 Jb/tu$c/iora?Z, 1495 1590, was for some time a scho- 
 lar of Mahuse. The best works attributed to this artist 
 are less remarkable for spirit in telling their story, 
 than for gentleness of expression, and for the great 
 softness and tender feeling of his heads. They may 
 fairly be considered as the most beautiful productions 
 of this peculiar style : among them the following should 
 be particularly mentioned. An altar-piece in the Stadel 
 Institution, at Frankfort f, contains, in the centre, the 
 
 * [See Passavant, Kunstreise, s. 392. Waagen (k. u. k. in 
 Deutschland, i. s. 129) mentions a Virgin and Child, at Pom- 
 mersfelden, as an important work of Mabuse, since it shows 
 clearly the transition from his early and genuine style to his 
 Italian manner. The result of this unhappy change is exhibited 
 in the picture, No. 17, in the Chapel of St. Maurice, at Nurem- 
 berg: No. 31, in the same collection, is not held to be a ge- 
 nuine picture by Waagen. (Ibid.) i. s. 174, 177. ED.] 
 
 f [This picture in the Stadel Institution is No. 142 in the cata- 
 logue (1835). The figure on the second shutter is described there 
 as being St. Louis with the Crown of Thorns. 
 
 It is now doubted whether Schoreel was really the painter of the 
 Virgin's Death, in the Boisseree Collection, mentioned in the text 
 (No. 69, 70, 71, Cab. Pinacothek) -. see Rathgeber, s. 237, who 
 refers to the Kunstblatt, No. 6, s. 21-23 ; compare also Waagen,
 
 XXXVII.] MASTERS OF THE SIXTEENTH CENTURY. 207 
 
 Entombment of Christ, on one wing St. Veronica, with n 
 a subdued expression of deep inward suffering, and on 
 the other, Joseph of Arimathea, an excellent and power- 12 
 ful head. Another altar-piece is in the former Boisseree 
 Collection; the subject of the centre panel is the Death 
 of the Virgin, not very happily composed, and man- 
 nered in the drapery, but at the same time it com- 
 prises some very beautiful heads : on the wings are 
 saints, with the family of the donor. The arrange- 
 ment of these latter figures has great dignity, and the 
 female heads especially are beautiful. 
 
 Antonio Moor''-, (or Moro, More,) was a scholar of 13 
 
 k. u. k. in Deutschland, i. s. 176: the latter says that it has been 
 named Schoreel without any real ground for the appellation. 
 Rathgeber (s. 235, No. 119) states, that an Adoration of the 
 Kings, in the Museo Borbonico, at Naples, which is there attri- 
 buted to Filippo Lippi, and placed among the Florentine pictures, 
 has been pronounced to resemble very strongly the former work 
 of the Death of the Virgin. It is about four feet high, and has 
 the Salutation painted on the outside shutters. He refers to the 
 Kunstblatt, 1823, No. 10, s. 159. There is, or was, a picture by 
 Schoreel in the collection at Corsham. See Waagen, England, 
 ii. s. 308. ED.] 
 
 * [More was born at Utrecht, in 1512. He was employed to 
 paint Queen Mary of England, before Philip's marriage, and 
 remained some time in this country : afterwards he went to Spain, 
 and died in Flanders in 1588. Compare Walpole, i. p. 235; 
 Cean Bermudez, iii. p. 202. There are, at Windsor, two pictures, 
 professing to be portraits of Charles V. and the Duke of Alva, by 
 More : they are hung so high as not to admit of being properly 
 seen (see Waagen, England, i. s. 177 ; Mrs. Jameson's Public 
 Galleries, 5. p. 243-252) ; both formerly belonged to Charles I. 
 At Hampton Court there is a portrait of More's patroness, Queen 
 Mary (see Waagen, L s. 389 ; Mrs. Jameson, i. p. 341) : another 
 of the same Queen is at Castle Howard (Waagen, ii. s. 415).
 
 208 MASTERS OF THE SIXTEENTH CENTUBT. [BOOK III. 
 
 Schoreel, and an excellent portrait painter, quite in the 
 simple manner of the old masters ; a beautiful picture 
 of this class is in the Berlin Museum. 
 
 14 Michael Coxcie, (or Coxis,) 1 497 1592, was a scholar 
 of Bernard Van Orley, and afterwards of Raphael. His 
 excellent copy of the Ghent -altar picture by the bro- 
 thers Van Eyck, has been already mentioned (xvr. 17). 
 
 15 In the Collection of the Town House at Louvain, is a 
 picture of Christ between St. Peter and St. Paul, with 
 some angels above, much injured certainly, but still 
 showing a happy power of imitating Piaphael. In his 
 
 16 other pictures, in the Academy of Antwerp and else- 
 where, the combination of the Flemish and Italian 
 manners is more evident. 
 
 17 Lancelot Blondecl. In the Berlin Museum is a 
 picture of the Virgin with the Child, sitting on a rich 
 and grotesquely-adorned throne ; the Child is weak, but 
 the Mother's figure is fine in form and in character, 
 and there is still, in the general arrangement at least, 
 a close affinity to the old schools. 
 
 18 Martin Hemskerk, (properly van Veen,) 1498 1574, 
 
 Two or three of his pictures, among which is his own portrait, are 
 at Althorp: this latter is possibly the portrait formerly in the 
 Orleans Gallery, and which sold for fifteen guineas. Compare 
 Waagen, i. s. 516; ii. s. 540. 
 
 Joos v. Cleef, or Cleve, was another Fleming, who came to 
 England in the time of Philip and Mary (see Walpole, i. p. 243). 
 He is said to have gone mad from vanity : his position, as an artist, 
 is between Holbein and More. At Windsor there are portraits of 
 himself and his wife (Waagen, England, i. s. 177; Mrs. Jameson, 
 i. s. 243). These pictures belonged to Charles I. A picture at 
 Luton, ascribed to Holbein, is by Waagen attributed to this 
 master (see England, ii. s. 540, 566 ) ED.]
 
 XXXVII.] MASTERS OF THE SIXTEENTH CENTURY. 209 
 
 was a scholar of Schoreel. In his early works, of which 
 there are a great number in the former Boisseree Col- 
 lection, we find the simple and tender feeling of his 
 master, hut in his later ones there prevails a very man- 
 nered imitation of the Italians. 
 
 To these, and other artists of the Low Countries, we 
 may add some from the neighbouring parts of Germany, 
 whose works bear a close affinity in style to those of the 
 Flemish school. One such is Bartholomew de Bruyn 19 
 of Cologne, an excellent master of this time ; his chief 
 work is of the year 1536, and consists of the pictures 
 over the high altar of St. Victor at Xauten, being the 
 double wings of a reliquary painted on both sides. On the 
 exterior are figures of different saints, the size of life, to- 
 gether with events from the life of the Empress Helena, 
 and the Martyrdom, of the Theban Legion; in the 
 interior are several scenes from the Passion of Christ 
 Numerous works by de Bruyn, some of them excellent, 
 are in the former Boisseree Collection, as well as in the 20 
 City Museum, and theLyversberg Collection at Cologne* : 
 de Bruyn is also distinguished as a portrait painter. 
 
 There were several clever masters of the same family, 21 
 of the name of zum Ring, from Minister ; the best of 
 these were the following : Ludger zum Ring, the 
 elder his most important work, of 1538, is in the pos- 
 session of the Westphalian Art-Union at Minister; it 22 
 
 * [Waagen (England,]!, s. 441) speaks of an admirable pic- 
 ture at Althorp, which he ascribes to Barth. de Bruvn, but which 
 is attributed to Albert Diirer. He describes it as resembling much 
 the celebrated Death of the Virgin commonly assigned to Schoreel. 
 -ED.]
 
 210 MASTERS OF THE SIXTEENTH CENTURY. [BOOK HI. 
 
 represents God the Father, surrounded by the heavenly 
 host, as the avenger of sin, with Christ and the Virgin 
 interceding ; by their side is the donor ; it is grand 
 and earnest in sentiment, but wants grace, and is 
 23 unfortunately much injured. Herrmann znm Tdnrj, 
 the son of Ludger, was a more important artist ; his 
 principal work, the Raising of Lazarus, in the Cathe- 
 dral at Miinster, is a rich composition, with great ex- 
 pression of character and excellent execution ; it may be 
 said nearly to equal the works attributed to Schoreel*. 
 
 1 XXXVIII. It should be observed that about this 
 time landscape painting first assumed its place as an 
 independent branch of art in the Low Countries. Previ- 
 ously, in the works of van Eyck and of his followers, 
 landscape was an important element of the 'whole 
 picture, but many artists now went further, and made 
 this portion of the composition more and more promi- 
 nent, until the sacred event, which they did not yet 
 venture to exclude altogether, became a mere accessory. 
 
 [A master who ought to be named here, is John Stradanus, or 
 Straet, who was born at Bruges in 1536, and is supposed to have 
 died in 1618, or as others hold, in 1605 : see Fiorillo, Gesch. d. z. k. 
 in Deutschland, &c., ii. s. 498. He worked principally in Italy, and 
 assisted Vasari in painting the Palazzo vecchio at Florence : see 
 Vasari in vita di Taddeo Zucchero, p. 961. His works are rare 
 out of Italy : a picture of his, at Nuremberg, is mentioned by 
 Waagen, k. u. k. in Deutschland, i. s. 211. 
 
 A reference should also be made to Lucas Cornelii, the painter 
 of the series of portraits at Penshurst, and of the five portraits of 
 ladies of the Court of Henry VIII. at. Hampton Court. See 
 Walpole, i. p. 113; Mrs. Jameson's Public Galleries, ii. p. 344. 
 ED.]
 
 XXXVIII.] MASTERS OF THE SIXTEENTH CENTURY. 211 
 
 A peculiar redundancy in the details characterizes the 
 first stage in the development of landscape paint- 
 ing; this feature is seen particularly in the intro- 
 duction of all kinds of fantastic mountain forms, which 
 rarely combine into a harmonious whole; a-childish 
 taste, too, for contrast and variety prevails, and the 
 details, even in the extreme distance, are executed with 
 the greatest care and minuteness. The principal artists 2 
 in this line are Joachim Patenier and Herri de Bles, 
 who may be classed, with reference to their few histo- 
 rical works, with the masters just named above. Spe- 3 
 cimens of the different styles of Patenier and de Bles 
 are to be seen in the Berlin Museum, among which we 
 may cite as an example an interesting landscape by Pa- 
 tenier-. In the centre of the picture, as the necessary 
 point of the union to the whole, is the Virgin with the 
 
 * [This picture of Patenier is No. 105, Part 2nd, in Waagen's 
 catalogue of the Berlin Gallery; see also No. 93, (Cabinets,) in 
 the catalogue of the Pinacothek. There are several of his works 
 at Vienna, and one was in the possession of the Chev. v. Kirsch- 
 baum, at Munich (Schottky, Munchen's Kunstschatze, s. 241). 
 Mr. Beckford had excellent specimens in this country, both of 
 Patenier and de Bles: see Waagen, England, ii. s. 334; Passa- 
 vant, Kunstreise, s, 152. 
 
 Herri de Bles, or Henrijck met de Bles, was born at Bovines, 
 near Dinant -. he is called by Vasari, Enrico da Dinant, (p. 1 100,) 
 but his common Italian nickname was " Civetta," from the owl 
 which he introduced, as a mark, into almost all his works. Com- 
 pare James's Dutch and Flemish Schools, p. 107. Passavant 
 ( Kunstreise, s. 97, 398) mentions two pictures attributed to de 
 Bles belonging to Mr. Aders, and several others at Cologne : see 
 also Nos. 89-91 (Cabinets) of the Pinacothek. A curious pic- 
 ture said to be by de Bles, and belonging to Mr. Baring Wall, has 
 this year been exhibited in the British Institution. ED.]
 
 212 MASTERS OF THE SIXTEENTH CENTDBY. [BOOK III. 
 
 Child, resting on the Flight into Egypt; around her is 
 an extensiveView, in the back ground an immense rock, 
 its summit reaching to the clouds, and a monastery in 
 a hollow, to which a flight of steps leads up; on the sides 
 of the rock are villages, with various groups of houses ; 
 on the left are distant mountains, on the right a broad 
 river in a valley with a city on its banks, and the sea 
 forms the horizon; the distance is of a sharp bluish- 
 green colour *. 
 
 * [A great deal might be written on the development of land- 
 scape painting, as an independent branch of art, and on the sense of 
 the picturesque which it serves at once to gratify and to cultivate, 
 but this is not the place for a lengthened discussion on such a sub- 
 ject. The existence of any taste for the picturesque, or any land- 
 scape painting, among the Greeks, has been denied in terms much 
 too general (see Becker, Charikles, i. s. 219). 
 
 I cannot do more here than refer the reader, who is desirous of 
 investigating this question with reference to ancient art, to Win- 
 kelman's Werke, Dresden, 1808, vol. ii. s. 256, note, s. 353. 
 Plato, Critids (Bekker. v. ii. pt. 3, p.] 47). Pliny, xxxv. 10. 
 Muller, Handbuch der Kunst. 163, 5; 435. Vitruvius, vii. 5. 
 The description, too, of the Vale of Tempe, in JJlian, certainly 
 implies some taste for the picturesque ED.]
 
 XXXIX.] MASTERS OF THE SIXTEENTH CENTURY. 213 
 
 BOOK IV. 
 
 NORTHERN ART UNDER ITALIAN INFLUENCE. 
 MASTERS OF THE SIXTEENTH CENTURY. 
 
 XXXIX. MANY of the masters named in the pre- 1 
 ceding pages, who endeavoured to improve their native 
 style by the study of southern art, became aware in the 
 latter part of their career of the want of harmony 
 between such discordant elements, and therefore 
 devoted themselves exclusively to the imitation of 
 Italian painting. In the further course of the sixteenth 
 century, this tendency to imitation considerably increased. 
 At first it was exclusively directed to the Roman and 
 Florentine schools, distinguished as they were by the 
 grand and perfect development of form ; a character- 
 istic in which the native schools were so particularly 
 deficient. But what has been already said of former art- 
 ists applies in a still greater degree to these imitators 
 namely, that to them was denied the living principle of 
 that feeling, which was the source of all loftier beauty 
 in the great masters of Italy. They got no further than 
 an imitation of external types, and the ideal, which 
 they certainly did attain, hardened into a mere form 
 without spirit, meaning, or inward life. In portrait, 
 only, which required a direct adherence to life and 
 nature, do we meet with a few works of great excellence. 
 In themselves, the greater number of the productions 
 of these masters are of little worth ; their importance in
 
 214 MASTERS OF THE SIXTEENTH CEXTURY. [BOOK IV. 
 
 the history of art rests mainly on the fact that they 
 form a link between the older masters and the great 
 schools of the seventeenth century. Most of the works 
 alluded to were executed by artists who were natives of 
 the Low Countries. These provinces, just then en- 
 gaged in their violent struggle with the superior power 
 of Spain, had at this particular moment impaired that 
 sense of distinct and decided nationality, which is every- 
 where so necessary as the first requisite, and as the very 
 soil in which art is to take root. Such a nationality, 
 indeed, was afterwards to be developed as the ultimate 
 consequence of those very efforts *. 
 
 1 XL. Among the artists who devoted themselves 
 the earliest to the exclusive study of Italian art is 
 Lambert Lombard^ (properly L. Sutermann, 1506 
 1560). He is the most pleasing of the contemporary 
 masters of this school, and appropriated, in some in- 
 stances with \ivid feeling, the noble and dignified forms 
 of Roman art. But as his pictures are simple and un- 
 
 Schnaase, Niederlandische, Briefe, s. 249, ff. 
 
 f- [A very curious letter of Lambert Lombard to Vasari, is pub- 
 lished by Gaye in his Carteggio d'Artisti, vol. iii. p. 173, and has 
 been already referred to. Lambert Lombard has been sometimes 
 confounded with Lamberto Suave, mentioned by Vasari in his 
 Life of M. Antonio. Compare the note in the last edition of Vasari, 
 p. 695, and Fiorillo, Gesch. d. z. k. in Deutschland, ii. s. 447. 
 Passavant (Kunstreise, s. 399) says, that the best picture of L. 
 Lombard which he ever saw, is that of the Dead Christ, in the 
 possession of Herr Krtiger, at Aix-la-Chapelle. The picture in 
 the Berlin Gallery, referred to in the text, is No. 161, pt. 2nd, of 
 Waagen's catalogue. ED.]
 
 XL.] MASTERS OF THE SIXTEENTH CENTURY. 215 
 
 pretending, he has not gained a reputation equal to that 
 of later artists. Among his pictures preserved in the 
 Berlin Museum, is a graceful and touching Madonna, 2 
 holding the sleeping Infant in her arms. 
 
 The celebrated scholar of Lombard, and the leader, 
 properly speaking, of the artists of the time, was Franz 3 
 Floris (F. de Vriendt, 1520 1570), -who, with reference 
 to the important influence he exercised on art, was desig- 
 nated by his contemporaries as the " Lantern-bearer and 
 road-maker of the art of the Low Countries ' a title 
 to which they also added the honourable appellation of 
 the Flemish Raphael. Franz Floris has indeed caught 
 from Michael Angelo and Raphael certain of their ex- 
 ternal peculiarities in drawing and composition, and 
 knows how to display them with peculiar pretension ; 
 but just because, with all this pretension, his works are 
 devoid of all genuine sentiment, and are, without ex- 
 ception, empty, insipid, and spiritless, they are more 
 repulsive than the other pictures of the day. One of 
 his most insufferable productions (which, strange to say, 
 was long considered a picture by Eaphael himself) is in 
 the Berlin Museum, Lot with his two Daughters *; the 4 
 disgusting subject which it represents, suited only to 
 the unscrupulous and exaggerated manner of the later 
 Italian naturalists, is treated with singular coldness and 
 want of truth. Greater harmony between the subject 
 and the mode of conception, is certainly to be found in 
 a picture, in the gallery of Sans Souci at Potsdam, 5 
 of Beauty, a naked female figure, with Death behind 
 
 [No. 160, pt. 2 ED.]
 
 216 MASTEES OF THE SIXTEENTH CENTURY. [BOOK IV. 
 
 her. The empty pretension in the figure of life, con- 
 trasts, in this picture, in an effective manner, with the 
 dry bony skeleton in the back-ground. Tiresome figures 
 of the gods, by Floris, occur only too frequently in 
 
 6 various galleries. His most celebrated work is the over- 
 throw of the Evil Angels, in the academy of Antwerp, 
 which is, after all, a mere assemblage of well-drawn aca- 
 demical figures. 
 
 Floris formed an important school. Among the 
 artists who issued from it were the brothers Franck. 
 
 7 The elder of the two, Francis Franck, is particularly 
 distinguished by his powerful colouring, and freedom 
 from affectation. His best pictures are in the cathe- 
 dral and academy of Antwerp. His son, Fr. Franck 
 
 8 the younger, resembled him, but was perhaps more 
 mannered. His battle of men and beasts with Death 
 in the gallery at Munich, is a picture of interest. 
 
 9 Another scholar of Floris, Francis Pourbus the elder*, 
 deserves a high place for his simple and clever con- 
 ception of life as a portrait painter. In his picture of 
 the Preaching of St. A^loysius, in the academy of Ant- 
 werp,, a good effect is produced by the introduction of 
 several portraits. 
 
 10 His son, Francis Pourlus the younyer}, was also an 
 excellent portrait painter. 
 
 * [Waagen describes the portrait of a Knight of St. Michael, 
 at Castle Howard, as one of Pourbus the elder's best pictures. 
 There were also two good portraits by him at Luton. Waagen, 
 England, ii. s. 419, 507. ED.] 
 
 t [See two pictures of Pourbus the younger at Hampton Court 
 (Mrs. Jameson's Public Galleries, ii. p. 413, 414). They are
 
 XL.] MASTERS OF THE SIXTEENTH CENTURY. 217 
 
 The most important scholar of Floris was Martin de 1 1 
 Vos (1520 1604), who afterwards formed his style in 
 Venice, on the model of Tintoret, and with a certain 
 feeling of the Venetian school; he departed too in 
 some degree from the empty ideal forms of Floris, and 
 adopted a more forcible and natural style of design. A 12 
 picture by de Vos, in the Berlin Museum, represents on 
 one side the Saviour risen from the dead and appear- 
 ing to his disciples at the Sea of Tiberias; on the 
 other, Jonah thrown into the jaws of the whale. It is 
 a very mannered work, but full of life and passion. 
 Martin de Vos formed a large school, and through it 
 exercised considerable influence on art in his time. 
 
 Other artists of the second half of the sixteenth cen- 13 
 tury adhered more closely to a mannered imitation of 
 the Roman school of this number are the Germans, 
 BartJiolomew Spranyer and John von Aachen, the 
 Netherlander Peter de Witte (surnamed Candide), Carl 
 van Mander, Henry Goltzius*, and others, whose nu- 
 merous works give in general little pleasure. Goltzius 
 
 portraits of Henry IV. and Mary de Medicis. The portrait called 
 " le Ealafre," at Althorp, is attributed to Pourbus: Waagen speaks 
 of it as a very fine picture. England, ii. s. 541 ED.] 
 
 * [\Vaagen ( Deutschland, i. s. 177) mentions an Adoration of 
 the Kings, attributed to Goltzius, in the Chapel of St. Maurice, 
 at Nuremberg. He says, " I have never seen an authentic oil- 
 picture of this master, but no one who knows that he first began 
 to paint in oil in the year 1GOO, when he was forty-two years 
 old, will hold this picture to be his work : the whole treatment 
 shows, to a certainty, that it was painted before 15oO, and it does 
 not, moreover, agree with his manner, so well known from his prints." 
 A list of the supposed works of Goltzius will be found in Rathgeber, 
 s. 391. ED.] 
 
 VOL. II. L
 
 218 MASTEES OF THE SIXTEENTH CENTURY. [BOOK IV. 
 
 is well known from the great number of his engravings. 
 Van Mander has gained a reputation by his critical and 
 biographical notices of the artists who preceded him, 
 which far exceeds that obtained by his paintings. 
 
 14 The next step to de Vos is occupied by Octarius ran 
 Veen (Otho Venius, 1556 1634). He aimed at giving 
 perfect roundness to his figures by a more careful 
 shading, at improving the modelling, and blending the 
 whole together by an harmonious arrangement of his 
 jights and shadows : nevertheless, if we except a certain 
 vigour of conception, he never attained to higher excel- 
 lence in expression than the artists of the school of 
 Floris. Pictures by van Veen exist in Brussels and 
 Antwerp. The reputation of this artist rests upon the 
 circumstance that Kubens was formed in his school. 
 
 15 Other masters of the time applied themselves more 
 to the study of the Venetians ; and the results of this, 
 in spite of much mannerism, appeai-s always as a favour- 
 able element in their works. Among these are Henry 
 van Balen, and the Germans, Christopher Schwarz and 
 
 16 John Eottenhammer. There is in the Berlin Museum 
 a Battle of the Amazons, by the last of these artists, of 
 an impassioned and animated character, and which de- 
 serves particular notice among the works of this period. 
 
 17 The productions of Cornelius ran Harlem -' (Corneliu* 
 Cornelissen), bear some affinity to those of Rotten- 
 hammer ; but he surpassed his contemporaries in the 
 excellence of his soft and warm treatment of flesh, 
 
 * [One of this artist's pictures, in the Berlin Gallery, is a Bath- 
 sheba (No. 215, 2nd Division). The date is 1617- The flesh is 
 admirably painted, ED.]
 
 XL.] MASTERS OF THE SIXTEENTH CENTURY. 52 1Q 
 
 although in him also the living spirit the feeling for 
 material beauty is wanting. In the galleries of the 18 
 Museum and Royal Palace at Berlin there are several 
 pictures by Rottenhamrner. 
 
 In conclusion, Abraham Bloemaert must be men- 1 
 tioned. He has the reputation of a rank mannerist 
 certainly, but hi some instances he makes a successful 
 effort to imitate nature with fidelity and force. In this 
 respect we may particularly notice his pictures in the 
 Berlin Museum. One, of the Adoration of the Shep- 20 
 herds, has a sti'ong effect of light, and figures of some 
 power ; the other, of large dimensions, is a Holy Family, 
 with the angel appearing to Joseph in a dream. The 
 angel is very mannered in form, as was usual in sacred 
 subjects. There is far more force in the figure of 
 Joseph, and the accessories are painted with a happy 
 imitation of nature. 
 
 L 2
 
 220 MASTERS OF THE SEVENTEENTH CENTURY. ^BOOK V. 
 
 BOOK V. 
 
 REVIVAL OF NORTHERN ART. 
 
 MASTERS OF THE SEVENTEENTH CENTURY. 
 INTRODUCTION. 
 
 XLI. IN Germany and the Low Countries tra- 
 ditional types and ancient habits existed side by side with 
 all the results of the new struggles made by the human 
 mind in the sixteenth century, but these two elements 
 had not been reconciled and blended with each other 
 before the time that the highest perfection of art in 
 Italy had passed away. 
 
 The case was the same on both sides of the Alps 
 neither the mannered imitators of the great Italian 
 masters in Italy, nor the northern artists who devoted 
 themselves to the study of Italian art in the course of 
 the sixteenth century, could do more than seize the 
 mere external characteristics of their models. This 
 substitution of the outward shell for the real essence of 
 art, showed itself just at the time when the ground- 
 work of old religious feeling had been struck away, and 
 when confusion in creeds, clamour for Church reform, 
 and struggles for bodily and mental freedom, had pro- 
 duced a state of things which could not be favourable to 
 the fine arts. At the beginning of the seventeenth 
 century, however, these elements of disturbance had at 
 least in part subsided, and new ground was prepared
 
 XLI.] MASTERS OF THE SEVENTEENTH CENTURY. 221 
 
 for the progress of the human intellect. In Italy, as 
 we have seen (B. VI. Vol. I.), these circumstances 
 caused a sort of revival of art, and produced a close 
 academical imitation of the older masters, together with 
 a vigorous and somewhat rude " naturalism." Xo new 
 principle, however, of grandeur or of deep feeling had 
 shown itself. The result was different in the North 
 and in the Low Countries ; the termination of the con- 
 test with Spain allowed elements of national life, at 
 once vigorous and healthful, to develop themselves 
 freely. 
 
 In the works of the artists of the Netherlands of 
 the seventeenth century, we recognize a revival of 
 art in an original, and, on the whole, in a most 
 attractive form. There is not, indeed, any aspir- 
 ation after the pure heauty of ideal form, and after that 
 feeling which is the highest in its kind, and the most 
 universal in its effect ; but as regards breadth, freedom, 
 and originality of treatment, united with a due atten- 
 tion to individual objects, much that was new and im- 
 portant was secured in this school. The peculiar cha- 
 racter of individual life, with its singularities, its 
 interests, and its passions ; the daily intercourse of men 
 with each other in all its variety ; Nature, in all the 
 freedom of her every day works and operations ; the 
 expression of a happy tone of mind, in the play of light 
 and colour ; and finally, a delicacy of execution, which, 
 without any claim to profound meaning and conse- 
 quently without pretension, at least delights the eye 
 with its bright images ; all these elements of art were 
 now developed in the richest profusion. We will take
 
 222 MASTEES OF THE SEVENTEENTH CENTUItt'. [BOOK V. 
 
 a review of the different departments into which 
 painting -was now divided history, genre, landscape, 
 animal and still life. It must, however, be borne in 
 mind, that many transitions occur between these dif- 
 ferent departments, and that such a classification, in 
 many cases, must necessarily be more or less arbitrary. 
 
 CHAPTER I. 
 
 HISTORICAL TAINTING. 
 
 XLII. IN the seventeenth century, painting in 
 the Low Countries, and especially historical painting, 
 divided itself into two separate branches, which had 
 indeed been visible, although not to the same degree, at 
 an earlier period. One took its rise in the Spanish 
 Netherlands, and especially in Brabant, where the 
 Catholic Church, still supreme, retained painting in her 
 service ; and where, at the same time, the new efforts 
 were still, to a certain extent, combined with a study of 
 the old classic masters of Italy. The second branch, 
 which originated in Protestant Holland, followed, on 
 the contrary, a completely independent path. Besides 
 these two, a third class of historical painters pursued 
 the same path as their Italian contemporaries, follow- 
 ing the Naturalists, however, rather than the Eclectic 
 schools. In the last class may be placed the few Ger- 
 mans who, at this period, whilst the thirty years' v/ar 
 still raged, found leisure and opportunity for the exer- 
 cise of their art.
 
 XLIII.] MASTERS OF THE SEVENTEENTH CENTURY. 223 
 
 A. SCHOOL OF BRABANT. 
 
 XLIII. THE founder of this school the first who 1 
 successfully opposed the mannerists of the preceding 
 period was Peter Paul Fallens' 1 '. In him, as in those 
 whom we have just named, we recognize an effort to 
 attain a precise development of form ; hut his forms 
 are no longer selected according to some universal and 
 arbitrary principle of heauty ; they are those of a hold 
 and vigorous nature, in which alone the feeling of the 
 artist, or rather the common feeling of the period, with 
 its leaning to pleasures of sense and to strong passion, 
 could he appropriately expressed. It is for this reason 
 that his compositions are always worked out with great 
 dramatic power ; the different characters are expressed 
 with precision, and their gradations are accurately 
 marked ; each individual is stamped with perfect 
 originality and independence. Nowhere, it must he 
 owned, is the high purity and benignity of the great 
 Italian masters to be found ; his figures, on the con- 
 trary, are only ennobled by the peculiar glow and vivid 
 splendour of his colouring, and sometimes he seems to 
 show even a kind of preference for common and vulgar 
 forms. But Rubens is always great when decided 
 action, energetic power, or lively feeling are to be 
 expressed. A sort of light from within shines through 
 his figures, and they appeal- to be imbued with instinct- 
 ive energy and natural exultation; the glow, if one 
 
 * Schnaase, Niederlandische Briefe, s. 261, ff.
 
 224 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 may so say, of a material inspiration, bursts through his 
 compositions, and reconciles us even to his less pleasing 
 subjects. It is this which always distinguishes the 
 hand of the master from that of the scholars who 
 assisted him, and endeavoured to make his style their 
 own. 
 
 2 Rubens was born in Cologne, in the year 1 577, where 
 his parents settled, when forced to fly from Antwerp, 
 but he soon returned with them to their home, and 
 died there in 1040. He received a learned education, 
 and was instructed in painting by Octavius van Veen. 
 In his twenty-third year he went into Italy, and during 
 his seven years' stay, studied mostly the works of the 
 Venetian masters, particularly those of Titian and Paul 
 Veronese, in whom he found the closest affinity to his 
 own style. On his return to Antwerp, he was induced, 
 T>y the numerous commissions given to him, to open a 
 large studio and school. Throughout his life he enjoyed 
 the highest honours, being distinguished at home by the 
 regents of the Low Countries ; and repeatedly employed 
 on political missions of importance in Spain, Holland, 
 and England. 
 
 3 Speaking generally, the pictures of Rubens' early 
 time are the most pleasing, especially those which he 
 executed soon after his return from Italy ; for it is in 
 these that his peculiar qualities are exhibited in their 
 most attractive form. In his later pictures, in order to 
 satisfy the innumerable demands made upon him, he 
 not only adopted a more sketchy and less careful style 
 of handling, but the composition and conception are 
 less studied and complete; he was moreover often
 
 XLIII.] MASTERS OF THE SEVENTEENTH CENTTJRY. 225 
 
 forced to leave too a great share of the execution in the 
 hands of his assistants. 
 
 One of the best pictures painted by Rubens, immedi- 4 
 ately after his return from Italy, is an altar-piece with 
 wings in the imperial gallery at Vienna; the centre 
 represents the Virgin, accompanied by four holy virgins, 
 presenting a splendid priestly robe to St. Ildefouso ; on 
 the side wings are the portraits of the donors kneeling. 
 On the one is the Archduke Albert, Governor-general 
 of the Netherlands, and at his side his patron saint. 
 On the opposite wing, is his wife Clara Isabella, with 
 St. Clara. The beauty and simplicity of the compo- 
 sition, the grand repose of the figures on the wings, 
 and above all, the dazzling brightness of the most per- 
 fect and harmonious colouring diffused over the whole, 
 combine to place this picttire among the very best works 
 of the master. The greater part of the pictures in the 
 Academy at Antwerp, were executed by Rubens, at 
 this early period, when he ^yet had leisure, in the 
 vigour of his genius, and with full feeling for his sub- 
 jects. Some of these should be especially mentioned, 
 such as a Holy Family, presented by him to the Aca- 5 
 demy on his installation St. Anne teaching the Virgin 6 
 to read*, in which a pleasing group is made, by the 
 union of vigorous fresh old age, with blooming, but 
 formed and graceful youth St. Theresa prostrate at 7 
 
 * [Tliis picture is described by Sir Joshua Reynolds in his Tour-, 
 see Works, v. ii. p. 300. He says, " the white silk drapery of 
 the Virgin is well painted, but not historical ; the silk is too par- 
 ticularly distinguished." The St. Theresa is referred to in the 
 same page. ED.] 
 
 L 3
 
 226 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 the feet of the Redeemer, beseeching him, in fervent 
 prayer, Avith a beautiful expression of entire disregard 
 of self, for the deliverance of the souls from purgatory 
 
 8 St. Francis of Assisi, receiving the Last Sacrament, an 
 imitation of a similar picture of St. Jerome, by Agos- 
 tino Caracci (Vol. 1. cvi.), than which it is perhaps 
 less tranquil in composition, but more energetic, and 
 far more full of life in the execution * lastly, an altar- 
 
 9 piece, originally painted for the Michielson Faniilyf. 
 This last picture may not only be recognized as one of 
 his early time, by the extreme carefulness and finish of 
 execution, but it shows the anxious struggles of the 
 artist to develop the style which floated before his 
 mind. The centre piece contains the dead body of 
 Christ taken down from the Cross ; the sides, the Vir- 
 gin and Child, and the Evangelist John. The grada- 
 tions of sorrow in the different persons attending on the 
 body, are marked with a careful, and almost studied 
 distinction ; the colours are laid on more thickly than in 
 later works, and Rubens appears to have exercised him- 
 self particularly in blending the tones in contrast with 
 each other, and in bringing out their full richness. 
 There is the same vigorous life as in his later works, 
 
 * [See Sir Joshua Reynolds's Tour, Works, v. ii. p. 324, who 
 says, " the saint is receiving the Communion, accompanied with 
 many of his order : he is nearly naked, without dignity, and 
 appears more like a lazar than a saint. Though there are good 
 heads in this picture, yet the principal figure being so disgustful, it 
 does not deserve much commendation. ED.] 
 
 f* [" This," says Sir Joshua, " is one of his most careful pic- 
 tures ; the characters are of a higher style of beauty than usual, 
 particularly the Mary Magdalen weeping, with her hands clenched." 
 Works, v.'ii. 389. ED.]
 
 XLIII.] MASTERS OF THE SEVENTEENTH CENTURY. 227 
 
 but so perfectly tempered, that this quality serves only 
 to give more warmth to the expression. It is precisely 
 this moderation and reserve, combined with such ful- 
 ness and power, which lend to the figures their peculiar 
 charm*. Another great painting of the more developed 10 
 period, distinguished alike by greater power and free- 
 dom, and by the most profound feeling, is Christ on the 
 Cross, between the two Thieves ; at his feet are his fol- 
 lowers in deep sorrow; Mary Magdalene appears to 
 struggle with her violent feelings, as if she would yet 
 ward off the thrust which Longinus is about to inflict 
 on the already lifeless Redeemer ; a few soldiers stand 
 near. The simplicity of the composition allows the 
 groups of grand figures, equally powerful in drawing and 
 colouring, to produce a still more impressive effect f. 
 
 Perhaps the greatest works of Rubens are those in II 
 the transepts of the Cathedral at Antwerp; on one side 
 is the elevation of the Cross by a crowd of executioners, 
 with the body of Christ hanging upon it ; on the other 
 is the descent from the Cross ; in both the groups are 12 
 arranged with simplicity and distinctness ; the colours 
 are full and harmonious ; the feeling of violent bodily 
 exertion perfectly suits the powerful figures which 
 
 * Schnaase, as above, p. 262. 
 
 { [A detailed criticism on this picture of the Crucifixion will 
 be found in Sir Joshua Reynolds's Tour. Works, v. ii. p. 317. 
 Of the Magdalen, he thus expresses himself: " This is by far the 
 most beautiful profile I ever saw of Rubens, or, I think, of any 
 other painter ; the excellence of its colouring is beyond expres- 
 sion." There are also some admirable remarks, by the same 
 author, on Bolswert's print from this picture, and on the general 
 principles which ought to regulate the translation of colour into 
 black and white. ED.]
 
 228 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 Rubens so much loved to introduce. If this expression 
 of physical strength predominates in the first picture 
 of the elevation, and is in strict accordance \vith the 
 subject, the expression of deep inward suffering, and 
 the painful excitement of the feelings in the second, 
 combine to render it the more interesting of the two *. 
 The wings of both are excellent, particularly those of the 
 second picture ; the visit of Mary to Elizabeth, in which 
 the two women meet on the high steps of a house, is as 
 new in conception, as it is suitable to the narrow space. 
 
 13 Over the principal altar of the Cathedral is the Assump- 
 tion of the Virgin, a less attractive picture; the subject 
 was far less suited to the peculiar genius of Rubens 
 than those mentioned before f. 
 
 14 Among Rubens' best works in Antwerp, must be 
 noted the paintings of his sepulchral chapel in the 
 
 ]j Church of St. James, and another in the Church of 
 
 [Sir Joshua (Works, v. ii. p. 280, 282) observes : " The 
 greatest peculiarity of this composition is the contrivance of the 
 white sheet, on which the body of Jesus lies ; this circumstance 
 was probably what induced Rubens to adopt the composition. 
 He well knew what effect white linen, opposed to flesh, must have 
 with his power of colouring ; and the truth is, that none but great 
 coiouribts can venture to paint pure white linen near flesh ; but 
 such know the advantage of it." He afterwards goes on to remark 
 the principal light is formed by the body of Christ and the white 
 sheet, without a second light bearing any proportion to the princi- 
 pal. " In this respect," he says truly, " it has more the manner 
 of Rembrandt's disposition of light than any other of Rubens' 
 works." This it is which gives such a striking effect of unity t 
 this marvellous picture. The idea of the composition is probably 
 taken from Daniel da Volterra's celebrated Descent from the Cross, 
 (see vol. i. LXVUI. 4.) ED.] 
 
 f Schnaase, s. 220.
 
 XL1II.] MASTERS OF THE SEVENTEENTH CENTURY. 229 
 
 the Augustines * ; both represent the Virgin surround- 
 ed by Saints, and both contain the portrait of the 
 painter, under the figures of St. George. If in these, 
 as well as in other altar-pieces, where no dramatic event 
 is expressed, there is a certain redundancy in the com- 
 position, and exuberant strength in the figures, still the 
 spirited treatment of the subject, and the warm brilliant 
 colouring, have a happy and appropriate effect. 
 
 With these works should be classed two other large 16 
 altar-pieces, taken from the Jesuit's Church in Antwerp, 
 and at present in the Imperial Gallery of the Belvidere 
 at Vienna, which represent the miracles performed by 17 
 St. Ignatius Loyola and St. Francis Xavier. In these 
 two, it must be owned, the composition is rather over- 
 charged, so as in some degree to disturb the symmetry of 
 the grouping, but, on the other hand, the action is de- 
 veloped with powerful dramatic effect. The arrangement 
 of the whole is impressive and full of meaning, and there 
 is much dignified repose and solemnity, in the promi- 
 nent figures of the two saints. The same gallery is ex- 
 tremely rich in the works of Rubens, among the most 
 celebrated of which is St. Ambrose refusing to admit the 18 
 Emperor Theodosius into the Church f. 
 
 Perhaps the greatest number of Rubens' paintings in 
 
 [Of the picture in the Church of St. James, Sir Joshua Rey- 
 nolds observes, " For effect of colours this yields to none of 
 Rubens's works, and the characters have more beauty than is com- 
 mon with him," v. ii. p. 331. ED.] 
 
 T" [The llubcnses at Vienna are among the finest in existence. 
 Our own National Gallery possesses a small copy of the St. 
 Ambrose, by Vandyke, which was purchased by Mr. Angerstein 
 for 1 ,COO/. See Mrs. Jameson's Public Galleries, vol. i. p. 79. 
 -ED.]
 
 230 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 any one place, is to be found in the Gallery of Munich*. 
 They present a rare opportunity for studying the 
 varied styles of the artist ; there is no picture amongst 
 them to be compared, in depth of feeling, to the master- 
 works at Antwerp, but they contain most striking models 
 for the treatment of excited passions and violent physi- 
 cal efforts. Some small pictures, almost of a sketchy 
 character, deserve particular notice, and above all the 
 19 Battle of the Amazons ; we look up a river, crossed by 
 a high arched bridge ; a wild host of Amazons, pursued 
 by Greeks, is pouring over it, and on its centre rages the 
 thickest of the battle ; on the left, in the fore-ground, 
 some of the Amazons are driven into the river; on 
 the right, others, with their horses, plunge from the high 
 banks into the foaming waves. Notwithstanding the 
 confusion of the combat, the composition is perfectly in- 
 
 * [The greater part of the Rubenses now at Munich were for- 
 merly at DUsseldorf, where they were seen by Sir Joshua Rey- 
 nolds, and are criticised in his Tour. It is not necessary to refer to 
 the number of every picture in the catalogue of the Pinacothek, 
 or to quote Sir Joshua's remarks at any length. He admires, 
 especially, the genius shown in the " small Fall of the Angels," 
 without having seen which, it is, he says, impossible to form an 
 adequate idea of the power of Rubens. The Battle of the 
 Amazons, too, spoken of in the text, has the same character. 
 Reynolds was certainly wrong in saying that the family picture, 
 with the dog and dwarf, did not represent Lord and Lady Arundel. 
 This error is noticed by Burnet in his " Practical Hints on Colour- 
 ing," but both he and Dallaway, in his notes to Walpole (vol. ii. 
 p. 177), are, we are now able to say, mistaken in supposing that the 
 picture was executed in England. So, at least, it would appear 
 from the letter of Lord Arundel's agent, dated July 17, 1620, 
 which is printed by Mr. Carpenter in his late valuable publication 
 on Vandyke (see p. 6. Compare Tierney's History of Arundel, 
 v. ii. p. 489). ED.]
 
 XLIII.] 1VIASTEES OF THE SEVENTEENTH CENTURY. 231 
 
 telligible ; the groups stand in admirable relation to each 
 other. The execution , particularly that of the landscape, 
 is masterly ; the view through the arches of the bridge, 
 and the water, are splendidly painted. The Conversion of '20 
 St. Paul, notwithstanding the great number of figures, is 
 also very clear in its arrangement, and is dashed in upon 
 the panel with a daring and masterly hand. We see how 
 the caravan, pursuing its road, is entirely overthrown by 
 the flash of lightning ; Paul, separated from the party, 
 lies prostrate on the ground in front ; the attitudes of 
 the affrighted soldiers, the prancing horses, the draperies 
 fluttering in the storm all is most happily given. The 
 same composition, with figures of the size of life, by 21 
 Eubens, is in the collection of Mr. Miles, of Leigh 
 Court, near Bristol*. The picture of Sennacherib and 22 
 his army routed in a single night by the angel of the 
 Lord, which is also in the Munich Gallery, is not quite 
 so satisfactory; though it is exceedingly powerful in 
 effect, it is somewhat confused in its arrangement f. 
 On the other hand, the Samson betrayed by Dalilah, is 23 
 a picture of a larger size and of greater importance. 
 Shorn of his hair, the hero springs from the fatal couch, 
 and wrestles with powerless rage against the bonds that 
 confine him ; his captors surround him and exert them- 
 selves to the utmost to hold him. On one side, Dalilah, 
 supported by a pillow, and loosely clothed in transparent 
 
 * [Compare on this picture of the Conversion of St. Paul, 
 Buchanan's Memoirs, ii. p. 191 ; \Vaagen, England, ii. s. 355. 
 Mr. Miles's collection contains two other fine Rubenses ED.] 
 
 + [Of the Sennacherib, Sir Joskua says, " In this picture there 
 is great, repose of shadow in large masses ; the figures and horses 
 are full of animation." Works, ii. p. 402 ED.]
 
 232 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 drapery, looks back, half in mockery and half in fear, 
 on the vanquished Samson, whilst her anxious attendant 
 is endeavouring to withdraw her heyond his reach. 
 
 24 Another masterly picture, with figures of the size of 
 life, is a group of horsemen engaged in combat with 
 two lions *. The climax of powerful and impassioned 
 action between men and animals, and the perfect judg- 
 ment with which the subject is worked out, make this 
 pictui-e peculiarly grand and interesting. 
 
 25 In the Munich Gallery there are also several pictures, 
 of which the subject is the Fall of the Damned f. In 
 these, however, an extravagant fancy already prevails, 
 which aims no longer at a grand arrangement of the 
 whole, but in substance contents itself with wild and 
 contorted masses of coarsely formed naked figures. 
 
 26 Two large pictures in the Schleissheim Gallery, of the 
 Last Judgment, and the Destruction of the Seven- 
 headed Dragon, have also little to recommend them. 
 
 In other works which exhibit the naked figures, 
 Kubens often displeases the eye by the heaviness of his 
 forms, and the coarseness of his conception ; for in- 
 stance, in his feasts of Bacchanals, such as occur in 
 
 27 various galleries, and one of which may be seen at 
 Munich. But there are other works of this kind, in 
 which a spirit of joyousness and animal vigour is so pro- 
 minent, that these full forms give less offence, if they 
 
 [" His animals, particularly lions and horses, are so admirable, 
 that it may be said they never were properly represented but by 
 him." (Reynolds's Works, ii. p. 422). They have, indeed, that 
 character of physical energy and animal life which no master has 
 ever equalled. ED.] 
 
 f [See the former note, p. 230 ED.]
 
 XLIII.J MASTERS OF THE SEVENTEENTH CENTURY. 233 
 
 are not absolutely justifiable. Excellent examples of 
 this class also are to be found in the Munich Gallery, 
 such as Castor and Pollux carrying off the Daughters of 28 
 Leucippus *, and the picture of sleeping Wood-nymphs 
 surprised by Satyrs. Many other pictures of this kind 29 
 are to be found elsewhere ; for example, in the galleries 30 
 of the royal palaces at Berlin and Sans Souci near 
 Potsdam. In these works, indeed, which represent 
 principally mythical subjects, and which were executed 
 for the saloons of the rich and great, the master's own 
 hand is generally to be recognised only in the principal 
 parts. 
 
 The same remarks will apply to another class of 31 
 Rubens' pictures, those in which the characters of an- 
 cient mythology are introduced as allegorical figures, 
 for the most part with special reference to historical 
 
 * [Nothing ever exceeded the colouring of the flesh in this 
 picture of the daughters of Leucippus. With regard to the gene- 
 ral character of Rubens's figures, it is worth while to quote Fuseli's 
 description of them, which is, to say the least, as bombastic in lan- 
 guage as those figures are in form. He says, " The male forms of 
 Rubens are the brawny pulp of slaughtermen ; his females are 
 hillocks of roses : overwhelmed muscles, dislocated bones, and dis- 
 torted joints are swept along in a gulph of colours, as herbage, 
 trees and shrubs are whirled, tossed, or absorbed by vernal inunda- 
 tion." (Aphorisms. Knowles, iii. p. 123.) 
 
 It may be doubted whether Fuseli was the man who could safely 
 criticise exaggeration of any kind in form : Rubens, too, at any 
 rate gave us some compensation in his colour. His most disgust- 
 ing pictures, even those which are thoroughly pervaded by the feel- 
 ing of Bacchanalian riot and brutish sensuality, have stil! an animal 
 vigour and a real life, joined with a beauty of colour and a power of 
 execution which must extort our admiration in spite of their coarse- 
 ness. Such is his Rape of the Sabines, and such are many of 
 that large number of his works to be seen at Blenheim. ED.]
 
 234 MASTERS OF THE SEVEXTKEXTH CENTURY. [BOOK V. 
 
 events, and intermixed with portraits. The character 
 of these allegories is always insipid, and often common- 
 place. They are not the offspring of any strong or 
 genuine feeling, but the mere result of an effort after 
 external decoration and external splendour ; they form 
 a strong contrast to the vivid conception of life in which 
 
 32 Rubens was so great a master. His piincipal work of 
 this kind is the great series of paintings now in the 
 Louvre, which represents the History of Mary de Me- 
 dicis, and was executed by her command. It is only in 
 those pictures of the series in which the events of real 
 history predominate, that we again find the free and 
 beautiful style of the master. This taste for ornamental 
 allegory has unhappily produced much that is offensive 
 amongst the followers of Rubens. 
 
 33 In his portraits, on the contrary, Rubens appears to 
 greater advantage *, for in them we recognise his fresh 
 and vigorous conception of nature, generally united with. 
 a more careful handling and a more studied execution 
 
 * [We are fortunate enough to possess, in England, one of the 
 most celebrated, if not the most celebrated, of these portraits by 
 Rubens the " Chapeau de Faille," now belonging to Sir Robert 
 Peel. Compare Mrs. Jameson's Private Galleries, p. 361 ; 
 Waagen, England, ii. s. 279. This picture was seen and admired 
 by Sir Joshua whilst it was the property of M. van Haveren at 
 Antwerp. (Works, ii. p. 336.) Sir Robert Peel is said to have 
 given 3,500 guineas for it. A list of portraits supposed to have 
 been painted by Rubens, whilst he was in England, is given in the 
 notes to Dallaway's Walpole, ii. p. 176. That of Lord and Lady 
 Arundel, it has been already stated, was executed abroad : another 
 portrait of Lord Arundel himself, at Warwick Castle, is favourably 
 noticed by Waagen. (England, ii. s. 3fi4; compare Passavant, 
 Kunstreise, s. 219.) A complete list of Rubens' known works will 
 be found in Rathgeber, Annalen der Niederlandischen Malerei, 
 Rubens, ss. 74-96. ED.]
 
 XL1II.] MASTERS OF THE SEVENTEENTH CENTURY. 235 
 
 than is to be seen in the greater part of his historical 
 works. In the English and French galleries, and in 
 the most important collections of Germany, numerous 
 portraits exist from his hand some of the very highest 
 merit. He has frequently painted himself and his two 
 wives, and with particular pleasure the second, Helena 
 Forman, so celebrated for her beauty. Among the best 34 
 of his portraits is the picture in the Pitti Palace, at 
 Florence, of himself and his brother, with Justus Lip- 
 sius and Hugo Grotius. 
 
 The number of pictures ascribed to Piubens is in- 35 
 calculable. Those mentioned here are cited only as 
 good examples of his different manners. His remark- 
 able productions in landscape painting will be men- 
 tioned hereafter ( Iviii. 21), in the review of this branch 
 of the art, on the development of which they exercised 
 great influence*. 
 
