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 THE GERMAN, FLEMISH 
 
 AND DUTCH SCHOOLS OF 
 
 PAINTING
 
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 THE GERMAN, FLEMISH 
 AND DUTCH SCHOOLS OF 
 
 PAINTING 
 
 BASED ON THE HANDBOOK OF KUGLER 
 RE-MODELLED BY THE LATE PROF. DR. WAAGEN 
 AND THOROUGFILY REVISED AND IN PART 
 RE-WRITTEN BY THE LATE SIR JOSEPH A. CROWE 
 
 IN TWO PARTS— PART II 
 2. 2.1 o 1 
 
 SEVENTH IMPRESSION 
 THIRD EDITION 
 
 LONDON 
 
 JOHN MURRAY, ALBEMARLE STREET 
 
 1904
 
 I'riiilfii l>v Il:t2{lt, ll'iilsun S- I'liirv, /.(/., Loniioii and /4y'csbtuy,
 
 Chao. I. RETURN TO REALISTIC FORMS. 275 
 
   NP ~ 
 
 K35-LE 
 
 BOOK V. /9<94 
 
 V. 2. 
 
 THE FLEMISH REVIVAL. 
 
 1600—1690. 
 -2. 2.-7 0-] 
 
 SECOND DEVELOPMENT OF NORTHERN FEELINCt FOR AKT. 
 
 CHAPTER L 
 
 INTRODUCTION. RUBENS. 
 
 It was at this time that Netherlandish painters, religious- 
 as well as historical, returned once more to the reaHstic 
 forms of expression in art peculiar to the northern race. 
 This reaction appears to us, it is true, under conditions' 
 very dilierent from those proper to the period of the Van 
 Eycks, but, at the same time, under those conformable to 
 the spirit of the age. That feeling for reality of which the 
 Van Eycks were the exponents was not only an intensely 
 native element, but one which also acted strongly and 
 multifariously on other countries, extending even by means 
 of Antonello da Messina to the school of painting in Venice. 
 Now in the seventeenth century it was Venetian art, in her 
 turn, which greatly assisted the re-development of the 
 northern feeling at home. In the same proporiton as the 
 influence of the Florentine and Roman schools had operated 
 injuriously upon the northern painters of the preceding 
 generation, especially by means of that ideal element so 
 foreign to the Netherlands, did Venetian art now act beu6- 
 ficially on painters congenial to herself in aim. In her 
 productions all that Netherlandish masters had most sought 
 to attain — truth of nature in conception, and beauty and 
 
 23
 
 276 THE FLEMISH REVIVAL. Book V. 
 
 Imriuony of colour — was seen for the first time developed in 
 the utmost perfection, while the other great qualities of 
 general keeping, chiaroscuro, and that treatment of the 
 brush — not lost, as formerly, in a fused surface, but employed 
 for purposes of modelling — found ready response in their 
 art-sympathies. As regards the class of subjects also 
 available for the treatment of art a proportionable change 
 had taken place. To the Van Eycks and their school the 
 deep religious feeling of their time had chiefly appealed for 
 expression, and only occasionally did other subjects find 
 admittance into the atelier. Now in all countries which had 
 adopted the Reformation in its stricter forms — such as 
 Holland, Switzerland, and parts of Germany — the Church 
 had entu'elj'' abolished the services of art. In Catholic lands, 
 it is true, anew religious impulse had found birth towards the 
 close of the sixteenth and in the first half of the seventeenth 
 century, but even there the invention of printing had robbed 
 tlie artist of what in the middle ages had been his most 
 important function, that of imparting instruction to the laity. 
 Endowed, however, as art was by that time w'ith all the 
 powers of representation, she still sought to devote herself 
 to the glorification of religion. On the other hand, in the 
 more general diflusion of knowledge, other classes of sub- 
 jects, such as mythology and profane history, etc., could 
 no longer be excluded from the painter's mind ; thus the 
 very jiower to devote himself solely to the contemplation of 
 religious themes became sensibly diminished. A large por- 
 tion of his interest, therefore, was absorbed by the forms of 
 representation which then obtained favour with the w'orld, 
 and especially by those far-fetched allegorical scenes which 
 Hought to embody, in a cold and artificial form, the learn- 
 ing of the day. In Belgium even, which had remained 
 Catliolie, many painters devoted themselves to subject and 
 landscape painting. At the same time these branches of 
 art, including the study of animals and flowers, played at 
 all times a subordinate part in that countiy, and the smal 
 number of painters who cultivated them belong especially 
 It) ti.o earlier division of this period. It was in Protestant 
 Holland that not only these forms of art found their full
 
 Chap. I. THE DUTCH SCHOOL. 277 
 
 expansion, but various others in addition, — such as combats 
 and hunts, marine life, architecture, fruit-pieces, and even 
 still Ufe, — which were cultivated under those h'gh condi- 
 tions of excellence with which the art of painting was 
 then endowed. / In the newly-awakened sense of naiional 
 independence inspired by increasing importance and wealth 
 which had ensued upon the long, severe, and victorious 
 struggles of the Dutch people with the Spanish monarchy, 
 various branches of literature had borne fruit, but it was 
 especially in art, for which the Dutchman was so singu- 
 larly gifted, that he eagerly availed himself of every 
 element which the new condition of things offered to his 
 grasp. Although, therefore, as already remarked. Protest- 
 antism, as there established, had banished religious art 
 from churches, yet piety still found expression in a number 
 of pictures taken from the Old and New Testament, which, 
 though conceived in a homely realistic spirit, are yet imbued 
 with a thorough Biblical significance. 
 
 But it was the subjects of common life around him, and 
 the widely-spread demand for such pictures as the com- 
 panions of their daily life which arose from all classes, which 
 furnished the chief occupation of the painter, and that to 
 such an extent that, considering the limited dimensions of 
 the land itself and the comparatively short time in which 
 these works were produced, we are equally astonished with 
 their number as Avith their surpassing excellence. No phase 
 of life to which art could be applied was omitted in the 
 general imitation of the scenes around them. To many a 
 painter the beauty and elegance of objects which great 
 wealth had introduced — such as sumptuous wearing apparel, 
 elegant articles of furniture, and other appliances which 
 belong to the upper classes of society — were particularly 
 attractive. Such pictures, like the scenes of a novel, give 
 us insight into an easy and comfortable state of existence. 
 Here we see a family concert going on ; there the family 
 physician is being interrogated as to the state of a patient ; 
 in another picture a petted little spaniel or a parrot is the 
 chief object of attention \or we are admitted to a morning 
 risit, or even to the elegancies of the toilet-table. With
 
 £78 DUTCH REALISM. Book V. 
 
 other painters the less ceremonious life and doings of the 
 lowly burgher, or of the peasant in the country, find most 
 favourA We see them, accordingly, in their hours of relaxa- 
 tion, met together to eat and drink, or to dance and play ; 
 occasionally, also, degenerating into strife. In most in- 
 stances these pictures display much humour.^ Again, there 
 was a class of artists who devoted themselves to the repre- 
 sentation of the beautiful cattle constantly before their eyes 
 in the broad and fertile meadows of their native land, com- 
 bining them with the simple features of the landscape around. 
 Others, on the other hand, made the landscape itself the 
 principal object. These especially bear witness to the great 
 power of art ; for however monotonous the character of the 
 nature they portray, such pictures, by their truthfulness and 
 depth of feeling, by their happy choice of position and variety 
 of lighting, according to the time of day, have a charm and 
 multiplicity of attractionVvhich place them on the same level 
 with the works of Claude Lon-aine and Gaspar Poussin. 
 though these are furnished with all the incidents which 
 Italian nature could supply. On the other hand, various, 
 otherwise admirable, Dutch artists who made Italian scenery 
 their study stand far below the painters of their own modest 
 native land in depth and purity of feeling for nature. It is 
 easy also to comprehend that sea-life, in all its forms, should 
 have supplied favourite materials for representation. To this 
 element, as regarded their great sea-fights and their active 
 commerce, both their high political existence and pecuniary 
 prosperity were chiefly owing. Here also the ai't of the 
 Dutch painter is as favourably seen as in flat landscapes. 
 The monotonous surface of the sea not only appears before 
 U8 under every varied condition which perfect calm, gentle 
 crisping airs, fresh breezes, strong wind, and raging storm 
 ftlternately supply, but is seen combined with portions of the 
 coast, distant and near, and enlivened with every description 
 of vessel, from the smallest boat to the stately ship of the 
 line. These again are generally engaged in the peaceful 
 purposes of commerce, or in the lowlier arts of fishing ; or 
 occasionally we see them ranged in the hues of deadly com- 
 bat. Finally, ovir all these ditfercnt scenes shifting shadows
 
 Chap. I. THE CABINET SCHOOL. 279 
 
 of clouds and passing gleams of sunshine shed their own 
 infinitely varied effect. To these subjects we must add the 
 interiors of churches, which, with crossing lights and difficult 
 combinations of linear and aerial perspective, produced, in 
 the hands of the skilful artist, many a picture of no common 
 attraction ; while, to close our category with those objects of 
 imitation generally placed lowest in the scale of art, the 
 beauty of the fruits and flowers reared by the careful culture 
 of Holland, the neatness and propriety of their houses, and 
 the combinations of form and colour seen by the artistic eye 
 in the objects of domestic utility, moved many a painter to 
 apply all his powers to the careful and loving imitation of 
 these minuter beauties of nature and humbler forms of human 
 industry, j In all these pictures, whatever their class of sub- 
 jects, two qualities invariably prevail ; the most refined per- 
 ception of the picturesque, and the utmost mastery of tech- 
 nical skill. I Animated, also, by the instinctively right feehng 
 which told the painter that a small scale of size was best 
 adapted to the subordinate moral interest of such subjects, 
 we find them almost exclusively of limited dimensions. 
 These, again, were best suited to the limited accommodation 
 which the homes of amateurs aff"orded, and thus we trace the 
 two principal causes which at that time created in Holland 
 what may be called the Cabinet School of painting, 
 
 "While this school proves to the world how much may be 
 done in and for art, even by a small state, when elevated 
 by the sense of national freedom and favoured by the ex- 
 ternal circumstances which result from that condition, we 
 see in the aspect of Germany at the same time a sorrowful 
 example of an opposite state of affairs. Here was a great 
 nation which, as early as the first half of the sixteenth cen- 
 tury, had given evidence of its high capacities for art in the 
 persons of such masters as Albert Durer and Hans Holbein, 
 now reduced by great and long-continued adversity to a con- 
 dition of which the comparatively small number and inferior 
 quality of its works of art may serve as an index. The fear- 
 ful moral disturbance and general feeling of insecurity en- 
 gendered by the Thirty Years' War were totally opposed to 
 that peaceful condition of mind indispensable to the prosperity
 
 280 THE FLEMISH REVIVAL. Buok V. 
 
 of art. The expenses and ravages of war had so swallowed 
 up the revenues equally of states and individuals that the 
 means, even for the most urgent necessaries of life, were 
 frequently not forthcoming. Nor when peace was restored 
 was the condition of things more favourable ; the land was 
 too much exhausted and the people had too far retrograded 
 to permit the revival of so gladsome a plant as that of 
 national art. Such painters, of a certain ability, therefore, 
 as arose in Germany during these dark days only found 
 development by attaching themselves to the schools of 
 Belgium, and, still more, to those of Holland. 
 
 , THE SCHOOL OF BELGIUM. 
 
 / It was to the genius of Peter Paul Kubens^ that his 
 native land was indebted for a complete and wholesome 
 revolution in painting. His artistic individuality was so 
 powerful that even the works of the gx'eatest masters who 
 preceded him influenced him only so far as to contribute what 
 best tended to the development of his own originality, none 
 lof them ever tempting him to swerve from it. His character 
 as a painter consisted essentially in those qualities which no 
 other master had ever before united in so high a degree, viz., 
 in a truthful and intense feeling for nature, a warm and 
 transparent colouring, a power ot picturesque keeping, and a 
 wealth and fire of imagination which embraced every object 
 capable of representation, and enabled him to render with 
 equal success and originality both the most forcible and the 
 most fleeting appearances of nature. It is this combination, 
 in such a degree, of qualities so various that disposes the 
 connoisseur to tolerate, though not to overlook, the fact that 
 Kubens' heads and figures are seldom of elevated form or 
 refined fooling, but frequently, on the contrary, rude and 
 vulgar in both respects, and continually repeated, nay, even 
 to admit that he is rarely profound or ardent in sentiment, 
 but too often harsh and coarse. At the same time wo 
 
 ' The intention and 8CO{)e of this Handbook forbid oiir noticing 
 RuViens under any other aspect than that of a painter. Nor can we 
 enumtTHfo more tliau a comparatively small number of his most cha- 
 racteristic workc.
 
 Chap. I. RUBENS, 281 
 
 naturally find that those subjects which most suited his 
 artistic sympathies are, in every respect, the most satisfac- 
 tory to the spectator. For the full development of so gifted 
 a nature the circumstances which attended the early life of ^ 
 Rubens afforded a no less fortunate combination. 
 
 This great master was born at Siegen, in the county of 
 Nassau, the 29th June, 1577.^ The thirst for knowledge 
 and the talent for languages which he soon evidenced found 
 at an early age the best culture. When, therefore, he re- 
 sorted to the school of Adam van Noort^ for instruction in 
 the art of painting he already took with him that which so 
 rarely falls to the lot of an artist, namely, a classic educa- 
 tion, and the means thereby of availing himself of a number 
 of subjects unknown to most painters, or only very ignorantly 
 adopted by them. The next good fortune which befell the 
 young student was, that in the four years he studied under 
 this able painter and good colourist he thoroughly mastered 
 that technical part of the art on which the future success of 
 his life was essentially based. The next four years saw him 
 in the studio of Otto Vaenius, a painter from whom he could 
 derive but little assistance in his future career, but whose 
 general cultivation of mind v/as doubtless very beneficial to 
 his pupil. ^ In 1597, and therefore in his twentieth year, he 
 was so advanced as to be admitted into the Guild of Painters 
 at Antwerp,^ and in 1600 he proceeded to Italy, endowed 
 already with those mature excellences of art which enabled 
 him to help himself freely to all that addressed itself to his 
 sympathies, and at the same time guarded him from all that 
 could mislead him in his choice. Guided thus by the full 
 consciousness of his powers and his needs, he went first to 
 Venice, where the study of Titian, Paul Veronese, [and 
 Tintoretto] added the last perfection of which his art was 
 
 ' See pamphlet by M. van Backhuisen der Brinck, keeper of the 
 archives, 'Het Huwelyck van Willem van Oiange,' 1853, pp. l;-;3-143. 
 
 • [Peter Paul Rubens is not registered in the Guild of Antwerp as a 
 pupil of Adam van Noort. See the Liggeren, i. 397.] 
 
 " [Rubens is not registered amongst the apprentices of Otto Vaenius, 
 who indeed only became a master at Antwerp in 1594. See the Lig- 
 geren, i. 375.] 
 
 * [Liggeren, i. 397.]
 
 282 THE FLEMISH REVIVAL. Book V. 
 
 capable. Of the masters of the Florentine school, we must 
 conclude that Michael Angelo, with his bold conception of 
 instant action and dramatic arrangements, acted most strongly 
 upon him ; also Giulio Romano, whose works he must have 
 had ample opportunity of studying at Mantua. But while 
 admitting that his art alone richly entitled him to that 
 recognition and notice on the part of the first princes of the 
 land which he received during his seven years' residence in 
 Italy, it must not be forgotten how much the beauty of his 
 person, the amiability of his nature, and Ids richly-cultivated 
 mind, contributed to the favour with which lie was viewed. 
 The same applies to his life in Antwerp, where he returned 
 in 1009, and where he attracted a large number of scholars. 
 Here his works and his society were again contended for by 
 princes and monarchs — by Clara Eugenia, Spanish Gover- 
 ness of the Netherlands, and her husband the Archduke 
 Albert — ^by Mary of Medicis, Queen of France, whose life he 
 celebrated in a series of pictures — hy Philip III. and IV. of 
 Spain — and finally by Charles I. of England, who in the 
 year 1G30 overwhelmed him with favours. In addition to 
 all these honoirrs, he stood in friendly relations with the 
 most intellectual and renowned men of his time. After a 
 career marked by all the distinctions that fame and universal 
 admiration could bestow, accorded to him in the triple 
 character of painter, diplomatist, and man, he died at 
 Antwerp on the 30th of May, 1640. 
 
 I now proceed to the consideration of his artistic develop- 
 ment. In many of the pictures still existing, executed 
 (luring his residence in Italy, his composition has not quite 
 attained that impetuosity, nor his colouring that clearness, 
 whicli distinguish the works produced after his return to 
 Antwerp. The lights of the flesh-tones are yellowish, and 
 his shadows of a decided brown. As an example we may 
 mention two portions of an altarpiece in the Library at 
 Mantua, rcprtsenting Duke Yincenzo I., his wife, and two 
 other persons, adoring the Virgin in glory. The admirable 
 portraits are the best features. An excellent work of the 
 same time, as proved by the subdued and less luminous 
 colouring, is a free copy of one of the Triumphs, executed
 
 Chap. I. RUBExVS. 283 
 
 by Andrea Mantegna in tempera, now in Hampton Court, 
 and in Rubens' time still in Mantua. This picture passed 
 from Mr. Rogers' collection into the National Gallery, and 
 gives very important evidence ol the multifarious studies 
 undertaken by Rubens, and of the mode in which he con- 
 trived to imbue the work of so different a mind with the 
 feeling proper to his own.^ A Holy Family, representing 
 the Virgin holding the Infant, who is adored by St. John, 
 with Elizabeth and Joseph, shows, however, how early he 
 acquired that marvellous warmth and luminous clearness 
 which are peculiar to himself. It was painted not long 
 after his return to Belgium for the private chapel of the 
 Archduke Albert, passed later into the Gallery at Vienna, 
 and is now one of the finest ornaments of the Marquis of 
 Hertford's collection." The heads also here, with the 
 exception of the infant Christ, are of far higher character 
 than usual. ^ Next in order comes the altarpiece now at 
 Vienna, which, in consequence of the admiration excited by 
 the above-mentioned work, was ordered by the Fraternity 
 of St. Ildefonso for the church on the Caudenberg, near 
 Brussels. The centre represents the Virgin, accompanied 
 by four holy virgins, presenting a sumptuous priestly robe 
 to St. Ildefonso ; on the side wings are the portraits of the 
 donors kneeling — on the one the Archduke Albert with his 
 patron saint, on the other his wife Clara Eugenia. The 
 beauty and simplicity of the composition, the grand repose 
 of the figures on the wings, and above all the dazzling 
 brilliancy of the harmonious colouring, combine to place 
 this picture among the first-rate works of the master. In 
 close affinity with the last, both in period and in excellence 
 of quality, may be mentioned a small altarpiece with wings 
 in the Antwerp Museum, Nos. 307-11. The centre repre- 
 sents the unbelief of St. Thomas ; the wings the simply and 
 truthfully conceived portraits of the donor. Burgomaster 
 Rockox, and his wife — the last unfortunately much rubbed. 
 
 ' 'Treasures,' etc., vol. ii. p. 79. 
 
 - [This collection now belongs to Sir Richard Wallace, and the Holy 
 Family is No. 110 in the Bethual Green Museum.] 
 * ' Treasures,' etc., vol. ii. p. 157.
 
 284 THE FLEMISH REVIVAL. Book V. 
 
 The agreeable feeling, subdued colouring, and careful hand- 
 ling approximate these portraits to those of Rubens and his 
 first wife, Isabella Brant, married to him in 1609, now in 
 the Munich Gallery, No. 782. The celebrated altarpiece, 
 the Descent from the Cross, represents the highest excellence 
 attained by the master in ecclesiastical art. Rubens received 
 the commission for this picture from the Company of Archers 
 on the 7th September, 1611, and the picture was already in 
 its place in 1614. The composition, of which we here sub- 
 join a woodcut, is of masterly arrangement, and the heads 
 unusually elevated in feeling, especially that of the Virgin. 
 The wings also, the Visitation and the Presentation in the 
 Temple, have similar fine qualities. The colouring in all 
 three pictures is of the highest class of warmth, clearness, 
 and harmony, though subdued when compared with other of 
 his pictures ; the execution of masterly breadth, but withal 
 highly finished. 
 
 In the colossal Elevation of the Cross, in the same cathe- 
 dral, with wings, Rubens stands forth in all his Titanic 
 greatness as the painter of violent and agitated scenes. The 
 efiect of this picture is something overpowering, but in all 
 other respects it bears no comparison with the Descent from 
 the Cross. This latter, see woodcut, and especially the 
 Visitation, is closest approached in the Return from the 
 Flight into Egypt, now in what may be considered the 
 finest private collection of the great master's works, namely, 
 at Blenheim. This picture belongs to his most elevated and 
 refined examples in the sphere of Church subjects. 
 
 On the other hand, one of the finest pictures by Rubens 
 of legendary scenes is the Communion of St. Francis, 
 executed 1619, now in the Antwerp Museum, No. 305. 
 Although the influence of Annibalo Carracci is seen iu the 
 composition, and that of Michael Angelo t'aravaggio in the 
 striking cfl'ect, yet Rubens must be considered to stand in 
 this work essentially upon his own great qualities. The 
 heads are more individual in form and inteuser in expres- 
 sion than those of Carracci, the chiaroscuro clearer and 
 fuller in tone than that of Caravaggio. The following are 
 also distinguished works of this his middle and best time : —
 
 THE DESCENT TROM THE CROSS. 
 By Bubens. In the Cathedral at Antwerp. pags 284, No. 1.
 
 ^iiFiSjL. 
 
 KDBEN'S SilALL PICTDKE OF THE FALL OF THE DAMNED. 
 
 la the Mvinicb QaUery, page 235.
 
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 Chap. I. RUBENS. 285 
 
 The Battle of the Amazons, iu the Munich Gallery, exe- 
 cuted for that accomplished connoisseur, M. van der Geest. 
 Although the spirited incident, here so conspicuous, of placing 
 the combat upon a bridge, was borrowed from Titian's no 
 longer existing Battle of Cadore, — as is seen by the drawing 
 in the Gallery of the Uffizi, —yet the accompanying woodcut 
 will suffice to show how distinctly and poetically the mind 
 of Rubens has conceived the peculiar circumstances of his 
 subject, availing himself of all that is most picturesque and 
 terrific in a combat between men and women, and carryin» 
 it out with a rapidity of action in which he stands alone. 
 The execution is in a powerful but subdued tone.^ Side by 
 side with this picture, as regards fire of imagination and- 
 other fine qualities, may be placed the so-called small Last 
 Judgment,^ in the same Gallery, Cabinets, No. 738, of which 
 we here subjoin an outline of the lower portion. Also the 
 Conversion of St. Paul,^ and the sketchily-treated St. Francis 
 de Paula, who is seen suspended in the air, adored by the 
 sick of the plague — both pictures in the same Gallery,. 
 Cabinets, Nos. 733 and 763. A chef-d'oeuvre of this time is,, 
 finally, the well-known Crucifixion, in the Museum at Antwerp, 
 No. 297. The impetuous manner in which the centurion 
 pierces the side of the Saviour shows the dramatically 
 disposed nature of the great master. At the same time the 
 heads are of noble character, and the figure of the Magdalen 
 one of the most successful by his hand. I must also mention 
 the Lot and his daughters leaving Sodom, dated 1625, in the 
 Louvre, No. 425, which, though genre-like in conception, is, 
 in point of slenderness and moderation of forms, refinement 
 of feeling in the heads, and delicacy of treatment, one of his 
 most attractive pictures. 
 
 As time proceeds we observe a gradual change taking] 
 place in his works : his heads become more decidedly 
 realistic in character ; his feeling colder and more secular ; 
 his forms attain a fulness which frequently expands into 
 
 ' See my * Life of Rubens,' p. 77, etc. 
 ' Ibid. p. 67. 
 
 ^ This composition difiers from that of the picture in the posseflsion 
 of Mr. Miles, at Leigh Court. 
 
 24
 
 28fi THE FLEMISH REVIVAL. Book V. 
 
 extravagance ; bis colouring grows redder in the flesh- 
 tones, and in general more brilliant at the expense of 
 truth ; and bis light and marvellously spirited touch 
 assumes too often the look of slightness. His compositions 
 also evince a pompous and overladen character, which re- 
 minds us of the stj'le in architecture usually seen in the 
 Jesuit churches. One of the earliest examples of this 
 (•hange is the Adoration of the Kings, signed 1624, in the 
 Museum at Antwerp, No. 298.* The general conception 
 shows the influence of Paul Veronese ; the Virgin is almost 
 vulgar, and the Child very common in character, the 
 colouring of astonishing force and warmth, and the treat- 
 ment of the utmost" breadth. On the other hand, one of the 
 most attractive pictures of this time is the St. Theresa de- 
 livering St. Bernardino de Mendoza from Purgatory, also in 
 the Antwerp Museum, No. 299. The heads, though of no 
 spiritual character, are pleasing ; and bis light and vigorous 
 touch is seen in all its marvellous flow. That Rubens, bow- 
 ever, even at this time, was capable of canying out a work 
 with the most careful pencil, is proved by the Crucifixion 
 of St. Peter, in Cologne, dated 1038, which, however, ap- 
 palling in its horrible truth, shows, as a work of art, no 
 decrease of bis powers. 
 
 Having shown, by the pictures I have instanced, the 
 development of his artistic course, I now turn to the con- 
 sideration of a number of works not in the order in which 
 they may have been painted, which is ditlicult to decide, but 
 in that in which they tend to illustrate the various phases of 
 bis fertile genius. "What I may call his fantastic -dramatic 
 Hide is best illustrated by the Combat between the Archangel 
 Michael and the Seven-beaded Dragon, originally executed 
 for the cathedral at Freising, and now in the IMunich Gallery, 
 No. 739. Also by the picture of SS. Ignatius of Loyola and 
 Xavicr expelling the Evil Spu'its, though partly painted by 
 his scholars. These pictures are in the Imperial Gallery at 
 Vienna. Of liis numerous productions from ancient mytho- 
 logy, which, though conceived in a Netherlandish form, are 
 nevertheless highly attractive, may be mentioned Castor and 
 Pollux carrying otl tlie Daughters of Leucippus, in the
 
 
 ^^''??smmm^smk 
 
 
 CASTOH AND POLLUX CARRYING OFF THE DAUGHTERS OP LEUCIPPUS. 
 
 By Rubens la the Mumcli Gallerj. paje 286, No. 1
 
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 Chap. I. EUBENS. 287 
 
 Munich Gallery, No. 727, see woodcut ; and the Eape 
 of Proserpine, [lately] at Blenheim.^ Both of these exhibit 
 his momentary and dramatic action. Examples of his 
 astonishing energy in the representation of the orgies of 
 bacchanalian life are afforded by his Bacchanal, at Blenheim,^ 
 and by his drunken Silenus, with Satyrs and Bacchante, in 
 the Munich Gallery, No. 754. On theother hand, the enchant- 
 ing idyllic character of other pictures, treated as landscapes, 
 may be recognised in the Judgment of Paris, in the National 
 Gallery; 3 and in the Festival of Venus in the Isle of 
 Cytherea, in the Imperial Gallery at Vienna — both of which 
 have an equal charm of poetic feeling and golden colour. 
 
 In no respect perhaps was Ptubens so little attractive as in 
 his allegorical-historical compositions. The cause of this 
 may be assigned to the artificial and overstrained learning 
 they attempt to exemplify, and also, in many of them, to the 
 tasteless and indiscriminate fashion in which he mixes up 
 portrait-like personages in the costume of his own time with 
 the generally nude divinities of ancient Olympus. These 
 remarks apply especially to his twenty-one large pictures 
 of the life of Mary of Medicis in the Louvre — the greater 
 portion also of which were executed by his scholars, who 
 from the year 1G21 took part in most of his large works. 
 Those parts, however, in which we recognize his own hand 
 belong to his finest achievements, this series occurring 
 exactly in his best time — from 1G21 to 1625. Rubens' 
 own work is seen most in Henry IV. receiving the Portrail 
 of Mary of Medicis, No. 437 ; in the Nuptial Ceremony, No. 
 440 ; in the Apotheosis of Henry IV. and appointment ot 
 Mary of Medicis as Eegent, No. 444, see woodcut ; in her 
 Coronation, No. 443 ; her Government, No. 445 ; the Bless- 
 ings upon it. No. 448 ; in her Flight, No. 450 ; in her Re- 
 union with her Son. No. 451 ; and finally in the Triumph of 
 Truth, No. 454. The sketches for this series in the Munich 
 Gallery are of masterly handling. Rubens himself took still 
 less part in the painting of the ceiling of Whitehall, which 
 
 ' 'Treasures,' vol. iii. p. 133. 
 
 « Ibid. p. 131. 
 
 » Ibid. vol. i. p. 350.
 
 288 THE FLEMISH REVIVAL. Book V. 
 
 represents the Apotheosis of James I. ; ^ while in the 
 colossal pictures from the convent of Loeches, near Madrid, 
 representing the Triumph of Religion, etc., which are now 
 partly in the Louvre,^ Nos. 426-432, and chiefly in the 
 collection of Lord Westminster in Grosvenor House, no 
 trace of the master's own touch is visible.^ 
 
 Rubens appears to far greater advantage in his treatment 
 of history — especially of that particular history which 
 appealed so strongly to his energetic sympathies, namely, 
 that of ancient Rome. His chefs-d'oeuvre in this depart- 
 ment are the series of six pictures illustrating the feats of 
 the Consul Decius Mus, in the Lichtenstein Gallery at 
 Vienna. The subject where the High Priest dedicates the 
 veiled Consul to death is the most striking. 
 
 Another class of subjects in which the success of Rubens 
 is proportioned to the enjoyment with which he seems to 
 treat it, is that of the representation of naked children. The 
 vaiiete of expression, grace of movement, and the blooming 
 colouring of the full infantine limbs, are incomparably given 
 by him. Beautiful examples of these subjects are the seven 
 children carrying a rich festoon of fruit, in the Munich 
 Gallery, No. 728 ; four children, in the Berlin Museum, No. 
 779 ; and several infantine figures reaping corn, in the 
 collection of Lord Radnor at Longford Castle.* 
 
 Also in various forms of the (jcnre subject Rubens laboured 
 with eminent success. A Tournament in the vicinity of an 
 old Castle, now in the Louvre, No. 463, is most poetically 
 imbued with the spirit of the middle ages. His composition 
 known by the name of the Garden of Love, representing 
 various couples, in the elegant costume of his time, enjoying 
 the pleasures of music and dalhance in the open air, in the 
 Gallery at Madrid, and a repetition in the Dresden Gallery, 
 No. 918, served as the refined and attractive models for such 
 painters as Terburg and Metsu in their so-called Conversation 
 pieces ; while his Fair, in the Louvre, No. 462, which ex- 
 
 ' ' Treasiires,' vol. i. p. 395. 
 
 * ' Kiin.Htwerke und Kiinstler in Paria," p. 558. 
 
 * ' Trt'iisures,' etc , vol. ii. p. 163. 
 
 * ' Galleries aud Cubineta,' p. 355.
 
 PORTRAITS OF RUBEK9, HIS BROTHER, HUGO GR0T1D3, AND JDSTDS LIPSIUS. 
 From the Picture by Rubens in the Pitti Palace at Florence. 
 
 page 269, No. 1.
 
 RCIBENS" PORTRAIT OF HIS TWO SONS. 
 
 In the Lichteneteln Gallery, Vienna. page 288, No. 3.
 
 Chap. i. KUBENS. 289 
 
 hibits, with incredible power and vivacity, a race of Her- 
 culean peasantry in the utmost riot of animal spirits, became 
 the model for a Teniers and an Ostade. 
 
 That in addition to the mastery of all these multifarious 
 forms of art Rubens should also excel as a portrait-painter (^ 
 might have been predicted from the constitution of his mind. 
 The number of his works in this class of art is, in fact, very 
 large. I must enumerate the most admirable of them. The 
 picture of the so-called or miscalled Four Philosophers, in the / 
 Pitti, representing Justus Lipsius, Hugo Grotius, Rubens, 
 and his brother (see woodcut), is a triumph of warm and 
 luminous colouring. Less brilliant in tone, but throughout 
 imbued with the finest feeling for nature, is the portrait of 
 Baron Henry de Vicq, envoy from the Spanish Netherlands 
 to the Court of France, now in the Louvre, No. 458, formerly 
 in the collection of the King of Holland, which belongs to 
 the earlier time of the master. In close affinity to this is 
 the portrait of the celebrated Lord Arundel, in Warwick 
 Castle ; an elevated and important individuality is here ren- 
 dered with astonishing energy of form and colour. Another 
 chef-d'oeuvre are the portraits in one picture of Rubens' two 
 sons, in the Gallery of Prince Lichtenstein at Vienna (see 
 woodcut), which are unrivalled for ease of arrangement and 
 solidity of treatment. 
 
 / Of his female portraits we may first mention that of his 
 //second wife, 'Helena Fourment, walking in the open air 
 ilwith a page, lately at Blenheim. This is one of his finest 
 examples of composition and treatment. It is excelled, how- 
 ever, by another in the same collection, where the same lady 
 is seen with Rubens and a child, which she is holding in a 
 go-cart.^ A sense of domestic happiness is here combined 
 with the utmost mastery of art. On the other hand, the 
 chief charm of the celebrated " Chapeau de Paille," [in the 
 National Gallery,] consists in the marvellous triumph over a 
 great difficulty, that of painting a head entirely in the shadow 
 cast by the hat, and yet in the clearest and most brilliant 
 tones.^ 
 
 ' See my ' Life of Rubens,' p. 114, etc. 
 * 'Treasures.' etc., vol. i. p. 398.
 
 -290 THE FLEMISH REVIVAL. Book V. 
 
 One of the greatest powers, however, wielded by this 
 almost universal genius, is that of animal painting. Horses, 
 do"s, stags, wild boars, and especially ravenous animals, 
 such as lions, tigers, panthers, wolves, and foxes, he renders 
 alike Avith inconceivable mastery. Usually they are repre-, 
 sented in conflict with the human race ; seldom like the 
 nine lions in the picture of Daniel in the Lions' Den, [late] 
 Hamilton Palace, in postures of repoae. la this picture the 
 prophet himself — a subordinate and uninteresting figure — 
 is only the excuse for a series of studies of lions in various 
 attitudes.' We know with certainty^ that Rubens executed 
 this picture entirely himself. The touch is very spirited, 
 but the colour by no means brilliant. With this facility in 
 the delineation of animals, he is seen to great advantage in 
 hunts, where men and animals are engaged in fierce combat. 
 Of this kind, and one of his most magnificent works, is the 
 Wolf Hunt, originally painted for the Spanish general 
 Legranes, and in which the painter and his first wife, 
 Catherine Brant, both appear on horseback, once in the 
 collection of Lord Ashburton. Next to this may be cited 
 the Lion Hunts, in the Galleries of Munich and Dresden,' 
 and the Stag Hunt in the Berlin Museum. The Chace of 
 the Calydonian Boar, in the Imperial Gallery at Vienna, 
 though mixed up with mythological incidents, must also be 
 classed as one of his admirable pictures of this kind. Of 
 all his animals, finally, a Tigress snarling at a Crocodile, in 
 the picture of the Four Quarters of the World, also in the 
 Vienna Gallery, may be considered his masterpiece for 
 energy, truth, and power. 
 — —To turn to yet another form of his excellence. Like 
 Titian, llubens, in the backgrounds of many of his pictures, 
 appears as a very noble landscape-painter. He painted 
 also more landscapes, properly speaking, than the great 
 Venetian master. These, again, may be divided into two 
 classes. Occasionally he tries his powers in the arena of 
 historical landscape, introducing figures from mythology, 
 
 ' 'Treasures,' etc., vol. iii. p. 297. 
 
 • Ciirjienter's ' Pictorial Notices,' p. 140, 
 
 • SSlo uiy ' Life of Hubeus,' p. 96.
 
 Chap. II. CONTEMPORARIES OF RUBENS. 291 
 
 and especially selecting events in which the elements appear 
 in the wildest uproar. Here his poetry of conception and his 
 striking pictorial effects are conspicuous. I may mention as 
 a most remarkable example of this class, the Deluge in 
 Phrygia, which swallows up the wicked, while Jupiter and 
 Mercury, with Baucis and Philemon, look on : now in the 
 Gallery at Vienna. Here, combined with the most daring 
 composition, he displays a glow of light which approaches 
 Rembrandt, and a mastery of handling which borders on 
 bravado. The Shipwreck of Ji^neas, in the collection of 
 H. T. Hope, Esq., London,^ and Ulysses and Nausicaa, in 
 the Pitti Palace,^ are two more examples. At other times 
 he takes pleasure in bringing before us the freshness and 
 fine effects of light seen in the fertile plains of Brabant, 
 These pictures respire a truly idyllic and rural feeling. 
 The most distinguished examples are the so-called " Prairie 
 de Lacken," in Buckingham Palace;^ a large landscape, 
 known by the name of Going to Market,* in Windsor Castle ; 
 one of similar character, including Piubens' Country House, 
 in the National Gallery;^ and the celebrated Rainbow land- 
 scape, [in the collection of Sir Richard Wallace]." 
 
 CHAPTER II 
 
 THE CONTEMPORARIES AND SCHOLARS OP RtTBENS. 
 
 Before proceeding to notice the actual scholars of Rubens, 
 we must consider those painters who flourished contem- 
 poraneously with him, and who, though more or less 
 influenced by his example in the attainment of that free and 
 
 ' 'Treasures,' etc., vol. ii. p. 114. 
 
 * See ' Life of Rubens,' p. 100. 
 ^ 'Treasures,' etc., vol. ii. p. 3. 
 
 * Ibid. p. 436. 
 
 ^ Ibid. vol. i. p. 351. 
 « Ibid. vol. iii. p. 434.
 
 292 THE FLEMISH REVIVAL. Book V, 
 
 fully developed form of art which he first wrought out, 
 maintained, nevertheless, an independent position, 
 
 Martin Pepyn, born at Antwerp 1575, died 1643.^ It is 
 not known who his teacher was, but he was admitted, as 
 the son of a master, into the Painters' Guild in 1600. It is 
 evident, however, from the few pictures that are known by 
 him, that he was influenced in many respects by the school 
 of Frans Floris. The pictures I know by him, in the 
 Antwerp Museum, show, namely, in the whole style of 
 composition and forms, the influence of Blocklandt.^ They 
 are the following : No. 273, the Passage of the Israelites 
 through the Red Sea, signed with his monogram, and dated 
 162G ; No. 274, the wings of an altarpiece, representing the 
 Preaching of St. Luke ; and Nos. 275 and 276, chiaroscuro 
 pictures on the outer sides of the last-named, and another 
 wing, the inner sides of which were executed by Otto 
 Vseuius. The colouring is powerful but gaudy, especially 
 the flesh, which is either of a strong brownish red or of a 
 greenish tint ; the landscape is of the colour of verdigris, 
 the outlines hard, and the execution very fused. Various 
 heads, however, of truthful and animated, and even of 
 elevated character, show, on the other hand, the favourable 
 operation of the new style of art introduced by Rubens. 
 This is far more strongly pronounced in all parts in the 
 excellent portrait of a lady in the Aremberg Gallery at 
 Brussels, No. 90, in which only the somewhat over-greyish 
 half-tints in the flesh are indications of the preceding school. 
 Abraham Jansens van Nuyssen, born in Antwerp 1667, 
 died 1632.' He was the scholar of Jan Snellinck, and 
 visited Italy. We know, by means of recent documentary 
 ■discoveries, that Houbraken's account of Jansens' enmity 
 against Rubens, and of the misery into which he fell, are 
 totally devoid of truth. On the contrary, he lived and died 
 
 ' fLipRcrcn, ii. 14'2.] 
 
 "^ ('I'liere is soiiie difficulty in conceding this, because Blocklandt, or 
 rather Anthony de Montfort, as Van Mander calls him, died, according 
 to the Schilderboek (f. 173), in 1583. There are pictures by him 
 which i)rove that his style was derived from the school of Frans Floris, 
 »T i/r. Diana and Actaon, dated 1573, in the Belvedere at Vienna.l 
 
 • [Liggcren, i. 293.]
 
 Chap. II. JANSENS — ROOSE — ZEGERS. 293 
 
 in very respected circumstances. His powers were in some 
 respects allied to those of Rubens, so that pictures by him 
 have been by unversed judges attributed to Rubens. The 
 likeness consists in the boldness of the incidents, in the 
 robustness and fulness of his nude figures, and in the 
 vigorous and warm colouring of the flesh. At the same 
 time he differs essentially from the great master; for, though 
 occasionally more correct in drawing, his colouring is not 
 only incomparably less clear, but thick in the local tones 
 and heavy in the shadows, the outlines of his forms hard, 
 the general keeping spotty, his draperies hard and metallic 
 in the lights, and his carefully-blended handling far less 
 free. One of Jansens' excellences was his treatment of 
 torchlight and other artificial effects. Of his Biblical sub- 
 jects it must suffice to mention the Virgin and Child and 
 little St. John, and the Adoration of the Kings, Nos. 211 
 and 213, in the Antwerp Museum ; of his mythological 
 subjects, the River God of the Scheldt, in the same gallery, 
 No. 212, and Venus and Adonis, in the Gallery at Vienna ; 
 and of his allegorical compositions, the pictures of Day and 
 Night, also in the Vienna Gallery. 
 
 Nicholas de Liemakeee, called Roose, born at Ghent 
 1575, [president of the Guild of Ghent from 1623 to 1636],^ 
 died there 1646. He was [first a pupil of Mark Gerard, 
 then] a scholar of Otto Vaenius, and a painter of skilful 
 treatment and powers of composition. But his heads are 
 insignificant, and, in his Biblical works, too secular in ex- 
 pression ; the tone of his flesh is of a cold brownish red, his 
 shadows greenish, and the general effect heavy. One of his 
 chief pictures, the Virgin in Glory adored by Saints, is on 
 the altar of a chapel in the cathedral at Ghent. [There are 
 also numerous pictures by him in the Museum of Ghent.] 
 
 Gerard Zegers, generally but wrongly called Seghees, 
 born at Antwerp 1591, died 1651. He is said to have 
 studied first under Abraham Jansens, and afterwards under 
 Hendrik van Balen.^ He completed his studies in Italy, and 
 
 ' [A. P. Sunaert, ' Catalogue du Musde de Qand,' p. 55.] 
 * [Van Balen was free master at Antwerp in 1593. Abraham 
 Jansens closed his apprenticeship at Antwerp in 1585, but was made a,
 
 294 THE FLEMISH REVIVAL. Book V. 
 
 especiallj in Rome, thence proceeding to Madrid, where he 
 executed many pictures for King Philip III. Zegers is a 
 painter of considerable merit. Though not quite free from 
 the overpowering intluence of such a giant as Rubens, he 
 still maintains an opposing attitude in his aim at ideality. 
 His compositions are well balanced, his heads of elevated 
 forms, though seldom important, his figures elegant, actions 
 graceful, his colouring always harmonious, and his treatment 
 broad. His principal work, the Marriage of the Virgin, once 
 the ornament of the high altar of the Barefooted Carmelites 
 at Antwerp, is now in the Museum there. No. 508. It is a 
 finely-composed work, of stately eflect, some of the heads, 
 especially that of the Yii'gin, betraying the influence of 
 Rubens. Of his other examples in the same gallerj- the best 
 are St. Louis of Gonzaga, Xo. 507, and the Ecstasy of St. 
 Theresa, Xo. 509. Another picture in the same gallery. 
 No. 512, the Virgin with the rosary, and the Virgin with the 
 Child, to whom the Httle St. John is giving a bii-d, in the 
 Gallery at Vienna, shows his successful aim at the ideal. 
 The colouring of these, and of another Madonna picture ia 
 which the Child is sleeping, shows the happy influence of 
 Titian. On the other hand, two far weaker pictures, in the 
 Antwerp Museum — Christ returning from Limbus, and St. 
 Clara adoring the infant Jesus, Xos. 510 and 511 — exhibit, 
 by their angular forms and crude colouring, the less feUcitous 
 example of Baroccio. Of the scenes from every-day life 
 which he occasionally painted, such as gamesters, musicians, 
 etc., I cannot instance a specimen. 
 
 Theodor Rombouts, born at Antwerp 1597, died there 
 1637. He [was apprenticed to a house-painter named 
 Fran(;ois van Lanckveldt, and passed into the Guild in 
 1608].^ He is reported to have studied under Abraham 
 Jansens. In 1G17 he went to Rome, where, as well as in 
 Florence, he painted some successful historical works. [The 
 
 free master in 1601 only. Zegers paid the fee at the close of his ap- 
 ] I. iiticei^hip at Antwerj.1 in 1603. He may have been the companion, but 
 i. iT'ily the pupil, of Jimseus, and it would be natural to suppose that he 
 learnt jirst from Van Balen and a/tcnixirds under Janseus. See the 
 Liggeren.] 
 
 ' [Liggeren, i. 450 and 6-16.]
 