 * [It may interest the reader to dwell a little longer on Rubens's 
 journeys into Spain and England, more especially as the notices on 
 these points in the ordinary books are not very precise. Dallaway, in 
 his edition of Walpole (vol. ii. p. 176, n.) says, Rubens staid in 
 England not exceeding two years : Walpole in the text (p. 184) 
 states, " I do not find how long Rubens staid in England, pro- 
 bably not above a year." According to Cean Bermudez ( Dicciona- 
 rio, iv. p. 266) Rubens left Madrid on the 26th of April, 1629, and 
 went to Brussels, whence he immediately proceeded to England. 
 It appears that Rubens was to be the bearer, on his journey home- 
 wards, of a letter from Dupuy to Gevaerts, dated at Paris, May 12, 
 1629, (see Lettres inedites de P. P. Rubens, par Emile Cachet, Brus- 
 sels, 1840. ) We further learn from a letter written by Rubens from 
 England, on the 8th of August, that he stayed not quite four days 
 at his own house on his return from Spain (see Cachet, p. 229, 
 comp. p. 233.) The Infanta, it would seem, had received the 
 despatches brought from Madrid by Rubens, before the 17th of 
 May. (Cachet, p. 231, n. 2.) Consequently, we may conclude
 
 230 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 1 XLIV. The most celebrated of Rubens' scholars is 
 Antony van Dyck (1599 1641). In his earlier works, 
 
 that Rubens was in England before the beginning of June 1629. 
 At the end of December of the same year, Rubens was in daily 
 expectation of leaving England. (Cachet, p. 249.) In the 
 month of March he had returned to Brussels. (Carpenter, p. 169.) 
 The entry respecting the warrant under the privy seal for 500/., 
 on account of the hat-band and diamond ring presented to Rubens, 
 as is supposed on his taking leave, is dated February 20, 1630; he 
 was knighted at Whitehall on the following day. The extract from 
 the Lord Chamberlain's books states the payment made to Gerbier 
 for the charges and entertainment of Rubens, his brother-in-law 
 Brant, and his suite, as being for the time from December 7 to 
 February 22, 1630. This latter date probably marks the day of 
 his departure. He remained, therefore, in England, nearly, if not 
 quite, nine months. 
 
 Rubens's great work, the ceiling of Whitehall, was, of course, 
 not painted whilst he was in this country, and in fact was not 
 finished till nearly six years afterwards : the proofs of this will be 
 seen in Mr. Carpenter's work, p. 169 171. After his return to 
 Flanders he again visited Spain, and in the course of the year 
 married his second wife, Helena Forman. Rubens received 
 3,000/. for the ceiling: it was restored in 1687 by Walton, and 
 again in the time of George III. by Cipriani. (Dallavvay's Wai- 
 pole, ii. p. 173.) 
 
 W r ith regard to Rubens' journeys to Spain, his first visit was in 
 1605, on a mission from Vicenzo Gonzaga, the Duke of Mantua, 
 to Philip III. The court was then at Valladolid, and Rubens 
 painted three large pictures for the Franciscan nuns of Fuensal- 
 dafia, about a league from that city. (Cean Bermudez, iv. p. 2-58. ) 
 These pictures are now in the Museum at Valladolid : (see Ford's 
 Hand-book, p. 629.) The story of Rubens having been in Spain 
 at the same time as Charles I., in 1623, seems to be completely 
 false. (See Fiorillo, Gesch. d. z. k. in Deutschland, iii. s. 8. 
 Cean Bermudez, iv. p. 262.) His first acquaintance with Buck- 
 ingham is said to have been in 1625. (See Cachet, pref. p. xxxv. 
 and Waagen, Rubens, s. 205. ) 
 
 His next visit to Spain was in the autumn of 1628 : in his letter 
 to Dupuy, (Cachet, p. 217,) dated August 10, he speaks of the
 
 XL1V.] MASTERS OF THE SEVENTEENTH CENTURY. 237 
 
 the endeavour of the pupil to appropriate to himself the 
 peculiarities of the master, even to exaggeration, is 
 
 journey as then likely to happen ; according to Cean Bermudez, 
 (probably on the authority of Pacheco, arte de la Pintura, p. 100,) 
 he arrived at Madrid in the course of the same month : his stay- 
 on this occasion was, therefore, nine months, since he left Spain 
 for England in April (see Pacheco, p. 100). As has been already 
 stated, he again went to Spain after his mission to England. Be- 
 sides the original pictures painted by Rubens in Spain, during his 
 visit in 1628, he copied all the Titians belonging to the king, so at 
 least says Pacheco. Among the most remarkable of Rubens's nu- 
 merous pictures which were formerly in Spain, were the large works 
 in the convent of Dominican nuns at Loeches, a village of New Cas- 
 tile, about five leagues from Madrid. This convent was founded by 
 the Conde-Duque : thither he retired when first in disgrace, and 
 there he was buried. There were four smaller pictures and six 
 larger, the latter being intended for tapestry. When the French 
 were in Spain, two of the larger (the Triumph of Religion and the 
 Elijah) passed into the hands of Sebastian!, and are now in the 
 Louvre. Four more are in the Marquis of Westminster's collec- 
 tion, having been bought for 10,0001. of Bourcke, who had been 
 Danish minister at Madrid. An account of the whole transaction 
 with a reference to Mr. Buchanan's Memoirs, will be found in 
 Ford's Hand-book, vol. ii. p. 882 : compare Cean Bermudez, iv. 
 p. 274. Mrs. Jameson's Private Galleries, p. 272. Waagen, 
 England, ii. s. 114. The latter thinks that these large pictures 
 were mainly, if not entirely, executed by the artist's pupils. 
 
 It is impossible to give anything like a list of the works of 
 Rubens which are in this country : the " Rubens Room " at 
 Windsor contains eleven : there are eighteen or twenty, I believe, 
 at Blenheim : the " Chapeau de Paille " has already been spoken 
 of, as well as some of the pictures in the Grosvenor Gallery, where 
 there are, however, several others besides those which originally 
 came from Loeches. (See Mrs. Jameson's Private Galleries, 
 pp. 271, 272.) In addition to other works of Rubens, Lord Ash- 
 burton has the celebrated W r olf-hunr, painted in 1612 for thu 
 Spanish general, Legranes. (See Waagen, England, ii. s. 84.) 
 The Conversion of St. Paul has bee mentioned in the text ; 
 Mr. Miles has also a large picture of the Woman taken in Adultery,
 
 238 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 very evident. Some rare examples of this early ten- 
 dency are preserved in the Berlin Museum-. Among 
 
 and a Holy Family. There are several portraits at Warwick 
 Castle, as well as the picture of Ignatius Loyola from the Jesuits' 
 College at Antwerp. ( See Waagen, England, ii. a. 367. ) 
 
 I cannot do more than refer to the collections at Castle Howard, 
 Althorp, Wilton, Petworth, Cobham, and others, which are rich in 
 the works of this great master. 
 
 The Judgment of Paris in the National Gallery, which was 
 purchased from Mr. Penrice's collection, is, perhaps, one of the 
 finest specimens of Rubens in this country : it is said to have cost 
 the nation 4,000/. The Elevation of the Brazen Serpent was pur- 
 chased by the Government in 1837: it was imported by Mr. Wil- 
 son. (See Buchanan's Memoirs, ii. p. 201.) The Rape of the 
 Sabines has been already alluded to. The " Peace and War," 
 now again the property of England, was painted for Charles I. ; 
 sold ; purchased from the Doria family in 1802 by Mr. Buchanan's 
 agent ; and after the purchase, in relining the picture, the initials, 
 ' C. R., and the crown on the original canvas, caused it to be recog- 
 nised as that described in the catalogue of Charles's pictures. 
 (See Buchanan's Memoirs, ii. pp. 108, 110, &c.) It was pre- 
 sented to the nation by the Marquis of Stafford. The "St. Bavoa" 
 was also imported by Mr. Buchanan for Mr. Holwell Carr in 1805. 
 For the innumerable Rubenses in the Madrid Gallery the reader 
 may now be referred to Mr. Ford's admirable Hand-book of Spain, 
 pp. 763 8. -ED.] 
 
 * [Waagen (England, ii. s. 173) considers the St. Martin 
 dividing his cloak with the Beggar, at Windsor, which is attributed 
 to Rubens, as a work of Vandyck of this period. Sir Johua, 
 speaking of three pictures at Diisseldorf, now it is presumed at 
 Munich, a St Sebastian, a Susanna, and a Pieta, thus charac- 
 terizes the early manner of the master. " This is Vandyck's first 
 manner, when he imitated Rubens and Titian, which supposes the 
 sun in the room : in his pictures afterwards he represented the 
 effects of common day-light : both were equally true to nature ; 
 but his first manner carries a superiority with it and seizes our 
 attention, whilst the pictures painted in his latter manner run a risk 
 of being overlooked." Works, ii. p. 381. In the preceding page 
 Reynolds had mentioned a Pietii which was attributed to Vaudyck,
 
 XLIV.] MASTERS OF THE SEVENTEENTH CENTURY. 239 
 
 them is a picture of the two St. Johns, which bears the 
 impress of geiiius still untamed, and exhibits a conscious 
 display of dexterity of hand. Similar to it is the out- 2 
 pouring of the Holy Spirit, not happy as a composition, 
 but with heads full of life and character. Still more 3 
 important is a Crowning with thorns and mocking of 
 Christ, in which the figures are executed with power, 
 though not free from exaggeration ; the composition, 
 however, is clearer, and the development of character 
 more varied. 
 
 Afterwards, and probably in consequence of his studies 4 
 in Italy, Vandyck abandoned the taste of his master 
 for what is violent and exaggerated, and formed for 
 himself a peculiar style, in which he executed numerous 
 works. Instead of delineating violent passion, and the 
 heavy forms of a ruder nature, he sought to emulate the 
 more graceful figures and the softer colouring of the 
 Italian masters, particularly of Titian ; and at the same 
 time he endeavoured to give the expression of deeper 
 feelings of a more tender love, a more spiritualized 
 sorrow, and a more touching emotion. His subjects 
 have generally a character of outward repose, and are 
 confined within a narrow circle. In the hands of Van- 
 dyck, this rather sentimental manner has been brought 
 to the highest perfection, and imbued with the deepest 
 pathos; but he does not always observe the proper 
 limits, and sometimes borders upon the artificial and 
 theatrical. 
 
 but held by some to be a work of Rubens, and he adds, " This 
 difference of opinion among connoisseurs shows sufficiently how 
 much the first manner of Vandyck was like that of Rubens. He 
 is almost the only instance of a successful imitation. "En,]
 
 240 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 5 The picture of the elevation of the Cross in a chapel 
 of the choir of the church of the Virgin, at Courtmy, 
 belongs to the period of transition from the earlier to the 
 later style of the artist*. The bold drawing of the few 
 figures the animated figure of the horseman in armour, 
 turned to the spectator, and the three executioners 
 all this is still very powerful, and reminds us of Rubens. 
 The colouring has certainly not his glowing freshness, 
 but the expression of pain in the crucified Saviour has 
 a character of deeper and more noble softness. 
 
 In a class of pictures of which the subjects, and partly 
 also the composition, bear a close affinity to each other, 
 Yandyckhas admirably expressed the action of profound 
 sorrow which overwhelms the soul. They represent the 
 body of Christ taken down from the Cross, and mourned 
 by his followers. In most of these the body rests 
 on the lap of the sorrow-stricken mother, with angels, 
 
 6 who weep and worship at her side. In the Academy of 
 Antwerp are two pictures of this kind, by Vandyck. 
 which still remind us, though in different degrees, of 
 the more powerful handling of his master, and there 
 
 7 are also two others in the gallery of Munich, of which 
 
 8 one has many of the peculiarities of Rubens. Others 
 are in the Louvre, and elsewhere. A fine picture of 
 
 9 the same subject is in the Museum of Berlin the com- 
 position, however, is rather different, as St. John, a 
 beautiful and gentle youth, supports the head of the 
 Saviour, and looks mournfully at Mary Magdalene, who 
 
 10 kneels at the feet. A similar depth of sorrow and me- 
 lancholy resignation is combined with an endeavour to 
 
 * Schr.aase, Kiederlandische Briefe, s. 425.
 
 XLIV.] MASTERS OF THE SEVENTEENTH CENTURY. 241 
 
 give graceful form, in a series of works the subject of 
 which is the Martyrdom of St. Sebastian. Many of the 
 kind are in the Munich Gallery, the Louvre, and other 
 collections. 
 
 In the Holy Families, so frequently painted by Van- 
 dyck, we generally find a charming expression of cheer- 
 fulness and soft repose ; of these there are interesting 1 1 
 examples in the Munich Gallery, and several exist in the 12 
 English collections. In the Berlin Museum is a pic- 
 ture, which with these qualities, combines a deeper tone 
 of mournful feeling. It is the Mother of Grace with 
 her divine Child, and before them the earthly fore- 
 fathers of the Eedeemer, Adam, Eve, and David, who are 
 introduced as the joint representatives of fallen man. 
 These three faces, of great human beauty, express a 
 consciousness of sin, but are full of trust and faith, while 
 the noble countenance of the Queen of Heaven shows a 
 sorrowing sympathy with earthly woe. 
 
 Other historical pictures of sacred subjects are to be 13 
 met with, though more rarely, as well as compositions 
 of ancient mythology. Of all the various classes of 
 subjects for painting, this last was the least consonant 
 with the taste of Vandyck, as it allowed no sufficient 
 scope for the expression of the sentimental. He might 
 indeed display the softness of his colouring in the 
 naked form, but he never could attain the naivete of 
 expression so essential under all circumstances to the 
 successful treatment of such subjects. 
 
 Vandyck obtained his highest reputation as a portrait 14 
 painter ; he not only knew how to represent nature in ge- 
 neral in fine forms, and in warm and beautiful colour, but 
 
 VOL. II. M
 
 242 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 his peculiar mode of conception enabled him to seize the 
 more refined delicacy of the upper classes, -without at the 
 same time failing to mark with life and spirit the nicer 
 traits of character, despite its external polish. The 
 latter years of his life, when he resided in England, 
 were chiefly employed in works of this kind, and the 
 15 English collections are extremely rich in admirable 
 portraits by him; there are also some of great ex- 
 cellence in the galleries of Berlin, Vienna, Florence, 
 Paris, and elsewhere *. 
 
 * [It is impossible to attempt, within the compass of these notes, 
 to give a list even of Vandyck's principal works in England. A 
 catalogue of the kind is given in Dallaway's notes to Walpole, 
 pp. 212-222, and the reader may refer to Smith's well-known work. 
 The principal collections are the Royal Collection, and those at 
 Blenheim, Althorp, the Grove, Gorhambury, Stow, Worksop, Pet- 
 worth, and Wilton. The division of the Chancellor Clarendon's 
 collection of portraits must always be most deeply regretted : the 
 portion of it still remaining in the possession of the present Earl of 
 Clarendon is sufficient to show what its value must have been when 
 united. Mr. Munro has a most exquisite head by Vandyck, which 
 is said to be that of the young girl with whom he fell in love on first 
 leaving the school of Rubens. 
 
 It appears that Vandyck was in England in February, 1626, 
 (Carpenter, p. 9,) where, however, he did not remain long on that 
 occasion. He returned to this country in March or April, 1632: 
 in 1640 he made a journey into Flanders with his wife, (Maria 
 Ruthven,) thence he proceeded to Paris, and came back to Eng- 
 land after a stay in that capital of about two months. In Decem- 
 ber, 1641, he died, and was buried in St; Paul's; his widow married 
 Sir Richard Pryce of Gogerddan in Cardiganshire. (See Car- 
 penter, pp. 42, 43, 45. Dallaway's Walpole, ii. p. 229. ) 
 
 Mr. Carpenter has extracted from the papers in the State Paper 
 Office some very interesting particulars respecting the payments 
 made to Vandyck for his works in this country ; (see pp. 66, 67. ) 
 Unsparing reductions were made in the prices asked by him : thus,
 
 XLV.] MASTERS OF THE SEVENTEENTH CENTURY. 243 
 
 There are but few imitators of Vandyck's peculiar 16 
 manner. The best is, perhaps, Cornelius deVos-f; and 
 a large and successful portrait by him in the Berlin 17 
 Gallery, approaches very nearly to the style of his 
 master. Thomas Willeborts and Nicholas Yiieling, who 
 are distinguished, at least generally, by a certain clever- 
 ness of pencil, belong to the same class. There are 
 paintings by both in the palaces of Berlin and Potsdam, 
 and one by the former in the Museum of Berlin. 
 
 XLV. The other scholars and followers of Rubens 1 
 did little more than imitate his external peculiarities, 
 and endeavoured to catch the boldness of his drawing, 
 the vigorous treatment of his subject, and the fire of his 
 composition. The tone of their master's works, how- 
 ever, directed them to the study of actual nature, and 
 thus preserved them in general from the taint of ex- 
 treme mannerism. But we look in vain in their works 
 for those qualities which united to give so peculiar a 
 charm to the productions of Rubens. We miss that ful- 
 
 the price of the portrait of Charles, probably the one now in the 
 Louvre, with his horse, an equerry, and a page, is reduced from 
 200/. to 100 : his pension, too, of 200/. a-year was much in arrear, 
 and probably remained so at the time of his death. ED.] 
 
 * [This master is omitted in Pilkington as well as in Fiorillo 
 (Gesch. d. z. k. in Deutschland). A portrait in the Fitzwilliam 
 Museum at Cambridge is attributed to him : and there are two of 
 his pictures in the Museum at Antwerp. The picture at Berlin is 
 No. 318, 2nd part, in Waagen's Catalogue of 1834: compare 
 Waagen, England, ii. s. 524. The imitation of Vandyck by his 
 Spanish pupil, Pedro de Maya, who will be noticed hereafter, was 
 important on account of its influence on Murillo. Moya was with 
 Vandyck when he died. Cean, iii. p. 207 ED.]
 
 244 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 ness of life, and that freshness of feeling, joined with 
 the joyousness and vigour of -well-defined character, 
 which distinguished their master ; and the pictures of his 
 u pils afford us but little pleasure, if they are not actually 
 repulsive. Most of their works, which are often on a 
 colossal scale, are to be found in Brabant, especially in 
 the churches and academy of Antwerp. The most im- 
 
 2 portant of these artists was Jacob Jordaens (1504 1678) 
 who is particularly distinguished by correctness of draw- 
 ing and cleverness of conception. One of his best com- 
 positions, which is often met with in galleries, is a repre- 
 sentation of Twelfth Night, or another drinking party, 
 
 3 in which a rather boorish joviality prevails. Abraham 
 ran Diepenbeck, Peter van Mol, Theodore van Thuldeu, 
 Erasmus QiielUnus*, and others, were scholars of Rubens. 
 To these may be added further, the artists not so closely 
 
 4 connected with his school, such as Gerhard Set/hers, 
 Caspar de Grayer, Nicholas de Lionaekern. Works by 
 
 5 the two last are preserved in Ghent, The pictures of 
 Abraham Jansens, who was the bitter rival of Rubens on 
 his first appearance in Antwerp, show an effort after 
 the same rough fidelity to the objects of sense, but he 
 has perhaps less than any one else of the brightness 
 and cheerfulness which distinguished his antagonist. 
 
 * [ It should be stated that George Jameson, the Scotch portrait 
 painter, was a fellow pupil with Vandyck in the school of Rubens. 
 (See Dallaway's YTalpole, ii. p. 244.) For a criticism on one of 
 Crayer's large works as compared with those of his master, see Sir 
 Joshua Reynolds's Tour; Works, ii. p. 378. Some of Crayer's 
 largest and finest pictures are to be seen at Amberg, the ancient 
 capital of the Upper Palatinate. See Waagen, Deutschland, ii. 
 s. 133. ED.]
 
 XLVI.] MASTERS OF THE SEVENTEENTH CENTURY. 245 
 
 B. SCHOOL OF HOLLAND. 
 
 XLVI. About the beginning of the seventeenth 1 
 century, a reaction from the mannered style of the 
 masters of the preceding century had manifested itself 
 also amongst the Dutch. In the first instance, how- 
 ever, satisfied with supplying the mere wants of society, 
 the artists restricted themselves to portrait painting 
 a branch of art which afforded a striking contrast with 
 the insipid and whimsical style of some of the earlier 
 masters, among whom, however, single examples of the 
 same kind may be found. Portrait painting had a 
 firm and sure footing in the faithful imitation of nature. 
 That simple and unpretending conception of the 
 subject, which had succeeded so perfectly in Holbein 
 and his followers, was the feeling which generally pre- 
 vailed. The artist endeavoured to catch the form and 
 figure of his model in all its individual peculiarity, and 
 in doing this he worked with the utmost zeal and dili- 
 gence, without an over-anxious attention to insignificant 
 details, but it must also be confessed without much 
 poetical feeling. Thus, in their pictures of this time, 
 the national character of the Dutch is pourtrayed exactly 
 as it had been formed by the possession of civil freedom 
 and domestic comfort. If occasionally an equivocal 
 self-complacency (an expression, however, to be charged 
 to the model rather than the painter,) provokes an 
 ironical smile, there is combined with it so much truth, 
 and such technical perfection in the painting as a 
 whole, that the greater number of these works undoubt
 
 246 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 edly deserve to be ranked amongst the first portraits in 
 existence, and they accordingly serve to adorn some of 
 the finest collections. 
 
 2 Of these artists, the best are Michael MiereveU * (1567 
 1(541), his scholar PaulMoreelxse (15711638), John 
 van Ravestyn, and Francis Hah\ (1584 1666). The 
 last, indeed, was born at Mechlin, but must be regarded 
 as a Dutchman with regard to the place where he exer- 
 cised his art, which he brought to a high degree of 
 perfection. Theodor de Keyset- stands next in time to 
 the last-named artist. The pictures of this master are 
 rare ; they display a most amusing naivete in delineat- 
 ing the vulgar circumstances of every-day life, combined 
 
 3 with an execution of admirable force and truth. The pic- 
 ture of a Merchant with his numerous Family {, in the 
 Berlin Museum, is masterly in its expression of com- 
 
 4 fortable and most monotonous satisfaction ; another 
 picture, consisting of two portraits, is in the Gallery of 
 Munich. 
 
 [Mr. Beckford had an excellent picture by Mierevelt, of a man 
 and woman (half length). At Woburn there is a portrait of him 
 by himself ; see Waagen, England, ii. s. 325, 548. Mrs. Jameson 
 attributes to him the picture which she conjectures to be the Infanta 
 Clara Eugenia. (No. 656, Hampton Court.) No. 653, in the 
 same collection, is marked as doubtful : at Windsor there is a por- 
 trait called " The Antiquarian," by this master; see Public Gal- 
 leries, i. p. 247 ED.] 
 
 | [There is a large family picture by F. Hals in the Pinacothek 
 at Munich (No. 317). The Duke of Devonshire possesses a 
 good portrait by him, (see Waagen, England, i. s. 254,) and there 
 is a large head at Hampton Court (No. 225). ED.] 
 
 | [No. 235 a, in the Berlin Museum : the picture by Keyser in 
 the Pinacothek, is No. 418, (Cabinets). ED.]
 
 XLVI.] MASTERS OF THE SEVENTEENTH CENTTJBY. 247 
 
 The most celebrated of the Dutch portrait painters, 
 Bartholomew van der Heist (1613 1670), is somewhat 
 later than those -just named. He leans rather to Van- 
 dyck's manner, and his colouring particularly bears a 
 close affinity to that of his master, but in the conception 
 and treatment of his subject, he has all the naivete of 
 his predecessors *. His best work is in the Museum of 5 
 Amsterdam. It represents the entertainment given by 
 the Burgher Guard of Amsterdam, to their leader Wits, 
 on the Solemnization of the Peace of Westphalia f. In 
 
 * See Quast. in the Museum, 1834, No. 44, p. 363. 
 
 f [This picture of the " Schuttersmaaltijd," or " The Banquet 
 of the Musqueteers," is characterised by Sir Joshua as " perhaps 
 the first picture of portraits in the world, comprehending more of 
 those qualities which make a perfect portrait than any other I have 
 ever seen." (Works, ii. p. 355. ) 
 
 Niebuhr, who was certainly not a partial judge of Dutch and 
 Flemish pictures, (see Briefe aus Holland, Brt. 9,) has a striking 
 passage on the subject of this picture. Nachgel. Schriften, i. 
 s. 292 
 
 " The Schuttersmaaltijd of B. v. d. Heist and Rembrandt's 
 Night Guard were new to us : these two pieces, and if I may ven- 
 ture to say so, more especially the first, are indescribably beautiful. 
 The subject is the celebration of the Peace of Westphalia : its 
 first excellence, no doubt, is the action and the life which pervade 
 the picture, (all the figures are portraits, and most of them are still 
 known,) but the truth and the nature in every object from the 
 Rhine wine in the large rummer glasses to the ham from which one 
 of the guests is cutting a slice with great satisfaction to himself 
 are also wonderful. 
 
 " An Amsterdam man, who was formerly an officer in the burgher 
 guard, told me how the very look of this ham-eater had wound up 
 his feelings of hunger to an unbearable pitch, when he was once 
 obliged whilst yet fasting to while away a long forenoon in the 
 room of the council of war in which the picture formerly hung. 
 He could not, he said, take his eyes off the picture, and he got at
 
 '248 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 this colossal picture we see the full length of the 
 splendid table, with all its joyous guests. The captain, 
 in a black dress, sits tranquilly in the centre, turned to 
 the spectator, with one leg thrown over the other, and in 
 his hand the blue silk banner with the arms of the city. 
 Around are his stout companions in arms, in admirable 
 groups, jesting and revelling, drinking and pressing 
 each other's hands, to their hearts' content. The most 
 varied individual character rough, jovial and active, 
 but faithfully reflected from nature the greatest rich- 
 ness in the materials of the glittering arms and drinking 
 vessels the solid, broad, free handling, all combine to 
 give this work an unique value among pictures of its 
 class. 
 
 6 A second painting, of equal excellence but of much 
 smaller size, is in the Louvre ; it is known by the name 
 
 last into a sort of rage with the man who seemed to be mocking 
 him, whilst he made himself so comfortable. 
 
 " I believe that the painter would have been pleased with the 
 compliment implied in this story, told as it was with the most pro- 
 saic simplicity, as much as Zeuxis is said to have been with the 
 deception of the birds ; and I think that the popular voice when it 
 speaks so strongly as this, is the best judge of art." 
 
 It may be observed, however, with all respect for Nicbuhr, that 
 the compliment implied in the two stories is essentially different : 
 in the case of Zeuxis it is supposed to have been the mere illusion 
 of a dead object misleading an animal : in that of v. d. Heist, it 
 was not the mere resemblance of the ham which made the Amster- 
 dam burgher hungry, but a much higher operation of art ; that is 
 to say, the keen relish and self-gratulation of the eater in the pic- 
 ture, awakened a kindred feeling in the spectator, by the vivid con- 
 ception and truthful execution of human feeling. A similar effect 
 might be produced on a thirsty man by the figure holding a bowl of 
 wine in the " Bebedores" of Velasquez. Eu.]
 
 XLVJI.] MASTEHS OF THE SEVENTEENTH CENTURY. 249 
 
 of the Four Burgomasters : they are in the act of dis- 
 tributing the prizes among the victors in archery. 
 Single portraits by van der Heist, and by the other 
 artists just named, are to be found in different 
 
 galleries -'-. 
 
 XLVII. In the second quarter of the seventeenth 
 century, a master appeared amongst the Dutch, who 
 created a peculiar style of historical painting, such as 
 formed a direct contrast to the school of Rubens in 
 Brabant. This was Paul Rembrandt van Eyn (1606 1 
 16T4)f. In the commencement of his progress as an 
 artist, he adopted the manner of the masters mentioned 
 
 * [There are two pictures attributed to v. d. Heist in our 
 National Gallery, and one at Hampton Court. (Sec Mrs. Jame- 
 son's Public Galleries, vol. i. p. 143, 145. Nos. 140, 145; and 
 vol. ii. p. 310, No. 94. ) Mr. Hope possesses a picture of v. tie 
 Heist's best time. Waagen, England, ii. s. 139.) There is a 
 full length by him in the Lichtenstein Gallery at Vienna. ED.] 
 
 t [It has been generally assumed on Houbraken's authority that 
 Rembrandt died in 1674 : there seems good reason to believe that 
 his decease took place ten years earlier. The reasons for this view 
 are given by Rathgeber, Annalen der Niederl. Malerei, s. 200, 
 and pref. s. vii. They are shortly these : Five pictures and one 
 etching of Rembrandt's are known to have been executed in the 
 year 1661 : in 1662 and 1663 there is no work of his: in 1664 
 there appears only the fine picture of Lucrctia, now belonging to 
 Mr. Munro. After this year it is said that Rembrandt's name appears 
 in no public register, but in September, 1665, is found that of his son, 
 Titus van Rhyn. A picture in the gallery at Gotha was supposed to 
 bear the date 1669, but Rathgeber assures us, that on examination 
 the third figure is illegible, and was certainly not a " 6 ." added to 
 which, the work itself corresponds with the artist's style in 1649. 
 It seems probable that the date 1674, in Houbraken, was a mis- 
 print which has been perpetuated and multiplied. ED.] 
 
 M 3
 
 250 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 above ; accordingly his first object was to find his models 
 among the race of men around him, and to make their 
 forms his standard of excellence as an artist. But what 
 his predecessors had adopted almost unconsciously and 
 naturally, he carried out with a definite and exclusive 
 view. He took up a hostile position against the study 
 of the ideal, or of pure beauty of form, and deliberately, 
 sometimes even with predilection, proceeded on the 
 principle of imitating vulgar nature *. 
 
 He ironically termed the pieces of rusty armour and 
 strange furniture which filled his atelier, " the antiques" 
 from which he studied. His peculiar style has often 
 been blamed, as a foolish caprice, and certainly every 
 singularity into which the artist has fallen, is not to 
 be defended; nevertheless, his mode of proceeding 
 had a deeper foundation. Like almost all the artists 
 of the time, his aim was not to represent the sublime 
 repose which the contemplation of perfect beauty pro- 
 duces, but rather to express on the canvass the tone of 
 his own mind, with its dark feeling of dreamy power, 
 and subdued passion ; in real truth, he struggled to 
 give vent to a rude defiance of all conventional excel- 
 lence, and in the fulfilment of this task he has indeed 
 
 * [Fuseli said, " The female forms of Rembrandt are prodigies 
 of deformity ; his males are the crippled produce of shuffling in- 
 dustry and sedentary toil." Aphorisms, 151. Knowlcs, iii. p. 123. 
 
 The artist's power is best felt by considering what grandeur, and 
 even sublimity, is often concentrated within a few square inches of 
 copper or canvass, in spite of the debased nature of the materials 
 which are worked up into such a wondrous whole. We may fairly 
 suppose that he cultivated ugliness in his forms in order to show 
 what obstacles he could overcome. .ED.]
 
 XLVII.] MASTERS OF THE SEVENTEENTH CENTURY. 251 
 
 produced extraordinary effects. He gives no sharply- 
 defined forms, but merely indicates them with a bold 
 and vigorous brush ; the principal points alone are 
 made bright and prominent by striking lights, but at 
 the same time the lights reflected from them penetrate 
 in a wonderful manner the surrounding darkness, to 
 which they thus give life and warmth. There is some- 
 thing phantasmagoric in this style, which reminds us of 
 the predominant tendency of Northern art towards the 
 close of the middle ages, to the marvellous and strange. 
 His figures appear to us as singular and fabulous beings, 
 but with their accessories they never fail to excite in us 
 the poetic tone of mind aimed at by the artist, which is 
 for the most part of a gloomy character. His pictures 
 have a sort of musical element in them, and although 
 they are founded on the forms of common life, they 
 seize upon our inward feelings far more deeply than a 
 mere imitation of nature, though much more complete in 
 itself, could possibly do. In many respects, therefore, 
 Rembrandt is the opposite of Eubens. If the paintings of 
 the latter, despite their heavy, sensual forms, always 
 preserve a certain distinguished character, as if destined 
 to set off the pomp of the newly-established Catholic 
 worship, or to deck the palaces of princes in those of 
 Eembrandt the master seems as it were a sturdy and 
 gloomy republican : if Rubens represents exciting 
 events in a thoroughly dramatic form, Rembrandt 
 generally pourtrays the stillness of passion fermenting 
 in concealment : if Rubens endeavours to delineate life 
 objectively, with a full development of all the varied 
 shades of character, it is the subjective element, the
 
 252 MASTERS OF THE SEVENTEENTH CENTURY. [fiOOK V. 
 
 expression of his own tone of mind, which is the chief 
 aim of Rembrandt. 
 
 2 In the earlier productions of Rembrandt, these pecu- 
 liarities are less apparent he stands here in close 
 relation to the portrait painters of his country, mentioned 
 above, and has left works of the highest merit of the 
 same kind. Before all must be cited a large portrait 
 
 3 of 1632 *, in the Museum of the Hague. Its subject 
 is the celebrated anatomist, Nicholas Tulp, vrho dis- 
 sects and demonstrates on a dead body, in presence of 
 several hearers : the execution, the modelling, and the 
 truth of the portraits are admirable, without any of the 
 bold effects of his later pictures. In other galleries also 
 we meet with portraits conceived with this same sim- 
 pler feeling. In portraits of his later time Rembrandt 
 often exhibits, amid many examples of rash and daring 
 treatment, a successful effort to delineate the peculiar 
 character of his subjects with earnestness, fidelity and 
 
 4 care. The Dutch private collections, particularly those 
 of van Loon, and van Sixt (a descendant of the burgo- 
 master of that name, Rembrandt's friend and best 
 patron), at Amsterdam, possess excellent works of the 
 
 5 kind. In the galleries of England f, particularly in 
 
 * [Compare Sir Joshua Reynolds's Tour, Works, ii. p. 3o7. 
 ED.] 
 
 f" [Something must be said of the portraits by Rembrandt in 
 this country. There are five in the Grosvenor Gallery, including 
 that of the painter himself, and two heads of Berghem and his 
 wife. (See Airs. Jameson's Private Collections, p. 267.) Those 
 of the gentleman with the hawk and the lady, (three quarters 
 length,) are exceedingly beautiful. Mr. Wells, I believe, is the 
 owner of an admirable portrait of Rembrandt's mother : two fine
 
 XLVII.] MASTERS OF THE SEVENTEENTH CENTURY. 253 
 
 those of the Marquis of Westminster, the Duke of 
 Sutherland, and at Dulwich College, there are ex- 
 cellent examples. In the German collections, and in 
 the Louvre, admirable portraits by Rembrandt are also 
 found. 
 
 The most celebrated picture of this kind from his 6 
 later time is the so-called " Night Watch," in the 
 Museum of Amsterdam, of colossal size ; it represents 
 a party, with their arms, marching out to fire at a 
 mark*. They form a joyous crowd, hurrying to and fro, 
 loading their arms and beating their drums, whilst in 
 the centre is the leader, a large stately figure, clothed 
 in black from head to foot. The lights and shadows are 
 
 pictures of the same class are at Chiswick : Sir Robert Peel has 
 an oval portrait of high excellence. In the Bridgwater Collec- 
 tion there are four portraits, one of which is the painter's own, at 
 the age of about fifty. Another portrait of himself, still later in life, 
 belongs to Mr. Rogers. Lord Ashburton's collection comprises 
 four or five portraits, among which is that of the writing-master, 
 Coppenol, so well known from the etching ; this picture came 
 from Lucien Bonaparte's collection : two others were from Mal- 
 maison, and more remotely from Cassel. (See Waagen, ii. s. 86.) 
 Mr. Hope has a very fine full length of a lady sitting in an arm- 
 chair, and her husband standing beside her. In the Queen's pri- 
 vate gallery is the celebrated picture of the Shipbuilder and his 
 Wile, from La Fontaine's collection, as well as the portraits of the 
 burgomaster, Pancras and his wife, and three others. ( See Mrs. 
 Jameson's Private Collections, i. p. 37, 38.) Waagen states that 
 the only equestrian portrait by Rembrandt which he knows, is that 
 of Turenne at Panshanger : a picture between nine and ten feet 
 high, and, nearly six feet wide. The picture of an Officer, in the 
 Fitzwilliam Museum at Cambridge, is one of the greatest force 
 and beauty ; and the Jew in the National Gallery is equally excel- 
 lent. ED.] 
 
 See Quast. in the Museum, 1834, No. 43, 352.
 
 254 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 sharply opposed, and, by their piquant contrast, give 
 the strongly-marked effect of night illumination (whence 
 the name), although no torch is visible. However re- 
 markable this picture may be for great individual truth 
 in its conception and in the treatment of the subject, yet 
 the singularity of its light and shadow, and the play of 
 chiaroscuro, are such as show the prevailing influence 
 on the painter's mind of that fantastic element of art to 
 which we have already alluded. 
 
 Rembrandt's peculiar style naturally appears to most 
 advantage when the subject represented accords with 
 his own gloomy and powerful mind. Of this we may 
 cite as proofs two pictures in the Berlin Museum ; one, 
 decidedly his master-work, represents the tyrannical 
 7 prince, Adolphus of Gueldres, who lived about the 
 middle of the fifteenth century. He had surprised his 
 father, the old Duke Arnold, by night, and imprisoned 
 him in a tower of the Castle of Baeren, in order to 
 constrain him to abdicate. " Arnold," (thus Adolphus 
 answered the Duke of Burgundy, who endeavoured to 
 heal the strife between the father and son,) " Arnold 
 has been duke for four-and-forty years, it is now but 
 fair that I should take my turn." In the picture we 
 see the prison, at the window of which appears the 
 aged duke, apparently summoned to hold a parley with 
 his son : in front of him stands Adolphus, gorgeously 
 dressed, and with the train of his princely robe borne 
 by two Moorish boys. He raises his clenched fist at 
 the old man, and glares at him with eyes full of rage ; 
 his thick Samson-like hair is matted round his head, 
 mid as a horse's mane. We see with horror, by the
 
 XT.VJI.] MASTERS OF THE SEVENTEENTH CENTURY. 255 
 
 fierceness of his gestures, that he will not shrink from 
 any means to obtain what he wishes. The picture has 
 a tragic grandeur, such as Shakespeare, perhaps, alone 
 in his Pdchard III. was capable of conceiving. It is 
 so powerful in colour, and in the effects of light, that it 
 would be difficult, in these respects, to find its equal. 
 The second picturere presents Moses in the act of de- 8 
 strojing the Tables of the Law. Anger and grief appear 
 to agitate in a fearful manner the countenance of the 
 messenger of God. The laying on of the colour (which 
 according to tradition, was executed not with the pencil, 
 but with the fingers) is too bold. A third picture of the 
 same collection, Jacob Wrestling with the Angel, is 9 
 weaker, and wants the vivid power of the other two : the 
 subject itself is beyond the sphere of the artist. 
 
 In other works of his *, the effect depends wholly on 
 
 * [To advert more especially to some of our principal Rem- 
 brandts, no better specimen of his cabinet pictures can be found 
 than the " Woman taken in Adultery," in the National Gallery. 
 It was painted in 1644 : the other work of the Adoration of the 
 Shepherds, though more sketchy, shows still greater genius. The 
 Woman Bathing, or washing her linen, in the same collection, 
 has an effect which is perfectly magical. The first of these three 
 pictures belonged to the burgomaster, Sixt : Mr. Angerstein gave 
 no less than 5.000/. for it. There is a fine Rembrandt of the 
 same subject, but of an inferior quality, at Blenheim. The Woman 
 Bathing was part of the bequest of Mr. Holwell Carr. ( Compare 
 Waagen, England, i. s. 222. Mrs. Jameson's National Gallery, 
 voL i. Nos. 45, 47, 54.) Mr. Rogers possesses a sketch in chiaro- 
 scuro for an allegorical picture of the Liberation of the United 
 Provinces'. (Waagen, England, i. s. 413.) The Visitation in the 
 Grosvenor Gallery was painted in 1640, and was imported into 
 England by Erard. It is thought by Waagen (ii. s. 118) almost 
 to rival the " Woman taken in Adultery," of the National Gallery. 
 " Christ in the Storm" belongs to Mr. Hope (Waagen, England, 
 ii. s. 139) : it was painted in 1633. The Christ in the Garden
 
 250 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 some fanciful burst of light, vrhich seems to strike on 
 the persons in the picture with a startling and stunning 
 power, and thus hurries the spectator with irresistible force 
 into the world of the marvellous and the romantic. 
 Of this class may be specially mentioned, the 
 
 10 Sacrifice of Abraham, in the Hermitage at Petersburg ; 
 
 11 and the Family of Tobit with the Angel, in the Louvre. 
 To these may be added a series of small pictures, in the 
 
 12 Munich Gallery, of scenes from the life of Christ but 
 here, again, the subjects demanded a mode of treatment 
 foreign to the tendency of the artist. In some of his 
 pictures it is less this sudden effect of light than a still, 
 mysterious play of chiaroscuro, which excites a peculiar 
 
 13 dreamy tone of mind ; as, for instance, in two little pictures 
 in the Berlin Museum, which represent poor ruined hovels, 
 with a strange rabble about them (holy personages, ac- 
 cording to the idea of the artist). An extremely beiiuti- 
 
 14 ful picture in the Esterhazy Gallery, in Vienna, belongs 
 to this class as to its effect : in it two monks are en- 
 gaged in study, and the space around them is wonder- 
 fully illuminated by a light placed behind a curtain. 
 
 In some paintings Rembrandt has ventured on sub- 
 jects from sacred history, of a large size, and has en- 
 deavoured, in some degree, to divest himself of this 
 fanciful tendency ; but here, as might be expected, the 
 
 with the Magdalen, bearing the date of 1638, is in the Queen 
 private collection : it came from Malmaison, and was bought b 
 George IV. for 1,200 guineas. (Compare Waagen, England 
 s. 159. Mrs. Jameson's Private Galleries, p. 36.) The Adora 
 tion of the Kings in the same gallery (marked 1657), is a large 
 picture and of the most gorgeous character : it was bought fo 
 2,800/. (Mrs. Jameson, ibid. p. 37.) A repetition of this work 
 with some alterations belongs to Sir Thomas Baring. ED.]
 
 XLVII.] MASTERS OF THE SEVENTEENTH CENTURY. '257 
 
 vulgarity of his forms is only the more striking. The 15 
 most disagreeable of these pictures is Christ before 
 Pilate, with the figures the size of life, in the Ester- 
 hazy Gallery at Vienna ; the naked Christ is a most 
 misshapen Dutch academic figure, whilst the others 
 show some touch of the usual fantastic tendency, which 
 in this case, however, contrasted with his vulgar con- 
 ception of nature, is only disagreeable. A large Holy 16 
 Family, in the Munich Gallery contains, in the same 
 manner, but little to attract us. 
 
 In some instances, also, Rembrandt has treated sub- 
 jects from antique mythology. In their demand for 
 classical purity, they were certainly but ill adapted to 
 the gloomy and self-willed character of his style ; yet at 
 times he has contrived, in some peculiar way, to trans- 
 late them successfully into a sort of fable of his own 
 country. Among such works I reckon particularly 17 
 a, picture of a mythological subject, in the Lichtenstein 
 Gallery, at Vienna a Diana appearing to a Hunter 
 (Endymion ?) His dogs howl with fear, while the little 
 hounds of the goddess stand proudly by her side. Diana 
 and the hunter have a kind of awkward boorish look, 
 yet it cannot be denied that a certain charm of the 
 marvellous has been thrown over the whole composition. 
 The strange picture of Ganymede, in the Dresden 18 
 Gallery, is also to be placed in the same class. 
 
 There are, moreover, some landscape works by Rem- 19 
 brandt *. In the Munich Gallery is a small one of this 
 
 * [Specimens of Rembrandt's landscapes may be seen in Eng- 
 land, in the National Gallery, in Mr. Rogers's collection, in the 
 Queen's private collection, and in the Grosvenor Gallery : these
 
 QoS MASTERS OF THE SEVENTEENTH CEXTURY. [BOOKV. 
 
 kind. It represents an autumn scene, with cottages 
 amongst trees, through which the warm glow of an 
 evening sun is streaming. He has left a great number 
 20 of original etchings, which, for the most part, approach 
 very near to the effects of his pictures, and which bear 
 the impress of the same peculiar feeling. 
 
 1 XLVIII. Kembrandt's style is throughout subjective, 
 and the striking effects of his pictures are always in 
 
 works are as fine in their kind as his other productions. Lord Lans- 
 downe possesses the celebrated picture of Rembrandt's Mill : it is 
 at Bowood, and was originally in the Orleans Collection. See 
 Buchanan's Memoirs, vol. i. p. 195, 196. There can be little doubt 
 but that Rembrandt's facility in dealing with light and shade on the 
 copper in the extreme degrees of dark and light reacted on that 
 wonderful sense for chiaroscuro with which he was gifted. The 
 etching needle was to him a pencil ; and on the other hand he 
 painted on the same principles which he developed and made 
 familiar to himself in his etchings. With regard to his peculiar 
 execution I cannot forbear quoting some admirable remarks of Sir 
 George Beaumont, contained in one of his letters to Wilkie, writ- 
 ten in 1807: 
 
 " I know few things more unpleasing in a picture than too great 
 smoothness : there are no objects in nature perfectly smooth, ex- 
 cept polished objects and glass ; all other objects are varied by in- 
 numerable lights, reflections, and broken tints : perhaps no man 
 ever understood this fact better than Rembrandt, and it is this which 
 renders his drag, his scratch with the pencil stick, and his touch with 
 the palette knife, so true to nature and so delicious to an eye capable 
 of being charmed by the treasures of the palette : and it is the 
 want of this which renders Wouvermans and other painters of high 
 excellence, in other respects, comparatively insipid." Wilkie's 
 Life, vol. i. p. 135. 
 
 No man can look at a Vanderwerf, or a Carlo Dolce, with their 
 surfaceslike a newly japanned tea-board, without feeling the truth 
 of these observations. ED.]
 
 XLYIII.] MASTERS OF THE SEVENTEENTH CENTURY. 259 
 
 strict harmony with the tone of his own mind. This 
 was not, however, an element of art which, like the 
 vigorous imitation of ordinary nature by Rubens, could 
 be imparted to others by precept or instruction. The 
 greater number of his scholars and imitators borrowed 
 only his external manner, without acquiring the 
 substance which was alone fit to be clothed in such a 
 garb. Their pictures are consequently often poor and 
 affected, and it is only when they again turn to the 
 simple imitation of nature, that they have produced any 
 work of excellence. A considerable number of their 
 productions are in the Museum of Berlin. 
 
 Among the best of Rembrandt's scholars, is Gferbrand 
 van denEeckhout (b. 1620), on whom especially some por- 
 tion of the master's spirit appears to have descended. 
 His picture of Christ with the Doctors in the Temple, 2 
 in the Munich Gallery, is a clever work, and approaches 
 pretty closely to the style of the master His Presen- 
 tation in the Temple, in the Museum of Berlin, is dis- 3 
 tinguished by good chiaroscuro and by some heads full 
 of life. Other pictures of the same painter are less 
 pleasing. Govart Flinck (b. 1616), another scholar of 
 Rembrandt, is more insipid, for he endeavours to soften 
 the striking effects of his master, and to give more 
 attention to form, but without returning to the sim- 
 plicity which characterizes a correct imitation of nature. 
 A good picture of Flinck 's, in the Museum of Arnster- 4 
 dam, represents the burgher guard of the city, and 
 was painted as a memorial of the Peace of West- 
 phalia. Ferdinand Bol, excellent in single likenesses, 
 is to be classed with the earlier portrait painters of
 
 260 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 Holland *, although he was a pupil of Rembrandt, and 
 
 5 aimed at effects of peculiar force in his lights. Amongst 
 his works in the Berlin Museum, there is especially one 
 
 6 very good portrait. Nicholas Maas f (b. 1632), whose 
 pictures are rare, was another good portrait painter, and 
 
 7 was also distinguished in works of genre. An excel- 
 
 8 lent picture of the latter class exists in the Gallery at 
 Prague. G. Horst is a singular and rather poor mannerist 
 
 9 in Rembrandt's style. Joris ran Vliet also is strangely 
 fantastic, as may be seen, for instance, in a Rape of 
 Proserpine, in the Berlin Museum, which is somewhat 
 boldly painted in other respects ; the Dutch lady's maids 
 of the goddess hang upon her mantle, with the whole 
 weight of their heavy bodies, and are dragged along in 
 
 10 the most ludicrous manner. Samuel von Hoogstracten 
 (b. 1627), is less known as a painter than by his theo- 
 retical work on art. Some pictures by him are in the 
 Imperial Gallery at Vienna. 
 
 Gerard Douw was the most distinguished and the 
 most peculiar scholar of Rembrandt ; but as he after- 
 wards abandoned the manner of the school, his works 
 will be spoken of hereafter, in that section which relates 
 to the painters in " genre." 
 
 Among the artists who, without belonging, properly 
 
 * [There was a capital portrait attributed to Ferdinand Bol in 
 the collection of Herr Speck of Leipsic. (1823.) The truth and 
 expression in this picture were wonderful. ED.] 
 
 ) [A good many of Maas's pictures are to be found in the Eng- 
 lish collections : there are two in the National Gallery ; one in the 
 Bridgwater Collection ; two in the Duke of Sutherland's posses- 
 sion ; and one (which Waagen says is the best work he knows of 
 the master) in the Queen's private gallery ED.]
 
 XLIX.] MASTERS OF THE SEVENTEENTH CENTURY. 261 
 
 speaking, to the school of Rembrandt, adopted his style, 
 must first be named J. Lievens *, an unsuccessful imitator 1 1 
 of Rembrandt's manner in historical subjects, but a 
 good painter in porti'ait as well as in landscape. One 
 of the most interesting of these artists is Solomon 
 Koninfj. In the Berlin Museum there is by him a 12 
 picture of the Call of St. Matthew ; in which the heads 
 are very spirited, and which resemble the better works of 
 Eeckhout. There is also the portrait of a Rabbi, a 13 
 head full of life, with an ardent and speaking expression 
 of countenance. 
 
 C. THE IMITATION OF ITALIAN ART. 
 
 XLIX. Besides the particular schools of historical 1 
 painting in Brabant and Holland, already reviewed, 
 there are still many German and Dutch artists to be 
 noticed, who adhered to the style of Italian painting. 
 They no longer aimed, however, at an external iinita- 
 
 * [It is told of Lievens that in the midst of a popular outbreak 
 at Leyden in 1618, he remained quietly painting in his studio 
 without being aware of the tumult. ( See Fiorillo, Gesch. d. z. k. 
 in Deutschland, iii. s. 130.) The reader will recollect that a 
 similar story is told of Parmegiano, into whose paintinpr-room the 
 German soldiery burst in the sack of Rome ; but, as V.isari says, 
 " Restarono in modo stupefatti di quell' opera, che come galan- 
 tuomini che doveano essere, lo lasciarono seguitare." (Vita di 
 Franc. Mazzuoli.) It is to be inferred from Vasari's narrative 
 that the picture he was engaged upon was the Vision of St. Jerome, 
 now in our National Gallery. Pliny (xxxv. 10) repeats a tale of 
 the same kind with reference to Protogenes in the siege of Rhodes 
 by Demetrius. Mr. Knowles, the biographer of Fuseli, pos- 
 sessed (?) a Raising of Lazarus by Lievens, which Professor 
 Waagcn describes as a striking picture. (England, ii. s. 209.)
 
 202 MASTERS OF THE SEVENTEENTH CENTURY, [BOOKV. 
 
 tion of the ideal, as exhibited in the older masters, but 
 adopted the new modifications of Italian art ; particu- 
 larly the style of the naturalists, whose energetic, pas- 
 sionate, and effective manner, was more in harmony with 
 later efforts in their native land. These artists, who 
 were distinguished on the whole less by high poetic 
 feeling than by cleverness and persevering study, flou- 
 rished about the middle of the seventeenth century. 
 
 2 The greatest among them, Gerard Honthorst 
 (b. 1592), a Dutchman, was a scholar of Abraham 
 Bloemart (already mentioned), and afterwards of 
 Michael Angelo da Caravaggio, to whose style he for 
 the most part adhered. Honthorst delights in illumi- 
 nating his figures by strong, sharp, striking lights, such 
 as candle-light affords, and in this manner he produces 
 (but without Rembrandt's magical chiaroscuro) an effect 
 which really startles us. On account of these night 
 effects, he bears, amongst the Italians, the name of 
 
 3 Gherardo dalle notti. One of his best pictures, the 
 Eelease of Peter by the Angel *, is in the Berlin 
 Museum ; the angel has just opened the door of the 
 prison, and in a beautiful attitude of haste stretches out 
 his hand to Peter ; the latter, a rather feeble old man, 
 dazzled by the brilliancy of the angelic vision, shades 
 his weak eyes with his hand. We see the overwhelm- 
 ing burst of light into the cell, and the heavenly youth 
 
 * [Honthorst was the favourite painter of the Queen of Bohe- 
 mia, and visited England in the reign of Charles I. A large picture 
 of the Queen of Bohemia and her Children, by him, is at Cashio- 
 bury : at Hampton Court there is an allegorical picture of Charles, 
 his Queen, and the Duke of Buckingham, as well as several por- 
 traits : others are at Windsor, and dispersed in different country 
 houses. See Dallaway's Walpole, ii. pp. 238-362 ED.]
 
 XLTX.] MASTERS OF THE SEVENTEENTH CENTURY. 263 
 
 seems a personification of that light. Honthorst's 
 works are not rare in good galleries, and that of Munich 4 
 possesses excellent specimens. He executed various 
 works for the court of Brandenburg. 
 
 His brother, William Honthorst, worked for a long 5 
 time in Berlin. In the royal collection there is a series 
 of royal portraits, and an historical piece, in which the 
 manner of Gerard appears to be imitated, though with 
 less spirit. 
 
 Joachim von Sandrart *, of Frankfort, was a scholar of 
 Gerard Honthorst (160688). The Death of Seneca, 
 by him, in the Berlin Museum, is a clever picture ; 6 
 correct according to rule, with striking effects of light. 
 One of his best pictures is the Great Festival of the 7 
 Peace, held at Nuremberg in 1650, after the termination 
 of the thirty' years' war ; there is some stiffness in 
 the composition, but the individual heads are cleverly 
 painted after the Venetian manner f. Sandrart is also 
 known by his theoretical works, among which his 
 " German Academy of the Arts of Painting, Sculpture, 
 and Architecture "(1675 9), is important for the history 
 of his contemporaries. 
 
 [ Sandrart was in England with Honthorst, which he quitted 
 in 1627. See Dallaway's note, Walpole, ii. p. 263. ED.] 
 
 f [Compare Waagen, k. u. k. in Deutschland, i. s. 202, who 
 says that the heads are painted with a masterly and broad touch in 
 a warm tone : he adds, " The portrait of the artist himself in the 
 foreground, is, above all, successful. It bears the inscription, 
 ' Joachim Sandrart of Stockau painted this in the year 1650.' It 
 is remarkable that the picture was ordered by the Swedish gene- 
 ralissimo, the Palsgrave Charles Gustavus, and the artist was re- 
 warded with 2,000 Rhenish florins and a gold chain of the weight 
 of 200 ducat;. The Crown of Sweden presented the picture to 
 the city of Nuremberg." ED.]
 
 264 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 8 MathewMcrian, the younger, Avas a scholar of Sandrart. 
 
 9 In the same class with Sandrart, may be placed a 
 Netherlander of this time, Justus Sustermanns. Two pic- 
 tures by him in the Berlin Museum one an Entomb- 
 ment, the other the Death of Socrates - show the hand of 
 a clever artist, standing half way between the naturalists 
 and the Eclectic schools, and who pleases less than he 
 might do, from the monotony of his colouring. 
 
 10 Another excellent master of this time, was Karl 
 Scrcta, of Prague (1604-74). In his native city, and 
 particularly in the public gallery, there are a great num- 
 ber of his works, in part of which he appears as an ex- 
 tremely free and clever painter of the naturalist school, 
 after the Italian manner. A series of events from the 
 
 1 1 life of St. Wenceslaus deserve notice as of this class : in 
 some his naturalism is of a ruder character ; in others, 
 again, there is a more intentional deviation into the 
 manner of the Eclectics. He was excellent in portrait 
 
 12 also, as is shown especially by one, among the paintings 
 in that gallery, of which the subject is the rich work- 
 shop of a lapidary and glass-cutter. 
 
 Considerably later flourished John Kupetzky from 
 Hungary (1666-1740), a master also distinguished for 
 his cleverness, strength, and fulness of colouring. 
 
 13 These qualities are found combined in an excellent pic- 
 ture of St. Francis, in the Berlin Museum. Good 
 portraits by Kupetzky are not rare. 
 
 14 The remainder of the German painters of this period 
 adopted as their style a vile imitation of the type ex- 
 hibited by the Italian Eclectics and the later Vene- 
 tians, or rather of that degenerate mannerism which 
 was introduced by Pietro Berretini da Cortona.
 
 XL1X.] MASTERS OF THE SEVENTEENTH CENTURY. 2G5 
 
 Of such it is sufficient to name, Joseph Werner, 15 
 (first director of the Academy of Berlin,) Peter Brandel, 
 and Baron Peter von Strudel. 
 
 In conclusion, a few painters of the Netherlands may 16 
 be mentioned, who about the close of the seventeenth 
 century sought again to treat historical painting in a 
 manner somewhat more ideal, and adopted for their im- 
 mediate model the style of Nicholas Poussin (see 
 Ixxxvi.). Among these is Gerard Lairesse (1640-1711), 17 
 an artist possessing a certain superficial cleverness, and 
 who appears as a decided imitator of Poussin ; but with- 
 out ever attaining the peculiar dignity and excellence of 
 that master. In the same class with Lairesse, are Eglon 18 
 van der Neer (b. 1643), Ary de Vois, and Adrian ran 
 der Werff (1659-1722), as also the son of the latter, 
 Peter van der Werff, who are classed with the genre 
 painters, particularly on account of the small size of 
 their pictures. 
 
 The paintings of Adrian van der Werff* are, or were, 
 much prized in galleries, but though possessing certain 
 technical excellencies they prove the decided degeneracy 
 of art at this time. With the neatest execution and the 
 utmost finish of surface, such as produce the very 
 smoothness of ivory, these pictures of van der Werffs 
 combine a complete want of expression as regards all the 
 higher elements of mind, with a composition full of pre- 
 
 * [For a very interesting criticism on van der Werff's pictures, 
 which is too long to quote in this place, see Sir Joshua Reynolds's 
 Tour. (Works, ii. p. 389-392.) The works which Sir Joshua 
 saw at Diisseldorf are now in the Pinacothek at Munich ; there are 
 nearly thirty of this artist's productions in that collection. ED.] 
 
 VOL. II. N
 
 2G6 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 tension and affectation in ideal subjects. They show us 
 the highest point which can be attained by an union of 
 such qualities. 
 
 CHAPTER II. 
 
 GENRE-PAINTING. 
 
 L. ABOUT the beginning of the seventeenth century, 
 genre, landscape, and the other subordinate branches 
 of the art, began to free themselves from the bonds by 
 which they had been linked to historical painting, parti- 
 cularly among the masters of the old Flemish school, 
 and they thus commenced their progress towards the 
 development of an independent existence. We trace 
 the first step in this direction among the artists of Bra- 
 bant ; but their further advance and ultimate perfection 
 is to be seen in the works of the Dutch masters, about 
 the middle of the seventeenth century. 
 
 Genre-painting, in the common acceptation of the 
 word, comprises the representation of common life in its 
 every-day relations, as opposed to religious and heroic 
 subjects, or to those of an elevated character, such as 
 are generally supposed to fall within the province of 
 historical painting *. According to the mode in which 
 the subject is conceived, such works may be divided into 
 
 * The term " Genre" is really more negative than positive, and 
 is generally applied to work s of a small size which do not fall into 
 any other definite class. It is however convenient, and although 
 not English, has been adopted without hesitation in the text. ED.]
 
 L.] MASTERS OF THE SEVENTEENTH CENTURY. 2G7 
 
 two separate classes; the one representing life in its 
 more soft and gentle relations, under the regulation of 
 established customs and civilized manners, whilst the 
 other exhibits its more rude and vulgar side, with the 
 unchecked license of a free and often unbridled humour. 
 The latter, therefore, introduces us rather to the lower- 
 classes of society ; the former to the educated and well 
 bred : the execution of pictures of the former class is 
 for the most part vigorous, bold and free, whilst those 
 of the latter are carefully painted, and in particular 
 cases even elaborately finished. Both are almost 
 always of small dimensions, because it is only on 
 such a scale that the little interests of daily life can 
 be concentrated into a pleasing whole. In both are to 
 be found productions of great excellence which have 
 various claims on our interest ; but it may be at 
 once admitted, that the finer kind of genre sometimes 
 abandons its ground of the social relations of human 
 life, from which it must derive its real interest, and 
 offers nothing in their place but a careful imitation 
 of mere uninteresting external accessories. The true 
 principle of works of the other class also seems often 
 to degenerate into an unmeaning pleasure in rude and 
 vulgar scenes for their own sake, without producing any 
 sense of their perverseness and absurdity. It may even 
 be said that the comic feeling, which is the essential 
 element in this kind of genre, was rarely developed in 
 full perfection in the Low Countries at this period. In 
 its place we find, in some artists, a tendency to the 
 romantic and fantastic, not indeed worked out with the 
 same fulness of meaning as by the great masters of
 
 2(J8 MASTEnS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 German art, but yet capable of producing much that is 
 attractive and characteristic. 
 
 1 LI. Even in the older schools, some pictures exist 
 painted with a religious object, in which the sacred sub- 
 ject is more or less secondary, whilst those figures which 
 are taken from the circle of every-day life occupy the most 
 important place, and are treated with more than ordinary 
 care and success. In the further course of the sixteenth 
 century, as I have already remarked, the two elements 
 of art separate more decidedly from each other, and we 
 meet with pictures wholly taken up with subjects derived 
 from common life. Such works were at first executed 
 purposely in a manner which should contrast strongly 
 with the treatment of sacred subjects, and there is often 
 therefore an appearance of uncontrolled roughness 
 and licence, accompanied by an ungainly and awkward 
 attempt at humotur. 
 
 2 The first master who came forward independently in 
 this manner, was Peter Breughel the elder, called '" Pea- 
 sant Breughel," to distinguish him from his son of the 
 same name : he flourished in the second half of the 
 sixteenth century, at Antwerp. In some historical 
 
 3 pictures, as the Woman taken in Adultery*, in the Mu- 
 nich Gallery, the Preaching of John, at Schleissheim, 
 and others, this artist exhibits a certain rude and 
 fantastic tone of thought, which shows traces of the old 
 school of Holland (that of Lucas van Leyden). The 
 
 * [The " Woman taken in Adultery" was No. 202 in the old 
 catalogue of the Munich Gallery. (1829.) I do not find it in 
 the catalogue of the Pinacothek. (1839.) The "Preaching of 
 St. John" is No. 192 (Cabinets) in the latter. ED.]
 
 LI.] MASTERS OF THE SEVENTEENTH CENTURY. 269 
 
 greater number of old Breughel's pictures are scenes of 
 peasant life, which may in like manner be considered as 
 the supplement to similar efforts made by the earlier 
 Dutch artists. A large picture of this kind in the 4 
 Berlin Museum has for its subject a dance of peasants, 
 which makes a wild riotous scene without unity or re- 
 pose in its general effect. Others, such as that in the 
 Imperial Gallery of Vienna, representing a cudgel- 5 
 match between peasants, and another of a fight between 
 pilgrims and crippled beggars, in the Berlin Museum, 
 are likewise vulgar in feeling, although not without 
 much life in the motives of the figures. 
 
 His son, Peter Breughel the younger, surnamed " Hell 6 
 Breughel," was a more interesting artist, who flourished 
 about the beginning of the seventeenth century. His 
 works are peculiar in character, for he delighted in paint- 
 ing night scenes by fire-light, which he finished very 
 highly, and in which he often showed a fine feeling for 
 landscape composition. One of the best of these is the 7 
 Burning of Sodom, in the Schleissheim Gallery-. But 
 it was Hell-scenes that he principally delighted in paint- 
 ing, such as the Temptation of St. Anthony, Eneas in the 
 Infernal Regions, and similar subjects. In these pic- 
 tures that fiery world is peopled with the most extra- 
 ordinary, fantastic, glassy-looking forms, which remind 
 us of the strange old master, Jerome Bosch. The gal- 
 
 * [No. 227 (Cabinets), Pinacothek : the next No. is the Burn- 
 ing of Troy. The Breughels are among the numerous instances 
 of artists whose family names have been entirely superseded by that 
 of their birth place . Breughel is a village near Breda. See Fiorillo, 
 Deutschland, ii. s. 471. Eu.]
 
 270 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 8 leriea of Schleissheim and Dresden contain several 
 pictures of this kind. A very poetical work of Breu- 
 
 Q gbel's is in the Lichtenstein Gallery at Vienna, the com- 
 position of which is rich and grand, the subject being 
 the Triumph of Death. The historical figures in these 
 pictures are executed in the style of the mannerists of 
 the sixteenth century. There are some peasant scenes 
 by young Breughel, as well as other subjects taken 
 from low life, in which also something of his diabolical 
 
 10 tendency appeai-s. The Berlin Museum possesses one 
 or two such pictures. 
 
 11 Similar scenes of demons are frequently to be found 
 among the works of another artist of the same time 
 David Tenters the elder (1582 1649). Temptations 
 of St. Anthony, with all sorts of marvellous skeletons of 
 birds, and the wildest rout of other monsters, occur in 
 various galleries. In other subjects of a more tranquil 
 character this artist appears to little advantage. 
 
 12 To these may be added a third artist, David Vincken- 
 booms (b. 1578), who takes, however, a more important 
 position among the early landscape painters. The 
 figures in his landscapes often exhibit a rough and 
 
 13 vulgar view of common life. A genre-picture by him 
 in the Berlin Museum represents a crowd of beggars 
 and cripples, crowding and pushing each other before 
 the gates of a monastery, from which bread is being 
 distributed to them. The figures are wild and exagge- 
 rated, but painted with freshness and life, and not 
 without a certain degree of humour :;: . 
 
 * [Two early masters whose works illustrate the transition from 
 historical painting to genre have been omitted in the text : these
 
 LII.] MASTERS OF THE SEVENTEENTH CEKTDBY. 271 
 
 LII. About the middle of the seventeenth century, 1 
 the style of genre became more definite in its pecu- 
 culiarities, and divided itself into the two great classes 
 already mentioned. According to this division we will 
 consider the productions of each class, including all the 
 subordinate branches under one or the other. We first 
 turn to that branch -which particularly exhibits scenes 
 from low life, such as are usually called by the Italians 
 " Bambocciate" (compare LIII. 11). 
 
 At the head of these painters, as the artist whose 2 
 reputation is the highest and most widely spread, 
 stands David Teniers the younger (1610-T-1G90), a son 
 of the artist of the same name already mentioned. At 
 a later period he became Director of the Academy at 
 Antwerp, and is the only Netherlander who fills an 
 important position as a genre-painter. The elder 
 Teniers was trained in the school of Eubens, and the 
 younger also finished his education under the same 
 master. There are works of the younger Teniers 
 which show the effect of this education ; for instance, a 3 
 Holy Family, in the Schleissheim Gallery, has quite 
 the character of the school of Rubens * ; but it is a pic- 
 ture of no great worth, and, in truth, the tendency to 
 the serious and elevated was foreign to the artist. In 4 
 
 are, Pieter Aertsens, or " Peter the Long," (b. 1519, f 1573,) and 
 Joachim Beuchelaer. The latter was the pupil of the former, who 
 married his aunt. Compare Waagen, Deutschland, i. s. 172, and 
 Fiorillo, ii. s. 480-486 ED.] 
 
 * [Neither this picture nor that mentioned in paragraph 13, 
 appear to have been transferred from Schleissheim to the Pina- 
 cothek : at least I do not find them in the catalogue of 1839. 
 En.]
 
 272 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 the same gallery there was too a considerable series of 
 small pictures which contain the history of the Virgin, 
 
 5 and are far from successful in expression. The Im- 
 perial Gallery of Vienna also contains some very com- 
 
 6 monplace works of sacred subjects by him. His " Seven 
 Works of Mercy," in the same collection, as well as 
 in the Esterhazy Gallery at Vienna, and in the Louvre, 
 are not compositions of peculiar power ; but by a simple 
 and true conception of life, which here suits the subject, 
 they give us at any rate more pleasure. 
 
 7 The subjects which Teniers executed with the greatest 
 pleasure and the most complete success are scenes 
 of peasant life. There is nothing pastoral in his con- 
 ception of such scenes ; he even exaggerates and borders 
 on caricature, but he exhibits at the same time great 
 power of humour, and knows well how to stamp on his 
 characters, even when occupied in the most common- 
 place employments, an expression of peculiar seriousness 
 and importance, and thus he frequently introduces the 
 happiest contrast. But he does not always keep up 
 this feeling of humour ; in several pictures, particularly 
 those of great feasts, we seem to meet with a certain 
 coldness of observation on the part of the artist, and a 
 deliberate selection of common situations, which com- 
 bine to produce a mannered character, and convey the 
 impression of studied and conscious attention to mere 
 outward effect. In these pictures it appears to have 
 been the main object of the artist to exhibit his bril- 
 liant technical skill and his power of imitating acces- 
 sories (such as old casks, pots, baskets, and different 
 utensils), together with his bold and effective touch.
 
 LII.] MASTERS OF THE SEVENTEENTH CENTURY. 273 
 
 his juicy, transparent chiaroscuro, and other qualities 
 of the same kind*. 
 
 The most interesting works of Teniers are generally 
 those "which contain but few figures, and among the best 
 of these are his small pictures, iu which a single 
 peasant sits facing the spectator, and smokes his short 
 pipe with an air of clownish comfort, or with his beer 
 jug at his side amuses himself with playing on the 
 fiddle. His low tavern scenes, in which the clowns 
 seem to while away their time with dice, beer and 
 tobacco, and content with such a routine of life, to 
 ask nothing further of the world or of fortune, are 
 often of the highest excellence. There are many good 8 
 pictures of this kind in the Schleissheim Gallery; 
 and in other collections one or two of such pieces are 
 generally to be found. Those pictures, on the contrary, 
 of which the subjects are more busy scenes, such as 
 marriages, fairs, &c., are rarely of equal excellence. Of 9 
 
 ' [Sir Joshua Reynolds thus characterises Teniers: " The 
 works of David Teniers, jun. are worthy the closest attention of a 
 painter who desires to excel in the mechanical knowledge of his 
 art. His manner of touching, or what we call handling, has per- 
 haps never been equalled : there is in his pictures that exact mix- 
 ture of softness and sharpness which is difficult to execute. " ( Works, 
 ii. p. 372. ) That Teniers's pictures maintain their price in this 
 country is proved by the fact that " Le Bonnet Vert," in Mr. Har- 
 man's sale last year, (1844,) fetched 660 guineas. The Village 
 Fete in the Queen's private collection is said to have cost upwards 
 of 1,500/. (See Mrs. Jameson's Private Galleries, p. 49.) The 
 large picture in the Grosvenor Collection, representing Teniers and 
 his Wife with the Gardener, is exceedingly beautiful. The Madrid 
 Gallery contains many pictures by Teniers of first-rate excellence. 
 
 See Ford's Hand-book, pp. 760-768 ED.] 
 
 N 3
 
 274 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 these there are many examples at Munich, and in the 
 Belvedere at Vienna. In other pictures various lands 
 of furniture and utensils make the principal subject, 
 and the figures appear little more than accessories. 
 
 10 Such are his Guard-rooms at Munich, and in the Lich- 
 
 1 1 tenstein and Esterhazy palaces his Alchymists, and 
 Laboratories, which meet us in the museums of Berlin, 
 
 12 Munich, and the Hague, or his well-stored Kitchen in 
 the latter gallery. In these pictures there is no pre- 
 tension to deep poetic feeling, or humorous effect ; hut 
 the harmonious and yet powerful handling of confused 
 and varied objects gives them a charm such as, to say 
 the least, is exceedingly pleasing to the eye. 
 
 Teniers also had bis share of that fantastic tendency 
 which shows itself so strongly in some of the artists 
 already mentioned. In him it has produced some very 
 amusing scenes of " diablerie," which claim the more 
 observation, since all his strange hobgoblins have the 
 same clumsy, stupid character as the crowds of boors 
 in his pictures of different class, and thus appear 
 to carry with them a sort of ironical commentary on 
 their own existence. Such pictures occur in many 
 
 13 places. In the Schleissheim Gallery there is one of a 
 Witch, who appears to be in the act of completing some 
 magic spell ; she kneels before a lamp, and ties up the 
 throat of a little monster like a fish wild goblins of the 
 most fantastic forms have collected themselves round 
 her, but at the horrid threats of the witch scamper 
 away in grotesque hurry. The favourite Temptation of 
 St. Anthony, too, was often painted by Teniers ; the best 
 
 14 of them all is in the Berlin Museum. The poor saint
 
 III.] MASTEES OF THE SEVENTEENTH CENTURY. 275 
 
 kneels full of anxiety before his stone altar, the corners 
 of which are just shooting out into heads of monstrous 
 beasts ; beside him stands a devil in the shape of a 
 Brabant beauty holding a goblet of wine ; all kinds of 
 imps, some in the shape of goats, others like apes or 
 fishes, are twitching at his garments ; others again form 
 a circle round the picture, and appear to make the most 
 horrible uproar by singing, screaming, or croaking. 
 One blows a clarionet, which he has stuck into the hole 
 for the nose in his skull. In the air above all is wild 
 tumult. There are two knights who ride on fishes, and 
 tilt with one another ; one is a bird cased in an earthen 
 mug for a coat of armour, and with a candlestick with a 
 burning light in it stuck on his head instead of a helmet. 
 He pierces the other combatant with a long hop-pole 
 through the neck, and this knight, who resembles a 
 dried-up frog, seems to set up a fearful scream, whilst 
 he tosses his arms aloft. All lands of reptiles are flying 
 and creeping about. It would be difficult to match the 
 mad conceits and the wild genius of this picture. In 
 some other works the humour of the artist breaks out 
 with equal success, but in another form. Of this class 
 there are some masterly specimens in the Schleissheim 15 
 Gallery, in which apes perform concerts, or sit at table 
 dressed in all sorts of finery, and regale themselves 
 with tobacco and beer *. 
 
 We should not omit to mention a series of pictures, 16 
 which have a peculiar interest in another respect. They 
 contain a representation of the former gallery of the 
 
 [See Nos. 194, 195, 211 (Cabinets), Pinacothek.-Efl.]
 
 276 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 Archduke Leopold William, of Austria, at Brussels*, 
 arranged according to the different walls of the apart- 
 ments, and filled in with figures of various kinds. Here 
 we see the style of each master, whose works formed 
 part of this gallery, most happily imitated, and in the 
 smallest possible space. The Imperial Gallery of 
 Vienna and that of Schleissheiin each contain a 
 series of this kind, different in itself and differently 
 arranged. 
 
 17 Adrian van Ost'ade (1610 1685), a German, bora 
 in Liibeck, but belonging to Holland both by educa- 
 tion and by his labours as an artist, stands second 
 amongst the painters of the low and humorous style f. 
 His subjects are almost exclusively taken from peasant 
 life, and yet his conception of such scenes differs widely 
 from that of Teniers. Ostade exhibits more homeli- 
 ness and less humour in his treatment of the circum- 
 stances of low life, although he too gives his boors an 
 
 * [Teniers possessed a peculiar talent for executing what art' 
 called " pasticcios," or imitations of the style of other masters. I 
 believe that a very curious collection of this kind, which is not ex- 
 hibited to the public, exists at Blenheim ED.] 
 
 | [The Ostade at Mr. Harman's sale in 1844, (" Le Menage 
 Hollandais,") was purchased at the enormous price of 1,320 
 guineas: it was a well-known picture. (See Smith's Catalogue, 104.) 
 Sir Robert Peel's Alchymist has been sold for 800 guineas. 
 (Smith's Catalogue, No. 28.) The Interior of a Cottage in the 
 Queen's private collection, ( Smith's Catalogue, 146; Mrs. Jameson, 
 No. 77,) sold at La Fontaine's sale for 1,000 guineas. Mrs. Jame- 
 son says, " Perhaps half the sum was really given for it." Lord 
 Metlmen's fine Isaac Ostade, (see Waagen, England, ii. s. 317,) 
 now belongs to Mr. Holford. ED.]
 
 LII.] MASTERS OF THE SEVENTEENTH CENTURY. 277 
 
 air of comfortable content and easy nonchalance. In 
 scenes of livelier humour, and more excited action, 
 Ostade seldom satisfies us, and often appears con- 
 strained. With regard to the technical part, he has not 
 that bold and happy touch of Teniers which conveys so 
 much ; the execution is more careful, the colour fuller, 
 and applied more thickly ; the chiaroscuro, on the con- 
 trai-y, is less juicy. His favourite and most pleasing 
 pictures represent low public houses, hi front of which, 
 under a ruined arbour, the peasants sit together, and 
 enjoy themselves in singing and playing the fiddle. 
 These scenes and others similar in character are the 
 most common. One of the chef-dceuvres of Ostade is 18 
 a child's school in the Louvre, in which the awkward- 
 ness and ungainliness of the children, and their boister- 
 ous ways, are represented with extraordinary humour 
 and effect. Ostade, as we have said, rarely painted 
 any scenes but those of low life; but as one exception 19 
 we may notice the picture of his family, also in the 
 Louvre. They appear to sit or stand by the side of 
 one another, with all the formality of a respectable 
 citizen's household. 
 
 Isaac ran Ostade, the brother of Adrian, endeavoured 20 
 to imitate his manner, and has left, in some instances 
 at least, good pictures in the same style. 
 
 Adrian Brouwer (1608 1640) was also an eminent 21 
 artist in this department. The biographers of the 
 Dutch masters vie with each other in condemning the 
 immoral and abandoned habits of this painter, who is 
 said to have spent his whole life in the lowest taverns, 
 and to have owed his early death to this abandoned
 
 278 MASTERS OF THE SEVENTEENTH CENTURY. [fiOOKV. 
 
 course. This may have been true; but his pictures, 
 with all the usual vulgarity of his peculiar style of 
 painting, display such a true feeling in the concep- 
 tion of the subject, together \vith so much humour and 
 good nature, and such a sense of genuine merriment, 
 as are scarcely to be met -with in any other artist. In 
 his execution he has a certain bold lightness of touch, 
 something in the manner of Teniers, but a little more 
 dry in the colouring, which admirably suits his style of 
 conception ; and even when it becomes coarser, and 
 almost degenerates into daubing, his pictures are by no 
 means the worst of their kind. Brouwer painted all 
 possible scenes of tavern-life parties drinking, smok- 
 ing, or card-playing fights soldiers' quarters surgi- 
 cal operations ; and he always seems at home in his sub- 
 ject. He never falls into the mannerism of Teniers, 
 nor the commonplace want of meaning which may 
 sometimes be observed in Ostade. When he carica- 
 tures, which he often does, it is always without effort ; 
 and the exaggeration only consists in a higher degree of 
 merriment, or animation, or of suffering under the hands 
 of the village barber. In one picture we see the most 
 delightful expression of stupid gravity in the face of a 
 boor, who is lighting his pipe in another, it is a singer, 
 who cannot forbear to chant his accustomed strain in all 
 the smoke of the alehouse or a fellow who endeavours 
 in the most ridiculous manner to conceal his pain, 
 whilst the doctor takes the plaister from his arm. 
 Brouwer's native country possesses few of his pictures, 
 22 but in the German galleries they are not rare. That of 
 Munich, in particular, contains a great number of them.
 
 LTII.] MASTERS OF THE SEVENTEENTH CENTURY. 279 
 
 Joseph Craesbecke, a baker, is said to have been the 
 companion of Brouwer in his dissolute courses, and to 
 have received instruction from him in painting. The 
 pictures ascribed to him in the Schleissheim Gallery 23 
 resemble Brouwer's, but are less spirited. In the Im- 
 perial Gallery of the Belvedere, and in the Lichtenstein 24 
 Gallery at Vienna, there are some pictures under his 
 name of less vulgar subjects, treated in the manner of 
 Rembrandt's school. 
 
 As the manner of these three artists gained great 25 
 applause amongst their contemporaries, a considerable 
 number of other painters were induced to follow their 
 steps, as scholars or imitators, but for the most part with 
 little success, since the racy humour of their models 
 was generally wanting. It may suffice here, to name the 
 best artists among these, such as D. Ryckacrt, H. Zorg, 
 C. du Sart, G. Van Tilborg, A. Dicpram, J. Droogslot, 
 J. Molenaer, E. Brakenburg. The two last are distin- 
 guished by very neat finishing, and a third, Cornelius 
 Bega, is still more so, for his pictures show a fine silky 
 touch, such as characterizes works belonging to the 
 other department of genre. This sort of handling, how- 
 ever, is entirely at variance with the scenes of low life, 
 in which he most delighted, and gives them something 
 of an affected and finical air. Quirin van Breckdencamp 
 usually painted simple and quiet scenes of low life, 
 which he made attractive by his clever, though unpre- 
 tending execution. 
 
 LIII. Another master, Jan Stcen, the jovial tavern- i 
 keeper of Leyden (1636 1689), was altogether pecu-
 
 280 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 liar, and differed considerably from the painters already 
 enumerated in this department of art. The historians 
 of art have recorded all sorts of scandal of Jan Steen, as 
 they have of Brouwer. He is reported to have sunk 
 under low alehouse habits; and it is certain that he 
 opened a public tavern, not so much for gain, as 
 from the pleasure he took in that mode of life. He 
 drank more than his guests, and it is said that his pic- 
 tures were often required to make good what he owed 
 to the wine merchant. His works too imply a free 
 and cheerful view of common life, and he treats it with 
 a careless humour, such as seems to deal with all 
 its daily occurrences, high and low, as a laughable 
 masquerade, and a mere scene of perverse absurdity. 
 Thus Jan Steen fully comprehended that element of art 
 from which he obtained his livelihood, and still his 
 treatment of it differed essentially from that adopted by 
 other artists. Frequently, indeed, their subjects are 
 the same jolly drinking parties, or the meetings of boors ; 
 but in the other masters the object is for the most part 
 to depict a certain situation, either quiet or animated, 
 whilst in Jan Steen is generally to be found action, more 
 or less developed, together with all the reciprocal rela 
 tions and interests between the characters, which spring 
 from it. This is accompanied by great force and variety 
 of individual expression, such as evinces the sharpest ob- 
 servation. He is almost the only artist of the Netherlands 
 whjo has thus with true genius brought into full play all 
 these elements of comedy. His technical execution suits 
 his design ; it is carefully finished, and notwithstanding 
 the closest attention to minute details, is as firm and
 
 L1II.] MASTERS OF THE SEVENTEENTH CENTURY. 281 
 
 correct as it is free and light. The greatest number of 2 
 Jan Steen's works are to be found in the museums of the 
 Hague and Amsterdam. One of the best of those in the 
 former is known by the strange name of a " Representa- 
 tion of Human Life." * It exhibits a spacious chamber, 
 in -which are assembled a multitude of persons, old and 
 young. They sit at different tables in merry groups ; 
 some are eating oysters, some drinking, others laughing 
 and talking. The wine has evidently promoted good- 
 fellowship. In one place an old man with gray head and 
 toothless gums, but lively enough and now flushed with 
 the feast, sits next to a buxom middle-aged beauty, close 
 to Avhom he has drawn his chair. He presses his suit 
 with sparkling eyes, and seems to be whispering into her 
 ear a proposal of marriage. Very quietly, and leaning 
 a little back, she listens to him, without reluctance, but 
 with an arch look and a smile, whilst she probably 
 reckons up the household advantages that would accrue 
 to herself 'from such a match. Not far off sits the artist, 
 as he has often painted himself in his pictures, with a 
 half-emptied glass in his hand ; he watches the tender 
 pair, and thereupon falls into such a hearty fit of laughtei', 
 that his portly sides shake again, and the business of 
 drinking is at a stand f. Another very excellent pic- 3 
 ture, of a subject somewhat similar, is in the gallery of 
 the Duke of Wellington, at Apsley House*. In this 
 
 * Schnaase, Niederliindische Briefe, s. 83. 
 
 + Passavant, Kunstreise, s. 76. 
 
 J [See Waagen, England, ii. s. 111. The Queen's private 
 collection contains no less than six pictures by Jan Steen. Lord 
 Francis Egerton's Village School is said to have cost him 1 ,5QOi
 
 282 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 picture, also, full justice is done to the power of Mine. 
 A young cavalier, with a wine glass in his hand, is gaily 
 addressing the daughter of the house ; she allows him to 
 take some liberties, whilst her mother is napping ; the 
 children seize this opportunity to eat the sweatmeats ; 
 the maid talks at the window with a neighbour's 
 sen-ant ; and the monkey draws up the weight of the 
 clock, as if he knew that to people in such circumstances 
 
 4 all measure of time was quite superfluous. Another 
 picture of equal merit and similar composition, is in the 
 
 5 Imperial Gallery at Vienna. A second in the same 
 gallery represents the evening of a wedding. The 
 bridegroom is a dry-looking old fellow, in the act of 
 leading out of the room the bride, who modestly resists, 
 while some one makes the symbol of horns behind the 
 husband, and the company stand up and express their 
 congratulation with the noise of glasses, fiddles, frying- 
 pans, and mortars. At the side in this picture there 
 is a pair of elderly lovers. 
 
 There is an excellent example of Jan Steen's manner 
 of treating scenes of peasant life, in the Munich Gal- 
 C lery. A fantastic-looking vagabond has cheated two 
 peasants at play. In the greatest rage, one seizes 
 a broom, and makes at him with it, whilst the other, on 
 crutches, scolds and threatens, and the landlady calls 
 
 Mr. Munro has two or three very tine ones. ( See Smith's Sup- 
 plement, Nos. 92, 94, 98.) Mr. E. Higginson, of Saltmarsh in 
 Herefordshire, possesses some of the choicest specimens of this 
 master, one of which is his Village Fete, containing thirty figures : 
 this picture was imported in 1836. ( See Smith's Supplement, 
 Nos. 59, 49, 69, 70.) ED.]
 
 LIII.] MASTERS OF THE SEVENTEENTH CENTURY. 233 
 
 for help ; the fellow evades the blows, and scoffingly 
 draws his sword ; the tables and stools are upset. The 
 whole is full of life, and happily paints the action of the 
 moment. To the alchymist's laboratory, also, which 
 was only adopted by early artists for the sake of its 
 strange confusion of various objects, Jan Steen gives a 
 poetical character quite his own. A remarkable picture 7 
 of this kind is in the Gallery Manfrini, at Venice : it 
 represents the poverty of an alchymist's family. The 
 wife sits in the middle ; a weeping boy, with an empty 
 bowl and spoon, is beside her; an infant squalls in the 
 cradle, whilst other children are looking for food, and 
 crying because they find none : a dog in the foreground 
 licks an unwashed saucepan. Beside the woman stands 
 the husband ; an admirable slovenly figure, in a grand 
 dressing-gown, with a hood and night-cap on his head, 
 and a pen behind his ear. He is proving to her out of a 
 thick book that their poverty is at an end, and that he 
 is just on the point of discovering gold, or the philoso- 
 pher's stone ; the woman turns hopelessly away. A 
 variety of utensils are scattered round ; in the back- 
 ground is the furnace, at which his attendants are en- 
 gaged. In the alchyrnist and his family, the painter 
 has given portraits of himself and his children, and 
 probably has turned into jest some domestic embarrass- 
 ment of his own. 
 
 Jan Steen's subjects are often taken from the higher 
 ranks of life. In these he delights in depicting a phy- 
 sician's visit to a sick lady a favourite subject with 
 every painter of the higher class of genre. But even 
 here his comic power is displayed with the happiest
 
 284 MASTEBS OF THE SEVENTEENTH CENTUEY. [BOOK V. 
 
 effect, and he shows off to admiration the absurd 
 pedantry and dull cunning of the doctors of his own 
 
 8 time. In the Museum of the Hague there are several 
 excellent pictures of this kind, and there is a particularly 
 
 9 good one in the Munich Gallery *. In this last the 
 physician, a jolly vulgar-looking fellow, stands before 
 the lady with an awkward bow, and feels her pulse. 
 The lady holds a paper in her hand, on which are some 
 love verses, and over the door stands a little cast of 
 Love, who aims directly at her. Through the door we 
 see into the street, where a young man, wrapped in his 
 cloak, gives a piece of money to her maid. It may be 
 presumed that he will succeed better than the clumsy 
 doctor in the treatment of the lady's malady. 
 
 10 One more painter of low life remains to be noticed, 
 whose manner was peculiar : Peter van Laar (1013 
 3 674). He resided a long time in Italy, and painted 
 scenes from the ordinary life of that country, but with 
 a particular bias to all that is low and common. The 
 wild haunts of beggars robber scenes the courtyards 
 of monasteries, with strange-looking monks, or a rabble 
 occupied in gaming or dancing, were his favourite sub- 
 jects. In his treatment of these, the coarse but for- 
 cible style of the Italian naturalists predominates, and 
 his pictures may be compared to those of Michael - 
 
 11 Angelo Cerquozzi. There are many works by Laar in 
 the Vienna galleries, in the public gallery of Augsburg, 
 in the Uffizj at Florence, and in other places. From 
 
 * [No. 263, (Cabinets,) in the catalogue of the Pinacothek. 
 En.]
 
 LIV.] MASTERS OF THE SEVENTEENTH CENTURY. 285 
 
 the singular deformity of his figure, the Italians called 
 him " Bamboccio," hence his pictures, and those of 
 similar subjects, are said to have obtained the name of 
 " Bambocciate." One of his contemporaries, Andrew 12 
 Both, adopted a similar style; he also lived in Italy, 
 but works wholly executed by him are rare, as he ge- 
 nerally worked in common with his brother, John Both, 
 the landscape-painter, and painted the figures for his 
 pictures. 
 
 LIV. With these painters of low life should be 1 
 mentioned those artists who made military life, such as 
 guard-rooms, camp-scenes, and battles, their principal 
 subjects. Among these Jean le Ducq was particularly 
 distinguished, for his pictures of a soldier's life in guard- 
 houses or in quarters. One or two excellent works of 
 this kind are in the Munich Gallery; and that one, 
 especially, in which a woman is fastening a spur on the 
 boot of a Spanish soldier, has a very happy effect. 
 Pa lamedcs Stevens has also left pictures of this kind, but 2 
 he ranks higher in battle-pieces, properly so called. In 
 the Berlin Museum, there is a Skirmish between Cavalry 
 and Infantry, in which the latter with their long lances 
 charge the horsemen, whose officer evidently commands 
 them with a loud voice (to keep clear of their adver- 
 saries. Other battle painters were A. Verschuring (he 3 
 flourished about the middle of the century); PJiiJiji 
 Wouverman (see Ixiii, 0.) ; P. van Bloemen (surnamed 
 Standaart, who flourished about the end of the century); 
 A. F. Van derMeulen (1634 1690), who entered into 
 the service of Louis XIV. of France, accompanied him
 
 286 1IASTEBS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 in his campaigns, and painted the events connected 
 
 4 with them*. J. van Huchtenburfj (166 1733) painted 
 the victories of Prince Eugene, by his order. He was 
 distinguished by clever conception of his subject, but he 
 very rarely treated it in a poetical manner. Somewhat 
 
 5 later flourished the German, George Phil I}) Rurjcndas, 
 of Augsburg f (1666 1742), whose numerous works 
 represent the varied scenes of a soldier's life, such as 
 battles, marches, or other events of actual war. The 
 fire and energy of this master in depicting situations of 
 active interest, together with the vividness of his con- 
 ception, united with a certain serious feeling and great 
 cleverness of execution, secure him one of the first 
 places among painters of this class. 
 
 1 LV. The highest master in the finer department of 
 " genre," was Gerard Terburg (1608 1681). The life 
 and manners of the upper classes a well-bred .tranquil- 
 lity and reserve in demeanour and movement, joined 
 with an admirable execution of rich stuffs and attire, may 
 be stated generally as the principal features in his pic- 
 tures, as well as in those of the artists who followed him. 
 What distinguishes Terburg, however, from the majority 
 of other masters of the same class, is not merely the sim- 
 plicity and taste of his compositions, but more especially 
 
 * [A series of these pictures, representing the campaigns and 
 court scenes of Louis XIV., is in the Louvre: the landscapes of 
 two or three of them are painted by Cornelius Huysman. ED.] 
 
 r There are eight pictures of military subjects by Rugendas at 
 Hampton Court, which were brought from the Guard-room at 
 Windsor. See Mrs. Jameson's Public Galleries, ii. p. 291 ED.]
 
 LV.] MASTERS OF THE SEVENTEENTH CENTUEY. 287 
 
 qualities analogous to those which secured to Jan Steen 
 so high a reputation amongst the painters of low life. 
 Terburg, like Jan Steen, aimed less at a general delinea- 
 tion of a class of circumstances, than at accurately seiz- 
 ing the feeling of a particular scene or action, and at dis- 
 criminating, with the utmost nicety, the finer shades of 
 individual character. His pictures generally imply some 
 complication of interests on the part of the persons 
 introduced, which is more or less intelligible as the case 
 may be, and which, at any rate, leaves a sort of story to 
 be unravelled by the spectator himself; whilst the 
 agreeable harmony of tone pervading the whole work, 
 necessarily causes an impression of tranquillity and 
 cheerful satisfaction to predominate in the mind. 
 
 The pictures of this master are not very numerous : 
 it may be well to name some of the most interesting. 
 In one, in the Museum at the Hague, an officer is sitting 2 
 in full uniform, whilst beside him, and leaning on his 
 lap, kneels his young wife or mistress. A gaily-dressed 
 trumpeter has just brought in a letter, and stands before 
 them awaiting further orders. The anxious attention 
 of the woman, and the calm soldier-like bearing of the 
 officer, interest us deeply in the scene, and fancy would 
 fain discover, if, under the cold manner of the warrior, 
 who seems absorbed in his duty, there lies the same 
 warmth of feeling which the lady betrays or if, in the 
 chances of the march, he may not form some new con- 
 nexion. In a picture of the Munich Gallery a similar 3 
 trumpeter delivers a letter to a lady, who is well-dressed 
 
 * Schnaase, Niederliindische Briefe, s, 88.
 
 288 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 and has the appearance of a widow. She hesitates to take 
 the letter, and folds her hands under the furred velvet 
 mantle ; beside her stands her maid, in a black crape 
 cap, looking anxiously at her mistress, as she places a 
 rich goblet on the table. Here the question is, what 
 communication may be contained in the mysterious 
 letter, and whether the lady will persevere in her 
 
 4 refusal. In a picture in the Louvre, a stout cavalier 
 in corslet and large cavalry boots, sits beside a young 
 lady at breakfast. He offers her, without the least 
 embarrassment, a handful of gold ; she was in the act 
 of filling a wine-glass out of a beautiful vessel for her 
 rough guest, but now hesitates and looks before her 
 one hardly knows whether undecided by the tempting 
 
 5 offer. One of the most graceful of Terburg's compo- 
 sitions exists in two excellent repetitions in the !Mu- 
 seums of Berlin and Amsterdam. It is known, among 
 other sources, from the description in Goethe's " Wahl- 
 verwandschaften,"* (where it is described as a "tableau 
 vivant"): " A noble knightly-looking man sits with 
 one leg thrown over the other, and appears to address 
 himself to the conscience of his daughter, who stands 
 before him. She is a majestic figure, in a full and 
 flowing white satin dress ; her back only is seen, but 
 the whole attitude shows that she is struggling with her 
 feelings. That the admonition, however, is neither angry 
 nor such as to abash her, is evident from the coun- 
 tenance and gesture of the father; the mother, too, 
 
 * [This is the picture so well known by Wille's engraving of 
 the "Satin Gown ;" the passage quoted from Goethe will be found 
 in part 2, chapter 5, of the novel. ED.]
 
 LV.J MASTERS OF THE SEVENTEENTH CENTURY. 289 
 
 seems to be concealing a little embarrassment, for she 
 looks into a wine-glass out of which she is sipping." In 
 this picture also it is interesting to the spectator to ima- 
 gine the subject of the conversation, and its possible con- 
 sequence. The Amsterdam picture is rather larger than 
 that at Berlin, and a dog is introduced, which is no 
 improvement to the composition; the execution is 
 equally good in both, but the former of the two is not 
 so well preserved. Besides these, there are other 6 
 pictures by Terburg *, which are intended rather to de- 
 lineate the general circumstances of good society but 
 even these display the same grace and naivete of con- 
 ception. There are some graceful compositions of the 
 kind in the Gallery of Vienna, and excellent portraits 
 also exist from Terburg's hand. 
 
 * [Waagen calls Terburg " the creator of conversation-painting," 
 meaning that particular branch of genre, which bears the same rela- 
 tion to historical painting on the one side, and to the buffooneries 
 of Jan Steen on the other, that " genteel comedy " bears respect- 
 ively to tragedy and to farce ; (compare Niebuhr, in his Letters from 
 Holland, Letter 9.) With regard to the pictures by Terburg in 
 this country, Sir Robert Peel has a very fine one of a lady and her 
 music-master, which formerly belonged to Prince Galitzin ; it is said 
 to have cost the present owner 9'20 guineas. See Waagen, England, 
 i. s. 282. There is a good picture of the master in the Suther- 
 land collection, and in that of Lord Francis Egerton ; Lord 
 Ashburton has another. See Waagen, ii. ss. G6, 87. Two or three 
 will be found in Mr. Hope's gallery, and in that of her Majesty. See 
 Waagen, ii. s. 140. Mrs. Jameson's Private Galleries, p. 51. The 
 Duke of Wellington purchased the celebrated Terburg of the sign, 
 ing of the Peace of Westphalia, which was in the Talleyrand col- 
 lection ; singularly enough this picture hung in the room in which 
 the allied sovereigns signed the treaty of Paris in 1814. See 
 Buchanan's Memoirs, ii. p. 314. 339. ED.] 
 
 VOL. II. O
 
 290 MASTERS OF THE SEVENTEENTH CENTURY. [BOOKV. 
 
 1 LVI. Some years younger than Terburg is a second 
 admirable master of this class, Gerard Dow (or Don, or 
 Dome, b. 1613, d. 1080). Formed iii the school of 
 Kembrandt, Dow appears to have received from him a 
 thorough knowledge of light and shade, and the power 
 of treating it, so as to produce complete harmony; but 
 he abandoned the fantastic tendency and the striking 
 effects of his master, and formed for himself a peculiar 
 style. Gerard Dow delights most in subjects within 
 the narrow circle of kindly family feeling ; we meet 
 with no action, as in Terburg, in which an interest is 
 excited by the traces of some passion, hidden beneath 
 the surface, but merely the affectionate relations of 
 simple domestic life, and the peaceful intercourse of a 
 quiet home. The execution, as is necessary in such 
 subjects, is extremely neat and highly finished, without 
 degenerating into pettiness or constraint : the various 
 accessories are handled with the same care as the 
 figures, for they perform a necessary part in domestic 
 life ; and the daily intercourse with them, seems, as it 
 were, to lend them an independent existence and a 
 peculiar interest. The arrangement is therefore such, 
 that these accessories not only combine agreeably with 
 the whole, but in general occupy a considerable portion 
 of the picture. We often look through a window, on 
 the sill of which lie all kinds of household utensils, into 
 the busy scene within. Frequently the comfort of 
 domestic privacy is made more striking by the twilight 
 of evening, or by candle-light, for in the treatment also 
 of effects of light of this land, Gerard Dow has shown 
 himself a great master. Although the life of the lower
 
 LVI.] MASTERS OF THE SEVENTEENTH CEKTUKY. 291 
 
 classes, such as housemaids, and retailers of articles in 
 daily use, frequently forms the subject of his pictures, yet 
 they are painted without any leaning to the burlesque 
 and vulgar feeling of such masters as Brower ; indeed 
 whenever Gerard Dow approaches to coarseness of this 
 kind, we can observe that it is done with design and 
 with an effort. On the contrary, neither the drawing- 
 room of the great, nor subjects supplied by poetry, are 
 suited to his natural taste, and although he has fre- 
 quently tried them, the result is not happy. In such 
 pictures the expression of feeling always remains more 
 or less below the technical merit of the work. 
 