 Chap. II. GASPARD DE CRAEYER, 295 
 
 date of his admission to the mastership at Antwerp is 1625.]' 
 As no other account, except that by Houbraken, is given of 
 his enmity to Rubens, we may justly question its accuracy. 
 He had much feeling for composition and for beauty, though 
 his heads seldom rise above the limits of an elevated character 
 of reality. The same may be said of his figures, otherwise 
 of capital drawing. His execution of detail is finished, the 
 colour of his flesh brownish and heavy, like that of Guercino, 
 to whom, and namely in the arrangement of his colours, he 
 has a certain affinity. His works are rare. His justly- 
 estimated chef-d'ceuvre is the Descent from the Cross, in a 
 chapel of the Ghent cathedral. His St. Augustin, also, 
 entertaining Christ under the garb of a pilgrim, dated 1636, 
 in the Antwerp Museum, No. 296, is a work of much merit. 
 Of his secular subjects [there are two very characteristic 
 examples in the Madrid Museum : a Card-party, No. 1315, 
 and a Surgeon-Dentist in his shop. No. 1316].^ 
 
 Gaspakd de Ceaeyer, born at Antwerp [1582] , died 1669. 
 Of all the painters who flourished contemporarily with Rubens 
 in the Spanish Netherlands, he takes by far the first position 
 He learned his art at Brussels, under Raphael van Coxis, sol. 
 of Michael van Coxis, whom we have already noticed, [and 
 was registered a master in the Brussels Guild in 1607].* He 
 was held in high esteem by Albert and Isabella, Governors 
 of the Netherlands, and was nominated court painter by their 
 successor, the Cardinal Infant Ferdinand. With Rubens and 
 Van Dyck, also, he stood in friendly relations. The former 
 painted a portrait of him, which was engraved by Paul Pontius 
 and by others, and the latter left him, by will, a picture of 
 St. Benedict.* In his later years Gaspard de Craeyer migrated 
 from Brussels to Ghent, where he laboured unremittingly 
 until his death at the age of 87. Although the pupil of 
 Raphael van Coxis, the whole form of his art shows the 
 example of Rubens. Indeed, he sympathised too closely 
 with Rubens' genius not to be powerfully attracted by it. 
 
 ' [Liggeren, i., 608.] 
 
 ^ [Waagen, ' Uber in Spanien vorhandene GemJilde,' in von Zahu's 
 ' Jahrbiicher,' i. 98.] 
 
 ' [Fetis, ' Catalogue du Mus^e Royal de Belgique,' p. 279.] 
 * Catalogue of Antwerp Museum, p. 225.
 
 296 THE FLEMISH REVIVAL. Book V. 
 
 Nature, it is true, had assigned to him a far narrower sphere 
 as regards powers of invention. Biblical subjects were his 
 chief occupation, but he also occasionally and successfully 
 attempted the department of history and allegory. Nor had 
 he the grandeur and the fire which enabled Rubens to grapple 
 with the boldest, the most terrible, and the most rapid inci- 
 dents ; nor the brilliant warmth of colouring, nor the striking 
 effects which that master produced. In quiet compositions, 
 on the other hand, he may be somewhat hkened to him ; in 
 the mildness and amiability of his feeling he displays a 
 quality foreign to Rubens, and occasionally also a sense of 
 beauty tending to the ideal which Rubens did not attain. 
 His colouring is subdued and true to nature, and often allied 
 to that of Yan Dyck. Again, in the extraordinary freedom 
 and mastery of his touch he scarcely falls short of his gi-eat 
 model. Possessing such qualities, he was not only over- 
 whelmed with commissions in his own country, but his large 
 and admirable altarpieces in the cathedrals of Aix in Provence, 
 and of Amberg in the Upper Palatinate, prove that his repu- 
 tation extended far beyond it. In my opinion he by no 
 means occupies that place in public estimation which he 
 deserves. This is partly owing to a number of inferior 
 works produced in his later time. But that, even to the 
 last, he could, when he pleased, return to his better style — 
 with the exception always of a feebleness of tone — is proved 
 by his last picture, [signed " G. d. Grayer fa a^ 1668, aet, 
 86,"] the Martyrdom of St. Blaise, in the Ghent Museum, No. 
 19, which fui-ther shows that, like Rubens, he did not hesitate 
 to depict the horrible with very revolting truthfulness. The 
 following are a list of his best pictures, which are also in 
 places most accessible to the reader. The Virgin and Child 
 adored by various Saints, in the Louvre, No. 101. This is, 
 in every respect, a very remarkable work. The Miraculous 
 Draught of Fishes, the Assumption of St. Catherine, and 
 the Chevalier Dongclberge and his wife adoring the Dead 
 Christ, in the Brussels Gallery, Xos. 235, 237, and 242 ; the 
 Judgment of Solomon — a chef-d'oeuvre — and St. Rosalia 
 crowned by the Infant Christ, .in the Ghent Gallery, Nos. 
 18 and 1-t. The success of this painter in the treatment of
 
 Chap. II. SNYDERS. 207 
 
 rapidly painted decorations is seen in the works executed for 
 a triumphal arch upon the entry of the Cardinal Infant into 
 Ghent, and which are still preserved in the Gallery there. 
 The Virgin and Child enthroned and adored by Saints, with 
 the portraits of the painter and his family below, dated 1646, 
 is in the Munich Gallery, No. 869. This is a capital work, 
 arranged in the same manner as that in which Rubens treated 
 similar spaces, and showing the painter's complete mastery 
 over such large proportions, and the success with which he 
 managed individual portions. But the heads of the women, 
 though pleasing, are monotonous. The group of portraits is 
 of astonishing vivacity. St. Theresa receiving a golden 
 necklace from the Virgin. Here the head of the Madonna is 
 particularly fine. The Angelic Salutation, in which even the 
 drapery shows the aim at style and ideality, and the Virgin 
 and Child enthroned adored by Saints, are in the Vienna 
 Gallery. The last-named is, perhaps, his finest work, at least 
 I know of no other in which his peculiar amiability of feeling 
 is so strongly expressed. 
 
 Feans Snyders, born at Antwerp 1579, died there 1657. 
 He was [registered in the Antwerp Guild as Hell Brueghel's 
 apprentice in 1592, and rose to the mastership in 1602.^ It 
 is said that he studied under Van Balen.] But his whole 
 treatment of the animal world, his developed form of art, his 
 clear and frequently glowing colouring, and his broad and 
 masterly touch were inspired by the example of Rubens, to 
 whom he stood not in the relation of a scholar, but in that of 
 a thoroughly independent fellow-painter. This appears from 
 the human figures painted by Rubens in Snyders' animal 
 pieces, from the animals introduced by Snyders into Rubens' 
 hunts, as well as from the flowers and vegetables executed 
 by Snyders in other works by the great master, and which 
 were so painted as not to mar the unity of the piece. Next 
 to Rubens, he is the greatest animal painter of the time. 
 Like him, he has the faculty of depicting his subjects in the 
 agitated moments of combat or chase. The artistic arrange- 
 ment of his animals in the space allotted was probably owing 
 to his visit to Italy, when he resided principally in Rome. 
 1 [Liggeren, i. 373, 418.]
 
 298 THE FLEMISH REVIVAL. Book V. 
 
 Even in his large culinary subjects he is not more remarkable 
 for the treatment of single objects than for the skill with 
 which he places them together. He was closely allied in 
 friendship with Rubens' two best scholars, Van Dyck and 
 Jordaens, and assisted the latter in the same way as he did 
 Rubens. His fame was so great that princes and nobles 
 vied with each other for his pictures, He laboured especially 
 for Philip IV. of Spain and for the Archduke Leopold William. 
 Of his numerous pictures I can only quote a few of the most 
 distinguished, distributed in well-known galleries. In the 
 Louvre a Stag-hunt, No. 491, and a Boar-hunt, No. 492. 
 At Dresden a Kitchen scene, with a man and woman cook by 
 Rubens, No. 97.3. In Munich two Lionesses pursuing a 
 Roebuck, No. 957 : this is of astonishing energy, and ad- 
 mirably composed. In Vienna a Boar attacked by a pack of 
 nine Dogs. In Berlin a fierce Combat between Bears and 
 Dogs, No. 974. The number of excellent pictures by him, 
 scattered in private English galleries, is considerable. 
 
 Occupying a similar position towards Rubens, in point of 
 landscape painting as Snyders in animal painting, may be 
 considered the two masters Jan Wildens and Lucas van 
 Uden. 
 
 Jan Wildens, born at Antwerp 1584, died there 1653. 
 He was the scholar of Peter Verhult, in whose school he 
 so early distinguished himself as to be admitted in 1604 as 
 member of the Antwerp Guild of Painters. He possessed 
 great versatility of power in rendering landscape, so that, in 
 painting backgrounds for Rubens, with whom he enjoyed a 
 friendly intimacy, he was able to adapt the landscape to the 
 character of the subject. At the same time he had great 
 rapidity in execution and freedom of treatment. The fact 
 that he not only painted the landscapes for many of Rubens' 
 pictures, but also did the same service for Snyders, and 
 sometimes also for Diepenbeck and Langenjan, explains the 
 great rarity of pictures entirely by himself. As regards 
 public galleries, I know of one picture by him — a winter 
 landscape, with a hare-hunt in the foreground, [dated 1624], 
 in the Dresden Gallery, No. 979, which is painted with great 
 mastery in a brownish tone. [A hunt, a gipsy telling for-
 
 Chap. II. WILDENS — VAN UDEN, 29^ 
 
 tunes to people in a boat, and a country scene, in the Madrid 
 Museum, are further examples of the same kind.] A land- 
 scape, in the collection of the Marquis of Bute, is important, 
 though recalling in conception and treatment the more old- 
 fashioned style of Jan Breughel and Koelandt Savery. A 
 wooded scene, with a stag-hunt, of rich composition and 
 masterly treatment, was once in the Landauer Briiderliaus 
 at Nuremberg. 
 
 Lucas van Uden, born in Antwerp 1595, [died there between 
 1672 and 1673].^ He received instruction in art from his 
 father, who bore the same name, and was entered in the 
 Painters' Guild in 1626 to 1627. He also frequently painted 
 the landscape backgrounds in Rubens' pictures, but at the 
 same time executed many separate works, in which Teniers- 
 sometimes painted the figures. These generally represent, 
 distant views, varied with mountains, hills, and trees, and 
 animated with water. Occasionally he painted waterfalls, 
 and also more enclosed landscapes. A deep and pure feeling^ 
 for nature pervades these works, which are well drawn, 
 the separate features of great individuality, the management 
 of the light well understood, the colouring powerful and 
 clear, though sometimes too monotonously green, and of 
 very careful finish. He thoroughly understands the treat- 
 ment of large surfaces, and also the miniature -like com- 
 pletion of small pictures. Nowhere is this master so well 
 seen as in the Dresden Gallery, which has nine of his works. 
 I can only notice three of them : No. 1057, a large landscape 
 with a richly watered plain, with a bridal party pi-oceeding^ 
 to a peasant's house on a rising ground. In this admirable 
 picture he approaches the effect of similar works by Rubens. 
 No. 1056, a landscape with stream and small waterfall. This 
 has great charm of nature and brilliancy of efiect. No. 1062, 
 a landscape with lofty hills, and two waterfalls, with grazing 
 cattle in the foreground. A landscape in the Munich 
 Gallery, Cabinets, No. 937, inscribed with the name of the 
 painter, with trees reflected in the water, is of great power, 
 and shows in lighting and foreground the influence of Rubens. 
 But this is still more apparent in a large landscape with n 
 ' Liggeren, ii. 117 and 426.
 
 300 THE FLEMISH REVIVAL. Book V. 
 
 distant view, and figures by Teniers, which approaches 
 Rembrandt in warmth of colour, in Lord Bute's collection. 
 This master also engraved sixty-two plates, fifty-eight of 
 them of his own composition, in which respect they agree 
 with his pictures, only that their character is still more 
 varied. At the same time the treatment is highly picturesque, 
 spirited, decided, and yet soft. They are, however, as 
 Bartsch remarks, of very unequal merit. Some of them, 
 Nos. 36 to 41, are obviously youthful attempts. Specimens 
 of great beauty are Nos, 3, 5, 9, 10, 11, 13, 21, 26, 32, 56, 
 and 57, and another of which the British Museum alone has 
 an impression. 
 
 Justus Sustermans, born at Antwerp 1597, died in Flo- 
 rence 1G81. He studied under the otherwise little-known 
 Willem de Vos, [at Antwerp (1609)], and went in still youth- 
 ful years to Italy, where his pictures found so much favour 
 at the Court of Cosmo II. of Tuscany that he took up his 
 residence there. He retained his popularity under the suc- 
 ceeding Grand Dukes Ferdinand II. and Cosmo III., and 
 continued in Florence in honoured cu'cumstances until his 
 death. He also was on friendly terms with Rubens and Van 
 Dyck. He was of decided realistic tendency, an able 
 draughtsman, a powerful and clear colourist, and possessed 
 much freedom of brush. In his historical pictures the in- 
 fluences both of the schools of the Carracci and of Michael 
 Angelo Caravaggio are strongly seen. From the first-named 
 he imitated the style of composition, drapery, and elevated 
 forms ; from the last his commoner truth and powerful 
 ellccts. Two successful pictures of this class, the Death of 
 Socrates, and the Entombment, are in the Berlin Museum, 
 [Both now withdrawn.] But his force lay in portraiture, the 
 truthfulness and fine colour of which show that he remained 
 true to his native school. Later in life, however, his flesh- 
 tones became heavy and his shadows dark. His most com- 
 prehensive work of this class represents Ferdinand II. 
 receiving the Oaths of Allegiance, and contains a large 
 number of portraits. It is at Florence. Good portraits by 
 him, in the Pitti, are Victoria della Rovere, wife of the Grand 
 Duke, reprt^entcd as the Vost;il Virgin Tuccia : one of a
 
 HOLT FAIIILT WITH ANGELS. 
 By Van Dyck. Formerly in the Houghton Collection, now at St Petersbiirg. 
 
 page 301
 
 Chap. II. SUSTEEMANS — VAN DYCK. SOI 
 
 Canon, of very high merit ; and that of Christian V. of Den- 
 mark when Crown Prince. On the other hand, the portraits 
 of the Grand Ducal family, under the form of a Holy Family, 
 are very repulsive. In the Vienna Gallery is the admirable 
 portrait of the Archduchess Claudia, daughter of Ferdinand 
 of Tuscany. The following are the only specimens of Sus- 
 termans I know in Great Britain : the portrait of Alexander 
 Farnese in the Royal Institution at Edinburgh, and two of 
 Galileo, one in Lord Methuen's collection at Corsham Court, 
 the other at Trinity College, Cambridge. 
 
 We come now to the actual scholars of Rubens. Of these 
 Anthony van Dyck, born in Antwerp the 22nd March, 1599, 
 died in England the 9th December, 1641, stands by far the 
 highest. By the time he was ten years of age he had the 
 advantage of Van Balen's insti'uctions, and after that entered 
 the school of Rubens. Here his remarkable capacity for art 
 became so quickly developed, that as early as the 11th 
 February, 1618, when but a youth of nineteen, he was ad- 
 mitted into the Guild of Painters at Antwerp.^ In 1620 
 Rubens engaged him as an assistant,^ and in 1621 his 
 reputation had so extended as to induce James I. of England 
 to take him into his service.* In 1623 he repaired to Italy, 
 and first, it appears, to Venice, where he copied several of 
 Titian's works. He afterwards spent some time in Rome, 
 but by far his longest sojourn was in Genoa. His course is 
 everywhere marked by pictures by his hand — the largest 
 number being in Genoa. Towards the close of the year 
 1626 he seems to have returned to Antwerp. During the 
 next six years, passed in his native land, not only his finest 
 historical works were produced, but also a series of magnificent 
 portraits. In 1632, doubtless through the intervention of the 
 Earl of Arundel,* he entered the service of Charles I. of Eng- 
 land, who gave him a salary of 200/. a year^ as chief court- 
 painter, bestowed upon him at an early period the honour of 
 
 ' [Liggeren, i. 457 and 545.] 
 '^ Catalogue of Antwerp Museum, p. 454. 
 
 ^ See Carpenter's admirable 'Pictorial Notices,' etc., London, ISiS, 
 p. 8-10. 
 ■* Ibid. p. 22, etc. 
 On the 17 October, 1G33. See Carpenter's Appendix, No 3. 
 
 5
 
 302 THE FLEMISH REVIVAL. Book V. 
 
 knighthood, and in every way showed the highest estimation 
 lor his genius. The nobiHty and gentry soon followed the 
 king's example in adopting Van Dyck as their portrait- 
 painter, so much so that his historical Avorks were limited to 
 a small number of easel pictures, and those chiefly portraits 
 under the ideal forms of goddesses, nymphs, etc. The 
 pictures also which he executed during a visit to the Nether- 
 lands in 1634 seem not to have risen beyond the rank of 
 portraits. Van Dyck, however, had the sincerest ambition 
 to exercise his powers as an historical painter in some work 
 of greater extent. He therefore endeavoured to obtain the 
 commission for the decoration of the walls of the Banqueting 
 Hall, Whitehall, the ceiling of which was covered with 
 Rubens' designs. Not succeeding in this wish, he returned 
 to Belgium in 10-10, taking with him his wife, a lady of the 
 noble Scotch family of Ruthven. Then, hearing that Louis 
 XIII. of France proposed decorating the largest saloon of the 
 Louvre with paintings, he hastened to Paris, in order, if 
 possible, to secure the commission, but found that Poussin, 
 who had arrived at about the same time from Rome, had 
 already obtained it. Returning, doubtless in low spirits, to 
 England, where the misfortunes then gathering over the 
 king and the royal faniil}'^ must have further depressed him, 
 he was taken with an illness which terminated in his death 
 at the early age of forty-two.^ 
 
 The sphere of invention assigned by natm-e to Van Dyck 
 was far more limited than that she had bestowed on his 
 groat master. He possessed none of that fire which had 
 enabled Rubens to grapple with the most terrible and mo- 
 mentary incidents, but he surpassed him in the intensity and 
 elevation of expression which he gave to profound emotion. 
 Hence the success with which Van Dyck treats the subjects 
 of the Crucifixion, the Descent from the Cross, and the Grief 
 over the dead body of the Saviour. His feeling for nature 
 was also of a more refined character than that of Rubens, 
 and his drawing more correct. If his colour also be less 
 powerful and brilliant, truth is the gainer by the difference. 
 In mastery of treatment the two may bo fairly put ou the 
 * iSce Carpeuter, pp. 3\)-ii
 
 Chap. II. VAN DYCK. 503 
 
 same level. Van Dyck's qualities, as we perceive, fitted 
 him iu the highest degree for the art of portraiture ; and of 
 all the masters belonging to the most developed period of 
 art he alone with Titian divides, in that walk, the first 
 place. His portraits in truth possess the highest character- 
 istics proper to their class. No one ever better succeeded 
 in expressing, both in position and look, the ease proper to 
 individuals of high station, nor also the charming uncon- 
 sciousness of blooming childhood. At the same time the 
 different epochs of his art are distinctly marked. The 
 pictures executed before his visit to Italy, though already 
 evincing a great proficiency in art, show nevertheless a 
 certain dependence upon Eubens. In his historical pictures 
 of this time his forms are strongly pronounced, and have 
 occasionally a clumsy look, the heads are coarsely realistic, 
 and the flesh-tones yellowish and warm in the style of 
 Rubens. Examples may be seen in his St. Martin dividing 
 his Mantle with a Beggar, in the church of Savelthem near 
 Brussels, and Christ mocked by the Soldiers, in the Berlin 
 Museum, No. 770. His portraits also, of which many an 
 undated specimen belongs doubtless to this period, unite the 
 same yellowish and transparent local flesh-tone with a lively 
 but simple feeling. We may cite his portrait of Cardinal 
 Bentivoglio, in the Pitti, painted in the first year of his stay 
 at Rome, and that portrait, miscalled of Wallenstein, dated 
 1624, in Prince Lichtenstein's gallery at Vienna. The 
 study of the great Italian masters inspired him gradually 
 with a higher conception of form : and in his greater depth 
 of colouring, and namely in the brownish flesh-tones, we 
 recognise the influence of Giorgione and Titian. Of this 
 kind is the Ecstacy of St. Francis, in the Gallery at Vienna, 
 and a male portrait with the left hand on the hilt of his 
 sword, in the Louvre, No. 153. Van Dyck's pictures 
 painted in Genoa have a character of their own. The forms 
 of the heads are at once simplified and ennobled, and the 
 tones of the flesh, which incline to a reddish scale, are solid 
 and less transparent than in his other pictures. Black and 
 deep crimson predominate in his draperies, and the general 
 effect is full and even solemn. We see this in the portraits 
 
 26
 
 304 THE FLEMISH REVIVAL. Book V. 
 
 of the families Brignole and Durazzo in their palaces at 
 Genoa.^ Of his Genoese portraits in England I will only 
 mention the three children, in the collection of Earl de Grey 
 in London, as particularly attractive. His historical works, 
 executed after his return to Antwerp in 1626, possess in the 
 fullest degree the above-named qualities, but sufler from a 
 too heavy brown tone in the shadows — the result of painting 
 on a dark ground, which has come through, and which, in 
 his larger pictures, Van Dyck had unfortunately adopted 
 from the then prevailing custom in Italy. The most impor- 
 tant work, both in merit and in size, is the Crucifixion, in 
 the cathedral of Mechlin, painted in 1627. The composi- 
 tion is finely balanced, and the moment of the Saviour's 
 death most touchingly given. The various forms of sorrow, 
 from the profound pathos of the Virgin to the passionate 
 feeling of the Magdalen, are admirably characterised. Also 
 the expression in the believing centurion on horseback. The 
 drawing is fine, and the gloomy and harmonious keeping of 
 the whole, with the sudden darkness, has a striking eflect. 
 In many parts the red ground has unfortunately come 
 through. The following pictures belong to the same cate- 
 gory, both in time and art. The small Pieta, in the Munich 
 Gallery, No. 830, in every respect a very jewel. The Cruci- 
 fixion, in the Gallery at Vienna. The small Entombment, 
 in the Antwerp Museum, No. 404, which shows the study 
 of Paul Veronese's darker pictures. The larger Pieta, also 
 there, No. 403. The Crucifixion, dated 1629, No. 401. 
 The Pieta, in the Berlin Museum, No. 778 : here the head 
 of St. John and the landscape show the influence of Titian. 
 S,%mson betrayed by Delilah, in the Vienna Gallery ; a pic- 
 ture which, in a dramatic sense, I consider his finest work ; 
 for though he adopted Rubens' composition of the subject, 
 he has treated it in a manner which renders it his own. 
 The Virgin and Child enthroned, the latter extending a 
 wreath to St. Rosalie, with SS. Peter and Paul at the sides, 
 in the Vienna Gallery, was painted in 1629 for some holy 
 fraternity in Antwerp. This, for composition, elevation of 
 
 ' The fullest account of this, and of all Van Dyck's pictures, is given 
 ill the third vohiiue of Smith's well-known Catalojae Itaisonne.
 
 Chap. II. VAN DYCK. 305 
 
 feeling, and Titianesque glow of colour, is one of his most 
 beautiful works. The Virgin and Child with the little St. 
 John, in the Munich Gallery, No. 826. [The Capture, and 
 ■Christ and the Scoffers, at Madrid.] The transition from 
 this class of pictures to his portraits of similar style is 
 formed by a Virgin and Child adored by the donors, a man 
 and his wife, in the Louvre, No. 137, one of his most beauti- 
 ful works Of his portraits, properly speaking, I can only 
 mention p few of the most remarkable : That of Duke 
 Wolfgang von Neuburg with a large dog, dated 1629, in the 
 Munich Gallery, No. 837. A General in full armour with 
 the baton, in the Vienna Gallery. Isabella, Governess of 
 the Low Countries, in tee same gallery. ^ M. le Roy and 
 his wife, dated 1630 and 1631, in the collection of [Sir 
 Piichard Wallace in London, Nos. 63 and 59. " Herry 
 Liberti," the organist, at Madrid.] And, finally, that of 
 Prancesco di Moncada, Marquis of Aytona, generalissimo of 
 the Spanish forces in the Netherlands, probably executed in 
 1631, in the Louvre, No. 11:6. He is seated on a fiery grey 
 horse, in full armour, the baton in his right hand, looking 
 straight forward in an attitude of proud repose. In every 
 respect this is the finest equestrian portrait painted by Van 
 Dyek, and indeed I may almost designate it as the finest 
 existing. A smaller series of portraits, of the same time, 
 show the mighty influence of Rubens, even after Van Dyck's 
 return from Italy. But the then more mature painter knew 
 how to combine the luminous colouring of his great master 
 with a more truthful and refined observation of forms. The 
 finest of these portraits, and altogether two of the best he 
 •ever painted, are those of M. van der Geest, a great lover of 
 art, now known in the National Gallery under the erroneous 
 name of Gevartius, and of Snyders the painter, in the collec- 
 tion of Lord Carlisle at Castle Howard. 
 
 The portraits executed in the earl}'- part of his stay in 
 England, from 1632, are happily imbued with the result of 
 his Italian studies, and with his fresh impressions of Rubens' 
 works. The following are characteristic and beautiful speci- 
 
 ' I consider this the best of the different portraits by Van Dyck of 
 this princess.
 
 306 THE FLEMISH REVIVAL. Book V. 
 
 mens. Venetia, wife of Sir Kenelm Digby, in Windsor 
 Castle. Charles I. hunting, in the Louvre, No. 142. The 
 king is standing, and the horse is held by the Marquis of 
 Hamilton, ^Master of the Horse. In this kind of composition 
 he recalls Yelasquez ; and it is possible that some picture by 
 that master may have impressed him.^ Another, and one of 
 the finest of the numerous portraits of Charles I. by Van 
 Dyck, is in the Vienna Gallery. In addition to his highest 
 artistic qualities a feeling of taste and elegance, and a 
 thoroughly aristocratic element, prevail here in a more than 
 common degree. Many cf his most beautiful portraits belong 
 to the year 1634. The magnificent family picture of John 
 Duke of Nassau, with his Duchess and children, at Pansh- 
 anger, the grandest of all his grand family pictures, bears 
 this date.^ This picture, and probablj^ also the portrait of 
 Maria Louisa de Tassis, an Antwerp lady, in the Lichtenstein 
 Gallery at Vienua, were painted on occasion of a visit to the 
 Continent in this same year. This latter, in addition to all 
 his above-mentioned qualities, exhibits traits of such rare- 
 sweetness as places it foremost among all his female portraits. 
 Of another grand family picture, the Pembroke family, in- 
 cluding ten figures, at Wilton, the largest of Van Dyck's 
 family pictures, we give an illustration. To this year may 
 be also assigned the imposing picture of Ch;irles I. on horse- 
 back, with his Master of the Horse, M. de St. Antoine, in 
 Windsor Castle, see woodcut ; and also the splendid eques- 
 trian portrait of Prince Thomas of Carignan, in the Gallery 
 at Turin. Nor did the following year see any diminution in 
 his warm tone and careful finish, as is evident in the picture 
 of George and Francis Villiers, sons of the Duke of Buck- 
 ingham, dated 1G85, in Windsor Castle. In his later years 
 Van Dyck gradually adopted a cooler and more silvery tone, 
 and became far slighter in treatment ; but neither the children 
 of Charles I., nor the portraits of Killigrew and Carew, in 
 Windsor Castle, [nor the Countess of Oxford, at Madrid, all] 
 dated 1038, show decided signs (f the change. A number 
 of portraits by this great master, painted both in the earlier 
 
 ' ' Kunstwerke und Kiinstler in Paris,' p. 569, etc. 
 ' 'Treasures,' etc., vol. iii. ji. 10, etc.
 
 ■EING CHARLES I. 
 By Van Dyck. From the original Picture at Windsor. page 306, No 2.
 
 Chap. II. VAN DYCK. 307 
 
 and later time of his residence in England, are preserved in 
 private collections, some of them of the highest beauty. I 
 must be content to quote the most notable collections in 
 which they may be found, having, with few exceptions, visited 
 them all myself, as may be seen in my '* Treasures of Art," 
 etc. I give them, therefore, in the order in which the import- 
 ance of Van Dyck's works arranges them. The collections 
 of Colonel Egremont Windham, the Dukes of Marlborough 
 and Bedford, Earl Clarendon, Duke of Devonshire, Earls 
 Pembroke, Fitzwilliam, Warwick, Duke of Buccleugh, Earls 
 de Grey, Spencer, Lord Douglas, Duke of Hamilton, Lord 
 Ashburton, Earl of Brownlow, Lord Methuen, Duke of 
 Grafton, Earl of Denbigh, Viscount Gahvay, Duke of Rich- 
 mond, Earls of Ellesmere, Eadnor, Hardwicke, Darnley, 
 Lord Verulam, the late Smith Barry, Esq. 
 
 Finally, I may remark that Van Dyck etched a small 
 number of plates, chiefly portraits, which, as Mr. Cai-penter 
 rightly remarks,^ are distinguished by the same qualities as 
 his pictures — " delicacy and precision of drawing, a nice 
 discrimination of character and grace of action." These 
 etchings may be easUy distinguished from a large number of 
 the same size, executed at Van Dyck's expense by the best 
 Netherlandish engi-avers, Vorstermann, etc., from small 
 pictui-es by the master's hand, in brown chiaroscuro, and 
 published with his own etchings. The small pictui'es alluded 
 to are partly in the Duke of Buccleugh' s collection, partly in 
 the Munich Galleiy. 
 
 Among the scholars and imitators of Van Dyck I can point 
 to no one in any way comparable with himself. Many of 
 them copied his pictures with such success that their works 
 are included under his name, and thus account for the 
 frequent repetition of some of his subjects. Of these I may 
 mention Jan van Reyn, born at Dunkirk 1610, died there 
 1678. He accompanied Van Dyck to London, and remained 
 there till his death. Adrian H\nxemann, born at the Hague 
 [IGOl, died there 1671]. This painter came to England in the 
 early period of Charles I.'s reign, where he adopted much of 
 
 ' See Carpenter's work, p. 81. This gentleman is the first who haa 
 given a careful and critical description of these etchings.
 
 308 THE FLEMISH REVIVAL. Book V. 
 
 Vau Dyck's manner, as is seen in his portrait of the English 
 king in the Vienna Gallery. [A portrait by him of John de 
 Wit, No. 78 in the Rotterdam Museum, is dated 1652.] David 
 Beck, born at Arnheim 1621, died at the Hague 1656. He 
 worked as an assistant of Yan Dyck until the painter's death, 
 taking decidedly an essential part in many pictures, and even 
 entirel)' executing some, under the master's superintendence, 
 which now go by Van Dyck's name. Weesop also, a Dutch 
 painter who came over to England not long before Van 
 Dyck's death, and left the country in 1649, succeeded in 
 adopting his style, and copied his pictures with great 
 exactitude. 
 
 But the most important part was played by Peter van 
 DER Faes, known in England by the name of Sir Peter 
 Lely, born at Soest 1618, died in London 1680. He was 
 the pupil of Peter de Grebber of Haarlem ; nevertheless, on 
 visiting England, after Van Dyck's death, in 1641, he so 
 closely studied the manner of the great painter, that the 
 pictures of his earlier time often approach very near to him. 
 A specimen of this is seen in Lely's picture, executed 1643, 
 of Charles I. with his son, the Duke of York, once at Sion 
 House, so like the master, both in conception and treatment, 
 that I mistook it for a copy by Lely from Yan Dyck. The 
 proper sphere of Lely's art, however, is seen in his portraits 
 of the court of Charles II., to whom he was court-painter. 
 Here, although he still occasionally executed a fine picture, 
 such as Prince Rupert, in Windsor Castle, Lord and Lady 
 Cornbury, in the Duke of Portland's collection, and five female 
 portraits, in the possession of the Earl of Stamford and 
 Warrington, yet he gradually degenerated as a painter. He 
 became artificial in conception ; his female portraits bear 
 the stamp of the vanity and depravity of the day ; his colour- 
 ing grew cold and heavy, and his treatment superficial. Of 
 the astonishing number of his pictui*es throughout England, 
 I noptl only qut.te the well-known beauties in Hampton Court. 
 
 While the above-named painters all fiourished more or less 
 in England, the following remained in Belgium, and there 
 carried on the style of Yan Dyck. 
 
 Thomas Willeborts, called Boschaerts, born at Bergen-
 
 Chap. II. BOEYERMANNS — TYPRUS. 809 
 
 op-Zoom 1614, died at Antwerp 1654.^ Although originally 
 [1628] the scholar of Gerard Segers, he afterwards success- 
 fully imitated Van Dyck ; at the same time, his lamer com- 
 positions, less animated heads, and cold dull colouring, place 
 him in no high category. A good picture by him is the 
 Marriage of St. Catherine, in the Berlin Museum [with- 
 drawn]. [An original — St. Sebastian and the Angel, signed, 
 T. Wileborts, is No. 174 in the Munich Pinakothek.] 
 
 -x-HEODOR EoEYERjiANNs, borii at Antwerp 1620, 'died therv- 
 between 1677 and '78. This painter is of notable merit, 
 both as regards the composition of his historical pictures and 
 the truthfulness of his portraits. He is always warm and 
 harmonious in tone, and approaches Van Dyck in trans- 
 parency in his picture in the Antwei'p Museum, No. 20, called 
 L'Ambassadeur. His Pool of Bethesda, also there, No. 21,- 
 shows the ability of his composition. [Noteworthy in Ant- 
 werp is Boeyermann's Assumption, in the church of St. 
 Jacques, which he executed in 1671.] 
 
 [Peter Thys, commonly called Typrus, born at Antwerp 
 1616, died there between 1677 and 1679.]^ He formed 
 himself, especially as a portrait-painter, from the example of 
 Van Dyck. A specimen is seen in his truthful and warmly- 
 coloured picture of Henrich van Halmale, in the Antwerp 
 Museum, No. 350 ; and in his Adoration of the Host, in 
 the Wedding Chapel of the church of St. Jcicques, also at 
 Antwerp. His historical pictures show the influence of 
 Gaspard de Craeyer as well : for instance, the Christ appear- 
 ing to St. John of the Cross, in the Antwerp Museum, No. 
 355 ; and St. Francis receiving from Christ and the Virgin 
 the privileges of the Portiuncula, No. 352 : this is a feebler 
 work. Many of his pictures have a hard and spotty look, 
 from the obtrusion of the red ground in the flesh. 
 
 JTinally, I may remark that various British painters also 
 attached themselves with good results to the school of 
 Van Dyck. Their history belongs properly to that of 
 English painting; I therefore only cite their names-r-viz^ 
 V/?j.LiAM DoBSON [1610-46], Henry Stone [died 1653], coir*- 
 
 ' [Ligpreren, i. 661. J 
 * lb., ii, 73,
 
 310 THE FLEMISH REVIVAL. Book V. 
 
 monly called Old Stone, James Gandy, who flourished 
 especially in Ireland, and the Scotchman, George Jameson. 
 The next place among the scholars of Rubens, after Van 
 Dyck, is unquestionably occupied by Jacob Jordaens, born 
 in Antwerp 1593, died 1678. Like Rubens, he first studied 
 under Adam van Noort [1607-1615], where he acquired that 
 vigorous and harmonious colouring which is the chief dis- 
 tinction of his art. As early as 1615 he was admitted into 
 the Guild of Painters, in the quality of a water-colour artist, 
 and the year after married the daughter of Adam van Noort. 
 This early marriage, and the intimate relation — half friend, 
 half assistant — in which he stood to Rubens, prevented him 
 from visiting Italy as other masters had done. He attained, 
 however, to great eminence in Antwerp, and executed a 
 very large number of pictures. Although these unmistakc- 
 ably show the proximity of Rubens, yet his own artistic 
 nature is strongly expressed in them. This was so vehe- 
 mently realistic in character as to degenerate occasionally 
 into the rude and the vulgar. In his, as compared with 
 Rubens', far narrower sphere of invention, the humorous 
 takes a prominent place. In sense of beauty also and dis- 
 tinctness of forms he falls far short of his great model. On 
 the other hand, in power and transparency of colouring, and 
 in mastery of general keeping, he may be placed on the same 
 level ; and in a certain golden glow, and depth of chiaroscuro, 
 he even excels him. Nor in the power over his brush can 
 he bo considered inferior to Rubens, though not to be com- 
 pared with him in equality of impasto. Indeed to his over 
 use of glazing, without the necessary foundation of solid 
 colour, are attributable his occasionally unsubstantial glassy 
 cll'cct, and monotonously luscious tone. His works ditfer, 
 therefore, in merit according to the degree of their comple- 
 tion, and of his sympathy with the subject. Seldom does he 
 satisfy us with his Biblical pictures. The best of this kind 
 are an Adoration of the Shepherds, in the Antwerp Museum, 
 No. 221, in which the head of the Virgin is of an unusual 
 elevation of character, and the Four Evangelists, in the 
 Louvre, No. 258. Nor is he more successful in mythology. 
 The best example I know is Jupiter and Mercury with Baucis
 
 €hap. II. JORDAENS— VAN TULDEN. oil 
 
 find Philemon, in the Vienna Gallery. His feeling, however, 
 for history and allegory is proved by his pictures, in the 
 saloon of the House in the "Wood, near the Hague, which 
 celebrate the deeds of Prince Frederick Henry of Orange. 
 The centre picture, representing the Prince drawn in a 
 tiiumphal car by four horses, is imposing in effect, and of ex- 
 traordinai'y mastery of treatment. Of his numerous and 
 popular pictures, called the Bean Feast, I prefer the large 
 specimen in the Vienna Gallery. This teems with incidents 
 of coarse and common humour, is of marvellous power 
 and clearness, and carefully painted. His pictures of the 
 proverb, " Wie dieAlten sungen, so pfeifen die Jungen," are 
 almost as frequent. A very fine specimen is in the Berlin 
 Gallery, No. 879. He is well known as a portrait-painter, 
 and is seen to great advantage in the portrait of Admiral 
 Ruyter, in the Louvre, No. 257; and in that of a girl with 
 a parrot, at Cobham Hall. 
 
 Of the other scholars of Rubens, the following occupy a 
 less important but still respectable place in the history of 
 art. 
 
 Theodor van Tulden, born at Bois-le-Duc 1607 (?), [was 
 apprenticed to an obscure master, Abraham Blyenberch, 
 at Antwerp in 1621, and took the freedom of the Antwerp 
 Guild in 1626].^ He spent some time in Paris previous to the 
 year 1635, [when he returned to Antwerp and married Mary, 
 the daughter of Henry van Balen. After a residence of five 
 years he left Antwerp (1640) for Bois-le-Duc, where he is 
 said to have died in 1676.]^ He was versatile in talent, had 
 much skill in composition, and treated scriptural subjects, as 
 well as history and allegory, in a decorative manner, as seen 
 by the assistance he rendered to Rubens in the triumphal 
 arches erected on occasion of the entry of the Cardinal Infant 
 into Antwerp. He also succeeded in scenes from common 
 life, such as fairs, and in portraits. In his earlier works he 
 approaches Rubens, both in his broad delineation of forms 
 and in his colouring. Of this class is his Forge of Vulcan, 
 painted 1618, in the same House in the Wood where 
 
 * [Liggeren, i. 574.] 
 
 * [lb. ib. ib., and ii. 113.]
 
 312 THE FLEMISH EEVIVAL. Book V, 
 
 Jordaens laboured, and which is a work of great energy. 
 In his middle period his works are more refined in form ; 
 and his colouring, while still clear, a little cooler. Examples, 
 are, his Christ appearing to the Virgin after the Ascension, 
 in the Loiivre, No. 530 ; and two allegorical pictures, dated 
 1654 and '55, in the Vienna Gallery. In the pictm-es of his 
 latest time the influence of the French school is seen in the 
 more refined forms, and in the graceful, though sometimes 
 rather artificial motives. At the same time, his colouring 
 becomes colder and less clear. An example of this sorf, is- 
 the Triumph of Galatea, in the Museum at Berlin, No. 955. 
 He is seen to particular advantage in two sketches for the 
 before-mentioned triumphal arches (1635), in the Antwerp 
 Museum, Nos. 472 and 473. This maste^ is also known by 
 a number of clever etchings. His chefs -ci'oeuvre in this line 
 are the plates of Rubens' Battle of the Amazons ; of the 
 Triumphal Arches ; the Life of St. John of Matha, fro^a his 
 pictures in Paris ; and scenes from the Odyssey, from the 
 now destro5'ed pictures by Niccolo del' Abbate, in the 
 chateau of Fontainebleau. 
 
 Abraham VAN DiEPENBEEK, born atBois-le-Duc[1596], died 
 [at Antwerp]^ 1675. He attached himself closely to Rubens 
 in the whole form of realistic art, and also in colouring, but 
 his feebng for lines is less tasteful ; and his flesh colouring 
 is redder in the lights and grayer in the shadows and half- 
 shadows. He spent a long time in Italy, and is said to have 
 also visited England. Of his numerous pictures I can only 
 mention, as regards his Church subjects, his Ecstasy of St. 
 Bonaventura, in the Antwerp Museum, No. 400 ; as a speci- 
 men of his allegorical works, the Vanity of all Earthly Things, 
 in the Vienna Gallery ; and for history, his Closha fleeing 
 from Porsenna, of which there is a large version in the 
 Berlin Museum, No. 964, and a small one in the Louvre, 
 No. 118. He was also a clever glass painter, though sonie 
 of his works of this class show that the technical process of 
 the art was not thoroughly known to him. His fertile powers 
 of invention are shown by the designs he executed for 
 engravers : fof instance, his Temple of the Muses, engraved 
 • [Liggcren, ii. 98-9 aud -144.]
 
 Chap. II. QU ELLIN US — VAN DEN HOECKE. 31 
 
 o 
 
 by Cornelis Bloem:;rt. Mariette mentions an etching also 
 by him — a countryman leading an ass by a halter. 
 
 Erasmus Quellinus, born at Antwerp ] GOT, died [at 
 Tongerloo] 1G78. He was the friend of the well-known 
 scholar Caspar Gevartias, and, assisted by his suggestions 
 and explanatory inscriptions, he executed decorative paintings 
 in celebration of peace between Spain and England in 1060, 
 and illustrating the entry of Francis de Moura, Marquis of 
 Castel Rodrigo, Stadtholder of the Spanish Netherlands, into 
 Antwerp in 1665.^ He did not visit Italy; nevertheless, an 
 attempt at greater elegance of forms and heads than Rubens 
 possessed is seen in his works. Combined with this, his 
 heads exhibit a certain sentimentality. In colouring he is 
 generally powerful, and successful in his chiaroscuro, but his 
 tones are deficient in the transparency belonging to the 
 school ; on the contrary, a heavy brownish hue is seen in his 
 flesh, which occasionally degenerates into hardness. His 
 compositions are of unequal merit. His St. Roch, for 
 example, being healed of the Plague, in the church of St. 
 Jacques at Antwerp, is as successful as his Guardian Angel, 
 in the church of St. Andrew, in the same city, is the reverse. 
 Excellent specimens by him are two Miracles by St. Hugh. 
 Bishop of Lincoln, in the Antwerp Museum, Nos. 278 and 
 292.^ 
 
 Jan van dex HoECKE,born at Antwerp [1611], died there 
 1651. He visited Italy, and on his return executed many 
 works for the court at Vienna ; and settled finally in his 
 native to-\vn, as painter of the Court of the Archduke Leopold 
 Wilhelm, Stadtholder of the Spanish Netherlands.^ Though 
 less known than the masters above described, he is never- 
 theless, both as an historical and portrait-painter, one of 
 Rubens' best scholars. He approaches close to his master 
 in animation of heads and clearness and power of colouring. 
 This is seen in his historical picture of St. Francis adoring 
 the Child extended to him by the Virgin, in the Antwerp 
 
 ' Catalogue of Antwerp Museum, p. 274. 
 
 ^ [No. 278 is by Erasmus Quellyn, Ko. 292, by a younger painter of 
 ♦.he same name.] 
 
 ' Antwerp Catalogue, p. 429.
 
 314 THE FLEMISH REVIVAL. Book V. 
 
 Museum, No. 381. As a specimen of his combination of 
 allegory and portraiture 1 may mention his stately equestrian 
 portrait of the Archduke Leopold William, with Fame and a 
 Genius — the allegorical part is, however, far feebler than the 
 portrait ; and another portrait of the same prince adorning 
 the Virgin. Both are in the Vienna Gallery. 
 
 CoRNELis ScHUT, bom at Antwerp 1597, died 1655. He 
 was a very vigorous painter of ecclesiastical subjects, and 
 also in that department of decorative painting consisting of 
 allegorical subjects, so much in favour at that time. An 
 example of this is afforded by his four pictures executed for 
 the triumphal arches of the Cardinal Infant at Ghent. He 
 frequently painted the figures in the centre of wreaths of 
 flowers executed by Pater Segers. Although Rubens' influ- 
 •ence is often recalled in his pictures, yet his compositions 
 are seldom happy as regards lines, while his forms and heads 
 show a very unsuccessful aim at ideality. In addition to 
 this he is weak in feeling, often cold in his lights, dark in 
 shadows, and hard in outline. Specimens of his painting 
 are the Institution of the Feast of Portiuncula, No. 326 ; 
 the Decollation of St. George, No. 327, in the Antwerp 
 Museum; the Virgin and Child, in a picture by Pater Segers; 
 and Hero bewailing the fate of Leandcr, in the Vienna Gal- 
 lery. Schut is also known as the engraver of a work upon 
 the entry of the Cardinal Infant, of which he furnished 
 forty-one designs. 
 
 The following scholars of Rubens occupy an inferior posi- 
 tion, but are still deserving of notice : — 
 
 Deodat van der Mont, commonly called Delmont, born 
 1581, [free of the Antwerp Guild in 1608],^ died 1641. This 
 artist was, without question, the earliest scholar of Rubens, 
 having been such during the master's residence in Italy, 
 from 1600 to 1608. His pictures are now very rare. The 
 only one I know — a Transfiguration, in the Antwerp Museum, 
 No. 56 — shows him to have possessed no remarkable powers. 
 
 Frans Wouters, born 1612, died 1659. He decidedly 
 followed the master's realistic tendency ; but his colouring, 
 though warm and clear, shows a greater resemblance to 
 
 ' [Liggeren, L 448.]
 