 Gerard Dow's works have, from the first, always 2 
 been in great request, and it would be difficult to find a 
 collection of Duteh cabinet pictures, the principal orna- 
 ment of which does not consist in one or two Gerard 
 Dows. The galleries of his native country, the German 
 galleries of Dresden, Munich, Vienna, and Berlin, the 
 Louvre, and the English collections *, are all rich in 
 
 * [In tbe collection at Hampton Court there is a small Gerard 
 Dow of an old woman asleep, with a book on her knees. The Dul- 
 wich Gallery contains two small upright pictures by this master. 
 (See Mrs. Jameson's Public Galleries, pp. 358, 455. ) Besides them, 
 No. 361 in the former collection, and Nos. 106, 238, in the latter, 
 are attributed to him, as well as a head the size of life at Windsor. 
 Sir Robert Peel is the owner of the picture (No. 44, Smith's Cat) 
 representing a bargain for a hare between an old woman and a girl at 
 an arched window ; this sold for 1 ,270 guineas, from Mr. Beckford's 
 collection at Fonthill, in 1823. In the Bridgwater collection there 
 are three of G. Dow's works, one of which Waagen ranks with the 
 celebrated " School" at Amsterdam. (See Mrs. Jameson's Private 
 Galleries, p. 352, 1 38. Waagen, England, i. ss. 282, 339. ) In the 
 Grosvenor Gallery is one, " The Nursery," (No. 70, Smith's Cata-
 
 292 MASTERS OF THE SEVENTEENTH CENTUHV. [BOOKV. 
 
 these little treasures. In one is painted a window, out 
 of which a maid-servant empties a kitchen pot ; in 
 another she is employed in the preparation of dinner ; 
 in a third she holds a light, and looks out of the window 
 into the dark with a smiling face. Here we look through 
 the window into the atelier of the painter ; there into 
 the cheerful apartment of an old woman engaged in 
 
 3 spinning. In a picture in the Louvre is the shop of a 
 grocer, with various goods piled up, and people standing 
 before the counter, for whom the mistress weighs what 
 
 4 they require. In the Munich Gallery, there is a pastiy- 
 cook's shop, illuminated by candle-light, and a maid who 
 has placed her lantern on the ground, and looks amongst 
 
 5 the goods for what she wants. Another in the Berlin 
 Museum represents a store-room with all sorts of pro- 
 vision : the cook is just opening the door, with a candle 
 in her hand, which lights up her cheerful countenance in 
 an agreeable manner. She steps on tiptoe, in order not 
 
 logue,) which Mrs. Jameson says is " not quite equal to those of Sir 
 Robert Peel and Mr. Hope, (p. 265.) According to Waagen it 
 belongs to the colder works of the artist's later time. It sold, 
 in 1808, from the Choiseul collection for 18,000 francs. One 
 of Mr. Hope's two pictures is a night scene, which Waagen terms 
 a real gem. The Queen's private collection contains seven pic- 
 tures attributed to G. Dow ; that of the mother nursing her 
 child was sold to George IV. by M. La Fontaine, and is said by 
 Mrs. Jameson to be ascribed with more reason to Slingelandt. 
 A fine Gerard Dow will be found at Leigh Court in the col- 
 lection of Mr. Miles ; and another similar in subject and in time to 
 the " School " of Amsterdam is in the Fitzwilliam Museum. ( See 
 "\Vaagen, England, ii. ss. 356, 525. ) In this latter gallery is a por- 
 trait ascribed to Rembrandt, which the author just referred to states 
 to be, in his opinion, an excellent picture of the earlier time of 
 Dow, and therefore in the style of his master. ED.]
 
 LVI.] MASTERS OF THE SEVENTEENTH CENTURY. 293 
 
 to disturb a mouse, who has evidently done what he 
 chose with all the good things around him, and is just on 
 the point of stepping into the trap. A very pleasing 
 picture, in the Museum of the Hague, deserves notice. 6 
 The scene is a large apartment belonging to a citizen ; 
 not splendid, but with everything orderly and neat ; at 
 the side are various articles for household use ; through 
 the open window the street is seen lighted for a festival ; 
 at the window sits the young mistress of the house, 
 plainly dressed, with fresh-looking regular features, 
 employed at household work ; beside her is a cradle in 
 which lies the infant, whom an elder sister contem- 
 plates with affection*. Another, and a very attractive 7 
 picture, known as the " Girls' School," remarkable 
 for its masterly effects of light, is in the Museum of 
 Amsterdam. The schoolmaster is just in the act of 
 scolding a boy, whom, if we trusted to his look, we 
 should pronounce to be innocent, but the laughter of 
 the other children vouches for his guilt. Nothing can 
 exceed the delicate execution of the girls' faces, of which 
 almost every one is lighted by its own end of candle, 
 and comes out so brightly from the dark back-ground, 
 that the boys' figures are almost too much kept down. 
 The children's figures at the last table are particularly 
 pretty ; they seem so busily occupied, that their candles 
 hardly give any light. 
 
 A picture in the Louvre, of somewhat larger dimensions 8 
 
 than usual, lets us see into the chamber of an opulent 
 
 family, richly decorated and furnished. A sick lady 
 
 sits in an arm-chair, her daughter kneels before her 
 
 * v. Quast, in the Museum, 1834. No. 45, s. 371.
 
 294 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 weeping and kissing her hand ; a servant gives her the 
 medicine, and somewhat in front stands the physician, 
 fantastically dressed he turns to the window and 
 examines a bottle full of water. There is a stronger 
 pathos in this picture than is usual in Dow, hut the 
 whole is still marked by his own mild and thoughtful 
 manner*. 
 
 9 Another picture as large, in the Munich Gallery, of 
 a Charlatan recommending his quack medicines to the 
 assembled people, is not so good, and wants the air of 
 domestic quiet, which, in other cases, gives a charin to 
 the works of this master. 
 
 10 Single instances occur of subjects taken from the 
 higher classes of society; they generally contain one 
 or two figures, and for the most part serve to give the 
 artist an opportunity of imitating costly materials of 
 
 11 dress or furniture. A favourite and often repeated 
 subject of Gerard Dow's, is a hermit praying in his 
 rocky cell; but even here it is the accessories, the 
 crucifix, the skull, and the hour-glass, \rhich particularly 
 interest us. The Gallery of Munich possesses three 
 
 12 different paintings of this subject. Still less satisfactory 
 are his purely ideal pictures, such, for instance, as his 
 
 * [This picture is G. Dow's chef-d'oeuvre among his "day. 
 light" works, as the Amsterdam School is among his " candle-light " 
 pieces. It was given by the elector palatine to Prince Eugene, and 
 after his death remained in the gallery at Turin until the French 
 carried it off and placed it in the Louvre. In 1815 they bought off 
 its restitution at the price of 100,000 francs. ( Waagen, Paris, 
 s. 594-5.) The Amsterdam School was sold in 1806 at M. Vander- 
 pot's sale for 17,500 florins =1,585?. The " Marchande Epiciere " 
 is another very fine Gerard Dow, in the Louvre. ED.]
 
 LVII.j MASTERS OF THE SEVENTEENTH CENTURY. 29$ 
 
 penitent Magdalens, at Berlin and at Dresden a 
 subject which lies quite beyond the artist's sphere. 
 
 LVII. The manner of Terhurg and Dow was fol- 1 
 lowed by several other artists, who, if they did not 
 attain to their eminence, yet produced single works of 
 great taste and cleverness. These masters sometimes 
 select the cheerful scenes of domestic life, and some- 
 times those taken from higher society; in particular 
 cases too they have painted ideal subjects, but we 
 cannot affirm that a tendency to any peculiar mode of 
 treatment predominates in their works. 
 
 One of the most pleasing of these artists is Gabriel 2 
 Hetzu (1615 1658), who appears equally at home in 
 scenes from high or low life, and whose execution is as 
 finished as it is free. The Berlin Museum possesses a 3 
 picture under his name of comparatively large size, 
 which is conceived in a feeling analogous to that of 
 Terburg. The subject is a lady in a blue silk dress and 
 fur mantle she sits languidly in an arm-chair, her face 
 and eyes are turned upward, so that the features of her 
 pure and noble profile are fully developed ; she is pale, 
 and there is an expression of pain about her mouth, but 
 it is accompanied by one of tranquil resignation. Before 
 her stands the physician, in a doctor's black gown and 
 wig, with a inild and agreeable countenance ; he has 
 taken the beautiful arm of his patient and feels her 
 pulse, whilst he looks up at a portrait of a gentleman in 
 the full dress of an officer, which hangs on the wall ; 
 it appears to be her husband, whose long absence has
 
 296 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 caused her illness ; the physician seems to promise his 
 
 4 speedy return. In the same gallery, there is also a 
 picture by Metzu, containing the portraits of a family of 
 Dutch patricians, full of all the insignificant ostenta- 
 
 5 tion of proud citizens. Another picture in the Imperial 
 Gallery at Vienna, nearly approaches the manner of 
 Terhurg ; it represents a point-lace maker, and a young 
 man by her side ; from their manner we may suspect 
 
 6 that a tender connexion subsists between them. In 
 the galleries of Dresden, Munich, and Paris, there are 
 works of Metzu, taken from the household occupations 
 of family life *. 
 
 7 Franz van Mieris, a scholar of Gerard Dow, was a 
 very productive artist (1035 1681). In his scenes 
 from high life, Mieris fails in that pure and simple 
 feeling which is the first element of a perfect work of 
 art, and his finished execution of the costly materials 
 of dress, particularly of glossy silk, (which in Terburg is 
 only a mean to a higher end,) is not sufficient to cover 
 
 * [No gallery, according to Professor Waagen, can boast so many 
 pictures of Metzu's best time as the Louvre ; he describes as many 
 as eight. ( Waagen, Paris, s. 595.) 
 
 In the English galleries two fine specimens of the master belong 
 to Sir Robert Peel ; there are three in the Bridgwater collection ; 
 Lord Ashburton possesses a very fine one ; Mr. Hope has as many 
 as four. Besides these, several pictures by Metzu will be found in 
 her Majesty's private gallery; and Waagen (England, ii. s. 525,) 
 attributes to him one which is assigned to Fr. Mieris in the Fitz- 
 william Museum at Cambridge. The Marquis of Hertford is said 
 to have just purchased a splendid picture of Metzu's (" Le Chas- 
 seur Endormi") at Cardinal Fesch's sale for 69,520 francs. 
 ED.]
 
 LVII.] MASTERS OF THE SEVENTEENTH CENTURY. 297 
 
 this deficiency. Miens appears to more advantage in 
 scenes from low life, in which he often displays con- 
 siderable humour, and where the whole subject is so 
 treated that even the same high finish does not appear 
 out of place. The Munich Gallery boasts excellent 
 examples of this kind : one of the best represents two 8 
 great boots, and all kinds of articles of dress, lying on 
 the table of a tavern, and in the back-ground the master 
 of these things, the artist himself, in conversation with 
 the landlady. In another picture of the same kind, a 
 soldier a half figure holds a pipe in his hand, and 
 puffs up the smoke with a great sense of enjoyment. 9 
 Next to the Munich Gallery, that of the Uffizj at 
 Florence (which contains an interesting collection of the 
 Dutch schools in general) is rich in the works of this 
 artist. His son, William ran Mieris, resembles his 10 
 father in neatness of execution, but the want of genuine 
 feeling for his subject is seen in him in a far greater 
 degree *. 
 
 Caspar Netschcr (1639 1084) bears a close relation 11 
 to the Mierisesf, In elevated scenes, and those particu- 
 
 * [Francis Mieris is the rarest among the masters of his class. In 
 William Mieris' high finish and neatness of execution are no longer 
 the means to a higher end, but have themselves become the object 
 of the painter, and thus lose all their charm. Specimens of both 
 masters will be found, as usual, in Sir Robert Peel's collection, and 
 in that of Lord Francis Egerton. Mr. Hope is the owner of a 
 very fine picture of Francis Mieris', dated 1660, as well as of no 
 less than seven by William Mieris. Waagen does not consider 
 the Queen's collection as fortunate in the pictures of these two 
 masters ED.] 
 
 f [With regard to the works of Netscherandthe other masters men- 
 tioned in the text, it is sufficient to say, that fine specimens of them 
 
 3
 
 298 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 larly which belong to historical painting, he too fails in 
 simplicity of conception, and frequently appears man- 
 nered. On the contrary, in more simple subjects, 
 such as Gerard Dow's, he has produced pleasing and 
 excellent works. Peter ran Slingelandt, a scholar of 
 
 12 Dow, Nicolas Verkolje, and others, are of the same 
 class. 
 
 13 Another scholar of G. Dow, Godfrey Schalken, should 
 also be mentioned. The excellence of this artist consists 
 in his clever effects of light, which, after the example of 
 
 14 his master, he has employed with great advantage ; but 
 he has too often fallen into mannerism, particularly in 
 ideal subjects. One of his principal pictures of the 
 kind, in the Munich Gallery, represents the wise and 
 the foolish virgins. In other works, however, he has 
 treated his subject simply and agreeably, and some- 
 times with much humour, as, for instance, in his pic- 
 
 15 ture in the Museum at the Hague, in which a physician 
 is visited by a young lady, accompanied by her guardian. 
 The medical man apparently assigns a cause for the 
 malady of the fair ward, which makes the lady weep, 
 whilst it astonishes her grave companion. In the 
 
 16 Berlin Museum, there is a peculiar little picture by 
 this master, of surpassing grace. It is a landscape 
 
 will be found in this country principally in those collections which 
 have been already referred to in speaking of Terburg, Metzu, and 
 the Mierises. Schalken was twice in England, and was patronized 
 by William III. In Waagen's opinion no gallery can boast three 
 such chef-d'ceuvres of this master as those possessed by her Ma- 
 jesty; one of these goes by the name of " Le Roi detrousse." 
 Compare Waagen, England, ii. s. 165. Mrs. Jameson's Private 
 Galleries, p. 44. ED.]
 
 LVII.J MASTERS OF THE SEVENTEENTH CENTURY. 299 
 
 a still Dutch scene, with its broad canals edged 
 with willows. A boy sits in the foreground under an 
 old willow, angling, and opposite to him is a tuft of 
 yellow water lilies, on which some butterflies rest. The 
 heavens are darkened with the evening clouds, and in 
 the distance is a solitary sail. 
 
 The genre-pictures of the artists already named, such 17 
 as Eglon van der Neer, Adrian van der Werff, and 
 others, are nearly related to the mannered works of 
 Schalken and the contemporary painters in this depart- 
 ment of art. 
 
 To conclude, among the later genre-painters is 18 
 Peter van Hooghe (1659 1722), who is favourably dis- 
 tinguished by simplicity of feeling and vigour of execu- 
 tion *. He usually paints the interior of a still chamber, 
 into which the light of the sun falls through the window 
 or door, and spreads over the whole a peculiar sort of 
 festal brilliancy. The quiet occupations of the persons 
 in these apartments enhance the impression produced 
 by the whole work, which always breathes a spirit of 
 pure unbroken tranquillity. The galleries of Dresden, 19 
 Munich, and others, possess interesting examples of 
 pictures by this master, which are, however, not very 
 common. 
 
 * [ Peter van Hooghe is a charming master ; specimens will be 
 found in the Louvre, and in this country, in the collections of Sir 
 Robert Peel, Lord Ashburton, her Majesty, and Mr. Hope ; the 
 picture in Mr. Hope's possession has been, according to Waagen, 
 a first-rate work of the master, but has been injured by cleaning. 
 (England, ii. s. 145 ED.]
 
 300 MASTEKS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 CHAPTER III. 
 
 LANDSCAPE PAINTING. 
 
 1 LVIII. In the historical pictures of the old 
 Flemish school, Landscape occupied a veiy important 
 place ; and in the last ramifications of the school, in the 
 beginning of the sixteenth century, it had already 
 asserted its claim to be considered in a certain sense 
 independent (see XXXVIII). But these efforts were 
 carried no further after that school had declined. The 
 Flemish imitators of Italian mannerism in the sixteenth 
 century aimed chiefly at an ideal treatment of the 
 human form, and had abandoned their native ground of 
 an unaffected observation of nature, and a genuine feel- 
 ing for her beauty. Scenes from nature were little to 
 their taste, and only isolated attempts of the kind are 
 
 2 to be found. As an example, may be mentioned an 
 interesting picture in the Berlin Museum, by Cornelius 
 Matsys (1543,) a landscape of an uncommonly soft au- 
 tumnal tone, in which, however, the almost burlesque 
 character of the figures forms an unpleasant contrast 
 with the solemn feeling of the landscape 5 -. 
 
 3 Landscape painting first appears hi full independence 
 and importance at the close of the sixteenth and at the 
 beginning of the seventeenth century, particularly in the 
 school of Brabant, where at the same time a new and 
 
 * [See a very interesting note by the editor of the first volume of 
 this work, (p. 367,) on the probable influence of German art on 
 Italian landscape painting, at least in its origin. ED.]
 
 LVIII.] MASTERS OF THE SEVENTEENTH CENTURY. 301 
 
 powerful style of historical painting was called into ex- 
 istence by Rubens. There is a harmony between these 
 two branches of art by no means accidental. We trace 
 the same originality the same overflow of masculine 
 vigour in landscape as in history, but the former of 
 the two is more youthful in its character ; the artists 
 who adopted it had, with few exceptions, to form their 
 style without any regular school to guide them ; and 
 eager as they were to seize the features of nature, every- 
 where pressing on their notice, they were not unfre- 
 quently overpowered by the very fulness of the separate 
 objects thus presented to them. This was not, however, 
 the case in the same degree as in the older masters of 
 the sixteenth century, such as Patenier and Herri de 
 Bles. An effort to set bounds to this exuberance of 
 subject is certainly visible ; but such a struggle appears 
 for the most part external, rather than based on the 
 feeling of the artist, and consequently the whole often 
 bears a kind of decorative character. The colours are 
 generally rich and brilliant ; the trees of the liveliest 
 green ; the foliage is treated conventionally, and has a 
 scene-like look, sometimes not unlike tapestry. All 
 this naturally appears more prominent where the artist 
 intended a poetical composition ; whilst in the repre- 
 sentation of homely scenes or confined localities, a more 
 simple and natural treatment is already apparent. 
 
 Of the landscape school in question, one of the best 4 
 masters is John Breughel (1569-1625), who, to distin- 
 guish him from his father and brother, Paul Breughel 
 the elder and younger, is generally called "Velvet" or 
 " Flower " Breughel. A subject often repeated by this
 
 302 MASTERS OF THE SEVENTEENTH CENTURY. [r>OOK V. 
 
 artist, and which is indeed characteristic of the general 
 tendency of the whole school, is Paradise. The largest 
 and best of these pictures is in the Museum of the 
 
 5 Hague. The country is covered with the richest pro- 
 ductions of the vegetable world ; on each side thick 
 groups of trees close in towards the centre, where, 
 through an opening, we look into the depths of the 
 wood and over the plain, covered with the soft green of 
 young and luxuriant vegetation in every gradation of 
 light up to the very brightest. The figures of our first 
 parents are from the hand of Eubens, and in general 
 the figures in Breughel's pictures are by the historical 
 
 6 painters of the day. There are subjects similar to this 
 in the Esterhazy Gallery at Vienna, in the Berlin 
 
 7 Museum, and elsewhere. The Berlin Museum contains 
 besides several forest scenes, some of which display less 
 luxuriance of vegetation, and a free style of handling. 
 
 8 The Schleissheim Gallery is rich in Breughel's pictures, 
 executed in a simpler style, and the subjects of which 
 
 9 are more taken from the narrow circle of home-. Breu- 
 ghel also delighted to paint with great finish objects of 
 still life, such as flowers, fruit, or furniture of various 
 kinds, and to combine them in a singular manner into 
 large compositions, which, however, fail m unity of 
 
 10 effect still more than his landscapes. In the Munich 
 Gallery is a large flower wreath by him, in the centre 
 of which is a Madonna and Child, painted by Rubens. 
 
 11 Other pictures of this land, as for instance the Kingdom 
 
 * [There are no' less than sixteen pictures by John Breughel in 
 the Pinacothek at present. One(No.2o7) has the figures painted 
 by Rubens ED.]
 
 LVIII.] MASTERS OF THE SEVENTEENTH CENTURY. 303 
 
 of Flora the Kingdom of Vulcan, and others, exist in 
 considerable number in the Gallery of Sans Souci. 
 The pictures of this artist are not rare : even in Italy, 12 
 in the Ambrosian Library of Milan, there are many of 
 them. 
 
 Among the scholars and followers of John Breughel, 13 
 are Jacob Fouquiers and Peter Gyzens ; the latter of 
 whom is distinguished by peculiar grace and elegance. 
 In the Berlin Museum there are specimens of their 
 productions. 
 
 Eoland Savery (15T6 1639) bears a general affin- 14 
 ity to Breughel ; but in some, at least, of his landscapes, 
 a more earnest tone of feeling, which contrasts with the 
 ornamental style of that master, is already perceptible. 
 Although this greater seriousness is not very prominent 
 in the representation of Paradise which is in the Berlin 15 
 Museum*, nor in Orpheus charming the Beasts of the 
 forest, by the sound of his lyre (in the Museum of 
 the Hague), and although it appears more the aim of 
 the artist in such works to show the skill which he pos- 
 sessed in subjects of animal life still there are other 
 pictures of his which have greater depth of meaning. 
 
 * [No. 220. Second division. The Public Gallery at Nuremberg 
 possesses a small picture, representing the building of the tower of 
 Babel (No. 88), which Waagen speaks of as one of Savery 's most 
 highly finished works. ( Deutschland, s. 210.) There are two 
 pictures by Savery at Hampton Court ; the one of the Lions in 
 their Den, was a present from his nephew the Prince Elector to 
 Charles I. ( See Mrs. Jameson's Public Galleries, p. 352,379.) Waa- 
 gen attributes to Savery a picture of Orpheus, at Blenheim, which 
 there bears no name, and he praises as a very good specimen of the 
 master, a woodland scene in the Fitzwilliam Museum at Cam- 
 bridge. (England, ii. s. 36. 525.) ED.]
 
 304 MASTEKS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 16 One of these is a second landscape in the Berlin Mu- 
 seum. It represents a wild oak forest, with some trees 
 withered and broken by the storm, and others which 
 stretch out their naked roots from the foreground. 
 In this scene a gipsy family spread their mid-day meal, 
 a path leads into the depth of the forest, and on the 
 brink of a thickly embosomed lake stands a solitary 
 stag ; at the side the view opens to distant mountains. 
 This picture breathes that mysterious awe, which man 
 ever feels in the presence of nature still unsubdued by 
 art, and of her mighty works. 
 
 17 David Vinchebooms* (b. 1578) is a third remarkable 
 artist in this style. In his forest scenes he also displays 
 a deeper earnestness and a darker tone than Breughel, 
 but not the same depth of feeling as Savery. He is 
 admirable in scenes of the village life of the Low Coun- 
 tries, in which he happily blends nature and the cha- 
 racter of the people into one joyous whole, and has 
 caught the cheerful features of his native soil with per- 
 fect success. The Berlin Museum contains a consi- 
 
 18 derable number of his works. To these artists may be 
 added a long series of contemporary landscape painters 
 of the Low Countries, who adopted the same style 
 Gillcs van Conincjsloo, Adrian Stalbemt, Peter Last- 
 mann, Alexander Kierings, Egidius Hondekocter, and 
 others. 
 
 Another artist of the time who resembled them in 
 technical skill, but differed considerably in his mode of 
 
 19 conception, was Judocus de Hamper. There is some- 
 
 * [Mr. Beckford had a small picture by Vinckebooms, of which 
 Waagen speaks highly. (England, ii. s. 328.) ED.]
 
 LVIII.] MASTERS OF THE SEVENTEENTH CENTURY. 305 
 
 tiling original and fantastic in his pictures, and he not 
 unfrequently exhibits nature as it were from the wrong 
 side, in capricious forms, and in an extraordinary, or it 
 may be called a perverse, tone of colouring. A hasty 
 sweeping pencil, which rather indicates than executes, 
 corresponds sufficiently with this strange tone of thought. 
 Extensive views of cold bluish plains, chalky rocks in 
 the foreground, and caves with hermits, are commonly 
 found in his pictures. The Museum of Berlin, and the 20 
 Esterbazy Gallery, at Vienna, possess well-marked spe- 
 cimens of this kind and manner. 
 
 In most of these landscape works there prevailed, 21 
 without doubt, a certain conventional treatment of the 
 subject, and a feeling for richness and ornament rather 
 than a sense for genuine nature ; but in this department 
 of art again, Rubens, with his vivid conception of life, 
 and his power of seizing individual character, came for- 
 ward with manifest superiority as a rival*. His land- 
 
 * [Rathgeber, in his " Annalen der Niederliindischen Malerei," 
 enumerates thirty-one landscapes by Rubens, of which eighteen are 
 stated to be in this country ; these numbers are however erroneous, 
 for two of the pictures are counted twice over. The " Winter 
 scene," and the " Going to Market," now at Windsor, are the same 
 which Passavant saw at Kensington. There is another fine land- 
 scape by Rubens at Windsor. 
 
 The National Gallery, besides a smaller picture, contains the 
 magnificent view of the artist's own chateau, which was presented 
 by Sir George Beaumont. It was originally brought by Mr. 
 Buchanan from the Balbi Palace at Genoa, and was sold by him 
 for .1500. Another landscape with a rainbow, brought over with 
 it, was exchanged with Mr. Champernorne, for the very fine Guido of 
 Lot and his Daughters, which latter picture is now in the National 
 Gallery, having been purchased from the collection of Mr. Penrice. 
 (See Buchanan, Memoirs, i. 176.) The two Rubenses transferred
 
 300 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 scapes generally contain scenes of nature as she appears 
 in the Low Countries, in which the form of the laud, 
 the peculiarities of its vegetable production, and the 
 effect of the breeze, are caught and presented to us 
 with a masterly hand. There is in all the same juici- 
 ness and freshness the same full luxuriant life the 
 same vigour and enthusiasm, as in his historical pictures. 
 In the same way, his more rare works of Italian and 
 Spanish scenery retain all the peculiar features of each 
 
 22 country. The galleries of Munich, of the Pitti Palace, 
 several English collections, the museums of Dresden 
 and Paris, contain celebrated examples of his produc- 
 
 23 tions in this department. Amongst the artists who 
 followed the manner of Eubens, may be mentioned, 
 first, Lucas ran Uden* (b. 1595), whom Eubens often 
 
 from Kensington to Windsor, formerly belonged to Villiers, Duke 
 of Buckingham. 
 
 Lord Radnor has a View of the Escurial, by Rubens : there is 
 another picture of the same subject, I believe, at Petworth. In the 
 Dulvvich Gallery there is the picture with two rainbows. See 
 Waagen, England, ii. s. 137.) Mr. Hope is the owner of the 
 Shipwreck of Eneas, and Lord Pembroke of a fine Sunset. " La 
 Prairie de Lachen " is now in her Majesty's private collection, 
 (Mrs. Jameson's Private Galleries, p. 40.) In the Grosvenor 
 Gallery is a landscape, said to have been painted before 
 Rubens went to Italy, (Mrs. Jameson's Private Galleries, p. 271.) 
 Mr. Rogers possesses two landscapes, one of which is a Moonlight 
 formerly belonging to Sir Joshua Reynolds. The landscapes of 
 Rubens in the Louvre are very fine ED.] 
 
 * [The only picture of L. v. Uden in the catalogue of the 
 Pinacothek, is No. 381 ( Cabinets), which is the private property of 
 the king. Waagen describes two pictures of this master as 
 existing in this country, one in the possession of the Duke of Devon- 
 shire ; the other in that of the Marquis of Bute. (England, i. s. 254 ; 
 ii. s. 576). There is one also at Hampton Court ED.]
 
 LIX.] MASTERS OF THE SEVENTEENTH CENTURY. 307 
 
 employed in the execution of landscape backgrounds in 
 historical pictures, but whose own landscapes, specimens 
 of which are in the Schleissheim Gallery, although they 
 adopt the tendency of the time as views of particular 
 localities, are on the whole rather insipid. Another 24 
 follower was Peter Snayers (1593 1662), by whom 
 there is an excellent picture of a bare sandy land- 
 scape, with brown autumn-tinted leaves in the Berlin 
 Museum*--. 
 
 LIX. Whilst a peculiar school of landscape paint- 1 
 ing was thus forming itself in Brabant, some efforts 
 had been made in Italy, and considerable progress had 
 been effected. These efforts originated with Italian 
 masters ; and the study of Italian scenery, together 
 with an idealized treatment of nature, led to the forma- 
 tion of an equally characteristic style. Giorgione and 
 Titian had already in their works given considerable 
 importance to landscape composition, but their ex- 
 ample had not produced any immediate consequences. 2 
 After them, Annibale Caracci, one of the reformers of 
 Italian art, at the close of the sixteenth century, again 
 took the lead in the same direction. His productions 
 have been already noticed (Vol. I. cvi. 17, 18), and 
 were characterized as " well-conceived decorations." It 
 must now be added that the decorative principle in 
 his works essentially differs from that of the Flemish 
 
 * [There is a battle piece by Snayers in the Dulwich Gallery, 
 and another called the "Skirmish of the Forty" at Hampton Court. 
 The picture at Berlin is No. 223. (second division) in Waagen's 
 catalogue. ED. ]
 
 308 MASTERS OF THE SEVENTEENTH CENTURY. []3OOK V. 
 
 school. In the latter it displayed itself in the riches of 
 the vegetable world, and in a brilliant fulness of colour ; 
 whilst in Ann. Caracci, on the contrary, there is more 
 of the element of form, as might be expected from the 
 character of Italian nature. Bold mountain scenery, 
 such as the ridges of the Apennines near Bologna, and 
 the neighbourhood of the Campagna of Kome, present to 
 us, imparts to his pictures a peculiar character of 
 
 3 sublime repose. How this style was carried on by the 
 scholars of the Caracci, Domcnichino, Albani, Ghuercino, 
 and Grimaldi, according to the peculiarity of their re- 
 spective powers, has also been already recorded. (Vol. I. 
 cvii. 10; cviii; ex. 9; cxi. 7.) 
 
 Contemporary with Annibale Caracci there lived in 
 Rome some northern artists, in whose works there is a 
 combination of the landscape style of the Netherlands 
 with that of the school of the Caracci, the last, however, 
 
 4 predominating. The earliest of these masters is Paul 
 Bril * (1554 1626), who was bom at Antwerp. A 
 
 * [Compare however the note by Mr. Eastlake already referred to 
 at the beginning of section Iviii. There is a curious remark of Aug. 
 W. Schlegel's, in his " Urtheile Gedanken u. Einfiille iiber Litte- 
 ratur und Kunst, (Werke i. s. 417,) which applies well to P. Bril. 
 He says, " The flattest and most uniform aspect of nature is that 
 which best trains a landscape painter ; witness the riches of the Dutch 
 art in this department ; poverty teaches us how to make the most of 
 everything, and thus a feeling is created, content with little, because 
 it catches gladly at the least hint of a higher character in external 
 nature. An artist thus trained, when he travelsand becomes familiar 
 with romantic scenery, is so much the more impressed with it. There 
 is, too, an antithetical tendency in the imagination ; the greatest 
 painter of mid and savage scenes, Salvator Rosa, was born at 
 Naples." ED.]
 
 LIX.] MASTERS OF THE SEVENTEENTH CENTURA 309 
 
 more chaste and sober use of his own resources, and the 
 peculiar earnestness which pervade his works, form a 
 striking contrast to the prodigal luxuriance of nature, as 
 imitated by his Flemish contemporaries. His pictures, 
 without being particularly sublime, breathe a calm re- 
 pose, a serene and equable tone of feeling and the 
 mouldering ruins of Roman greatness, winch he de- 
 lighted to paint, convey an impression of solemn me- 
 lancholy. In the Berlin Museum there are several of 5 
 P. Bril's works, some of great excellence, particularly 
 that which represents a broad stream with its quiet 
 banks * ; the execution is simple and unpretending. 
 There are two admirable landscapes in the Pitti Palace, 6 
 at Florence ; one is a stag and wild boar hunt the 
 scenery is beautifully conceived simple, grand, and 
 pleasing the colour cool, but in harmony with the 
 early morning hour the trees gently stirred by a soft 
 breath of wind ; the effect of the whole is peaceful and 
 agreeable. The second is a wild scene, in which a moun- 
 tain stream rushes foaming among rocks and stones. 
 
 * [The picture especially noticed in the text is No. 221 (second 
 division) in Waagen's Catalogue of the Berlin Gallery ; there is 
 another in the same collection (No. 212) representing the Tower 
 of Babel, which is painted on a principle similar to the works of 
 Mr. Martin, and is very good ; Mr. Beckford had a piclure of the 
 same subject by this master. Four or five good pictures of Bril's 
 are in the Louvre ; in England there are two at Hampton Court, 
 being Nos. 222 and 318 in Mrs. Jameson's list, who queries the 
 genuineness of the first. At Dulwich there is one small landscape 
 (No. 314). Waagen (England, ii. s. 36,) assigns to P. Bril a 
 picture at Blenheim, which is called a Claude, and he speaks of a 
 very fine view from Tivoli, by him, in the collection at Castle 
 Howard, (ii. s.419.) ED.]
 
 310 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 7 Adam Elzhcimer* (1574 1620), born at Frankfort, 
 flourished rather later. With the feeling for form of 
 the Italians, and the handling of the Netheiianders, this 
 artist unites a very peculiar style of conception. His 
 pictures have a miniature-like character, as if we looked 
 on nature through a diminishing glass. In the small 
 space which his pictures occupy, he gives a wide expanse 
 of diversified scenery, illuminated by broken gleams of 
 light woods in deep shadow, water with its clear 
 bright surface, and the graceful alternations of moun- 
 tain and valley ; the eye, which at a little distance enjoys 
 the harmony of this little world, loses nothing when it 
 approaches to view more closely the minutest details of 
 execution, or the spirited indication of the different ob- 
 jects. There is no want of pleasing figures sometimes 
 subordinate to the landscape at others forming the 
 principal subject of the picture. Here we have a holy 
 family journeying through a still moonlight landscape 
 there a thick forest, in which John the Baptist preaches 
 to the assembled people now a night-piece, with Eneas 
 leading his followers from the burning city. Sometimes 
 Elzheimer's pictures are historical ; but even in these 
 
 8 the same finished execution prevails f. The Munich G al- 
 lery, the Ufiizj of Florence, the Galleries of Vienna, 
 and others, possess numerous works by his hand J. 
 
 * See H. Meyer in Goethe's Werke, vol. xliv. s. 232. 
 
 + Schnaase, Niederla'ndische Briefe, s. 26. 
 
 J [At Dulwich, a small picture of Susannah and the Elders is 
 ascribed to Elzheimer (No. 297, Mrs. Jameson). The " Witch" at 
 Hampton Court (No. 317) belonged to Charles I., as did also the 
 St. Christopher, in the King's Closet at Windsor. The Duke of
 
 LX.] MASTERS OF THE SEVENTEENTH CENTURY. 811 
 
 Cornelius Poelenbury * was an imitator of Elzheimer 9 
 (1586 1660). He visually represents Roman scenery, 
 \vith ruins, and pastoral or mythical figures ; but he 
 wants in general the pleasing and tender feeling of 
 his model, and his pictures, again, have a somewhat de- 
 corative character. His scholars, John van der LyslO 
 and A. Cuylcnburr/, are far less attractive. 
 
 LX. But the style of landscape painting originally 1 
 introduced by Annibal Caracci and his scholars, received 
 a far more important impulse from the French artist 
 Nicholas Poussin (1594 1665). His merit as an his- 
 torical painter -will be discussed in our review of the 
 French school ; but his influence, as veil as that of 
 several succeeding ai'tists, on the development of land- 
 scape painting, is too remarkable to be passed over here. 
 Poussin 's conception of nature is serious and solemn ; 2 
 a grandeur of form prevails as in his historical works, 
 whilst his colouring, which never possesses any great 
 charm, is sometimes almost harsh. In the composition, 
 
 Devonshire has a " Flight into Egypt," which Waagen praises 
 highly, as he does a picture of St. Paul at Malta, in the collection 
 at Corsham. Mr. Beckford's landscape with Tobit and the Angel 
 was engraved by Goudt. The Elzheimer in the Fitzwilliam Museum 
 at Cambridge, is an important work of the master on account of the 
 unusual size of the figures and the power of colouring. (Compare 
 Waagen, England, i. s. 253 ; ii. ss. 303, 334, 526.) ED.] 
 
 [There are several of Poelenburg's pictures at Hampton Court, 
 and among them the children of the Queen of Bohemia, from 
 King Charles's collection. Poelenburg was in England. See 
 Walpole, ii. p. 238. ED.] 
 
 f Goethe's Werke, vol. xliv. s. 243.
 
 312 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 whether its principal features be plains closed in by 
 mountains, or high arched masses of trees, the group- 
 ing is always excellent ; the centre point is generally 
 composed of classical architecture of more or less rich- 
 ness, whilst the accessories consist of figures taken from 
 ancient fable or history, drawn in the same exact man- 
 ner as in his historical pictures. This style of landscape 
 has been denominated " the heroic," and such scenes 
 do indeed seem to be an abode worthy of a race of few 
 wants and of a noble nature. Nature herself appears 
 still in sublime repose, and in all the variety of her 
 peculiar forms, contrasted with the busy occupations of 
 man ; there is no trace of fields or gardens, but here 
 and there is seen a flock of sheep, as hinting at the 
 oldest and simplest mode of turning to account the 
 surface of the earth ; the dwelling-houses have a cha- 
 racter of simplicity and dignity, without the convenience 
 and comfort of a more luxurious life. Although the 
 softer effects of light and air are excluded, yet the result 
 of the whole is to produce a serious and tranquil tone 
 
 3 in the mind of the spectator. Poussin's landscapes, in 
 which these feelings are variously repeated, are to be 
 found in different galleries, particularly in those of 
 England ; a great number of very excellent ones are in 
 
 4 the Doria Palace at Rome *. 
 
 * [Several landscapes by Nicolas Poussin will be found in the 
 Dulwich Gallery. See Nos. 142, 279, 260, 292, of Mrs. Jameson's 
 catalogue. The Marquis of Westminster and Mr. Rogers possess 
 very fine specimens of this master as a landscape painter 4 and 
 works of his of the same class are to be seen at Chisvvick, at
 
 LX.] MASTERS OF THE SEVENTEENTH CENTURY. 313 
 
 The first follower and scholar of Nicholas Poussin in 5 
 landscape was his brother-in-law, Gaspar Dughet, com- 
 monly known by his adopted name G. Poussin *. He in 
 general displays the same fine feeling for form ; and in 
 his early works he follows decidedly the manner of his 
 master, with which, however, in his later pictures, he 
 combines striking peculiarities of his own. It is the 
 life and operation of the atmosphere the creative all- 
 supporting breath of nature in short, what may be 
 called the living soul of landscape, which first appears 
 with its full effect in G. Poussin 's works. In his 
 later pictures, the severe earnestness of his master is 
 happily softened ; his landscapes glow with a more 
 genial warmth, his leaves and plants have a greater 
 juiciness and a fresher green, the clear soft perspective 
 allures the eye into the distance, and though the com- 
 position in its grand features adheres to the so-called 
 heroic style, it combines with that style a brighter and 
 a freer character. His peculiar skill in aerial effects 
 was particularly shown in his land storms, which he exe- 
 cuted with great success, and by which he has obtained 
 much celebrity. Gaspar Poussin's oil paintings have 
 often lost a part of their value from the darkening of 
 
 Lansdowne House, in the collection of Sir Thomas Baring, at 
 Holkham, and in the gallery of the Marquis of Bute. ( See Waagen, 
 England.) ED.] 
 
 The dates of G. Poussin's birth and death, are not given in 
 the text, and there seems to be a difficulty in determining them 
 with accuracy. Some say that he was bom in 1600, and died in 
 1660 ; others who place his birth in 1600, fix his death in 1663; 
 and it has been asserted that he was born in 1613, and died in 
 1675. ED.] 
 
 VOL. TI. P
 
 314 3JASTEHS OF THE SEVEXTEEXTH CEXTUBY. [BOOK V. 
 
 of his colours; but in his other pictures his peculiar 
 qualities may be better recognized in their original 
 
 6 state. Among these last are the rich frescoes with 
 which he ornamented the church of St. Martino a' Monti, 
 at Rome, containing scenes from the lives of Elias and 
 Elislia, which decorate that edifice in the most cheerful 
 manner*. There are also a great number of large works 
 
 7 in distemper by G. Poussin hi the Doria Gallery, which 
 contains also some good specimens of his pictures in 
 
 8 oil. The museum of Madrid and the English galleries 
 possess a rich collection; and several excellent examples, 
 principally from Rome, are in the National Gallery in 
 London f . 
 
 9 An imitation of the style of the two Poussins, is 
 visible in the pictures of a younger contemporary, 
 Sebastian Bourdon\, a Frenchman, who aimed at being 
 a universal genius in painting, and in some instances 
 
 * I celebri freschi di Gasparo Possino nella chiesa di S. Martino 
 a' Monti in Roma rappresentanti i miracolosi fatti de' SS. Elia ed 
 Eliseo-incisi da Pietro Parboni. Roma, 1810. 
 
 f [There are five very fine landscapes of Caspar Poussin's in 
 the National Gallery, including his celebrated Land-Storm : but of 
 these none is more beautiful than the view of La Riccia from the 
 Corsini Palace. (No. 98, Mrs. Jameson.) The others are Nos. 31, 
 30, 68, 95, in the same list. Other pictures of this master will be 
 found at Windsor and in the Dulwich Gallery ED.] 
 
 [ See again, as to the dates of Bourdon's birth and death, Fuseli's 
 Pilkington (note). He is said to have been born in 1616, and to have 
 died in 1671. We have in the National Gallery one of Sebastian 
 Bourdon's finest works, the Return of the Ark. It once belonged 
 to Sir Joshua Reynolds, and was by him bequeathed to Sir George 
 Beaumont, who left it with his other pictures to the nation. Com- 
 pare Sir J. Reynolds' 14th Disc., Works, ii. p. 168. Mrs. Jame- 
 son's National Gallery, No. 64 ED.]
 
 LXI.] MASTERS OF THE SEVENTEENTH CENTURY. 315 
 
 produced works which seem to justify the claim. The 
 same course was pursued by some Netherlander be- 
 longing to the close of the sixteenth and beginning of 
 the seventeenth century, such as Francis Ittilet (called 
 Francisque), Johan Glauber (called Polydor), J. F. ran 
 Bloemcn (or Orizonte), P. Ryslraeck, and others. If 
 in these artists the deep earnestness and energy of 
 their master were somewhat weakened, yet they, par- 
 ticularly Glauber and van Bloemen, have produced 
 some excellent works. The Berlin Museum con- 
 tains some pleasing pictures by all of them except 
 
 Ititefc 
 
 LXT. Some years younger than Nicolas Poussin, was 1 
 his countryman, Claude Gdee, surnamed from his birth- 
 place, Claude Lorrain (1GOO 1682). His career as 
 an artist, however, belongs to Italy, and he stands first 
 among the masters in the branch of landscape art of which 
 we are now treating, The actual forms in his pictures, 
 as in those of G. Poussin, are derived from Italian 
 nature; but the feeling of limited space and the severe 
 character, which are visible in the works of the latter 
 master, are wanting in those of Claude. Our eye ranges 
 unchecked over outspread plains, often bounded by 
 the sea. The flow of the lines is clear and har- 
 monious ; but the feeling for pure beauty of form strikes 
 us less in the conformation of the ground, than in 
 the soft and flowing outline of the arched groups of 
 trees which constitute his foreground, and imitate so 
 happily the graceful growth of the evergreen oak a tree 
 commoner in Claude's time, in the immediate neigh- 
 
 p 2
 
 316 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 bourhood of Rome, than it now is. The architecture 
 which he introduces has a classical character ; but his 
 buildings are sometimes ruins, subordinate to the land- 
 scape, and sometimes, though more rarely, are moulded 
 into fairy palaces of wonderful splendour, so that in 
 neither case have they the aspect of dwelling-places for 
 ordinary men. These, however, are but the external 
 features of Claude's pictures, and they form only the 
 framework by means of which he sets before us the 
 true creative power of nature, shown, as in the works of 
 G. Poussin, in the effect of air, and still more in the 
 brilliant and vivid workings of light. The quivering of 
 the foliage, the silent sweep of light clouds across the 
 clear sky, the ripple of the lake or the brook, the play of 
 the waves of the sea, the pure breezes of morning, the 
 soft mists of evening, and the glistening dew upon the 
 grass, are all truth itself, and all seem instinct with joy- 
 ous life. A soft vapour separates one distance from 
 another, and allows the eye to wander into boundless 
 space, only to be recalled by the warmth and richness 
 of the foreground. Light pervades the whole, and every 
 object breathes a blessed serenity and repose. Claude 
 paints the forms of earth indeed, but he veils them in 
 an ethereal drapery, such as is only at moments visible 
 to our eyes ; he paints that worship of the Creator which 
 nature solemnizes, and in which man and all his works 
 are only included as accessories. 
 
 2 The early works of Claude are distinguished from the 
 later by a peculiar bluish, cool tone, which may perhaps 
 be considered as a trace of his early training ; he received 
 his first instructions from a scholar of Paul Bril, A.
 
 LXI.J MASTERS OF THE SEVENTEENTH CENTURY. 317 
 
 Tassi. As examples, may be mentioned two large pic- 
 tures in the Munich Gallery, both with figures of Hagar 
 and Ishmael #. The first is a morning scene, with the 
 
 * [The Emperor Alexander purchased two very fine Clautles 
 from Malmaison, which had been originally taken by the French 
 from Hesse Cassel ; they are now at the Hermitage. The present 
 Madrid Collection contains ten pictures attributed to Cla.ide (Cata- 
 logue of 1843). Mr. Ford especially notices numbers 947 and 
 1080 (see Handbook of Spain, p. 764). He describes them as in 
 good condition, but in want of lining. 
 
 With regard to the English collections, the list of the master's 
 works in this country is a very long one. The National Gal- 
 lery professes to contain ten of his pictures ; of these the Em- 
 barkation of the Queen of Sheba and the St. Ursula are perhaps 
 the finest. The former was painted for the Due de Bouillon, 
 and was sold by Erard, with the repetition of the " Molino," to Mr. 
 Angerstein for 8,000/. This latter picture is not an exact fac- 
 simile of that in the Doria Palace at Rome ; but it is one of 
 those which are generally treated as copies, or as not executed 
 wholly by Claude. Waagen speaks thus of it and of the Cephalus 
 and Procris (England, i. s. 213). Passavant (Kunstreise, s. 20), 
 absurdly treats all five pictures from the Angerstein collection as 
 acknowledged copies ! The Chigi Claude, David in the Cave of 
 Adullam (or Sinon before Priam), now in the National Gallery, 
 sold in 1810 for 2,750 guineas. It was bequeathed to the nation by 
 Mr Hohvell Carr. The Rape of Europa, in her Majesty's private 
 collection, was painted for Alexander VII. in 1665, and sold from 
 Lord Gwydyr's collection in 1829 for 2,1007. 
 
 At Windsor there are four pictures attributed to Claude ; three of 
 these, Waagen ( England, i. s. 1 78), says are not among the choice 
 works of the master. Of the Claudes at Dulwich he states, that 
 both his genuine and pretended pictures in that collection are in 
 bad condition, but he gives no means of distinguishing which in his 
 opinion belong to each of these classes. The reader may consult 
 Mrs. Jameson's Public Galleries, vol. ii. Nos. 270, 244, 264, 275, 
 211,258,303. 
 
 The Bridgwater collection contains four beautiful Claudes, of 
 which the smallest the " Morning" is perhaps the most exquisite.
 
 318 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 sun rising over the sea; and the second an evening 
 landscape, also with a view of the sea : both are per- 
 
 3 feet in the clearness and purity of their tone. Two 
 
 4 other similar pictures are in the Sciarra Palace at 
 Rome. In his later works this hluish tone disap- 
 
 5 pears, and gives place to the brightest warmth and 
 the most cheerful harmony of sunny light. The Doria 
 and Sciarra Galleries in Rome contain a great num- 
 ber of Claude's most finished works ; others are 
 found in the Museum of Naples, in the galleries of 
 Vienna (particularly the Esterhazy), at Munich, Dres- 
 
 (See Mrs. Jameson's Private Galleries.') The Marquis of West- 
 minster possesses no less than ten pictures by this master, including 
 the two celebrated ones of the Adoration of the Golden Calf, and 
 the Sermon on the Mount ; the last is a wonderful picture. At 
 Petworth is the Jacob and Laban, engraved by Woollet ; Mr. 
 Rogers has an octagon picture formerly belonging to B. West, which 
 is very much admired by Waagen (England, i. s 411). Lord 
 Lansclowne and the Duke of Wellington possess beautiful specimens. 
 Lord Radnor is the owner of the two generally termed " The Rise 
 and Decline of the Roman Empire," which were engraved respect- 
 ively by Mason and Woollet. The same name is given to two 
 beautiful landscapes of morning and evening in the Grosvenor 
 Gallery. In Mr. Milcs's collection at Leigh Court, will be found 
 the well-known Altieri Claudes, as well as two others ; one of the 
 latter is a herdsman driving cattle through a river, engraved by 
 Vivares, and etched (with variations) by Claude himself. The Al- 
 tieri pictures were bought by Mr. Beckford for 7,5001., and were sold 
 to Mr. Hart Davis for no less than 12,000^. ; from him they passed 
 to Mr. Miles. (See Buchanan's Memoirs, ii. p. 31.) The two fine 
 Claudes formerly at Corsham now belong, it is believed, to Mr. 
 Holford. 
 
 The collections at Burleigh and at Holkham, as well as those of 
 Lord de Grey, Sir Thomas Baring, Mr. Wells, and Sir W. W. 
 Wynne, afford additional proof of the riches of this country in the 
 genuine works of this great landscape painter ED.]
 
 LXII.] MASTERS OF THE SEVENTEENTH CENTURY. 319 
 
 den, and Berlin, in the Louvre (a great number), at 
 Madrid, in the National Gallery of London, and other 
 English collections. Frequently, however, copies or 
 free imitations bear the name of the master. Even in 
 his lifetime a considerable traffic was carried on with 
 such imitations ; in order to meet this fraud, and to show 
 what really were the works of his own hand, he col- 
 lected into a book the sketches of his pictures, or draw- 
 ings executed from them, and this book he named 
 "Liber Veritatis." This valuable collection is now in 6 
 the possession of the Duke of Devonshire*. 
 
 LXII. Claude's feeling for ideal beauty called forth 1 
 many imitators, and excited many similar efforts on the 
 part of the artists of the Low Countries, more par- 
 ticularly among the Dutch. By the full effect of 
 light, by the brilliancy of the air, and the liquid misti- 
 ness of the distance, they endeavoured in a similar 
 manner to produce a higher tone, and to ennoble 
 those forms of nature which they saw around them. 
 By adhering partly to the clearness and freedom of 
 Claude's compositions, partly to the more elevated 
 forms of Poussin's style, they succeeded in producing 
 single works of very great beauty. It may be re- 
 garded as a distinctive mark of these imitators, that 
 some trace of that feeling for the individual realities of 
 nature which characterized Flemish art, and which was 
 developed in the landscapes of Eubens, is always, more 
 
 * Facsimiles were executed by Richard Earlom, and published 
 in London, 1774-77.
 
 320 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 or less, perceptible in the single features of their 
 works. 
 
 2 Of these artists may first be noticed Herman Sicane- 
 relt*, from the Netherlands (1 620-1680 or 90). His com- 
 positions are grand, and his imitation of the manner of 
 his master is happy ; but the mild tone of Claude is, in 
 some degree, impaired by a certain stiffness and heavi- 
 
 3 ness in the details. Swanevelt's pictures are not common ; 
 in the Esterhazy Gallery and the Imperial Gallery at 
 Vienna there are some works which fully show the ex- 
 
 4 cellence of that school whence he derived his instruction. 
 He has, however, made himself better known by a large 
 number of landscapes etched with great spirit, than by 
 his paintings t. 
 
 5 A second admirable artist, who pursued the same 
 path, is John Bothl (1610-1651). The compositions of 
 this master are for the most part rich and full ; rocks 
 and wide-spreading trees with fine foliage, alternate 
 with views melting into the mists of distance ; a brilliant 
 glow of evening pervades the atmosphere, and generally 
 gives to Both's pictures a tone of solemn splendour. His 
 
 * [ Specimens of Swanevelt will be found at Hampton Court, 
 and in the Dulvvich Gallery. ED.] 
 
 j- See Schildener, " H. Suanevelt in seinen geiitzten land- 
 schaftlichen Bliittern," in the Museum, 1836, No. 45, s. 360; and 
 " Ueber die Bedeutung zweier radirter Landschaften von H. 
 Suanevelt," in the same work, No. 48, s. 383. (Compare "Be- 
 richtigung," No. 50, s. 403). 
 
 } [The National Gallery contains a fine Both bequeathed by Sir 
 George Beaumont ; others will be found in her Majesty's private 
 collection, in the Bridgwater and Grosvenor Galleries, and at 
 Dulwich. The picture formerly belonging to Lord Methuen was 
 purchased by Mr. Holford ED.]
 
 LXII.] MASTERS OF THE SEVENTEENTH CENTURY. 321 
 
 treatment is broad, massy, and dignified. The figures 
 of his landscapes were usually painted by his brother, 
 Andrew ( LIU. 12.), and they agree most admirably with 
 the character of his pictures, whilst those executed in a 
 similar manner in the works of other artists too fre- 
 quently want this quality of harmony. There are ex- 6 
 celleut pictures by Both in the Galleries of Dresden, 
 Munich, Berlin, Vienna, and in the Doria and Sciarra 
 galleries at Rome. 
 
 The style of Adam PtjnacJcer (b. 1621) bears some 7 
 affinity to that of John Both. He also delights in grand 
 forms of mountains and trees, and in a brilliant though 
 misty effect of light. He has produced single pictures 
 of this class of great excellence one, for instance, in 
 the Schleissheim Gallery, in which the figures are a 8 
 peasant on horseback and a white cow in the water*. 
 The whole conveys an impression of the calmest and 
 clearest evening. Frequently, indeed, he aims at pro- 
 ducing a sort of dazzling effect ; but in such pictures 
 the pure simplicity of feeling for nature is lost, and 
 they bear the character rather of a decorative style. 
 Such are the greater number of his works, which are 
 distributed in various collections. 
 
 Other contemporary masters followed the same course. 9 
 such as Jacob van Artois f, Barthol. Breenbcry, John van 
 Asscn, Caspar and Peter de Witte, John Francis Ermeh 
 
 * [This picture is now in the Pinacothek, No. 362 ( Cabinets). 
 -Bo.] 
 
 f [If the reader wishes to see a fine picture by Artois, he will 
 find one in the Duke of Sutherland's collection. See Mrs. Jame- 
 son's Private Galleries, p. 203. ED.] 
 
 p 3
 
 323 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK T. 
 
 (a German), John- Linrjelbach (also a German, dis- 
 tinguished for his pictures of Italian harbours and 
 crowded market scenes, &c.), and Frederick Mouclteron. 
 
 10 At a later period, about the close of the seventeenth 
 century, this style changes into a mere external pret- 
 tiness of composition and execution, with a spotty 
 and mannered colouring. The artists who belong to 
 this class are, Cornelius Hinjsman*, Albert Meyi>)-in/j, 
 Isaac Moucjieron, and others. 
 
 With the masters already mentioned may also be 
 ranged some Dutch painters, who, whilst they derived 
 the feeling of their landscapes from a more northern 
 aspect of nature, conceived and executed them on 
 similar principles. The most important of these was 
 
 11 Herman Sachtleren, or Zaftleven (1609-1685), the cha- 
 racter of whose landscapes is generally taken from the 
 romantic banks of the Rhine. A peculiarly soft mist 
 hangs over the scenery, the handling is of the highest 
 finish, but the execution is not always free from 
 mannerism. In his pictures of simple subjects there 
 is much genuine and pleasing feeling ; but others 
 again frequently want the necessary force of tone and 
 
 12 colour. The Dresden Gallery is rich in his works, 
 and they are not rare at Berlin, Munich, Vienna, and 
 elsewhere. 
 
 13 John Griffier, an artist of rather later date and some- 
 what similar character, also delighted in painting with 
 the highest finish the sceneiy of the Rhine or of 
 
 * [Cornelius Huysman, of Mechlin, was a pupil of Artois; 
 some of his pictures are extremely beautiful ; they have generally a 
 striking effect of light on the foreground. ED.]
 
 LXI1I.] MASTERS OF THE SEVENTEENTH CENTURY. 323 
 
 Southern Germany. His colouring is generally still 
 more gaudy and mannered than that of Sachtleven. In 
 the Berlin Museum, however, there are some pictures 
 by him, of a softness and grace not very common in his 
 works. 
 
 John Hackert*, (also a Dutchman,) may be added here. 14 
 He flourished in the second half of the seventeenth 
 century, and principally applied himself to the scenery 
 of Southern Germany and Switzerland. A certain 
 brownish tone prevails in his pictures, but they are free 
 from mannered effects, and are painted with a feeling 
 of calm solemnity. In the Berlin Museum there is an 
 excellent picture by him of this character. 
 
 LXIII. This ideal or poetic style of landscape pro- i 
 duced an offshoot in what may be called " pastoral paint- 
 ing." In pictures of this class, the groups of men and 
 animals are raised from mere accessories to be the cen- 
 tral point of interest, and thus a transition is often 
 formed to the department of genre. The pictures with 
 shepherds and cattle are of this class, and are closely ana- 
 logous to the favourite pastoral poetry of the same period. 
 Such works are conceived on the principle of embody- 
 ing, in a more or less ideal form, those peaceful features 
 of rural life which convey an idea of harmony between 
 outward nature and the life of man. The artificial cir- 
 cumstances of brilliant colour and atmospheric softness 
 give to the whole composition a higher and more poetic 
 
 * [A very fine Hackert, with figures by Berghem, sold at 
 Christie's this year (1845) for 682^. 10s. It belonged to Lord 
 Granville ED.]
 
 324 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 tone. The groups of animals and horses, the herds of 
 sheep and deer, are executed in these pictures in the 
 most finished and most attractive manner. 
 
 2 The next artist to be named is John Wynants ' (born 
 about I GOO), who, however, adhered rather to the form and 
 
 3 character of northern scenery : whilst John Baptist Wee- 
 nix (1621-1060,) adopted a decidedly pastoral feeling 
 and a southern character of landscape. A large painting 
 in the Berlin Museum is a well-marked example of his 
 style of ait ; and, indeed, the subject Erminia with the 
 Shepherds required to be treated in this manner. Er- 
 minia has without doubt the prudish air of a theatrical 
 heroine ; but the shepherd's family is given with great and 
 successful naivete. The cattle at rest are executed with 
 much taste and highly finished, whilst the character of 
 the landscape is Roman, and the whole scene is bathed 
 in a glow of yellow evening light. 
 
 4 Nicholas Berghem \ is a more eminent artist 
 
 * [Sir Robert Peel possesses two pictures by Wynants ; one has 
 the figures painted by Lingelbach, the other by Adrian v. der Velde. 
 There are four or five of Wynants' works (three of which have 
 figures by v. der Velde) in the Bridgwater Gallery. The Dulwich 
 Gallery contains three specimens. ED.] 
 
 f [It is said that " Berghem" was a nickname. He studied under 
 v. Goyen and others as well as under Weenix. The Duke of Devon- 
 shire's collection, those of Lord Francis Egerton, Lord Ashburton, the 
 Marquis of Westminster, Mr. Hope, a:id the Queen's private gal- 
 lery, are rich in pictures by Berghem. The Dulwich Gallery pos- 
 sesses five of his works. Waagen (England, ii. s. 190), speaks of Nos. 
 200 and 209 in Mrs. Jameson's list as being injured in the distance 
 and sky. Mr. Munro is the owner of a singular picture of Berghem's, 
 with two figures (Jupiter and Calisto) the size of life, which has all 
 the usual character of his touch and execution. The Louvre con- 
 tains some very fine Berghems. ED.]
 
 LXIII.] MASTERS OF THE SEVENTEENTH CENTURY. 325 
 
 (1624-1G83). He was a scholar of Weenix, and one 
 of the principal masters in this whole class of pastoral 
 painters. Some of his pictures represent shepherd- 
 esses with their flocks reposing among ruins, or wading 
 through shallow streams, or dancing to the music of 
 the flute ; in others he painted travellers in some wild 
 country, struggling with dangers, or alighting at houses 
 of entertainment: occasionally, too, his figures are taken 
 from the higher kind of poetry, or from scenes in the 
 Old Testament. As a rule, his paintings are composed 
 of forms derived from southern nature, and are rarely 
 based upon the scenery of his own country; at all 
 events, however, these forms are treated in that ideal 
 and brilliant style which we have described; the eye 
 rejoices in the harmony of his lights and in the richness 
 and power of his pencil ; yet his compositions never pos- 
 sess the freedom and simplicity which might be desired 
 in such scenes ; we are frequently sensible that the artist 
 has designedly contrasted the pastoral feeling of his 
 scenery with the prosaic circumstances of ordinary life. 
 Berghem s pictures are to be found in all galleries ; the 5 
 Dresden Collection, especially, contains a great number 
 mostly scenes of shepherd life. His pictures in the 
 Berlin Museum furnish examples of his various styles. 
 Philip Wouvennan* (1620-1663) belongs to another 6 
 
 * [Among the many fine works of Philip Wouvennan in this 
 country, the six in the collection of Sir Robert Peel may be parti- 
 cularly referred to ; one of them is the picture of fishermen on the 
 sea-shore painted for Elizabeth of Spain, and supposed to be 
 the last work executed by the artist. Compare Mrs. Jameson's 
 Private Galleries, p. 371 ; Buchanan's Memoirs, i. p. 204; ii. p. 
 245, 248. The Queen's private collection, as well as those of the
 
 326 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 line of art. This artist takes his subjects from the 
 upper classes of society, and chiefly from the life of 
 those classes as exhibited in the open air. Above all, 
 he delights in painting jovial parties of sportsmen, 
 sometimes riding out with ladies equipped for hawking, 
 and sometimes galloping over heath and plain after the 
 hunted stag, or reposing in the cool shade near a spring. 
 One of the points of interest in these pictures is similar 
 to that already noticed in the works of Terburg, and 
 other painters of the same class of genre, the feeling, 
 namely, of well-bred society and decorum, assisted oc- 
 casionally by some little hint at a novel-like relation 
 between the personages represented. The other main 
 point of interest of Wouvemian's pictures, is derived 
 from the taste and knowledge with which he delighted 
 to paint the horse that constant companion of the out- 
 door life of a gentleman in all its various and manifold 
 situations. In many of his works the horse is treated as 
 
 Duke of Wellington and Lord Francis Egerton, contains excellent 
 specimens. Her Majesty owns the celebrated " Hay Harvest," a 
 horse fair from Malmaison, which was bought for 800 guineas, and 
 " Le Coup de Pistolet." It would be endless to attempt a refer- 
 ence to the numerous pictures of this master scattered about in other 
 cabinets. 
 
 With regard to the battle-pieces in the Dresden Gallery, one of 
 them is a most striking picture, and has greater unity of subject 
 than generally belongs to the hawking parties and similar subjects 
 of this master ; the latter class of works, however, is the most po- 
 pular, and perhaps the most characteristic. An extraordinarily fine 
 Wouverman in the collection of Cardinal Fesch has, it is said, 
 just been sold (1845) for a very large price to the King of Wurtem- 
 berg. The Wouvermans in the Madrid Gallery are numerous and 
 fine. See Ford's Hand-book, pp. 766 768. ED.]
 
 LXiri.] MASTERS OF THE SEVENTEENTH CENTURY. 327 
 
 the principal figure ; he painted him in the stable 
 being saddled in the menage when taken to water, or 
 at the fair : other subjects which afford opportunity for 
 prominently displaying the figure of the horse such 
 as battles, attacks by robbers, or adventures of carriers 
 were frequently painted by him. The whole picture 
 is always executed with the utmost delicacy, and the 
 landscape accessories are treated in that soft tone which 
 its general ideal style demands. The handling, with all 
 its tenderness, is free and light, and devoid of everything 
 like mannerism. Wouverman's pictures are numerous ; 7 
 in the Dresden Gallery, particularly, there are many of 
 them. 
 
 This particular style excited few or no imitators, if 8 
 we except Peter Wouverman, who, however, never 
 reached the admirable finish of his brother Philip. We 
 meet, on the contrary, with a great number of artists 
 who made the shepherd with his flocks their principal 
 subject. The best and most interesting amongst them 9 
 is Adrian ran der Velde* (1639-1G72). He also repre- 
 
 * [Adrian v. d. Velde's works have sold for very large prices in 
 this country ; the Queen's private collection contains seven, one of 
 which (No. 156, Mrs. Jameson) sold in 1810 for 6m, another 
 (No. 153) for 4411. Sir Rohert Peel has three pictures of this 
 master ; that from Sir Simon Clarke's collection fetched 760 guineas 
 in 1840. A picture said to contain the portraits of himself and his 
 family (4 feet 8 in. by 5 feet, No. 100, Smith's catalogue,) was put 
 up at Christie's in 1833, and bought in for 1,310 guineas. Mr. 
 Higginson's picture of Mercury and Argus was sold at Paris in 
 1837 for 41 9^. The Museum at Amsterdam, the Public Galleries 
 at St Petersburgh and at Munich, and the private collections of 
 Mr. Hope and Mr. Wells in this country, as well as several in 
 Holland, are rich in the works of A. v. der Velde. ED.]
 
 328 MASTERS OF THE SEVENTEENTH CENTURY. 
 
 [BOOK v. 
 
 sents the pastoral and poetic side of country life ; but his 
 pictures are free from the tendency to affectation, which 
 sometimes has a disturbing effect in Berghem : they are 
 of a pleasing, graceful character, and exactly correspond 
 to our notion of an Idyl. The situations are the most 
 simple, whilst the unpretending though beautiful exe- 
 cution is perfectly in unison with the scenes themselves. 
 
 10 There are interesting specimens of A. v. der Velde in 
 the galleries of Dresden and Munich, and elsewhere. 
 
 1 1 Other artists of this time followed partly the example 
 of Van der Velde, and partly that of the masters men- 
 tioned before him. All the following have left single 
 works of great simplicity and beauty- : Albert Cinjp, 
 
 * [There are two names in this list which it is impossible to pass 
 over with the slight notice in the text : these are Cuyp and K. du 
 Jardin. 
 
 The former was the son of Jacob Gerrit Cuyp, who is men- 
 tioned ( LXIV. 2) as a landscape painter. A. Cuyp was born at Dort, 
 in 1606; the year of his death is unknown, but he lived till 1672, as 
 appears from a list of the burghers of Dort. Besides Albert Cuyp 
 and his father, there was a Benjamin Cuyp, supposed to be a nephew 
 of Albert's, who painted pictures of genre, and works in the style 
 of Rembrandt (see Nagler, Kiinstler Lexicon). Albert Cuyp's 
 works do not appear to have borne a high value till long after 
 his death; Mr. Smith (Cat. raisonne, Life of Cuyp) assures us, 
 that on reference to numerous Dutch catalogues of the principal 
 sales in Holland, down to the year 1750, there is no example of any 
 picture of Cuyp's selling for more than thirty florins, or something 
 less than 3/. sterling. Nagler's account, in his Kiinstler Lexicon, 
 does not quite agree with this. Mr. Smith proceeds to say. " Soon 
 after the period above named, a gradual advance in their value took 
 place, in consequence of the repeated demand for them by English 
 and French dealers ; and at the sale of the celebrated collection of M. 
 van der Linden van Slingelandt, in 1 785. public opinion was unequi- 
 vocally pronounced upon their merits by the payment of pricesin some
 
 LXIII.] MASTERS OF THE SEVENTEENTH CENTURY. 329 
 
 John Mid, John Asselyn (surnamed Krabbetie), W. 
 Piomeyn, C. Clomp, K. du Jardin, Begyn, and others. 
 
 measure commensurate with their beauty, but which have since been 
 in many instances more than quadrupled. " Walpole, writing to Sir 
 Horace Mann, May 1, 1774, (letter ccxviii. vol. ii. p. 271,) says, 
 " Sir George Colbroke, a citizen, and martyr to what is called 
 speculation, had his pictures sold by auction last week. A view of 
 Nimeguen by Cuyp, and which he had bought very dearly for 70 
 guineas, sold for 290 ! If they could be sold in proportion, the 
 collection at Houghton would fetch 200,000/." Lebrun gives the 
 English amateurs the credit of being the first to appreciate Cuyp's 
 pictures. 
 
 There is a very beautiful Cuyp in the National Gallery, and a 
 large number of his works in the Dulwich Collection. The 
 Louvre contains some very fine specimens, especially a picture 
 representing a gentleman with a servant holding his stirrup, and 
 another of the Return from a ride. Her Majesty's private collec- 
 tion contains no less than nine Cuyps : that with a negro holding 
 two horses sold at Lord Rendlesham's sale, in 1806, for 500 guineas. 
 The Bridgwater Gallery, besides five other landscapes, includes the 
 celebrated picture called " The Landing of P. Maurice at DorV* 
 (which sold at van Slingelandt's sale for no more than IGOi) 
 one of the former, the Ruins of Konigsvelt, sold at Amsterdam, in 
 1790, for 451. The Grosvenor Collection has also some fine Cuyps, 
 one of which is a Moonlight: Sir Robert Peel possesses three : Sir 
 Abraham Hume had a picture of Cuyp's which cost him 1,3002. 
 Another at Petworth was sold in 1829 for 1,010 guineas, the same 
 price w hich the view of Dort fetched at Mr. Harman's sale. Lord 
 Ashburton's " Huntsmen Halting near Herdsmen," ( Smith's Cata- 
 logue, No. 10,) sold at v. Slingelandt's sale in 1785 for 1731 : at 
 Dubris's, in Paris, in the same year, for 160/., and was purchased by 
 its present possessor for 1,300/. Lord de Grey, Lord Lansdowne, 
 the Marquis of Hertford, the Duke of Rutland, and Mr. Wells of 
 Redleaf, have all good pictures by this great master ; but one of 
 the very finest is said to be that belonging to the Marquis of Bute. 
 ( See Waagen, England, ii. s. 574. ) Lord Granville's small picture 
 of the artist drawing from Nature, fetched this year upwards of 
 500 Mr. Holford is, I believe, the owner of a beautiful Cuyp,
 
 030 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 In the pictures of some other artists, the cattle pre- 
 ponderate over the human figures, but still the whole 
 12 preserves its landscape character. Of these may he 
 first named, John Henry Eoos (1 631-1085 ), -who adheres 
 to the pastoral feeling and to the forms and brilliant 
 
 a view on the Meuse, which was made up of two pictures for- 
 merly separated and belonging to Lady Stuart : it was exhibited in 
 the British Institution two or three years ago. 
 
 The Gallery of the Hermitage, at St. Petersburgh, comprises 
 six works by Cuyp ; and there are fine specimens in the Dresden 
 Collection, one of which is a rocky view, painted in 1654. In 
 the Esterhazy Palace, at Vienna, is a picture containing the por- 
 traits of fourteen persons, said to be those of himself and his family: 
 according to Mr. Smith it does not possess much merit. 
 
 K. du Jardin was born at Amsterdam in 1635, and died, it is 
 supposed, at Venice in 1678 : he worked much and successfully in 
 Italy, and was a pupil of Berghem. The best collection of his 
 works in one gallery is probably that in the Louvre : among them 
 is a Crucifixion of great beauty, and a picture of a " Charlatan," 
 dated 1657 ; the latter therefore was executed when he was twenty- 
 two years old; it sold at d'Agincourt's sale in 1783 for 18,300 
 francs, or upwards of 700Z. In the Amsterdam Gallerv are the 
 portraits of five persons, governors of the House of Correction, 
 of the size of life : that collection, and the Museum of the Hague, 
 can boast other fine productions of this master. 
 
 In this country, specimens, some of which are perhaps doubtful, 
 will be found in the Dulwich Gallery. Lord Ashburton has a pic- 
 ture of a watermill, with a peasant drawing water, which sold at 
 Mons. Eynard's sale, in 1825, for 10,000 francs, and another fine 
 work of the master. Sir Robert Peel, as usual, possesses very choice 
 examples; one of them, (The Ford,) sold for 430 guineas in 
 1821 ; another, from the collection of Sir Simon Clarke, was pur- 
 chased by the present possessor for 930 guineas : the third (" the 
 Woman spinning") is much the smallest of the three. There is 
 one K. du Jardin in the Bridgwater Gallery, and five in her 
 Majesty's private collection : fine pictures of the master are also iu 
 the hands of Mr. Wells, Mr. Hope, and Mr. Higginson ED.]
 
 LXII1.] MASTERS OF THE SEVENTEENTH CENTUBY. 331 
 
 light of the south, and his son, Philip Boos-'- (sumamed 13 
 Rosa da Tivoli). The pictures of both these painters 
 frequently occur. 
 
 John van der Meer, the younger, often displays in 14 
 his landscapes a more genuine study of his native 
 scenery. There are excellent pictures by him in the 
 Berlin Gallery. 
 
 Finally, the most celebrated master of this class was 15 
 Paul Potter f (1625-1654). In him the romantic cha- 
 racter altogether disappears. The scenery is thoroughly 
 northern, and perfectly simple. There is no expression 
 of any peculiar tone of feeling ; but his men and cattle 
 are a faithful transcript of the figures which occurred in 
 the country life of his native land. The admirable imi- 
 tation of nature in the different kinds of cattle, and in 
 their forms and movements, to which Paul Potter at- 
 
 * [Philip Roos was born in 1655, at Frankfort, and died in 1 705 : 
 an entertaining account of his worthless life will be found in 
 James's Flemish, Dutch, and German Schools, p. 365. ED.] 
 
 f [The Queen's private collection contains four pictures attri- 
 buted to Paul Potter ; there is a small work of his in the Bridg- 
 water Gallery : Lord Ashburton has two fine P. Potters, and Sir 
 Robert Peel possesses one, dated 1 654 ; consequently, one of the 
 last works of this short-lived artist. A view near Haerlem, of ex- 
 traordinary truth, but without cattle, was bought, I believe, by Mr. 
 Higginson at Mr. Harman's sale, in 1844, for 800 guineas. The 
 last picture mentioned in the text was carried off from Casscl by 
 the French, and was finally bought by the Emperor of Russia from 
 Malmaison. The Marquis of Westminster is the owner of a beau- 
 tiful picture, originally painted for the family of v. Slingelandt, 
 and which formed part of the collection of Mr. Crawford, at Rot- 
 terdam. This collection was sold by Mr. Christie, in 1806, when 
 the picture in question fetched upwards of 1,500/. See Buchanan's 
 Memoirs, vol. ii. p. 187. ED.]
 
 332 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 tained, has assigned him a peculiar position amongst 
 the Dutch artists. This style, however, turning as it 
 does almost exclusively on the simple imitation of 
 16 animal life, leads to the department of animal painting, 
 which will be discussed hereafter. This strikes us par- 
 ticularly in the picture of the young bull, of the size of 
 life, in the Hague Museum. Other pictures of P. 
 Potter's, of which there are many in various collections, 
 belong more to landscape, and among these is the cele- 
 brated one in the Hermitage at Petersburg!!, repre- 
 senting a herd of cattle at pasture under lofty oaks be- 
 fore an old cottage, with the well-known cow in the cen- 
 tre of them. 
 
 1 LXIV. At this same period, landscape painting 
 was cultivated in Holland with peculiar success by those 
 masters who contented themselves with imitating their 
 native scenery, and did not aim at ideal beauty. The 
 manifest efforts to attain a brilliant effect, which are 
 sometimes so displeasing to us, do not appear in the 
 works of these painters ; if their conception of na- 
 ture has less pretension to poetic feeling, it is at least 
 unassuming, and does not, in fact, exclude the higher 
 and more genuine poetiy of nature herself. We must 
 admit that the poetic treatment of a subject by the 
 masters of ideal landscape was somewhat vague in its 
 character, and easily degenerated into mere conventional 
 generalities ; whilst those artists who were constant to 
 the scenery of their home, imbued every object within 
 their limited sphere with the same true feeling, and 
 really opened to us a deeper view into the secret work-
 
 LXIV.] MASTERS OF THE SEVENTEENTH CENTURY. 333 
 
 ings of nature. The sense of undefined longing -which 
 is excited by a distance melting into mist, no longer 
 exists in their works ; hut in its place we find a calm 
 and manly repose, a decided tone of feeling, and the 
 fullest evidence of an intimate communion between the 
 mind of man and the spirit of nature. 
 
 Among the older masters of this line of art who 2 
 flourished in the early part of the seventeenth century, 
 there still prevailed a general conception of Dutch 
 nature in its mere simple repose ; but even in these 
 works some kind of feeling may soon be traced. Among 
 these painters are Jacob Gerrit Cuyp, Theodore Cam- 
 j)huysen, and the most eminent of this class, John van 
 Goyen (1 596-1656). The paintings of this last master 3 
 are composed in the simplest manner, and form the most 
 decided contrast to the landscapes of the older Flemings, 
 and of the contemporary artists in Italy. Desert sands 
 bare hills gray and cloudy skies, give a rather monoto- 
 nous character to his pictures ; whilst form, light, and 
 colour, the chief elements of art in the hands of those 
 landscape painters of \vhorn we have already treated, here 
 take a subordinate place : if, however, there is but one 
 toue, there is still the expression of a decided feeling. 
 Unfortunately the execution of van Goyen's landscapes 4 
 is sometimes very sketchy ; two admirable pictures of 
 a troubled and gloomy character are in the Berlin Mu- 
 seum and in the Munich Gallery. Adrian van dcr 5 
 Kabel (1631-1005), was an excellent scholar of J. van 
 Goyeu ; his pictures have the same melancholy charac- 
 ter, but already begin to show greater energy than those 
 of his master.
 
 334 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 6 Rembrandt exercised an important influence on the 
 development of Dutch landscape painting by his works 
 in this department of art. In such pictures, as in those 
 of the masters just named and in his own historical 
 works, the ordinary nature of his own country is the 
 subject treated; but as in these last, so here it is the 
 play of light and the dreamy effect of his chiaroscuro 
 which imparts a singular charm to his landscapes ; the 
 conception of nature is at once strongly marked with 
 the individual peculiarities of the artist's genius. One 
 of Rembrandt's pictures of this kind has already been 
 mentioned ( XLVII. 19). His scholar, Gerhard ranBat- 
 
 7 tern, followed in the same path ; and J. Lievens also (see 
 XLVIII. 11), by whom there is an excellent landscape 
 in the Berlin Museum. It represents a grove of trees on 
 a clear lake, and the red glare of evening, which breaks 
 through the stems of the trees, is reflected in the 
 water*. 
 
 8 Next to these may be placed Art us ran der Neer\ 
 (1619-1683). In his pictures, twilight, which gives 
 
 [Philip de Koningh should be mentioned as a landscape painter 
 of peculiar power : his pictures represent the space and the whole 
 effect of a wide-spread flat country with wonderful truth : there are 
 good works of his in the Duke of Sutherland's collection, and in 
 the Grosvenor Gallery ; a very good specimen belonging to Lord 
 Granville was sold this year (1845), at Christie's, for no less than- 
 525/. ED.] 
 
 } [The picture by van der Neer, in the National Gallery, with 
 figures by Cuyp, is very fine : there is a Moonlight attributed to him 
 in the Dulwich Collection ; another sold in Mr. Harman's sale for 
 210 guineas, whilst a daylight view of a river was bought by Lord 
 Normanton for 325 ED.]
 
 LXIY.] MASTERS OF THE SEVENTEENTH CENTURY. o35 
 
 free play to the exercise of fancy, is a principal element. 
 A piece of water in a wood, surrounded by high dark 
 trees a lonely canal, whose tranquil surface reflects the 
 light of the ruooii a city in repose, steeped in the 
 quiet moonlight sometimes the calm peacefuluess of 
 night hroken by the glaring light of a conflagration, 
 these are the subjects which Van der Neer delighted to 
 repeat in the most free and pleasing style, and with 
 these he again and again rivets the eyes of the specta- 
 tor. His pictures are not unfrequent : Dresden, Mu- 9 
 nich, and Vienna, possess several specimens. 
 
 In Antony Waterloo (1618-1660), the tendency to 10 
 express the feelings of the artist by the mode in which 
 the landscape is conceived, displays itself in another 
 manner. The repose, the seclusion, and the fresh 
 freedom of forest life, are the subjects of his pictures, 
 and their execution is at once charming and unaffected. 
 They do not recal the loneliness of nature in all the 
 grandeur of absolute solitude, but in relation to that 
 cheering and friendly influence which it exercises on 
 the feelings of man. We are touched individually by 
 his pictures as they glimmer before us like old and 
 happy remembrances of former wanderings. Sometimes 
 the subject is nothing but a narrow footpath threading 
 its way through groups of trees ; sometimes we look 
 into a wide space which opens a view of human habita- 
 tions or some sign of the works of man : at any rate, 
 he always presents to us nature in freedom and re- 
 pose, and with some reference to the varied activity of 
 human occupations. There are several pleasing pic-
 
 336 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 11 tares by Waterloo-, in the galleries of Schleissheim, 
 Dresden, and Berlin ; but lie is much better known to 
 
 12 the friends of landscape painting by his numerous etch- 
 ings f. 
 
 1 LXV. Jacob Euisdad (1635-1681), is the mas- 
 ter whose pictures form the proper type and centre of 
 this whole school of landscape. In his works, as in 
 those of the great painter of ideal landscape, Claude 
 Lorrain, natural objects are treated in a manner which 
 appears to manifest the influence of a higher spirit; 
 but the means adopted by these two artists were veiy 
 different. Ruisdael did not need to decorate the ordinary 
 forms of nature, or dress her up in a holiday garb, in 
 order to bring her nearer to something which was divine. 
 Each single object, however homely and familiar, pro- 
 vided it had not been cramped and regulated by the 
 hand of man the green meadows, the silent sweep of 
 the clouds, the murmuring trees or brook all breathe 
 the pure and lofty feeling of that higher spirit. His 
 paintings are in fact a renewal of that old worship of 
 the spirit of nature which the Roman historian has as- 
 cribed to the ancient Germans. Yet there is in his pic- 
 tures much that relates to the busy toil of man, but 
 
 * [There appears to be only one picture of Waterloo's in the 
 Pinacothek at Munich. Mr. Beckford's and the Marquis of Bute's 
 are the only collections which I can name in this country as con- 
 taining specimens of his paintings. ED.] 
 
 f Schildener, Einiges tiber die aesthetische Wirkung der geiitzten 
 Blatter Anton Waterloo's, in the " Museum " for 1835, No. xxxvi. 
 s. 285.
 
 LXV.] MASTERS OF THE SEVENTEENTH CENTURY. 337 
 
 such features in general stand in feeble opposition to 
 the overwhelming mass of natural objects, and the 
 traces of human works often appear as mere ruins 
 which have long yielded to the powerful operation of 
 the elements. Thus it is that the pictures of Ruisdael 
 form the strongest possible contrast to those of Water- 
 loo already mentioned. 
 
 Ruisdael's subjects are taken from the scenery of the 2 
 North, although the tame form of nature which he saw- 
 in his immediate neighbourhood rarely satisfied him ; 
 or when he did adopt it for his model he generally im- 
 pressed on it a feeling of mournful solitude. A simple 
 picture in the Berlin Museum is a good example. It 3 
 represents an old peasant's hut, behind which are lofty 
 oaks ; a little stream runs close by at the foot of a 
 wooded hill, bubbling over bushes and stones; low- 
 ering shadows from the clouds are cast over the picture; 
 a bright gleam of sun falls on the stem of an old willow, 
 which stretches itself upwards like a spectre in the fore- 
 ground ; the scenery is secluded and inhospitable ; we 
 feel the desolation in which the inhabitants of the cot- 
 tage must dream away their existence. Other compo- 4 
 sitions of this land bring before us the solitude of 
 shady canals, or the depths of a thick wood, enlivened 
 by the passing bustle of a stag-hunt. In some the 
 works of man form the point of interest, but decayed 
 and ruined by the elements*. Of this class is the cele- 5 
 brated " Monastery " of the Dresden Gallery a picture 
 
 * Compare Goethe's Werke, Bd. 33, s. 263, and tte follow- 
 ing pages. 
 
 VOL. II. Q
 
 338 MASTERS OF THE SEVENTEENTH CENTUKY. [BOOK V. 
 
 of a deep and peculiar poetic character but above all 
 6 his " Churchyard," in the same collection. In this last 
 we see in the background the ruins of a once mighty 
 church, obscured by a passing storm of rain ; the 
 whole scene around is wild and desolate, partly covered 
 with bushes and brambles, or with aged and decayed 
 trees. This wildness extends even to the churchyard, 
 in which monuments of varied forms give evidence of 
 its former importance. A foaming stream in the fore- 
 ground finds its way into the waste, even through the 
 tombs, whilst a gleam of sun lights up its eddies and 
 the adjoining graves. 
 
 7 Piuisdael more frequently delineated nature in her 
 grander forms, such as rocky heights surrounded by 
 woods, and torrents rushing between cliffs ; sometimes 
 he added a lonely dAvelling, which, by its contrast, 
 strengthens rather than softens the horror of the scene, 
 or a shepherd who silently passes on his way over the 
 light bridge. Frequently the scene is perfect solitude, 
 in which the voice of the waters seems to be unbroken 
 by any other sound ; on a distant height, perhaps, is a 
 solitary chapel, with the moon behind it, whose beams 
 play upon the foaming waves and dart their single rays 
 
 8 of light into the darkness. Pictures such as these are 
 most widely dispersed, and the galleries of Munich, 
 Dresden, Vienna, and the Hague, possess a great num- 
 ber of them. They all display the silent power of Na- 
 ture, who opposes with her mighty hand the petty 
 activity of man, and with a solemn warning as it were, 
 repels his encroachments. 
 
 9 In Euisdael's admirable representations of the sea
 
 LXV.] MASTERS OF THE SEVENTEENTH CENTURY. 339 
 
 we find the same grand repose, and the same thorough 
 life and motion of the element. In this line of ait also 
 he has executed first-rate works. A large and most 
 excellent sea-piece, with a brisk swell and rain-clouds 
 clearing off, is in the Gallery of the Berlin Museum. ' 
 
 Solomon Ruisdael was a brother of Jacob, and rather 10 
 older. Their pictures are in some respects similar, but 
 Solomon's are generally of simple composition, and 
 want the earnestness and depth of the great master. 
 The greater number of them represent the Dutch ca- 
 nals, with wide-spreading trees add peaceful-looking 
 dwellings on the banks. An unpretending and clear 
 tone is for the most part their peculiar quality, but the 
 execution is deficient in power. 
 
 Mimlert Hobbema^ was a very able scholar of J. Fans- 11 
 
 * [Her Majesty's private gallery contains one picture by Rui.-- 
 dael ; that of Lord Francis Egerton no less than six ; and Prof. 
 Waagen ascribes to this master another work in the same collec- 
 tion which usually bears the name of Hobbema. ( See England, ii. s. 
 347. Mrs. Jameson's Private Galleries, No. 169.) Sir Robert 
 Peel has three fine Ruisdaels : Lord Ashburton's are still more 
 numerous. Besides these, the collections of Sir Abraham Hume, 
 Mr. Wells, and Mr. Hope, must be specially referred to. Waagen 
 speaks with peculiar admiration of a large picture belonging to Mr. 
 Sanderson (England, ii. s. 206), and mentions the Ruisdaels at 
 Burleigh and at Luton ; more particularly a rare specimen in the 
 latter collection, of the interior of a church, with figures by Philip 
 Wouverman. The small but exquisite picture called " Les petits 
 canards," which Smith, in 1834, valued at 150 guineas, sold in 
 1844 for 360 guineas, at Harman's sale. 
 
 It should be added that the Louvre, as well as the Gallery of the 
 Hermitage, contains some very fine Ruisdaels. Eix] 
 
 f [Hobbema is supposed to have been born about 1611, and to 
 have died about 1670 ; the latest date on any picture, with one ex- 
 
 Q 2
 
 3iO MASTERS OF THE SEVENTEENTH CENTURY. [BOOKV. 
 
 dael. His pictures of forest scenery, some representing 
 nature in undisturbed repose, and others with cottages 
 or ruins breaking in upon her solitude, are executed 
 throughout with admirable force. In the Berlin. Mu- 
 nich, and Vienna Galleries there are excellent pictures 
 by him. 
 
 12 Another scholar of Ruisdael was J. R. de Fries. His 
 pictures imitate Flemish nature in all its varieties, 
 
 ception, is 1669 : that single exception bears the year 1689, but 
 Mr. Smith doubts it being his own hand. (Smith's Cat. rais. 
 p. 113.) The greater number of Hobbema's known works are in 
 this country: in the Louvre there is not a single specimen. 
 
 The Dulwich Gallery possesses three pictures attributed to him ; 
 the Queen's collection two ; but Waagen says that probably no collec- 
 tion can compete with that of Sir Robert Peel, which contains four 
 of these scarce productions of art. That of the ruins of Brederode, 
 (No. 59, Smith's Catalogue) sold in 1825 for 880/.; the Watermill 
 cost its present owner 500 guineas ; whilst the view of Middleharnis, 
 which sold at Dort in 1815 for 90/., fetched 800Z. in London in 1828. 
 Mr. Harman's picture of Peasants crossing a ford, was bought for 740 
 guineas in 1827 : in 1844, at the sale of that gentleman's pictures, it 
 was sold to Baron Rothschild for 1850! It is believed that Mr. 
 Holford gave a much larger sum for his picture. A Hobbema, at 
 Cardinal Fesch's sale, has this year (1845) fetched 8,000 scudi. 
 Lord Francis Egerton has three Hobbemas ; the Marquis of West- 
 minster two very fine ones, which are this year exhibited in the British 
 Institution. Others will be found in the galleries of Lord Ashbur- 
 ton, Lord Lansdowne, Mr. Higginson, Mr. Wells and Mr. Hope ; 
 but one of the most brilliant of this master's known works is said 
 to be that belonging to Lord Hatherton, (see Waagen, England, 
 ii. s. 208.) Lady Ford, in Park Street, is also the owner of a very 
 fine one. Mr. Buchanan, writing in 1824, says, " Fifty years ago, a 
 fine picture by Hobbema was considered well sold at from 50/. to 
 100/., while a landscape by velvet Breughel would fetch from 100/. 
 to 150/. ; now, a fine picture by Hobbema will bring 5007., while 
 a landscape by Breughel is well sold for 50/." Memoirs, ii. p. 
 304. ED.]
 
 LXVII.] MASTERS OF THE SEVENTEENTH CENTURY. G41 
 
 and the composition consists of quiet hills, or wooded 
 valleys enlivened with mills, or buildings of a former 
 clay applied in a picturesque manner to the wants of 
 the present. They are always clever, although in some 
 parts deficient in spirit. The Berlin Museum and Mu- 13 
 nich Gallery both contain examples of his works. Va- 
 rious other artists, among whom were Joh. Looten and 
 A. van Borsum, followed the same general line of art. 
 
 LXVI. The style of Aldert van Everdingen (1G21 1 
 1675), is peculiar as compared with that of the art- 
 ists already named. He delighted in grand and ro- 
 mantic compositions of a northern character, such as 
 high mountains overgrown with firs, enlivened by rushing 
 waterfalls, and clothed in the solemn colouring of au- 
 tumn. The studies^for these pictures were made dur- 
 ing his wanderings among the mountains of Norway. 
 His compositions are distinguished from those of a 
 similar character by Ruisdael, inasmuch as they want 
 that mysterious feeling poured forth from the inmost 
 soul of the artist ; and they owe their poetic character 
 rather to the grandeur of the lines and the form of their 
 mountains. In this respect they are conceived in the 
 same spirit as the works of Poussin, but they differ es- 
 sentially from the pictures of that master, by their 
 northern feeling for the individual features of nature, 
 and by their careful execution. Everdingen 's pictures 2 
 are not rare there are a considerable number of them in 
 the galleries of Berlin, Dresden, Munich, and Vienna. 
 
 LXVII. The Dutch marine painting may be consi- 1
 
 342 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 dered as a subordinate branch of their native school of 
 landscape. The sea is a second home to the Hollander ; 
 to it he is indebted for all the power and prosperity of 
 his happier time, and it is familiar to him in every 
 aspect in its calm repose and in its wild and over- 
 whelming violence. 
 
 In the earlier part of the seventeenth century, the 
 simple imitation of the objects around them was, in sea 
 pieces as in landscape, the first aim of the Dutch artists. 
 
 2 To this class belong Adam Willarts, by whom there is 
 a picture of a sea-shore in the Low Countries in the 
 
 3 Berlin Museum, and John Parccll is. There is a paint- 
 ing by the latter in the Imperial Collection of Vienna, 
 the handling of which approaches to the works of J. 
 
 4 van Goyen. J. van dc Capelh is more important. The 
 Berlin Museum contains an excellent picture by him of 
 a calm sea in the warm light of evening ships are lying 
 at rest with their sails spread out to dry, whilst not a 
 breath of air stirs in their loose folds. 
 
 5 About the middle of this century the number of 
 marine painters greatly increased. John Peters \ 1 i'v!.V> 
 by whom there is a Storm at Sea in the Munich Gallery, 
 reminds us of the manner of Parcellis, whilst his bro- 
 ther, Bonarentimt Peters (1614 1C52), is still better 
 
 6 known by his pictures of the same class. An excellent 
 specimen of him is to be seen in the Imperial Gallery of 
 
 7 Vienna. Andreas Smit was a capital master, and there 
 is a large sea-piece by him in the Berlin Gallery. The 
 composition is enlivened by several ships the storm is 
 getting up, and the waves are rising with a heavy swell. 
 
 8 Simon dt Vlieger, H. ron Antem, and others, are also 
 clever artists of this class.
 
 LXVn.] MASTERS OF THE SEVENTEENTH CEXTTJRY. 343 
 
 The most celebrated among the mariue paiiiters is 
 Ludolf Backhuisen* (1 63 1 1 709). In some of his pic- 
 tures which represent a lightly agitated sea, with ships 
 riding gaily over it and reflected in the waves, the 
 handling is highly finished and soft ; the brilliant co- 
 lours of the air and sea increase the cheerfulness of the 
 scene, and the whole has the character of a beautiful 
 cabinet picture. Pictures of this kind are to be found 
 in various galleries, as hi the Berlin Museum (-2nd div. 
 No. 387,) at Munich, in the Pitti Palace at Florence, 
 and elsewhere. In others this delicate handling would 10 
 have been inappropriate, and here a more energetic 
 execution gives its full force to the power of the ele- 
 ments. It is on his highly poetic conception of sea- 
 storms in pictures of this class that the fame of 
 Backhuisen particularly rests. The Berlin Museum 11 
 possesses two masterly works of this kind, both re-, 
 presenting a violent storm at the entrance of a 
 harbour. One ('2nd div. No. 382) is of a large size. 
 Waves like mountains break upon the shore, whilst 
 one large ship is tossed wildly aloft, and has just been 
 hurled into the harbour, and another seems about to 
 founder : men arc seen struggling to save themselves 
 
 * [ Sir Robert Peel has a view of the mouth of the Thames by 
 Backhuisen, and another picture ; there is a very fine picture of 
 this master, representing a gale off the Brill, in her Majesty's 
 private gallery. Lord Francis Egerton possesses two specimens 
 of this master, and Lord Ashburton the same number; others 
 will be found in Mr. Hope's collection. The Backhuisen in Mr. 
 Harman's sale, in 1844, sold for 515 guineas. A picture of Back- 
 huisen's, said to be his chef-d'oeuvre, has just fetched 21,500 francs 
 at Cardinal's Fesch's sale. (See Athenaeum, 184j, p. 525 ED.]
 
 o-i-4 MASTERS OF THE SEVENTEENTH CENTURY. [BOOKV. 
 
 and the goods -winch have been thrown into the sea. 
 12 But the small picture is superior to this (2nd div. No. 
 356): in it the whole effect is more concentrated, and 
 produces a still more direct impression on the feelings. 
 The water is extremely well painted ; the waves drive 
 fearfully along, lashed wildly by the storm, and the 
 clouds sweep by in dark masses, whilst a sailing vessel 
 is driven with terrible violence into the harbour *. 
 
 * [By a strange omission the author has neglected to notice 
 William van der Velde the younger, the greatest of all marine painters. 
 
 There were two masters of this name in the same department of 
 art, the father and the son. The former was born at Leyden, in 
 1G10, and lived to the age of 83; during a great part of his life he 
 resided in this country. The son was born at Amsterdam in 1633, 
 and was instructed by his father, and by Simon de Vlieger, but 
 worked in England, where the finest of his pictures still remain, 
 and still bear the reputation which they have always enjoyed. He 
 died in 1707. 
 
 There are two pictures by the younger van der Velde in the 
 National Gallery, and several at Dulwich, but his excellence must 
 not be judged of by these specimens alone, or by the pictures attri- 
 buted to him at Hampton Court. Waagen speaks of two van der 
 Veldes belonging to the Duke of Devonshire, but dwells more 
 especially on the collections of Sir Robert Peel and Lord Francis 
 Egerton. The former contains no less than eight works of this 
 master; the latter seven. The Queen's private gallery includes 
 four. 
 
 Besides these, the collections of Sir Abraham Hume, Lord Ash- 
 Lurton, Mr. Hope, the Earl of Radnor, the Earl of Pembroke, 
 the Earl of Mount Edgecumbe, and other private galleries, explain 
 the reason of what Rathgeber (s. 201) says to the effect, that 
 works of v. der Velde are rare on the continent, even in Holland, 
 having been almost all bought up for this country. The prices 
 which they continue to fetch may be inferred from those paid at Mr. 
 Harman's sale, where the picture known as " Le coup de canon," 
 brought 1 ,380 guineas. A smaller storm was bought by Mr. Hig-
 
 LXVHI.] MASTERS OF THE SEVENTEENTH CENTURY. 345 
 
 The masterly power with which J. Kuisdael also 13 
 treated this branch of painting, was such, that he well 
 sustains a comparison with Backliuiseu. .This has al- 
 ready been alluded to ( LXV. 9). 
 
 There are other marine painters of the latter part of 14 
 the seventeenth century, who are less important, and 
 who aimed rather at a simple imitation of nature than a 
 poetic treatment of their subject. Among these are P. 
 ran Beck, M. Maddersteg, and W. Vitringa. 
 
 LXVIII. We must conclude with the architectural 1 
 painters of the Low Countries. The effect of their pic- 
 tures depends for the most part on a careful observation 
 
 ginson for 470 guineas, and the same gentleman possesses, it is 
 believed, the van der Velde formerly belonging to Lord Lichfield, 
 for which Mr. Farrer, the dealer, paid 1.248J. 
 
 It is, perhaps, singular that the author of a late work on Modern 
 Landscape painting, with his general knowledge both of art and 
 nature, should consider van der Velde and Backhuisen as possessing 
 no sort of claim of any kind to their reputation as marine painters : 
 it is equally singular, after stating in his preface that he possesses a 
 familiar acquaintance with every important work of art between 
 Antwerp and Naples, that he should at p. 338 (2nd edit, ) express 
 himself to the following effect: " I wish Ruysdael had painted 
 one or two rough seas." He might have recollected the fine picture 
 in the Louvre, besides which there is that in the Berlin Museum, 
 (see LXV. 9,) and the picture of vessels beating into harbour, 
 purchased by the Marquis of Lansdowne for 5351. Perhaps too 
 the fact that the great modern painter, who may be called the 
 hero of this most instructive book, himself gave to a sea-piece the 
 fancy name of " Port Ruisdael," might have suggested the proba- 
 bility of the Dutch master having actually executed some work in 
 this department, I allude with less scruple to a trifling oversight 
 of this kind, because I fully acknowledge the obligations which the 
 author has conferred on every lover of art. ED.] 
 
 Q 3
 
 346 MASTERS OF THE SEVENTEENTH CENTUEY. [BOOK V. 
 
 of aerial perspective, and on the variety and beauty of 
 their lights ; but that which may be called the histo- 
 rical element of this line of art, i. <?., the operation of 
 time on the surface of the stones, and other points of 
 the same kind, are generally not much attended to in 
 their works. 
 
 2 . The first master who distinguished himself so early 
 as the close of the sixteenth century, is Peter Neefs, the 
 elder*. His usual subjects are the interiors of gothie 
 churches, whose solemn darkness is partially illuminated 
 by torches and tapers. The handling is remarkably 
 
 3 fine and delicate. His view of the Cathedral of Ant- 
 werp, in the Dresden Gallery, is an excellent picture of 
 
 4 the kind. There are others in the Galleries of Vienna 
 and Munich. 
 
 5 Peter Saenredam (b. 1597) is a decided imitator of 
 Neefs. H. van Stet'inrycJc, the younger, who flourished 
 about the middle of the sixteenth century, was also an 
 excellent artist in this department. His favourite sub- 
 
 * [There were two architectural painters, father and son, of the 
 name of Neefs, and two of the name of Steenwyck ; the Christian 
 names of both these Steenwycks was Henry, but there was a painter 
 of still-life of the name of Nicholas Steenwyck. Henry Steenwyck, 
 the younger, who had been confounded with this Nicholas, died in 
 England. According to Fiorillo, old Neefs far excelled his son, 
 and both the Steenwycks, as an architectural painter ; he was the 
 pupil of the elder Steenwyck, who had himself derived his in- 
 struction from John Je Vrics. Compare Walpole, vol. ii. p. 240. 
 .Fiorillo, Gesch. d. z. k. in Deutschland, vol. ii. s. 515, 545. 
 
 Pictures by Neefs and Steenwyck will be found at Hampton 
 Court, at Windsor, and in the Dulwich Gallery, as well as in private 
 collections in this country, as for instance, at Blenheim, at Warwick 
 Castle, and in the Bridgwater Gallery. ED.]
 