 Chap. II. VAN EGMOND — VAN HERP. 315- 
 
 Van Dyck. He took particular pleasure in painting wooded 
 landscapes, introducing foreground figures from ancient 
 mythology ;' such as Diana and her Nymphs, Pan with his 
 pipe, Venus and Adonis, etc., after the taste of Rubens. 
 His SS. Joachim and Joseph, however, in the Vienna 
 Gallery, show that he occasionally succeeded in treating 
 sacred subjects. 
 
 Justus van Egmond, born [1602, apprenticed at Antwerp 
 to Gaspar van der Hoeck in 1615, was Rubens' journeyman 
 when he obtained the mastership of his Guild at Antwerp in 
 1628.' He] died 1674. This artist devoted his activity 
 during Rubens' life as an assistant in his works, and took 
 part especially in the execution of the series of pictures 
 illustrating the life of Mary of Medicis. Two portraits, also, 
 of Philip IV. of Spain, in the Vienna Gallery, bear evidence 
 of his having been a very respectable painter on his own 
 account : the one represents the king in youthful years ; the 
 other and larger portrait is of later date. Both are of 
 lively character, and of clear, and, as respects the latest 
 portrait, of warm colouring. But the execution is rather too 
 smooth. 
 
 Gerard^ van Hkrp, born at Antwerp [1608, apprenticed 
 twice at Antwerp, first to Darmau Wortelmans in 1626, next 
 to Hans Birmans in 1628, died 1677],* scholar of Rubens. 
 He principally devoted himself to genre subjects, in which 
 he showed himself a good draughtsman and versed in all the 
 colouring and fine technical qualities of the school. His 
 pictures are of moderate dimensions, generally interiors with 
 country people ; and also occasionally subjects from Scrip- 
 ture history, on the same scale. A picture by him — Monks 
 distributing Bread — is in the National Gallery, No. 203.* 
 The Peasant and the Satyr, in which he has availed himself 
 of Jordaens' composition, is in the Berlin Museum, No. 945. 
 and a Peasant Family, in the Aremberg Gallery, No. 87. 
 
 ' [Liggeren, i. 516, 650.] 
 
 2 [The name of this painter is William; see the Liggeren, i. 623, 662, 
 and ii. 91.] 
 
 3 [Liggeren, i. 623, 662, and ii. 457.] 
 
 ^ [This picture has been withdrawn from the coUection of the National 
 Gallery ]
 
 316 THE FLEMISH REVIVAI,. Book V. 
 
 His colouring, however, has never the power and depth of 
 his master. 
 
 PiETER Van Mol, born 1599, [matriculated at Antwerp in 
 1622j,^ died at Paris 1650. He was in every respect an 
 imitator of Rubens ; though, withal, heavier and less har- 
 monious in colour, harder in outline, and less earnest in 
 feeling. Examples of him are seen in the Adoration of the 
 Kings, in the Antwerp Museum, No. 4B9 ; and in his Descent 
 from the Cross, in the Louvre, No. 338. 
 
 Jan Thomas, born at Ypres 1610, [master at Antwerp in 
 1640],^ died 1673. After a visit to Italy he settled in Vienna, 
 where he became court-painter to the Emperor Leopold. 
 The school to which he belonged is shown in a picture of 
 rich composition representing the Triumph of Bacchus ; at 
 the same time the aim at greater elegance of forms bears 
 witness to the influence which Italian art had had upon him. 
 But though warm in colour, he fails in transparency. A great 
 ■cleverness of composition is seen in a small number of etched 
 plates. 
 
 [Victor WoLFV'OET, born in 1612 at Antwerp, died there in 
 1652. He entered the Guild as a master's son in 1644 ; but 
 though at that time Rubens had already been dead some 
 years, Wolfvoet took his works as models, and once in par- 
 ticular composed a Visitation, now in St. Jacques of Antwerp, 
 from Rubens' picture of the same subject, on the wing of 
 the Descent from the Cross in the Antwerp cathedral.] 
 
 Nicholas van der Horst, born at Antwerp 1598, died at 
 Brussels, where he established himself on his retui'n from 
 Italy, 1646. He is said to have attained but a moderate 
 proficiency in art. I have never seen a picture by him. I 
 must owja the same as regards Willem Pannels, known for 
 his clever etchings ; and also Pieter Soutjian, [of Haarlem], 
 born 1591, died [at Haarlem in 1657],' the well-known en- 
 graver of Rubens' works, and who especially painted portraits. 
 Finally I may mention a foreigner, as a scholar of Rubens, 
 Samuel Hoffmann liy name, born at Zurich 1592, died at 
 
 ' [Liggeren, i. 477-583.] 
 
 ^ [liiggeien, ii. 110.] 
 
 * [Van der Willigen, ' Les Artistes de Haarlem,' u. 8., p. 266.]
 
 Chap. II. QUELLINUS — VAN OOST. 317 
 
 Frankfort 1648. He was both historical and portrait-painter. 
 I only know a female portrait by him, in the Stadel Institute 
 at Frankfort, No. 273, and which places him on a low scale 
 of art. The conception is mediocre, the colouring dull, and 
 the lights of an unpleasant metallic shine. 
 
 If the first generation who succeeded Kubens showed a 
 decided decline in the art of historical painting, this change 
 is still more obvious in the painters who lived in the second 
 half of the seventeenth century. The most remarkable of 
 this period was Jan Erasmus Quellinus, son of the before- 
 mentioned painter of that name, born 1634, died 1715 (?) 
 A visit to Italy, and the study of Paul Veronese especially, 
 enabled him to treat large scattered compositions with skill. 
 Nevertheless he is but little attractive in his heads ; and his 
 colouring, though powerful, shows by its cold, heavy, brown- 
 ish tone that the school to which he belonged had already 
 forfeited that fine colouring which was one of its chief charms. 
 Two principal pictures by him are the Coronation of Charles 
 V. as King of Kome, by Pope Clement VII., in the Vienna 
 Gallery, in which the influence of the Venetian school is 
 apparent ; and the rich composition of the Pool of Bethesda, 
 in the Antwerp Museum, No. 282. The merit of the latter 
 in point of art is very slight. 
 
 In Bruges the school was to a rather late period, and not 
 unworthily, represented by Jacob van Oost the elder, born 
 1600, [master in the Guild at Bruges in 1621, died at Bruges 
 in 1671.] His visit to Italy, [from which he returned before 
 1629] ,^ is seen in the decided influence of Annibale Carracci ; 
 yet both in realistic conception and in his colouring, which 
 alternately recalls Gaspard de Craeyer and Van Dyck, he re- 
 mains essentially true to his native school. Among his various 
 pictures in churches in Bruges the most remarkable are the 
 Presentation of the Virgin, on an altar in St. Jacques; and the 
 half-length figures of SS. Peter and Paul, in a family chapel 
 of the church of St. Sauveur. He also painted excellent 
 portraits. 
 
 At the siame time the city of Brussels produced a far 
 
 ' [Weale, ' Catalogue du Mus^e de Bruges,' pp. 75, 77.] 
 * [lb. ib. ib.]
 
 318 THE FLEMISH REVIVAL. Book V. 
 
 more celebrated painter — Philippe de Champagke, born 
 1002, died 1674. Although he proceeded to Paris in his 
 nineteenth year, and there became strongly imbued with 
 the I'eeling of the French school, only returning to Brussels 
 once during his life, for any stay, in 1627, yet it seems 
 unfair to withdraw him from the category of Netherlandish 
 artists. His chief master, Jan Fouquier, the landscape- 
 painter, was Netherlandish ; and his principal portraits, in 
 their refined feeling for nature — alternately vigorous and 
 warm, and tender and silvery in colouring — thoroughly 
 partake of the character of the school. In his earlier time 
 he painted landscapes of poetic composition, and enlivened 
 with figures of no common character. Of this class are two 
 pictures with scenes from the life of St. Mary of Egypt, in 
 the Louvre, Nos. 84 and bo. The colouring is warm, but 
 has darkened in some parts. The picture, however, in 
 which his piety and feeling for nature are equally and 
 happily combined, is that, painted in 1662, of his sick 
 (laughter, a nun of the convent of Port Koyal, and of the 
 mother, Catherine Agnes Arnauld, who is praying for her, 
 and to whose prayers her recovery was owing. In the 
 Louvre, No. 83. The arrangement of the two figures, and 
 the expression of the heads, is highly truthful and touching ; 
 the tone of the most admirable delicacy and clearness ; and 
 the execution most careful. The following are Philippe de 
 Champagne's best portraits, proj^erly speaking, most of them 
 in the Louvre : — The portrait of Robert Arnauld d'Andilly, 
 painted 1650, the well-known inmate of Port Royal/ No. 
 88 ; with his elevated and truthful conception is here com- 
 bined a golden tone of colour carried out in full light ; one 
 of the hands is especially beautiful. His own portrait, 
 painted 1668, No. 89 ; his thoughtful and amiable character 
 is here acftnirably rendered ; the painting broad and masterly, 
 in an equally warm but somewhat less clear tone. [Three 
 portraits of Cardinal Richelieu on one canvas, a full face 
 and two profiles, studies of the utmost delicacy and clever- 
 ness, No. 798 in the National Gallery.] Other pictures by 
 
 ' Another example of this portrait, and one not less fine, ia in tlie 
 collection of Lord S|jencer at Aithorp.
 
 Chap. II. DOUFFET — FLEMAEL. 819 
 
 him — such as the Legends of SS. Gervasius and Protasius, 
 Nos. 80 and 81, and the Last Supper — in the Louvre, show 
 the master entirely under the theatrical spell of the French 
 school, his colouring even degenerating into gaudiness. 
 
 In Liege also, the chief tow^n of French Flanders, two 
 respectable masters appear, both of whom, like Lambert 
 Lombard before them, steer rather against the generally- 
 prevailing realistic feeling of their country, and aim at a 
 more ideal conception. One of them was Gerard Douffet, 
 sometimes written Duffeit, born 1594, died 1660. He 
 attended the school of Rubens, it is true, for two years ; but 
 when in Italy devoted himself so entirely to the study of 
 the Italian masters that the influence of Rubens is only 
 traceable in the warm flesh-toues of his well drawn and 
 conceived portraits, fovir of which are seen in the Munich 
 Gallery, Nos. 874 to 877. In his historical pictures, on 
 the other hand, he shows no common skill of arrangement, 
 good drawing, fine forms frequently of his heads, and a 
 truthfulness of expression ; his figures, however, partake 
 too much of the Academy ; his drapery is mediocre, and his 
 colouring untrue, crude, and sometimes chalky. One of 
 his chief works is the Visit of Pope Nicholas V. to the 
 Grave of St. Francis, now [in the Munich Gallery, No. 
 110]. Another large picture in the same place, the Finding 
 of the True Cross by the Empress Helena, No. 873, is far 
 weaker. 
 
 The second of these masters was Bartholet Flemael, 
 born also at Liege 1614 ; died 1675. He was scholar to 
 the above, also visited Italy [1638], and painted with great 
 repute in the Carmelite and Augustin churches at Paris. 
 After his return to Liege he worked for various of the 
 churches of that city. His historical pictures show the 
 strong influence of the French school — namely, of Nicolas 
 Poussin. He is not wanting in talent for composition, but 
 his forms partake too much of the character of Academy 
 figures ; his feeling is cold and his colouring feeble. The 
 subject of the flight of ^neas from the burning city of Troy 
 is in the Dresden Gallery, No. 1094. His portraits were 
 popular in his own time, but I know none of them. 
 
 27
 
 320 THE FLEMISH REVIVAL. Book V. 
 
 Gerard de Lairesse, born 16i0, died 1711, was the 
 scholar of his father, Regnier de Lairesse, but formed 
 himself principally after Bartholet Flemael and Poussin. 
 Although he early migrated to Holland, and eventually died 
 there, yet upon the whole he was never tempted, by the 
 realistic practice there prevailing, to forsake his ah-eady 
 fully-formed idealistic style. In this respect, therefore, he 
 belongs far more to the school of Liege. Having received 
 a, superior education, he prefeiTed subjects from mythology, 
 allegory, and ancient history, which he treated with correct 
 knowledge of costume, and with evidence of great architec- 
 tural science. He was least successful in Biblical subjects. 
 His heads, in the too obvious imitation of the antique 
 beauty of profile, are monotonous, and generally cold in 
 feeling ; his aim at grace of action makes his figures often 
 affected, and in their proportions he is often too short ; but 
 his draperies show refined taste, and the keeping of his 
 pictures a delicate aerial perspective. In colouring he is 
 generally cold, and, when warm, too heavy. Finally, in 
 execution he is careful, and of great mastery of hand. Most 
 of his pictures contain small figures. His whole style was 
 explained by himself in different works which for a long 
 time were used as text-books in academies.^ The Louvre 
 has some of his pictures which show his various tendencies. 
 He is seen to most advantage in a circular Dance of a 
 Bacchante, with six children, No. 205. A joyous feeling 
 pervades the figures, the lighting is warm, and finish very 
 delicate. Another picture, No. 266, the Choice of Hercules, 
 shows by the tjenre-like conception of the animated heads, 
 and the clear and warm colouring, the passing influence of 
 the Dutch school. A Last Supper, No. 208, is, on the 
 other hand, frosty in feeling and heavy in colour. Pictures 
 particularly characteristic of his silvery tone are the Nomi- 
 nation of Alexander Severus, when a boy, to the Imperial 
 dignity, No. 4H() ^ ; and Achilles dipped by his mother Thetis 
 into the Stj^, No. 481 — both in the Berlin Museum. But 
 the best picture I know by him, of the same class, is the 
 
 'His chief work is '"T Groot Schiklerbock,' tot Amsterdam, 1712. 
 2 parts. ^Now withdrawn.
 
 Chap. II. TENIERS. 321 
 
 Death of Germanicus, No. 603, in the Cassel Gallery. A 
 male portrait to the knees, in the same gallery, No. 604, 
 shows that he occasionally succeeded in portraiture. It is 
 of elevated feeling and warm colouring. He also executed 
 a number of etchings, with a delicate point, many of which 
 illustrate his works. 
 
 Of the masters of this pei-iod in Belgium, who painted 
 what is called genre, in the highest development of this class 
 of art, the following were the most remarkable : — DaviD' 
 Teniers the Father, born at Antwerp 1582, died 1649. 
 [He was apprenticed to his brother, Juliaix Teniers, in 1595, 
 and entered the Guild of Antwerp as a master in 1606.]^ 
 He formed his style, during a long stay at Rome, more 
 especially from that of Adam Elzheimer.^ His chief sub- 
 jects were taken from peasant life, but he also occasionally 
 treated Biblical and mythological subjects. In many of his 
 works the landscape predominates. He is the connecting 
 link between the /7e»r«-painters of his own and the preceding 
 period. His earlier works recall in heaviness of tone, crude- 
 ness of colour, and hardness of outline, the school of the 
 Francks. Of this kind are six pictures in the Vienna 
 Gallery. In his later pictures he approaches, in freedom of 
 treatment and in general keeping, somewhat more to the 
 manner of his son : as, for example, in a Village Fair, and a 
 landscape with shepherds, in the Dresden Gallery, Nos. 990 
 and 993. The earlier and also the weaker productions of 
 the celebrated son are often attributed to the father. 
 
 David Teniers the younger, born 1610, died 1690. This 
 master takes by far the first position among the 5re?n-e-painters 
 of Belgium. He learnt his art under his father. At the 
 same time, without being actually a scholar of Rubens, he 
 partook strongly of his influence. As early as 1632-1633 
 he was admitted, in the quality of the son of a painter, into 
 the Guild at Antwerp.* In 1637 he married a daughter of 
 
 ' [Liggeren, i. 381, 387, and 434.] 
 
 * I cannot give credit to the statement that he was a scholar of Rubens, 
 never having seen a picture of his iu which a trace of this school is 
 visible. 
 
 ^ I have adhered in all respects to the excellent account given of 
 Teniers in the Catalogue of the Antwerp Museum, p. 382, etc.
 
 822 FLEMISH GENRE. Book V. 
 
 Jan Brueghel, Rubens being one of the witnesses of the 
 ceremony ; and in 1656 he married again Isabelle de Fren, 
 daughter of the Secretary of State for Brabant. By means 
 of his talents and pleasing personal qualities he attained a 
 liigher position in society than had before, or has since, been 
 occupied by any genre--psiinier- of the school. The Archduke 
 Leopold William, Stadtholder of the Spanish Netherlands, 
 appointed him court-painter, and also Groom of the Chambers 
 (Ajuda de Camera), including the charge of the picture 
 gallery ; and his successor, Don Juan of Austria, natural 
 son of Philip IV. of Spain, confirmed him in both these 
 offices. His art at the same time obtained him a European 
 reputation, so that other great potentates, Philip IV., Chris- 
 tina of Sweden, and the Elector of the Palatinate, over- 
 powered him with commissions, by which he obtained a 
 considerable fortune, and kept an agreeable house at Perke, 
 an estate between Mechlin and Vilvorde. He kept up his 
 activity as a painter to the last, dying at the advanced age 
 of eighty-four. 
 
 Teniers was one of the first and also one of the most 
 remarkable of those painters who, possessing the complete 
 command of all the powers of representation which then 
 flourished in the Netherlands, applied them to illustrate the 
 subjects of every-day life, or even, when tempted into higher 
 regions, included them under the same fieure-like treatment ; 
 for though the animated delineation of the peasant world, 
 under the most varj-ing forms — from the single figure of a 
 peasant smoking his pipe to the throngs which gather at 
 fairs and festivities — was his favourite sphere, yet the in- 
 fluence of his uncle, Hell Brueghel, or of his father-in-law, 
 Velvet Brueghel, appeared in many a scene from the realms 
 of fancy, such as witches and incantations, and especially 
 in the Temptation of St. Anthony, which he treated with 
 charming humour. The mania also for discovering the 
 philosopher's stone which prevailed at his time, gave him 
 occasion for those alchemist subjects in which he is un- 
 rivalled. The guard-house, with its old armour, drums 
 and flags, was another favourite sphere ; also cattle-pieces 
 and landscapes, wherein his delicate feeling for nature is
 
 Chap. II. TENIEPxS. 323 
 
 strikingly evident. His talent was least adapted for sacred 
 subjects, which, being invested by him with the same forms 
 as those he gave to his peasant world, are wanting in all eleva- 
 tion of feeling. These pictures, therefore, have little interest 
 for the mind of the spectator, except occasionally of a 
 humorous kind. The extraordinary technical facility of his 
 hand enabled him to imitate the manner of the most various 
 masters, as we see in his so-called ' pasticcios ' ; and his posi- 
 tion as superintendent of the gallery of the Archduke, who 
 possessed master-works of every school, gave him the best 
 opportunities of indulging this power. His admiration for 
 the heads of the Venetian school — Giorgione, Titian, Bas- 
 sano, and Tintoretto — is seen in the success with which he 
 especially imitated them. He even converted the Archducal 
 Gallery into a subject for his brush, representing the walls 
 with the pictures on them. The Vienna Gallery possesses 
 an admirable work of this kind, in which fifty pictures of the 
 Italian schools are included, and the painter himself con- 
 versing with the Archduke in the foreground,, Finally, he 
 frequently painted the figures and cattle for landscape- 
 painters : for instance, for Lucas van Uden. The qualities 
 which most attract us in the works of Teniers are his pic- 
 turesque arrangement, his delicately-balanced general keep- 
 ing, the exquisite harmony of colouring in his details, and 
 that light and sparkling touch in which the separate strokes 
 of the brash are left unbroken — a power wherein no other 
 ^6n re-painter ever equalled him. On the other hand, all the 
 charm of his humour can hardly atone for a certain coldness 
 of feeling, while his figures and heads have a degree of 
 monotony which is especially obvious in scenes with nume- 
 rous figures. , Occasionally, also, too decided an intention is 
 seen in his arrangement ; so that upon the whole his greatest 
 triumphs are attained in pictures of few figures. The differ- 
 ent periods of his long life distinctly appear in his works. 
 In those of his earlier time a somewhat heavy brown tone 
 prevails ; the figures are on a large scale — twelve to eighteen 
 inches high ; the treatment is broad, and somewhat decora- 
 tive. The influence of Brouwer may be perceived here, 
 though the idea that Teniers was a scholar of his is quite
 
 324? FLEMISH GENRE. Book V. 
 
 erroneous. Towards 164.0 his colouring becomes clearer, 
 continuing in this tendency up to 1644, when he had attained 
 a very luminous golden tone, and changing again from that 
 period into a cool silvery hue. With this there also ensued 
 a more careful and very precise execution. Pictures of this 
 class up to the year 1660, though occasionally wo find him 
 returning to his golden colour, are prized as his finest and 
 most characteristic works. After this he again adopts a 
 decided golden tone, which is sometimes very powerful. In 
 his last years the colouring becomes heavy and brownish, and 
 the treatment is undecided and trembling. 
 
 Considering the immense number of his works, produced 
 by the combination of an incredible facility of hand, exer- 
 cised through a long series of years, it would be impossible 
 for me to specify comparatively more than a few. I may 
 remark at the outset that, of all the public galleries known 
 to me, those of Paris, Vienna, and Munich are the most 
 abundantly endowed with fine specimens of this master,^ 
 while the same may be said of the private collections in 
 England. Of the pictures in the Louvre the following are 
 the most remarkable : — A Guard-room, No. 511, with Peter 
 denying Christ in the background, dated 1646. This, in 
 silveriness of tone, impasto, and delicacy of touch, is one of 
 
 ' According to the testimony of Mr. Ford (Handbook, pp. 760-768) 
 the Gallery at Madrid contains numerous and beautiful specimens of 
 Teniers. [Dr. Wiuigen visited Madrid in 1867, and published some 
 notices in von Zahn's ' Jahrbiicher,' from which the following respecting 
 Teniers (i. p. 99), desei^-es to be quoted : " Teniers is represented 
 here (Madrid Museum) by forty-three pictures, many of which are so 
 admirable that the Museum deserves to' rank in respect of the master 
 on a level with that of the Hermitage at l^etorsburg. In a picture in- 
 scribed, 'D. Teniers piiitor della Camera de S. A. J.,' Teniers displays 
 his cleveraess at imitation in copies of the masterpieces on the walls of 
 the gallery of the Archduke Leopold. Amongst the large ' Kermesso' ' 
 one is particularly remarkable. It is dated 1647, and is an admirable 
 example of picturesque comiHisition, fine silver-tone, and delicate treat- 
 ment. A similar piece, with the addition of a gentleman and two ladies 
 to the conipany of i>easauts, is etiually admirable, and surely of the 
 same year. To these may be compared an excellent Twelfthnight-feast, 
 executed about 1650. Another 'Kennes.se' deserves notice for the 
 beauty of its landscape background, which is the best that Teniere ever 
 jiaintt'd. Small f)ictures of peasant life are numerous .... As a 
 curiosity I note (Nos. 14"2r>-36) twelve little pieces, in which Teniers 
 iliuslratea the epifode of Hinalilo and .\riuida ni Tasso's '(jierusalemme 
 Liberuta,' it need liauUy be said with what success.^
 
 D. JXNIFOi f 
 
 TAVERN SCENE. 
 Paiated by Teuiers. Now in tha ilunich Gallery. 
 
 paje 325
 
 Chap. 11. TENIERS. 325 
 
 his most beautiful works. A woodcut is here subjoined. 
 The Prodigal Son enjoying the pleasures of dalliance and 
 the table, dated 1644, No. 512. In composition, refinement 
 of harmonious gold tones, and spirited touch, this is a work 
 of the first class. A Peasant Feast, dated 1652, No. 515, 
 in which Teniers himself and his daughter appear. The 
 Seven Works of Mercy, No. 513. This is conceived under 
 the garb of peasant life ; and, of the four admirable pictures 
 of this subject, is, for clearness of the golden colour and 
 great precision of execution, one of the best. A landscape, 
 with fishermen drawing up their nets. No. 516. This is a 
 very happy example of his larger and more broadly-treated 
 works. The efiect of rain and sunshine is excellent. Two 
 falcons overpowering a heron, No. 520. Here Teniers 
 appears as a very truthful animal-painter. 
 
 Of the pictures at Munich I observed the follomng : — A 
 Drinking Party of ten persons. No. 902, Cabinets, of mas- 
 terly carrying out in a silvery tone. A Dinner of Monkeys, 
 No. 922 ; and a Monkey and Cat Concert, No. 920. These 
 are of extraordinary delicacy of tone, and of charming 
 humour. Peasants dancing and playing cards in a Dutch 
 alehouse. No. 903. Of the same time and of similar tone, 
 finely composed, and with the figures, despite their larger 
 proportions, very delicately treated, are a Peasant Wedding 
 in the open air, dated 1651, No. 905. Still richer in com- 
 position and warmer in tone is a party smoking and playing 
 ■cards at a round table, No. 252 ; signed. This marvellous 
 picture is unfortunately much injured by cleaning. Of a 
 less important picture — three men smoking — No. 913, a 
 woodcut is appended. 
 
 The best specimens in the Vienna Gallery are a Peasant 
 Wedding, dated 1648, and signed. This is the finest of all 
 his pictures in which the figures are unusually large. The 
 foreground figures, which are in full light, are in his clear 
 golden tones : the background most delicately kept in a cool 
 scale of harmony. A Fair, with Teniers and his family 
 present ; signed : in arrangement, clearness, and touch, this 
 is the finest picture by the master of this subject I know. 
 The popular sport of shooting at a bird, held at Brussels in
 
 
 1652, on which occasion the Archduke Leopold received a 
 crossbow from the Guild of Brussels Archers : among the 
 numerous portraits are those of Teniers and his family ; 
 signed, and dated 1652. Of all his larger works, this — 
 which is four feet five inches high, by seven feet nine inches 
 wide — is the masterpiece. The delicate discrimination of 
 the arrangement, the large number of figures, the keeping 
 produced by the large masses of light and shade, the anima- 
 tion of the portraits, and the broad but still careful treat- 
 ment, are all deserving of the highest admiration. A winter 
 landscape with snow. The extraordinary truth of the scene, 
 and the clearness of the winter sky, show how entirely he 
 was fitted for such subjects. Of his Biblical subjects, that 
 of the Sacrifice of Isaac may be mentioned as one of the 
 finest in point of masterly treatment. It is signed, and 
 dated 1653. The same may be said of the Temptation of 
 St. Anthony, also signed, and dated 1647, in the Berlin 
 Museum, No. 859, as regards this often repeated subject by 
 the master. The poor saint 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 demon 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 a 
 nose in his skull. In the air above all is wild tumult : 
 there are two knights who ride on fishes, and tilt at 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 by way of 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 
 ft fearful scream while he tosses his arms aloft. All kinds 
 of reptiles are flying and creeping about. It would be 
 difficult to match the mad conceits and wild genius of this 
 picture. 
 
 As respects the many masterpieces by Teniers in Eng-
 
 Chap. IL TENIEilS. 327 
 
 land, I may observe that, for number and excellence, no 
 collection can vie with that of her Majesty at Buckingham 
 Palace. Next in order may be placed those of [the National 
 Gallery], those which I saw in the Ashburton collection, 
 and those of Lord Ellesmere, Thomas Baring, Esq., and 
 Lord Overstone. [Amongst the older pictures of the 
 National Gallery, No. 158, Boors regaling is a charming 
 example of Teniers' delicate finish in a cool scale of tones. 
 Of later purchases, the Castle of Perch (No. 817) is most 
 interesting as a specimen of landscape, and as a representa- 
 tion of Teniers himself as he lived in his rural retreat in 
 Belgium. The four seasons (857-60) are admirable for 
 tenderness of tone and cheerfulness of contrasts in tints. 
 Surprising for its effective play of light is No. 862, an old 
 peasant caught by his wife courting the servant-maid. Of 
 great power is No. 805, an old woman peeling a pear.] I 
 abstain from entering into any enumeration of the treasures 
 in private collections, partly because most of the examples 
 are not easily accessible, and also because I have described 
 those in the above-mentioned collections,^ and also a number 
 of others in various parts of England. Teniers also etched 
 a number of plates, which all correspond in invention with 
 his pictures, but are very various in merit. In one of them, 
 a man in profile, with an hour-glass, he has successfully 
 imitated Rembrandt. Five peasants round a table, in his 
 own style, are spirited and careful. Many of his small 
 plates, on the other hand, are very slightly treated. 
 
 The very attractive qualities displayed by the works of 
 Teniers, as well as the favour with which they were viewed 
 by the public, induced not only some of his scholars, but 
 also other masters, to imitate his manner as closely as pos- 
 sible. Nor did they hesitate in frequent cases to sign his 
 name also ; and even where such pictures have been signed 
 with their own names, that of Teniers has been substituted 
 by dealers. On this account it is that so few authentic 
 works by these imitators can be referred to, and that ail 
 reliable information regarding them is very difiicult to 
 
 ' 'Treasures of Art,' vol. ii. p. 11 ; vol. i, p. 404 ; vol. ii. pp. 41, 
 106, 131, 132, 139, 143.
 
 328 FLEMISH GENRE. J^ook V. 
 
 obtain. All, however, may be distinguished from the master 
 by their inferior colouring and touch, however much in these 
 respects they may diti'er from one another. As positive 
 imitators of Teniers I may quote the following, who were his 
 scholars : — Abraham Teniers, a brother of the painter, born 
 [1G29, died 1G71] ; ^ Thomas Apshoven ; De Hondt ; and 
 Arnold van Maas. 
 
 Frans Duchatel, born at Brussels 1625, though also a 
 scholar of Teniers, and so like him in some of his works as 
 to be mistaken for him, must nevertheless be considered as a 
 more independent master.^ A sojourn in France had brought 
 him under the influence of Van der Meulen, which is seen 
 in his large and principal picture, [dated 1668, No. 11], in the 
 Museum at Ghent — Charles II. of Spain receiving homage as 
 Count of Flanders from the Estates of Ghent, in the person 
 of his Stadtholder, the Marquis of Castel Rodrigo — and which 
 is remarkable for the excellence of the general keeping, and 
 the number of lifelike and well painted portraits it contains. 
 Another picture by him is the Panorama of Valenciennes, 
 in the Antwerp Museum, No. 344, probably painted in 
 1656, and which approaches so far nearer to the manner of 
 Teniers as to pass under his name in that gallery. I agree 
 with Smith's Catalogue,^ however, in ascribing it entii'ely to 
 Duchatel. 
 
 Mathys van Helmont, born at Brussels 1653, [free of the 
 Antwerp Guild in 1646],^ died at Antwerp 1719, was also a 
 scholar of David Teniers. A Fair, with numerous figures of 
 considerable dimensions, is in the Ai'emberg Gallery, No. 86. 
 It is full of animation, carefully painted, but rather hard in 
 the outlines, and somewhat gaudy in colour. [A feebler piece, 
 " The Alchymist," once adorned the Museum of Rotterdam.] 
 
 Both the following artists were also strongly influ- 
 enced by Teniers, but occupy nevertheless an independent 
 place : — 
 
 ' [Liggeren, ii. 1C6, 407.] 
 
 - [It may be asked whether Francois du Chastel, as he signs himself 
 at Ghent, is not identical with Francois Casteels, who took the freedom 
 of the Guild of Antwerp as a master's son in 1654. Liggeren, ii, 258.] 
 
 ' Smith's 'Catalogue Raisonn^,' vol. iii. p. 447. 
 
 * [Liggeren, ii. 169.]
 
 Chap. II. RYCKAERT — VAN TILBORGH. S21> 
 
 Bavld Ryckaert, [born at Antwerp 1612, taught by his 
 father of the same name, and free of the Antwerp Guild as a 
 master's eon in 1636, died between Sept. 1661 and Sept. 
 1662 ].^ His heads and attitudes are of great animation, 
 and his colouring generally of a clear golden tone.   His 
 subjects are usually interiors with peasants. Two pictures 
 of this class, one of which has suffered, are in the Dresden 
 Gallery, Kos. 1101 and 1102, [dated respectively 1639 
 and 1644.]2 He also painted village fairs. A rich picture 
 of this kind, of very careful finish, is in the Vienna Gallery. 
 It is, however, somewhat cooler than Teniers in flesh-tones, 
 rather crude in effect, and especially inferior to him in deli- 
 cacy of general keeping. In a picture of a witch with imps, 
 in the same gallery, he approaches Teniers in impasto and 
 effect. [An Alchymist, No. 298 in the Brussels Museum, is 
 inscribed: " D. Eyckaert, 1648." ] 
 
 Egidius van Tilborgh, born at Brussels [1625 (?), master 
 in the Brussels Guild in 1654, president of the Guild in 
 1663-1664].^ He also treated subjects of peasant life, 
 especially fairs, showing much skill of arrangement, indi- 
 vidual heads, clear colouring, and excellent execution. In 
 general keeping, however, his pictures are rather spotty. 
 One of his masterpieces, a Dutch Wedding, remarkable 
 for richnei^s, clearness of colouriBg, and more than usual 
 harmony, is in the Dresden Gallerj^, No. 1116. 
 
 JoosT VAN Ckaesbecke, bom at Brussels 1608. The year 
 of his death is uncertain, but may be with certainty assigned 
 to a later date than that (1641) usually given. In 1633-34 
 he was admitted, [with the titles of " baker and painter"], 
 into the Painters' Guild at Antwerp.* Though treating sub- 
 jects of a Teniers class, this painter followed the style of his 
 master, Adrian Brouwer. His early death, and the variety 
 of his occupations, render the number of his pictures small, 
 
 ' [Liggeren, ii. 80.] 
 
 " [No. 1018 in the Dresden Gallery, assigned to the same master, is 
 dated 1699.] 
 
 ' [E. Fetis, ' Catalogue du Mus^e Royal de Belgique,' p. 401 ;. 
 consult also Burger, ' Musefe de la Hollande,' i. 243.] 
 
 * See all particulars of this painter in W. Burger's ' Gallerie d'Aren- 
 berg,' 1859, p. 88. [Liggeren, ii. 48.]
 
 330 FLEMISH GENRE. Book V 
 
 and his reputation far less extensive than he deserved. His 
 pictures are full of life ; the heads truthful and various ; the 
 keeping excellent ; the colouring, though not of the same 
 charm as his master's, yet warm and clear ; and the execution, 
 though also falling short of the softness and refinement of 
 Brouwer, yet of admirable impasto and very spirited. A 
 picture by him in the Aremberg Gallery represents his own 
 atelier. He is seated at his easel painting a group of three 
 men and two women, who are sitting by a table ; signed 
 J. V. C. B. ; on wood. This is unquestionably one of the 
 best examples of his art existing. The arrangement is easy ; 
 the heads full of life ; the keeping in a cool harmony, and, 
 with decided lighting, very delicate ; and the careful and 
 spirited execution of solid impasto. Considering the rarity 
 of his works, and the kind access allowed by the pos- 
 sessor, I venture also to cite the excellent picture of a 
 woman baking pancakes, wdth two children, belonging to 
 Mr. Henderson.^ 
 
 Peter Bredael, born at Antwerp 1630, [entered the 
 Antwerp Guild in 1650, and died in 1719]. ^ He painted 
 landscapes with figures in the taste of Jan Breughel, in which 
 he often introduced architecture of Italian forms. These are 
 well composed and executed, but have something heavy and 
 dark in colour. I know of no picture by him in a public 
 gallery.^ [Two Italian landscapes with numerous figures are 
 preserved in the Academy of Bruges (No. 54 and 55), 
 which give an idea of his manner. One of them is signed 
 " Peeter van Bredael."] 
 
 PiETER Bout, born 16G0 (?) or 1G79 (?) at Brussels, and 
 Anton Fkans Boudewyns, his contemporary, executed to- 
 gether a large number of small landscapes with numerous 
 figures, which, like those of Jan Brueghel, occupy a place 
 midway between landscape and genre. The landscape part, 
 executed by Boudewyns, is generally borrowed from Italian 
 scenery, of great varietj- of invention, and of very clean and 
 
 ' ' Cabinets and Galleries,' etc., p. 208. 
 ^ [Liggeren, ii. 215.] 
 
 ' The four pictures attributed to him in the Vienna Gallery are by 
 another hand.
 
 Chap. II. STANDAART — MIEL. 331 
 
 minute execution. Tlie figures and animals, by Bout, are 
 also treated with much picturesque feeling, well drawn, and 
 painted with a clever but somewhat meagre brush. These 
 pictures, however, though otherwise pleasing, have some- 
 thing trivial in effect. Two good examples of this class are 
 in the Vienna Gallery. Also, among the ten in the Dresden 
 Gallery, Nos. 1151 to 1159, and No. 1160, are some of 
 his best works. 
 
 PiETER VAN Bloemen, Called Standaart, born at Antwerp 
 1649 (?), died 1720. He spent some years in Rome, the con- 
 sequence of which was that the landscapes of his pictures, 
 which sometimes constitute their principal feature, have 
 generally an Italian character. His subjects are usually 
 men and animals, and particularly soldiers and horses. He 
 shows much skill in composition, is a thorough draughts- 
 man, and has a touch of much decision. Many of his pic- 
 tures are also of much power, and are tolerably clear ; but 
 generally he is cold, heavy, and dark in colouring. He has 
 a great predilection for a brick-red colour, especially in his 
 flesh- tones ; and occasionally his execution becomes deco- 
 rative. Of the six pictures by him in the Dresden Gallery, 
 the Vagrant Family, No. 1142, is most remarkable; and next 
 to it, fishermen and an old grey horse, and travellers with 
 horses halting before a tavern. A camp. No. 1144, is, oa 
 the other hand, an example of his dark manner. 
 
 Two historical, but not important painters in that line,, 
 who also occasionally treated genre, show in their pictures 
 the last kind of influence imbibed from visits to Italy. Jan 
 MiEL,^ born near Antwerp 1599, died [at Turin] 1664 ; 
 painted scenes from low life in Italy — country people, 
 musicians, beggars, etc., the landscape occasionally forming 
 the chief subject. He also painted landscapes and sea- 
 scapes. He is distinguished by pleasing incidents, good 
 drawing, and careful execution, and sometimes by a warm 
 colouring. Frequently, however, this last becomes cold 
 and dark, and the treatment over smooth. His pictures 
 are rather scarce. Good examples are in the Louvre, and 
 
 ' See notice by Edward Fetis in the Bulletins of the Royal Belgian 
 Academy of 1857, p. 157, etc. 
 
 28
 
 332 FLEMISH GENRE. Book V. 
 
 in the Galleries of Dresden, Berlin, Vienna, Florence, and 
 Madrid. I have also described several in my ' Treasures 
 of Art." 
 
 Anton Gotjbau, born at Antwerp 1616, died there 1698.' 
 [In his earlier form he is a Dutchman more than a Fleming, 
 and paints camp scenes, one of which, dated 1639, is in the 
 Gallery of Meiningen, another in the Gallery at Prague. At 
 a later period he worked in the style and taste of Jan Asselyn, 
 having paid a visit to Rome and admired the canvases of 
 that Italianized artist.] ^ The only picture I know by him is 
 in the Antwerp Museum, No. 185, representing artists study- 
 ing from the ruins and sculpture near Rome. This work 
 shows a refined painter as respects composition, chiaroscuro, 
 and skilful touch. [Another picture of the same class, a view 
 of the Piazza Navona, is No. 186 in the same museum.] 
 
 At this time also Belgium possessed some excellent painters 
 who devoted themselves exclusively to portraiture. 
 
 PiETER Meert, born at Brussels 1618, [registered as an 
 apprentice 1629, as a master 1640, in the Brussels Guild] ,' 
 died there 1669. His porti'aits exhibit good conception, 
 though of somewhat prosaic character ; warm and ctear 
 colouring ; a broad touch, and fine impasto. A picture 
 representing members of the magistracy of Brussels is in the 
 Museum there ; another, the portraits of a naval captain and 
 his wife, in the Berlin Museum, No. 844. 
 
 Wallerant Vaillant, born 1623 at Lille, which then 
 belonged to Flanders, died in Amsterdam 1677. He became 
 u fine portrait-painter under the teaching of Erasmus Quel- 
 3inus at Antwerp. In 1658 he painted the portrait of the 
 Emperor Leopold, on occasion of the coronation of that 
 monarch at Frankfort — a work which attracted great admira- 
 tion, and which led to many other commissions. The same 
 success attended him at the Court of Louis XIV., where he 
 painted the Queen, the Queen Mother, the Duke of Orleans, 
 and a number of other persons. He then settled in Amster- 
 
 ' Catalogue oi the Antwerp Museum, p. 190. 
 
 * Compare Bode (W.), Frans Hala und Sein Schule, 8vo, Leipzig, 
 1871. p. 40. 
 
 » E. Fctis, ' Catalogue,' Musde Royal de Belgique, p. 316.
 
 Chap. II. WALLERANT VAILLANT. 333 
 
 dam, -where he remained till his death. [There are four 
 portraits by him in the Amsterdam Museum.] In the French 
 Maison des Orphelins, also at Amsterdam, there are two 
 excellent pictures i-epresenting portraits of trustees, which 
 prove that the great Dutch poi-trait-painters, and namely 
 Van der Heist, exercised, especially in clearness and truth of 
 colouring, a very beneficial influence on him. One of these 
 pictures, and as it appears, the earlier one, shows five trustees 
 seated, in easy arrangement, round a table, and is as lively in 
 conception as powerful and clear in colour. The other, signed, 
 and dated 1671, represents three trustees, with a woman 
 presenting a little girl for their reception. The arrangement 
 here is also very skilful ; the heads refined and truthful, and 
 kept in a tender tone ; the hands of great beauty ; and the 
 whole picture nearly allied to Van der Heist's later works. 
 One of his principal pictures is in the Royal Palace at Berlin. 
 It represents the Great Elector of Brandenburg and his first 
 wife, in life-sized, full-length figures. These portraits, in 
 truth of conception, excellence of drawing, power of colour- 
 ing, understanding of keeping, and mastery of treatment, are in 
 no respect inferior to those of any portrait-painter of the time. 
 Vaillant's portraits taken in chalk are very clever. A port- 
 folio of them, representing various personages present at the 
 above-mentioned coronation, are in the Cabinet of Engravings 
 at Dresden ; and some, also of great excellence, in the Cabinet 
 of Engravings at Berlin. Finally, he was one of the first 
 who successfully wrought in that new form of engraving 
 called mezzotint, discovered by Prince Rupert of the Pala- 
 tinate, executing numerous plates from masters of the Italian 
 and Netherlandish schools. Nor did he confine his labours 
 ia this line to portraits, but extended them also to history, 
 yenre, and landscape subjects. 
 
 He instructed four younger brothers in the practice of art, 
 of whom James, born 1628, commonly called Lewekik (the 
 Lark), a name he received in Rome, and Bernard, born 
 1G27, were the most remarkable. The first was a successful 
 history and portrait-painter at the Court of the Elector at 
 Berlin ; but he is afl'ected in conception, and far weaker in 
 drawing and heavier and greyer in colour than his brother.
 
 334 FLEMISH GENRE. Book V. 
 
 He has left works in the residences of Berhn, Potsdam, and 
 Charlottenburg, which prove him to have been one of the 
 best portrait-painters of his time. The portraits of the Great 
 Elector on horseback, Avith the lady in a triumphal car, at 
 Potsdam, are among the best. In the Palace at Berlin are 
 also the bust pictures of the Great Elector of Brandenburg 
 and his second wdfe, by him. The second brother, who 
 settled at Rotterdam, acquired the art of drawing portraits in 
 chalk from Wallerant Vaillant. 
 
 Gonzales Coques, [born at Antwerp in 1618, apprenticed 
 to Peter Brueghel (the 3rd) in 1626, free of the GuUd in 
 1640, its president in 1655 and 1680, died 1684.]^ He 
 studied under David Ryckaert, [whose daughter he married] f 
 but as soon as he became independent he devoted himself 
 almost exclusively to portrait-painting on a small scale. The 
 combined animation, taste, and elegance of portraiture which, 
 distinguish the works of Van Dyck were obviously the 
 objects of this painter's ambition ; and in his best pictures, 
 representing families in whole-length figures, he has attained 
 these qualities in a high degree. At the same time his draw- 
 ing is good, his warm brownish flesh-tones clear and harmo- 
 nious, and his touch, though on so small a scale, broad and 
 spirited. Like Yan Dyck, he often introduces greyhounds 
 and other dogs. His sitters are generally in the open air. 
 When his background is exclusively Landscape, Artois became 
 his assistant ; when the figures are represented on the terrace 
 of a stately mansion, Ghering lent a hand in the architecture. 
 The fruits and flowers in his pieces are often the work of 
 Peter Gysels ; and in the few pictures by him where a room 
 forms the background, he was helped by the younger Steen- 
 wyck. His portraits of single individuals, which are numerous, 
 are, as a rule, of inferior merit. As he attained the age of 
 sixty-six years, the comparatively small number of his pictures 
 leads to the conclusion that he painted not so much for gain 
 as for pleasure. The best picture I know by him on the 
 Continent is in the Dresden Gallery, No. 1108, where, I 
 know not on what authority, it is stated to represent the 
 
 • Liggeren, i. 635, ii. 115, 361, 481. 
 
 * lb. i. 636.
 
 Chap. II. COQUES — FRUITIERS — DE VOS. 335 
 
 family of the artist. By fai- the greater number of his mors 
 important pictures are in England. [An excellent group of 
 family portraits is No. 821 in the National Gallery.] The 
 family of M. Verhelst on a terrace, which I have described 
 in my ' Treasures ' as at Buckingham Palace, is in every 
 respect one of his most beautiful works. Also the picture 
 called' La Le^ondeMusique,' in [Sir R. Wallace's] collection, 
 where he appears in the character of a ^ew^-painter.^ 
 Another of the same class of subject — a father at the piano 
 surrounded by his family — of the finest transparency of 
 colour — is in Lord Taunton's possession, and a family in a 
 Dutch garden in that of Mr. Walter at Bearwood. 
 