 LXIX.] MASTERS OF THE SEVENTEENTH CENTURY. 347 
 
 jects are gloomy prisons, heavily vaulted, the lighting 
 up of which is managed by figures of various kinds. 
 Sometimes it is the angeL, resplendent with light, who 
 delivers Peter ; sometimes a gaoler with a torch visit- 
 ing the prisoners. His touch is broad and free. Good 6 
 pictures by him are in the Berlin Museum and the Im- 
 perial Gallery of Vienna. 
 
 The following artists painted the interiors of churches 7 
 in the decorated Italian style, or palaces adorned with 
 columns, or the cheerful apartments of a dwelling- 
 house, Bliek, J. B. ran Bassen, D. van Deelen, E. 
 dt> Witte. Joh. Gheriny, and others *. J. Van der Hey- 8 
 den, about the close of the seventeenth centuiy, distin- 
 guished himself particularly by his pleasing and highly 
 finished pictures of public squares, with the buildings in 
 the precise character of his native country. 
 
 CHAPTER IV. 
 
 ANIMAL PAINTING. STILL LIFE, ETC. ETC. ETC. 
 
 LXIX. IN the seventeenth century, jast as genre 
 and landscape emancipated themselves from the supre- 1 
 macy of historical painting, so did other and still more 
 subordinate branches of art, in like manner and at 
 the same time, assert their independence. Subjects 
 
 * [Our author ought perhaps to have mentioned Jacob de Wit, of 
 Amsterdam, b. 1698, d. 1754, who showed peculiar skill as a decora- 
 tive painter in the imitation of bas-reliefe, and executed the large 
 picture of Moses in the.Town-House of Amsterdam. See Fiorillo 
 iii. s. 352. Compare Niebuhr, Nachgelassene Schriften, s. 7l*, 
 74_Eo.]
 
 S48 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 which had formerly served as mere ornament, or as ac- 
 cessories, were now treated independently, and formed 
 separate lines of art in themselves. Among these we 
 must first name the department of animal painting. 
 The pastoral works already mentioned ( LXIII.) are 
 mainly distinguished from pictures in this style by a 
 certain predominance of the landscape which gives a 
 character to the whole, whilst the immediate object of 
 the animal painter is the representation of animal na- 
 ture for its own sake. That there should be transitions 
 from one style to the other is natural, and some have 
 been already noticed. 
 
 The animals of chase form the principal subjects of 
 animal painting as such, and the pictures are genei'ally 
 of large dimensions, such as might be executed for the 
 embellishment of splendid hunting-seats. The animals 
 are sometimes exhibited in all the wild action of their 
 native state, and sometimes dead, as trophies of a suc- 
 2 cessful chase. The greatest master of the class is F. 
 Snyders* (1579 1657), the friend of Rubens, and often 
 his assistant in this department of art ; while, on the 
 other hand, the human figures in Snyders's pictures are 
 frequently painted by Rubens. The wild animation of 
 hunting scenes a stag pursued by the dogs a boar 
 
 * [The Grosvenor Gallery contains a fine Lion hunt and Bear 
 hunt, by Snyders, as well as a picture by John Fyt ; other pictures 
 attributed to Snyders will be found at Hampton Court, and in pri- 
 vate collections in this country : the Duke of. Northumberland and 
 Lord Shrewsbury are among those who possess fine specimens. 
 There is, 1 am told, a very fine picture by Snyders known as " The 
 Beggar of Antwerp" at Slindon in Sussex, the seat of Lord New- 
 burgh. ED.]
 
 LXIX.] MASTERS OF THE SEVENTEENTH CENTUKY. 349 
 
 huut or a battle between bears aiid hounds, with all 
 the expression of auimal rage and passion, these are 
 the subjects in which the talent of this artist appeai-s 
 peculiarly pre-eminent. The Dresden and Vienna 3 
 Galleries, as well as the Berlin Museum, contain ad- 
 mirable pictures of the kind. In other works of this 
 class, fine groups of dead game, executed with the 
 greatest truth to individual nature, are brought before 
 us. 
 
 Another excellent artist in the same department, is 4 
 John Fyt (1625 1700). A picture by him of a roe- 
 deer pursued by a pack of fierce hounds, in the Berlin 
 Museum, conveys a wonderful impression of excited 
 animal life. His pictures of dead animals are more 
 common. 
 
 Among the animal painters of the same period, were 
 Carl Eutharts, by whom there is a Stag and Bear 5. 
 hunt, admirably executed, in the Berlin Museum 
 LilitHibergJi^-bnt above all J. Weenix (1644 IT 19). 6 
 The latter is distinguished for his wild and tame birds, 
 alive and dead. 
 
 Melchior Hondekoeter (16361695) is celebrated for 7 
 Ids poultry yards, to which he frequently gives an in- 
 terest by some particular circumstance. As an instance 
 may be noticed a picture in the Dresden Gallery, in 
 which a bird of prey is in the act of carrying off a 
 chicken, whilst cocks and hens put themselves in threat- 
 ening attitudes of defence. 
 
 Peter Caulitz, a German contemporary master, may 8 
 be added : there is an excellent Poultry yard by him 
 in the Berlin Museum, in which a turkey and a do-
 
 ;>50 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 mestic cock appear to dispute the supremacy of the 
 dunghill. 
 
 A little later lived at Augsburg the famous aiiimal 
 painter, /. Ellas Ridinger* (1695 1707). His pic- 
 tures are generally of small size, and are not very 
 common ; he is better known to the friends of the 
 chase by his very numerous engravings. Every species 
 of animal, and all the various circumstances of hunt- 
 ing, are treated in these ; but it is in the nature and 
 life of deer that he appears to delight most, and in this 
 he has obtained the greatest mastery. In Pddinger's 
 works the landscape again becomes a more important 
 feature, and, although treated somewhat in a conven- 
 tional manner, it still is not deficient in fine feeling. 
 
 LXX. Besides these pictures, which represent the 
 animal, if not always in life and motion, yet at any rate- 
 clad in all the beauty of its soft and glossy skin, or 
 adorned with its varied plumage, there is a class of 
 works to be noticed, which seem to belong less to the 
 festive hall of the sportsman than to the kitchen or the 
 slaughter-house. The animals hanging up, ready flayed, 
 surrounded by kitchen utensils and different kinds of 
 food all imitated faithfully and with the greatest care 
 may perhaps be held, in their way, to excite the spec- 
 tator to anticipate the banquet which is to come. 
 
 * [The Marquis of Westminster possesses a specimen of Ridin- 
 ger's pictures. The name of Abraham Hondius(b. 1638, d. 1691,) 
 ought at least to have been noticed in the text as a distinguished 
 painter of animals, though he did not confine himself to this branch 
 of the art. His etchings are well known. ED.]
 
 LXXI.] MASTERS OF THE SEVENTEENTH CENTUKT. 851 
 
 It will suffice to name one master of this class, Lan- 2 
 saeck, by whom there is a good picture, among many 
 similar ones, in the Berlin Museum. 
 
 To complete the arrangements of the table, there are 3 
 good pictures of fish also to be found, such as those at 
 Berlin by Adrieanssen and Gillis, masters of the middle 
 of the seventeenth century. 
 
 LXXI. Large tables spread for a feast, but at l 
 which the persons concerned do not play the chief part, 
 as they do in the pictures of J. Jordaens, are rare as sub- 
 jects ; but of " Breakfast pieces," as they are termed, 
 on the contrary, Dutch art displays an extraordinary 
 number : this difference, perhaps, is natural, for the more 
 unpretending and homely subjects would excite agree- 
 able feelings in the spectator, whilst too large a num- 
 ber of inviting objects might only disquiet his tastes 
 and provoke his appetite. In these pictures costly cups 
 and ewers, beautiful glass with sparkling wine, the 
 most inviting pates, juicy fruits, lobsters, crabs, and 
 glittering oysters, are formed into an agreeable whole ; 
 all the solid mid-day dainties which the old mastc-rs 
 had enjoyed with one or the other of their boon com- 
 panions, are embodied for the latest posterity as ex- 
 amples of their good taste in eating. Among the names 
 of the artists who distinguished themselves in these 
 works of " still life," are Adrieanssen, Peter Nason, 2 
 Wm. van Aeht, Vigor van Heeda, and Tli. Apslmriu, 
 all of whom flourished in the second half of the seven- 
 teenth century. The galleries of Berlin, Dresden, and 
 Vienna, are rich in their works.
 
 352 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 1 LXXII. We shall close our review of the old 
 schools of art in the Low Countries, with the mention 
 of those pieces in which the flowers, with their cheerful 
 swarms of little insects, seem to blossom on in all the 
 joyous brilliancy of unfading spring. 
 
 2 John Breughel, as we have said ( LVIII. 9), had 
 practised flower painting, and hence received the name of 
 Flower Breughel, but his pictures of this class are de- 
 
 3 ficient in effect as a whole. His scholar, Dani-el Seyh- 
 trs(1590 1660), was a more important master. The 
 arrangement of his flower-pieces is simple and pleasing, 
 and the disposition of the colours is extremely harmo- 
 nious. The flowers generally form a border round 
 other objects, as for instance, two pictures in the Ber- 
 lin Museum contain in the centre bas-reliefs in chiaro- 
 
 4scuro, from the hand of Erasmus Quelliuus. J. David 
 de Heem (1600 1674), painted flowers and fruit with 
 the utmost neatness and finish. The composition is 
 always arranged with the greatest taste, and charms the 
 eye by the purest harmony of brilliant colours. A con- 
 
 5 siderable number of his works are in the Dresden Gal- 
 
 6 lery, and one of great merit is in the Berlin Museum. 
 In it a rich, boldly-painted wreath of flowers and fruit 
 encloses a stone frame neatly carved, in the centre of 
 which is now inserted a modern picture by Prof. Begas. 
 
 7 A peculiar poetic feeling pervades a large picture of 
 de Heem, in the Imperial Gallery of Vienna. The 
 sacramental cup, with the host, is placed in a niche 
 and surrounded by rich wreaths of flowers and fruit. 
 Thus the loveliest productions of nature are treated as 
 
 8 the sacrifice which is offered to the Deity. Abraham
 
 LXXIII.] MASTERS OF THE SEVENTEENTH CENTURY. 353 
 
 Mif/non, of Frankfort, Maria ran Ostenvyck, and others, 
 were excellent scholars of de Heem. Rachel Ruysch, 9 
 the celebrated flower-painter, flourished at a later 
 period (16G4 1750). Her splendid pictures are exe- 
 cuted with the greatest delicacy, but not always with 
 sufficient attention to the harmony of the whole com- 
 position. The works of John van Huysum (1682 10 
 1749), are as highly finished, and are treated with 
 greater force and freedom. Pictures by both these last 
 are to be found at Dresden and Berlin. 
 
 Works of this class have generally the character of 1 1 
 brilliant decorations, but some are more simple, and 
 represent what may be called the still life of field-plants, 
 under whose friendly shelter, beetles and lizards, little 
 birds and snakes, pass their unheeded existence. An 12: 
 excellent picture of the kind, by 0. M. van Schricck 
 (1013 1G73), in the Berlin Museum, may be cited as 
 an example of the style. 
 
 CHAPTER V. 
 
 A GLANCE AT MODERN ART IN THE NETHERLANDS. 
 
 LXXIII. WITH the exception of the artists already I 
 named, some of whom flourished after 1700, it cannot 
 be said that the Low Countries produced any master of 
 great importance in the eighteenth century. Belgium 
 has followed the example of French art, beginning with 
 the same feeble mannerism which prevailed in France
 
 354 MASTERS OF THE SEVENTEENTH CENTURY. [BOOK V. 
 
 during the greater part of the last century. In the 
 second half of this period, however, Andrew Lcnx, 
 of Ghent, is sometimes distinguished by a feeling of 
 greater tenderness, and deserves to be remarked as 
 
 2 an artist, in spite of all his conventional stiffness. The 
 Annunciation in St. Michael's Church, Ghent, is one of 
 his works. At the close of the century, the Belgian 
 artists in like manner followed David, among whose 
 scholars Joseph Paelinck, of Ghent, must be mentioned. 
 
 3 At present the Belgian artists appear to be subject to 
 the influence of the romantic school of France, one of 
 whose most zealous and spirited adherents is to be 
 found in Wappcrs, of Brussels. 
 
 4 The artists of Holland, on the contrary, have lately 
 taken the path of their forefathers of the seventeenth 
 century, and have followed it out with peculiar success. 
 They are distinguished by the same spirited and faith- 
 ful imitation of nature, the same truth and life, and 
 these qualities give a character of completeness to the 
 
 5 greater number of their works. This particularly ap- 
 plies to their landscapes, among which those of Koe- 
 Itoek-, Schelfhout, and Schotel (the works of the last are 
 
 6 sea-pieces), have gained a high reputation. In land- 
 scape and genre scenes, Moerenhout also is distinguished 
 by a handling as soft as it is spirited. In historical 
 
 7 painting, EccTtliont the younger deserves notice ; he, 
 like the older artist of the same name, has imitated 
 Rembrandt with tolerable success.
 
 ADDITIONS AND CORRECTIONS. 
 
 Page 
 48. Last line, omit To p. 49, first line, for these read The. 
 
 71. Note. Since this book was printed I have learnt that M. 
 
 Nieuwenhuys, in his " Catalogue of the King of Holland's 
 Pictures," published in 1843, had identified the picture 
 by v. Eyck, in the National Gallery, with that mentioned 
 by v. Mander. I was ignorant of this fact, having never 
 seen the Catalogue in question. 
 
 72. Note. The Altar-piece in the Hotel Dieu, at Beaune, is at- 
 
 tributed to Roger of Bruges, by Passavant, in the 
 Kunstblatt. July, 1843. No. 59. 
 
 81. Note. For Bruges read Burgos. 
 
 Passavant, in the Number of the Kunstblatt referred to, says 
 that M. Nieuwenhuys, of Brussels, bought this Altar-piece 
 from a French wine merchant, who had taken it over to 
 London, and there asked an extravagant price for it, viz. 
 3000/. 
 
 82. Line 13, for Brettendorf, read Bettendorf. 
 
 236. I regret to observe that the name "van Dyck" or" Vandyck" 
 has not been always written in the same manner in the text 
 and notes; the same observation will apply to van der 
 Werf, and perhaps to some other names. 
 
 242. Chatsworth and Woburn should have been added to the list of 
 great mansions containing fine portraits by Vandyck. 
 Worksop is, I believe, dismantled, and the pictures have 
 been removed. 
 
 I have alluded to the division of the noble collection of 
 portraits by Vandyck, formerly belonging to the Chan- 
 cellor Clarendon. This division took place between the 
 two co-heiresses of Henry, third Earl of Clarendon, 
 and second Earl of Rochester. Catherine, Duchess of 
 Queensbury, one of the two, left her share to her 
 husband's family, and they thus passed into the hands of 
 Lord William Douglas, second son of the first Duke of 
 Queensbury. They are now at Bothwell Castle, in 
 Lanarkshire. 
 
 245. Some of the finest portraits by F. Hals are in the Town- house 
 at Haarlem.
 
 356 ADDITIONS AXD CORRECTIONS. 
 
 Page 
 
 261. Waagenholds the Daniel in the Lions' Den, at KeddlestonHall, 
 which bears the name of Rembrandt, to be a first-rate 
 picture by Solomon Koning. 
 
 270. For Vinckenbooms read Vinckebooms. 
 
 305. Note. For Champernorne read Champernowne. 
 
 344. Note. It may be interesting to add some further particulars 
 respecting the pictures by William van der Velde, at 
 Mount Edgecumbe. There are eight of them, and all are 
 supposed to have been painted in the neighbourhood by 
 the order of Sir Richard Edgecumbe. The largest and 
 most remarkable represents the Royal Charles, bearing the 
 standard of England, (James Duke of York, Lord High 
 Admiral, being then on board her,) and the Grand 
 Britannia, bearing the flag of Lord Sandwich, whose 
 daughter Sir Richard Edgecumbe married. There are 
 several other ships in the distance. The Earl of Mount 
 Edgecumbe possesses the original sketches of these two 
 ships, as well as Sir Richard Edgecumbe's letter to van 
 der Velde, and the artist's answer, with reference to the 
 picture to be painted. 
 
 The collections referred to as at Luton and at Corsham will 
 no longer, I believe, be found in those mansions ; and 
 a portion, at any rate, of Mr. Beckford's collection has 
 been lately sold.
 
 INDEX. 
 
 The figures refer to the pages. References to English collec- 
 tions are marked thus, *. The names of painters are printed in 
 
 italics. 
 
 Aachen, John, von, 217. 
 
 Acker, 187, n. 
 
 Acquila, John, 167. 
 
 Aders,Mr. (H. de Bles,) 211, 
 
 n. (P. Christophsen,) 81, 
 
 n. (v. Ei/ck,) 68, and n. 
 
 (Marg. v.Eycl;)77. ( School 
 
 of v. Eyck,) 78, 95. (Mem- 
 
 ling,) 9-2. (M. Schon,) 104. 
 Adrieanssen, 351. 
 Aelst, Paul van, copies from 
 
 Mabuse, 205. 
 Aelst, William van, 351. 
 Aerstens, Peter, 271, n. 
 Aginconrt's sale, (1783,) prices 
 
 at, 330, n. 
 Aix-la-Chapelle, Herr Barthels, 
 
 old Westphalian school, 52. 
 
 Bettendorf collection, (Dii- 
 
 rer,) 146. Herr Kriiger (Z. 
 
 (Lombard,) 214, n. Palace 
 
 of Charlemagne, 4. 
 Albani, landscapes, 308. 
 Albert, Archduke, portrait of, 
 
 by Rubens, 225. 
 Aldegrecer, Henri/, 154. 
 Allegories, Ruben's, 234. 
 Altdorfer, Albert, 157161. 
 Althorp (B. de Bruyn,) 209, 
 
 n. (D'urer,) 209, n. (A. 
 
 More, ) 208, n. ( Pourbus, ) 
 
 217, n. (Rubens,) 238, n. 
 
 Altieri Claudes, 318, n. 
 
 Altorf, near Landshut, proba- 
 ble birthplace of A. Altdor- 
 fer, 161, n. 
 
 Amberg in the Palatinate 
 (Grayer,) 244, n. 
 
 Amberger, Christopher, 197. 
 
 Amsterdam. Museum,( G.Dmc.) 
 293, 294, n. (FAncA,)259. 
 (v. d. Heist,) 247, &n. (K. 
 du Jardin,)330, n. (Rem- 
 brandt,) 247, n. 252, 253. 
 (Jaw Steen,) 281. ( Ter- 
 burg,) 287. (v. d. Velde,) 
 327, n. Town-House, (de 
 Wit,) 347, n. Collections of 
 van Loon and van Sixt (Rem- 
 brandt,) 252. 
 
 Anhausen, Monastery of (Scfie- 
 uffelin,) 155, n. 
 
 Animal painting, 232, n., 347 
 -350. 
 
 Antem, H. von, 342. 
 
 Antwerp. Academy, (Coxis,) 
 208. ( Vandjick,) 240. (Flo- 
 m,)216,(/V. *VncA,)216. 
 (Messys,) 199, & n. (Pour- 
 bus,) 216. (Rubens,} 225, ct 
 n. ( Ot/w Vcnitis,)-2\8. Catht-- 
 dral,(Fr. Franck,)2\6. (Ru- 
 bens,) 227, 228, & n. Au- 
 gustines, (Rubens,) 229. Ch. 
 of St. James, (v. Orley,) 204, 
 (/?6e/w,) 22a 
 
 Apshoven, Thomas, 351. 
 * Apsley House, (D. of Welling- 
 ton.)
 
 358 
 
 Apostles, Diirer's, 148. 
 
 Architecture, its relation to 
 other arts, viii. 14, n. 31. 
 
 Artois, Jacob van, 321. 
 
 Arundel, Earl of, 191, n., por- 
 trait of, by Rubens, 230, n., 
 234, n. 
 
 Aschaffenburg (H.S. Beham,) 
 156, n. (Glockenthon,) 152, 
 n. 
 
 * Ashburton,Lord, (Baclthuisfn,) 
 343, n. (Berghem) 324, n. 
 ( Cuyp,) 329, n. (Hobbema,) 
 340, n. (de Hooghe,) 299, n. 
 (du Jart/in,)330,n. (JfiCn,) 
 296, n. (P. Potter,) 331. n. 
 (Rembrandt,) 253, n. (TZw- 
 Aw,) 237, n. (Terburg,) 
 289, n. 
 
 Asper, Hans, 197. 
 
 Asselyn, John, 329. 
 
 ,4ssew, 7oAn wan, 321 . 
 
 Augsburg, School of, 165, n. 
 Gallery (Altdorfer,) 160. 
 (Burykmair,) 166, and n. 
 (Cranach,) 177, and n. (J>- 
 rer,) 122, n. (Holbein,) 
 105, 106, n. (. Zaor,) 284. 
 (Pens,) 162. (Schaffner,) 
 189, n. eWMfett*fc) 
 n. (Zeitbloom,} 187, n. 
 Church of St. Anne, (. 
 berger,) 197, and n. (Burgk- 
 ma'ir, ) 1 65, & n. ( Cranach, ' 
 176, 179, n. Cathedral, (Am- 
 berger,) 197, n. painted win- 
 dows, 28. private collection 
 (Diirer,} 146. 
 
 B. 
 
 BacUmisen, Ludolf, 343,345,n 
 Balen, Henry van, 218. 
 Barnberg, MSS. at, 5, 6, 8, 
 
 n., 10. paintings in Cathe 
 
 dral, 27. 
 
 Bambocciate, 285. 
 *Barber's Hall, London, (Hoi 
 
 bein,) 192, and n. 
 
 Baring, Sir Thomas, (v. Eyck,) 
 71, n. (Mabuse,) 205, n. 
 (N.Poussi?i,)3l3,n. (Rem- 
 brandt,) 256, n. 
 Basle. Library,(J3b2win*,)106, 
 n. 194, 195, n. (2V. Ma. 
 nucl,) 198. Dominican Clois- 
 ters, 197, n. 
 
 Bassen, J. B. van, 347. 
 Bastard, Count Augustus le, 
 
 his work, 6, n. 
 Battem, Gerhard van, 334. 
 Battman, engraving by, after 
 
 Diirer, 126, n. 
 Baumgartner family, picture 
 
 for, by Diirer, 137. 
 Bavaria, Duke William, por- 
 trait of, 166. 
 
 Beaune, Hotel Dicu, supposed 
 
 v. Eyck, 72, n. Compare 
 
 " Additions and Corrections." 
 
 Beck P. van, 345. 
 
 Beckford, Mr. (H. de Bles,) 
 
 211,n. (P. Bril,) 309, n. 
 
 (G. i?ow,)291,n. (Ehhei- 
 
 mer,) 311, n. (Miereveli,) 
 
 246, n. (Pateniei;) 211, n. 
 
 (Vinchebooms,) 304, n. 
 
 ( Watcrloo,)336, n. Compare 
 
 "Additions.and Corrections." 
 
 Bedford Breviary, and Mass 
 
 Book, 77, n. 
 Bega, Cornelius, 279. 
 Begas, Professor, 352. 
 Begijn, 329. 
 
 Beham, Bartholomew, 156. 
 Beham, Hans Sebald, 156, & n, 
 Bel, Martina, 102, n. 
 Belliard, General, 68, n. 
 BelKni, Gian, 204. 
 Benedictbeuern, old Convent 
 
 of, 26, and n. 
 
 Beryhem, Nicholas, 324, and n. 
 portrait of him and his wife, 
 252, n. 
 
 Berlin. Museum, (Ad.rieam- 
 sen,) 351. (Aldegrever,) 
 154.(Amberger,)197.(Back- 
 huisen,) 343, 344. (Berg-
 
 859 
 
 hem,) 325. (de Bles,) 21 1, n. 
 (Bloemart,)-2\ ( J. (Blondeel,) 
 208. (F. Bol,) 260. (J. 
 Bosch,) 96. (Both,) 321. 
 (Breughel,) 269, 270, 302. 
 (P. Bril,) 309, and n. (v. 
 d. Capelle,) 342. (Caulitz,) 
 349. (Cranach,) 175, 177, 
 178, 179, n. (Christophsen,) 
 81. (Claude,) 319. (Coxis,) 
 68. (G. ZW,)291, 292. 
 (Eeckkout,) 259. (r. -EycA,) 
 60, 63, 69. (F. Floris,)-2i:j. 
 (Fouquiers,) 303. (J. Fyt,) 
 349. early German school, 
 36. (Gibis,) 351. (Glau- 
 ber,) 315. (v.d. Goes,) 80. 
 (v. Goyen,) 3*3. (H. B. 
 Grim,) 167. ( Gyzens,) 303. 
 (Cornelius v. Harlem,) 218, 
 n. (Hackert,)323.(deHeem,) 
 
 352. (Hobbema,) 340. (Hol- 
 bein,) 194, and n. (//on- 
 thorst,) 262. (y. Huysum,) i 
 
 353. (.7arens,) 107. (rfe j 
 Keyser,) 246. (Kupetzky,) \ 
 264. (Lansaech,) 351. (Lie- ! 
 wiw,) 334. (Z. Lombard,) \ 
 214, n., 215. (3f6w*e,)206. I 
 P/aster e/ /Ae Passion,) 98, ' 
 99. (Corw^sJ/^s,)300. 
 (J. . rf. Meer,) 331. (jlfem- 
 /^, ) 91. ( Q. Messys,) 201 . 
 (Melzu,) 295. (de Momper,) 
 305. (A More,) 208. (O/-i- 
 zon<e,) 315. (Palamedes 
 Stevens,) 285. (Patenier,) \ 
 211, n. (G. Pews,) 163. 
 (Rembrandt,) 254, 255, 256, 
 259. (Aogrer of Bruges,) 82, 
 (Rottenhammer,) 218. (i?w- 
 icn*0 233. (Ruisdael,) 337, 
 345, n. (C. Rutlwrts,) ;349. 
 (^. Ruysck,) 353. (P. .Rys- 
 
 263. \Savmy,) 303. :504. 
 ( Schalkcn, )298. (f . 5M rieck, ) 
 353. (Z>- Seyhers,) 352, (^4. 
 5/iV,) 342. (P. Snayers,) 
 
 307.(Snyde r s,)319.(Ste e - 
 wyck,)347. ( School of Afew- 
 <er Stephan,) 48. (Suster- 
 manns,) 264. ( Teniers,) 274. 
 (Terburg,) 287. ( Fa- 
 rfyc/c,) 238, 240, 241, 242. 
 (FwicAe&oom,) 270, 304. 
 (</e Fos,) 217. (ran 
 260. (J. tf. 
 (Wafc/i,) 111. 
 loo,) 336. ( IKvHw.) 324. 
 (v. d. Weyde,)^. (Meister 
 WiUielm,) 44. ( WiMarts,) 
 342. ( WiSeborts,) 243. 
 Berlin. Palace, ( Cranach,) 175, 
 178. (Rottenhammer,) 219. 
 
 243. 
 
 Berlin. Lil'rar)-,MSS.in, 22,23. 
 Berne, Dominican Monastery 
 
 (N. Manuel,) 198. 
 Bernward, St, Bishop of Hil- 
 
 desheim, 9. 
 Bettendorf Collection (Roger 
 
 of Bruges,) 82. (Zfcirer,) 
 
 146. 
 
 Beuchelaer, Joachim, 271, n. 
 Bink, Jacob, 164. 
 Blaubeuren, Con vent of, (ZY- 
 
 Woom,) 188. 
 * Blenheim, (P. JJri/,) 309, n. 
 
 ( Claude,)3Q9, n. (P.Neefs,) 
 
 346, n. (Rembrandt,) 255, 
 
 n. (Rubens.) 2-'W. 2--J7, n. 
 
 ( Sacery,) 303 n. ( Teniers,) 
 
 276, n. (Vawlin-k,) 242, n. 
 5/es, Zfr^e, 21 1 , and n. 30 1 . 
 
 supposed picture by, at Bur- 
 
 leigh, 152, n. 
 5/teA, 347. 
 
 Bloeniart, Abraham, 219. 
 Bloemen, J.F. van, 315. 
 Bloemen, P. van. -J-<5. 
 Blondeel, Lancelot, 208. 
 Bo^aert-Dumortier, Mons. old 
 
 copy of p. V/cA, 76. 
 Bohemia, Elizabeth, Queen of, 
 lit of, by Honthorst,
 
 300 
 
 Bohemian school, 38. 
 Boisseree Collection, see for the 
 
 most part, Munich, Pinaco- 
 
 thek. 
 
 Sol, Ferdinand, 259. 
 Bolswert, print after Rubens, 
 
 227, n. 
 
 Borsum, A. van, 341. 
 Bosch, Jerome, 96, and n., 115, 
 
 269. 
 
 Both, Andreic, 285, 321. 
 Both, John, 320. 
 Bothwell Castle,( Vandyck,) see 
 
 "Additions and Corrections." 
 Bouillon, Due de, his Claudes, 
 
 317, n. 
 Bourbon, Cardinal de, portrait 
 
 of, 70, and n. 
 Bourdon, Sebastian, 314. 
 *Bowood, see Marquis of Lans- 
 
 dovvne. 
 
 Brabant, School of, 223, 300. 
 Brakenbury, R., 279. 
 Jirandel, Peter, 265. 
 Brandenburg, Albert of, por- 
 trait by Durer, 146. 
 Brandenburg. Cathedral, ( Cra- 
 
 nach,) 168. 
 Brant, brother of Rubens's first 
 
 wife, 236, n. 
 Brauweiler, near Cologne, 32, 
 
 n., 52. 
 
 Breckelencamp, Qn. van, 279. 
 Breenbern, Barthol.,321. 
 Brentano, Herr Clement, 108. 
 Breuyhel, Peter, 268, 269, and 
 
 Breughel, John, 301, 340, 
 
 352. 
 
 Breviary, Bedford, 77, n. 
 Breviary, Mending's at Venice, 
 
 84, n", 93. 
 * Bridewell, London, (Holbein,] 
 
 192. 
 
 *Bridgwater Gallery, (Backhui- 
 seii,)343,n. (Z&r<//<,)324, 
 n. (Both,) 320, n. (Claude,] 
 317, n. (Ctyp,)329,n. (G. 
 
 Dow,) 291, n. (Hobbema,) 
 339, 340, n. (K. duJardin,) 
 330, n. (N. Maas,) 260, n. 
 (Metzu,) 296, n. (Mieris,) 
 297, n. (P. Neefs, ) 346, n . 
 (P. Potter,) 331, n. (Rem- 
 brandt,) 253, n. (Ruisdael,) 
 339, n. (Jan Steen,) 281, n. 
 (Terburg,) 289, n. (v. de 
 Velde,) 344, n. ( Wouver- 
 man,) 326, n. ( Wynants,) 
 324, n. 
 
 Bril, Paul, 308. 
 'Bristol, see Leigh Court. 
 
 Brouwer, Adrian, 277. 
 
 Bruges. Academy ( Claessens,) 
 95. (v. Eyck,) 69. (Mem- 
 ting,) 90. Bogaert-Dumor- 
 tier, M., copy of v. JZyc/t, 
 76. Church of St. Dona- 
 tus, ( Quintin Messys,) 201. 
 Chiirch of St. Salvator 
 (Memliny,) 90. Hospital of 
 St. John (Mcmling,) 83, 
 n. 84-88. Hospital of St. 
 Julian (Memling,) 90. 
 
 Brussels, see K. of Holland's 
 private collection. 
 
 Brussels, ( Otho Venius,) 218. 
 Museum (van Orley,) 203. 
 
 Bruyn, Earth, de, 209. 
 
 Burgkmair, Hans, 165, and n. 
 
 Burgos, (misprinted Bruges,) 
 81, n. 
 
 Burke on the Ideal, xxiii. 
 *Burleigh, (Claude,) 318, n. 
 (Durer or de Bles,) 152, n. 
 (Ruisdael,)339, n. 
 *Bute, Marquis of, (J. v. Clcef,) 
 208, n. (Cuyp,) 329, n. 
 (F. Pourbus,} 216, n. (N. 
 Poussin,) 313, n. (Ruis- 
 dael,) 339, n. (L. vanUdcn,) 
 306, n. ( Waterloo,) 336, n. 
 See reference to Luton,inthe 
 " Additions and Corrections." 
 
 Byzantine Influence, 7, 9, 10, 
 17, 20.
 
 INDEX. 
 
 3G1 
 
 c. 
 
 f Cambridere. Fitzwilliarn Mu- 
 seum, (G. Dow,} 29-2, n. 
 ( Elzheimer,)3l 1, n. (Metzu,) 
 296, n. (Miens) 296, n. 
 {Rembrandt,} 253, n. 292, n. 
 (Savery,) 303, n. (de Vos,) 
 243, n. 
 
 Camphui/sen, Theodore, 333. 
 
 Canachus, xxvi. 
 
 Candide, (de Witte,) 217. 
 
 Capelle,Lv.d.,342. 
 
 Caracci, A.., his landscapes, 
 307. 
 
 Carlo Dolce, 2.58, n. 
 
 * Cashiobury, ( Honthorst, ) 2G2, 
 
 n. 
 
 Carlsruhe, (Pens,) 163, n. 
 Cassel, P. Potter, taken from, 
 
 331, n. Public Library, MS. 
 
 in, 3G. 
 
 * Castle Howard, (P. Bril,) 
 
 309, n. (Mabiue,) 205. 
 
 (A. More,) 207, n. (Pour- 
 
 bus,)'216, n. (Rubens,) 238, 
 
 n. 
 Casiiglione, Raphael's letter 
 
 to, xxviii. 
 
 Cennino Cennini, 56, n. 
 Chapcau de Paille, 2-34 n. 
 Charles, Archduke of Austria, 
 
 his collection of drawings, 
 
 121, n. 125. 
 Charles IV., Emperor, 38. 
 
 * Charles I. of Enehnd,(D\lrer,) 
 
 121, n. (Ruben*,) 238, n. 
 Charlemagne, 3, 4. 
 
 * Chatswortli, see Duke of De- 
 
 vonshire. 
 
 Chigi Claude, 317, n. 
 'Chiswick, see Duke of De- 
 vonshire, (Mending,) 93, n. 
 (Poussin,) 312, n. (Rem- 
 brandt,) 253, n. 
 Christ, type of, xxxviii. 
 VOL. II. 
 
 ChrutojAtat, Peter, 81. 
 
 Cimabue, xxvi. 
 
 CivMa, see 11. de SUs, 
 211, n. 
 
 Claessens, Antony, 95. 
 
 Clara, Isabella, the Infanta, 
 
 portrait by Rubens, !>_ >. 
 Clarendon, Earl of, soo 
 
 Grove. 
 
 'Clarendon, Chancellor, his col- 
 lection of portraits, '24-J, n. 
 compare " Additions and 
 Corrections." 
 
 Claude, 315. 319. 
 
 Cleef or Cleve, (Joos von,) 
 208, n. 
 
 Clomp, C., 329. 
 Cobham, (Rubens,) 238, n. 
 
 Coblentz, Herr v. La.-- au!x, 
 (Meister WiUielm,) 42, n. 
 44. 
 
 Colbrooke, Sir George, price 
 of Cuvj) at his sale in 1774, 
 329, n. 
 
 Colmar. Cathedral, (Hf. Fclib'n,) 
 103. Library, (H. B.(^n,) 
 167. (N. Manuel,) 198.) 
 
 Cologne, school of, 33, 41, 
 113. Cathedral, (early paint- 
 ings,) 42, & n. (Meister 
 Step/tan,) 45, 115. (Meis- 
 ter Wilhelm,) 43. Church 
 of Sta. Maria in Capit. 
 (earlv paintings,) 33. (Mas- 
 ter 'of the Passion,) 98. 
 St. Severin, (Meister Wil- 
 helm,) 42, n. St. Ursula, 
 (early painting?,) 32, & n. 
 48. Museum, (Bartli. d<: 
 Drui/n, ) 209. (Dunr, ) 1 -U>, 
 (Ouwater,) 81. (Mas.'rr <(' 
 the Passion,) 97, 98. (Mei*- 
 ter Steplian,) 45, 47, 48. 
 (Meisier \Vilhrlm. ) 44. IK.r 
 v. Herwegh. (Meister Sic- 
 phan,)4G. Dr. Kerp, (3/w- 
 ter Stejthan,) 48. Lyvcrs- 
 berg Collection, (Max'rr of 
 the Passion,) 97, & n. 
 
 n
 
 (Z. of Leyden,) 184, n. 
 (Meister Stephan,) 48. 
 (Earth, de Bruyn,) 209. 
 Herr Oppenheim, (P. Chr'ts- 
 tophsen,) 81. Herr Zanoli, 
 (Master of the Passion,) 98. 
 Private Collection, (H. de 
 ^/es,)211, n. 
 
 Coningsloo, Grilles van, 304. 
 
 Coppenol, portrait of, 253, n. 
 
 Conrad of Scheyern, drawings 
 by, 24. 
 
 Cornelii, Lucas, 210, n. 
 
 Cornelissen, Cornel., (Cornel. 
 
 v. Harlem,) 218. 
 'Corsham, (Claude,) 318, n. 
 (v. Eyck,) 205, n. (Etzhei- 
 mer,) 31 1, n. (Mabvse,) 205, 
 n. ( Q. Messys,) 201, n.( Os- 
 /<fe,) 276, n. (Schoreel,) 
 207, n. compare "Additions 
 and Corrections." 
 
 Courtray, Ch. of the Vir- 
 gin, (Vandyck,) 240. 
 
 Coxis or Coxcie, (Michael,} 
 67,208. 
 
 Craesbeche. Joseph, 279. 
 
 Cramer </ C77m, 189, n. 
 
 Cranach, Lucas, the elder, 164, 
 n. 170, 180. 
 
 Cranach, Lucas, the younger, 
 180, 182. 
 
 Crawford's sale in 1806, price 
 of P. Potter, 331, n. 
 
 Craycr, Caspar de, 244, & 
 n. 
 
 Crista, Pietro, 81, n. 
 
 Cuylenburg, A., 311. 
 
 Cuyp, Albert, 328, & n. 
 
 CM///), Benjamin, 328, n. 
 
 CW, Jizcoi Gerrit, 328, n. 
 333. 
 
 D. 
 Dance of Death, 195, 197, 
 
 Dantzig, Church of St. Man', 
 last judgment, 73, 115. 
 
 Darmstadt. Gallery, (Meister 
 Stephan,) 48. 
 
 David, imitation of, by modern 
 Belgians, 354. 
 
 Deelen, D. van, 347. 
 
 Deig or Taiij, Sebastian, 156. 
 'Devonshire, Duke of, (Berg- 
 hem,) 2:34, n. ( Claudes liber 
 reritatis,)319, ( Vandyck,)see 
 " Additions andCorrections." 
 (F. Hah,) 246, n. (sup- 
 posed Mending,) 93, n. ( G. 
 (Poussin,) 312, n. (.V. 
 POBMIB,) 312, n. (Rem- 
 brandt,)'253,n. (L. v.Uden,) 
 306, n. (v.d. Velde,) 344, n. 
 
 Didron, Manuel d'lconogra- 
 phie, xxxviii. 
 
 Diepenbeck, Abr. v., 244. 
 
 Diepram, A., 279. 
 
 Dinant, Enrico da, (H. de 
 
 Domenichind's landscapes, 308. 
 
 Dortmund. Church of the Vir- 
 gin, (early paintings,) 50. 
 Catholic "Church, ~ (\Ve*t- 
 phalian School,) 108. 
 
 Dow, Gerard, 141, 260, 290 
 295. 
 
 Dresden Gallery, (Beryhem,) 
 325. (Both,)" 321. (Breu- 
 ghel,) 270. (Claude,) 318. 
 (G. JDoa?,) 291, 295, (rf e 
 Heem,) 352. (Holbein,) 191, 
 192, 193, & n. (Hondekoe- 
 ler, ) 349. (rfe .tfoo^, ) 299. 
 (v. Hw/sum,) 353. (Met:u,) 
 
 . (Rube?is,)3()6. 
 (Ruisdael,) 337, 338, 339, 
 (R. Jtut/sch,) 353. (Sachtle- 
 re.)322. (.VnT/rfers.^g^^l. 
 r. rfe FeWe,) 328. ( Water- 
 loo,) 336. ( Woui-erman,) 
 326, n. 327. 
 Droogslot, J., 279.
 
 INDEX. 
 
 3G3 
 
 Dubris's sale in 1 785, price of 
 Cuyp, 329, n. 
 
 Ducq, Jean le, 285. 
 
 Duqhet, (Caspar Poussin,) 
 313, & n. 
 
 Diilmen, convent of, picture 
 
 from, 108. 
 
 *Dulwich Gallery. (Berrjhem,) 
 324,n. (Both,) 3-20, n. (P. 
 J3ril,) 309, n. ( Claude,) 317, 
 n. (Cui/p,) 329, n. (G. 
 Dow,) 291, n. (Ebheimer,) 
 310, n. (Hobbema,) 340* 
 n. (K. du Jardin,) 330, n. 
 (P. Neefs,) 346, n. (v. d. 
 Neer,) 334, n. (G. Pous- 
 .',) 314, n. (N. Poussin,) 
 312, n. (Rembrandt,) 253. 
 (-RMiew,)306,n. (Snayers,) 
 307, n. (Sleetiwi/ck,) 346, 
 n. (Swanevelt,) 320, n. (r. 
 A Veife,) 344, n. (Wy- 
 
 J>rer, ^t/iert, 117, 151. 
 Abuse of his name in Spain, 
 152. Apostles, 148, 151, n. 
 Journey to the Netherlands, 
 145. Portraits of, 121, & 
 n. 123. Prayer-book, 142. 
 Prints and woodcuts, 122, 
 130, 132, 134, 139, 140, 
 141, 145. Theoretical works 
 by, 117, n. 
 
 Du'xscldorf, (Rubins,) 230, 
 & n. (FotbdU 238, n. 
 (v. d. Werff,') 2G5,n. 
 
 E. 
 
 Earlom, R., engravings from 
 Claude, 319, n. 
 
 Et/ck, John and Hubert van, 
 'o4 79. Portraits of, 65. 
 Respective styles of John 
 and Hubert, 57. Ghent 
 picture, 59, 208. John, valet 
 
 , de chambre to the D. of 
 Burgundy, 58, n. John, 
 
 supposed 'work of, 95. Pic- 
 ture in Naples Gallery, 71, n. 
 
 Ei/ck, Margaret van, 58, 76, 
 77, n. 
 
 Eeckhout, Gerbrand van den, 
 259. 
 
 Eeckhout, the younger, 354. 
 Egerton, Lord Francis, see 
 Bridgwater Gallery. 
 
 EUinger, Abbot of f egernsee, 
 
 El:hnmr.r, Adam, 310. 
 Entjelbrechtsen, Cornelius, 183. 
 England, Rubens' s stay in, 235, 
 
 n. 
 Erasmus, Durer's portrait of, 
 
 146, 163, n. 
 Ermels, J. R, 321. 
 Eschach, near Gaildorf, (Zeit- 
 
 bloom,) 187. 
 Escurial, (Jerome Bosch,) 96, 
 
 & n. view of, by Rubens, 
 
 306, n. 
 
 Evangelists, symbols of, 12. 
 Everdinyen, Albert van, 341. 
 Exeter, Marquis of, see Bur- 
 
 leigh. 
 Eynard'ssale in 1825, price of 
 
 K. du Jardin at, 330, n. 
 
 F. 
 
 Fantastic principle of German 
 art, 113116. 
 
 Fesch, Cardinal, his sale, prices 
 at. (Backluiism,) :J4:J. n. 
 (Hobbema,)340,n. 
 296, n. Wouverman.:l-2(>.n. 
 
 Flemish school, early, st\ le of, 
 55. 
 
 Flinck, Gocart.259. 
 
 Florence. Chapel of Santa Ma- 
 ria Novella, (t?. d. Goes,) 
 80, & n. Frescoes, 1:M. n. 
 Palazzo Vecchio, ( Strmlu- 
 nu*,) 210, n. Pitti, (Back- 
 Aisen,)343. (P..Bn/,)309. 
 (Rubens,) 2&>, 306. Chapel 
 It 2
 
 364 
 
 of Trinita ( Ghirlandajo,) 
 133, n. Utfi/j, (Cranach,) 
 179. (Durer,) 120, 121,129, 
 136, 143. (Elzheimer,) 310, 
 ( Holbein, ) 1 94. ( P. v. Laar, ) 
 284. (Jfcrm) 297. (F. 
 Mem,) 297. 
 
 *Ford, Lady, (Hobbema,) 240, 
 n. 
 
 Frankfort-on-Maine, Cathe- 
 dral, (early paintings,) 52. 
 Holzhausen family, ( Cra- 
 nach,) 176. Stiidel Institu- 
 tion, (Gian Bellini,) 204. 
 (Holbein,) 105. (//. v. 
 Kulmbach,) 154. (r. Or%,) 
 204. (Schoreel,) 206, & 
 n. (Meister Stephan,) 47, 
 &n. 
 
 Francisque, (F. Milet,) 315. 
 
 Franconian school, 99, n. 
 
 Franck, Francis, the elder, 
 216. 
 
 Franck, Francis, the younger, 
 216. 
 
 Frederick, Elector, portrait of, ' 
 by Diirer, 146. 
 
 Freiburg in Breisgau. Cathe- 
 dral, (H.B.Griin,)l67, & 
 n. (Holbein,) 194. Canon 
 von Hirschen, (Zeitbloom,) 
 188. 
 
 Fritsch,Daniel, copy from Oa- 
 HacA, 172, n. 
 
 Florin, Franz, 215. 
 
 Flou-er Breughel, see Breughel, ] 
 John. 
 
 Forchcim, castle of, early paint- 
 ings in, 53. 
 
 Forman, Helena, Rubens's se- 
 cond wife, 235, 236, n. 
 
 Fouquicrs, Jacob, 303. 
 
 Frundsbersr, George, portrait 
 ot; by Holbein, 194, n. 
 
 Fuensuldaiia, near Valladolid, 
 (Rubens,) 236, n. 
 
 Fugger, James, portrait of, by 
 Durer, 138, n. 
 
 Fuseli, his criticism on . Eyck, 
 
 60, n. On Rembrandt, 250, 
 n. On Rubens, 233, n. 
 
 Fiilerer, Ulrich, 112. 
 
 Fyt, John, 349. 
 
 G. 
 
 Galatea of Raphael, xxviii. 
 
 Geiller, Dr. John, portrait of, 
 (Burgkmair,) 166. 
 
 Ge/ee, Claude, 315-319. 
 
 Genre, 266, & n. 
 
 Gerard of Ghent, 94. 
 
 German Art of sixteenth cen- 
 turv, contrast with Italian, 
 112. 
 
 Ghent. Church of St. Bavo 
 (v. Eyck,) 5868. (v. d. 
 Meeren,) 79, Church of St. 
 Michael. (A. Lens,) 354. 
 Town House, v. Eyc/t, 
 from,68. Mons. de Huyvetter 
 (Justus of Ghent,) 79. Pro- 
 fessor v. Rotterdam, (r. 
 Eyck,) 68. 
 
 Ghent, Justus of, 79. 
 
 Ghent, Gerard of, 94. 
 
 Ghering, John, 347. 
 
 Gherardo dalle notti (Hon- 
 thorst,) 262. 
 
 Ghirlandfijo, analocry with Du- 
 rer, 133. 
 
 GiUis, 351. 
 
 Giorgione's landscapes, 307. 
 
 Giotto, xx vi., xxvii. 
 
 Glauber, John, 315. 
 
 Glockenthon, Alexander, 153, 
 n. 
 
 Glockenthon, Nicolas, 152, 
 n. 153, n. 
 
 Goes, Hugo van der, 80. 
 
 Gottingen, Library, (Raphon,) 
 169, n. 
 
 Goltzius, Henry, 217, & n. 
 
 Gossaert, (Mabme,) 205, & n. 
 'Gorhambury, (Vandyck,) 242, 
 n.
 
 365 
 
 Gotha, (Rembrandt,) 249, n. 
 
 Goudt, engraving after Eh- 
 keimer, 311,n. 
 
 Gothic Architecture, its relation 
 to the German style of paint- 
 ing, 81. 
 
 Gayen, John van, 333. 
 
 Gozzoli, Benozzo, xxviii. 
 *Granville, Earl, his sale, 1845, 
 prices at, (Ctu/p,) 329, 
 n. (HacHert,) 323, n. (Ph. 
 Koningh,) 334, n. 
 *Grey, Earl de, ( Claude,) 31S, 
 
 n. (Cwyp,)329, n. 
 Griffier, Johr 
 
 Griffier, John, 322. 
 
 Grimaldi's landscapes, 308. 
 
 Grimmer, Hans, 164. 
 *Grosvenor Gallery. (Berghem,) 
 324, n. (Both,) 320, n. 
 (Claude,) 318, n. (Cuyp,) 
 329, n. (G. Dow,) 291, n. 
 (J. Fyt,) 348, n. (Hobbe- 
 ma,) 340, n. (PA. Ko- 
 mngh,) 334, n. (P. Potter,) 
 331, n. (M Poussin,) 312, 
 n. (Rembrandt,) 252, n. 
 255, n. 257, n. (Ridinger,) 
 350, n. (Rubens,) 237, n. 
 306, n. (Snyders,) 348, n. 
 ( Teniers,) 273, n. 
 
 Grotius, portrait of, (Rubens,) 
 
 235. 
 
 * Grove, the, ( Vawiyck,) 242, n. 
 compare " Additions and 
 Corrections." 
 
 Griin, HansBaldung, 167. 
 
 Griinewald, Matthias, 164, & 
 n. 
 
 Guercino's landscapes, 308. 
 
 Gysi, George, portrait of, by 
 'Holbein, 194,n. 
 
 Gyzens, Peter, 303. 
 
 H. 
 
 Hanover. Herr Hausmann,(i?a- 
 
 phon,) 169, n. 
 Harlem, Cornelius van, 218. 
 
 Harlem, Dircl- van, 94. 
 
 Harlem. Museum, (F. Hals.) 
 See " Additions and Cor- 
 rections." 
 
 Hacker t, John, 323, & n. 
 
 Hague, see King of Holland's 
 private collection. Muse- 
 um, (Breughel,) 302. (G. 
 Dow,) 293. (K. du Jar- 
 din,) 330. n. (P. Potter,) 
 332, (Rembrandt,) 252. 
 (Ruisdael,) 338. (JRufce/i*,) 
 302. ( Saveri/,) 303. (Sc/w/- 
 ften,) 298. ( Jn 5<een,) 281, 
 284. (Teniers,) 274. (Ter- 
 
 Halbe'rstadt. Cathedral, (tapes- 
 tries,) 29. (Raphon,) 169. 
 Church of the Virgin, 
 (early paintings,) 27, 53. 
 
 Halle. Church of St. Maurice, 
 
 arly Saxon school,) 168. 
 urch of St Urban, 
 (Ulm school,) 189. 
 
 Hals, Francis, 246, & n. 
 Compare " Additions and 
 Corrections." 
 
 'Hampton Court. (P. Bril,) 
 309, n. (G. Dow,) 291, n. 
 (v. d. Goes,) 80. n. (Elz- 
 heimer,) 310, n. (F. Hals,) 
 246, n. (v. d. Heist,) 249, 
 n. (Honthorst,)^^, n. (Lu- 
 cas Cornclii,) 210, n. (Ma- 
 6tt.se,) 205, n. (Mierevelt,) 
 246, n. (A More,) 207, n. 
 (P. Neefs,) 346, n. (G. 
 Pw,)163,n. (Poelenbura,) 
 311, n. (Pourbus,) 216, n. 
 (Rugendas,) 286, n. (Sa- 
 very,) 307, n. ( Snaycrs, )307, 
 n. (Snj/ders,) 348, n. 
 (Steenwi/ck,) 346, n. ( 5ca- 
 nfi-e/f,) 320, n. (/>. v. Uden,) 
 306, n. (r.d. P r ci/c,)344, 
 n. 
 
 Hardegger, Portrait of the, 
 in MS., 35. 
 
 *Harraan, Mr., prices at his sale,
 
 3GG 
 
 1844. (BacMiuisen,) 343, n. 
 
 ( Cuyp,) 329, n. (Hobbema,} 
 
 340, n. (Ostade,) 276, n. 
 
 (P. Potter,) 321, n. (jRwis- 
 
 rfarf,) 339, n. ( Teniers,) 273, 
 
 n. (r. d. JVT,) 334, n. (u. 
 
 rf. FeMe,) 344, n. 
 *Hatherton, Lord, (Hobbema,) 
 
 340,n. 
 
 Heeda, Vigor van, 351. 
 Heew, I. D. de, 352. 
 Heerberg, Church on the, 
 
 (Zeitbloom,) 188. 
 Heilsbronn, Monastery of, (Du- 
 
 rer, or Wohlgemuth,) 110, 
 
 n. (#. v. Kutmbach,) 154. 
 Heislerbach, picture of Meis- 
 
 ter Stejihan from the Ab- 
 bey of, 45. 
 Hell Breughel, (Peter BrentjM 
 
 the younger,) 269. 
 Heller, Jacob, of Frankfort, 
 
 picture by Durer painted 
 
 for, 129. 
 Heist, Earth, van dcr, 247, & 
 
 n. 
 
 Hemling, see Memling. 
 Hemskcrh, Martin, (van Veen,) 
 
 208. 
 
 Henry I., Emperor, G, 7. 
 Henry II., Emperor, 5, 9. 
 Herfin, Frederick, 99,100, n. 
 Berlin, Jesse, 100, n. 
 Hermann, Landgrave of Thu- 
 
 ringiu, MS. Psalter, 24. 
 Hermitage, St. Petersburgh. 
 
 (arfe,)317,n. (p. p ot . 
 
 ter,) 332. ( Rembrandt,) 25G. 
 
 (Rtiisrlael,) 339, n. (^4. r. rf. 
 
 Fei/e,) 327, n. 
 Heroic Landscape, 312. 
 Herrad von Landsperg, Abbess 
 
 of Hohenburg in Alsace, 21, 
 
 n. 
 'Hertford, Marquis of, (Cuyp,~) 
 
 329, n. (Metzu,) 296, n. 
 Heyden, I. van der, 347. 
 *Higginson, Mr., (Hobbema,) 
 
 340, n. (K. duJardin,) 330, 
 
 n. (P. Potter,) 331, n. 
 (Jan Steen,)282, n. (4. r. 
 d. Fe/rfe,) 327, n. (^.r. (/. 
 Fe/rfe.) 344, n. 
 
 Hildesheim, St. Bernward, Bi- 
 shop of, 9. 
 
 Hobbema, Mindert, 339. 
 
 Hohenburg in Alsace, MS. 
 from, 21. 
 
 Hohenzollern, Albert of, Arch- 
 bishop of Mavence, picture 
 by -Bcham painted for, 157, n. 
 
 Holbein, Ambrose, 106, n. 195, 
 n. 
 
 Holbein, Hans, the elder, 104, 
 106, & n. 115. 
 
 Holbein, Hans, the younger, 
 190, 197. 
 
 Holbein, Sigisjnnnd, 106, n. 
 *Holford, Mr. (Both,) 320, n. 
 (Claude,} 318, n. (Cw/p,) 
 329, n. (Hobbema,) 340, n. 
 (/. Ostadc,) 276, n. 
 *Holkham, (Claude,) 318, n. 
 (N: Poussin,) 313, n. 
 
 Holland, K. of, private collec- 
 tion, formerly at Brussels ; 
 now at the Hague, (Am- 
 berger,)W7, n. (Coxis, copy 
 of v. E'/cl:, ) 68. ( Corn. En- 
 gelbrechlsen,) 183. (v. Eyc/t,) 
 68, 70. (Mabuse,) S06. 
 (Memliny,) 84, n. 89, 92. 
 (7. Mes.fys,) 202. ( Q. Jlfes- 
 *y,;201. (u. Or%,) 204. 
 (Roger cf Bruges,) 81, n. 
 (Stuerbout,) 94, n. 
 
 Hol/sehtihcr, Jerome, portrait 
 of, by Z>iirer, 147. 
 
 Hondekoeter, Eaidivs, 304. 
 
 Hondekoeter, Melchior, 349. 
 
 Hondius, Abraham, 350, n. 
 
 Honthorst, Gerard, 262, & n. 
 
 Honthorst, William, 263. 
 
 /foo^/ie, Pete/ rfe, 299. 
 
 Hoogstracten, Samuel von, 260. 
 
 *Hope, Mr., (Bachhuisen,) 343, 
 
 n. (Berahem,) 324, n. ( G. 
 
 /Jew,) 292, n. (. </. Heist,)
 
 3(57 
 
 249, n. (Hobbema,) 340, n. 
 
 (de Hooyhe.) 299, n. (K. du 
 
 Jardin,) 330, n. (Metzu,) 
 
 296, n. (Mieris,) 297, n. 
 
 (Rembrandt,) 253, n. 255, n. 
 
 (Rubens,) 30G, n. (Ruis- 
 
 dael,) 339, n. (Terburg,) 
 
 289, n. (A. v. d. Velde,) 
 
 327, n. 
 
 Horst, G., 260. 
 Hortus deliciarum, MS. of, 21, 
 
 22. 
 'Howard, Castle, see Castle 
 
 Howard. 
 
 Huchtenburg, I. van, 286. 
 *Hume, Sir Abraham, (Cuyp,) 
 
 329, n. (Ruisdael,) 339, n. 
 
 ( W. v. d. Velde,) 344, n. 
 Hundsholz, (Zeitbloom,) 188. 
 Huysman, Cornelius, 286, 322, 
 
 and n. 
 Huysum, J. van, 353. 
 
 I J. 
 
 Jameson, George, 244, 11. 
 Jansens, Abraham, 244. 
 Jardin, K. du, 329, 330, n. 
 Jarenus, 107, 108, 
 Ideal, the, pref. xix. xliii. 
 Italian art of 16th century, 
 
 contrast with German, 112. 
 Jordaens, Jacob, 244, 351. 
 Juan Flamenco, 84, 92, n. 
 Justus of Ghent, 72, n. 79, and 
 
 n. 
 
 Kabel Adrian v. d., 333. 
 
 Kaiserheim, Holbein's from, 
 105. 
 
 Karlstein, near Prague, (Bohe- 
 mian school,) 38. 
 *Keddleston Hall, Derbyshire, 
 (Messys,) %)-2, n. (S. Ko- 
 ning or Rembrandt,) see 
 
 " Additions and Correc- 
 tions." 
 
 Kemberg, (Cranach,) 181. 
 Kensington, (Rubens,) 305, n. 
 (supposed v. d. Goes,) 80, n. 
 
 Keyser, Theod. de, 246. 
 
 Kierings, Alexander, 304. 
 
 Kleeberger, portrait of, by Dii- 
 rer, 147. 
 
 Knechtelmann, 187, n. 
 
 Knight, Death and Devil, Du- 
 
 rer's, 139, and n. 
 Knowles, Mr.,(Lievens,\2<>l, n. 
 
 Koekoek, 354. 
 
 Koni,u,h, Phil, de, 334, n. 
 
 Koning, Solomon, 261, and n. 
 See " Additions and Correc- 
 tions." 
 
 Krabbetic, (Assdi/n,) 329. 
 
 Kriiger, Herr,of Mimlen, ( West- 
 phalian school,) 50, 51. 
 
 Kulmbach, Hans von, 152, 
 154. 
 
 Kun: of Prague, 38. 
 
 Kupetzhy, John, -J04. 
 
 Zaar, Peter van, 284. 
 
 Lairesse, Gerard, 265. 
 
 Lamberto, Suave, (L. Lom- 
 bard,) 214, n. 
 
 Lansaech, 351. 
 
 Landscape, independent deve- 
 lopment of, 210, 21-J, n. 
 Progress of, 800. A 
 Nature favourable to, 308, n. 
 heroic landscape. 312. 
 * Lansdowne, Marquis of 
 (Claude,) 31& n. ( Chm*) 
 329, n. (Hobbcma,):UO. n. 
 (Rembrandt,) 258, n. (Ruis- 
 dael,) 345, n. 
 
 Larykmnitr, Huns, 104._ 
 
 Last judgment, antiquity of 
 subject, 7-'J. n. 
 
 Lastmann, Peter, 304. 
 Leigh court (Claude,) 318, n.
 
 SG8 
 
 (G. Do7D,~) 292, n. (Ru- 
 
 foM,)fi31, &n. 237, n. 
 Leipzig (Cranach,) 171, n. 
 
 Herr Speck (F. J3ol,) 2CO,n. 
 7,w, ^</rew, 354. 
 Lei/den, ZMCOS / 99, n. 183 
 
 - ISO. 
 Levdcn, Town-house ( Corn. 
 
 Engdbrecldstn,) 183. (Lu- 
 
 cas of Ley den,} 184. 
 Liber veritiitir. ( Claude,') 319. 
 *Lichfield, Earl of (v. d. Vdde), 
 
 34.5, n. 
 
 Liemiiker, Nicolas dc, 2-14. 
 Licsborn, near Minister, (West- 
 
 phalian school,) 50. 
 Lievens, /., 261, & n.334. 
 Lilienbergh, 349. 
 Lingclbach, John, 322, 324, n. 
 Lipsius, portrait of, by Ru- 
 
 bens, 235. 
 
 * Liverpool, Sir J. Tobin, Bed- 
 
 ford Mass-book, 77, n. 
 Livin of Antwerp, 94. 
 Loeches in Castile (Rubens,) 
 
 237, n. 
 Lombard, Lambert, 214, & n. 
 
 * London, Nail. Gallery, see Na- 
 
 tional Gallery. 
 
 * Longford Castle, see Radnor, 
 
 Earl of. 
 Loon, van, collection at Am- 
 
 sterdam, (Rembrandt,) 252. 
 Lootcn, John, 341. 
 Lorrain, Claude, 315319. 
 Louvain. Church of St. Peter 
 
 201. Town-house, (M.Co'xis,) 
 208. 
 
 Louvre, (77. S. Bcham,) 157, 
 n. (Beruhem,) 324, n. (P. 
 
 ,) 329, n. (G. I 
 291, 292, 293, & I 
 n. (v. d. Heist,) 248. (de \ 
 ffnoffke,) 299, n. (K. du \ 
 Jar din,) 330, n. (Metzu,) \ 
 296, & n. (. rf. Meulen.) 
 286, n. (^4. . Ostoofc,) 277. | 
 
 (Rembrandt,) 256. (7?- 
 
 icn.->,) 234, 306, n. (jfom- 
 
 rfe/,) a39, n. 345, n. (7V- 
 
 niers,) 272. ( Terbury,) 287. 
 
 ( Fw///cA,) 240, 243, n. 
 Lucas fif'Lcydcn, 99, n. 183 
 
 186. 
 Luther, his intimacy with Cra- 
 
 nach, 171. Portraits of, 1 73, 
 
 174, 175, 179, n. 
 'Luton, see Bute, Marquis of. 
 
 Compare " Additions and 
 
 Corrections. " 
 Lys, John van dei; 31 1. 
 
 Maas, Nicolas, 260, & n. 
 
 Mabuse, John, 205. 
 
 Madder steg, M., 345. 
 
 MuchwUtircher, Gabriel, 111. 
 
 Madrid Gallery (Claude,) 317, 
 n. 319. (Cranach,)l75, n. 
 (Durer,) 121, n. ( G. Pous- 
 sn,)314. (Rubens,) 238, n. 
 ( Teniers,) 273, n. ( Wouver- 
 vaM,)326, n. Palace ( Coxis's 
 copy of v. Ei/ch,) 68, n. 
 
 Malmaison, Claudes from, 317, 
 n. 
 
 Mander, Carl van, xlv. 217, 
 &n. 
 
 Manuel, Nicolas, 198. 
 
 Marburg, Ch. of St. Elizabeth, 
 (tapestry,) 36. 
 
 Mark, Grafschaft of, West- 
 phalian school there, 109. 
 
 Mason, engravings from Claude, 
 318, n. 
 
 Matsys, Cornelius, 300. 
 
 Maubeuo-e, birth-place of Ma- 
 buse, 205. 
 
 Maximilian, Emperor, triumph 
 of, Diirer's woodcut, 141, 
 145. 
 
 Mayence Gallery, copy of Du- 
 rer, 127.
 
 IN'DEX. 
 
 369 
 
 Mecheln, or Mechenen, Israel 
 von, 97. 
 
 Medicis, Mary de, Rubens's life 
 of, 234. ' 
 
 Meer, John van der, 331. 
 
 Meeren^ Gerhard van der, 66, 
 79. 
 
 Meissen Cathedral, (F.Herlin,) 
 101. 
 
 Melancthon, his letter on 
 Durer, 144, n. Portrait by 
 Durer, 146. 
 
 Memleben on the Unstrut, 
 frescoes in the convent at, 8. 
 
 Mending, Hans, 8394. Spell- 
 ing of name, 83, n. Por- 
 trait of, 92, & n. Venice 
 breviary, 84, n. 93. Com- 
 pare 9.5, 115, 186,n. 
 
 Merian, Matthew, 264. 
 
 Merseburg, palace of Henry 
 1st, 7. Cathedral, ( Cranach,) 
 181. 
 
 Messijs, John, 93, n. 202. 
 
 Messy s, Quintin, 199202. 
 *Methuen, Lord, see Corshatn. 
 
 Metzu, Gabriel, 295. 
 
 Meulen, A. F. van der, 285. 
 
 Meyer, Jacob, of Basle ( Hol- 
 bein's Dresden picture,) 193, 
 195, n. 
 
 Meyering, Albert, 322. 
 
 Michael Angela, xxvi. 15, n. 
 
 Michielson family, Rubens 
 painted for, 226. 
 
 Mid, John, 329. 
 
 Mierevelt, Michael, 246, & n. 
 
 Mieris, Francis van, 296. 
 
 Mieris, William van, 297, & n. 
 
 Mignon, Abraham, 353. 
 
 .Milan, Ambrosian Library, 
 
 (Brcuyhel,) 302. 
 * Miles, Mr., see Leigh court. 
 
 Milet, Francis, (Francisque,) 
 315. 
 
 Minden, Herr Kriiger, West- 
 phalian school, 50, 51. 
 
 Minne - Singers, illuminated 
 MSS. of, 34, 35. 
 
 Miraflorcs, near Burgos, (Roger 
 of Bruges,) 81, n. (7an 
 Flamenco,) 92, n. 
 
 Moerenhout, 354. 
 
 Mol Peter van, 244. 
 
 Molenaer, J., 279. 
 
 Momper, Judocus de, 304. 
 
 More, Antonio, 207, & n. 
 
 Moreelze, Paul, 246. 
 
 Morritt, Mr., supposed por- 
 trait of, 194, n. 
 
 Moucheron, Frederick, 322. 
 
 Moucheron, Isaac, 322. 
 'Mount Edgecumbe (W. v. d. 
 Velde,) 344, n. Compare 
 " Additions and Correc- 
 tions." 
 
 Moya, Pedro de, 243, n. 
 
 Miihlhausen, near Stuttgart, 
 early German paintings, 53. 
 
 Muller, C. O., on imitation in 
 art, xxv. n. 
 
 Mlinster, Art Union. (Ludger 
 zum Ring,) 209. Cathedral, 
 (Herman zum Ring,) 210. 
 Museum, Byzantine picture, 
 27. \Vestplialian school, 49. 
 Pauline Library, MS. in, 49. 
 
 Munich. Pinacothek. (AMe- 
 grever,) 155. (Altdorfer.) 
 157, \59.(Backhuisen,)343. 
 (B. Beham,) 156. (H. de 
 K)211,n. (Both,) 321. 
 (Breughel,) 268, 269, :JO:>. 
 (G. ^Breio,) 162, & n. 
 (Brouwer,) 278. (Burgk- 
 i<n>,)166. (Claude,) 317, 
 318. (M. Coxis,)6S. (Cra- 
 nach,) 175, n. (G.Dow,) 
 291, 292, 294, & n. (J. 
 le Ducq,) 285. (Durer.) 
 121, 123, 124, 136, 137, 
 138, 143, 146, & n., 148, 
 151, n. (Eecthout,) 259. 
 (El:heimer,)3lO. (v. Ei/ck,) 
 68, 83, n. 92. School of. 
 94. (M. Fesele,) 161. (F. 
 Franck,) 216. (v. Gor/en.) 
 333. (H. B. Grn,)'l67. 
 B 3
 
 370 
 
 (M. Griinewald,) 164. (F. 
 Hals,) 146, n. (Hobbma,) 
 
 340. (Holbein,) 106. (Han 
 </iors<,)263. (P.deHoogke*) 
 299. (PA. de Xfft.vr,) 24G. 
 (tf. t,. Kidmbach,) 154. 
 (Largkmaicr,) 104. (Lucas 
 of Lei/den,) 185, 186. (3/as- 
 ter o/ *Ae Passion,) 98. 
 (Mto/,) 296. (Mending,) 
 83, n. 89, 9 1 . ( .Fr. JMbru,) 
 296, n. 297. (P. Or%,) 
 204. (Patenier,) 211, n. 
 (G. Pens,) 163, and n. (.7. 
 Peters,) 342. (Pynacher,) 
 321. (Rembrandt,) 256, 
 257. (Ridiens,) 230233, 
 and n. 306. (Ruisdael,) 328. 
 (Schaffner,) 189. (StvW- 
 *e, ) 298. ( Schoreel, ) 206, 
 n. 207. (Jan Steen,) 282, 
 284. ( Teniers,) 275. ( Ter- 
 owr^,) 287. (van Uden,) 306, 
 n. (Fflnd>c*,) 238, 240, 
 
 241. M. . d. Veldc,) 
 327, n. 928. (de Fries,) 
 
 341. (Wflter/oo,) .336, n. 
 (v. d. Werff",) 265, n. 
 ( Wohlgemuth, ) 1 1 0. ( Zeit- 
 bloom,) 188, n. Kirschberg, 
 Chev. de, his collection (Pa- 
 tenier,) 211, n. Library, 
 Wessobrunn Prayer, 4, and 
 n. MS. from Bamberg, 5. 
 MS. from Scheftlani, 6. 
 MSS. in Byzantine style, 9, 
 10,11. MS. from Tegern- 
 see, 17. (Cranach,) 180. 
 (L>i:rer's prayer-book,) 142. 
 Schleisheim, " ( Craesbec/te.) 
 27!>. ( Teniers,) 271, 273, 
 274, 276. 
 
 *Munro, Mr., (Berghem,) 324, 
 n. (Rembrandt,) 249, n. (Jan 
 Steen.) 282, n. (Vandyck,) 
 
 242, n. 
 
 Murillo, influence of Vandyck's 
 style upon, 243, n. 
 
 Murrhardt, Church at, Ulm 
 school, 189. 
 
 N. 
 
 Naples Museum, ( Claude,} 318. 
 (Schoreel,)%)7, n. 
 
 Mason, Peter, 351. 
 * National Gallery, London. 
 (Both,} 320, n. (5. .Bour- 
 don,) 314, n. (Claude,) 311, 
 n. 319. (C#>,) 329 ' 334 - 
 n. (v. Eych,) 71, n. (. d. 
 Heist,) 249, n. (A". Maas,) 
 260, n. (. d. Ar.) 324, n. 
 (Guido,) 305, n. (G. Pous- 
 sin,) 314, & n. (Rem- 
 brandt,) 253, n. 255, n. 
 257, n. (Rubens,) 238, n. 
 305, n. (Vandyck,) 229, n. 
 ( IK . rf. FeWe,) 344, n. 
 
 Naumburg, (Cranach,) 176, 
 182. 
 
 Ncefs, Peter, the elder, 346, & 
 n. 
 
 Neefa, Peter, the younger, 
 346, n. 
 
 JVecr, ^4r<ws van der, 334. 
 
 Neer, JEqlon van der, 265, 
 299. ' 
 
 Netherlands, revival of art in 
 the, 220-222. 
 
 Netschcr, Caspar, 297. 
 *Newburgh, Lord (Snyders,) 
 348, n. 
 
 Niebuhr, his account of v. d. 
 HeLCs great picture, 247, 
 248, n. 
 
 Nordlingen, (Deig,) 156, & n. 
 (F.Herlin,} 100. (Scheuffe- 
 lin,) 155, n. 156. ( Wofye- 
 viuth,) 110, n. 
 
 *Normanton, Earl of, (v. d. 
 Neer,) 324, n. 
 
 Northern nature, influence of, 
 
 on the imagination, 114. 
 Northumberland, Duke of, 
 (Snydcrs,) 348, n.
 
 371 
 
 Nuremberg, school of, in fifteenth 
 century, 109. Herr Campe, 
 (Cranach,) 176. (Diirer,) 
 120. Castle, early Nurem- 
 berg school, 37. (Altdorfer,) 
 161. (Burgkmmr,) 165. 
 (Durer,) 124. 138, 148. (G. 
 Pens,) 163. (Scheuffelm,) 
 156. (M. Schon,) 102, n. 
 (Wohlgemuth,) 110. Chapel 
 of St. Maurice, its history, 
 70, n. (Altdorfer,} 160. (Am- 
 berger,) 197,n.(Burgkmair,) 
 165. ( Cramer ofUlm,) 189, 
 n. (Cranach,) 175, and n., 
 182. (Deig,) 156. (Dwrer,) 
 136, 137. (Corn. Enud- 
 brechtsen,)l88, n. (v. .EycA,) 
 70. (Goltzius,) 217, n. 
 (Grimmer,) 164. (#. 7?. 
 GrtiJt.) 167. (P. #erfoi,) 
 100, n. (Holbein,) 105, 106, 
 &n. (H. v. Kulmbach.) 153. 
 (Mabuse,) 206, n. (Master 
 of the Passion,) 98. (G. 
 Pens,) 162, and n. (Schaff- 
 ner,) 189, n. (Scheuffdin,) 
 155, and n. (M. Sckon,) 
 102. (School of Mentor Ste- 
 phan,) 48. (Wohlgemuth,) 
 110. (Zeitbloom,) IS*, n. 
 Church of St. Lawrence, 
 early Nuremberg school, 37. 
 Ch. of St. Sebald, early 
 Nuremberg school, 37. (co- 
 py from Durer') 138. (H. 
 v. RulmLarh,) 153, and n. 
 H. for M. 83, n. Ch. of the 
 Virgin, early Nuremberg 
 school, 37. Holzschuher, 
 portrait of, by Durer, 147. 
 School of design (Kunst- 
 gewerbeschule) ( Cranuch. ) 
 178. (G. Pens,) 163, n. 
 (Sandrart,) 263. (Savery,) 
 303, n. (Scheujfelm,) 155, 
 n. (Stradanus) 210, n. 
 
 O. 
 
 Oak, evergreen, in Claude's 
 
 pictures, 315. 
 Olmdorf, Hans von, 112. 
 Oransel William, MS. 36. 
 Orizonte, (van Bloemen,) 315. 
 Orley, Bernard van, 203. 
 Ostadc, Adrian, 276. & n. 
 Ostade, Isaac, 276, and n. 
 Osterwyck, Maria van, 353. 
 Otho II. his alliance with the 
 
 Greek court, 8. 
 Ouwater, Albert, 81. 
 
 P. 
 
 Paelinck, Joseph, 354. 
 
 Pancras,burgomaster,portrait of, 
 
 by Rembrandt, 253, n. 
 *Panshanger, (Rembrandt,) 253, 
 n. 
 
 Parcellis, John, 342. 
 
 Pardo, pictures of J. Bosch 
 at the, 96, n. 
 
 Paris, see Louvre. Royal Li- 
 brary, MSS. in, 34, 77, and n. 
 
 Parmegiano at the sack of 
 Rome, 261, n. 
 
 Passion, Master of the, 97. 
 
 Patenier, Joachim, 211, and n. 
 301. 
 
 Patterns, principle of, 15, n. 
 
 Peasant Breughel, 268. 
 * Peel, Sir Robert, (Bachhuisen,) 
 343, n. ( Cuyn,) 329, n. ( G. 
 Dow,) 291, n. (Hobbema,) 
 340, n. (de Hooghe,) 299, 
 n. (K. du Jardin,) 330, n. 
 (Metzu,) 296, n. (Mieris,) 
 297, n. (Ostade,) 276, n. 
 (P. Potter,) 331, n. (Ru- 
 betis,) 234. n. (Ruisdael,) 
 339, n. ( Terburg,) 289, n. 
 (A.v.d. Fe&e,)327,n. (W. 
 v, d. Velde,) 344, n. ( Won- 
 verman,) 325, n. ( Wytiants,)
 
 372 
 
 * Pembroke, Earl of, see Wil- 
 
 dan, married Vandyck's wi 
 
 ton, (W. v.d. Velde,) 344, 
 
 dow, 242, n. 
 
 n. (Rubens,) 306, n. 
 
 Pynacker, Adam, 321. 
 
 Pens, George, 162. 
 
 
 * Penshurst, Lucas Cornelii, 210, 
 
 Q. 
 
 n. 
 
 
 Peter, the long, (Aerstens,) 271, 
 
 Quedlinburg, MS. in the ar- 
 
 n. 
 
 chives, 6. Old paintings in 
 
 Peters, Bonaventure, 342. 
 
 the church, 27. Tapestry, 28. 
 
 Peters, John, 342. 
 
 * Queen of England's private 
 
 Petersburg, see Hermitage. 
 
 collection, (Backhuiscn,) 
 
 *Petworth, (Claude,) 318, n. 
 
 343, n. (Berghcm,) 324, n. 
 
 (Cairn,) 329, n. (Rubens,) 
 
 (.BoM,)320,n. (Cuyp,)329, 
 
 306,' n. (Vandyck,) 242, n. 
 
 n. (G..DoH7,)292,n. (Du- 
 
 Phidias, xxvi. xxx. 15, n. 
 
 rer,) 152, n. (Hobbema,) 
 
 Philip 1 1., death of, 96. 
 
 340, n. (de Hooghe,) 299, 
 
 Pirckheimer, portrait by Durer, 
 
 n. (N. Maas,) 260, n. 
 
 146. Diirefs letter to, 125. 
 
 (Metzu,) 296, n. (Mieris,) 
 
 Poelenburg, Cornelius, 311, & 
 n. 
 
 297, n. (A. v. Ostade,) 
 276, n. (P. Potter,) 331, 
 
 Pommersfelden,'( Mabuse,) 206, 
 
 n. (Rembrandt,) 253, n. 
 
 n. 
 
 256, n. 257, n. (Rubens,) 
 
 Potsdam, (J". Breughel,) 303. 
 
 306, n. (Ruisdacl,) 339, 
 
 (Floris,) 215. (Rubens,) 
 
 n. (Schalken,) 298, n. 
 
 233. ( We%,) 243. ( WHfe- 
 
 (Slingelandt,) 292, n. (Jan 
 
 oorfc,) 243. 
 
 Steen, ) 28 1 , n . ( Tenicrs, ) 
 
 Porter, Pai/Z, 331. 
 
 273, n. (Terburg,)<289, n. 
 
 Pourbus, Francis, the elder, 
 
 (A. v. d. Velde,) 327, n. 
 
 216. 
 
 (IF. v. d. Velde,) 344, n. 
 
 Pourbus, Francis the younger, 
 
 ( Wouverman,) 325, n., 326, 
 
 216. 
 
 n. 
 
 Poli/dor, ( J. Glauber,) 315. 
 
 Quellinus, Erasmus, 244, 352. 
 
 Poussin, Caspar, 313. 
 
 
 Poussin, Nicolas, 311. 
 
 R. 
 
 Prague, early school of, 3841. 
 
 
 Their works at Karlstein, in 
 
 * Radnor, Earl of, ( Claude, ) 31 8. 
 
 the Castle of Prague, and the 
 
 (Holbein,) 192. (Rubens,) 
 
 Church of the Assumption, 
 
 306, n. (W. v. d. Velde,) 
 
 38 in the Gallery, the Thein 
 
 344, n. 
 
 Church and the Cathedral, 40, 
 
 Raphael, his letter to Balthasar 
 
 41. Gallery, (H. Holbein,) 
 106. (N. Maas,) 260. (J, 
 
 Castiglione, xxviii. Madonna 
 di S. Sisto, 193, n. 
 
 Raphon,) 169, n. (Screta,) 
 
 Raphon, John, 169. 
 
 1264. Monastery of Strahow, 
 
 Ratisbon, (Martin Fesele,) 161. 
 
 (Durer,) 126, andn. 
 
 Historischer Verein, (Altdor- 
 
 Protestantism, its spirit in Du- 
 
 fer,) 160. Herr Kriinner, 
 
 rer, 149. Influence in art, 
 
 ' '(v. Eyck,)78,n. (Grimmer,) 
 
 115,116. 
 
 164, n. (Kidmbach,) 154, n. 
 
 Pryce, Sir Richard of Gogerd- 
 
 Ravestyn, John van, 246.
 
 INDEX. 
 
 Redleaf, see Mr. Wells. 
 
 Reformation, influence of, on 
 art, 1, 172, n. 
 
 Rein mar tier Zweter, portrait 
 of in MS., 35. 
 
 Rembrandt, 249259. Land- 
 scapes, 334. Date of his 
 death, 249, n. 
 
 Reynolds, Sir Joshua, xxxi. 
 His criticism on van Eyck's 
 great picture, 60, n. 
 
 Rhyn, Titus van, son of Rem- 
 brandt, 249, n. 
 
 Ridingcr, I. E., 350. 
 
 Ring, Herman zum, 210. 
 
 Rim/, Ludger zum, 209. 
 
 Robbia, Luca della, 62, n. 
 
 Rogel, Maestro, 81, n. 
 
 Roger of Bruges, 81 , 83. Com- 
 pare " Additions and Correc- 
 tions." 
 
 Rogers, Mr., ( Claude,) 318, n. 
 (Mending,) 93, n. (N. 
 Poussin,) 312, n. (Rem- 
 brandt,) 253, n. 255, n. 
 257, n. (Rubens,) 306, n. 
 
 Rome. Barberini palace, (Dii- 
 rer,) 127. Doria palace, 
 (Both,)2l. (Claude,)3l7, 
 n. (G. Poussin,} 314. (N. 
 Poussin,) 312. Sciarra pa- 
 lace, (Both,) 321. ( Claude,) 
 318. ( Cranach,) 176. Church j 
 of San Martino a' Monti, ( G. \ 
 Poussin,) 314. 
 
 Roos, John Htnnj, 330. 
 
 Roos, Philip, 331, n. 
 
 Romeyn, IK. 329. 
 
 Rosa du Tivoli, 331. 
 
 Rosa, Salvator, 308, n. 
 
 Rottenburg, (HerUn,) 99, n. 
 
 Rothschild, Baron, (Hobbema,) 
 340, n. 
 
 Rottenhammer, John, 218. 
 
 Rubens, 223-235. Landscapes, 
 305, and n. 
 
 Rugendas, G. P., 286. 
 
 Rtnxdael, Jacob, 336-339. 
 
 Rtiisd<iel, Solomon, 339. 
 
 Rutharts, Carl, 349. 
 Ruthven, Maria, wife of Van- 
 
 dyck, 242, n. 
 Rutland, Duke of, (Cuyp,) 
 
 329, n. 
 
 Ruysch, Rachael, 353. 
 Rychaert, D., 279. 
 Rysbraeck, P., 315. 
 
 S. 
 
 Sachtleven, Hermann, 322. 
 Saenredam, Peter, 346. 
 
 * Saltmarsh in Herefordshire, see 
 
 Mr. Higginson. 
 
 * Sanderson, Mr. (Ruisdael,)3S9, 
 
 n. 
 Sandrart, Joachim von, 263, 
 
 and n. 
 
 Sans Souci, see Potsdam. 
 Santi, Giovanni, his chronicle, 
 
 79, n. 
 
 Sart, C. du, 279. 
 Savery, Roland, 303, and n. 
 Saxon school before Cranach, 
 
 168. 
 'Scarsdale, Lord, see Keddle- 
 
 ston Hall. 
 
 Schajfner, Martin, 189. 
 SchaUien, Godfrey, 298, andn. 
 Schelfhout, 354. 
 Scheuffelin, Hans, 155. 
 Schirmer, Sebald, portrait of, 
 
 by Pens, 163, n. 
 Schleissheim, see Munich. 
 Schneeberg, (Cranach,) 171, 
 
 n. 
 Schffn, or Schongauer, Martin, 
 
 101, 104, n. 115. His in- 
 fluence on the school of 
 
 Ulm, 186, n. 
 Schoreel, John, 206. 
 Schote2, 354. 
 
 Schrieck, O. M. van, 353. 
 Schuhlein, 187, n. 
 SchuttersmaaltijdoftJ. d. Heht, 
 
 Niebuhr's account of, 247, n.
 
 374 
 
 Schwartz, Christopher, 218. 
 Schwerte, altar-piece of, West- 
 
 phalian school, 109. 
 Screta, Karl, 264. 
 Seghers, Daniel, 352. 
 Seghers, Gerard, 244. 
 
 * Shrewsbury, Ea,tlof,(Snyders,) 
 
 348, n. 
 
 Sixt, Burgomaster, his collec- 
 tion, (Rembrandt,) 252, 255, 
 n. 
 
 * Slindon,Sussex,(,Sfoy<fc,)348, 
 
 n. 
 
 Slingelandt, Peter van, 298. 
 Slingelandt, van, his sale in 
 
 1785, 328, n. 329, n. 
 Smit, Andreas, 342. 
 Smoothness in execution, Sir 
 
 G. Beaumont's remarks up- 
 on, 258, n. 
 Snayers, Peter, 307. 
 Snyders, F., 348. 
 Soest, paintings from convent 
 
 of St. Walburg, 27, 49. 
 
 Westphalian school, 109. 
 Solly, Mr. (Mabuse,) 205. 
 Spain, Rubens's journeys to, 
 
 235, n. 
 
 Spasimo di Sicilia, resem- 
 blance between it and Du- 
 
 rer's woodcut, 131. 
 Speck, Herr, his collection at 
 
 Leipzig, (F. Sol,) 260, n. 
 Spranger, Bartholomew, 217. 
 Stalbemt, Adrian, 304. 
 Standaart (van Bloemen), 
 
 285. 
 
 Steen, Jan, 279, 284. 
 Steenwyck, Henry van, the 
 
 elder, 346, n. 
 Steenwyck, Henry van, the 
 
 younger, 346, n. 
 Steenwyck, Nicolas van, 346, n. 
 Stephan, Meister, 45, 47, 
 
 51. 
 Stevens, Palamedes, 285. 
 
 * Stow ( Vandyck,) 242, n. 
 Stradanus, John, or Struct, 
 
 210, n. 
 
 Strahow, Monastery, near 
 Prague, (Diirer,) 126, n. 
 
 Strasburg. Public Library, 
 MS. in, 21. Museum, 
 Lucas of Leyden or Mem- 
 ling, 186, n. 
 
 Strudel, Baron Peter von, 265. 
 
 Stuerbout, Dierick, 94, and n. 
 
 Stuttgart. Royal Library, 
 MSS., 24, 34. Herr Abel, 
 ( Grunewald,) 164,n. (Kulm- 
 bach,) 154,n. (Zeitblotm,) 
 187, and n. Count Leu- 
 trum (Schaffner,) 190. 
 
 Style in art, xl. 
 
 Sulzbach, church near, (Zeit- 
 bloom,) 188. 
 
 Sustermann.1, Justus, 264. 
 
 Sutermann, (L.Lombard,) 214. 
 Sutherland, Duke of, (Artois,) 
 321, n. (Ph. KoimujhJ) 
 334, n. (N. Maas,) 260, n. 
 (Rembrandt,) 253. (Tcr- 
 burtj,) 289, n. 
 
 S\vabi;m school, 99, n. 101, n. 
 104, n. 165, n. 
 
 Swanevelt, Herman, 320. 
 
 T. 
 
 Taig or Deig, Sebastian, 156. 
 Tau'chlin, the heretic, 204, n. 
 Tannenhaiiser, legend of the, 
 
 177, and n. 
 Tassi, A., 317. 
 Tegernsee, Ellinger, Abbot of, 
 
 17. Werinher, Deacon of, 
 
 23. 
 Tempelhof, (supposed Cra- 
 
 nach,) 172, and n. 
 Theodoric of Prague, 38, 39, 
 
 Theophano, wife of Otho 2nd, 
 
 9. 
 
 Thomas of Mutina, 38. 
 Thulden, Theodore van, 244. 
 Thuringia, Herman of, 24. 
 Tilborg, G. van, 279.
 
 875 
 
 Titian's landscapes, 307. 
 Teniers, David, the elder, 270. 
 Terriers, David, the younger, 
 
 271276, and n. 
 Terburg, Gerard, 286289. 
 Tobin, Sir John, Bedford 
 
 Mass-book, 77, n. 
 Tucher, Lorenzo, donor of a 
 
 picture by Kulmbach, 154. 
 Tubingen (Schcuffcliti,) 155, n. 
 Tulp, Nicolas, Renibrandt's 
 
 portrait of, 252. 
 Turenne, Rembrandt's portrait 
 
 of, 253, n. 
 Type in art, xxxvi. 
 
 U. 
 
 Udm, Lucas van, 306. 
 
 Ulm, school of, 101, n. 186, n. 
 
 Ulm, cathedral (Schaffner,) 
 
 189,n. 190. 
 Urbino ( Justus of Ghent,) 79, n. 
 
 V. 
 
 Valladolid(7fc4ea*,)236,n. 
 
 Vanderwerff, Adrian, 258, n. 
 
 Vandi/ck, 236242. His re- 
 sidence in England, 242, n. 
 
 Veen, Martin van, (Hemskerk,) 
 208. 
 
 Veen, Octavius van, ( Otho Ve- 
 nius,) 218, 224. 
 
 Velasquez, his " Bebedores," 
 248, n. 
 
 Velde, A. van der, 324, n. 
 327, and n. 
 
 Velde, W. van der, 344, n. 
 345, n. Compare " Addi- 
 tions and Corrections." 
 
 Veldeck, Henry von, MS. of 
 his German Mneid, 22. 
 Portrait of, 35. 
 
 Velvet Breughel, (John Breu- 
 ghel,) 301. 
 
 Venice, Diirer's visit to, 125. 
 Library of St. Mark, (Mem- 
 ling), 98. Alunfrini pa- 
 lace (Jan Stem,) 283. 
 
 Venetian school, supposed in- 
 fluence of, on Cranach, 
 178,n. 
 
 Venius Otho, (v. Veen,) 218. 
 224. 
 
 Verholje, Nicolas, 298. 
 
 Verschuriny, A., 285. 
 
 Vienna, Imperial Gallery, (Ac- 
 quila,) 167. (Aldegrever,) 
 154. (Altdorfer,) 161. 
 (Both,) 321. (Breughel,) 
 269. (Craesbeche,) 279. 
 (G. .Dow,) 291. (Diirer,) 
 124, 127, 128, 134, 136, 
 144, 145, 147. (Elzhei- 
 mer,) 310. (de Heem,) 802. 
 (Hobbema,) 340. (Hol- 
 bein,) 194. (S. Holbein,) 
 106, n. (v. Hoogstraeten,) 
 260. (v. Laar,) 284. 
 (Metzu,) 296. (v. Orley,) 
 205. (ParcelUs,) 342. (G. 
 Pens,) 162. (B. Peters,) 
 342. (Rubens,) 225, 229. 
 (Ruisdad,) 338. (M. 
 Schon,) 103. (Snyders,) 
 349. (J. Steen,) 282, 
 (Steenu'i/ck,) 347. (Swanc- 
 velt, ) 820. ( Teniers, ) 272, 
 274,275. ( Terburg,) 289. 
 (M. Zagel) 111. Eiter- 
 hazy Palace, (Breughel,) 
 302'. (Claude,) MS. (Cra- 
 nach,) 176. (de Hamper,) 
 305. (Rembrandt,) 256, 
 257. (Swanwelt,) 320. 
 ( Teniers,) 272, 274. Count 
 Fries, ( Durer, ) 1 43. Lich- 
 ten>tfin Palace, (Aldegre- 
 ver,) 1 55. (.4Mwr/er,)i61. 
 (Breughel,) 270. (Oacs- 
 forcAe,) 279. (c. d. J/>/^/. ) 
 249, n. ( Rembrandt, ) 257. 
 ( Teniers,) 274. 
 FfncAeioom, Dai-i'd, 270, 304.
 
 37G 
 
 Vischer, copies of Diirer, 148, 
 
 15-2, n. 
 
 Vitringa, IF., 345. 
 Vivares, engravings from 
 
 Claude, 318. 
 
 Vlieger, Simon de, 342, 344. 
 Vliet, Juris van, 260. 
 Vois, Ary de, 265. 
 Vos, Cornelius de, 243, and n. 
 Vos, Martin de, 217. 
 Vriendt, F. de, (Franz Floris,) 
 
 215. 
 
 Fries, J. R. de, 340, 346, n. 
 Vyts, Judocus de, donor of v. 
 
 'Eyck's great picture, 59, 67. 
 
 W. 
 
 Wagner, engraving after D'tirer, 
 
 147, n. 
 Wagner, Hans, (Hans v. Kulm- 
 
 bacft,) 152-154. 
 Walch, Jacob, 111, 152. 
 "VValkenried. Monasteryof, (Ra- 
 
 phon,) 169,n. 
 Waldburg, near Stuttgart, early 
 
 paintings, 53. 
 \Valdpurg, monument of family 
 
 of, 109, n. 
 
 * Wall, Mr. Baring, (H. de Bles,) 
 
 211, a 
 Wappers, 354. 
 
 * Warwick Castle (P. Neefs,) 
 
 346, n. (Rubens,) 238, n. 
 Waterloo, Antony, 335. 
 Weenix, John Baptist, 324. 
 Weenix, John, 349. 
 Weimar. City Church, (Cra- 
 
 nach,) 174. Library, (Cra- 
 
 nach,) 182. Gallery, ( Cra- 
 
 nach,) 171, n. 
 
 Weingarten, MS. from. 24. 
 * Wellington, Duke of,( Claude,) 
 
 318, n. (Jan Steen,) 281. 
 
 (Terburg,) 289. ( Wouver- 
 
 man,) 326, n. 
 
 * Wells, Mr. (Claude,) 318, n. 
 
 ( Cuyp,) 329, n. Hobbema, 
 
 340, n. (K. du Jar- 
 
 din,) a*30, n. (Rembrandt,) 
 
 252, n. (Ruisdael,) 339, n. 
 
 (A.v.d. Veldc,)327,n. 
 Wells, name of Holbein in the 
 
 registry of, 106,n. 
 Werff, Adrian van der, 265, 
 
 299. 
 
 Werff, Peter van der, 265. 
 Werinher of Tegernsee, life of 
 
 the Virgin, 23. 
 Werner, Joseph,265. 
 Wessobrunn prayer, MS. of, 4, 
 
 &n. 
 
 * Westminster, Marquis of, see 
 
 Grosvenor Gallery. 
 Westphalia, peace of, Terbunfs 
 
 picture of signing, 289, n. 
 Westphalian school, 49, 107, 
 
 108, 113, 115. 
 Weyde, Royer van der, 79, n. 
 
 95. 
 
 * Whitehall, (Rubens,) 236, n. 
 Wieling, Nicolas, 243. 
 Wil/tc/m, Meister, xxvii. 42, 
 
 and n. 51. 
 
 WiUarts, Adam, 342. 
 
 Wille, engraving from, Ter- 
 burg, 288, n. 
 
 Wilh-borts, Thomas, 243. 
 
 * Wilton, (Jarenus,) 108. (Z- 
 
 cas of Leyden,) 185, andn. 
 (Mabuse,) 205, n. (Rubetis,) 
 238, n. 306, n. (Vandyck,) 
 242. (W.v. d. FeWe,)344, 
 n. 
 
 * Windsor, (Claude,') 317, n. 
 
 ( J. van Cleef,) 208, n. ( G. 
 Dow,) 291.li. (Elzheimer,) 
 310, n. (Holbein,) 192. (Hon- 
 thorst,) 262. (Q. Messi/s,) 
 201, and n. (Mierevelt,) 246, 
 n. (^4. More,) 207, n. (P. 
 .ZVee/i,) 346, n. (G. Pens,) 
 163, n. (G. Pousfiin,) 314, 
 n. (Rubens,) 237, n. 305, 
 n. (Steenwtfck,) 346, n. 
 ( Vandyck,) 238, n. 
 IFrt, Jocoft </e, 347, n.
 
 IXDEX. 
 
 3T7 
 
 Wilte, Caspar de, 321 . 
 
 Witte, E. de, 347. 
 
 Wifte, Peter de, 217, 321. 
 
 Wittenberg. Church, ( Cra- 
 nach,} 173, 181. Town-hall, 
 ( Cranach,) 172. 
 Woburn, (Mierevelt,) 246, 
 ( Vandijcli) ; see " Additions 
 and Corrections." 
 
 Worlitz, (Cranach,} 176. 
 
 Wolilgemuth, Michael, 72, n. 
 109, 110, and n. 117. Por- 
 trait of, by Durer, 143. 
 
 Woollet's engravings from 
 
 Claude, 318, n. 
 
 *Worksop, ( Vandyck,) 242, n. 
 see " Additions and Correc- 
 tions." 
 
 Worms Cathedral, early paint- 
 ings in, 26. 
 
 Wouverman, Philip, 28o, 325, 
 327, 339, n. 
 
 Wouverman, Peter, 327. 
 
 Wiirtemberg, King of, ( Wou- 
 verman,) 326, n. 
 
 Wvrnucr, Nicolas, 38, 39. 
 
 Wynants, John, 324. 
 'Wynne, Sir W. W., (Claude,) 
 318, n. 
 
 Xanten, (Bartholomew de 
 Bruyn,) 209. 
 
 Y. 
 
 Ypres, Church of St. Martin, 
 v . Eyck formerly there, 76. 
 
 Zaflleven, (Sachtleven,) 322. 
 Zagel, Martin, 111. 
 Zeilbloom, Bartholomew, 187. 
 Zeuxis, illusion in his picture of 
 
 the grapes, 248, n. 
 Zorg, H., 279. 
 Zwickau, (WohlyemuUi,) 110, 
 
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 Mr. EMANUEL ZAMMIT. 
 
 IS ALL. 
 
 Mr. FERDINAND DIMECH, No. 69, Strada Teatro, Valletta, Sculptor 
 in Malta Stone. 
 
 . I AMES SOLER & Co., Sculptors in Malta Stone. 
 Mr. PAOLO DECANDIA, ditto. 
 
 Mr. P. P. DECESAHE, ditto. [Workers. 
 
 Messrs. Jos'-. DARMANHJ & SONS, 45, Strada Lcvante, Mosaic 
 
 CORFU Mr. J. W. TAYLOR. 
 
 A 1 . 1 . X A N 1.) R I A Messrs. BRIGCS & Co. 
 
 CONSTANTINOPLE Messrs. C. HANSON & Co, and Mr. BLACK. 
 
 SMYRNA Messrs. HANSON & Co. 
 
 BEYROUT Mr. HENRY HEALD. 
 
 ATHENS Messrs. O. METIVIEB & Co. 
 
 wKirv J Messrs. FRERES SCIIIELIN. 
 
 N KHU f t Messrs. S. & A. BLUMKNTHAL & Co. Mr. JOHX HARMB. 
 
 TRIESTE Messrs. GEORGE MOORE & Co. 
 
 OSTEND Mr. F. A. BBLLEROCHE. Messrs. BACH & Co. Mr. ST. AMOCE. 
 
 f Messrs. GEBRCDER ROCCA, Printsellers, Unter den Linden. 
 
 BERLIN -{ Messrs. PHALAND & DIETRICH, Carriers. 
 
 ( Mr. LION M. COHN, Comm Expe"diteur. 
 
 GHENT Mr. J. De BUYSER, Dealer in Antiquities, Marche' au Beurrt, 21. 
 
 ilRI'SSELS 
 
 . X-T \vi?np / Messrs. F. MACK & Co, Kipdorp, 1745. 
 
 ANTWERP JMr.P.VANZEEBROECK,PictureDealer > &c,RuedesRfcoUets,207C 
 
 ( Messrs. PRESTON & Co. 
 ROTTERDAM -{ Messrs. S. A. LEVINO & Co. Messrs. L. MAYKB & Co. 
 
 I Messrs. C. HEMMANN & Co. Messrs. BOUTMY & Co. 
 my rw-vr J Mr - J - M - FARINA, vis-a-vis la Place Juliers. 
 
 < OLOGNE | Messrs. G-. Tiuis & Co. Mr. G. L. KAYSKR, ExpMttenr. 
 
 31 VYENCE Mr. JOSEPH TIIUQUET. Mr. W. KNCSSMAN, Cabinet Mak 
 
 (Mr. P. A. TACCHI'S SUCCESSORS, Glass Manufacturers, / 
 TRANKFORT O. M J Madame Veuve J. H. STIEBEL, Zeil D, 30. 
 
 ( Messrs. BING BROTHERS, Zeil D. 31. Mr. F. BOULER. 
 "IVNNHEIM Mr. DINKELSPEIL. Messrs. EYSSF.S & CLADS. 
 
 f Mr. J. M. DE HERMANN, Printseller. 
 
 ., u ) Messrs. MAY & WIDMAYER, Printsellers. 
 
 MUNICH { Mr F STE , OMWALDf Glass Manufacturer. 
 
 I Messrs. L. NEGRIOU & Co. 
 
 KI-INOEN { ^LTSMlS * cZ MannfaCtUrer ' 
 
 RATISBON Mr. AUGUSTS KOCH. 
 