 Finally I may mention the name of Philip Fruytiers, 
 born in Antwerp [in the early part of the seventeenth cen- 
 tury, free of the Antwerp Guild in 1631, died at Antwerp, 
 1G66.]^ Though he executed portraits almost exclusively in 
 water-colours, yet he was so remarkable in this class of art 
 for arrangement, drawing, and especially for force and clear- 
 ness of colour, as to excite the admiration even of Rubens, 
 whom he portrayed, with all his family. I cannot, however, 
 name any work with certainty by his hand.^ He also etched 
 a series of plates, chiefly portraits, among v.hich that of 
 Queen Hedwig Eleanor of Sweden is distinguished for spirit 
 and powerful effect. 
 
 The grand manner of painting animals proper to Snyders 
 was also continued with good result by some masters. The 
 earliest of these was Paul de Vos, born at Aelst, [apprenticed 
 in 1604, master in the Antwerp Guild in 1620,* died 1678]. 
 His works were so much sought after that he painted prin- 
 cipally for high personages — namely, for the Emperor, for 
 the King of Spain, and for the Duke of Aerschot, his parti- 
 cular patron. He had an especial facility for momentary 
 
 ' [The collection of Sir R. Wallace is peculiarly rich in admirable 
 works of this master. In addition to the ' Lesson ' in the text we notice 
 there a family group, No. 155, and family portraits, No. 224.] 
 
 ^ [Liggeren, ii. 24 and 367.] 
 
 ' [He painted a large "Assumption of the Virgin" for the chapel of 
 Notre Dame in St. Jacques of Antwerp, which was only removed from 
 its altar in the last century. Liggeren, iL 25.] 
 
 * [Liggeren, L 433.]
 
 336 FLEMISH GENRK. Book V. 
 
 and passionate action, and therefore succeeded above all in 
 depicting combats between dogs and bears, or wild boars, 
 or with each other. He also painted hunts. In power and 
 transparency of colour, and in mastery of touch, he ap- 
 proached very near to Snyders, but was greatly his inferior 
 in drawing and taste. His animals, especially his horses 
 and lions, are often untrue to nature, and of clumsy forms. 
 He is most successful in dogs, and, after them, in stags and 
 deer. His landscape backgrounds are of great truth, and 
 show much affinity to Lucas van Uden. The only public 
 galleries where I know his pictures to exist are Schleissheim 
 and Madrid. In the former are two dogs quarrelling for a 
 piece of meat, very truthful ; also a young roe pursued by 
 dogs, although, as regards the space, a poor composition, is 
 worthy of praise ; but a Paradise by him is subject to the 
 criticism I have given above. 
 
 PiETER BoEL, born in Antwerp [1G22, died there probably 
 in 1702]. Though reckoned among the scholars of Snyders, 
 he completed his education under the guidance of his uncle 
 Cornelius de Wael in Genoa. He was also, and jvistly, a 
 very popular painter, equalHng Snyders in beauty of 
 composition, and not inferior to him either in drawing or 
 truthfulness of his animals. Nor does he often yield to him 
 even in clearness of colour and mastery of touch. Of his 
 very rare pictures, the best I know — two sporting dogs 
 guarding dead game— are in the Munich Gallery, No. 327. 
 He occupies also a distinguished place as an etcher; and 
 his Wild-boar Hunt, and series of six plates with birds, are 
 among the finest and rarest works of this class of art.' 
 
 Jan Fyt, born at Antwerp [1611], died there 1661. He 
 learned his art under Jan van der Berch, and entered the 
 Guild of Painters in 1629, at nineteen years of age. He 
 visited Italy later. He is, after Snyders, the greatest animal 
 painter of the Flemish school, and at the same time quite 
 independent of him in style. He laboured occasionally in 
 conjunction with Jordacus and Willcborts ; they painting the 
 human, he the animal figures, with the fruit and flowers. 
 In subjects of hunts he approaches Snyders in composition, 
 ' Bartsch, 'Le Peintre Giaveur/ vol. iv. p. 197, etc
 
 Chap. II. JAN FYT. SSl 
 
 and quite equals him in fire and animation. In drawing he 
 is often less accurate than Snyders, but by far his superior 
 in sunny effects of light, alternately in a cool and warm 
 scale of colour. He painted the greyhound especially with 
 such success as to be approached by no other master. He 
 renders the fur of quadrupeds and the plumage of birds with 
 exquisite truth, and with more detail than Snyders. [What 
 Potter is to cows, Jan Fyt is to hares.] His touch, in full 
 marrowy colour, is as masterly as it is original. The Gal- 
 leries of Vienna and Munich possess fine works by him. A 
 large picture in the Vienna Gallery, with dead game, fruit, 
 and vessels, and a live peacock, is very remarkable for 
 power and well-balanced harmony. As respects his dogs, 
 the picture of Diana and her nymphs taking their rest from 
 the labours of the chase — the female figures not very happily 
 painted by Willeborts — may be considered his chef-d'oeuvre. 
 As a specimen of his greyhounds, and of his careful execu- 
 tion on a small scale, I may quote a similar subject in the 
 Berlin Museum, No. 967. A large picture by him at Munich, 
 No. 96(3, with dead game, fruit, and a monkey, is, for clear- 
 ness of sunny keeping and truth of detail, a work of the first 
 class. His perfect mastery in subjects of animal combats is 
 seen in his great Bear-hunt, also at Munich, No. 964. His 
 Wild-boar Hunt, No. 965, is only inferior to it in its some- 
 what darker tone. In England he is represented by two 
 pictures in the Grosvenor Gallery — dogs with dead game, 
 and a hawk striking a duck — also by dogs hunting wild-fowl, 
 in the Petworth collection. These are all good pictures, but 
 the most important one I know in England is the Wild-boar 
 Hunt in Ravensworth Castle. [There are three very fine 
 specimens of game pieces in the Louvre, and two from the 
 Suermondt collection are now at Berlin ; an admirable ex- 
 ample — a peacock with a barking greyhound, dead birds and 
 fruit, in the Speck-Sternburg collection at Liitschena, and 
 a thieving cat amongst game, dated 1644, in possession of 
 Baron Cetto at Munich.] Jan Fyt also etched sixteen plates 
 in two series, that representing dogs being one of the most 
 remarkable works achieved by this class of "peintre graveur."^ 
 
 ' Bartsch, vol. iv. p. 205, etc.
 
 338 FLEMISH GENRE, Book v. 
 
 David de Coninck, born 163G, died [at Rome] 1687. He 
 was the scholar of Jan Fyt, and closely approached him in 
 animation of conception, power of colouring, and mastery of 
 touch. His pictures are rare. The Museum of Amsterdam 
 has two — a Stag-hunt, No. 239, and a Beax'-hunt, No. 240 — 
 both of great merit. 
 
 Adrian van Utrecht, born at Antwerp 1599, died in 
 1652-3. He treated chiefly large kitchen-pieces with 
 dead game. He also painted living animals, such as dogs 
 and monkeys, and all kinds of eatables, fruit, and flowers. 
 He combined great skill of arrangement, and a force and 
 warmth of colour which sometimes approaches Eembrandt, 
 with great truth of detail and a masterly and marrowy 
 treatment. A principal work by him of this kind is in the 
 new State Museum at Amsterdam ; another, with fruit and 
 other eatables and musical instruments, is in the Dresden 
 Gallery, No. 1091. [There are few Continental cities without 
 a specimen of this master, ex.gr., Cassel, Brunswick, Madrid, 
 Copenhagen, Antwerp, Rotterdam, Ghent, Brussels, and 
 Petersburg.] 
 
 Jacob van Es, or Van Essen, born at Antwerp 1606, 
 [died between 1665 and 1666.]^ This painter, though 
 moving in a far narrower sphere, belongs to the animal- 
 painters of this time. His subjects are especially fish, 
 lobsters, and other marine animals, in which he attained 
 great truthfulness, and a marvellous mastery of touch. Two 
 large pictures representing fish-markets, in the Vienna 
 Gallery, are specimens of his art. The human figures are 
 admirably painted by Jordaens, though their glowing 
 colouring forms rather too strong a contrast to the coolness 
 of the fishy tribe. Van Es also occasionally painted stiU 
 life with much success. A good picture of this class — fruit, 
 dead game, and vessels, is in the Antwerp Museum, No. 
 i09. 
 
 Alexander Adrianssen, [born at Antwerp 1587, died 
 there 1661],'' was a kindred painter to Van Es. He also 
 painted the fish world with great truth, though generally in 
 
 • [Liggeren, i. 535, iL 366.] 
 
 ^ [lb. ii. .'■.8.]
 
 Chap. II. SNAYERS. 339 
 
 a darker tone. A remarkable picture of this kind is in the 
 Museum at Berlin [withdrawn]. His still life is also painted 
 in a masterly style, with a broad soft brush : as, for instance, 
 a picture of dead birds and a cat, at Rotterdam, No. 1. 
 
 The following painters lead us properly to the department 
 of landscape art : — 
 
 Peter Snayers, born at Antwerp 1593, [was a pupil of 
 Sebastian Vrancx, and passed in the Guild of Antwerp 1512. 
 On his appointment to the office of court-painter to Arch- 
 duke Albert he withdrew (1526) to Brussels, where (June 
 16th, 1628) he took the freedom of the Guild].^ He painted 
 especially scenes from military life : battles, skirmishes, 
 camps, etc., in which he displays not only much animation, 
 but, what is rare in such scenes, great distinctness. In 
 these pictures even the landscape background plays a con- 
 spicuous part;' otherwise he generally executed only land- 
 scapes, which are distinguished for truth and freshness of 
 feeling, and for a clear and powerful colour, allied to 
 Rubens. His nomination as court-painter to the Archduke 
 Albert at Brussels procured the fullest recognition of his 
 talent. He was employed also by the Spanish Court. He 
 was living up to [1669.] No gallery gives such opportuni- 
 ties for studying this master in all his versatility as that of 
 Vienna : a meeting between infantry and cavalry shows a 
 distinct and yet accurate arrangement of the numerous 
 figures, with a gradation of aerial perspective which is very 
 remarkable. The halt of a party of cavaky at some water 
 is very attractive for its clear warm tone and broad and 
 spirited treatment. The model for Van der Meulen is here 
 plainly discernible : a mountainous landscape, with travellers 
 in the foreground reposing by their carriages, shows both in 
 poetic conception and brilliant lighting the strong and 
 favourable influence of Rubens. Among the master's pic- 
 tures in the Dresden Gallery is one of most animated and 
 dramatic character : travellers murdered and plundered by 
 robbers, who in their turn are seized by soldiers. No. 964. 
 [A genuine example is the Siege of Courtrai, No. 444 at 
 the Brussels Museum, signed in this characteristic fashion : 
 • [Liggeren, L 485, 628. E. Fetis, «' Catalogue,' u. s., p. 491.1
 
 SiO FLEMISH GENRE. Book V. 
 
 " Petrus Suayers pictcr del S.C.T's. Anno 1650." To 
 them may be added three views in the same gallery, Nos. 
 441-3, representing the battles of Prague, of Wimpfen, and 
 of Hoechst. A Wanderer in a Hilly Country, with the 
 monogram and the date 16G9, is the latest picture of the 
 master, No. 1051 at Dresden.] 
 
 CoKNEUS DE Wael, born at Antwerp 1594 ; scholar of 
 his father Jan de Wael. His class of subjects was princi- 
 pally the same as that treated by Peter Snayers ; in which 
 he was so successful as to be taken into the service of the 
 Duke of Aerschot. He afterwards found great favour in 
 Genoa, where he died. I know of no work by him in 
 public galleries, except the Passage of the Israelites through 
 the Red Sea and the Overthrow of Pharaoh, in the Vienna 
 Gallery, which shows a painter of undoubted talent. 
 
 Anton Feans van der Meulen, bom in Brussels 1634, 
 died at Paris 1690 ; scholar of Peter Snayers. His powers, 
 though less inventive, and less fitted for the representation 
 of momentary action, were closely allied to those of his 
 master. He was employed at the Court of Louis XIV., and 
 accompanied that monarch in all his campaigns, in order to 
 portray the chief events with all possible truth. His 
 pictures have a thoroughly landscape character : generally 
 representing the king arriving before some Netherlandish 
 fortress ; besieging it ; or subsequently entering it. They 
 are distinguished by great truth, by a clear and blooming 
 colouring, and by great mastery of technical execution. 
 Many of them include animated portraits of the king and 
 other remarkable individuals. He also painted views of 
 towns, and small pictures with horsemen. His landscape is 
 occasionally too universally green ; and his horses, though 
 very true to nature, too monotonous in character. He 
 painted with such facility that the number of his pictures is 
 large. His principal works are in the Louvre : among these 
 are the entry of Louis XIV. into Arras, No, 304 ; the same 
 into Dinant, No. 810 ; view of the fort of Luxembourg, No. 
 812 ; and a view of Fontaiucbleau, No. 314. After Paris, 
 [Munich is the gallery where he is seen to best advantage : 
 the Siege of Oudenaerde,No. 1344, and of Tournay, No. 1343,
 
 Chap. II VAN HOECKE. ii4l 
 
 are equal to his finest pictures in the Louvre, England 
 possesses also fine examples of the master — among which 
 the five in Buckingham Palace, and some of the seven at 
 Petworth, are the most remarkable. 
 
 Robert van Hoecke, born at Antwerp 1609,^ belongs to 
 this class of painters. He was the scholar of his father Carl 
 van Hoecke, who is otherwise little known. His style was 
 evidently influenced by the younger Teniers, and in many of 
 his pictures, — which are all on a small scale, representing 
 camps and military scenes, sometimes also landscape, — he 
 shows a greater delicacy of tone and touch than the later 
 born Van der Meulen. I know of no gallery containing his 
 works except that of Berlin, which hac one [withdrawn], 
 and Vienna, which has eight pictures by him. Of these, the 
 view of a flat country, with a fortress in the distance, two 
 camps, numerous figures, and troops marching in the fore- 
 ground, is conspicuous for able drawing, fine aerial perspec- 
 tive, and spirited touch. He also etched a set of plates, 
 with a skilful and delicate, though somewhat slight point. 
 Twenty of them represent similar subjects as his pictures j 
 one only is a Nativity, after a picture by Jan van Hoecke.^ 
 
 I now proceed to the department of landscape painting, 
 which during the course of the seventeenth century was 
 represented in Belgium by several painters of great merit. 
 Although these exhibit, in a technical point of view, more 
 or less the influence of Rubens, yet they differ from him 
 totally in conception. The subjects principally treated by 
 some of these painters, and with much poetry of feeling, are 
 hilly landscapes, richly wooded, with sand-banks in the 
 foreground ; others adhere to the thoroughly ideal class of 
 subjects affected by Nicolas and Gaspar Poussin. The 
 earliest of the first group is Lodewyck* de Vadder, born 
 decidedly after 1560.* He followed Rubens in clearness and 
 power of colouring, in decision of lighting, and in broad 
 
 ' [This date must be corrected to 1622. Robert van Hoecke was en- 
 tered in the Antwerp Guild as the son of a master in 1644, Lig., ii. 157. J 
 
 " Bartsch, vol. v. p. 147, etc. 
 
 ^ The French name Louis was given by Descamps on hia own 
 authority, and has been since blindly adopted by all writers on art. 
 
 * Bartsch, vol. v, p. 59.
 
 S42 FLEMISH LANDSCAPE. Book V. 
 
 marro^vy treatment. Of all the public galleries, Brussels 
 and Munich alone possess specimens of his landscapes. 
 The picture at Brussels, No. 81, represents a piece of water 
 surrounded with trees ; that at Munich, Cabinets, No. 388, 
 has three horsemen in the foreground hurrying towards a 
 villace above a wooded sand-hill ; in the middle distance is 
 a flock of sheep ; the background is an airy distant view. 
 Bartsch^ describes eleven etchings by him, which show a 
 pure feeling for nature ; but are somewhat coarse in touch, 
 and without much taste. 
 
 [Jacques d'Arthois], born at Brussels 1613, died [after 
 1684].^ [He was registered, 1625, in the Brussels Guild as 
 pupil of one Jean Mertens, and passed for the mastership in 
 1634.]^ He probably formed himself under the tuition of 
 Lodewyck de Vadder. His compositions have often some- 
 thing grandly poetic, and are of frequently large dimensions. 
 This circumstance, coupled with that of their representing 
 Scripture events in the foreground, has been the reason for 
 placing his pictures in some of the Belgian churches. At 
 the same time this large scale, while favouring an uncommon 
 facility of brush, has often betrayed the master into a slight 
 and decorative style. In clearness of colouring he stands 
 far below Lodewyck de Vadder, and has even something 
 heavy and dark in his tones. He also painted, by way of 
 exception, landscapes of very realistic character. The figures 
 in his pictures are chiefly by Gaspard de Craeyer, by Gerard 
 Zegers, Teniers, and Van Herp. He painted too easily not 
 to leave behind him a large number of pictures, which are of 
 very unequal merit. The gallery at Brussels has four by 
 him ; among which, a wooded landscape. No. 100, by even- 
 ing light, with a train of country people — painted by Van 
 Herp — is distinguished for the transparency and beauty of 
 the distance ; the dark heavy tones of the foreground are, 
 however, discordant. A landscape. No. 179, with St. Hubert 
 adoring the stag with the Crucifix — the saint by Gaspard de 
 Craeyer, the animal by Peter Snayers — is very attractive. 
 
 ' Bartsch, vol. v. p. 59. 
 
 * [A. Pinchivrt, in Meyer's Lexikon.] 
 
 • [E. Fetis' ' Catalog\ie,' u. s., p. 212.]
 
 Chap. II. HUYSMANS — GEN'OELS. S'iS 
 
 A winter landscape, finally, No. 102, has much truth of 
 nature. The Vienna Gallery has two large pictures by 
 Artois, with legendary scenes painted by Gerard Zegers. 
 They exhibit what we have called his grandly poetical ele- 
 ment, are more carefully painted than most of his large 
 works, and are worthy specimens of those pictures by him 
 destined for churches. On the other hand, the Dresden 
 Gallery has an example. No. 1095, of his success on a small 
 scale — namely, an attractive landscape, which combines his 
 usual form of composition with warm lighting and careful 
 carrying out. In England, also, good pictures by Artois are 
 found in private galleries, some of which I have described in 
 my * Treasures of Art,' etc. 
 
 CoRNELis HuYSMANS, bom at Antwerp 1648, died at 
 Mechlin 1727. He was a scholar of Artois, and remained 
 true to him in style of conception. But his pictures are 
 usually on a smaller scale, and also more ideal in character, 
 with a warmth of colour approaching sometimes the glow of 
 Rembrandt, and, though broad and facile in treatment, more 
 carefully finished. The gallery at Brussels has one of his 
 large landscapes. No. 208. The Louvre, four pictures by 
 him ; of which the one with figures sawing wood, No. 229, 
 is distinguished by warm lighting and fine composition. The 
 companion picture. No. 230, is also well composed. For 
 glow of tone also, a landscape in the Dresden Gallery, No» 
 1148, may be cited ; and one at Munich, with three cows, 
 No. 948, Cabinets, which is of great transparency and finish. 
 As regards Great Britain, I may mention a landscape of 
 powerful colouring in the Royal Institution at Edinburgh, 
 and a few pictures in private hands. 
 
 Of the second group of landscape-painters following the 
 conception of the Poussins, I may quote the following : — 
 
 Abraham Genoels, [the younger], born at Antwerp 1640, 
 died 1723.' He acquired the art of painting under Jacob 
 Backerell ; but went as early as 1659 to France, where he 
 so greatly developed his abilities for landscape painting as to 
 
 ' See Catalogue of Antwerp Museum, and Essay by Fetis in the- 
 Bulletin of the Belgian Academy of 1857, p. 5, etc.
 
 544 FLEMISH LANDSCAPE. Book V. 
 
 •be employed by Lebrun in the landscape backgrounds of his 
 Battles of Alexander the Great. In 1672 he entered the 
 Painters' Guild at Antwerp, and, having spent the period 
 from 1G74 to 1682 in Rome, he returned to Antwerp, and 
 did not leave it again. His compositions are of elevated 
 chai'acter ; his drawing correct, colouring clear, and treat- 
 ment spirited. The principal figures in his landscapes are 
 painted with much skill, in the would-be antique style of 
 Lairesse. As regards public galleries, I only know one in 
 the Antwerp Museum, No. 175, a landscape, with the Muses 
 on an eminence, visited by Minerva — which is a happy 
 specimen of his imitation of Nicholas Poussin's landscapes ; 
 and [two (No. 665 and 666)] in the gallery at Brunswick. 
 The rarity of pictures by Genoels is doubtless the reason 
 why his reputation is principally formed by his broad and 
 sketchy but spirited etchings, executed during his stay at 
 Rome, and after his return. 
 
 Jean Francois Millet, commonly called Fkancisque, 
 born at Antwerp 1642, of a French father and Belgian 
 mother, died in Paris 1680. He studied under Lawrence 
 Franck ; but formed himself after the two Poussins, and 
 settled in Paris. He did not attain the beauty of line and 
 purity of drawing which characterised the Poussins ; but his 
 compositions are elevated in taste, and his colouring, though . 
 betraying a certain monotony, warmer and clearer than that 
 of his models. His great freedom of brush degenerates, 
 however, sometimes into an almost decorative breadth. His 
 figures are felicitous, composed always in harmony with his 
 landscape, and often playing a conspicuous part in it. The 
 Munich Gallery possesses very fine pictures by him : a land- 
 scape, of considerable size. No. 944. with antique buildings, 
 and a shepherd driving a flock of sheep, which respires quite 
 the feeling of Gaspar Poussin ; another landscape, No. 94.5, 
 ihas a view of the sea with steep cliffs on the coast, which 
 soar up to the clouds. It is highly poetic in character, but 
 ■the treatment of the foreground almost too broad. A smaller 
 picture, with a vintage. No. 940, Cabinets, is altogether 
 rather dark for him ; but poetic in feeling, and with a warm 
 flowing bky, which is very attractive. Bartsch ascribes an
 
 Chap. II. RYSBRAEK — VAN BLOEMEN. 345 
 
 etching, with great probable truth, to him ; and Dumenil 
 and Weigel add a few more. 
 
 Peter Rysbraek, born in Antwerp 1655, [free of the 
 ■Guild of that city in 1671,]^ supposed to have died in Brus- 
 sels 1729. Ho was scholar of Jean F. Millet, with whom 
 he spent a considerable period in Paris, but settled after- 
 wards (1692) in Antwerp [where he was still living in 1720].^ 
 His pictures have a grandly poetic and melancholy character. 
 His trees and wooded backgrounds are particularly well 
 ■understood, and the form of his clouds fine ; his colouring 
 powerful, but inclined to be gloomy. His figures, taken 
 from Biblical or mythological subjects, are well composed, 
 and sometimes play an important part ; others are careless 
 in execution, and disturb the harmony of the picture by 
 their monotonously red fiesh-tones. Most of them, how-, 
 ever, are of idyllic character. Works by this master are 
 seldom seen in public galleries. The most important I 
 know is in the Berlin Museum [withdrawn]: a large landscape, 
 with lofty trees and a wooded hill, whence falls a stream ; 
 in the foreground is the Baptism of Christ. A mountainous 
 imdscape, of considerable dimensions, is in the Antwerp 
 Museum, No. 323. A small and less important one, under 
 the name of Gaspar Poussin, is in the Dresden Gallery, No. 
 732. Six etchings exist by his hand ; they are most remark- 
 able for composition ; the foliage of the trees is somewhat 
 heavy, and the mechanical treatment by no means attractive. 
 Jan Fkans van Bloemen, called Orizonte, born at Ant- 
 werp 1662, died at Rome 1748 (?). He was the brother of 
 Peter van Bloemen, and probably went early to Rome. 
 Here, next to the impressions produced by the surrounding 
 scenery, the pictures of Gaspar Poussin may be said to have 
 had most influence over him. If inferior to that master in 
 grandeur of conception, and feeling for lines, he must be 
 owned to have possessed a greater delicacy in the gradation 
 of distances, which circumstance gave rise to his appellation 
 •of " Orizonte." On the other hand, he is often dark and 
 heavy in the foreground, occasionally cold and insipid in 
 
 ' [Liggeren, ii. 421.] 
 2 [lb. ib. 422.]
 
 346 FLEMISH LANDSCAPE. Book V. 
 
 tone, and less spirited than Poussin in handling. Like him, 
 however, his foreground tigures are generally shepherds, or 
 taken from mythological incidents. Six of his pictures are 
 in the Louvre, Nos, 33 to 38 ; of which the two last are 
 particularly fine, and for some time passed for works by 
 Gaspar Poussin.' A landscape of great power, warmth, and 
 clearness, and two landscapes in his cold colouring, are in 
 the Vienna Gallery. 
 
 Finally, flower-painting, as a separate department of art, 
 was cultivated with much success at this time in Belgium. 
 Its chief representative was Daniel Segers, or more pro- 
 perly Zegers, called Pater Segers.^ He was born ,1590 ; 
 studied under Jan Breughel ; entered the Order of Jesuits 
 when twenty-four years of age ; and died in the Jesuit Convent 
 at Antwerp in 1661. He seldom painted pictures exclusively 
 of flower subjects, but attached himself to the historical 
 painters, by surrounding their sacred subjects — most gene- 
 rally a Virgin and Child — with a wreath of flowers, by way 
 of a festive decoration. In this way he collaborated on 
 some occasions with Rubens ; oftenest, however, with 
 Cornelis Schut; and after him with Diepenbeeck and 
 Erasmus Quellinus. His flowers, which are sometimes very 
 highly finished, and at others somewhat decoratively treated, 
 combine admirable drawing and great truth of nature in 
 form and colour with a tasteful arrangement. In painting 
 red roses he employed colours which have remained un- 
 changed, while the roses of every other flower-painter have 
 either turned violet or have faded altogether. His pictures 
 were so much in favour that he could hardly fulfil his nume- 
 rous commissions, and even royalties such as Prince Frederic 
 Henry of Orange, and the Great Elector Frederic William of 
 Brandenburg, thought themselves fortunate to secure works 
 by his hand. Specimens of his art are in most of the public 
 and many of the private galleries of Europe. A first-rate 
 example, with an unfortunately rather weak portrait of 
 Ignatius Loyola, by Cornelis Schut, is in the Antwerp 
 
 ' 'Kunstwerke unci Kunstlcr in Paris,' p. 534. This correction has 
 been adopted by M. Villot in the new Catalogue of the Louvre of 18^3 
 ''■ Catalogue of Antwerp Museum, p. 336.
 
 Chap. III. GERARD HONTHORST. 347 
 
 Museum, No. 329. Another example of careful and masterly 
 detail is seen in a picture with two children, in chiaroscuro, 
 by Erasmus Quellinus, in the Berlin Museum, No. 976. 
 Dresden also possesses six pictures, some of them of great 
 merit. The collection of Mr. Blundell Weld, near Liver- 
 pool, contains three good pictures by this master. 
 
 This great artist had various imitators. Jan Philip van 
 Thielen, born at Malines 1618, [was apprenticed to Theo- 
 dore Rombouts at Antwerp in 1632, and passed as a master 
 in 1642. In 1660 he settled at Malines, where he died in 
 1677].^ Thielen had the advantage of Segers' instruction, 
 and, though weaker in drawing and colouring, and more 
 decorative in execution, painted quite in his taste. Two of 
 his works are in the Antwerp Museum, Nos. 380 and 331. 
 
 Nicholas van Verendael, who flourished in Antwerp 1656 
 to 1690, approached Segers in careful detail and capital 
 drawing ; but is greatly his inferior in power and clearness 
 of colour. An excellent picture by him, dated 1670, with a 
 Virgin and Child, in chiaroscuro, in the centre, is in the 
 Berlin Museum, No. 977a. 
 
 CHAPTER m. 
 
 THE DUTCH SCHOOL. 
 
 THE INFLUENCE OF THE ITALIAN NATURALISTI, AND OP RUBENS STYLE 
 
 OF ART. 
 
 Considering the originally realistic tendency of the Dutch 
 school, it is not surprising that the style of Michael Angelo 
 da Caravaggio, who imitated nature without discrimination 
 or taste, but with great truthfulness and with uncommon 
 mastery of hand, should have strongly influenced many a 
 Dutch painter who visited Rome. Most notable among 
 these is Gerard Honthorst,^ born at Utrecht 1590, died 
 
 ' [Liggeren, ii. 27, 128.] 
 
 - For an account of this painter see especially Sandrart's ' Teutsche 
 Akidemie,' Niiinberg, 1675, vol. i. p. 313, etc. 
 
 29
 
 34-8 THE DUTCH REVIVAL. 
 
 Book V. 
 
 1656; who although a schohxr of Abraham : Bio euiart, ac- 
 quirea with perfect success the form of arb belonging to 
 Caravaggio. His pictures found great favour at Rome, where 
 the Marchese Giustiniani was especially his patron ; and 
 where, from the circumstance of his painting principally 
 night pieces, he acquired the name — which he has retained 
 in the history of art — of Gherardo dalle Notti.^ Upon 
 his return to Holland he opened a school, which was nume- 
 rously attended ; and executed many works, by which he 
 so much increased his reputation as to receive a summons 
 from Charles I. to England, where, in the short period of 
 six months [1628], he painted several historical pictures for 
 the Banqueting Hall, Whitehall, and also some portraits. 
 Returning to Utrecht, loaded with rewards, he entered into 
 the service of Prince Frederick Henry of Orange, for whom 
 he executed many works for the House in the Wood, near 
 the Hague, and for the chateau at Ryswick. For the king 
 of Denmark he also painted a series of pictures from Danish 
 history. In his latter years Gerard Honthorst devoted him- 
 self especially to portrait painting ; executing many, both 
 for the above-named Prince of Orange, and for Frederick 
 William the Great Elector of Brandenburg. The amazing 
 facility of his powers of production gave rise to an extra- 
 ordinary number of works. These embrace the departments 
 of sacred and profane history, mythology, allegory, and genre. 
 His mode of conception is far more in accordance with the 
 subject he treats than that of his model, Michael Angelo da 
 Caravaggio, though, like him, he deals in a coarse realism. 
 His works, also, however distinguished by skilful arrange- 
 ment, good drawing and keeping, extraordinary power and 
 clearness of effects of light, and masterly handling, are still 
 too deficient in elevation and warmth of feeling to make any 
 lasting impression. Occasionally even he lapses into vul- 
 
 ' [It m nowhere stated when Honthorst visited Italy. He was at 
 Utrecht in 1623, when he was elected elder of his guild, and at Utrecht 
 in 1626, when Rubens went to pay him a visit. See Sainsbury's ' Papers 
 relating to Rubens,' p. 67. Biirger ('Musi5es de Hollande,' vol. ii. p. 200) 
 thinks Honthorst went to Italy after 1627, because the Concert of 1624, 
 at the Louvre, like the Lute Player of 1614, in the same gallery, is more 
 Dutxjh (in the manner of Moreelze) than later works ; but tliia view is 
 much contested ]
 
 Chap. III. GERARD HONTHORST. 349 
 
 garity, and, in the lighting of his night effects, into a dis- 
 agreeable sulphury tone. It is remarkable that, while all 
 his other pictures, in the freedom and breadth with which 
 they are treated, approach the same qualities in M. A. Cara- 
 vaggio, the portraits executed by Honthorst have a certain 
 smoothness and a decision of forms bordering on hardness, 
 which recall the manner of the preceding generation. His 
 whole style found little imitation in Holland. As good 
 specimens of his mode of conceiving Biblical subjects by 
 night effects, I may cite his Christ before Pilate — probably 
 painted for the Marchese Giustiniani, and praised by Sandrart 
 — now in the possession of the Duke of Sutherland, in Lon- 
 don ; and the deliverance of Peter, in the Berlin Museum, 
 'No. 431, from the same Giustiniani Collection. How entirely 
 he adhered to the tasteless feeling of his time in the treat- 
 ment of allegory is proved by the composition of the great 
 picture which probably perished in the burning of Whitehall. 
 This represented Charles I. and his Queen enthroned on 
 clouds as Apollo and Diana ; with the Duke of Buckingham 
 below, under the aspect of Mercury, presenting the seven 
 .liberal arts to these deities, while Hatred and Envy and other 
 unbecoming qualities were plunged into an abyss beneath. 
 Characteristic specimens of his mythological pictures are 
 seen in his Triumph of Silenus, in the Louvre, No. 217 ; and 
 in Ceres transforming into a lizard the boy who had derided 
 her, in the Gallery of Munich, No. 311. Of his treatment 
 of genre, a particularly good specimen is also seen in the 
 Louvre, No. 216, a party engaged in music ; and of his 
 portraits — one of the Elector Charles Louis of the Palatinate, 
 1^0. 218, and of a Prince Rupert of the same family. No. 219, 
 are very characteristic of him. A portrait of Mary of Medicis, 
 of the year 1638, No. 7 in the new Hotel de Ville at Amster- 
 dam, approaches Van Dyck in mode of conception and ten- 
 derness. Two principal pictures of the portrait class are — 
 the Queen of Bohemia, daughter of James I., and especially 
 the Duke of Buckingham and his family, at Hampton Court. 
 The collection of Lord Craven contains the largest number 
 of Hontborst's portraits ; unfortunately I only know this 
 collection by hearsay.
 
 350 THE DUTCH EEVIVAL. Book V, 
 
 A younger brother, Wilhelm Honthorst, also an historical 
 and portrait-paiuter, accompanied the Princess Louisa Hen- 
 rietta of Orange, wife of the Great Elector, to Berlin, in the 
 year 1650, at which court he laboured for a series of years. 
 He returned to Holland in 1664, and died there in 1666. 
 The portraits by him, preserved in the Prussian royal resi- 
 dences, show a great similarity to his brother, but are some- 
 what smoother and more fused in execution. 
 
 KoRNELis PoELEMBERG, born at Utrecht 1586, died there 
 1667. He acquired the art of painting under Abraham 
 Bloemart ; then repaired to Kome, where for a time he 
 followed Abraham Elzheimer, and finally devoted himself to 
 the more elegant form of the Italian school. This latter 
 stage is seen in small pictures, conceived as landscapes, with 
 figures frequently taken from sacred history, but more 
 usually representing undraped female figures bathing, and 
 rendered with great tenderness of warm colouring, but little 
 certainty of drawing. As, however, he possessed great 
 delicacy of gradation, and a very minute and fused execution, 
 his pleasing but somewhat monotonous pictures found great 
 favour, and appear to this day in almost all European 
 galleries. The Annunciation to the Shepherds, in the Louvre, 
 No. 383, belongs in composition, striking efi"ect of light, 
 warmth of colour, and excellent execution, to his most 
 remarkable works. Many painters followed in his steps, 
 with more or less success, but none equalled him. Of these 
 the best known are Joan van der Lis, Daniel Vertanghen, 
 Frans A'^er^vilt, C. Kuylenburg, and Moses Uyt-den 
 Broeck. 
 
 [Frans Hals, born 1584 (?), died at Haarlem August 29th, 
 1666. For reasons which have not been recorded, Pieter 
 Hals Claesz, Frans Hals' father, left Haarlem in 1579, and 
 settled at Antwerp, where Frans was born. The boy's youth 
 and education, even his marriage, were treated by historians 
 with unusual neglect. Far away from Haarlem, whither 
 accident had carried them, the Hals family forgot neither the 
 country nor the city of their ancestors, and when Anneke 
 Hermans bore to Frans Hals a son, who was named after her, 
 she sent him (1611) to be christened to Haarlem. As Hals, on
 
 Chap. III. FRANS HALS. 351 
 
 this occasion, signed the baptismal register, he described him- 
 fielf as " Frans Hals of Antwerp." Five years later (Feb. 20, 
 
 1616) we find Hals settled at Haarlem, and notorious for ill 
 conduct. In the prime of his years and strength he was incur- 
 ably addicted to drunkenness. Summoned before the magis- 
 trates for ill-treating his wife, drinking to excess, and otherwise 
 misconducting himself, he was dismissed with a reprimand, 
 after "promising to better himself " ; but he relapsed into his 
 old habits, lost his wife (Feb. 1616), and married again (Feb. 
 
 1617) Lisbeth Regniers, by whom he had a daughter nine 
 days after the wedding. In the course of a long and active 
 life he never once was prosperous ; yet such was the opinion 
 held of his skill that when reduced to sheer want, in 1664, 
 he was furnislied by the municipality with tickets for rent and 
 firing, and supported with a pension from the city of two 
 hundred florins a year.] ^ 
 
 Whether Frans Hals was a scholar of Carl van Mander the 
 elder may be left undecided. At aU pvpnt.g Tip wqq i^■^p^ fiv^f 
 tnJTTfvn<^iiP,P ir|f,A TTnllanrj ^ gnf| wifhl;|ift g reatest masterv- to 
 pjractjse M;hat perfectly free and full treatrn flnt whifib^RiTViiPria 
 and hij_ school had developed .^ Frans Hals was obviou sly 
 i hf. moflel- whioh t he great D utch school ^directly or indire ctly 
 followed, and he th us assumes a si gnificance inthe history nf 
 art jgHicK-h as n eyerbeen sufficifi ntly^^acknQ^krtgedr Com- 
 bined with the marvellous certainty with which he pl ape^ 
 his various fl fif^jr^'^US^ unscumbled, sideJyL-si4e, and which 
 justly ex cited great admiration on the^jmrt of Yan Dyck. he 
 possesses a n extra orjiaai'y fyeshaBSST-aiid animation of con- 
 ception , a firm_ and_d<^^'dp.fl drawi ng, and anexcell ent general " 
 keeping ^commonly tendi n g towards -ilie cool scale! In~his 
 nesE'colourrng he is very unequal — occasionally golden or of 
 a light yellow, sometimes even quite silvery, usually clear, 
 but also heavy and dark. His pictures are also of very 
 unequal merit. The astonishing facility of his brush often 
 
 ' [Van der Willigen, ' Les Artistes de Haarlem,' pp. 139 — 149.] 
 ^ [Dr. Bode ('Frans Hals und sane Schule,' 8vo., Leipzig, 1871, p. 9) 
 very justly observes that Hals cannot have been the first to introduce the 
 style of Rubens into Holland : first of all, because at the time when Hals 
 may have been at Antwerp Rubens was in Italy ; and secondly, because 
 there is really nothing in the style o£ Hals to remind us of Rubeua. j
 
 352 THE DUTCH REVIVAL. Book V, 
 
 tempted him into too broad and decorative a breadtli and 
 slightness of haudliug. The scale of remuneration also, and 
 thd condition in which his mode of life invariably placed 
 him, could not fail to act strongly upon him. Although 
 he painted almost exclusively portraits, yet these are very 
 various in description. Some of them are of considerable 
 size, and represent, according to the then prevailing custom 
 in Holland, companies of archers or of civic ga;vrds. What 
 he achieved in pictures of this class can only be seen in 
 Haarlem, where the Museum contains a whole series of 
 them. [His single figures and busts are to be found in divers 
 galleries and cabinets of England and the Continent. In his 
 earliest pictiu-es Hals gives more warmth and depth to his 
 colours than in later ones, where a silver tinge prevails. The 
 Civic Guard Banquet of 1616, No. oi in the Museum of Haar- 
 lem, a masterpiece, which, in respect of tone, seems as if it 
 might have been a model to Rembrandt, greatly diflers from its 
 pendants of 1627. No, ."loin the same museum, where, as has 
 been observed, " the brown of past yeai's ingeniously turns 
 to auburn."^ Many heads in the ''banquet" of 1616 are 
 very animated ; but "the touch is more fused, the execution 
 more in detail and more dry than in that of 1627."] In this 
 piece, spirited and energetic conception is combined with a 
 delicacy of feeling which is allied to Van der Heist. The 
 colouring, withal, is as Avarm as it is clear, and the execution 
 throughout, even in the individual treatment of every 
 accessory, as free as it is finished. An Archers' Feast also, 
 [No. 57 in the same museum], approaches in pictorial merits 
 near to the last-mentioned work ; but is surpassed by another 
 of the same subject [No. o(i], which for general transparency, 
 mai'vellous mastery of handling, and for perfect rendering of 
 the feeling of joviality and gooil fellowship, is one of the 
 finest things that ever was produced in this class. Nor can 
 I pass over two representations of the trustees, male and 
 female — in Holland denominated '• Reaonts " of the " Orr>E 
 Mannen Huys."* In the one appear six men. assembled 
 round a table — a work which, in the miurveUous animation 
 
 • [Bvxle, 'FransHuK'n.] 
 
 * [Now N OS. 6 ' and ^1 iu the Haarlem Museum, and executed in 1C64.
 
 Chap. III. fRANS HALS. S58 
 
 attained in a broad treatment, and in depth of general 
 keeping, approaches Rembrandt in the prime of his powers ; 
 the other represents five women, only laid in with the first 
 coat of coloiu', though thrown on the canvas with apparent 
 wantonness of pictorial power, and showing the facility with 
 which this painter was able to express the character of a 
 head -n-ith but few strokes of the brush. Another Archers' 
 Guild, in the new Museum at Amsterdam, Ko. 444 [dated 
 1G37], is also very remarkable, though a less lively example 
 of the master's colouring. A further class of his works 
 consists in family portraits, of which the finest I know is in 
 the Munich Gallery, Xo. 359. ^ Here the easy arrangement, 
 Hvely heads, the admirably painted hands, recalling "Van 
 Dyck, and the delicately cool keeping, render this a very 
 attractive piece.- Of the laige number of his bust portraits 
 — life-size — I must be content to mention one in Buckingham 
 Palace ; [another, a Cavalier, in Sir E. "Wallace's collection 
 in London; a third — of a lady — dated 1634, in possession 
 of Mr. Sedelmeyer at Vienna]. Far rarer are his portraits 
 on a small scale, which prove, however, that, although 
 accustomed to so broad a style of handUng, he could also 
 execute small pictures with as much care as spirit. Two of 
 this kind are in the Berlin Museum, Nos. 766, 767. Next 
 in order come his still rarer small full-length portraits, of a 
 more 7f7i;v-like conception : as, for instance, a gentleman 
 balancing himself comt'ortably in a chair, and bending in his 
 hand a slight cane, once in the Rothschild collection in Paris : 
 for conception, drawing, cool keeping, and spirited handling, 
 this is quite a little chef-d'oeuvre.^ [In conclusion we should 
 notice a certain class of sketchy studies of an essentially 
 humorous character, such as the Laughing Peasant, with a 
 ring in his hand, in the Cassel Museum ; the Madman, No. 135, 
 
 ' [Otto Miindler and Burger were inclined to dispute the genuineness 
 of this piece, yet Waagen's judgment is probably correct.] 
 
 - [To this vi-e should add the" fine portraits of Hals and his wife (No. 
 i-11) in the Museum of Amsterdam, a clever, rapid work of the master's 
 early time.] 
 
 ' [This picture -was purchased in Paris at the sale of the Brienen 
 Collection of Amsterdam. The replica— an admirable work— from the 
 Heythuysen Collection at Haailem, is now in the Brussels 3Iuseum.]
 
 354 THE DUTCH REVIVAL. Book V. 
 
 and the Toper, with a jug of wine, No. 443 in the Amsterdam 
 Museum ; the Rommel Potspeeler, in the Neville Gold- 
 smith collection at the Hague ; and Hille Bobbe, the 
 Haarlem fish-wife, in the Suermondt collection [now at 
 Berlin, No. 801 o. These talented renderings of low but 
 animated expression reflect the habitual condition of Hals' 
 mind better than his more sober likenesses of burgesses^ 
 though it is but fair- to add that, in spite of his love of wine 
 and uneducated company, Hals always knew how to impart 
 dignity and polished mien to persons of station.] 
 
 [Frans Hals had five sons, all artists, one of whom is 
 known to collectors as a copyist of his father and a painter 
 of extant pictures. Dr. Bode describes as his a piper and 
 a violin player, in the gallery of Schwerin, playing and 
 singing boys, in the Museum and Arenberg collection at 
 Brussels, and representations of still life, in the Suermondt 
 collection [at Berlin], and the Burgher and Reede collection 
 at Utrecht.^ More important than the sons of Frans Hals is 
 uis brother Dikk Hals, born at Haarlem, died there 1650.^ 
 His works are traced from 1624 to 1653. They usually 
 represent soldiers, cavaliers, women, eating, drinking, dan- 
 cing, or listening to music. Easiest of access are a Wine 
 Party, No. 512 in the Stuttgardt Museum, and the Flute 
 Lesson, of 1046, No. 145 in the Hausmann collection at 
 Hanover. Almost as little known, yet deserving of remem- 
 brance as a follower of Hals in portrait, is Johannes Ver- 
 SPRONCK, born 1597, died at Haarlem in 1662.* The 
 Regents of the Hospital of the Holy Spirit is one of his 
 pictures, dated 1642, No. 118 in the Haarlem Museum. 
 There are also portraits by him of 1641, 1642, and 1650, in 
 the same gallery, Nos. 115-117.] 
 
 [Contemporaries of Frans Hals were Jacob Gerritz Cuyp, 
 born at Dordrecht in 1594 ; and Jan Ravesteyn, born about 
 1580, died at the Hague 1657.]^ Though neither of these 
 attained Hals' pecuhar spirit and breadth of handling, yet 
 
 ' [F.ode's ' Frans Hals,' p. 31.] 
 
 * [Van der Willigen, u. s., p. 149.] 
 « [lb. ib. 307.] 
 
 • [Voamaer's ' Rembrandt, sa Vie et sea CEuvres,' pp. 43-50.
 