 NURi:MBERG Mr. PAOLO GALIMBKRTI, at the Red Horse. 
 
 BASLE Messrs. JEAN PREISWERK & Fils. 
 
 BERNE Mr. AUGUSTS BUESCHE. Mr. ALBERT Ti < 
 
 trKNKVA Messrs. RITZCHEL, Pere & Fils, Grand Quai. 
 
 INTERLAl Kl.N Mr. J. WYDER. 
 
 GRINDELWALD ... Mr. S. ROTHACHER, Fils. 
 
 HAMBURG Messrs. SCHAAR & CLACSS ; Mr. C. B. ARNOLD. 
 
 VK 4 < IIP / M^ W. HOFMANN, Glass Manufacturer, Kleiuen Ring. - 
 
 PKA(jUE \ Mr. A. V. LEBADA, Gun Maker, &c. 
 
 r A RT p v n J - Mr - T' 10 "* 8 WoLF ' t:lass Manufacturer. 
 
 CARLSBAD j Mr CAEL KNOLL ^ au Li on Blanc. 
 
 YIENN V Mr. W. HOFMANN, Glass Manufacturer, am Lugeck, N 
 
 SALSBURG .... .. Mr. ALOIS DUREGOKR. 
 
 ^OLFSOHN, Schossergasse, No. 5. 
 NEW YORK \Messrs. WILBUR & SCOTT.
 
 G MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 MUNICH. 
 
 FRANCIS STEIGERWALD, 
 
 /mtrtf MrUa & f mimi m IBljift & Cnlnurrit <q0inl dpta, 
 
 CUT, OR ORNAMENTED WITH GILDING, PAINTING, OR ENGRAVING, 
 
 BEGS respectfully to inform the Public that his large Stock at 
 MUNICH, the acknowledged seat of the Fine Arts in Germany, 
 is, as it has heen for many years, carefully supplied with the 
 NEWEST and CHOICEST PRODUCE of his FACTORY. 
 
 FRANCIS STEIGERWALD has also an Establishment at Kissingeu 
 during the Season. 
 
 Requesting his Customers and Correspondents in ENGLAND 
 to continue to this Establishment the favour and confidence 
 they have been pleased to bestow on his former one at FRANK- 
 FORT ON THE MAINE, he begs to state that Purchases or 
 Orders will be transmitted on the shortest notice, and without 
 any further trouble, through the medium of his Agents, Messrs. 
 J. & R. M'CRACKEN, No. 7, Old Jewry, London.
 
 MURRAY'S CONTINENTAL HAND-BOOK AWKUTISMi:. 7 
 
 FRANKFORT 0. m 
 
 P. A. TACCHI'S SUCCESSORS 
 
 (LATE FRANCIS STEIGEEWALP,) 
 ZEIL D, No. 17, 
 
 /imnj &te nnu~ 
 
 P. A. TACCHI'S SUCCESSORS beg to acquaint the Public, that 
 they have become the Purchasers of Mr. F. STEIGERWALD'S ESTABLISH- 
 MENT in this Town, for the Sale of Bohemian Fancy Cut Glass and 
 Crystals. 
 
 They have always an extensive and choice Assortment of the 
 Newest and most Elegant Patterns of 
 
 ORNAMENTAL CUT, ENGRAVED, GILT, AND PAINTED GLASS 
 Both White and Coloured, 
 
 In Dessert Services, Chandeliers, Articles for the Table and Toilet. 
 and every possible variety of objects in this beautiful branch of manu- 
 facture. They solicit, and will endeavour to merit, a continuance of 
 the favours of the Public, which the late well-known House enjoyed in 
 an eminent degree during a considerable number of years. 
 
 P. A. TACCHI'S SUCCESSORS have BRANCH ESTABLISHMENTS during the 
 Season at 
 
 TYIESBADEN AND EMS, 
 
 Where will always be found Selections of the newest Articles from 
 their principal Establishment. 
 
 Their Agents in England, to whom they undertake to forward Pur- 
 chases made of them, are Messrs. J. & R. M'CRACKKN, 7, Old Jewry, 
 London.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 FRANKFORT 0. M. 
 
 BING BROTHERS, 
 
 ZEIL, No. 31, 
 
 (OPPOSITE THE HOTEL DE RUSSIE,) 
 
 MANUFACTORY OF ARTICLES IN STAG'S EORN, 
 
 DEPOT OF DRESDEN CHINA. 
 
 COPY OF THE STATUE OF ARIADNE 
 
 . All kindi of Parisian Fancy Articlet. 
 
 MESSRS. BING BROTHERS leg respectfully to invite the Public to visit their 
 Establishment, where they have always on show, and for sale, a most extensive 
 Assortment of Articles in Stag's Horn, ot their own manufacture; consisting of 
 Brooches, Ear-rings, Bracelets, Pen am! Pencil-holders, Seals, Ink-stands, Watch - 
 stands, Snuff-boxes, Cigar-boxes, Whip.;, Walking-sticks, Knives, Card-cases, and 
 every description of article for the Writi..^ and Work Table, besides Vases and 
 other ornameutal objects too various to be here enumerated. 
 
 Messrs. BING have also the finest Copies, both in Biscuit-China and Bronze, of 
 the Statue of Ariadne, the Chef-d'oeuvre of the Sculptor DANNECKER, of which the 
 original is in Be'thmau's Museum at Frankfort O. M. 
 
 Messrs. BING have likewise the Sole Depot in FRANKFORT of the Porcelain of 
 the Royal Manufactory of Dresden; and at their Establishment may be seen the 
 most splendid assortment of Figures after the Ancient Models, ornamented with 
 Lace-work of the most extraordinary fineness ; likewise Dinner, Dessert, and Tea 
 Services ; Plates, Vases, Candelabras, Baskets, &c. &c., in the Antique Style, 
 ornumented with flowers in relief, and the finest paintings. 
 
 Besides the above-named objects, they have a superb assortment of Clocks, 
 Bronzes, Porcelain, and other Fancy Objects, the productions of Germany, France, 
 and England. 
 
 Depot of the veritable Eau de Cologne of Jean Maria Farina, of Cologne. 
 C~f Their Agents in London are J. and R. M'CRICKEN, 7, Old Jewry.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. f> 
 
 COLOGNE 0. EHINE. 
 
 JOHN MARIA FARINA; 
 
 (OITOSITE THE JUUCU'S PLACE,) 
 
 PURVEYOR TO H. M. QUEEN VICTORIA; TO H. M. F. W. N., KING CF 
 
 PRUSSIA; H. M. NICOLAS I., EMPEROR OF RUSSIA ; H. M. ERNEST 
 
 AUGUSTUS, KING OF HANOVER, ETC., ETC. 
 
 op THB 
 
 ONLY GENUINE EAU DE COLOGNE. 
 
 TVHE frequency of mistakes, which are sometimes accidental, but for the 
 *- most part the result of deception practised by interested individuals, induces me to 
 request the attention of all English travellers to the following statement : 
 
 Since the first establishment of my house in 1709, there has never been any partner 
 in the business who did not bear the name of FARINA, nor has the manufacture of a 
 second and cheaper quality of EAU DB COLOGNE ever been attempted, Sine 
 however, several inhabitants of Cologne have entered into engagements with Itali 
 the name of Farina, and, by employing that name, have succeeded to a very great extent 
 in foisting an inferior and spurious article upon the Public. 
 
 But they have in this rivalry in trade not been satisfied with the mere usurpation 
 of my name, the concluding phrase, "opposite the Julich's Place," which had 
 existed my especial property, was not allowed to remain in its integrity. To deceive 
 and lead astray again those of the public who are not fully conversant with the locality 
 and circumstances, the competition seized hold of the word "opposite," and more than 
 one settled in my immediate neighbourhood, that they might avail themselves to the full 
 extent of the phrase "opposite the Julich's Place." When tried before the courts, the 
 use only of the word " opposite " was forbidden, which, however, has been supplied by the, 
 word " at " or "near," with the addition of the number of their houses. It is true, :-. 
 less flagrant, but not less deceitful invention was, that several of my imitators established 
 the sites of their manufactories in other public places of the town, to enable them to make 
 
 use of the phrase " opposite Place, or Market," on their address cards or labels, 
 
 speculating with respect to the proper name ' Julich," on the carelessness or forgot i 
 of the consumer. I therefore beg to inform all strangers visiting Cologne that my 
 establishment, which has existed since 1709, is exactly opposite the Julich's Place, 
 forming the corner of the two streets, Unter Goldschmidt and Oben Marspf.rtcn. 
 and that it may be the more easily recognised, I have put up the arms of K: 
 Itussia, &c., &c., in the front of my house. By calling the attention of the publi. 
 notice, I hope to check that system of imposition which has been so long pr. 
 towards foreigners by coachmen, valets de place, and others, who receive bribes from tue 
 vendors of the many spurious compounds sold under my name. 
 
 J. M. FARINA, 
 
 Opposite the Julich's Place. 
 
 ** My Custom-house Agents in London are Messrs. J. & R. M'Ca < 
 7, Old Jewry; and my Agent fvr Great Britain is Mr. WM. LANGENBECK, 1.3, 
 Maddax Street, Regent Street, and 9 Lime Street, Oily.
 
 10 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 BRUSSELS. 
 
 CARRIAGES AND HORSES. 
 T. SUFFELL 
 
 Respectfully informs British and American 
 Travellers they can always obtain a choice of 
 
 EXCELLENT VEHICLES, 
 
 OR 
 
 GOOD SADDLE HORSES, 
 
 TO CONVEY PARTIES 
 
 TO AND FROM WATERLOO, 
 
 At very reasonable prices. 
 
 For Carriages by the day, half day, or 
 
 hour, apply to T. SUFFELL, 12, Rue St. 
 
 Laurent, Montagne de la Cour, on the right 
 
 hand side descending from the Place Royale. 
 
 Carriages of every description for town use. 
 
 Paid Horse Carriages for Waterloo, 20 fr.; 
 
 Gig or Cab, 15 fr.; and a Saddle Horse, 12 fr. 
 
 INTERLAKEN. 
 
 A Gentleman who found quiet and reason- 
 able accommodation at the 
 
 HOTEL BEAUSXTE, 
 
 UNTERSEEN, INTERLAKEN, 
 
 Takes this method of making the circum- 
 stance known for the benefit of the Pro- 
 prietor, M. RUCTI. 
 
 DOMO L'OSSOLA. 
 GRAED HOTEL D'ESPAGNE, 
 
 DE 
 
 JAQUES NICOLAZZI. 
 
 TRAVELLERS will find in 
 JU this Hotel cleanliness, prompt sen-ice, 
 a good kitchen, the best wines, and moderate 
 charges. Large and small Apartments. 
 
 HOESES AND CARRIAGES. 
 
 HEIDELBERG. 
 
 AN NONCE. 
 
 LA GALERIE DES ANTIQUITES 
 
 DU 
 
 Chateau de Heidelberg. 
 
 FORM fiB PAB 
 
 LE COMTE DE GRAIMBERG, 
 
 Est avoir dans le bailment de la Chapelle. 
 dit communement le Palais de Fn'de'ric IV. 
 Le fondateur y a reuni, avec des frais de 
 tons genres, et par des recherches proches 
 et a distance, pendant quarante ans, tout 
 ce qu'il a pu decouvrir de relatif au 
 
 CHATEAU DE HEIDELBERG, 
 
 Ainsi qu'a ses anciens Princes des Families 
 I'ulatines et de Bavii-re, et a ses proprietairos 
 actuels de la maison de Bide, en portraits. 
 e:i tableaux, dessins, gravures, vuil'us 
 armes, sculptures, me"dailles, porcelaines, 
 verrieres, diplomes, &c. Le tout composant 
 un ensemble de onze a douze mille numeros. 
 et sans doute la seule galerie de cette nature 
 qui exist?. 
 
 Outre ce service rendu au pays, autaut 
 pour 1'agrlment que pour 1'utilite de tons, 
 la ville de Heidelberg doit encore a Mons. 
 de Graimberg, en grande partie, la renoin- 
 mee de ses mines, par ses 
 PLANCHES DU CHATEAU DZ 
 
 HEIDELBERG. 
 GRAVEES PAR Cn. HALDENWAKCi. 
 
 Le Premier Artiste en Paysage de 1't-pcque. 
 Et qu'on peut se procurer chez Tauter, r 
 dans, la galerie des antiquites du Chateau. 
 sans compter que Mons. de Graimberg n'a 
 pas moins contribue ^i la conservation de 
 ses ruines, en s'en faisant le protecteur et 
 le gardien, dans un tems ou leur merite. si 
 universel aujourd'hui, doit encore pen
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISKR. 11 
 
 MILANO GRAND ROYAL HOTEL. 
 
 (ALBERGO REALE.) 
 
 GIOACHINO BRUSCHETTI. 
 
 T^HIS splendid and most commodious Hotel, constructed onlv 
 with, two stories high, has heen taken by the present sole 
 Proprietor, GiOACmuo BBUSCHETTI, who for the past twenty years 
 has travelled with some of the most distinguished families, and 
 lived at several periods in England ; by these advantages, he 
 fully hopes he has learned how to conduct a great Establishment 
 like the GRAND ROYAL HOTEL, and to give the desired satisfaction, 
 with cleanliness, promptitude, and exactness of service. Good 
 kitchen, best wines, and at prices exceedingly moderate. 
 
 The whole of the Hotel has been by him newly furnished with 
 becoming elegance ; well studied arrangements combined with 
 every comfort that can possibly be required. 
 
 An excellent Table d'Hftte daily, in the lagnifico Salonr on the first 
 floor, capable of containing abore One Hundred Persons. 
 
 IN THE SAME ESTABLISHMENT WILL BE FOCND 
 
 A WELL SELECTED GALLERY OF OLD PAINTINGS 
 BY TIIE BEST AXD MOST NOTED MASTERS.
 
 12 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 BONN, ON THE RHINE. 
 
 MR. SCHMITZ, 
 
 PROPRIETOR OF THE GOLDEN STAR HOTEL, 
 
 BEGS leave to recommend his Hotel to English Travellers. The apart- 
 ments are furnished throughout in the English style ; the rooms are 
 carpeted, and the attendance, as well as the kitchen and the wine-cellar, 
 is well provided. 
 
 The STAR HOTEL has been honoured by the visits of the following 
 Members of the English Royal Family : 
 
 III. M. ADELAIDE, QUEEN DOWAOER OF GREAT BRITAIN, accompanied 
 by His Highness PRINCE EDWARD OF SAXK WKI.MAU, LOUD and 
 LADY HARRINGTON, SIR DAVID DAVIS, M.D., Rev. J. K. WOOD. 
 M.A., CAPTAIN TAYLOR, &c. &c., honoured the above establishment 
 with a THREE DAYS' VISIT. 
 
 1818. May . II.R.H. the DUKE OF CAMBRIDGE and Suite. 
 
 18 aiul Se H^ I U ' R " II- the DuKE and DUCHESS OP CLARENCE and Suite. 
 
 ("H.M. QUEEN ADELAIDE, accompanied by the EARL and COUXTKS- OF 
 1834. July .-{ ERROL, EARL and COUNTESS OF DENBIGH, EARL and COUNTESS 
 [ HOWE, &c. 
 
 1836. Aug. . II. R. II. the DUCHESS OP GLOUCESTER and Suite. 
 
 3837. July . H.R.H. the Duchess OF CAMBRIDGE and Suite. 
 
 1839. Nov. . II.R.H. the PRINCE GEORGE OP CAMBRIDGE and Suite. 
 
 j . (H.R.H. PRINCE ALBERT OF SAXE COBURG GOTHA, accompanied by 
 I PRINCE ERNEST OF SAXE COBUBG GOTHA, and their Suite. 
 
 (H.R.H. the DUCHESS OP CAMBRIDGE, accompanied by the PKINCP.SS 
 I AUGUSTA OF CAMBRIDGE, and their Suite. 
 
 . < ( H. R. H. the DUCHESS OF KENT and Suite, accompanied by H. S. II. the 
 
 ' ' I PRINCE OF LEINIXGEX. 
 
 1841 .' . . . H. R. H. the DUCHESS OF CAMBRIDGE and Suite. 
 
 . . . . H. R. H. PRINCESS CAROLINA OP CAMBRIDGE. 
 ls-1 1 . . . . H. R. H. the DUCHESS OF CAMBRIDGE and Suite. 
 
 .... II. R. II. PRINCESS MABY OF CAMBRIDGE. 
 
 ( H. R. H. the DUCHESS OP KENT and Suite, accompanied by II. S. II. the 
 I PHINCB OF LEININGEN. 
 
 ( H. R. II. the DUKE AND DUCHESS OF CAMBRIDGE, with their Familv 
 I and Suite. 
 
 MR. SCHMITZ begs to add, that at no Hotel on the Rhine will be found 
 more moderate charges.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 13 
 
 LEGHOEN. 
 CLACK EAGLE ROYAL HOTEL. 
 
 THE PROPRIETOR, 
 
 LOUIS DATTARI, 
 
 Has the honour to inform all the Travellers 
 that his Hotel, newly furnished, is situated 
 in the most central part of the town, com- 
 of the 
 
 LEGHORN. 
 HOTEL VICTORIA. 
 
 Louis Dattari and Thou flenimi. 
 
 HIS HOTEL, newly fitted up, is the 
 most elegant one for its situation, besides 
 
 having a southern aspect ; it is in the pri 
 
 inands the view of the sea, and can be cipal street of the town, and near to the 
 approached by the sea. There is a Table port. There is a Table d'UOte, Baths, and 
 d'liflte, and Coach House. | Coach House. 
 
 MALINES, BELGIUM- 
 HOTEL DE LA GRUE, GRAND PLACE, 
 
 KEPT BY 
 
 D. BREUGELMANS. 
 
 T'HIS is decidedly the largest and best Hotel at Malines. 
 Good Beds, excellent Wines, Baths, with every comfort of a private house. 
 Families may be accommodated with private apartments for any length of time, 
 and as cheap as at home. 
 
 DRESDEN. 
 
 MAGAZINE OF ANTiaUITIES AND FINE ARTS. 
 
 HELENA WOLSOHN, NEE MEYER, 
 
 (SUCCESSOR OF L. MEYER AND SONS), 
 
 5, SCHLOSSERGASSE, 
 
 Begs respectfully to solicit the inspection of her establishment, where she has 
 always on show and for sale a most extensive assortment of Old Saxon China, Old 
 Sevres and Japan, Antique Furniture, Bronzes, Old Lace, such as Points de 
 Bruxelles and D'Alenqon, Points de Venise, Guipure, &c., &c. Venetian, Ruby, 
 and Painted blass, Rock Crystal, Ivory Work, Enamels, Mosaic Work, Armour, 
 Gobelins Tapestry, Fans, and many other remarkable and curious articles. 
 
 HEB AGENTS IN ENGLAND ARE 
 
 MESSRS. J. & R M'CRACKEN, 7, OLD JEWRY, LONDON.
 
 14 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 MUNICH. 
 
 J. M. DE HERMANN, 
 
 ROYAL PROMENADE STRASSE, No. 12. 
 
 MAGAZINE OF OBJECTS OF FINE ARTS, PICTURES, PRINTS, 
 DRAWINGS, AND LITHOGRAPHS. 
 
 J. M. DE HERMANN has always on Sale a Collection of Pictures by Modern 
 Artists (German and others), of Miniatures and Drawings, Engravings and Litho- 
 graphs. The latter comprises the Collections of the Pinacothek, of the Galleries 
 of Schlcissheim and the Duke of Leuchtenberg. at Munich, as well as that of the 
 Royal Gallery of Dresden : also the Collection of the Works of the Old School, 
 better known as the " Collection of the Freres Boissere" ;" the Frescoes in the 
 Church of All-Saints, and generally of whatever relates to the Fine Arts. 
 
 J. M. DE HERMANN undertakes to forward to England all Purchases 
 made at his Establishment, through his Agents, Messrs. J. & R. M'CRACKEN, 
 7, Old Jewry. 
 
 FLORENCE. 
 
 G. BIANCHINI, 
 
 MANUFACTURER OF TABLES AND LADIES' ORNAMENTS, OF 
 FLORENTINE MOSAIC. 
 
 No. 4844, VIA DE' NELLI, OPPOSITE THE ROYAL CHAPEL OF THE MEDICI, 
 
 INVITES the English Nobility and Gentry to visit his Establishment, where may 
 always be seen numerous specimens of this celebrated and beautiful Manufacture, 
 in every description of Rare and Precious Stones. Orders for Tables and other 
 Ornaments executed to any Design. 
 
 G. BIANCHINI'S Agents in England are Messrs. J. & R. M'CRACKEN, 7, Old 
 Jewry, London.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. I.", 
 
 GENOA. 
 GRAND HOTEL DE LA VILLE. 
 
 J. SCHMITZ. 
 
 This Hotel, the ancient Palace of St. Pancrazio, situated on the Port, and commanding 
 a beautiful view of the sea, has been restored and enlarged by the present proprietor, who 
 lias done all in his power to render it essentially comfortable. 
 
 The attendance is equal to that of the first hotels of the north. Charges moderate. Private 
 rooms from fcs. 1. 50, and sumptuous apartments for large families. Table d'llote at 
 5 o'clock. Baths. All the principal Newspapers. Excellent Stabling and lock-up Coach- 
 houses. 
 
 Mr. SCIIMITZ, the Proprietor, who is also a manufacturer of filligree Silver, has a depot 
 in the hotel. 
 
 MR. EDWIN LEE ON CONTINENTAL LOCALITIES, CLIMATES, BATHS, ETC. 
 
 One Volume, post 8vo, 8s. 
 
 THE CONTINENT; 
 
 ITS CLIMATES, BATHS, AND REMEDIAL RESOURCES. 
 WITH OBSEBVATIONS ON THE INFLUENCE OF CLIMATE AND TRAVELLING, TABLES', &c. 
 
 Also, One Volume, (pp. 400), 7s. 6d. 
 
 THE BATHS OF GERMANS & RHENISH 
 GERMANY; 
 
 WITH PRACTICAL OBSERVATIONS ON MINERAL WATEBS, AND NOTICES OP THE AT 
 TOWNS. 
 
 With Plate and Map, 3s. 6d. 
 
 NICE ET SON CLIMAT. 
 
 AVEC DES NOTICES SUE LB LITTORAL DE LA MEDITEBKANfcE. 
 
 London: CIIUKCHILL, Princes-street ; BAILI.IERE, Regent-street; and ADAMS, Fleet-sbjftel 
 Paris: GALIONAXI. Nice: VISCONTI. 
 
 LONDON. 
 
 WHERE TO BUY A DRESSING-CASE. 
 
 IN no article perhaps is caution 
 more necessary than in the purchase of 
 a Dressing Case, for in none are the mere- 
 tricious arts of the unprincipled manufac- 
 turers more frequently displayed. M IX II I. 
 4, LEADENHALL STREET, near Grace- 
 chnrch-street, has long enjoyed the reputa- 
 tion of producing a Dressing Case in the 
 most finished and faultless manner. Those 
 who purchase one of him will be snre of 
 having thoroughly-seasoned and well-pre- 
 pared wood or leather, with the fittings of 
 first-rate quality. The prices range from 
 1 to 100. Thus the man of fortune and the 
 man of moderate means may alike be suited, 
 while the traveller will find the Mechian 
 Dressing Case especially adapted to his 
 necessities. 4, LE ADEN U ALL STREET. 
 
 London & Westminster Bank 
 
 ISSUES CIRCULAR NOTES 
 
 For 10 each, for the use of travellers and 
 residents on the Continent. These notes 
 are payable at every important place in 
 Europe, and thus enable a traveller to vary 
 his route without inconvenience. N<. 
 expense is incurred, and when cashed no 
 charge is made for commission. They may 
 be obtained at the head office of the London 
 and Westminster Bank, in Lothbury; or 
 at its branches, viz. : 1, St. James's-squarc: 
 214, High Holborn; 3, Welling: 
 Borongh; 87, High-street, Whitechaycl; 
 and 4, Stratford-place, Oxford-street. 
 
 J. W. GILBART, General Manager.
 
 1C MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 UNION BANK OF LONDON 
 
 irectors. 
 
 SIR PETER LAURIE, ALDERMAN, Governor. 
 WILLIAM MOUNTFORD NURSE, Esg., Deputy Governor. 
 
 RT. HON. THE LOUD MAYOB. 
 JOHN BAKNES, Esq. 
 JAMES FARQUIIAR, Esq. 
 LKO SCHUSTER, Esq. 
 
 Esq. 
 
 CHARLES LYALL, Esq. 
 JOHN CHAPMAN, Esq. 
 WILLIAM WILSON SCBIMGEOUR, General Manager. 
 
 PETER NORTHALL LAURIE, 
 
 HENRY HULBKRT, Esq. 
 
 ARCHIBALD BOYD, Esq. 
 Lieut.-Col. MATHESON, M.P. 
 JOHN SCOTT, Esq. 
 WALTER LAUBIE, Secretary. 
 
 CIRCULAR NOTES. 
 
 THE Directors give notice that they issue CIRCULAR NOTES of the value of 10 
 and upwards, free of expense, and LETTERS OF CREDIT payable by their Corre- 
 spondents at the several places indicated below. To be obtained at the HEAD OFFICK, 
 '->, PRINCES STREET, MANSION HOUSE; the REGENT STREET BRANCH, AEOYLE PLACE; 
 and at the CHARING CROSS BRANCH, 4, PALL MALL EABT. 
 
 Abbeville 
 
 Cairo 
 
 Geneva 
 
 Mauritius (Port 
 
 Rotterdam 
 
 Aix-en-Provcnce 
 
 Calais 
 
 Genoa 
 
 Louis) 
 
 Rouen 
 
 Aix-la-Cliapelle 
 
 Calcutta 
 
 Ghent 
 
 Mayence 
 
 Salzburg 
 
 Alexandria 
 
 Canada (Upper) 
 
 Gibraltar 
 
 Messina 
 
 Santa Cruz, 
 
 Aleppo 
 
 Canton 
 
 Gottenbourg 
 
 Milan 
 
 Teneriffe 
 
 Alicante 
 
 Cape Town 
 
 Gottingen 
 
 Montpellier 
 
 Schwalback 
 
 Almeira 
 
 Carlsbad 
 
 Graefenburg 
 
 Montreal 
 
 Seville 
 
 miens 
 
 Carlsruhe 
 
 Granville 
 
 Moscow 
 
 Shauftauscn 
 
 inMrrdam 
 
 Cephalonia 
 
 Gratz 
 
 Munich 
 
 Siena 
 
 ucona 
 
 Cettc 
 
 Halifax (Nova 
 
 Munster 
 
 Singapore 
 
 ntwerp 
 thens 
 
 Ceylon 
 Chalon (sur 
 
 Scotia) 
 Hamburg 
 
 Nancy 
 Nantes 
 
 Smyrna 
 Spa 
 
 ugsbourg 
 
 Saone) 
 
 Hanover 
 
 Naples 
 
 St. Galle 
 
 vignon 
 
 Chambery 
 
 Havre 
 
 Neuchatel 
 
 St. Malo 
 
 
 Chauxde fonds 
 
 Hague 
 
 New Orleans 
 
 St. Omer 
 
 Bau-dnu 
 
 Christiana 
 
 Cliristiiiusand 
 
 llei.lelburg 
 Hemianstadt 
 
 New York 
 Nice 
 
 St. Petersburg 
 Stockholm 
 
 Barcelona 
 
 Clermont Fcr- 
 
 Homburg es 
 
 Nismes 
 
 Strasbourg 
 
 Basle 
 
 rand 
 
 monts 
 
 Nurembourg 
 
 Stuttgardt 
 
 Bcirout 
 
 Coblenz 
 
 Hong Kong 
 
 Ditto (Fiirth 
 
 Tarbes 
 
 Benares 
 
 Cologne 
 
 Innspmck 
 
 near) 
 
 Tenerifle 
 
 Bergen 
 
 Constance 
 
 Interlaken 
 
 Oleron 
 
 Toronto 
 
 Begin 
 
 Constantinople 
 
 Kissingeii 
 
 Oporto 
 
 Toulon 
 
 Berne 
 
 Copenhagen 
 
 Konigsberg 
 
 Orleans 
 
 Toulouse 
 
 Besancon 
 
 Cordova 
 
 Lausanne 
 
 Ostend 
 
 Tours 
 
 Bilbao 
 
 Corfu 
 
 Leghorn 
 
 Palermo 
 
 Treves 
 
 Blois 
 
 Comnna 
 
 Leipsic 
 
 Paris 
 
 Trieste 
 
 Bologna (en 
 
 Damascus 
 
 Liege 
 
 Parma 
 
 Turin 
 
 Italic) 
 
 Dantzic 
 
 Lisbon 
 
 Pntras 
 
 Utrecht 
 
 Bombay 
 
 Darmstadt 
 
 Locle 
 
 Pau 
 
 Valenciennes 
 
 Bonn 
 
 Delhi 
 
 L'Orient 
 
 Perpiirnan 
 
 Valencia 
 
 Bordeaux 
 
 Dieppe 
 
 Lubeck 
 
 Pest 
 
 Venice 
 
 B itxeii 
 
 Dijon 
 
 Lucerne 
 
 Pisa 
 
 Verona 
 
 te (sur 
 
 Dresden 
 
 Lyon 
 
 Port St. Mary 
 
 Vevey 
 
 MOT) 
 
 Drontheim 
 
 Lucca (Bains de) 
 
 Prague 
 
 Vienna 
 
 Bremen 
 
 Dunkirk 
 
 Madeira 
 
 Presbourg 
 
 Vigo 
 
 Breslan 
 
 Dusseldorf 
 
 Madras 
 
 Quebec 
 
 Warsaw 
 
 Bruges 
 
 Elberiield 
 
 Madrid 
 
 Rastadt 
 
 Weimar 
 
 Briinn 
 
 Elsinore 
 
 Malaga 
 
 Ratisbonne 
 
 \Y iesbaden 
 
 Brunswick 
 
 Emms 
 
 Malta 
 
 Rennes 
 
 Wurzboun- 
 
 
 Florence 
 
 Mannheim 
 
 Rio de' Janeiro 
 
 Yverdon 
 
 Cadiz 
 
 Francfort (sur 
 
 Marienbad 
 
 Rome 
 
 Zante 
 
 Caen 
 
 Maine) 
 
 Marseilles 
 
 Rostock 
 
 Zurich
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 17 
 
 MALTA EGYPT INDIA IONIAN ISLES. 
 
 Bg Appointment 
 
 THE LORDS COMMISSIONERS OF THE ADMIRALTY. 
 
 n. B. Majesty Steam Packets, possessing every requisite accommodation for the 
 co7nfort of passengers, keep up a regular Communication between England and India, 
 CM Marseilles, Malta, and Alexandria, twice a Month. 
 
 These fine Vessels leave Marseilles for Malta on the 9th and 26th, and Malta for 
 Marseilles about the 12th and 24th, performing the passage in about 68 hours. 
 
 On the 13th one of these Packets is despatched to Alexandria with the India Mails and 
 passengers, which place she leaves with the Homeward Mail and passengers about the 
 1'lst, occupying about 90 hours in the voyage. The Packet for Marseilles waits her 
 arrival, also one of the Peninsular Company's Boats, to convey passengers to England vul 
 Gibraltar, to the 26th. 
 
 IONIAN ISLES. 
 
 On the 1st and 13th of each month one of these Packets is despatched to Corfu, vid 
 Cephalonia, Zante and Patras, from whence passengers can proceed to Athens. She 
 remains at Corfu four days, and returns (calling at the above ports) to Malta, arriving on 
 the 10th and 23rd, in time to secure passages to England, vul Gibraltar or Marseilles. 
 
 Freights on Specie in accordance with Admiralty regulation ; 1 per Cent, on Silver, 
 3 on Jewellery. 
 
 Freight on Packages and Parcels may be known on application at the Agents'. 
 
 Passages, including Wines, a liberal Table, and every Expense. 
 
 
 let Class. 
 
 Female 
 Servants. 
 
 2nd Class. 
 
 3rd Class. 
 Victualled. 
 
 3rd Class, 
 Victualled. 
 
 
 s. d. 
 
 s. d. 
 
 i. d. 
 
 *. d. 
 
 *. d. 
 
 Betnreen Malta and Marseilles 
 
 820 
 
 580 
 
 4 10 
 
 2 14 
 
 206 
 
 Alexandria 
 
 12 10 
 
 868 
 
 720 
 
 3 16 
 
 2 17 
 
 Corfu . . 
 
 900 
 
 600 
 
 5 10 
 
 2 10 
 
 1 17 6 
 
 Patras . . 
 
 700 
 
 4 13 4 
 
 4 10 
 
 1 16 
 
 170 
 
 And the intermediate Ports in proportion. 
 
 BOOKING AGENTS. 
 
 MARSEILLES L. BOVVET. 
 ALEXANDRIA MB. DAVIDSOK. 
 BOMBAY TIMES OFFICE. 
 PAIJIS A. & W. G ALIGN TAXI. 
 ATHF,XS C. MARGARETTA, ESQ. 
 MALTA G. MUIR, 247, Strada Kea 
 ZANTE W. L. REYNOLDS, ESQ. 
 
 CEPHALONIA CAPTAIN LEFOCHILO. 
 
 SINGAPORE MR. LOOAN. 
 
 PATRAS T. WOODLEY. 
 
 ENGLAND Messrs. G. W. WHEAT-LEY . 
 Co., 156, Leadenhall Street; and M 
 C. W. DP. BERXARDY, Esq., 20, Joh 
 Street, Adelphi, London. 
 
 Offices will be shortly Established at other Ports. 
 
 G. MUIR, 
 
 Booking and Superintending Agent 
 to Her Majesty's Packets in the Mediterranean. 
 
 N.B. Passengers leaving England by the P. and O. Company's Steamer from South- 
 ampton on the 29th, are conveyed on to Alexandria by H. M.'s Packet leaving Malta on 
 the 13th. Mr. MUIR, the Agent, will be on board to tranship their luggage and give them 
 any information. There is no expense attending it.
 
 I!; MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 PIEDMONT. 
 
 WAT E R CURE. 
 
 DR. BRAIDERS' HYDROPATHIC ESTABLISHMENT 
 
 AND MAISON DE PLAISANCE, 
 
 AT THE 
 
 Chartreuse of Val Pesio, near Coni, in Piemont, 
 
 Is now open to Invalids and Visitors. 
 
 'PHIS magnificent Establishment, an eligible resort for parties in search 
 -L (if health or pleasure, replete with every comfort and accommodation, is already well 
 known. The place abounds in springs of the purest water, and the air is celebrated for 
 its salubrity. The soil, being gravelly, is peculiarly dry and healthy, allowing exercise 
 at all seasons. 
 
 This Italian Grsefenberg lies eight hours south of Turin, on the road to Nice and Genoa, 
 and in the extensive domain parties may be accommodated with small private houses. 
 
 Dr. Branders has resolved to spare neither trouble nor expense to ensure to visitors 
 every comfort on the most liberal terms. 
 
 %* For further particulars apply (franco) to tfte Administrator, MONS. 
 BELLISSENT, at the Chartreuse. 
 
 LEGHORN. 
 HIACINTH MICALI & SON, 
 
 VIA FERDINANDA, No. 1230. 
 
 Manufactory of Marble, Alabaster, and 
 Scagliola Tables, and Depot of Objects of 
 Fine Arts. 
 
 Their extensive Show-rooms are always 
 open to Visitors. 
 
 THEIR AGENTS IN ENGLAND ARE 
 
 MESSRS. J. AND R. M'CRACKEN, 
 
 7, OLD JEWRY, LONDON. 
 
 GENOA. 
 
 G. LOLEO, 
 
 (SUCCESSOR TO FELIX PERNETTI,} 
 No. 81, IN THE ALBERGO DELLA CROCE DI 
 
 KEEPS a Magazine which boasts the richest 
 and most complete assortment of every 
 description of objects of the renowned and 
 special production of Genoese industry. 
 He invites Foreigners and Travellers to 
 visit his Establishment, where every article 
 is sold at fixed prices. 
 
 His Agents in England are Messrs. J.& 
 R. M'CRACKEN, 7, Old Jewry, London. 
 
 ROME. 
 
 SIGNOR L. FABRI, 
 
 VIA CAPO LE CASE, No. 3, 
 PRINTSELLER, Sic., 
 
 Has always on sale a large assortment of Ancient and Modern Engravings, Early Proofs 
 of the works of Morghen, Toschi, and other first-class Engravers; Choice Impressions 
 (with the address) of the Engravings published by the "Calcografia Camerale," and at 
 the same prices ; Views of Home, &c., &c. He has also on view a choice selection of Old 
 Paintings, amongst which are an authentic Leonardo da Vinci, a Guide Reni, and others 
 by celebrated and ancient artists.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 1.0 
 
 Hn&er 
 
 patronage. 
 
 Asthma, Consumption, Coughs, Colds, and all Disorders of 
 the Breath and Lungs. 
 
 For confirmed Asthma or Consumption, two Wafers should be taken three times a day 
 whicli will very soon relieve the cough and breathing, and rapidly effect a cure. 
 
 Ix COUGHS. The effect of Dr. Locock's Wafers is truly surprising, as within ten 
 minutes after taking a dose the most violent cough is subdued. 
 
 They have a pleasant taste, and may be taken by infants as well as adults. 
 
 To SINGERS AND PUBLIC SPEAKERS, these Wafers are invaluable, as by their action 
 on the throat and lungs they remove all hoarseness in a few hours, and wonderfully 
 iucrease the power and flexibility of the voice. 
 
 NOTE. Full directions are given with every box in the English, German, and French languages. 
 
 Price Is. lid., 2s. Od., and lls. per box. The 2s. 9d. Boxes contain nearly three of the 
 Is. l^d., and the lls. Boxes contain five of those at 2s. 9d. Also, 
 
 THEY HAVE A MOST PLEASANT TASTE. 
 
 Is. l^d., 2s. 9d., and lls. per box. 
 
 This is n aromatic and aperient medicine of great efficacy for regulating the secretions 
 and correc ing the action of the Stomach and Liver, and is the only safe remedy for all 
 BILIOUS AFFECTIONS,- Heartburn, Sick Head-ache, Giddiness, Pains in the Stomach. 
 Flatulenc or Wind, and all those complaints which arise from Indigestion or Biliousness. 
 
 It is mi d in its action, and suitable for all seasons and constitutions, while its AGREE- 
 ABLE TAS E renders it the best medicine for Children. Also, 
 
 Price Is. l.^d., 2s. 9d., and lls. per box, HAVE A PLEASANT TASTE. 
 
 They fortify the constitution at all periods of life, and in all Nervous Affections act like 
 a charm. They remove all Obstructions, Heaviness, Fatigue on Slight Exertion, Palpi- 
 tation of the Heart, Lowness of Spirits, Weakness, and allay Pain. 
 
 They create Appetite, and remove Indigestion, Heartburn, Wind, Head-ache, Giddi- 
 
 In Hysterical Diseases, a proper perseverance in the use of this Medicine will be found 
 to effect a Cure after all other means have failed. 
 
 *.* Full directions are given with every Box. 
 
 NOTE These Wafers do not contain any mineral, and may be taken either dissolve 
 in water or whole. 
 
 BEWARE OF IMITATIONS IX THE FORM OF TILLS. 
 
 It will be understood that the above are THREE DIFFERENT MEDICINES, and are not one 
 Medicine under various names. 
 
 Prepared only by the proprietors, DA SILVA & Co., 26, Bride-lane, Fleet-street, London; 
 and sold by every respectable Medicine Vendor. 
 
 OBSERVE. That every genuine box has printed on the Government Stamp the words, 
 "DR. LOCOCK'S WAFERS," and that the signature of "DA SILVA & Co," of 26, Bride- 
 lane, London, is on the directions given with every box. As the Stamp of the British 
 Government is extensively imitated in foreign countries, the Signature of the proprietors (ax 
 above) is the only reliable mark of Genuineness.
 
 20 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 To Tourists in Britain I 
 
 " They should find a corner in the portmanteau of every person about to undertake a journey 
 of pleasure or business either in England and Wales, or Scot/and." JOHN BULL. 
 
 " The most valuable series of Picturesque Guide Books issued by Messrs. Black of Edinburgh. 
 We hare looked carefully through the tohimes : they are admirably ' not up;' the descriptions 
 are accurate, and remarkably clear and comprehensive. Altogether the series ofvorks is of im- 
 mense talue to tourists." AIIT JOURNAL. 
 
 Price 10s. Gd., a NEW EDITION, greatly enlarged of 
 
 Slack's Picturesque Tourist, and Road and Railway Guide- 
 
 Book through ENGLAND and WALES, containing 194 Routes, and 26 
 Maps and Charts, besides Views of the Scenery. The Index contains upwards of 
 5000 Names, with the Inns in all the Towus and Villages. The Volume is tersely 
 written, closely printed, and portable. 
 
 "A decided improvement npon the old road-book." John Suit. 
 
 "A. carefully-executed work, prettily illustrated, with useful maps." Alhen/rnin. 
 
 " 48 new routes, 12 engraved charts, and upwards of 100 pages of letterpress have been 
 added to what in its olden state was the cheapest, the beat, and the handiest book of its kind." 
 
 Spectator. 
 
 Price 8s. 6d., an EIGHTH EDITION of 
 
 "Slack's Picturesque Tourist of Scotland Highlands and Low- 
 
 lands with 24 Maps, Plans, and Charts, and 50 Views of Scenery aud 
 Public Buildings. 
 
 "A comprehensive, intelligent, and well-arranged guide-book. We have been furnished 
 with an incidental proof of the remarkable accuracy of the charts and descriptions, in (lie 
 personal testimony of a pedestrian, who has traversed a considerable space book in hand." 
 Spectator, 
 
 Price 10s. 6d., a THIRD EDITION (800 pp.), enlarged, of 
 
 (fluide to the Highlands and Islands of Scotland, including 
 
 ** ORKNEY and ZETLAND, with Directions for visiting the Lowlands, 
 Tables of Distances, Notices of Inns, and other Information. 
 
 By GEORGE and PETER ANDERSON of Inverness. 
 
 "An original and solid work, which tells all that common guide-books profess to tell, bui 
 more fully and with better arrangement." Spectator. 
 
 " Most copiously and praiseworthily minute." Athcnaum. 
 
 3 : 
 
 Price 5s., a FOURTH EDITION, enlarged and improved, of 
 
 lack's Picturesque Guide to the English Lakes. With an 
 
 Essay on the Geology of the District, by JOHN PHILLIPS, F.R.S. G.L. 
 
 late Professor of Geology arid Mineralogy in the University of Dublin ; a minutely 
 
 accurate Map, by W. HUGHES; Charts of the Lakes; Views of the Scenery ; and 
 
 an ample Itinerary of all the Routes, with the Distances accurately laid down. 
 
 "It is a Picturesque Guide in every sense its descriptions are charmingly written its in- 
 telligence is ample and minute and its illustrations are admirable specimens of art." Mlus. 
 NEW EDITIONS OF 
 
 Black's Iron Highways from London to Edinburgh & Glasgow; the or.e con- 
 taining a Chart 64 inches long, the other a Chart of 43 inches. Is 6d. each. 
 
 Black's Economical Tourist of Scotland. 8s 6d. 
 
 Black's Guide through Edinburgh. 2s 6d. 
 
 Black's Guide through Glasgow. 2s. 
 
 Black's Road and Railway Map of England. 4s Gd. 
 
 Black's Road and Railway Map of Scotland. 4s 6d. 
 
 Black's Travelling Map of Ireland. 2s 6d. 
 
 Black's Map of the English Lake District. 2s 6d. 
 
 Black's Map of North Wales. Is 6d. South Wales. Is 6d. 
 
 Black's County Maps of Scotland. Is. each. 
 
 Black's Plan of Edinburgh and Environs. Is 6d. 
 
 Black's Tourist's Memorial of Scotland. 5s. 
 
 Black's Map of Central Europe. 4s 6d. 
 
 ADAM & CHARLES BLACK, Edinburgh ; and Sold by all Booksellers.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 21 
 
 MUNICH. 
 
 HOTEL MAULICH. 
 
 BY E. MAULICH. 
 
 r pHIS Hotel, which is the first in Munich, is situated in a central and most 
 convenient position for Visitors to this renowned seat of the Fine Arts. 
 
 It is conducted on a most liberal scale, and the Proprietor leaves nothing 
 undone which a constant personal active superintendence can effect, to ensure 
 the comfort and convenience of his Visitors. It has been honoured with the 
 patronage of the highest personages of the Continent and Great Britain. 
 
 The Proprietor begs to assure those who may honour him with their patronage 
 that they may rely on a continuance of his endeavours to merit the same, and to 
 maintain the reputation of his Establishment. 
 
 RECENT WORKS. 
 
 GROTE'S HISTORY OF GREECE. 
 
 FROM THE EARLIEST PEBIOD DOWS TO THE END OF THE PELOPOXKKSSIAX WA?.. 
 
 Second Edition. Maps. Vols. 1 to 8. Svo. 16s. each. 
 
 CAMPBELL'S LIVES OF THE CHIEF JUSTICES. 
 
 i 2 vols. Svo. 30s. 
 
 CAMPBELL'S LIVES OF THE LORD CHANCELLORS. 
 
 Third Edition. 7 vols. Svo. 102s. 
 
 TICKNOR'S HISTORY OF SPANISH LITERATURE. 
 
 3 vols. Svo. 42s. 
 
 RANEE'S HISTORY OF PRUSSIA. 
 
 3 vols. Svo. 36s. 
 
 LYELL'S MANUAL OF ELEMENTARY GEOLOGY. 
 
 Third Edition. 500 Woodcuts. Svo. 12*. 
 
 MRS. SOMERVILLE'S PHYSICAL GEOGRAPHY. 
 
 Third Edition. Portrait. 2 vols. Fcap. Svo. 12s. 
 
 JOHN MURRAY, ALBEMARLE STREET.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 ILLUSTRATED WORKS. 
 
 3tak nf Cammnti 
 
 WITH 1000 ILLUSTRATIONS, 
 
 INCLUDING ORNAMENTAL BORDERS, INITIAL LETTERS, AND HISTORICAL 
 ENGRAVINGS FROM THE OLD ITALIAN AND GERMAN MASTERS. 
 
 8vo, 21s. cloth; 31s. 6d. calf; 42s. morocco. 
 
 " The Missals of former days, many of 
 them the labour of years of patient toil and 
 misdirected devotion, are here surpassed 
 by the mechanical apparatus which modern 
 science has made applicable to the purposes 
 
 of decorative printing. The brilliancy of 
 effect, and the permanency of the colours, 
 will be found to have surpassed, with a feu- 
 exceptions, anything that antiquity has 
 produced." The Times. 
 
 NINEVEH AND ITS EEMAINS: 
 
 "WITH AN ENQUIRY INTO THE MANNERS AND ARTS OP THE ANCIENT ASSYRIANS. 
 
 BY AUSTEN H. LAYARD, D.C.L. 
 
 Fifth Edition. With numerous Plates. 2 vols. 8vo. 36s. 
 
 THE MONUMENTS OF NINEVEH. 
 
 ILLUSTRATED FROM DRAWINGS MADE BY MR. LAYARD ON THE SPOT. 
 100 Plates, large folio, 10 10s. 
 
 " We question whether a more enlightened Layard is to be met with in the annals of our 
 or a more enterprising traveller than Mr. modern English history." Times. 
 
 LIFE AND WORKS OF HOEACE. 
 
 EDITED WITH NOTES BY THE VEKY KEV. DEAN MILMAN. 
 
 Illustrated with 300 Vignette Woodcuts., chiefly from the Antique. 
 Crown 8vo. 42s. 
 
 ^SOP'S FABLES. 
 
 A NEW TRANSLATION, BY REV. THOMAS JAMES, M.A. 
 
 Illustrated by JOHN TESKIEL. 100 Woodcuts. Post 8vo. IGs. 
 
 THE FAIRY RING. 
 
 A COLLECTION OF TALES AND STORIES FROM THE GERMAN, FOR YOUNG PERSONS. 
 
 Illustrated with Woodcuts. Second Edition. Fcap. 8vo. 7*. 6d. 
 
 JOHN MURRAY, ALBEMARLE STREET.
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
 WORKS ON THE FINE ARTS. 
 
 FHE PHILOSOPHY AND ANATOMY OF EXPRESSION. 
 
 AS CONNECTED WITH THE FINE ARTS. BY SIR CHARLES BELL. 
 Fourth Edition. Plates. Imperial 8vo, 21. 
 
 n. 
 SKETCHES OF THE HISTORY OF CHRISTIAN ART. 
 
 BY LORD LINDSAY. 3 vols. 8VO, 31s. 6d 
 
 HISTORY OF PAINTING; ITALIAN SCHOOLS. 
 
 FROM THE GERMAN OF KUGLER. EDITED BY SIR CHARLES EASTLAKE, P.R.A. 
 Second Edition. With Woodcuts from the Old Masters. 2 vols. Post 8ro. 'J 1>. 
 
 HISTORY OF PAINTING; GERMAN AND DUTCH SCHOOLS. 
 
 FROM THE GERMAN OF KUGLER. EDITED BY SIB EDMUND HEAD, BART. 
 Post 8vo, 12. 
 
 HISTORY OF PAINTING: SPANISH AND FRENCH SCHOOLS. 
 
 BY SIR EDMUND HEAD, BABT. Post 8vo, 12*. 
 
 ESSAYS ON THE LITERATURE OF THE FIN' TS. 
 
 BY SIR CHARLES EASTLAKE, P.R.A. Sro, 12s. 
 
 THE ARTS OF THE MIDDLE AGES. 
 
 BY THE MONK THEOPHILUS. EDITED BY ROBERT HENDRIE. 8ro, 21s 
 
 THE ARTS OF PAINTING^IN OIL AND ON GLASS. 
 
 AND OTHER STYLES ..ESCRIBED IS SEVERAL UNPUBLISHED XAKUSCEIPTS. 
 EDITED BY MBS. MERRIFIELD. 2 vols. 8rO, 24,. 
 
 GOTHIC ARCHITECTURE IN FRANCE; 
 
 OR, AN ENQUIRY INTO TUE ROMANCE AND POUTED STYLES. 
 BY THOMAS 1NKERSLEY. 8vo, 12s. 
 
 A HISTORY OF POTTERY AND PORCELAIN, 
 
 With a Description of the Manufacture, a Glossary, and a List 
 BY JOSEPH MARRYAT. Plates and Woodcuts. 8ro. 3 
 
 JOHN MURRAY, ALBEMARLE STREET.
 
 24 
 
 MURRAY'S CONTINENTAL HAND-BOOK ADVERTISER. 
 
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 the trouble of trans- 
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 s) 
 
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 morocco cases, with name lettered in 
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 supplied when out of print and not to 
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