 Chap. III. CUYP — RAVESTEYN. 855 
 
 they approached him very closely.^ As a portrait painter 
 Cuyp was lively in feeling, of great power and warmth of 
 colouring, and with an execution of admirable impasto. As 
 a specimen I need only cite his stately portrait of an old 
 woman, dated 1624, in the Berlin Museum, No. 743. A 
 capital group of likenesses was once in the gallery of 
 Amsterdam ; two bust portraits of 1649 are in the Museum 
 of Metz ; and two likenesses, a captain and his wife, dated 
 severally 1635 and 1644, Nos. 38 and 39 in the Museum of 
 Rotterdam. As a landscape painter J. G. Cuyp is a man 
 of originality and power, to whom we owe, as we owe to 
 Roghman likewise, the transformation of the minute and dry 
 method of the Brils and Breughels into a broader, warmer, 
 and more natural imitation of nature. Cuyp, the father of 
 Albert Cuyp [entered the Guild of Dordrecht in 1617, and 
 died in 1651-2]. One of his landscapes, in the gallery of 
 Schleissheim, shows us a town, a river, with a ferry and 
 sailing ships, and cattle grazing on the foreground. 
 
 [The earliest picture mentioned as a work of Eavesteyn is 
 a portrait of 1614.'^ Two years later he painted the Civic 
 Guard issuing from the Doelen, a masterpiece, in the Town 
 Hall 9,t the Hague ; in 1618 he finished for the same locality 
 the Banquet of the Town Council, which Burger character- 
 ized as "more powerful than Van der Heist.'"* Of 1622 
 we have the likeness of Anton Faber in the Brunswick 
 Oallery, inferior only in interest and value to the family 
 portraits in the same collection. Another portrait of 1633 
 is in the [Berlin Museum, No. 757 a] ; but, superior to all 
 these, and full of grave harmony, is a Meeting of the Town 
 Council in the Town-hall at the Hague, dated 1636, and 
 Officers of the City Guards (1638), in the same place. Two 
 fine portraits in the Gallery of Amsterdam, two busts of a 
 man and his wife in the Munich Pinakothek (319-320), are 
 amongst the fine productions of this interesting artist, who 
 
 ' [It is to be observed here that Cuyp and Ravesteyn were older men 
 than Hals, and that they were probably less dependent on the latter 
 than Dr. Waagen supposes.] 
 
 ^ [Vosmaer, ' Rembrandt, sa Vie,' etc., pp. 49, 463-4. 
 
 • ['Musses de Hollande,' ii. 197.]
 
 356 THE DUTCH EEVIVAL. BookV. 
 
 displays almost as much nature as Hals, with only less 
 freedom of brush. ]^ 
 
 [Of the same age as J. G. Cuyp and Eavesteyn is Aert 
 PiETERSEN, the son of PieterAertsen, whose name is of interest, 
 as it stands, coupled with the date of 1603, upon a long 
 canvas in the Hall of the Surgeon's Guild, at the Hague, re- 
 presenting a Lesson of Anatomy, in the form which we 
 find adopted twenty-nine years later in the same hall by 
 Rembrandt. J'^ 
 
 [PiETER Fransz de Grebber, the son of Frans Pietersz de 
 Grebber, born, according to the catalogues, in 1600, died 
 after 1655. This artist seems to have wavered in his studies, 
 reminding us at various times of Rubens and Lastmann. 
 He is younger than Hals, older than Van der Heist or Rem- 
 brandt, and deserves to be studied. In two pictures ot 
 1628, the Shepherds, No. 51 in the Museum, or the 
 Apostles giving Charity to the Poor, in the Oudemannen- 
 buys at Haarlem, his treatment is Dutch, sober and grey. A 
 Barbarossa of 1630, No. 52 in the Haarlem Museum, 
 displays a certain imitation of Rubens ; ^ but Elisha refusing 
 the Presents of Naaman, also at Haarlem, recalls Lastmann, 
 and shows that de Grebber now followed the same path in 
 art as Rembrandt. It has been said indeed that de Grebber 
 was under the influence of Rembrandt when he painted 
 this picture ; but this requires proof. Reminiscences of 
 Lastmann and Rembrandt are also to be found in the fine 
 canvas of 1641, at the Haarlem Town-hall, Jacob receiving 
 from his Sons the Bloody Garment of Joseph ; but the tones 
 are clear and the finish carefully precise. Three portraits, 
 one of them dated 1632, by de Grebber are in the Dresden 
 Museum.]^ 
 
 ' [The two fine portraits by Eavesteyn, in the Museum of Rotterdam, 
 perished in the fire of 1864.] 
 
 '^ [Consult Vosmaer, ' Rembrandt Harmens van Ryn, sa Vie,' etc., 
 p. 109.] 
 
 ^ [It is very natural that Rubens' influence should be felt by de Grebber. 
 His father, by whom there are pictures in the Gallery of Hiuirlem, dated 
 1600, 1610, and 1619 respectively, was a friend and factotum of Rubens, 
 as we see from a letter of the latter to Sir Dudley Carlton, of March 
 17th, 1618, in Carpenter's ' Van Dyck,' p. 138.] 
 
 * Consult Van der Willigeii. ' Les Artistes de Haarlem.' p. 135 ; Vos- 
 maer, ' Rembrandt Harmens Van Ryn. sa Vie ' etc., pp. 44 and 462.
 
 Chap. III. DE KEYSER. 357 
 
 [Leonard Bramer, born, according to common computation, 
 in 1596 at Delft, became an imitator of Rembrandt in his later 
 years, but before he did so followed a path of his own. He 
 started on a wandering tour in 1614, and visited various parts 
 of France and Italy. At Rome he joined the colony of the 
 Dutch, presided over by Elsheimer. On his return to Delft he 
 painted pictures for Prince Maurice (died 1625), and founded 
 a Guild of St. Luke, the meeting-hall of which he decorated 
 with frescoes. The Doelen, a public edifice at Delft, was 
 adorned with his frescoes in 1655 ; and in the Town-hall of 
 Delft there is one of his pictures representing archers going 
 out to shoot at a mark. He was fond of representing scenes 
 lighted by candles, in the manner of Honthorst ; and he 
 shared with Lastmann the passion for oriental or Jewish 
 costumes. A Descent from the Cross, unfortunately lost in 
 the fire of the Museum of Rotterdam, showed the figure of the 
 Redeemer lighted by a sun ray, after the fashion of Rembrandt. 
 In this form Bramer was cold and heavy in tone, as well as 
 slight and meagre in touch. Illustrations of his late style 
 are three pictures in the Dresden Gallery : No. 1220, Christ 
 and the ScofTers; No. 1221, Solomon kneeling in the 
 Temple; No. 1222, The Queen of Sheba kneeling before 
 Solomon. Bramer was still living in 1G67.]'- 
 
 [JoRis VAN ScHooTEN is an artist of Leyden whose works 
 may have been studied by Rembrandt. He was born about 
 1587, and painted for the hall of meeting of the Civic Guard of 
 Leyden, in 1626-28, large portraits of the Archers' Company. 
 These are still preserved in the Town-hall of Leyden, together 
 with a canvas representing ofiicers, dated 1650. Van 
 Schooten's style is allied to that of Ravesteyn, yet less 
 talented.]* 
 
 The name of A. Lion is inscribed, with the date 1628, on 
 a picture containing the warmly-coloured and well-executed 
 portraits of twenty-five archers, in the new Hotel de Yille at 
 Amsterdam, No. 36. 
 
 [After Lion comes Thomas de Keystsr. a portrait painter, 
 
 born 1595, [died at Amsterdam November 19th, 1679,] whose 
 
 ' [Consult Vosmaer, 'Rembrandt Harmens van Rvn,' pp. 59, 469. j 
 =2 [lb. ib. 47-8 and 463.]
 
 358 THE DUTCH REVIVAL. Book V, 
 
 portrait of Hendrik de Keyser was engraved in 1621 by 
 Sayderbof.i J)q Keyser's earliest extaut pictures are two 
 wings of a triptych in the Berlin Gallery, No. 750c, dated 
 1628, representing family portraits of a father praying, with 
 his son in attendance, and a mother standing near her kneeling 
 daughter. Both pieces are the work of a man in the full 
 exercise of uncommon powers, whose skill in rendering the 
 aristocratic elegance of well-born sitters is exceedingly great ; 
 whose tones have a clear silvery sheen most pleasing to the 
 eye. For this and other pieces de Keyser deserves to be 
 ■classed by the side of Frans Hals, to whom he is only inferior 
 in the subtle art of breaking up flesh tints. Fine speci- 
 mens of this artist are the following : A merchant and his 
 clerk. No. 212, in the National Gallery ; a portrait of an old 
 man, dated 1632, in the Hermitage at Petersburg; sixteen 
 members of the civic guard, dated 1632, in the gallery 
 at Amsterdam ; four burgomasters of Amsterdam receiving 
 intelligence of the coming of Mary of Medicis, a canvas pro- 
 bably painted in 1638, now in the Gallery of the Hague ; 
 two portraits, male and female, in the Gisignies collection 
 at Brussels, described by Burger, and dated severally 1639 
 and 1640 ;2 Theseus and Ariadne, of 1657, above a chimney- 
 piece in the Town-hall of Amsterdam : a clerk explaining 
 his accounts to a lady, dated 1658, in the Munich Gallery; 
 and family portraits, in the Museum of Amsterdam.] 
 
 [An entire group of landscape painters preceded Rem- 
 brandt at Leyden and Amsterdam, whose lives are intimately 
 connected with his. These are Esaias Van der Yelde, 
 Roghman, and Van Goyen. Esaias Vax der Velde was born 
 at Amsterdam, it is said, in 1597; but this date is probably 
 erroneous, since it appears that he joined the Protestant com- 
 munity at Haarlem in 1610, married in 1611, and entered the 
 Haarlem Guild in 1612. In 1630 Esaias was a resident at 
 Leyden, and at the same time a mfc."nber of the Painters' 
 Guild at the Hague. ^ His touch is bold, like that of Fraus 
 
 ' [Burger, ' Musees de Hollande,' i. 231.] 
 = [Ib. ib. ii. 67.] 
 
 ' [Van der Willigen, ' Les Artistes,' p. 309 ; and Bode, Die Kiinstler 
 ^on Haarlem, in Zeitsch. f. b. K. 7, p. 165.]
 
 Chap. III. ROGHMAN — VAN DER HELST. 359 
 
 Hals ; his figures, horses, and distances are masterly. From 
 him are observed to spring Van Goyen, " who produced Solo- 
 mon Ruysdael, who produced Jacob Ruysdael, who produced 
 Hobbema." ^ Though rare, his pictures are numerous enough 
 to give an insight into his style. We may note a Skirmish, 
 with a Windmill and Gallows, No. 684 in the Gallery at 
 Brunswick ; a Fight, very dramatically treated, in the 
 Belvedere at Vienna ; a Farm on Fire, with a Skirmish, 
 signed, E. v. Velde, 1623, and a Man on Horseback, Nos. 216 
 and 217 in the Museum of Rotterdam ; Prince Maurice 
 fastening Bells on a Cat ; the Surrender of Bois-le-Duc 
 (1629-30), in the Gallery of Amsterdam; and two skirmishes 
 (1636 and 1637), in the Dresden Museum. Biirger has 
 registered a Winter Landscape, belonging to Mr. de Brou, 
 signed, E. v. Velde, 1619, and a landscape in the Moltke 
 collection at Copenhagen (1620).] 
 
 [RoELAND RoGHMAN was bom in 1597, and died 1685. He 
 was a travelling painter, having visited the Tyrolese moun- 
 tains, of which hie etched several views. His landscapes 
 are often erroneously assigned to Rembrandt, ex. gr., No. 853 
 and 354 in the Gallery of Cassel, signed with the monogram 
 R. R. Sometimes he painted distances to figures by Lingel- 
 bach. There is a fine View of a Town by him once in the 
 Suermondt collection at Aix-la-Chapelle, twenty-five of his 
 drawings are in the Museum of Rotterdam, and a large view 
 of open country. No. 375 in the Gallery of Copenhagen. 
 Of Van Goyen we shall treat later.] 
 
 Bartholomew van der Helst, born in 1613, died at 
 Amsterdam 1670. He is by far the most renowned of the 
 Dutch portrait-painters of this period. Although nothing is 
 known as regards the master undei* whom he studied, I am 
 convinced, by a close study of his earlier works, that even if 
 Frank Hals was not positively his teacher, his works were 
 the models whence Van der Heist formed himself. We see 
 this in the portrait of Vice-Admiral Kortenaar, in the 
 Amsterdam Oallery, No. 472, where the conception of forms, 
 and the unscumbled character of the strokes of the brubii, 
 recall Frank Hals. The same may be observed in two larger 
 ' [Biirger, ' Musees,' ii. 206.]
 
 360 THE DUTCH EEVIVAL. Book V. 
 
 pictures with ai'chers at Haarlem, where the unartistic 
 arrangement, deficient keeping, and monotony of the other- 
 wise warm flesh-tones, point to the earlier time of tho 
 painter. By about the year 1640, however, his character 
 as a painter was fully developed. His arrangement of 
 portrait-pieces with numerous figures became very artistic 
 and easy, his keeping excellent, and his drawing masterly, 
 the individuality of his heads not only very living in charac- 
 ter, but of a highly attractive good-humour and kindliness 
 of feeling, his prevailing warm brownish tones finely gra- 
 duated, and his touch, though not so free as that of Frank 
 Hals, yet more careful, and extending more equally to aU 
 accessories. This standard of excellence he retained tiU 
 about 1660. The following are principal pictures of this 
 period : [A fine portrait of a preacher. No. 83 in the 
 Museum of Rotterdam, dated 1638]. A scene from the 
 Archery Guild of Amsterdam in 1639, including thirty 
 figures, in the State Museum at Amsterdam, No. 477. This 
 is full of animated incident, and in every respect closely 
 vies with the excellence of the pictures succeeding it : as, 
 for instance, the celebrated picture inscribed 1648, an 
 Archery Festival commemorating the Peace of Westphalia, 
 and consisting of a party of twenty-four persons. No. 467 
 in the Gallery at Amsterdam. The chief charm of this work 
 consists in the strong and truthful individuaUty of every 
 part, both in form and colour ; in the capital drawing, which 
 is especially conspicuous in the hands ; in the powerful and 
 clear colouring ; and finally, in a kind of execution which 
 observes a happy medium between decision and softness. 
 In general keeping, however, the standard is not so high ; 
 the eflect is therefore somewhat cold, while the gradation of 
 tones necessary for the aerial perspective in the figures on 
 the second and third plane is somewhat sacrificed to the 
 painter's love for thorough and equally decided execution. 
 In this respect a picture in the "Werkhuys" at Amsterdam, 
 dated 1650, and therefore but two years later, is far more 
 remarkable. Two women and two men are standing con- 
 versing in the foreground ; in another space is a man with a 
 book, while a sermon is going on in the background. In
 
 Chap. III. SPILBERQ. 361 
 
 drawing, warmth, and clearness of tone, and in a certain 
 chiaroscuro, this is one of the finest works of the master. 
 Next in order is the picture of four members of the Archery 
 Guild, with the steward of the company and a boy with a 
 beaker, dated 1656, in the new Hotel de Villa, No. 30, at 
 Amsterdam. The tone, though still warm, is here somewhat 
 less powerful. In the following year, 1657, the master 
 executed that justly renowned picture of the Archery Guild 
 known by the name " het Doelenstuck," now in the Amster- 
 dam Gallery, No. 468. This work represents three of the 
 overseers of the guild, with splendid golden prize vessels, 
 and a fourth supposed to be the painter himself: it exhibits 
 a happy balance of a delicate feeling for nature, excellent 
 execution of detail, and fine keeping.^ It is, however, sur- 
 passed by a replica on a smaller scale executed in the follow- 
 ing year, and probably for one of the members, which was 
 formerly in the possession of Mr. Jan de Graaf at Amster- 
 dam, and is now in the Louvre, No. 197. At all events this 
 picture is in better preservation, and ofi"ers one of the finest 
 examples of portrait painting that the Dutch school produced. 
 Next again, both in excellence and time, is another picture, 
 in the possession of Mr. Henry T. Hope in London. In the 
 master's later period a great alteration took place in his 
 works. The warm flesh-tones gradually diminish, giving 
 place to a delicate silvery hue ; the forms are less distinctly 
 rendered ; the touch becomes very soft and delicate, and the 
 whole scale of colour cool. A very characteristic example 
 of this kind is the portrait of the Vice-Admiral Augustus 
 Stellingwerf, in the Amsterdam Gallery, No. 485." 
 
 Although it is not known that Van der Heist educated, 
 properly speaking, any scholars, yet the mere observation 
 of the eye tells us that various portrait painters formed 
 themselves entirely after his manner. The following are 
 instances : Joannes Spilberg. This artist executed, in 
 1653, a repast with twenty-two archers, [much repainted], 
 
 ' [This picture is now of chalky tone, having been thrown out of 
 focus by careless cleaning. The true date is 1653.] 
 
 - [Dr. Waagen here confounds the old age of B. van der Heist with 
 the youth of his son. The portrait of Admiral Stellingwerf is signed 
 "L. van der heist f. 1670."
 
 362 THE DUTCH REVIVAL. Book V. 
 
 now in the new Hotel de Ville of Amsterdam, No. 19. In 
 skill of composition and execution he approaches very near 
 Van der Heist. His heads are also very lively, but emptier 
 in form. His yellowish flesh-tone is also rather monotonous. 
 Abraham van den Tempel, born at Leyden, died 1672 ; a 
 scholar of Joris van Schooten. Nevertheless, as seen in his 
 pictures, which are almost without exception in the posses- 
 sion of Dutch families,' he followed especially the later man- 
 ner of Van der Heist. An admirable portrait picture of an 
 aristocratic man and his wife is in the Berlin Museum, No. 
 858. LiEVE [or Ludolf de Jong, born at Overschie in 
 1616, died at Hillegersberg in 1697] de Jongh is another 
 little-known painter of this class. An archery meeting in 
 the Painting Academy at Rotterdam is an admirable work, 
 in many respects approaching Van der Heist. ^ Pieter 
 Nason [1639-80] was long employed at the court of the 
 Great Elector at Berlin, His portraits are composed with 
 much knowledge, excellently drawn, and of careful execu- 
 tion. In the colouring they have not the transparency of 
 the school. A portrait of the Great Elector, full length, life 
 size, by Nason, of the year 1667, is an admirable work. A 
 male portrait, also in the Berlin Museum, dated 1668, 
 No. 1007a, is of great delicacy. Another picture also there. 
 No. 977, shows that he occasionally painted still life with 
 great success. In Holland his pictures are mostly to be met 
 with in private families. [There are two of his portraits in 
 the Rotteidam Museum.] 
 
 ' [Three fine portraits are in the Amsterdam Museum, Nos. 1401-3, 
 one representing an old lady in a cap and frill, signed "ABV Tempel 
 ft." Of two fine portraits, formerly in the Museum of Rotterdam, 
 only one (No. 213) remains. It represents an admiral, and is signed 
 •' A V. d Tempel 1671." The companion picture of a lady was burnt 
 in the fire of 1864.] 
 
 - [This picture, having been transferred to the Museum of Rotterdam 
 (Biirger, ' Musees.' p. 222), seems to have perished in the fire of 1864. 
 There are, however, two good examples, bearing Ludolf's signature, 
 portraits of Admiral van Nes and his wife, Nos. 200, 201, in the Amster- 
 dam Gallery. The latter is dated 1668.]
 
 Chap. IV. REMBRANDT. • J?63 
 
 • CHAPTER IV. 
 
 REMBRANDT VAN RYN. 
 
 The master who represents the Dutch school of this period, 
 in the highest attainment of its native power, is Reiibkandt 
 VAN Ryn.^ This great painter was the son of Herman 
 Gerritszoon van Ryn, and was born at Leyden in 1607.^ 
 His parents had not destined him for the career of art, but 
 on perceiving his great talent permitted him to partake of 
 the instruction of J. I. van Swanenburg at Leyden.^ Hou- 
 braken states that he also enjoyed the teaching of Pieter 
 Lastmann and Jacob Pinas ; and, however inaccurate his 
 account generally, the first assertion appears to be corrobo- 
 rated by the affinity between Lastmann's works and those of 
 Rembrandt's earlier time. He was one of those artists 
 whose genius becomes early developed, for in 1630, and 
 therefore at the age of twenty-three he took up his abode in 
 Amsterdam as an independent master, while some of the 
 pictures painted in the next succeeding years show so high 
 a standard of excellence as necessarily to lead to the con- 
 clusion that many preceding them must have exhibited 
 
 ' For the ensuing notice of Rembrandt's life I have availed myself of 
 the following writers : 1. Sandrart, vol. i. p. 326 ; 2. Immerzeel's 
 ' Leben der Niederlandschen Klinstler,' vol. iii. p. 11 ; 3. Dr. P. 
 Scheltema, ' Redevoering over het leben en de Verdiensten van Rem- 
 brandt van Ryn,' Amsterdam, 1853 ; 4. Edward Kolloff, ' Rembrandt's 
 Leben . und Werke ' in dem historischen Tasehenbuch von Friederich 
 von Kaumer, 1854. [To these may be added, C. Vosmaer, 'Rembrandt 
 Harmens van Ryn, sa Vie et ses CEuvres, seconde edition, entierement 
 refondue et augmentde, 1877.] 
 
 - [The proof in Vosmaer, ' Rembr. sa Vie et ses CEuvres,' etc., pp. v. 
 vi., who clearly shows that Rembrandt was not born in a null, but in 
 his father's house on the Weddesteeg, July 15th, 1607.] 
 
 ^ [The Swaneuburgs were related to Rembrandt. Their works are 
 scarcely to be traced. One only is registered, No. 441 in the Gallery 
 of Copenhagen — the Pope in procession crossing the square of St. 
 Peter's at Rome, inscribed " Giacomo Swanenburgh, 1628," from 
 which we must infer that he visited Rome after Rembrandt left him. 
 Consult Vosmaer, ' Rembrandt, sa Vie,' etc., cap. iii., pp. 28 and follow- 
 ing, and fr.rther, p. 459. 
 
 30
 
 364 THE DUTCH REVIVAL. Book V. 
 
 highly commendable qualities. The early consideration in 
 which his pictures were held, and the respectable position 
 they procured for him, are also proved by his marriage in 
 1634 with Saskia Uilenburg, a wealthy young lady belong- 
 ing to a burgher family of importance. Between this 
 period and the death of this wife in 1642 was obviously 
 comprised the painter's happiest time. He received nume- 
 rous commissions, partly from individuals of high standing ; 
 painted, as early as 1638, an Entombment and an Ascension 
 for Prince Frederick Henry of Orange; and, in 1644, for the 
 well-known Jan Six, one of his warmest patrons, the 
 Woman taken in Adultery, and other pictures. In addition 
 to this he lived in habits of social intercourse with authors 
 of such eminence as Jeremiah Decker and Constantin 
 Huygens, and also with several divines of renown. At a 
 later time, if we accept the testimony of his contemporary 
 Sandrart, he preferred to associate with simple people of a 
 lower class, and [although the number of important works, 
 both in painting and in etching, which he executed, and his 
 continued intimacy with the family of Jan Six, together 
 with the many commissions which he received, negative 
 the assertion tha't he lost much time in such company, yet 
 the income which he enjoyed does not seem to have been 
 sufficient for his expenditure, and] towards the year 1653 his 
 affairs became so involved as to cause him to incur consider- 
 able debts, which in 1656 ended in bankruptcy. This 
 catastrophe is not to be explained either by the statement of 
 Sandrart, that Rembrandt, though no spendthrift, was a bad 
 manager of his means, or by the circumstance that the 
 great scarcity of money and impoverishment of many fami- 
 lies, consequent on the unhappy war with France, compelled 
 him to sell his pictures for lower prices. The cause rather 
 lies in the fact, first brought to notice by Immerzeel, that in 
 the passion with which he collected works of art and 
 curiosities he spared no sacrifice of money. Thus he is 
 said to have given for a small engraving by Lucas van 
 Leyden the then considerable sum of eighty dollars. The 
 catalogue of this collection, which still exists in Amsterdam, 
 in the Court of Insolvency, is in various ways of the greatest
 
 Chap. IV. EEMBRANDT. 36.' 
 
 significance in the history of Rembrandt.^ We learn from 
 this that, however one-sided might be the tendency of this 
 great master in his own art, he took, in the character of a 
 collector, a very wide-spread interest. Besides a consider- 
 able number of pictures, drawings, and engravings, of the 
 Netherlandish and Dutch schools — from the time of the Van 
 Eycks to his own — among whom, as may be easily under- 
 stood, Adrian Brouwer and Jan Livens, as most congenial 
 to his own practice, were richly represented ; besides all 
 these we find a small number of pictures by the groat 
 Italian masters, not only of those of the Venetian school, 
 like Giorgione and Palma Vecchio, who were allied to him- 
 self as colourists, but also by Raphael and Michael Angelo. 
 Nor were these only — and, as might be supposed, Titian — 
 found in great numbers in his collection of engravings, but 
 also a master so utterly opposed to his own style as Andrea 
 Mantegna, But what we are most surprised to find in his 
 possession are a number of antique sculptures, such as the 
 Laocoon, a Cupid, and the busts of Homer and Socrates. 
 The very briefly drawn-up catalogue, however, leaves us. 
 generally in uncertainty as to the size or material of these 
 sculptm-es. Thus it is evident that Eembrandt was well 
 acquainted with the best examples of the various forms ol 
 art preceding himself ; and it is perfectly intelligible that he 
 must have been esteemed in his time not only as a painter, 
 but as a collector and connoisseur ; Sandrart, who greatly 
 extols his collection, mentioning expressly the high esteem 
 in which he was held on this account. Various valuable 
 works on art also found place among his treasures ; and a 
 rich collection of costumes, weapons, and utensils of different 
 nations, which he also used as models for his pictures and 
 etchings. One item is also thus described: "A parcel of 
 ancient rags of different colours," which can only have 
 served for the purpose we have referred to, and which one > 
 is led to fancy may be recognised in many of his pictures. 
 How Rembrandt must have suffered at the public sale which 
 
 ' C. J. Nieuwenhuys, ' A Eeview of the Lives and Works of some of 
 the most eminent Painters,' ete, London, Henry Hooper, 1834. 
 Kolicff and Vosmaer.
 
 366 THE DUTCH REVIVAL. Book V. 
 
 knocked his entire collection down for the miserable sum of 
 4964 guldens 4 stivers/ I leave the reader to imagine. It 
 shows, however, no common moral force, and rare energy 
 of artistic genius, that the works executed soon after this 
 {errible blow evince no trace of its influence upon him, but 
 are of the same excellence as those preceding it. He even 
 contracted a second marriage in 1656, and continued in full 
 artistic activity up to his death, in the beginning of October, 
 1669.' 
 
 The reaUstic tendency, so characteristic of the whole 
 art of the Netherlands, which at this period was for the 
 second time developed in full perfection, showed its most 
 remarkable and original results in the person of Rem- 
 brandt. His feeling for the truthful and the picturesque, 
 -which latter found expression in the utmost possible 
 perfection of chiaroscuro, was so strong — the absence 
 of all sense of beauty, or even for precise rendering of 
 or from grace of movement, was so decided — that he must 
 be considered to have steadily pursued the course assigned 
 to him by nature, not from ignorance, as was at one time 
 believed, of the finest things which art had produced 
 in other forms, but in spite of his knowledge of them. 
 Besides those qualities of truthfulness and picturesque- 
 ness, which, by means of his works, became the highest 
 principle and chief charm of the whole Dutch school, he 
 possessed other great gifts, namely, a fine conformability 
 to style in arrangement, and marvellous technical power. 
 Although, in the absence of pictures by his masters, Van 
 Swanenburg and Pinas, it is difficult to ascertain what 
 he learnt from them, yet the works of Pieter Lastmann 
 show that his technical attainments were not owing to him. 
 It is highly probable that in this respect he formed himself 
 
 ' When it is considered that, in addition to these treasures, the sale 
 comprised seveuty of his pictures, a large number of studies and draw- 
 ings by his hand, and all his etchings, the sum for which they were 
 disposed of becomes quite unaccountable, but for the fact that the 
 scarcity of money and the poverty of Amsterdam was such that at 
 that time 1500, and according to some, 3000, houses stood empty. 
 
 - [He was buried on the Hth of Oct., 1669, in the cemetei-y of the 
 Westerkerk at Amsterdam, Vosmaer, K. sa Vie, p. 375.]
 
 Chap. IV. REMBEANDl. JibT 
 
 from the pictures by Frank Hals, with which he must have 
 been early acquainted in the neighbouring town of Haarlem. 
 At all events "the unexampled freedom, spirit, and breadth 
 of manner belonging to Rembrandt is related to that of 
 no other earlier Dutch master. But all these admirable 
 qualities would offer no sufficient compensation for the ugly 
 and often vulgar character of his heads and figures, for the 
 frequently angular movements, and for the total subversion 
 of all the traditional rules of art in costume and accessory, 
 and would fail to account for the great admiration which 
 his works enjoy to this day, if he had not possessed a feeling 
 peculiar to himself in addition. Various conditions attend- 
 ing a northern climate and life, it must be remembered, are 
 expressed in his works, and expressed also with an earnest- 
 ness and intensity belonging to a genuine Dutch nature. 
 In contrast with the rawness and inhospitality of the 
 climate, which in its cold, damp, and darkness renders an 
 open-air existence, for the greater part of the yeai*, not 
 only unattractive but injurious, a Northman's great object 
 is to create a household climate, warmed and lighted by 
 himself, which, in the compactness of the apartments con- 
 taining it, in the ornamental objects which accompany it, 
 and in his very consciousness of the difference between the 
 external and internal atmosphere, gives a feeling of com- 
 fort and ease which a Southern can never imagine, and 
 which has remained unknown to those nations which are 
 descended from the Latin races. This feeling speaks aloud 
 from many of the pictures and etchings of Rembrandt, and 
 is much assisted by his peculiar lighting, which expresses 
 that clear, very warm, but limited light, which only seems 
 to dawn through great masses of shadow. In this way 
 his objects become only gradually perceptible to the eye, 
 many of them more supposed than seen : thus in great 
 measure producing that sense of the mysterious which so 
 pervades his works. This indeed may be regarded as the 
 latest form of that feeling for the fantastic so peculiar to the 
 Germanic race, and expressed, as we have seen, in earlier 
 times, under so many pictorial aspects. KoUoff remarks, 
 with discrimination, that a similar kind of conception ia
 
 368 THE DUTCH REVIVAL. Book V, 
 
 observable in Adam Elzheimer, and may have descended tt) 
 Rembrandt through Pieter Lastmann, his scholar, who was 
 tin this respect allied to Elzheimer. It belonged also to 
 Rembrandt to represent with striking truth the gloomy 
 poetry of northern scenery — the mighty masses of black 
 rain-clouds, the shadows of which darken the surface of still 
 waters, only illumined by a single and momentary sunbeam, 
 or the last glowing light of the setting sun on the simple 
 outlines of his native landscapes. But though every picture 
 by Rembrandt is more or less attractive for its picturesque 
 eflfect — for the warmth, power, and clearness of its colour- 
 ing, and the mastery of its handling — yet it stands to reason 
 that in other respects his works only satisfy or displease the 
 eye according to the degree in which his subject is one 
 sympathetic to his artistic nature. But before proceeding to 
 consider from this point of view a small number, selected 
 from the great mass of his works, I may remark that essen- 
 tial difterences in lighting, colouring, and handUng will be 
 found among his pictures. In most of his works executed 
 I before 1633 a clear daylight prevails, the colour of thcjEgsh 
 is warm and clear, but true to nature, the touch already 
 masterly and free, but very careful, and, to a certain point, 
 fused. The chief picture of this class is the celebrated 
 Anatomical Lecture, see woodcut, dated 1632, held _oyer_a 
 dead body by Professor Tulp, which was originally pjiinted 
 for the Anatomical Institute in Amsterdam, and is now in 
 the Gallery of the Hague. ^ The truthfulness of all parts, 
 especially of the heads, the great discretion exercised in the 
 treatment of such a subject, and finally, the extraordinary 
 delicacy of aerial perspective in the foreshortened body, are 
 most worthy of mention. From the year 1633 he preferred 
 that efi'ect of enclosed lighting in which broad and clear 
 masses of shadow form a striking contrast to the keenly 
 breaking-in light which falls only on isolated objects. TKe 
 local tone of the flesh also is more golden, but less true to 
 nature ; the touch more ^spirited and di stinct. The cliief" 
 
 ' [The earliest oil pictures by Rembrandt at present known ar^^ a 
 St. Paul iu the gallery of Stiittgardt and a "Changer" in the Berlin 
 Museum, both dated 1627.]
 
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 Chap. IV. REMBRANDT. 369 
 
 picture, and the largest he ever painted, is the celebrated 
 Stt-called Night Watch, in the Amsterdam Gallery, dated 1642, 
 and which more properly represents the Ai-chers' Guild 
 going out to shoot at a mark. The forms are here conceived 
 with peculk^jJecisiojij the_heads are very individual, the 
 golden tone veiy clear, the effect striking, and the execution 
 in his new manner very careful. In composition, however, 
 the picture does not do full justice to Rembrandt's powers in 
 this department, while the general keeping, once doubtless 
 of the highest quality, has suffered much by the darkening 
 of the black dresses and of the background. How entirely 
 this kind of enclosed radiance, which so much assisted the 
 charm of his chiaroscuro, was native to Rembrandt, is seen 
 in a picture dated 1631, of the Presentation in the Temple, 
 now in the Hague Gallery, the chief attractions of which are 
 the beauty of the composition and the admirably sustained 
 chiaroscuro. On the other hand, he afterwards occasionally 
 painted pictures in his former tone, and more open-air light- 
 ing. From about the year 1654 the golden flesh-tones 
 became still intenser, passing sometimes into a brown of less 
 transparency, and accompanied frequently with grey and 
 'T)lackish shadows, and sometimes with rather cool lights. 
 The handling also, with a brush of hog's bristles, displays 
 astonishing freedom and breadth, so as in some instances to 
 degenerate into a decorative marner. The chief picture of 
 this epoch, dated 1661, is No. 1247 in the Amsterdam 
 Gallery, representing the five trustees of the building called 
 the Staalhof, with a sixth person. This, in depth of the 
 still transparent golden tone, in animation of heads, and in 
 body and breadth of handling, is a true masterpiece. 
 
 I now proceed to consider Rembrandt's treatment of 
 Biblical subjects. Although his portrait-like forms, usually 
 taken from Amsterdam Jews, in whose quarter Rembrandt 
 resided, are very ordinary, and often exceedingly ugly, yet 
 they appeal to the eye with a simplicity, truth, and earnest- 
 ness thoroughly in keeping with his subjects, and in which 
 Kolloff" has justly recognised the true spirit of the Reformed 
 .Church. It is certain that no other contemporary school 
 then flourishing — neither the school of Rubens, nor that of
 
 370 THE DUTCH REVIVAL. Book V. 
 
 the Carracci, nor the French or Spanish schools — rendered 
 the spiritual import of Biblical subjects with the purity and 
 depth exhibited by the great Dutch master. Here that 
 kindly element of deep sentiment we have already dwelt 
 upon, as well as his feeling for composition, combine most 
 happily. Remarkable specimens of this class are t he D escent 
 from the Cross, dated 1633 in the Munich Gallery, Cabinets, 
 l^o. 1320, [and the replica of the same, dated 1G34, in the^ 
 Hermitage at St. Petersburg]. In the beautiful flesh-tones of 
 this admirable composition Kembrandt justifies the name of 
 the "Dutch Correggio." Other fine examples are [Christ 
 and the Parable of the Vineyard (1637), at the Hermitage] ; 
 Christ appearing to the Magdalen, of the year 1638, in 
 Buckingham palace;^ the Visitation, of the year 1640, in 
 the G-rosvenor Gallery ;^ the Holy Family, of 1642, in the 
 Louvre,^ No. 410 ; and above all, the Woman taken in 
 Adultery, dated 1644, in the National Gallery. In this last 
 work a touching truthfulness and depth of feeling; with 
 every other grand quality peculiar to Rembrandt, are seen 
 in tbeir highest perfection.* Of similar excellence in feeling 
 is the [Holy Family (1645), at the Hermitage], and the 
 Descent from the Cross, in the National Gallery, No. 48, in 
 chiaroscuro. As a specimen of his conception of scenes 
 from the lives of the Patriarchs, in which his deep sentiment 
 especially appears, I may mention the family of Tobit 
 adoring the departing angel, of 1637, in the Louvre, No. 
 404 ; the large picture of Jacob blessing the sons of Joseph, 
 of the year 1656, in the Cassel Gallery, No. 367 ; [and 
 Potiphar's wife accusing Joseph (1657), in the Hermitage at 
 St. Petersburg]. At the same time these pictures, which are 
 handled with that great breadth peculiar to the painter at 
 this time, afibrd proof that the distressing fact of the sale of 
 his collection had no influence upon his artistic productive- 
 ness. Only rarely, in the case of sacred subjects, does he 
 degenerate into the repulsive or vulgar, as in the instance of 
 
 * 'Treasures,' etc., vol. ii. p. 5. 
 '* Ibid. p. 165. 
 
 * ' Kuntswerke und Kiinstler in Paris,' p. 5S4. 
 
 * ' Treasures,' etc., vol. i. p. 352.
 
 SAMSON THREATENS HIS FATHER-IN-LAW. 
 
 By Rembrandt In the Berlin Museum. page 371, No 1.
 
 €hap. IV, REMBRANDT. 371 
 
 Samson blinded by the Philistines, a large picture in the 
 collection of Count Schonborn at Vienna. While Rembrandt 
 thus did not hesitate to clothe the historical subjects of the 
 Bible in the forms of the life surrounding him, it follows that 
 he pursued a similar course in the representation of the 
 Parables. The finest work of this class is the Good 
 Samaritan recommending the wounded traveller to the inn- 
 keeper, of the year 1648, No. 405, in the Louvre. His 
 genre pictures are closely allied to these. Of his earHer 
 time I can only mention his two so-called Philosophers, of 
 1633, in the Louvre, Nos. 408 and 409, admirable specimens 
 of his tender and broad daylight treatment ; and a hewer of 
 wood, with his family, in the Chateau of Wilhelmshohe, near 
 Cassel. As regards his rare works from profane history, 
 that miscalled Prince Adolphus of Gueldres threatening 
 his imprisoned father, of the year 1637, in the Berlin 
 Museum, No. 802, is perhaps the most important. The 
 expression of wickedness in the son, the striking effect 
 of light, and the broad and yet finished treatment, render 
 this picture very remarkable. The cold field of allegory, so 
 popular in its time, was too uncongenial to the nature or the 
 practice of this great painter for him to have left more than 
 ■one specimen, that I am aware of, of this class. ^ I refer to the 
 masterly work in chiaroscuro, representing the deliverance 
 of the Dutch Provinces from the united power of Spain and 
 Austria ; the result probably of the patriotic sentiments of 
 the painter. It was formerly in the collection of Mr. Rogers.' 
 Least of all were the forms of his art adapted to the treat- 
 ment of ancient mythology. I will only mention the Lucretia, 
 [dated 1664, once] in the collection of Mr. Munro, [since 
 in possession of Mrs. Butler Johnstone] in London. On 
 the other hand, he took pleasure occasionally in parodying 
 these subjects : for instance, his well-known Ganymede in 
 
 ' [This picture does not represent Prince Adolphus of Gueldres. but 
 Samson threatening his father-in-law. The date has been read 1635. 
 See Kolloff's Rembrandt in Raumer's ' Taschenbuch,' p. 444.] 
 
 - Now in the Museum at Rotterdam, No. 181, signed Rembrandt f. 
 1648. Probably this is the picture catalogued as in Rembrandt's own 
 collection at the time of his sale, and uangin!? upon the wall of the 
 aaloon. — Vosmaer, 'Sa Vie,' etc., pp. 280, 435, 544.
 
 372 THE DUTCH KEVIVAL. Book V. 
 
 the Dresden Gallery — an ugly fat boy in his shirt being 
 carried off by the eagle. 
 
 With so intense a feeling for nature, it^ follows that Rem- 
 brandt was a portrait painter of the highest order, while his 
 peculiar~style of lighting, his colouring and treatment, dis- 
 tinguish his portraits from those by all other jnasters. Even 
 the works of his scholars who followed his style in this 
 respect, stand far behind him in energy of conception and 
 execution. The number of his admirable portraits is so 
 large that it is difficult to bear in mind the necessary limits 
 of this work in naming a small number, which, with few 
 exceptions, I select from public galleries, as easily accessible 
 to the reader. No other painter ever painted his own por- 
 trait so frequently, and it is but fair to begin my list with 
 some of those : — A portrait in the Louvre, No. 412, of the 
 "year 1633 — representing the painter in youthful years, fresh_ 
 and full of hope. It is spiritedly painted inthe bright tone 
 of this earlier perio^d." Another, in the same gallery, No. 
 415, of the year 1660, painted ' with the extraordinary 
 breadth and certainty of hand of that later period, shows a 
 man weighed down with the cares of life, with grey hair and 
 deeply furrowed forehead. Of his own portraits in England,^" 
 those in Lansdowne House, and in the Bridgewater Gallery, 
 represent him in advanced age. I commence the series of 
 other portraits by him with that of an old woman of eighty- 
 three years of age [signed Rembrandt, ft. 1G34, now in the 
 National Gallery, No. 775]. This picture is highly important 
 as a proof that at the early age of twenty- seven the painter was 
 already in the full possession of that energy and animation 
 of conception, and of that decision of the broad marrowy 
 touch, which are altogether so characteristic of him. Of the 
 year before, and nearly alUed to the portrait just described, 
 while it is an admirable example of his larger works of this 
 class, is the picture of the Shipbuilder and his Wife, in 
 Buckingham Palace. The beautiful portrait of a young 
 woman, in the Louvre, No. 419, can be but a few years 
 later in execution. Characteristic of the middle time of the 
 master are the portrait of a woman standing at a window, 
 dated 1641, in Buckingham Palace ; a portrait of Saskia, in
 
 Cliap. IV. REMBRANDT. 373 
 
 profile, in the Cassel Gallery, No. 356 ; a portrait of a man 
 and a woman, also dated 1641, formerly in Cassel, after- 
 wards belonging to Lord Ashburton ; [the portrait of Burgo- 
 master Six, in the Six Collection, unfinished, but masterly in 
 the head ;] and the portrait of the burgomaster's wife, dated 
 1643, in the same gallery. In close affinity with this last 
 is the admirable portrait of a Rabbi, in the National Gallery, 
 No. 190 ; while as a first-class specimen of his later time [is 
 the portrait of a woman dated 1666], bequeathed by Lord 
 Colburne to the National Gallery, No. 237, which combines 
 with all Rembrandt's most admired qualities a truthfulness 
 of local flesh-tones most rare at this period of his career. 
 
 I may now notice those very rare landscapes by Rembrandt, 
 in which, with all the energy of his colouring and touch, he 
 has given expression to that feeling for nature I have before 
 alluded to. The finest example of this class I know in a 
 public collection is that in the Cassel Gallery, No. 372, where 
 the ruins of an old castle are seen on an eminence ; in the 
 foreground is a bridge ; the sky is magnificent ; the compo- 
 sition, glowing tone, and spirited touch give this picture a 
 peculiar charni. The other landscapes which show the great- 
 ness of Rembrandt in this class of art are in private hands, 
 I must be content to instance two : the AVindmill, in the 
 collection of Lord Lansdowne at Bowood, is a brilHant 
 proof how grand the simplest subject became under his mode 
 of treatment. The other picture — a distant view over a flat 
 Dutch landscape, through which a stream is winding, with 
 heavy rain clouds overshadowing — is in the collection of 
 Lord Overstone in London. A feeling of lofty melancholy 
 and of intense solitude is here expressed with astonishing 
 mastery. 
 
 In concluding the examination of Rembrandt's works, I 
 may remark that, besides the continental galleries quoted, 
 those of Petersburg and Vienna are particularly rich in his 
 works. The large number of admirable pictures by him, 
 scattered in private collections in England, are described in 
 my ' Treasures of Art.' 
 
 Although it lies beyond the scope of this work to enter 
 into detail regarding the astonishing amount of drawings by
 
 S74 THE DUTCH KEVIVAL. Book V. 
 
 Rembrandt, contained in public and private collections, I 
 may remark in general that they are replete vnth. that fine 
 feeling and extraordinary mastery of hand, which even in a 
 few slight strokes so express the character of the subject as 
 to enable the imagination of the spectator to supply what is 
 incomplete. Others, where he sought rather to give pic- 
 turesque effect, approach the style of his pictures in that 
 respect. 
 
 Still less can I venture to particularize any from among 
 the large number of his etchings.^ At the same time, I 
 should be far from doing justice to his artistic completeness 
 did I not mention that Rembrandt so developed the technical 
 qualities of this art as to enable him to express his feel- 
 ing for the effects of chiaroscuro in a manner which no 
 master before or since ever attained. Indeed, when Ave con- 
 sider the technical difficulties of this form of production, 
 and the simple black and white by which all his magical 
 effects were called into existence, it must be admitted that 
 in this department, even more than in that of painting, he 
 stands alone. Nor, ps respects composition, does he any- 
 where show himself so great a master as in some of his 
 plates, of which I only cite a very few instances : the An- 
 nunciation to the Shepherds, No. 191 ; his large plate of the 
 Raising of Lazarus, No. 188 ; the Christ Healing the Sick, 
 No. 224 ; the so-called Hundred Florin plate ; and his Ecce 
 Homo, No. 200. Of the rich series of his admirable portraits, 
 I may instance Dr. Arnoldus Tholinx, No. 170 ; Ephraim 
 Bonus, No. 158 ; the portrait of Jan Six, No. 159 : and of 
 his landscapes — his Mill, No. 305 ; the landscape with a 
 Dutch hay-barn. No. 306 ; the Three Trees, No. 309 ; and 
 the Three Cottages, No. 325. 
 
 ' See ' Deseri]itive Catalop^iie of the Etched Work of Rembrandt,' by 
 Eev. C. H. Middletou, to whi^:h the foUowiug ntfmbers refer.
 
 Chap. V. Rembrandt's pupils. 375 
 
 CHAPTER V. 
 
 SCHOLARS AND FOLLOWERS OF REMBRANDT. 
 
 Apart from the number of scholars and followers, properly 
 speaking, of Rembrandt, comprising, as we shall see, artists 
 of great talent, though none of them equalling him ; apart 
 from these, the influence of this wonderful master was so 
 great as to imbue the whole of the Dutch school of the seven- 
 teenth century with the character of art we have above 
 described. To him, namely, it was owing that in every de- 
 partment the same general feeling for the picturesque, the 
 same admirable colouring, and perfect technical treatment 
 were pursued. 
 
 [The first pupil received into Rembrandt's studio was 
 Gerard Dou,^ who was but a boy when he met with the 
 master at Leyden. During Rembrandt's long residence at 
 Amsterdam he had numerous other pupils, of whom it is 
 afterwards related that he did not set them to their tasks in 
 his own atelier, but penned each in a box of his own, in the 
 upper part of his house, partitioned off expressly for this 
 purpose. We have the names of several young and promising 
 artists, who afterwards acquired a reputation for themselves 
 in the Netherlands, who received their first instructions from 
 Rembrandt, and showed how strongly they were influenced 
 by bis teaching. The same subjects were repeatedly painted 
 by them in a Rembrantesque manner. Thus in the Louvre, 
 in one of Jan Fictoors' best pictures. No. 169, the figure of a 
 maiden showing herself at a casement, signed Jan Fictoora 
 104:0 : a variation of the same was painted by Dou in 1650; 
 again by Nicholas Maas, about 1652 ; and etched by Bol in 
 1658. The subject of the Benediction of Isaac was made 
 use of by Flinck, Amsterdam, No. 110, signed and dated 
 1638. The same event was at a later time pictured by 
 Bol, Eckhout and Aart de Gelder. Scenes from the life 
 of Tobias were similarly chosen.] If we could lay our 
 
 ' [Vosmaer, ' Rembrandt, sa vie,' etc., p. 86. 
 
 o L
 
 876 THE DUTCH EEVIVAL. Book V. 
 
 hands upon the earliest signed pictures of each of these 
 pupils we should know when they left Rembrandt's shop ; for 
 it was a law at Amsterdam, afterwards confirmed by the 
 Guild, that no disciple should sign any work, and that if he 
 did so he became liable to pay the dues of the corporation.^ 
 
 The oldest student in Rembrandt's house at Amsterdam 
 was Ferdinand Bol, born at Dordrecht in 1611, died at 
 Amsterdam on the 24th of July, 1680.] In his early time he 
 adhered to the style of his master, as appears in a female 
 portrait of 1642, in the Berlin Museum, No. 809 ; which in 
 tone, lighting, and careful but free handling, comes very near 
 Rembrandt. Afterwards he became different from him in 
 every way ; for the composition of his historical pictures 
 shows but little skill, the expression of his somewhat mono- 
 tonous heads is not important, the local tones of his flesh 
 become cooler, and often of an untruthful red, approaching 
 purple, the touch closer and more fused, and the feeling for 
 general harmony, however astonishing sometimes in force, less 
 refined. Admii'able pictures of this later time are [David's 
 Charge to Solomon, dated 1643, No. 47 in the Dublin National 
 Gallery], David's Letter concernirig Uriah, No. 1417,2 ^^(j 
 Joseph presenting his father Jacob to Pharaoh, No. 1 364, in 
 the Dresden Gallery ; a scene from Guarini's ' Pastor Fide,' in 
 the Northbrook collection in London ; and, finally, an allegory 
 of Peace, of 1664, in the Burgomaster's room in the Town- 
 hall at Leyden. Ferdinand Bol is far finer, in this later time, 
 in his portraits, which are chiefly taken in the fullest light ; 
 they are of surprising animation, and superior to those of 
 Rembrandt in truthfulness of flesh-tones. The finest of this 
 class by him, and decidedly his best existing work, is the 
 pictureof the "Regents" (1649), 15o. 143 in the State Museum 
 at Amsterdam. The arrangement of the four individuals 
 to whom the doctor is recommending an infected, but very 
 discreetly painted, boy patient, is remarkably easy ; the heads 
 are thoroughly masterly, especially that of the regent looking 
 at the boy, which is distinguished by noble features ; the 
 hands are also admirably painted. A second regent picture 
 
 ' [Vosmaer, ' Rembrandt, sa Vie,' etc., p. 140.] 
 
 - [This picture is not considered now to be by Bol.]
 
 Chap. V. BARKER FLINCK. 377 
 
 of the same kind, with six figures, is No. 141 in the same 
 collection, once in the Huyssittenhviys. The warmer tone 
 inclines me to think that this is an earlier work. It is pro- 
 bably dated, but the bad light in which it is placed prevents 
 any close investigation. The great excellence already at- 
 tained by this painter towards this later time is evidenced by 
 the portrait of a man in black dress, of the year 1659, in the 
 LovTvre, No. 42. [Another, equally fine, is that of a man in 
 a black hat in the Speck-Sternburg collection at Liitschena, 
 near Leipzig. Of portraits in England, the best are those of 
 a man and his wife, in the Northbrook collection ; a striking 
 one also is the so-called Astronomer, dated 1652, No. 679 in 
 the National Gallery.] 
 
 [Immediately after Bol, between 1632 and 1634, there 
 came Jacob Bakkek, Govaert Flinck, and Jan Victors, the 
 first of whom was born at Harlingen in 1608, and died in 
 1651. 
 
 In Bakker's early portraits — his own and that of his wife, 
 in the Museum of Brunswick — Rembrandt's feeling is very 
 apparent. At a subsequent period Bakker yielded to other 
 influences ; and we observe reminiscences of Van der Heist 
 in the '* Syndics " of the Van der Hoop collection, or the 
 large archery pieces of the Town-hall at Amsterdam ; a cold 
 cleverness marks the '' Sleeping Nymphs," at Brunswick, 
 and three portraits, Nos. 1335-1.337, belonging to the 
 Museum of Dresden.] 
 
 [Govaert Flinck;, born at Cleves in 1G15, died at Amster- 
 dam in 1660. He was not the pupil only, he was also a friend 
 of Bembrandt, for he painted Rembrandt's likeness in return 
 for that which Rembrandt painted of him and his wife.^ 
 Flinck left the atelier, and became a master before 1636, 
 when he signed the " Pyrrhus " in the Museum of Brunswick. 
 In 1652 he took the freedom of Amsterdam.] He was an 
 artist of great talent, and, after Eckhout, the scholar who 
 in every respect approached nearest to Rembrandt, so that 
 his pictures are often mistaken for those of his master. He 
 occasionally also imitated Murillo, and with considerable 
 success ; and succeeded in fienre pictures. His chief occupa- 
 
 ' [Vosmaer, ' Rembrandt, sa vie,' p. 139.
 
 S78 THE DUTCH EEVIVAL. Book V. 
 
 "tion, however, was portrait painting. His picture of the 
 '"Eegents," dated 1642, No. 385 in the State Museum at 
 -Amsterdam, exhibits good arrangement, animated heads, 
 -clearness, -warmth of the radiant Eembrandt-like coloui", 
 ^nd breadth of treatment. This work, executed at twenty- 
 iseven years of age, shows how early he attained the mastery 
 of his art. The far larger picture of the Archers, in the 
 Amsterdam Gallery, No. 362, painted in 1648, is also con- 
 spicuous for the many animated and excellently coloured 
 heads : the darkening of some portions, especially of the 
 dresses, has deprived it, however, somewhat of keeping. Of 
 his rare historical pictures, Isaac blessing Jacob, No. 361 in 
 the Amsterdam Gallery, is the best specimen, uniting great 
 power of effect with a tenderness of feeling peculiar to 
 himself. Next to this comes the Expulsion of Hagar, in the 
 Berlin Museum, No. 815, which he painted for his zealous 
 patron, the Great Elector. [Of his portraits the best is that 
 of a man and his sister, dated 1646, No. 66 in the Museum 
 of Rotterdam. There are others worth study in the Museum 
 at Copenhagen, one in the Dresden Museum, No. 1418, of 
 the year 1639, and one at Brunswick, of 1636.] Flinck's 
 genre pictui-es are well represented by the Guard Room, in 
 the Munich Gallery, No. 343. He had also a zest for collect- 
 ing objects of art, especially casts from the finest antique 
 sculpture, and drawings and engravings by the best masters ; 
 which sold after his death for about 12,000 florins, 
 
 [Less known, but doubtless one of the early disciples of 
 Rembi-andt, is J. de Wet, whose name we find, with the 
 date of 1635, on a picture representing Christ in the Temple, 
 No. 541 in the gallery of Brunswick; and, without a date, 
 on the Burning of Troy, No. 697, in the same collection. 
 Contemporary with de Wet is doubtless Willem de Poorter, 
 of Haarlem,^ or rather " W. D. P.," painter of two Rem- 
 brandtesque pieces, the Presentation of Esther to Ahasuerua 
 (1645), and the Woman taken in Adultery,Nos. 1633and 1634 
 in the Museum of Dresden. A canvas with these initials at 
 
 ' [Van der Willigen ('Les Artistes de Haarlem,' 244) notes the exist- 
 ence of Willem de Poorter from 1635 to 1643.]
 
 Chap. V. . JAN VICTORS. 379 
 
 Brunswick represents a skull, a crown, sceptre, and arms of 
 oflfence, and the pendant, dated 1630, is No. 173 in the 
 Museum of Rotterdam.] 
 
 [Jan Victors is one of the numerous Dutch artists whose 
 life was till quite lately a puzzle to historians. His birth- 
 day and the place of his birth are alike unknown ; but he 
 was doubtless contemporary with Bol, having painted, on 
 Rembrandt's model, in 1642, the picture of Haman kneeUng 
 before Esther, now (No. 529) in the Brunswick Museum. 
 In the kaleidoscopic annals of painting in the Netherlands 
 Victors is usually confounded with two persons who enjoyed 
 a separate existence : with Victor Wolfvoet of Antwerp, of 
 whom a sketch will be found in earlier pages of this work, and 
 James or Jacomo Victor, the worthy rival of Hondecoeter in 
 pictures of poultry. To distinguish the works of Victors is 
 not easy, because he had a fancy for two or three different 
 modes of treatment ; yet there is no doubt that the Victors 
 who paints gospel scenes from the Old Testament is identical 
 with the Victors who paints a maiden at a casement, and the 
 Victors who composes pictures in which a butcher with a quar- 
 ter of pork, or an itinerant quack, are the heroes of the scene. 
 In his sacred subjects Victors imitates Rembrandt more com- 
 pletely than in his portraits and genre subjects. His colours 
 are somewhat uniform in tone, and his flesh, in yellow-red 
 shades, is not broken with the subtlety peculiar to Rem- 
 brandt. Of his Old Testament pieces the most prominent 
 after that of 1642 is the Prophetess Anna, of 1643, till 
 a few years back in the Van der Schrieck collection at 
 Louvain ; Joseph explaining the Dream (1648), in the Gallery 
 of Amsterdam ; Tobias giving thanks for the recovery of his 
 Sight (1651), in the Munich Pinakothek ; the Finding of 
 Moses (No. 1662), a canvas of 1653, in the Dresden 
 Gallery; David Anointed by Samuel, 1653, in the Museum 
 of Brunswick. Seven or eight pieces of equal importance, 
 but without dates, are in the public galleries of Dresden, 
 Frankfort, and Copenhagen, and in the Bridgewater col- 
 lection. The Pork Butcher, dated 1648, and the Dentist, 
 1654, are in the State Museum at Amsterdam; the 
 Girl at a Casement, at the Lovivre, is dated 1640. "A
 
 380 THE DUTCH REVIVAL. Book V. 
 
 Market, of sunny transparency," is in the Six collection at 
 Amsterdam.] 
 
 Gerbrandt VAX DER EcKHouT, bom 1G21, died 1674, 
 inherited more fully than any other of Rembrandt's scholars 
 the master's gift of composition and peculiar conception of 
 Biblical subjects. Even in power, warmth, and clearness of 
 ".olour he occasionally approached him. Upon the whole, 
 however, he is greatly wanting in Rembrandt's energy of 
 mind, delicacy of feeling for harmony, warmth of colour, 
 and solidity of impasto. Most of his pictures have a far 
 cooler tone, and an arrangement of colours which, compared 
 with his master, must be considered spotty. He painted 
 many portraits and occasionally also {lenre pictures. His 
 most remarkable works are the following : — Hannah giving 
 Samuel to be dedicated to the Lord by Eli, in the Louvre, 
 No. 158 ; Christ teaching in the Temple [dated 1662], in 
 the Munich Gallery, Cabinets, No. 348 ; David and Abigail, 
 in the Schleissheim Gallery ; and the Woman taken in 
 Adultery, in the Amsterdam Gallery. In all these pictures 
 he approaches Rembrandt in beauty of composition, glow 
 of colouring, and depth of chiaroscuro. For refinement 
 of feeling also, and for delicacy of execution, the Raising 
 of Jairus' Daughter, in the Berlin Museum, No. 804, is one 
 of his best pictures. This fine composition is known by 
 Schmid's excellent engraving, under the name of Rem- 
 brandt. A good specimen of his genre pictures is the 
 huntsman with two greyhounds, No. 325 in the State 
 Museum at Amsterdam. Of the pictures by him known 
 to me in England, the Triumph of Mordecai, and a guard- 
 house, in the collection of the Marquis of Bute, are the most 
 remarkable. [The latest picture extant is the portrait of 
 Dapper, the historian, dated 1669, in the Stadel Gallery at 
 Frankfort.] 
 
 [Samuel van Hoogstraten, born in 1627, died at 
 Dordrecht in 1678, entered the studio of Rembrandt in 
 1640, after the death of his father, who vainly endeavoured 
 to dissuade him from becoming a painter. We know little 
 of him except that he was a Mennonite, baptised in 1648, 
 and expellcA the sect in 1656, for marrying without leave
 
 Chap. V. FABRITIUS. 381 
 
 and wearing a sword. He married at Dordrecht in 1656. 
 He is the author of a book called "Introduction to the high 
 School of Art," pubHshed in 1678.]^ He was not unlike 
 Peter de Hooch in the tone of his Hght and cool pictures, 
 and, besides the subjects belonging to that master, painted 
 architecture and sea-pieces, animals, fruits, and flowers. 
 [A very fine portrait of Matheus van dcr Brouche, dated 
 1670, in the Amsterdam Museum (No. 691), shows his skill 
 in this department of art.] One of his best gerire pictures — 
 a sick girl, dressed in light colours — delicate in feeling, 
 and harmonious in eflfect, is also in the Amsterdam Museum. 
 Another — a Jew looking out of a window — of the year 
 1653 — of very truthful and careful carrying out in all parts, 
 though with a rather false tone in the flesh — is in the 
 Vienna Gallery. There also is a very attractive view of 
 the inner court of the imperial castle, dated 1652. This is 
 very clear and careful. In the Hague Gallery is a picture 
 of a large portico with statues, beneath which is a lady 
 with a dog. This is painted with a clearness approaching 
 De Hooch, while the forms of the architecture recall 
 Lairesse. 
 
 [Companion to Hoogstraten in Rembrandt's workshop is 
 Gael Faber, or Fabritius, born 1624, killed 1654 by the 
 explosion of a powder magazine at Delft.^ During a short 
 but active life he painted some pictures of great merit, one 
 of which, deserving of particular admiration, is a portrait of a 
 man, long assigned to Rembrandt, but signed " Fabritius," 
 No. 65 in the Gallery of Rotterdam.'' It is the more 
 necessary to keep this work of Fabritius in mind because he 
 was the master of an artist long neglected by historians, but 
 recently restored to the honour he deserves — Jan Van der 
 Meer of Delft.] 
 
 [Jan van der Meer of Delft was born in 1632, and died 
 about 1696.* It is generally believed that, after the death 
 
 ' [See Vosmaer, ' Rembrandt, sa vie,' pp. 239 and following.] 
 
 * [Hoogstraten in Vcsmaer, 'Rembrandt, sa vie,' 238.] 
 
 * [A family picture in this collection, signed " Carl Fabritius," perished 
 in a fire some years ago. 
 
 * Bleyswvck. Beschryving der Stad Delft, 4to, 1667-8.1
 
 882 THE DUTCH REVIVAL. Book V. 
 
 of Fabritius in 1G5-1, he proceeded to Amsterdam to visit 
 the studio of Rembrandt. If this be so his probation was 
 short, for we have at Dresden a very fine specimen of his 
 conversation pieces (No. 1540), dated 165G. But this very 
 piece testifies to the ease and thoroughness with which the 
 painter learnt the lessons of his master's atelier. It is signed 
 "J. van Meer, 1G56," and represents a young and handsome 
 woman at a table, a cup in her left hand, with the right re- 
 ceiving a gold piece from a cavalier. To the left, behind the 
 table, a man handles a guitar, and an old woman curiously 
 watches the amorous pair. In the hfe-size figures of this 
 picture we discern the feeling of Rembrandt transposed into 
 the frame of a more modern but hardly less talented painter ; 
 we make acquaintance with an artist whose genius is akin to 
 that of de Hooch, of Nicolas Maas and Gabriel Metsu. 
 In 1661, the year in which Rembrandt produced the syndics 
 of the Drapers' Hall, Van der Meer returned to Delft, where 
 he served as one of the elders of the Painters' Guild in com- 
 pany with Anthon Palamedes and Cornells Holstein.'^ Though 
 numbers of Van der Meer's pictures bear his name or mono- 
 gram, very few of them are dated except, that of Dresden, 
 hence the difficulty of making a correct register of the chro- 
 nology of the master's works. Still it is possible to trace the 
 influence of Rembrandt a short way on in Van der Meer's 
 life ; and Burger afiirms that in this sense the picture of a 
 geographer (once in the collection of Mr. Isaac Pereire in 
 Paris) is deserving of particular attention. In later pieces 
 the style is modified, reminding us occasionally of de Hooch 
 and Mctsu, but striking us too by greater brightness and 
 enamel of tone. In most instances the scenes are imagined 
 in small rooms lighted with casements. Sometimes it is the 
 painter himself whom we see in an elegant studio, sometimes 
 a girl smiling at her lover, or again, a maiden touching a 
 harpsichord or weighing pearls, the scale of subject being 
 almost invariably homely, kindly, and circumscribed within 
 the smallest compass of human incident. Amongst authentic 
 
 1 [For this and other facts connected with the life of Van der Meer, 
 consult Burger's ' Van der Meer de Delft,' ' Gazette des Beaux Arts.' 
 vol. xxi.]
 
 Chap. V. VAN DER MEER. 38S 
 
 pictures in public galleries, the following are particularly to 
 be noticed : — A young woman in a chair with a glass, near her 
 a man, standing, in the rear a man asleep, on the table a jug 
 and a plateful of oranges. This beautiful picture is No. 611 
 in the Gallery of Brunswick. Three males and three females 
 walking in a court in the academy of Vienna ; a young 
 woman reading a letter, in a room with an open window, 
 No. 1541 at Dresden; a milkmaid, in the Six collection, of 
 great beauty for harmonious distribution of tints, brilliancy 
 of tone, delicacy of gradations, and solidity of touch ; a girl 
 reading a letter, almost as bright, in the Van der Hoop col- 
 lection at Amsterdam ; and a charming little piece, with a girl 
 tying her necktie before a small mirror, in the Suermondt 
 collection Berlin, No. 912 b. Van der Meer excelled as a por- 
 trait painter. It is related of him that he was killed by the 
 fall of his house at the very time when Simon Decker, vestry- 
 man of the church of Delft, was sitting to him ; and master 
 and sitter together, with other persons, were all victims of the 
 accident. In the Arenberg collection at Brussels a head of 
 a girl, with the painter's signature], is modelled in a cool tone, 
 with a delicate sfumato, of a most harmonious effect. [There 
 are no more charming productions of Van der Meer than the 
 small pieces in which he sacrifices the figures to landscapes 
 of tree and cottage or court and lane. In the Six collection 
 at Amsterdam there is a most attractive little piece, repre- 
 senting a row of brick houses with people, in the style of 
 de Hooch ; and two equally fine and delicate are those 
 called a Bubble Blower and a Rustic Cottage, [No. 912 a and 
 796 c, Berlin Museum], In the last of these pieces, in which 
 the trunk of a birch looks as if painted by Adrian van der 
 Velde, the leaves and branches of a tree throw beautiful 
 crisp shadows on the front of a delightfully picturesque cot- 
 tage. In the same collection we find a view of downs in 
 Holland, signed J. v. Meer ; and this, with other pieces of a 
 similar kind, are assigned to Van der Meer of Delft. There 
 is no doubt that Van der Meer of Delft is the author of a 
 view of Delft, in the Gallery of the Hague ; but the style which 
 characterizes this piece is different from that which marks 
 the downs in the Suermondt collection, and it is hardly to.
 
 SS4 THE DUTCH REVIVAL. Book V. 
 
 be doubted that the latter is one of the numerous pictures 
 attributable to Jan van der Meek of Haarlem, of whom we 
 are told that he was born at Haarlem about 1G30, taking 
 the freedom of his Guild in 1654, and still holding an office 
 in it in 1679.]' 
 
 Nicolas Maas, born at Dordrecht 1632, died [at Amster- 
 dam] 1693. He [was of the same age as Van der Meer, and 
 probably his companion in] the school of Rembrandt. His 
 much prized and rare (jnire pictures treat very simple sub- 
 jects, and consist seldom of more than one or two figures, 
 generally of women. The naivete and homeliness of his 
 feeling, with the addition sometimes of a trait of kindly 
 humour ; the admirable and generally striking lighting ; the 
 deep and \ery warm — seldom cool — harmony, and a touch 
 resembling Rembrandt in impasto and vigour, all these 
 •qualities render his pictures very attractive. At the same 
 time, in the local tones of his flesh he is redder, and in the 
 shadows blacker, than his master. As belonging to public 
 ..galleries, I only know the Cradle, No. 153; the Dutch 
 Housewife, No. 159, dated 1655 ; and the Idle Servant 
 Maid, No. 207 in the National Gallery : all these three are 
 ■admirable, and the last-named a chef-d'cEUvre of the master. 
 Also a young girl leaning out of a window, in the Amster- 
 dam Gallery, No. 88.3 ; a small masterpiece, in a clear soft 
 golden tone ; an old woman spinning ; her forehead in sun- 
 light, the rest of the face in chiaroscuro, No. 802 in the new 
 State Museum at Amsterdam ; and a girl praying, in the 
 Uffizi at Florence. This is erroneously given to Caspar 
 Netscher. Another of his masterpieces also, signed and 
 •dated 1657, of unusually rich composition and large dimen- 
 sions, is in the Six collection : in the foreground is a girl 
 watching a couple of lovers in the middle distance ; in the 
 
 ' [See Biirger, ' Gaz. des Beaux Arts,' xxi. p. 305, and Van der Willi- 
 gen, ' Les Artistes de Haarlem,' pp. 220 and following. Nor is this 
 •Jau van der Meer of Haarlem to be confounded with Jan van der 
 Meer of Utrecht, who was bom at Schonhoven, visited Rome, and became 
 a member of the Guild of Utrecht in 1(364. The Utrecht van der Meer 
 was still living in 1682. See Burger, n. s., p. 305. Of the youngest 
 Jan van der Meer of Haarlem, who was a pujjll of Berchem, and a feeble 
 ■one, it is hardly necessary to speak.]
 
 Chap. V. PETER DE HOOCH. 385 
 
 background is a party round a table, with a view into an- 
 other room and to the open air. In the effect of light this 
 picture has much resembhnce to Peter de Hooch, but the 
 execution of the heads is truer and more careful ; while the 
 art with which the general cool harmony of broken colour 
 finds its contrast with the red — from the girl's petticoat in 
 the foreground, in tender gradation, to a house in the land- 
 scape — is perfectly admirable. [Of the three portrait pieces 
 in the Rotterdam Museum, Nos. 117-119, the last is dated 
 1672.] The greater number of the genre pictures of this 
 master are in private collections in England. I will only here 
 cite [the Servant on the Stair, dated 1656, in Sir R. Wallace's 
 collection in London], and the Girl peeping, in Bucking- 
 ham Palace, of the year 1665, as a worthy companion to 
 the picture just described in the Six collection. Although 
 his portraits are generally far inferior, yet a few show great 
 mastery; and, owing to the mode of conception, have almost 
 the interest of historical pictures. Admirable specimens of 
 this class are a blind old woman folding her hands to say 
 grace before a meal consisting of a piece of salmon, bread, 
 butter, and cheese, in the institution of " Felix Meritis " in 
 Amsterdam, which is open to every stranger. The moral 
 feeling here expressed is touching, the effect striking, and 
 the execution masterly. A bishop attentively reading a 
 book, in the Berlin Museum, No. 819, hitherto erroneously 
 called Ferdinand Bol, is by Maas [?] 
 
 This appears the fittest place to mention the name of 
 Peter de Hooch, who took the freedom of the Guild of 
 Delft in 1655. He decidedly belongs to the numerous artis- 
 tic posterity of Rembrandt, and stands nearer to Van der 
 Meer, and to Maas, than to any other painter. His bio- 
 graphy can only be gathered from the occasional dates on 
 his pictures, extending from 1656 to 1670.^ Although he 
 impresses the eye by the same effects as Maas, yet he is 
 also very difierent from him. He has not his humour, and 
 
 ' [Van der Willigen ('Les Artistes de Haarlem,' p. 180,\ found the 
 name of " Pieter de Hooge " in the registers of marriages and deaths at 
 Haarlem. Had he been able to prove t bat this person was identical with 
 the painter of the same name we should know that he died on the 28th 
 of Feb., 1681.]
 
 386 THE DUTCH REVIVAL. Book V. 
 
 seldom his kindliness, and his figures, which are either play- 
 ing cards, smoking or drinking, or engaged in the transaction 
 of some household dut}^ — with faces that say but little, — 
 have generally only the interest of a peaceful or jovial exist- 
 ence. If Maas takes the lead in warm lighting, Peter de 
 Hooch may be considered par excellence the painter of full 
 and clear sunhght. At the same time, he occasionally treats 
 warm Hght with success. If, again, Maas shows us his 
 figures almost exclusively in interiors, Peter de Hooch places 
 them most frequently in the open air, namely, in courtyards. 
 In the representation of the poetry of light, and in that mar- 
 vellous brilliancy and clearness with which he calls it forth 
 in various distances till the background is reached, which is 
 generally illumined by a fresh beam, no other master can 
 compare with him. His prevailing local colour is red, re- 
 peated with great delicacy in various planes of distance. 
 This colour fixes the rest of the scale. His touch is of great 
 delicacy; his impasto admirable. The English were the 
 first to bring this long unnoticed master again into favour, 
 and the greater part of the hundred pictures, or thereabouts, 
 known by his hand, are in private English collections. Two 
 of the finest are a party of three gentlemen and one lady 
 playing cards, in Buckingham Palace, of the year 1658 ; and 
 a woman and child walking in brilliant sunshine, in a street 
 at Utrecht, which I saw in the collection of Lord Ashburton. 
 [Equally fine are " The Court of a Dutch House," dated 1658, 
 "The Courtyard," of 1665, and "The Interior of a Dutch 
 House," Nos. 835, 79-1, and 83-1 in the National Gallery. 
 The earliest picture of De Hooch is an interior, once in the 
 Suermondt collection at Aix-la-Chapelle, but now at Berlin, 
 Xo. 820 B.J The few specimens of Peter de Hooch in public 
 continental galleries are the following: — A lady playing 
 cards with a gentleman, and asking advice of an officer, 
 in the Louvre, No. 224 : this is of great energy in efi'ect of 
 light, but otherwise not of the first class. A cook-maid 
 watching a child playing ball. No. 223 : this, by way of 
 exception, is lighted by the glowing evening sun, producing 
 a peculiarly pleasant impression. In the Amsterdam Gal- 
 lery, No. 682, is a woman about to let a child drink from a
 
 Chap. V. AART DE GELDER. 387 
 
 can of beer, in the entrance to a cellar. This is very attrac- 
 tive for the simple attitudes, and for the depth of the equally 
 sustained warm harmony. The execution is a model of soft- 
 ness and juiciness. The most glowing example, however, 
 of this warm lighting, is a woman engaged with her child in 
 some domestic occupation, No. 684 in the State Museum 
 at Amsterdam. His chef-d'oeuvre in the opposite effect of 
 deep shadow represents a man and woman in a room, in 
 the same collection. Next to these may be placed a married 
 pair seated before a house, with two maid-servants, in the 
 same collection ; and a room Kghted by the reflection of the 
 sunlight in the Munich Gallery, Cabinets, No. 426 : although 
 the back of a girl reading is all that is seen in the room, yet 
 the impression of peaceful domestic happiness is given in a 
 high degree. In the kind of harmony, and also in the un- 
 usually careful touch, the influence of Terburg is here recog- 
 nised. Finally, a woman conversing with an oflicer, who is 
 standing, with the figure of a man at the window, in the 
 Germanic Museum at Nuremberg, No. 320, possesses, besides 
 the usual qualities of the master, a humoixr allied to that of 
 Jan Steen, and heads of far greater development than 
 commonly appear in his pictures. 
 
 Aart de Gelder, born 1645, died 1727. In conception, 
 lighting, and treatment this painter attaches himself closely 
 to Rembrandt ; but is generally his inferior in transparency, 
 and always in impasto. A man with a halberd, in the 
 Dresden Gallery, No. 1710, is very animated, and of clear 
 and truthful colour. A portrait of Peter the Great, in the 
 Amsterdam Museum, No. 392, is treated more in the tone of 
 his master; but is heavy, and somewhat empty in form. 
 
 Philip de Koningh, born 1619, died 1689, only painted 
 landscapes ;^ most of them, following Rembrandt's example, 
 representing extensive views over the flats of Holland. 
 These pictures are very attractive for their surprising truth 
 of nature, for the sense of distance they convey, for their 
 
 ' [This is an error. Vondel, in some of his verses, celebrates a 
 " Venus asleep," and several portraits by Philip de Koningh. One of 
 these portraits, in possession of M. J. van Lennep, is mentioned with 
 praise by Vosmaer, 'Rembrandt, sa vie,' pp. 182, 388.]
 
 ^^S THE DUTCH REVIVAL. Book V. 
 
 admirable drawing, warm and generally clear colouring, and 
 for the spirited but finished execution in admirable impaste. 
 At the same time, his foreground trees have occasionally 
 untruthful forms, and a sulphury yellow colour. In a few 
 instances alsc T have remarked his general tone to be heavy. 
 Compared with Rembrandt, his execution has something 
 pointed. The figures in his pictures are chiefly by Lingel- 
 bach. His works are rare. I know one of his distant 
 views, ins- the Amsterdam Gallery, No. 211: the distance of 
 great power and transparency ; the foreground with the 
 faults I have just alluded to. The animals are by Dirk van 
 Bergen. [Another in the same gallery. No. 210, is a 
 splendid example, signed " P. Koninck 1676."] In the 
 Aremberg Gallery is one of his chefs-d'oeuvre : a large 
 landscape, remarkable for the fine tone of the sky and water, 
 for powerful efi'ect, and careful finish. Another and smaller 
 picture of the class before mentioned is in the Hague 
 Museum, No. 64 ; of uncommon warmth and power ; the 
 figures well painted by Jan Lingelbach. [Two more, a, 
 cavalcade in a mountainous country, and an Italian land- 
 scape, belonging respectively to Count Berchem and Mr. 
 Rauter at Munich, were exhibited at the International Exhi- 
 bition of Munich in 1869.] And finally, one in the Uffizi, 
 of great force and beauty, is there assigned to Rembrandt. 
 De Koningh's principal works are in private collections in 
 England, — the best of all, once in Sir Robert Peel's collec- 
 tion, [is a view in Holland, No. 836 in the National Gallery.] 
 D. D. Sandvoord. — This painter distinguished himself 
 particularly as a portrait painter. A specimen is seen in 
 his "Regent" picture, representing four ladies, signed and 
 dated 1638, No. 1281 in the Museum at Amsterdam. The- 
 heads are of great truth, though the warm yellow tone is 
 somewhat heavy. In historical pictures he is weaker, as in 
 the Christ with the Disciples at Emmaus, dated 1033, in the 
 Louvre, No. 477, which is of feeble colour and treatment. 
 
 JuRiAN Ovens. — This painter is supposed to have been 
 born in 1G20, and was still living in 1G75. Although a 
 scholar of Rembrandt, he formed a peculiar manner for 
 him self, and painted night-pieces with great success. His.
 
 Chap. V. G. HORST — VERELST — DROST. S89' 
 
 chief work of this kind was the Conspiracy of Claudius 
 Civilis, in the Town-hall at Amsterdam. In 1675 he was 
 employed at the court of the Duke of Holstein, at Friedrich- 
 stadt ; and in the cathedral at Schleswig are several large 
 pictures by him, which, however, I have not seen. He was 
 an excellent portrait-painter. A picture of " Regents," in 
 the State Museum at Amsterdam, consisting of seveii 
 gentlemen round a table — rather larger than life — is con- 
 spicuous for animation of heads, powerful, and broad 
 marrowy touch. [" A Dutch Family," No. 97 in the 
 Haarlem Museum, is signed : " Jn, Ovens 1650."] 
 
 G. HoRST. — This otherwise unknown painter appears in 
 two pictures in the Berlin Gallery as a very skilful follower 
 of the style of Rembrandt. His realistic sphere is, however, 
 more vulgar than that of his great model, and his vigorous 
 colouring less clear. The one picture, No. 824, exhibits in 
 a rich composition the Continence of Scipio ; the other, No, 
 807, The Benediction of Jacob ; once attributed to Jan 
 Livens. The former bears the name of the master. 
 
 PiETER Verelst, bom 1614, [still living at the Hague in 
 1668]. In his portraits he imitated the manner of Rem- 
 brandt, as is shown in that of an old woman in the Berlin 
 Museum, No. 830, dated 1648. The conception is very 
 truthful ; the execution far more in detail than that of 
 Rembrandt ; his colouring cooler, and of a heavy brown in 
 his flesh-tones, but his chiaroscuro treated with great skill. 
 In his genre pictures he adheres to Adrian Ostade's style of 
 conception, while his heavy and often brick-like colouring 
 places him far below that master. A specimen of this kind 
 — four peasants in an ale-house — is in the Vienna Gallery. 
 [Another with the painter's name is No. Ill in the Museum 
 of Haarlem, and is dated 1665.] 
 
 Drost, born 1638, died 1690. This painter is among the 
 most faithful imitators of Rembrandt as regards the external 
 conditions of his art — namely, in power and warmth, and in 
 breadth and freedom of touch ; all of which qualities he 
 greatly exaggerated. A characteristic example is Christ 
 with the Magdalen after the Resurrection, in the Cassel 
 Gallery, No. 379. Another represents the Daughter of
 
 390 THE DUTCH REVIVAL, Book V. 
 
 Herodias receiving the Head of the Baptist, in the Museum 
 ofAmsterdam, No. 289.1 
 
 [Hendrick Heerschop, apprenticed to WilUam Klaasz- 
 Heda at Haarlem in 1642, was registered as master in the 
 Guild of Haarlem in 1648, and still paid an annual contribu- 
 tion to that corporation in 1661. Yosmaer notes a portrait 
 •of Heerschop, certified by an inscription describing him as 
 of Haarlem, and a pupil of Rembrandt, twenty-two years old, 
 in 1649. It would seem from this that our artist, born in 
 1627 or 1628, left Haarlem to take lessons from Rembrandt 
 immediately after his matriculation.] This painter is only 
 known to me by his signature, with the date 1659, on the 
 portrait of a negro, in the Berlin Museum, No. 825 ; and by 
 the companion piece to it, another oriental portrait, No. 827. 
 These show an imitator of Rembrandt, of capital drawing 
 mndi careful and very solid execution. [No. 827 is withdrawn.] 
 
 Jan Joris van Vliet, [born at Delft in 1610,]'' flourished 
 about 1630-1935. He is far more known by his Rembrandt- 
 hke etchings, of which Bartsch enumerates ninety-two, than 
 by his pictures. One of these [now called Rembrandt] — a 
 Rape of Proserpine, in the Berlin Museum, No. 823 — is so 
 vulgar in conception that it has the effect of a parody. At 
 the same time it is weak and greenish in the flesh-tones, the 
 shadows black, but the execution very careful. Altogether 
 he stands far below his model. Bright "lights are seen, 
 without any intermediate tones, next to dark masses of 
 shadow, while his ill-drawn flgures are vulgar in expression 
 as well as form. His best etchings are those which he 
 copied from Rembrandt and Livens. 
 
 Frans (?) BE Wette. — He is exclusively known by his 
 Biblical subjects, almost always on a small scale : these are 
 conceived quite in the style of Rembrandt, and show a 
 remarkable talent for arrangement, and much expression in 
 the heads; though, in the heavy brown tone, and in. the 
 
 ' [It is not certain that this picture is by Drost. Some critics assign 
 it to Carl Fabritius. Vosmaer ('Rembrandt, sa vie,' p. "234) attributes 
 to Drost the profile of a man in a hat, No. 1322 in the Dresden 
 Museum, yet it is signed, "I.V. Dorste fee."] 
 
 - [Van der WiUigen, 'Lea ArtiBteB de Haarlsm,' pp. ]56, 17^ eSai 
 Vosnaar, 'Rembrandt, sa vie,* p. 9i).]
 
 Chap. V. LIVENS. 391 
 
 touch, they are far inferior. In the gallery at Schleissheim 
 are two pictures by him — the Three Children in the Fiery 
 Furnace, and the Raising of Lazarus.^ 
 
 Of the following scholars and followers of Rembrandt no 
 picture is known to me by personal inspection : — Jacob 
 Leveque, born 1624, died 1674. Adrian Verdoel, born 
 1620, died 1681. Heyman Dullaert, born at Rotterdam 
 1636, died 1684. 
 
 Both the following painters, though strongly influenced 
 in their whole style by Rembrandt, pursued nevertheless a 
 certain independence of course : — 
 
 Jan Livens, born at Leyden 1607, [still alive in 1672]. He 
 was fellow-scholar with Rembrandt under Peter Lastmann^ 
 and kept up friendly relations with him in after years. In 
 1630 he went to England, where, during a residence of three 
 years, he painted all the royal family. After his return 
 he settled in Antwerp, [where (1635) he took the freedom 
 of the Painters' Guild, and (1640) the freedom of the city.? 
 Twenty-one years later, namely in 1661, he caused himself to 
 be registered in the Guild of the Hague.]* His treatment of 
 sacred subjects is thoroughly r/ewe ; his sense of beauty, as 
 regards form, is not higher than that of Rembrandt ; while 
 in depth of feeling, and power and warmth, as well as har- 
 mony of colour, he stands far below him. On the other 
 hand, he is a better draughtsman, and in his portraits ap- 
 proaches Van Dyck in style of lighting and in general con- 
 ception. In treatment he shows great mastery. His pictures 
 are seldom seen in public galleries. The most important 
 
 • [Frans de Wet is not to be found in the annals of painting, but 
 Jacob Willemsz de Wet is known as a painter established at Haarlem 
 in 1636, master in the Guild of Alkmaar in 1637, and a resident at 
 Alkmaar in 1671. From his own journal, which is preserved by Mr. 
 van der Willigen, we learn that he painted gospel subjects and classi- 
 cal episodes. We may assign to him "Christ in the Temple," "J. d. 
 Wet, Ao. 1635," and the " Burning of Troy," " J. d. Wet," Nos. 541 and 
 697, both imitations of Rembrandt, in the Museum of Brunswick. 
 Whether this De Wet is the same as the painter of the Schleissheim 
 pictures is difficult to say without a fresh visit to that collection. 
 (Consult Van der Willigen, ' Les Artistes de Haarlem,' pp. 324 and 
 following.) The Twenty-four Elders before the Lamb, No. 489 in 
 the Gallery of Copenhagen, is assigned to de Wet.] 
 
 ^ [Liggeren, ii. 61.] 
 
 ^ [Catalogue of the Rotterdam Mus. for 1873.] 
 
 32
 
 392 THE DUTCH REVIVAL. Book V. 
 
 work known to me is Isaac blessing Jacob, in the Berlin 
 Museum, No. 807. The patriarch, obviously the portrait of 
 a Jew, is seated in a stately Dutch bed. His blindness and 
 the solemnity of the act are well expressed, and the lighting 
 is excellent. The general tone, however, compared with 
 Rembrandt, is somewhat insipid. At the same time the 
 details are more carried out than in pictures of the same 
 size by Rembrandt.^ In the Louvre, No. 267, is a good but 
 somewhat gaudy picture by him, representing the Visitation. 
 [No. 114, in the Museum of Rotterdam, represents St. Peter 
 holding the keys.] Of his -portraits, that of the poet Joost 
 van Yondel, in the Amsterdam Gallery [now no longer 
 assigned to Livens], approaches Van Dyck in animation and 
 colouring, but the conception is less refined, and the execu- 
 tion broader. Two portraits of old men in the Munich 
 Gallery, Nos. 335 and 336, are warmer in tone and more 
 careful in treatment. The last is particularly distinguished 
 by the beautiful hands. But the influence of Rembrandt is 
 more seen in his etchings than in his pictures. Bartsch 
 reckons up fifty-six by him. However inferior to Rem- 
 brandt's in delicacy of chiaroscuro, they are still very meri- 
 torious specimens of that branch of art. 
 
 Salomon Koning, born 1609, died 1668. A scholar of 
 David Colyns and Nicolas Moyaert,- though later a decided 
 follower of Rembrandt [he entered the Guild of Amsterdam 
 in 1630].^ In truth, in most of his pieces he approached the 
 master so near as to be frequently mistaken for him. He 
 may be distinguished by less animation, by inferiority in 
 force and clearness of colour, and by a blunt, niggardly, but 
 very careful touch. He treated sacred subjects, genre, and 
 portraits. The earliest picture by him, known to me, is a 
 young man in a lofty room, earnestly reading a book, dated 
 
 ' [Dr. Bode, who has especially studied the Dutch school, is inclined to 
 assign this picture to G. Horst.] 
 
 - [Moyaert came to reside at Amsterdam inlft-24, and joined the Painters' 
 Guild there in 16.30. He began as a follower of Elsheimer, then became 
 a disciple of Rembrandt. The Call of Matthew to the Apostleship, with 
 the monogram MP., No. 514 at Brunswick, is an imitation of Rem- 
 brandt, and assigned to Moyaert. See Vosmaer, 'Rembrandt, sa vie., 
 p. «3.] 
 
 ' [Biirger, ' Mus6es de Hollande,' ii. 183.]
 
 Chap. V. KONING. 393 
 
 1630, in the Bridgewater Gallery. The effect of light is here 
 managed with great delicacy. [A later piece, with a capital 
 inscription, and the date of 1654, is *' The Goldweigher, " No. 
 107 in the Museum of Rotterdam.] Another picture, and 
 one, for Koning, very warmly coloured in the flesh, is the 
 Calling of St. Matthew, in the Berlin Museum, No. 822. By 
 him also, in the same gallery. No. 821, is the stately and 
 animated portrait of a Rabbi, often repeated, and which is 
 invariably mistaken for a Rembrandt. Such is the case, for 
 instance, with a fine example of the same subject in Devon- 
 shire House.' 1 At the same time it is precisely in these pic- 
 tures that the above-reprehended qualities by him are seen 
 in abundant measure. He also etched a few plates with a 
 very light point, quite in the taste of Rembrandt. 
 
 I proceed now to consider the other depai'tments of Dutch 
 art of this time ; but before entering more particularly into 
 the description of the groups of painters alluded to in the 
 introduction to this period of art, one general observation is 
 requisite. The period of the zenith of this school, in Avhieh 
 it may be said to have possessed all the qualities we have 
 extolled, and in the highest measure, holds its place from the 
 year 1630 to 1665. After this a decline of those excellences 
 of transparency, warmth, harmony, and, even in the minutest 
 execution, of fine impasto, which had been derived from 
 Rembrandt, gradually ensued. We shall have occasion to 
 see that even those masters who constituted the chief orna- 
 ments of the period of the highest development, adopted, 
 after 1665, a cooler and generally heavier tone, and an exe- 
 cution of less body. But with those later masters, whose 
 artistic activity only began to expand after 1665, the difi'er- 
 ence was decided. Notwithstanding many excellent qualities, 
 they show a decided decline in feeling for warmth of har- 
 mony, and especially in the old transparency of the school — 
 a fault greatly owing, with many, to the use of a dark ground. 
 At the same time the execution became generally smooth and 
 licked, or decorative and slight. 
 
 ' The ascription of this picture to Salomon Koning is somewhat 
 doubtful.
 
 394 THE DUTCH REVfVAL. Book V. 
 
 CHAPTER VI. 
 
 THE PAINTERS OF GENRE. 
 
 I SELECT first for consideration the group who took their 
 subjects from the higher ranks of society, and frequently 
 from the burgher class, and who also treated portraiture. 
 
 At the head of these stands Gerard Terburg, born at 
 Zwol 1608, died 1681. He learned painting under his 
 father, and when still young visited Germany and Italy, 
 painting everywhere numerous portraits on a small scale. 
 During a long sojourn at Miinster, at the time of the Peace 
 Congress, he painted not only the portraits of different 
 envoys, but also all the members of the Congress in one 
 picture on a small scale. After having further exercised his 
 art in Madrid, he settled at Deventcr, where he afterwards 
 filled the office of burgomaster. Among his later portraits 
 are two of Prince William of Orange, afterwards William HI. 
 of England. Occasionally he painted portraits the size of 
 Hfe, which, by their mastery of conception and execution, 
 show how entirely he was capable of such tasks. But his 
 place in the history of art is owing principally to a number 
 of pictm-es, seldom representing more than three, and often 
 only one figm-e, taken from the wealthier classes, in which 
 great elegance of costume, and of all accompanying chcum- 
 Btances, is rendered with the finest keeping, and with a 
 highly deUcate but by no means over-smooth execution. He 
 may be considered as the originator of this class of pictures, 
 in which, after his example, several other Dutch painters 
 distinguished themselves. With him the chief mass of light 
 is generally formed by the white satin dress of a lady, which, 
 even when the always truthful heads are warmly coloured, 
 gives the tone for the prevailing cool harmony of the picture. 
 At the same time, with the truest feeling for the picturesque, 
 he avoids the eflect of monotony by the introduction of some 
 warm colours. Of his portraits, which are now rarely found 
 in galleries, I will only instance his own — a standing figure,.
 
 •■ CONSEIL PATERNAL " 
 A Picture by Gerard Terburg in the Amsterdam Museum. page 395
 
 Chap. VI. TERBURG. 895 
 
 whole length, in the Hague Gallery, No. 145, The fine 
 head, which is rendered in a subdued brownish, transparent 
 tone, shows that this portrait was taken in advanced years. 
 He already wears a full-bottomed wig. His chef-d'oeuvre of 
 this class, the picture of the Miinster Congress, is now in the 
 [National Gallery, to which it was presented by the muni- 
 ficence of Sir Kichard Wallace.] ^ Among his genre pictures 
 we occasionally find some which, taken successively, repre- 
 sent several different moments of one scene. Thus, in the 
 Dresden Gallery, there are two good pictures : the one of an 
 ofl&cer writing a letter, while a trumpeter waits for it, No. 
 1338 ; the other of a girl in white satin, washing her hands 
 in a basin held before her by a maid-servant. No. 1339; 
 while at Munich, No. 388, Cabinets, is another fine work, in 
 which the trumpeter is offering the young lady the letter, 
 who, owing to the presence of the maid, who evidently dis- 
 approves, is uncertain whether to take the missive. Finally, 
 in the Amsterdam Gallery, No. 1413, the celebrated pictvire 
 known by the title of " Conseil paternel," see woodcut, 
 furnishes the closing scene. The maid has betrayed the 
 affair to the father, and he is delivering a lecture to the 
 young lady, in whom, by turning her back on the spectator, 
 the painter has happily expressed the feeling of shame. 
 Unfortunately this fine picture has greatly suflered, so that 
 the admirably-painted original repetitions in the Berlin 
 Museum, No. 791, and in the Bridgewater Gallery, have 
 decidedly the advantage. Of the ninety genre pictures, or 
 thereabouts, by Terbui-g, described in Smith's Catalogue, I 
 can only mention a few more of the finest. An ofiicer in 
 confidential talk with a young girl, and a trumpeter who 
 has brought him a letter, in the Hague Gallery. This is 
 especially admirable for the fine chiaroscuro and the delicate 
 harmony of the broken colours. In the Louvre, a stately 
 officer, with a delicately-dressed girl, seated in a room, 
 offering her money, No. 526. The animation of the heads, 
 the drawing, the finely-balanced silvery tone, and the equally 
 careful and free treatment, render this a chef-d'oeuvre of the 
 master. A young girl standing, with a music-book, before a 
 ' [It was sold at the Demidoflf sale for 182,000 fr., or £7,280.]
 
 •396 THE DUTCH REVIVAL. Book V. 
 
 man seated playing the lute. In the background is a woman 
 watching. No 527 ; dated 1660. The delicate understand- 
 ing between the three figures, and the deep harmony, give a 
 charming eftect. But Terburg's perfection, as regards the 
 clearness and harmony of his silvery tone, is shown in a 
 picture in the Chateau of Wilhelmshohe at Cassel, represent- 
 ing a young lady in white satin, sitting, playing the lute, at 
 a table. In delicacy of feeling also, as well as in ease of 
 pose and tenderness of touch, the painter seldom reached 
 this height of excellence. Of the twenty-three pictures in 
 England and Scotland, of which I make mention in my 
 ' Treasures of Art,' I will only instance the girl reading a 
 letter to her mother, with a page, in Buckingham Palace, 
 which is in every respect one of the first-rate specimens of 
 the master.^ 
 
 Gabriel Metsu, [born 1630 at Leyden, entered the 
 Painters' Guild of his native place in 1648. About 1650-52 
 he settled at Amsterdam, where he studied the works of 
 Rembrandt. [He was buried at Amsterdam on the 24th 
 of October, 1667. After 1053 he was infliuenced in his style 
 by Van der Meer aud de Hooch, later still by Terburg, Dow, 
 and Steen.] Though, like Terburg, he painted scenes from 
 the higher classes of society, yet he took pleasure in the life 
 of the lower orders — in market scenes, huntsmen, and cook- 
 maids. Portraits he only painted by way of exception, in 
 some cases as large as life. Besides Terburg, he is the only 
 painter on a small scale who is equally capable of dealing 
 with large proportions ; but he is altogether distinguishable 
 from him by greater warmth of feeling. His heads have 
 generally an expression of good-humour and cheerfulness, 
 and occasionally he ascends to a higher grade of sentiment. 
 Sometimes even he exhibits a humour allied to that of Jan 
 Steen. In refinement of drawing none of the painters on a 
 
 ' 'Treasures.' etc., vol. ii. p. 5, etc. [From Sir Robert Peel's collec- 
 tion a beautiful example of Terburg has come into the National Gallery. 
 It is the Guitar Lesson, No. 864.] 
 
 -[See Burger in the 'Gazette des Beaux Arts,' xxi., p. 319.] And 
 note the inscription on a picture in the Van Loon collection at Amster- 
 dam, quoted by W. Burger in the Belgian journal • L'Artiste,' of the year 
 1858. The Van Loon collection is now dispersed.
 
 Chap. VI. METSU. 397 
 
 small scale are equal to him, and in picturesque arrangement 
 no one surpasses him ; the same may be said of his keeping. 
 In pictures of his earlier and middle time a warm harmony 
 of great force and clearness predominates ; in his later works 
 we perceive a cooler and generally finely-balanced tone, 
 though it is occasionally somewhat spotty in eifect. In his 
 touch, which, with all his finish, is free and spirited, Terburg 
 alone is comparable with him. [Amongst the earliest known 
 pictures of Metsu are a " Woman taken in Adultery," at the 
 Louvre, dated 1653, and an allegory of Justice, in the Gallery 
 of the Hague, both in the style of Eembrandt. They are 
 much less spirited than the more original compositions of a 
 homely description which afterwards became habitual to 
 Metsu ; and they tend to prove that he had no taste for 
 ecclesiastical art.] The following are chefs-d'oeuvre repre- 
 senting subjects taken from the higher classes of society : — 
 A lady holding a glass of wine, and receiving an officer, in 
 an elegant apartment ; next her is a page Avith a salver, and 
 a spaniel : in the Louvre, No. 293. The general impression 
 is of great elegance ; the deep golden tone of rare transpa- 
 rency ; and the execution as spirited as it is tender. A girl 
 writing, a gentleman leaning on her chair ; another girl 
 seated opposite is playing the lute : in the Hague Gallery, 
 No. 74. This is happily composed, most delicately finished 
 in a bright golden tone, and probably of the same time as a 
 picture (No. 1409) in the Dresden Gallery, dated 1662. A 
 huntsman presenting a partridge to a richly dressed lady, 
 No. 910 in the State Museum, Amsterdam : for taste, depth, 
 and clearness of the warm harmony, and in care of execu- 
 tion, this is a work of the first order. To the subjects of a 
 burgher class belong a woman of amiable expression, with 
 her husband ; the latter gaily raising a glass of champagne. 
 In the Dresden Gallery, No. 1408. This picture is remark- 
 able for the decided and well-drawn forms. It is dated 
 1661. The subdued warm tone, and the carefulness of the 
 solid execution of this work, lead to the conclusion that a 
 series of pictures, cool in colour and looser in handling, must 
 decidedly have been painted later than this time. Of much 
 earlier date than this, but representing the same class of life,
 
 398 THE DUTCH REVIVAL. BookV. 
 
 is another picture in the same gallery, No. 1412: a man 
 seated by an open fireplace is lighting his clay pipe with a 
 glowing cinder, and listening to the talk of a woman behind 
 him, who is taking a jug from a table on which stands a 
 lamp burning. In this, the only night-piece I know by 
 Metsu, the influence of Gerard Dow is evident, whom he 
 equals in glow and clearness of effect, and in the truth of 
 every part. His principal picture from the sphere of com- 
 mon life is his Amsterdam Vegetable Market, in the Louvre, 
 No. 292. The expression of the figures is very animated, 
 the effect of sunlight admirably given, and the execution 
 very tender. But the composition, considering the size of the 
 picture, 3 ft. high and 2 ft. 7 in. wide — an unusual scale for 
 Metsu — is rather poor, and neither keeping nor effect by any 
 means so satisfactory as in most of the above-named pictures. 
 Closely allied to this, and probably of the same time, are 
 two pieces in the Dresden Gallery. The one. No. 1411, a 
 woman poulterer talking with an old woman ; the other. No. 
 1409, a man poulterer in conversation with a young woman. 
 The most important picture I know by the master, in which 
 there is a touch of Jan Steen's humour, is the Feast of the 
 King of the Beans, in the Munich Gallery, No. 424, Cabinets. 
 The chiaroscuro here is of the rarest transparency, and the 
 treatment particularly broad. The warm tone indicates his 
 middle time. It is as large as the Amsterdam Vegetable 
 Market. A principal specimen of his portrait painting, and 
 also of his later style, is the Family of Gelfing — father, 
 mother, fom- children, and a maid, in a stately apartment — 
 now in the Berlin Museum, No. 792. All the heads are 
 animated and refined ; the scale of colour fine ; and the 
 handling very delicate. His finest life-sized portrait known 
 to me is in the collection of M. Barthold Suermondt at Aix- 
 la-Chapelle [Berlin, No. 792 b]. It represents the wife of the 
 painter, and is in every respect, conception, form, and colour, 
 as masterly as if portraits of this kind had been his habitual 
 sphere. In England I saw twenty-eight pictures by Metsu, 
 which are described in my ' Treasures.' [Of these two, the 
 Duet, No. 838, and the j\[usic Lesson, No. 839, from the 
 Peel Collection, are in the National Gallery.] As the [rest]
 
 Chap. VI. NETSCHER. 399 
 
 are one and all in private collections, I only mention a few 
 of the most important. Of the four in Buckingham Palace, 
 the most remarkahle are a gentleman playing the violon- 
 cello ; a lady coming down steps with a music-book ; and the 
 painter's own portrait. These are fine works of his middle 
 time. The picture in Mr. Baring's collection, known by the 
 name of " The Intruder," combines with his other qualities 
 that of an unusually animated scene. 
 
 Caspar Netscher, born at Heidelberg 1639, died at the 
 Hague 1684. He formed himself evidently after Terburg 
 and Metsu. If inferior to Terburg in refinement of keeping 
 and chiaroscuro, and to Metsu in correctness of drawing and 
 spirit of touch, and to both in impasto and feeling for har- 
 mony of colour, he equals them in tasteful arrangement and 
 elegance of his figures, and surpasses them in sense of beauty 
 of form. He especially understands how to depict the charm 
 of sweet childhood. Like Terburg, he was particularly ad 
 mired for his portraits on a small scale, and the number he 
 executed is large. In his genre pictures he treated the same 
 subjects as the other two masters, while in historical and 
 allegorical scenes he was not more fortunate than Metsu. 
 The works of his early and middle time are in a warm tone, 
 alternately deep or light. He attained the zenith of his art 
 from 1664 to 1668. Afterwards his colour became cooler, 
 and gradually changed into a delicate silvery tone. His 
 latest works show a decided decline in his feeling for har- 
 mony ; they are cold and often pinky in flesh-tones, and of 
 gaudy eff'ect. No gallery can exhibit this master to such 
 advantage as that of Dresden, which possesses admirable 
 specimens of all his various times. A portrait, said to be of 
 himself. No. 1646, dated 1665, has something pleasing in 
 conception, and is painted with great delicacy in a clear 
 golden tone. A gentleman accompanying a lady's voice 
 with a guitar, dated 1665, No. 1648: this is of great charm 
 of composition, and is of warm clear coloming and soft 
 touch, [like "a Lady at a Spinning Wheel," of the same year, 
 in the National Gallery]. A lady, with a spaniel; a maid 
 arranging her hair; No. 1651, is of about the same time. 
 A pretty woman in white satin at the piano, accompanying a
 
 400 THE DUTCH REVIVAL. Book V. 
 
 man singing, No. 1G45, is dated 1660: the tasteful composi- 
 tion, refinement of beads, the full golden tone, the equally 
 careful execution of every part, and the unusual size of 2 
 ft. li in. high by 1 ft. 7^ in. wide, render this the chef- 
 d'oeuvre of the master. Of a later period than this is the 
 lady ba\ing her hair arranged, and a little girl putting out 
 her tongue before a looking-glass, about 1669, in the Amster- 
 dam Gallery, No. 283; [later still (1670) is " Children Blow- 
 ing Bubbles," in the National Gallery]. The earliest picture 
 of a silvery tone I know by him is the very elegant portrait 
 of Madame de Montespan, at Dresden, No. 1649, dated 
 1670. A still better picture of the same lady, with her son 
 the Due de Maine as a child, also in Dresden, No. 1650, is 
 kept in a someA\'hrit warmer tone. The same may be said, 
 and in greater degree, of his portrait of Constantin Huygens, 
 the father, in the Amsterdam Gallery, No. 1019, dated 1672. 
 As examples of his latest cold and gaudy period, and at the 
 same time of his empty and prosaic conception of mytholo- 
 gical subjects, I may mention his Vertumnus and Pomona 
 in the Berlin Museum, No. 850, dated 1681. As capital 
 works of his best time, I finally quote the picture in the 
 Hague Gallery, No. 101, dated 1605, representing the painter 
 and his wife — he accompanying his daughter's voice with the 
 lute. The timidity of the young girl is admirably expressed. 
 A young lady playing the violoncello, with her teacher and a 
 boy, is in the Louvre, No. 359. His mast notable pictures 
 in England are in private collections, difficult of access ; with 
 the exception of one belonging to Lord Northbrook — a. 
 picture of a mother and child, of his middle time. A little 
 child, in the collection of Lord Ashburton, I instance as a 
 proof of the charm with which he treated such subjects. 
 
 J. OcHTERVELT. — This painter occupies one of the first 
 places among the second-class painters of this kind. Nothing 
 is known with certainty regarding the dates of his life, or of 
 his master. But his somewhat rare pictures show that -he 
 especially formed himself after Gabriel Metsu. The influence 
 of Peter de Hooch is also unmistakable. The best picture 
 I know by him is No. 162, in the Hague Gallery. It repre- 
 sents a lady in a room, with a man ofiering her fish; while
 
 Chfip. VI. OCHTERVELT — MUSCHER. 401 
 
 in conception and style of careful finish this picture approaches 
 Metsu, it also greatly recalls Peter de Hooch ia combination 
 of colours and mode of lighting. The general tone is 
 warmer here than in most of his other pictures, in which a 
 cool scale predominates with a reddish tone in the flesh. A 
 female servant also preparing fish, with a boy, in the Arem- 
 berg Gallery, No, 44, signed " J. Ochtervelt," is one of his 
 best and powerfully coloured pictures. [Good specimens of 
 Ochtervelt are a Lady drinking with a Gentleman who off"ers 
 an Oyster, in the Museum of Rotterdam, No, 157, and a 
 similar pife in the Six collection at Amsterdam,] 
 
 MicHiEL VAN MuscHER, bom at Rotterdam 1645, died at 
 Amsterdam 1705. We know by his own written account 
 that he chiefly acquired the knowlege of art under Abraham 
 van Tempel ; after which, for a short period, he had the 
 advantage of instruction from Metsu and Adrian van Ostade. 
 In his excellent pictures, chiefly portraits on a small scale, 
 the influence of the first and second masters is discernible. 
 Thus, in a small portrait, dated 1678, in the Six collection, 
 that of Van Tempel is evident ; while a family portrait, dated 
 1681, in the Hague Gallery, shows partly the traces of Van 
 Tempel's teaching, and partly that of Ostade, only that the 
 tone, though clear and warm, is cooler, and the outlines 
 harder, than with the last master. He comes far nearer 
 Ostade in the best picture I know by his hand — namely, the 
 portrait of Willem van de Velde, in his atelier, preparing his 
 pallet, in the Northbrook collection. The quiet tone is very- 
 attractive here, and in clearness of chiaroscuro and excellence 
 of execution it is in no way inferior to Ostade, Of the same 
 class is a mother with an infant and another child, in the 
 Aremberg Gallery, No. 41, signed and dated 1683, This 
 has much sentiment, and is most delicately carried out in a 
 cool harmony. [A later picture than any of the foregoing is 
 No. 144, in the Museum of Rotterdam, representing three 
 children making garlands. It is inscribed : " M. v. Musscher 
 Pinxit a. 1690,"] 
 
 Jan Steen, born at Leyden about the year 1626, died 
 1679, [From 1648 till 1658 a resident at Leyden, he aban- 
 doned that city for Delft, where he set up a brewery. But
 
 402 THE DUTCH EEVIVAL, Book T. 
 
 this speculation having proved iinremunerative, he vpithdrew 
 to Haarlem, where he joined the Painters' Guild in 1661.]' 
 Though Steen occupied quite an original position in art, yet 
 the fact that many of his virorks show an affinity to the 
 masters just described, and especially to Gabriel Metsu, 
 renders this the proper place to introduce him. He first 
 received instruction under Nicolas Knupfer ; and afterwards, 
 it is said, worked with Jan van Goyen, whose daughter he 
 married. An extraordinary genius for painting was unfor- 
 tunately co-existent in Jan Steen with jovial habits of no 
 moderate kind. The position of tavern-keeper, in which he 
 was placed by his family, gave both the opportunity of in- 
 dulging his propensities, and also that of depicting the 
 pleasures of eating and drinking, of song, card-playing, and 
 love-making, directly from nature. He must have worked 
 with amazing facility, for in spite of the time consumed in 
 this mode of life, to which his comparatively early death 
 may be attributed, the number of his pictures, of which 
 Smith enumerates 200, is very great. Besides his favourite 
 subjects, rendered under the most multifarious aspects, — the 
 Happy Tete-a-Tete ; the Family Jollification ; the Feast of 
 the Beau King ; and that form of diversion illustrating the 
 proverb, " So wie die Alten sungen, so pfeifen auch die 
 Jungen ; " fairs, weddings, — he treated many other classes of 
 representation, as, for instance, the Doctor's Yisit to a young 
 Girl ; the Schoolmaster, with a generally very unmanageable 
 set of Boys, etc. The ludicrous ways of children seem 
 especially to have attracted him ; accordingly he depicts 
 with great zest the old Dutch custom on St. Nicholas' day, 
 September 3, of rewarding the good and punishing the 
 naughty child ; or shows a mischievous little race teasing 
 the cat, or stealing money from the pockets of their, alas ! — 
 drunken progenitors. The folly also of the attempt to dis- 
 cover the secret of making gold is delineated by his brush 
 with frightful truth. Only by way of rare exception does he 
 assume a kindly domestic tone, in the manner of Maas : as, 
 for instance, in the picture of a Mother feeding her Child ; 
 and of a Poor Family saying Grace before their homely meal. 
 ^ [Van der Willigen, 'Les Artistes de Haarlem,' pp. 267 and followmg.]
 
 Cliap. Vi. JAN STEEI^. 403 
 
 On the other hand, he as seldom painted scenes which offend 
 the sense of propriety. There is little to attract the eye in 
 his representations of Fat and Thin families, in which he 
 exaggerates the physical characteristics of each ; and still 
 less in his rather frequent illustrations of sacred and profane 
 history — all of which, from the common life in which he 
 clothes them, have the look of travesties. 
 jl Jan Steen is indubitably after Rembrandt the most genial 
 'painter of the whole Dutch school. His abundant feeling 
 for invention, in which he far surpasses all other getve 
 painters of the school, gives expression to inexhaustible 
 humour, and boundless high spirits and fun, while in every 
 other quality — composition, keeping, colouring, impasto, 
 spirited and yet careful touch — he yields, when he puts 
 forth his whole strength, to none of them. Unfortunately 
 he does not always do his best, and on those occasions sinks 
 to a very low level. His heads become vulgar and repulsive 
 caricatures, his action exaggerated, his handling slight, and 
 his colouring of a heavy and monotonous brown. Hia 
 humour has made him so popular with the English that at 
 least two-thirds of his pictures are in their possession. [The 
 [Music Master, No. 856 in the National Gallery, is a good 
 work, executed by Steen in 1671]. Of pictures in private 
 collections I can only specify a few here which are fairly ac- 
 cessible. In the Northbrook collection are the two following ; 
 — the highly characteristic portrait of the painter himself 
 seated in a chair, singing to his lute, with that inimitable 
 expression of carelessness which turns everything into ridi- 
 cule. The execution in an harmoniously broken tone is 
 admirable. A boisterous set of boys taking advantage of 
 the nap of a corpulent old schoolmaster to play every kind 
 of trick : one of them has put on his spectacles. Execution 
 and invention are here alike exquisite. I have seen in 
 Lord Ashburton's collection a jovial party in an ale-house, 
 the painter among them. The warm sunlight seen through 
 the open door is carried out through the whole picture with 
 admirable truth and delicacy. How thoroughly he could 
 render the effects of open airlight is seen in his Nine-pin 
 Players, which is composed with the most refined taste for
 
 I 
 404 THE DUTCH REVIVAL. Book V, 
 
 the picturesque. I subjoin also the most important Jan 
 Steens in continental galleries, where he occurs but seldom. 
 In the Hague Museum are the painter and his family. The 
 good-humoured gaiety which prevails here is very attractive, 
 and the chiaroscuro admirably executed. In the same gal- 
 lery is a party of twenty persons eating oysters, called a 
 Representation of Human Life, see woodcut. For humour 
 of the heads, artistic composition, striking effects of light, 
 and an execution which approaches that of Metsu, this may 
 be considered the chef-d'cBuvre of his many pictures of this 
 class. A Menagerie proves that in transparency of pure 
 sunlight even Peter de Hooch does not surpass him. The 
 trunk of the tree with the peacock shows, at the same time, 
 how accurately he rendered such subjects. Of his various 
 sick-rooms. No. 137 is one of the finest. The action of the 
 sick girl looking round is of rare truth and grace ; the keep- 
 ing in a cool harmony masterly ; and the modelling of every 
 part perfect. In the Amsterdam Gallery are the following : 
 — A young lady feeding a parrot, while a young couple are 
 playing tric-trac. No. 13G7 : this picture exhibits a delicate 
 taste in arrangement, a clearness and depth of warm tone 
 approaching Ostade, and a solid execution. Of less trans- 
 parency and solidity, though a good specimen of his repre- 
 sentation of St. Nicholas' day, is the picture No. 1366. The joy 
 and grief of the children, and the sympathy of the parents, 
 are given with great cleverness. In the Vienna Gallery is a 
 pict ire, dated 1663, in which reading, caressing, sleeping, 
 and, on the part of the painter himself, violin-playing are 
 going on. It abounds with fun, is of brilliant lighting, and 
 very clear colouring. For size, — 4 ft. 6 in. high by 6 ft. wide, 
 — as well as for dramatic feeling and equably carried out 
 execution, the Wedding Contract, in the Brunswick Gallery, 
 is one of his most remarkable pieces. Perhaps the most 
 successful of all his pictures, representing the Feast of Beans, 
 is No. 576 in the Cassel Gallery, dated 1668. A boy has 
 been chosen King of the Beans, and the whole picture teems 
 with most amusing incidents, executed with as much spirit as 
 care. As a specimen of his historical works, I will only 
 instance the Marriage of Cana, at the Duke d'Aremberg's,
 
 33
 
 Chap. VI, GERARD DOW. 405 
 
 Brussels. It is not only the best of this class, but may- 
 be considered for size, number of original groups, and deli- 
 cate carrying out, one of the master's most notable produc- 
 tions. 
 
 A peculiar cluster of masters, belonging to the Dutch 
 school, is formed by the minute painters, at the head of whom 
 is Gerard Dow. However careful in execution were such 
 painters as Terburg, Metsu, and Netscher, yet Gerard Dow 
 and his scholars and imitators surpassed them in the develop- 
 ment of that technical finish with which they rendered the 
 smallest detail with the most marvellous truth. 
 
 Gerard Dow was born at Leyden on the 7th April, 1613, 
 died there 1675. He is one of those painters whose talent 
 was early developed. He entered Rembrandt's school at 
 fifteen years of age, and in three years had attained the 
 position of an independent artist. He devoted himself at 
 first to portraiture, and, like his master, made his own face 
 frequently his subject. Afterwards he treated scenes from 
 the life of the middle and lower classes ; but rarely did he 
 paint the upper classes. He took particular pleasure in the 
 representation of hermits ; he also painted scriptural events ; 
 and in isolated instances still life. His lighting is frequently 
 that of lanterns and candles. Most of his pictures contain 
 only from one to three figures, and do not exceed about 2 
 it. high and 1 ft. 3 in. wide, being often smaller. The richer 
 class of compositions he only seldom treated. Subjects of 
 animated action lay also beyond his sphere — nay, his pictures 
 seldom attain even an animated moral import, and may be said 
 to be limited usually to a certain kindliness of sentiment. On 
 the other hand, he possessed in full measure his master's feel- 
 ing for the picturesque, and for the most refined charms of 
 chiaroscuro ; in many cases also for power and transparency of 
 warm colouring ; combining with these qualities a rare truth 
 of nature with a marvellous distinctness of eye, and almost 
 unexampled precision of hand. Notwithstanding the incalcula- 
 ble minuteness of his execution, the touch of his brush is free 
 and soft, and his impasto admirable. By the combination of 
 these qualities his best pictures look like Nature herself seen 
 through the camera-obscura. His works were so highly esti-
 
 406 THE DUTCH EEVIVAL. Book V. 
 
 mated in his own time, that the President Van Spiring, at 
 the Hague, offered him 1000 florins a year for the right of 
 pre-emption of his pictures. Considering the time which 
 such finish required,^ and the early age at which he died, the 
 number of his pictures — Smith enumerates about 200 — is 
 highly commendable. Very fine works by him are in the 
 galleries of the Louvre, Amsterdam, Munich, Dresden, and 
 St. Petersburg. 
 
 One very remarkable picture by him is the blind Tobit 
 going to meet his son, in Wardour Castle, the seat of Lord 
 Arundel. This, more than any other work of the master, 
 shows him to have been the scholar of Rembrandt. It is 
 unusually well drawn for him, and carefully painted, though 
 not so minutely as was his custom, in a harmonious tone. 
 It is also of the unusual size of 3 ft. 3 in. high by 4 ft. 4 in. 
 -wide. His own small portrait in the Bridgewater Gallery 
 also proves not only how he early attained mastery, but also 
 that in that early time he imitated the manner of Rembrandt 
 in portraiture. He is represented at about twenty-two years 
 of age, in a brilliant golden tone, with a shadow cast by a 
 cap over his face. I now proceed to give a small number of 
 his pictures which variously illustrate his style. In the 
 Louvre are the following : — An old woman seated at a win- 
 dow, reading the Bible to her husband, No. 129. The feeling 
 of peaceful domestic piety, and the striking effect of light, 
 indicate the early Rembrandt-like time of the master. A 
 cookmaid standing at an arched window, pouring milk into a 
 basin, No. 125. This is one of the best among the many 
 representations by the master of a similar kind, being of 
 warm, sunny efiect, and marvellous finish. A greengrocer 
 woman behind the counter, with an old woman, a girl, and a 
 boy— inscribed 1647, No. 123. [The Poulterer's Shop, No. 
 825, in the National Gallery, is an admirable combination in 
 miniature of figures and still life.] Also a favourite subject 
 with Gerard Dow, and one of the best for composition, and 
 transparency of clear sunlight, of the many of this class, 
 
 ' Sandrart relates that, visiting Gerard Dow one day with Pieter de 
 Laar, lie admired the pains he had bestowud on a broomstick, on which 
 Gerard Dow told him that he iiad three days' more work to do to it.
 
 Chap. VI. VAN MIEEIS. 407 
 
 though in general keeping partaking already of his later 
 cooler tone, is the Woman sick of the Dropsy, No. 121. This 
 is unquestionably the chef-d'oeuvre of the master. The grief 
 of the patient's daughter, who belongs to the upper class, is 
 very touching ; the composition fortunate ; the sunny light- 
 ing of rare transparency ; and, considering both the size of 
 the picture, 2 ft. H in. high by 2 ft. 1 in. wide, and the age 
 of the painter, then sixty-five, of a finish which is perfectly 
 marvellous. The following are in the Amsterdam Gallery : — 
 The Evening School, No. 276. Of his candlelight pictures — 
 an efi"ect rendered by no other master with such truth and 
 finish — this is the most important specimen. The composi- 
 tion shows great feeling for the picturesque : a boy reproached 
 by the master, and a girl spelling, are given with naive 
 truthfulness. The efi"ect of the different lights is admirable, 
 though the picture has obviously darkened much in parts. 
 [An excellent portrait is that of Dow by himself. No. 192 in 
 the National Gallery ;] but the chef-d'oeuvre among his like- 
 nesses is that of Pieter van der Werff, Burgomaster of 
 Leyden, and his wife, — full-length figures, — at Amsterdam, 
 No. 279. It is indeed dLfficult to say which is the more ex- 
 cellent — the well-sustained cool and clear general keeping, 
 or the unspeakable minutia of details, which have none of 
 the stiffness of over-finish. The general effect of the work 
 suffers however by the dark and heavy tone of the landscape 
 background by Berghem. In the Hague Gallery is a woman 
 at an open window ; next her a child in a cradle, at which a 
 young girl is looking, dated 1658, No, 28 — also a work of 
 the first class. The expression of domestic peace is here 
 combined with a surpassing mastery of lighting, warmth, and 
 clearness of colouring, and tenderly felt execution. Of his 
 small pictures, with only one figure, I may mention, finally, 
 a young man with a violin, in the Bridgewater Gallery, which 
 is unsurpassed in feeling for domestic ease, and amazing 
 finish. 
 
 Among the scholars of Gerard Dow, Frans van Mieris, born 
 at [Leyden] 1635, died at Leyden 1681, takes the first place. 
 His powers, like those of his master, were early developed, 
 BO that Gerard Dow bestowed on him the name of the Prince
 
 408 THE DUTCH REVIVAL. Book V. 
 
 of his scholars. In chiaroscuro, impasto, and deUcacy of 
 execution he is not inferior to his master. He also often 
 treats similar incidents : but in his preference for subjects 
 taken from the higher classes of life we see the influence of 
 Metsu ; and in a certain humour which occurs in some of 
 his works, that of his friend Jan Steen. Although his 
 pictures are generally very small, yet with their extraordinary 
 minuteness of execution it is surprising that, in a life ex- 
 tended only to forty-six years, he should have produced so 
 many : Smith cites about 140. The Munich Gallery is most 
 rich in his masterworks, then Dresden, Vienna, Florence, 
 and St. Petersburg. The Louvre and England are on the 
 other hand but ill-provided with important specimens of this 
 master. The following pictures will suffice to give a due and 
 complete estimate of him. I take them in the order in which 
 they were painted. In the Vienna Gallery will be found — a 
 doctor feeling the pulse of a sick girl, seated on her bed, 
 with the Bible open on her lap, dated 1656. The heads 
 show uncommon warmth of feeling ; the lighting is striking, 
 the harmony delicate, and, for him, cool ; and the finish most 
 tender. The date shows the painter to have attained the 
 summit of his art at twenty-one years of age. A picture, 
 dated 1660, in the same gallery, executed for the Archduke 
 Leopold, and already favourably mentioned by Sandrart, is 
 unquestionably one of his masterpieces. The scene is a shop, 
 with a young woman showing a gentleman, who has taken 
 her by the chin, various handkerchiefs and stuffs. The com- 
 position is attractive, the light but warm tone very clear, and 
 the handling, in a fine impasto, of wonderful delicacy. The 
 size — 1 ft. 9 in. high by 1 ft. 4 in. wide — is unusually large for 
 him. In the Munich Gallery, Cariaets, No. 412, is a soldier, 
 dated 1662 ; of admirable transparency and softness. Also 
 No. 417 : a lady, in a yellow satin dress, fainting in the 
 presence of the doctor. In the Hague Gallery are — a beauti- 
 ful boy blowing soap-bubbles, dated 1663. This is a charm- 
 ing little picture, of great depth of brownish tone. The 
 painter and his wife, whose little shock dog he is teazing : 
 very naive and lively in the heads, and most delicately treated 
 in a subdued but clear tone. In the Dresden Gallery are Mieria
 
 Chap. VI. VAN MIERIS.. 409 
 
 again and his wife, before her just-commenced portrait, No. 
 1592. This is one of his most beautiful pictures for com- 
 position, chiaroscuro, tone, and spirited handling. The com- 
 panion, No. 1593, representing the atelier of the master, 
 with an amateur looking at a picture, while the painter 
 stands by, is of less solid body. 
 
 Of his portraits, that at Florence in the Gallery of the 
 Uffizi, representing him with his whole family, is the princi- 
 pal example : it is in a bright clear golden tone ; some of 
 the heads are, however, unattractive in expression. In the 
 Dresden Gallery, No. 1591, is the well-known Tinker. In 
 the conscientiously careful examination bestowed by the 
 tinker upon a woman's kettle, and in her anxious suspense, 
 a species of humour is evident which points to the influence 
 of Jan Steen. The colouring is certainly harmonious, but 
 less powerful than usual, the execution more free, and the 
 painting less bolid. Both as regards size — 1 ft. 8 in. high, 1 ft. 
 11 in. wide — and artistic merit, this may be considered a chef- 
 d'oeuvre by the master. I only know one other work by him 
 of similar importance and character, namely, the Charlatan 
 recommending his specifics to an attentive auditory, in the 
 Gallery of the Uffizi at Florence. Lastly, there are some 
 small pictures of the rarest beauty in the Munich Gallery ; 
 viz., his own portrait with a wine-glass, Cabinets, No. 465, 
 signed, "F. van Mieris fc'. a.d. 1668, 19th May."^ The 
 features breathe the utmost cheerfulness ; the execution, in 
 the purest golden tone, is admirable. Another picture, Cabi- 
 nets, No. 418, represents boys, one beating a drum, another 
 blowing a flute ; signed, "F. van Mieris, 1670." The full light, 
 the clear golden tone, the fine enamel, and the solid impasto, 
 render this small picture, of only 6 in. high by 5 j wide, a per- 
 fect gem. As admirable specimens of single figures of ladies 
 in elegant attire, I may quote, in conclusion, one playing on the 
 lute. No. 415, and two examples of another giving an almond 
 to her parrot, Nos. 188 and 414, as the true originals of so 
 many of the copies attributed to this master.^ [Amongst the 
 
 ' [This picture is not now in tlie Munich Gallery.] 
 - [The picture, known by Dr. Waagen as No. 188, has been withdrawn 
 from the gallery.]
 
 410 THE DUTCH REVIVAL. Horl V. 
 
 specimens of Mieris in England we should note the Lady in 
 a crimson jacket, No. 840 in the National Gallery.] 
 
 Peter VAN Slingelandt, born at Leyden 1640, died 1691. 
 He never rose beyond a servile imitation of his master, 
 Gerard Dow. While inferior to him in every other respect, 
 he almost surpasses him in his exceedingly laborious execu- 
 tion of detail. The highest praise that can be accorded him 
 is that his pictures are often mistaken for those of his master. 
 In most of them we only acknowledge an indisputable yet 
 spiritless industry, so much time being spent on a single 
 work that Smith's Catalogue only enumerates about sixty 
 specimens of his art. His chef-d'ceuvi'e is the portrait of the 
 famous Dutch scholar, Meerman, with his family around him, 
 now in the Louvre, No. 486. The arrangement is happy, 
 the heads have much individuality, the colouring is clear, and 
 the execution throughout such as to make the fact of his 
 having laboured at it for three years easily conceivable. A 
 picture, No. 1341 in the Museum at Amsterdam, representing 
 a violin-player in a kitchen accompanying the singing of a 
 youth and of another man, near whom are a woman and a 
 boy, is well conceived, but cold and hard in colouring. A 
 Tailor's "Workshop, in the Munich Gallery, Cabinets, No. 428, 
 closely resembles Gerard Dow in brilliancy of light, in body 
 of colour, and in laborious treatment, but it is colder and 
 less harmonious in colour, as well as weaker in drawing. A 
 woman busy sewing, seated at a window, with a child in a 
 cradle near her awake and looking at her, is in the same col- 
 lection, No. 427. This is undoubtedly one of this master's 
 best works, being agreeable in feeling, striking in lighting, 
 clear in its deep chiaroscuro, warm in colour, and tenderly 
 fused in execution. Another picture, exactly similar in sub- 
 ject and equally admirable, is at Buckingham Palace, together 
 with a pendant, in every respect worthy of it, representing 
 a mother nursing her child. But the ne plus ultra, in point 
 of execution, is a kitchen, in which a man is offering par- 
 tridges to the cook, painted in the year 1685, now in the 
 Bridge water Gallery ; yet here the heads want spirit, and 
 the colouring is heavy and cold. 
 
 GoDEFRiED ScHALKEN, bom at Dort 1643, died at the Hague
 
 Chap. VI, SCHALKEN. 411 
 
 1706. He was first instructed by Samuel van Hoogstraten, 
 and next by Gerard Dow, under whom he made so much 
 progress as to leave his studio with the reputation of being 
 one of his best scholars. This painter visited England, and 
 while there executed small portraits with much success ; for 
 instance, that of King William III. But his more frequent 
 subjects were scenes from common life, and generally by 
 candlelight, while he occasionally attempted, though less 
 satisfactorily, to paint Scriptural subjects. In these his 
 heads are of a very jejune and insignificant character. In 
 his earlier genre pictures he approaches very near to Gerard 
 Dow, but on the whole, and as regards his later manner, he 
 is far inferior to him in truth of feeling, force of colouring, 
 and especially in impasto. At present the greater number 
 of his works representing effects of artificial light appear 
 untrue and crude, from the circumstance of the flame having 
 become too white and the reflection brick-red. Occasionally 
 Schalken painted figures the size of life. Smith's Catalogue 
 enumerates about 127 of his works. The best known to me 
 in the continental collections are — in the Gallery at Vienna, 
 a gul placing a candle in a lantern, and three men at cards : 
 true and sweet in feeling, clear and correct in lighting, and 
 very carefully executed in an admirable impasto. In the 
 Dresden Gallery, No. 1G86, an artist lighting up the bust of 
 a Venus : very tender and fascinating in its eflect of light. 
 At Munich, No. 434, a youth trying to blow out the taper 
 held by a laughing girl : this is on a larger scale than usual ; 
 expressive in its motive, and more than commonly true to 
 nature. In the Louvre, No. 479, Ceres with a torch seeking 
 Proserpine : it must be allowed that Ceres looks like a mere 
 commonplace cheerful girl, but the lighting is true and 
 delicate. In the Amsterdam Museum, two pictures — a man 
 smoking, No. 1 293, and a girl putting a candle into a lantern, 
 No. 1294 : in both these very delicate works we are struck 
 by the too great whiteness of the flame. Of daylight eSects 
 by Schalken, I can only commend one in the Amsterdam 
 Museum, No. 1292, a picture representing a boy eating 
 an egg, for the great delicacy of its handling : and in the 
 Berlin Museum, No. 837, that of a boy fishing, for its-
 
 412 THE DUTCH REVIVAL. Book V. 
 
 naivete of feeling. Among his portraits, that of King 
 William III., by artificial light, in the Museum at Amsterdam, 
 ^o. 1291, proves that he could succeed in full-lengths. 
 
 With regard to his Scriptural subjects it may suffice to 
 notice his Wise and Foolish Virgins, in the Gallery at 
 Munich, executed in the year 1700. The heads here are 
 very insipid; the lighting, owing to its brick-like tone, 
 untrue. In England the three pictures of highest merit that 
 I know by this master are — a pretty girl with a candle ; the 
 artist himself, who is assisting at a family concert ; and " Le 
 Eoy detrousse," at Buckingham Palace. 
 
 The following painters, although only imitators of Gerard 
 Dow, are best placed here : — 
 
 DoMiNicus VAN ToL. — This painter not only imitated 
 ■Gerard Dow so closely in class of subjects, colour, and 
 technical qaalities, but also in expression of heads, that his 
 pictures are frequently attributed to that master. He is, 
 however, emptier in forms, less intelligent in expression, 
 and generally colder in colour. One of his best works, 
 three children amusing themselves with a cat and a mouse- 
 trap, is in the Amsterdam Museum, No. 1434. Of two others, 
 an old man, No. 1498, and an old woman, No. 1499, in the 
 Dresden Gallery, the first is remarkable not only for great 
 finish, but for powerful and waim colour. All three pictures 
 are signed. 
 
 JoHAN Adriaen van Sta^'eren. — He painted old men, 
 bermits, and old women, in the style of Gerard Dow. He 
 is also very finished, but stifi'er in his figures, and less 
 spirited in his treatment, than Van Tol. A hermit of this 
 class, signed, is in the Museum at Amsterdam No. 13C3. 
 
 Eglon Henri van der Neer, born [at Amsterdam] 1643, 
 died at [Diisseldorf] 1703, [was appointed court painter to 
 Charles II. of Spain in 1687.]^ He was the scholar 
 of his father, the celebrated Ai-tus van der Neer, but he 
 formed himself upon the model of Netscher and Frans 
 van Mieris, his favourite and most successful subjects 
 being elegantly attired ladies engaged in some domestic 
 a,vocation. In his historical pieces he is less happy. He 
 > [A. Pinchart, ' Messager des Sciences,' 186S, p. 348.]
 
 Chap. VI. ARY DE VOIS. 413 
 
 also frequently executed the figures in the pictures of other 
 masters with much skill, and was successful in portraits. 
 Later in life he painted many landscapes, which are very 
 neat, but trivial in treatment. His genre pictures are so rare 
 that Smith has only been able to indicate forty-three by him. 
 The fine taste of his compositions, which pervaded also all 
 his details, his feeling for harmony, and the melting deU- 
 cacy of his execution, entitle him to rank with the masters 
 he chose for his models. In his flesh-tints a tender brown- 
 ish tone prevails, which is rather too monotonously re- 
 peated, and which, generally speaking, shows fewer glazing 
 tints than were used by his favourite painters. The best 
 pictures by him with which I am acquainted in the gal- 
 leries of the Continent are — a lady in white satin tuning 
 her lute, in the Munich Gallery, Cabinets, ISTo. 4.35 : the 
 picture is unusually large for him, taken in full light, and 
 very warm and harmonious. Another picture of the same 
 subject, and also a lady playing on the lute, are in the 
 Dresden Gallery, Nos. 1689 and 1584 : the latter, a work of 
 peculiar beauty, is there erroneously (f) attributed to Frans 
 van Mieris. A not very attractive specimen of his ti-eat- 
 ment of Biblical subjects is afforded by Esther before 
 Ahasuerus, in the Gallery of the Uffizi at Florence ; there, 
 also, two of his landscapes may be seen. Upon the whole, 
 the two most important of his known pictures are a gentle- 
 man and lady at a repast, waited upon by a page, with 
 another couple arm in arm in the background ; this is in 
 the collection of H. T. Hope, Esq. ; also, a young lady 
 washing her hands, while a maid tries to keep back a 
 gentleman who is pushing his way into the room ; signed 
 and dated 1675, [once] in the collection of F. Heusch, Esq., 
 London.^ 
 
 Ary de Vois ; born 1641, died 1698; scholar of Nicolas 
 Knupfer and Abraham van den Tempel. He belongs to the 
 painters of minute finish, and distinguished himself by an 
 animated conception, warm and clear colouring, and by an 
 execution that at times approaches that of Frans van Mieris. 
 His favourite subjects are half-length figures, either engaged 
 ' 'Treasures,' vol. ii. p. 253.
 
 l!l4< THE DUTCH EEVIVAL. Book V. 
 
 in some particular act : as, for instance, a jolly old fisherman 
 with a glass of beer, No. 441, — a man with a wine-glass and 
 violin, No. 1578 in the Amsterdam Museum, — and a man 
 [looking at himself in a mirror], in the Dresden Gallery, 
 No. 1668; or represented as portraits, such as those of a 
 painter and a merchant, in the Louvre, Nos. 552 and 551. 
 Occasionally, however, he painted landscapes with nude 
 figures, in the manner of Poelemberg : as, for instance, one 
 in the Di'esden Gallery, No. 1667, dated 1666; and one in 
 the Berlin Gallery, No. 498, dated 1678. 
 
 Jan Verkolie ; born [at Amsterdam] 1650, died [at Delft] 
 1693. Although a scholar of Jan Livens, he belongs entirely 
 to the painters of high finish, and painted both genre pictures 
 and portraits in their style. He composed with some taste, 
 drew tolerably well, and has a warm and clear colouring. 
 His execution is also tender and soft ; but his treatment of 
 heads is generally lame and inefl'ective. In the larger 
 galleries I know only one of his works, viz., in the Louvre, 
 No. 547, representing a mother with a child in swaddhn'^ 
 clothes, with a maid bringing a cup. The imitation of 
 Slingelandt is evident here ; dated 1675. [A Sportsman, 
 at the foot of a tree. No. 224 in the Rotterdam Museum, 
 bears the master's name and the date of 1672.] He also 
 executed, both from his own designs and from those of other 
 masters, a series of mezzotint engravings. 
 
 I now proceed to consider a small group of painters, whose 
 peculiar province is the delineation of scenes from military 
 life — such as guard-rooms, combats, and especially encounters 
 between infantry and cavalry, the horses of the latter beinc^ 
 somewhat clumsy. In costume and other particulars they 
 afford us the most faithful representation of scenes from the 
 Thirty Years' War. Occasionally also they give us pictures 
 of social life, both in and out of doors. These artists are 
 very animated in conception ; they draw well, and are 
 extremely careful in execution. At the same time their 
 colouring is often rather heavy, their outlines hardish, and 
 their touch rather dry. 
 
 [Anton Palamedess, called Stevens or Stevees, the son 
 of a sculptor and setter of precious stones in the service
 
 Chap. VI. PALAMEDESS. 415 
 
 of James I. of England, born in London [probably as early 
 as 160J, died end of December 1673, or January 1674]. 
 He joined the Guild of St. Luke at Delft in 1621, and 
 was its president for the last time in 1673. His friendship 
 with Van Delen, for whom he painted figures as fillings to 
 architectural pieces, probably brought him in contact with 
 Dirk Hals, whose style he imitated. The earliest of Anton's 
 pictui-es is a portrait of a young man, No. 190 in the 
 Haussmann collection at Hanover, dated 1624, a rare 
 specimen, equalled, but hardly surpassed, by a portrait of a 
 young girl in a white cap and neckerchief, No. 741 in the 
 Gallery of Berlin, or a portrait of a young man. No. 261 in 
 the Brussels Museum, signed, " 1650, A. Palamedes pinxit." 
 He usually painte.l military incidents, of which the following 
 are authentic: Spanish Soldiers and Girls in a Peasant's Cot- 
 tage, signed, "A Palamedes, 1632;" No. 65 in the Haussmann 
 collection, where we also find an Officer bargaining with a 
 Peasant for a Hare (No. 199), and a Soldier making love 
 to a Girl (No. 181) ; A Guard-room, " A. Palamedes, 1648," 
 in the Lichtenstein collection at Yienna ; a Trumpeter, 
 " A. Palamedes, 1654," in the Museum of Warsaw ; Soldiers 
 and Peasants in a Cottage, No. 817 in the Berlin Museum ; 
 and a Cavalier proposing a Toast, No. 225 in the Stadel 
 Gallery at Frankfort. In collaboration with Van Delen, 
 Anton painted the figures of the meeting of the States- General 
 (1651), in the Museum of the Hague.] 
 
 Palamedes Stevens, named Palamedess, born 1607, died 
 at Delft 1638, brother of the above, devoted himself principally 
 to subjects of skirmishes in the same style. To judge from 
 a picture in the Vienna Gallery, signed, " P. Palamedes, A. 
 1638," he was inferior to his brother. [In the same style is 
 a Charge of Cavalry, No. 982 in the Berlin Museum, signed, 
 " Palamedes, 1630," and a similar subject with an illegible 
 signature, No. 1526 in the Dresden Gallerj^.] 
 
 A. Due. — This is the inscription on a small picture in the 
 Vienna Gallery, which represents a lady and gentleman 
 imploring compassion from infantry officers, and which 
 proves that this otherwise-unknown master was a faithful 
 and, in composition, a very energetic and animated imitator
 
 4)16 THE DUTCH REVIVAL. Book 7. 
 
 of the style of Palamedes. The picture of a kneeling peasant 
 asking his life of a soldier, in the Dresden Gallery, No. 1603, 
 is of equal merit. 
 
 Jan le Ducq ; born at the Hague in 1633, died in 1695. 
 This better-known master diflers entirely from the above- 
 mentioned painter in style. Though, according to the 
 generally-received opinion, the scholar of Paul Potter, he 
 attached himself entirely to the manner of the Palamedes, 
 whom, however, he far surpassed in the harmony of his 
 generally cool keeping, in the truth of his heads, and in 
 delicacy of touch. ^ The Munich Gallery possesses two very 
 good pictures by him — a Guard-room, and Soldiers playing 
 at Cards, Cabinets, Nos. 367 and 368 ; another, and still 
 more important work in aim and execution, representing 
 Swedish officers in a peasant's house, is in the Berlin 
 Gallery, No. 864. [Four pictures by the same hand are in 
 the Museum of Gotha.] That Le Ducq also painted portraits 
 with great delicacy on a small scale is evinced by two like- 
 nesses of the same person in the Dresden Gallery, Nos. 1601 
 and 1602, [the latter signed, " J. le Due"]. In his ten very 
 skilful etchings,* this artist appears to us in quite a different 
 point of view. Eight of these, executed in the year 1661, 
 represent a series of dogs, the ninth containing two dogs. 
 The largest of them, No. 9, represents a shepherd pursuing 
 a wolf who has stolen one of his sheep. 
 
 A largo number of spiritless and coarse paintings are attri- 
 buted to both the Palamedes and to Jan le Ducq. 
 
 I next consider another group of ge)ire--pamiers, who 
 almost exclusively confined themselves to the representation 
 
 ' [It is doubtful whetlier the dates 1633-1695 apply to Jan le Ducq, 
 who painted guard-rooms and portraits. They may apply to an artist 
 of the same name who was a painter of animals, and doubtless the 
 author of the etchings mentioned further on in Dr. Waagen's test. It 
 is well remarked by Van Westrheene, in his hie of Paul Potter (8vo., 
 the Hague, 1867, p. 123), that Jan le Ducq, the painter of guard-rooms, 
 cannot be the man who, being born 1636, joined the Guild of Painters 
 at the Hague in 1658, and painted for the mastership a Shepherdess 
 and Cows, and who subsequently executed (1662) a Landscape with a 
 Woman on Horseback. The date of 1695, too, Van Westrheene declares 
 to be doubtful. See also Biirger, 'Musees de Hollande,' ii. 245-9, and 
 Bode's'FransHals.'] 
 
 ' Bartech, vol. i. p. 199.
 
 Clmp. VI. BROUWER. 117 
 
 of the humbler classes of life — namely, of peasants and 
 mechanics, generally during their hours of recreation, eating, 
 drinking, playing, and dancing, and occasionally, aLso, 
 quarrelling. These comprise interiors and out-door scenes. 
 Sometimes, however, these masters give us pictures of 
 lawyers with their clients, of alchemists, or of a schoolmaster 
 with his pupils. If inferior to the painters of what we may 
 term conversation subjects in delicate execution of detail, 
 they make ample amends by a free and very spirited treat- 
 ment, and a more than ordinary perfection of chiaroscuro^ 
 generally of warm and harmonious character. 
 
 Adeian Brouwek ;born at Haarlem [1G05], died at Antwerp 
 1641.^ He was the scholar of Frank Hals, and acquired 
 from him not only his spirited and free touch, but also his 
 dissipated mode of life ; in consequence of which he died 
 young. His pictures, which for the most part represent the 
 lower orders eating and drinking, and also frequently in 
 furious strife, are so true and life-like in character as to lead 
 to the belief that this master painted from scenes of his own 
 experience. They display a singular power of keeping, a 
 delicate and harmonious colouring, which inclines to the cooL 
 scale, an admirable individuality, and a sfumato of surface in 
 which he is unrivalled, so that we can well understand the 
 high esteem in which Rubens held the powers of this artist. 
 Owing to his mode of life, and to its early close, the number 
 of his works is not large, and they are now seldom met with. 
 No gallery is so rich in his pictures as that of Munich, which 
 possesses nine, six of which are his masterpieces. A party 
 of peasants at a game of cards, Cabinets, No. 888, affords an 
 
 ' [I cannot reconcile the date of Brouwer's death here given with the 
 documentary evidence which appears in the Liggeren. According to the 
 Liggeren (ii. 22) Adrian Brouwer was buried at Antwerp on the 1st of 
 February, 1638, in the cemetery " des Grands- Carmes." On the 19th of 
 February an attachment was made on the property which he left 
 behind him. It is curious and inexplicable that, according to Van der 
 Willigen, a grave was opened for Adrian Brouwer at Haarlem on the 
 31st of March, 1610 ('Artistes de Haarlem,' p. 316). It is said that Rubens 
 caused the body of Brouwer to be disinterred and buried anew at the 
 Grand-Carmes. Is it not possible that this should be a mistake, and 
 that the body should have been finally buried at Haarlem ? Brouwer 
 joined the Antwerp Guild in 1631, and was still a member of it in 1637, 
 See the Liggeren, ii. 90.]
 
 418 THE DUTCH REVIVAL. Book V> 
 
 example of the brightness and clearness of those cool tones 
 in which he evidently became the model of Teniers. Spanish 
 soldiers throwing dice, Cabinets, No. 393, is equally har- 
 monious, in a subdued brownish tone. A surgeon removing 
 the plaster from the arm of a peasant. Cabinets, No. 885, 
 (see woodcut), is not only most masterly and animated in 
 expression, but is a type of his bright, clear, and golden tone, 
 and is singularly free and light in touch. Card-players 
 'fighting furiously. Cabinets, No. 879, is in every respect one 
 of his best pictures. The momentary action in each figure, 
 all of them being individualised with singular accuracy, 
 even as regards the kind of complexion, is incomparable, the 
 tenderness of the harmony astonishing, and the execution of 
 extraordinary delicacy. A village bai'ber dressing the wounded 
 foot of a peasant, No. 880, affords an admirable example of 
 reddish hai-mony and melting beauty of touch. The Dresden 
 Gallery also possesses a small but excellent picture of a fray 
 by him, No. 1305. He appears, too, under an unusual 
 aspect in his picture of a swineherd, in a warm evening 
 landscape, once in the collection of Mr. Munro, in London. 
 Another picture of exquisite beauty, a sleeping peasant, [is 
 No. 197 in the collection of Sir R. Wallace in London]. 
 He has also left a very spirited etching of this subject, exe- 
 cuted with a forcible point ; and the same praise applies to 
 some other plates, half figures, though astonishingly vulgar 
 in feeling. 
 
 The greatest name, however, among this group of painters 
 is that of Adrian van Ostade ; born at [Haarlem]^ in 1610, 
 died at [Haarlem]^ 1685. But though he too was a scholar 
 of Frank Hals, it is evident that the works of Rembrandt 
 were the objects of his admiration, and that to his study of 
 that master may be ascribed the warm and clear colouring, 
 and the perfection of chiaroscuro, which led to his being 
 aptly called the Rembrandt of ^e«/r-painters. Like him he 
 was utterly without the sense of beauty of form or grace of 
 
 ' [Van der Willigen, ' Les Artistes,' p. 235.] 
 
 - lb. ib. p. 238. It is not true, as Houbraken says, that Ostade left 
 Haarlem for Amsterdam in 1662, for he was president in that year of 
 the Guild of Haarlem.]
 
 SURGEON REMOVING THE PLASTER. 
 Painted by Adjiau Biouw&r. lu the ilunich Gallery. 
 
 page 419. 
 
 34:
 
 Chap. VI. ADRIAN VAN OSTADE. 419 
 
 movement. His figures, even of children, are ugly in 
 feature and short in stature. 
 
 Although the fact that his pictures seldom represent any- 
 thing more sympathetic to the mind than scenes of low 
 comfort and enjoyment deprives them of any moral interest, 
 yet they aflbrd a striking proof that works of art, in spite 
 of great deficiencies, may yet, if only possessing excellences 
 of one class, otfer high attraction to the cultivated eye ; the 
 excellences of Ostade consisting, namely, in genuine feehng 
 for nature, picturesqueness of arrangement, harmony of 
 colour and chiaroscuro, and extraordinary technical mastery. 
 This master, however, varies greatly in the colouring of his 
 pictures, especially in his flesh-tints. Sometimes, and 
 especially in his earlier manner, we find a hght golden tone 
 of extraordinary clearness. At a later period this golden 
 tone, while equally clear, becomes rather redder ; thus har- 
 monising with the generally warm and deep violet of his 
 dresses. In his latest pictures the reddish tones become 
 colder and the shadows less clear. Of his numerous works, 
 which Smith reckons at about 385, a large number, and 
 those of the best class, are in England. Of these and of 
 others to be found on the Continent, more especially in the 
 galleries of the Louvre, of Dresden, Munich, and the Hague, 
 I shall only enumerate a few, and, as he had the good habit 
 of dating most of his pictures, in their chronological order- 
 In the Berlin Museum, No. 855, is a picture of a man play- 
 ing the hand-organ before a cottage, to the evident merri- 
 ment of a party of country people. It is signed, and dated 
 1640, the earliest date I know by him.^ The clear, golden, 
 and varied tone of the heads, and the broad, soft, and, here 
 and there, almost sketchy treatment, show that the master 
 had fully developed his powers in such works. The diminu- 
 tiveness of the figures only, in comparison with the house, 
 give evidence of a certain immaturity. In the Munich 
 Gallery, Cabinets, No. 370, dated 1647, is a picture of 
 peasants in a village tavern, some amusing themselves by 
 
 ' [The earliest dates on Ostade's pictures have been noted by Bode 
 in his essay on Frans Hals. They extend from 1631 upwards, in 
 numerous examples. See Bode, ' Frans Hals,' pp. 51-53.]
 
 420 THE DUTCH EEVIVAL. Book V. 
 
 dancing, others laugliing at a dog licking a pan. The depth 
 and clearness of the i-eddish golden tone, the richness and 
 abundant details of the animated composition, render this 
 picture peculiarly attractive. Four persons playing at cards, 
 with others in the background, dated 1648 ; in the collec- 
 tion of Lord Northbrook, Here the golden tone is more 
 Rembrandt-like, and the chiaroscuro, impasto, and execu- 
 tion, all admirable. A company entertained with violia- 
 playing and suiging. This picture is in Buckingham Palace, 
 and bears date 1656. The lively, reddish-golden tone of 
 the sunset contrasts here charmingly with the deep clear 
 chiaroscui'o of the room. A rural fete, with dancing, cook- 
 ing, love-making, etc., dated 1659, once in the collection of 
 R. Heusch, Esq., London, is in richness of composition, 
 felicitous grouping, alternate massing of light and shade, 
 power and clearness of reddish-gold flesh-tones, as well as 
 in size, one of this master's principal works. Five peasants 
 round a hearth ; five others in the background, dated 1661, 
 are in the Van der Hoop collection in Amsterdam. This is 
 somewhat cooler in general tone, but with great clearness of 
 chiaroscuro, and very carefully executed. [Of the same 
 year is an Alchemist, No. 846 in the National Gallery.] A 
 schoolmaster threatening one of his scholars with the rod, 
 dated 1662, is in the Louvre. In point of the combination of 
 the dramatic character and of the clearest golden tones with 
 a solid impasto and deep chiaroscuro, this is one of the 
 master's highest efforts. A party in the enjoyment of 
 music, drinking, and smoking, dated 1662, is in the Museum 
 of the Hague. This is happy in composition, and with a 
 peculiar fascination in its subdued chiaroscuro. In style 
 and excellence this picture is nearly rivalled by another 
 party in the Dresden Gallery, No. 1383.^ One of his 
 greatest chefs-d'oeuvre as regards lighting, as well as 
 warmth, depth, and clearness of tone, is the Artist and his 
 Easel, No. 1384, in the same gallery, dated 1663. A 
 countryman looking with delight at his child, who is plajdng 
 with a doll on its mother's lap, is in Buckingham Palace ; 
 
 ' [This picture is one of those executed before 1640. It is dated 
 1639.]
 
 
 THE ITINERANT FIDDLER. 
 By Adrian vaa Oatade. In the Hajue Museum. 
 
 page 421.
 
 Chap. VI, ISAAC VAN OSTADE. 421 
 
 dated 1668. The pleasing nature of the subject, and the 
 warm light that falls through a large window, render this 
 one of Ostade's most attractive pictures. In the Bridge- 
 water Gallery is a lawyer reading a document. Near him, 
 full of expectation, is the client, with a present of game ; 
 dated 1671. Of his many representations of this subject, 
 this is one of the finest. Apart from the interest of the sub- 
 ject, this picture is attractive from the great animation of 
 the lawyer's head, and the singular clearness and warmth of 
 the flesh-tones. Country people listening to a fiddler, in 
 front of a house (see woodcut), dated 1673, in the Museum 
 of the Hague. This is very felicitous in composition, and 
 also in the alternation of the clear and cool tones with those 
 of the warm, bright sunlight. A view of a village, enlivened 
 by thirteen small figures, dated 1676, I saw in Lord 
 Ashburton's collection. This small picture, only 9 in. high, 
 and 1 ft. wide, shows, in the depth of its cool chiaroscuro, 
 and in the lightness and tenderness of its touch, that this 
 master, then in his sixty-sixth year, was still in full posses- 
 sion of all his artistic powers. When we consider the large 
 number of his drawings, many of them in water-colours, as 
 also of his etchings — Bartsch enumerates fifty of the latter — 
 we can but marvel at his industry. His greatest achieve- 
 ments as an etcher, in which art he equally shows his feel- 
 in» for the picturesque and his skill in lighting, date probably 
 from the year 1617 to 1618. At all events his best etchings 
 bear those dates. 
 
 Isaac van Ostade, [born at Haarlem in 1621, died there, 
 at the early age of twenty-eight, in 1619.]^ He was 
 brother and scholar of Adrian van Ostade. In his earlier 
 years, following the example of bis brother, he treated 
 interiors of peasant life, pictures which are but little prized. 
 He first appears in his own peculiar style in village scenes, 
 animated with figures of men and animals. These evince 
 delicate feeling for the picturesque in composition, good 
 drawing of details, great truth of nature, uncommon power, 
 
 ' [Van der Willigen, 'Les Artistes de Haarlem,' pp. 234 and following; 
 and .the same in Bode's ' Kiinstler voa Haarlem,' in ' Zeitschr. f. b. Kunst,' 
 vol. vii. pp. 351, 2.]
 
 422 THE DUTCH REVIVAL. Book V. 
 
 warmth, and fulness of colour, and finally an admirable 
 impasto. Generally speaking, his local flesh-tones, while 
 as clear as those of his brother, are more inclined to 
 yellow, while his shadows approach a dark brown ; his 
 forms are also more sharply defined, and less melting. 
 The number of works he executed is estimated by Smith 
 at about 112. As the English were the first to recognise 
 the great merit of this master, proving their high estimate 
 by giving large sums for his works, the greater number, 
 and with a few exceptions the best, are to be found in 
 England. They are comparatively rare in the galleries 
 of the Continent.^ Owing to a certain monotony in the 
 style of this master, a few specimens will suffice to 
 make us acquainted with him. In the Louvre is a carrier 
 refreshing himself and his white horse at the door of a 
 village tavern. No. 377. This picture displays unusual 
 power of colouring. The somewhat hard making out of the 
 forms shows that it belongs to the artist's early period. 
 A tavern-keeper waiting upon a travelling-party, who are 
 halting with carriage and horses. No. 376. This is a rich 
 ■picture, of great energy of tone and touch. Figures skating 
 and sledging on a frozen canal, signed with the master's 
 name. No. 378. The composition is very happy, the light- 
 ing singularly clear, the chiaroscuro admirable, the flesh- 
 tone warm and bright, and the handling broad and soft. Of 
 equal merit is a much smaller picture in the Amsterdam 
 Museum, No. 1077, where two travellers Avith a white horse 
 are represented halting before a rustic tavern. Of the pic- 
 tures [in England, two, a Man on a White Horse, and a Milk- 
 maid conversing with a Man in a village street. No. 847, and 
 an ice scene, No. 848, are in the National Gallery. Of other 
 pieces] by this master in private collections I only notice 
 two : Travellers and villagers before a tavern lighted by the 
 evening sun, which I saw in Lord Ashburton's collection, — 
 in richness, eflect, impasto, and size, this is one of this 
 master's chefs-d'oeuvre ; and a large winter-landscape, with 
 figures and sledges on a frozen canal, in the collection of 
 
 ' In these the pictures of a very weak, aud to me unknown master, 
 are often en'oneously attributed to Isaac van Ostade.
 
 Chap, VI. DUSAKT — BEGA. 423 
 
 Lord ISTorthbrook. This picture belongs to the artist's best 
 period. It has much clearness and power of colouring, fine 
 aerial perspective, and a masterly breadth of treatment. 
 
 Besides Isaac van Ostade, there are two other painters who, 
 though occupying an inferior position, may be mentioned as 
 scholars, properly speaking, of Adrian van Ostade. 
 
 CoENELis DuSART, [born at Haarlem 1660, died there in 
 1704, entered the Guild of Haarlem in 1679; and his first 
 picture, if the date be read correctly, is a woman with a 
 child, signed, "C. Dusart, 1679," No. 1791 in the Dresden 
 Gallery].^ Dusart was a faithful imitator of Ostade, and 
 often approaches him in power and warmth of colouring and 
 in the clearness of chiaroscuro. He selected for his favourite 
 subject the representation of most unrestrained and vulgar 
 merriment. In his heads he generally degenerated into 
 caricature, and his positions are extravagant. One of his 
 best works, dated [1683], and representing a fish-market, is 
 in the Museum at Amsterdam, No. 301. Of those in Eng- 
 land I may mention a family assembled round the hearth, 
 in the collection of Lord Northbrook. Dusart also pro- 
 duced sixteen spirited etchings, after the manner of his 
 master, one of which bears the date 1695. He also executed 
 thirty-five plates in mezzotint. 
 
 CoKNELis [PiETERSz] Bega, born at Haarlem 1620, died 
 1664. He treated the same class of subjects as his master, 
 but difi'ered fi'om him in manner of conception, as in most 
 other respects. He was a better draughtsman, and had more 
 sense of beauty ; but on the other hand, he was far inferior 
 in feeling for colour and chiaroscuro. His flesh-tints are 
 generally cool and reddish, and the rest of his colours have a 
 heavy tone. He used but few glazing tints, and his execu- 
 tion is smoother than his master's. One of his best works 
 — a Village Fete, with music, singing, and drinking — is in the 
 Amsterdam Museum, No. 81, For him it is particularly 
 warm in colouring. His usual cooler tone is represented by a 
 careful and expressive work in the Louvre, No, 13. The 
 subject is a Peasant and his Wife at a table. Bega also 
 etched thirty-seven plates, with a coarse but firm point, 
 
 ' [Consult Vail der Willigen, ' Les Artistes de Haarlem,' p. 123.]
 
 424 THE DUTCH REVIVAL. Book V. 
 
 Andreas Both, born 1609, died 1650. He closely re- 
 ■Bembles the painters above named, and often treats subjects 
 in the taste of Isaac van Ostade. The figures and animals 
 in the landscapes of his brother Jan Both are invariably by 
 him, but he occasionally painted entire pictures, which show 
 skill in invention, warm clear colouring, and free handling. 
 A good picture by him — a Carrier driving past a Tavern — is 
 in the Dresden Gallery.^ His ten etchings, representing 
 hermits, pilgrims, and peasants carousing, show a vulgar, 
 realistic taste in invention, and are lightly executed, with a 
 coarse point. 
 
 Hendeik Maetexz Eokes, named Zorg, born at Rotterdam 
 1621, died 1682. Although reputed a scholar of Teniers, 
 he belongs in many of his pictures, as Smith correctly ob- 
 serves, far more to the school of A. van Ostade ; while in 
 others again the influence of Brouwer is unmistakable. His 
 works represent the same subjects as those of this master, 
 and show a genuine feeling for nature, taste in composition, 
 good drawing, and most careful execution. The colouring 
 is warm and harmonious, yet, at the same time, heavier and 
 duller than that of Brouwer, the execution di'ier and more 
 fused. One of his best pictui'es, in point of colouring, is a 
 Fish Market, in the Van der Hoop collection in Amsterdam. 
 A Kitchen scene, in the Louvre, No. 421, and Fishermen and 
 a cook, in the Dresden Gallery, No. 1501, are good speci- 
 mens. Admirable too, and nearly allied in harmony to 
 Brouwer, are a Peasant Family, in the Louvre, No. 421, and 
 a Tavern interior, Cabinets, No. 384, in the Munich Gallery. 
 The picture by him in England best known to me is an 
 Alchemist, dated 1643, v/hich I saw in the collection of Mr. 
 Henderson, London. 
 
 CoRNELis Sachtle\^n, bom at Rotterdam 1612, and still 
 living in 1682, treated for the most part subjects similar to 
 those of the two Ostades, and has much merit for truth of 
 conception and carefulness of execution. But his colour- 
 ing is heavy, dull, and generally cold, and his treatment 
 meagre and dry. He is fond of poultry, and renders them 
 
 ' [This picture is no longer exhibited.]
 
 Chap. VI. VAN DER POEL — MOLENAER. 425 
 
 with marvellous fidelity. In other animals he is, generally- 
 speaking, feeble. Two pictures, an interior and exterior of 
 a Peasant's House, are in the Dresden Gallery, Nos. 1289-90. 
 Occasionally, too, he painted still-life, of which the same 
 gallery affords specimens, Nos. 1291-92, and No. 1293. A 
 good picture by him, dated 1682, is in the Cologne Museum 
 — a Concert of Cats, with an Owl for leader. Sachtleven 
 also etched a clever series of plates. In many of them, i.e., 
 in the Five Senses, he evinces a rough humour akin to that 
 of Callot. Here, too, amongst a series of animals, the 
 poultry deserve to be particularly distinguished, and next to 
 them in merit comes a large monkey. 
 
 Egbert van der Poel, born at Rotterdam, [died there in 
 1664]. Although this master is especially the painter of 
 conflagrations, yet he frequently treated other subjects in the 
 style of Adrian van Ostade. His pictures are very unequal. 
 In the best of them he displays something pleasing in com- 
 position, clearness and truth in his warm colouring, and a 
 spirited touch. A picture of this kind is in the Louvre — 
 Peasants before their cottage door, No. 381. The Interior 
 of a House with a woman cooking a fish, and a little girl, 
 dated 1646, in the Museum at Amsterdam, No. 1116, is also 
 one of his best efforts. The two best of his conflagration 
 subjects, dated 1654, are the Explosion of a Powder-maga- 
 zine at Delft, also in the Amsterdam Museum, No. 11 17, and 
 the View of the town of Breda after the fire, which I saw in 
 the collection of Mr. Henderson, London. But the greater 
 number of his scenes of this class are rude mechanical works, 
 of crude and untrue efiect. 
 
 Jan Molenaer, who flourished between 1625 and 1660, 
 occupies a tolerably independent position. His pictures, 
 representing peasant life, in interior and open-air scenes, 
 have much animation, and often a felicitous humour. His 
 colouring is also warm and clear, his handling of great 
 facility. A Ballad-singer entertaining a group in the open 
 au', in the Berlin Museum, No. 946, is a very favourable 
 specimen of this master's style. Occasionally, too, he 
 painted winter landscapes, of singular power, truth, and 
 clearness. A good example is in the collection of G. Field,
 
 ^'2Q THE DUTCH REVIVAL. Book V. 
 
 Esq., London.^ Bartsch^ notices a very rare plate by him, 
 which, though executed with a delicate point, is but of mode- 
 rate merit. In the collection of engravings in the British 
 Museum there is a party of peasants in the open air, after 
 the manner of Isaac van Ostade, which is far cleverer and 
 more powerful in handling.^ 
 
 [Richard] Beakenbueg, born at Haarlem 1650, died 1702. 
 He was the scholar of Hendrik Mommers, and joined the 
 Guild of Haarlem in 1687.] * He apphed himself to the re- 
 presentation of scenes from low life, generally taken in the 
 open air. The influence of Adrian van Ostade is evident, 
 whom he nearly equals in the powerful colouring of his best 
 pictures, though he is always inferior in clearness. He is 
 broader and less certain in his forms, but weaker in model- 
 ling, and more fused in execution. Among the continental 
 galleries I only know two pictures by him at Vienna, — a 
 party of jovial peasants, and the Festival of the Beans — dated 
 1690, both good works ; and one in Berlin, a village, with 
 people Hstening to a ballad-singer. No. 942. In England we 
 have two admirable specimens — Artists' Studios — both at 
 Windsor Castle. [There is a capital interior, with peasants- 
 smoking and drinking, No, 171 in the Gallery of Amsterdam.] 
 
 Adrian van der Werff, born 1659, died 1722. This 
 famous painter stood at this epoch quite alone in the Dutch 
 school. While all others devoted themselves to a healthy 
 and natural realistic tendency, and developed it in various 
 directions with highly pleasing and original results, he, on 
 
 ' 'Galleries and Cabinets,' etc., p. 193. 
 
 ^ ' Le Peintre Graveur, ' vol. iv. p. 5. 
 
 ' [Under the nanae of Jan Molenaer Dr. Waagen ob\iously confounds 
 two or three painters, Jan Miense Molenaer, Jan Molenaer. and Nicolas, 
 or Claas, or Klaas, Molenaer. The Ballad-singer, at Berlin, is dated 1631 ; 
 it is the counterpart of a picture of a Denti.st, dated 1630, No. 572 in 
 the Gallery of Brunswick. Both are signed " Molenaer," and disjilay 
 the style of a painter imitating Dirk Hals. Jan Miense Molenaer is 
 the painter of a canvas in the Berlin Museum, No. 949, representing a 
 party of eaters, drinkers, and dancers, signed and dated 1659 ; a similar 
 piece, signed "J M Molenaer," is iu the Amsterdam Museum. His 
 models are disciples of Rembrandt. The winter landscapes are by Claas 
 Molenaer, who joined the Haarlem Guild in 1651. and died in 1676. 
 Consult also Bode's ' Frans Hals,' and Van der Willigen's ' Les Artistes 
 de Haarlem,' p. 225.] 
 
 * [Van der Willigen, ' Les Artistes,' p. 89.]
 
 Chap. VI. VAN DER WERFF. 427 
 
 the contrary, adhered to the pursuit of the ideal. He pre- 
 sents us, accordingly, with mythological or Biblical subjects, 
 conceived with the utmost beauty and elegance of form, 
 and executed with that wonderfully finished smoothness of 
 touch which he had learnt from his master, Eglon van der 
 Neer. From him, too, he had acquired a power of realistic 
 conception, and various works by him executed in this 
 feeling show a happy invention, animation, and truth, which 
 prove that his talent lay peculiarly in that direction. He 
 was led to the idealistic tendency, uncongenial as it was 
 to him, by the pictures and the writings of Gerard Lairesse, 
 and having fui'ther imbued himself with it by the diligent 
 study of antique sculpture, without, at the same time, 
 obtaining the deeper knowledge of the human form, or 
 acquiring graces of action, he adopted in his ideal pictures 
 a frosty feeling, and often a cold and heavy colouring ; his 
 flesh-tints, for instance, generally resembhng ivory in hue 
 and smoothness. His grouping, too, is usually tasteless 
 and artificial, his heads empty and monotonous. His 
 figures are for the most part on a small scale ; however, as 
 many minds will always be more attracted in a work of art 
 by outward elegance of expression than by any deeper 
 feeling, these pictures by Van der Werfi" were so highly 
 admired by princes and men of fortune, that he found it 
 impossible to execute all the commissions given him. His 
 greatest patron, however, was the Elector John William of 
 the Palatinate. As the numerous pictures painted for him 
 have, with the rest of the Dusseldorf Gallery, been moved to 
 Munich, it is there that we have the best opportunity of 
 studying this master. A. specimen of the union of cold 
 tastelessness of feeling with rare perfection of technical 
 execution is afi'orded by No. 465, Cabinets, which represents 
 the Elector and his Consort surrounded by allegorical figures 
 of the Arts. I shall content myself with mentioning, in addi- 
 tion, an Ecce Homo of the year 1698, Cabinets, No. 439, as 
 his greatest composition. Here the ivory tone of the flesh is 
 particularly conspicuous, and the shadows and ground more 
 than usually dark. Also the celebrated series of sixteen 
 pictures from the life of Christ, dated 1706-1714, Cabinets,
 
 428 THE DUTCH REVIVAL. iJook V, 
 
 Nos. 444-463. These are totally devoid of moral interest, 
 and for the greater part dark in general eflfect. It is only 
 in the Adoration of the Shepherds that we see that he was 
 capable of a warm and clear chiaroscuro. As one of his 
 most successful mythological pictures I may notice the 
 Shame of Calisto, Cabinets, No. 446. The other continental 
 galleries that possess notable works by him are those of the 
 Louvre, Petersburg, Berlin, Dresden, and Amsterdam. The 
 Cassel Gallery also has ten of his works, figures as large 
 as life, in chiaroscuro, in which he by no means appears 
 to advantage. As an example of his pictures of a real- 
 istic tendency, I may instance a Serenade given by some 
 young people to their Grandmother, in the Munich Gallery, 
 Cabinets, No. 466. The pleasure of the old woman and 
 the joy of the children is very life-like in expression, the 
 arrangement of the light true, the execution in a solid 
 impasto masterly. Van der Werff's works do not much 
 appeal to the healthy love of nature proper to the English, 
 and, accordingly, we find few of them in this country. I 
 shall only mention two at Buckingham Palace. The one- 
 represents Lot and his Daughters, a well-known composition 
 of singular warmth of colouring ; the other a Boy with a 
 Sucking-pig and a Girl with a Kitten, a very pleasing 
 picture in his realistic style. Considering the remarkably 
 delicate finish of his works, their number, stated by Smith 
 at about 150, is very considerable. 
 
 I now pass on to those painters whose especial delight it 
 was to represent the different relations in which man stands 
 to that noble animal the horse ; whether as regards its care 
 and management in the stable, the field, and the riding-school, 
 or its various uses for draught or saddle, war or the chase. 
 Occasionally, too, other animals, both wild and domestic, 
 come within the sphere of their delineation. 
 
 Dirk Stoop, born 1610, died 1686. He resided long in 
 England, and also at Lisbon. His favourite subjects were 
 battle and military scenes, in which he displays consider- 
 able power of invention and good drawing, though he fails 
 in more delicate keeping, and is rather dry and hard in 
 treatment. In the Berlin Museum we find the Battle of
 
 Cliap. VI. VAN LAER. 429- 
 
 Rosterey, No. 876, dated 1651, and a Turk with a grey 
 horse [withdrawn]. His etchings, executed with a powerful 
 point, consist of a set of twelve plates, chiefly representing 
 horses ; also the journey of the Infanta Catherine of 
 Braganza to England to become the wife of Charles 11., the 
 portrait of her when Queen, seven views of Lisbon, and 
 Cromwell represented as a rope-dancer. 
 
 PiETER VAN Laer, bom at Laaren 1613, died at Haarlem 
 1674 or 1675. He went early to Rome, where he was 
 nicknamed Bamboccio, on account of his singular shape. 
 After residing there sixteen years he returned to Holland 
 and settled at Haarlem. He painted all kinds of scenes 
 from rustic life, markets, feasts, robber-subjects ; and more 
 especially peasants occupied with their cattle. To a re- 
 markable talent for composition he united much feelinfr- 
 for character in expression and action, added to which 
 his drawing is good. His colouring is generally of a 
 warm-brownish tone ; sometimes very clear, but oftener 
 rather heavy, and his execution broad and spirited. His 
 landscapes prove that he lived in friendly intimacy with 
 Claude and the Poussins. Pictures by him have now 
 become rather rare. The most important which I am 
 acquainted with, and one that aflords a fine specimen of 
 his peculiar merits, is a Mountebank exhibiting to a crowd 
 the license for his calling, in the Cassel Gallery, No. 426. 
 Two other pictures there of Italian peasants, in the one case 
 quarrelling, in the other drinking and dancing, Nos. 427 
 and 428, are also spirited, but too dark in their shadows. 
 The Louvre possesses two pictures of equal merit — a Tra- 
 veller at an inn, and a Shepherd's Family, Nos. 261 and 
 262. Amongst this master's pictures in the Dresden Gal- 
 lery, Peasants playing at nine-pins. No. 1403, and a Peasant 
 occupied with a grey horse. No. 1405, deserve mention, 
 on account of their clear colouring and careful execution. 
 Lastly, there is a picture by him in the Vienna Gallery, 
 admirable for its spirited and rich invention, and clear, 
 though cool, chiaroscuro. 
 
 P. van Laer also etched twenty plates, chiefly of animals, 
 in a light and spirited style. His horses are not only
 
 430 THE DUTCH REVIVAL. Book V. 
 
 heavy in form, but have, as Bartsch remarks, dispropor- 
 tionately thick legs. 
 
 [Pieter] Cornelis Verbeck, [probably the son of Cornelis 
 Verbeck, who entered the Guild of Haarlem in 1610],^ became 
 a skilful landscape and animal painter, whose subjects were 
 especially combats of horsemen, which he represented with 
 great animation. He was also a good draughtsman. His 
 colouring is forcible, but somewhat heavy ; his execution 
 careful, but rather hard in the forms ; and his touch rather 
 dry. His pictures are extremel}^ rare in public galleries. 
 I only know one, signed "[P.] C. Verbeck," in the Berlin 
 Museum, No, 987, which gives a skirmish between Oriental 
 horsemen in the neighbourhood of a fortress. He also 
 etched a small number of plates Avith a light point in the 
 style of Kembrandt — three of which are dated 1639. 
 
 Philips Wouverjian, born at Haarlem [1619, died 1668, 
 ran away at nineteen with a girl of the Roman Catholic con^ 
 fession, whom he married at Hamburg. He was first the 
 pupil of his father, Paul Joosten Wouverman,^ then a 
 disciple] of Jan Wynants, from whom he acquired an admir- 
 able manner of treating the landscape portion of his pictures. 
 In his figures, and especially in his animals, it is evident 
 that he took Pieter van Laer for his model, while the influ- 
 ence of Verbeck is also seen ; but he soon outstripped both, 
 and formed a style of his OAvn, in which he has never been 
 equalled. He treated the same subjects as P. van Laer, but 
 with far more variety. Horses also play a much more 
 prominent part ; indeed, he almost always introduces a 
 white horse for the chief mass of light. Occasionally, how- 
 ever, he painted landscapes and sea-coasts. Nay, in his 
 earlier period, he sometimes treated Biblical subjects, though 
 quite in the style peculiar to his sphere of art. His compo- 
 sitions invariably evince a delicate feeling for the. picturesque ; 
 his figures and animals are well drawn and full of animation, 
 although, in his second and third manner, his horses have a 
 certain monotony. His general keeping is singularly tender ; 
 
 ' [Van der Willigen, 'Les Artistes,' p. 305.] 
 
 -' [Consult Bode's ' Frans Hals,' p. 65, and Van der Willigen, ' lies 
 Artistes de Haarlem,' pp. 336 and following.]
 
 Chap. YI. PHILIPS WOUVERMA.N. 431 
 
 his touch unites great finish with equal delicacy and spirit. 
 When we consider the amazing number of his works — Smith 
 estimates them at nearly eight hundred, and those produced 
 in the course of a comparatively short life — we feel that he 
 must not only have exercised great industry, but great 
 rapidity of execution. His pictures, as might be expected, 
 differ much in value. In spite of the admirable qualities we 
 have specified, the majority of them weary by the too frequent 
 repetition of unimportant incidents. On the other hand, a 
 considerable number satisfy us completely, not only by the 
 highest exhibition of the above-named excellences, but by 
 a dramatic vivacity of no common character; such, for 
 example, are his cavalry encounters, his combats between 
 soldiers and peasants, and his robber onslaughts. His 
 pictures also differ greatly, according to the epochs to which 
 they belong. In those of his earlier manner the general 
 brown tone, somewhat heavy race of horses, and more 
 angular drawing of the figures, remind us of Pieter van Laer. 
 Amongst them, however, are some very distinguished works. 
 No gallery is so rich in specimens of this period as that of 
 Dresden, with which, indeed, no other can compare in the 
 number of his pictures. I give, as examples of his Scriptural 
 subjects, the Annunciation to the Shepherds, No. 1435, which 
 is painted in the purest golden tone, and the Preaching of 
 John the Baptist, No. 1436, which in energy of tone is nearly 
 allied to Isaac van Ostade. A fight on a bridge. No. 1459, 
 is a capital work in his own peculiar walk. But the largest 
 and most remarkable specimen of art belonging to this epoch 
 — a picture dated 1646, and representing two horsemen and 
 a carriage halting before a house — was in the private collec- 
 tion of Herr van Loon in Amsterdam. In his second manner 
 Wouverman acquires a warmer, and at the same time 
 generally clearer and more brilliant colouring. His horses 
 are of slenderer proportions, his touch finer and peculiarly 
 melting. Admirable examples of this class are in different 
 galleries. In the Museum of the Hague is the picture known 
 under the name Le Chariot de Foin, No. 185, and a 
 large battle-piece. No. 186, in which the figures are of 
 unusual size and astonishing power ; which leads us to as- 
 
 35
 
 432 THE DUTCH KEVIVAL, Book V. 
 
 sume that this picture, as well as one of similar style in the 
 collection of the same Herr van Loon, was painted about tlie 
 close of this second epoch, when he had attained his greatest 
 perfection. In the Louvre are a Hunting Party on horse- 
 back, No. 567, and an attack by Polish cavalry, No. 573. 
 In the Dresden Gallery the celebrated Stable, No. 1471, 
 and an encounter of cavalry near a windmill. No. 1470. 
 In his third manner, which he only adopted after the year 
 1660, he changes his warm tones for a cool and silvery 
 effect, which, being carried out with a wonderful feeling for 
 keeping, has a peculiar charm. At this time, too, his touch 
 was remarkable for its tenderness. I mention the following 
 as excellent illustrations : — In the Amsterdam Museum, 
 No. 1652, the well-known Hawking scene, noticeable as a 
 specimen of the master's delicacy and precision on a small 
 scale. In the Louvre, No. 569, mounted huntsmen following 
 a stag into the water ; also the procession of the " Bceuf gras " 
 through the city. No. 565. In the Dresden Gallery, a land- 
 scape with a lake, in the foreground a stag-hunt on horse- 
 back. No. 1478. In the Munich Gallery, huntsmen following 
 the stag through a broad piece of water, No. 496 : this is of 
 rare harmony, clearness, and delicacy. A horseman dis- 
 mounted at a bridge, which leads over a small waterfall, 
 Cabinets, No. 497, only 9| in. high by 8 in. wide, is a Uttle gem 
 for the beauty of reflected sunlight, and the lightness, freedom, 
 and delicacy of touch. A battle between the Swedish and 
 Imperial troops. Cabinets, No. 506. In the representation of 
 momentary action, in the expression of a raging battle, and 
 in precision of execution, this is a picture of the highest 
 order. Unfortunately it is now partially injured by cleaning. 
 The plundering of a village by soldiers. Cabinets, No. 507, 
 companion-picture to the above-named, is striking in motive, 
 not less admirable in finish, and in better preservation. The 
 galleries of Petersburg, Cassel, and Vienna are also rich in 
 Wouverman's pictures. England, too, possesses a consider- 
 able number, and among these many of his best. I only 
 know, however, in public galleries the six at Dulwich, 
 which show the master fully, and greatly to his advantage 
 as a landscape painter. The sale of lish on the coast of
 
 Chap. VI. AVOUVERMANS — VERSCHURING, 433 
 
 Scheveningen is a singularly warm and clear picture in his 
 first manner. Of his ten pictures at Buckingham Palace we 
 may particularize that of two horsemen and a lady before a 
 tavern, and the celebrated picture, " Le Coup de Pistolet," 
 which in composition, as in delicate handling, is one of the 
 finest of his works. In Lord Ashburton's collection I 
 observed another celebrated work, "LaFerme au Colombier." 
 Here we see the silvery tone of his third style combined 
 with unusual power. 
 
 Wouverman also etched a plate, representing a horse in 
 profile, dated 1643. In drawing it shows an accurate ac- 
 quaintance with the animal, but, as we can easily understand, 
 little skill in treatment. Wouverman had two brothers, 
 who successfully applied themselves to the imitation of his 
 various styles. The better known of the two is 
 
 Peter Wom'EEMAx, born 162[3], died 1683. He often 
 approaches so near his brother that his pictures are attri- 
 buted to him. The essential difi'erence between them lies 
 in Peter's heavier tone of colouring and inferior freedom 
 and spirit of handling. As a specimen I may mention a 
 view of Paris with several figures, in the Louvre, No. 578. 
 
 Jan Wouverman, born 1629, died 1666. ^ He usually 
 painted views of canals, wide plains, or landscapes with 
 much water in them, all of which he enlivened by figures 
 and animals. His handling was free and spuited, and his 
 general keeping good, so that he often reminds us of his 
 celebrated brother. I know no pictures by him in public 
 galleries. 
 
 Henrik Verschueing, born at Gorcum [in 1627, perished 
 by drowning near Dordrecht in 1690]. He was a scholar of 
 Jan Both, spent several years in Italy, but settled in his 
 native place in 1653, where he filled the post of Burgo- 
 master. At first, in consequence of his Italian studies, he 
 painted subjects resembling those of Pieter van Laer, but 
 later he devoted himself to scenes of military life, viz., battles 
 and banditti subjects, which are notable for great truth and 
 felicitous invention, as well as for careful execution, though 
 there is usually something heavy and gloomy about their 
 general tone. A picture by him in the Berlin Museum,
 
 434 THE DUTCH REVIVAL. Book V. 
 
 ■dated 1674, No. 981, represents a scene of busy cheerful life 
 in the neighbourhood of the sutlers' tents. This is a work 
 full of pleasing incidents. [An earlier work is a Smith Shoe- 
 ing a Horse, dated 1667, No. 225 in the Rotterdam Museum.] 
 ile also etched with a slight but spirited point four plates, 
 which are very rare, representing a battle, travellers, and 
 two sets of dogs. 
 
 JooN VAN HucHTENBURGH, born at Haarlem 1646, died 
 1733. He first acquired the art from Jan Wyck ; after- 
 wards prosecuted his studies under his brother Jacob, a 
 landscape painter, who induced him to come to Rome about 
 1667 ; and finally had the benefit of Van der Meulen's 
 teaching at Paris. After his return to Holland in [1670]^ 
 his numerous pictures from military life, especially combats 
 of cavalry, also hunts, and views of Rome, with many 
 figures, obtained him such repute as to lead, in 1708 or 
 1709, to commissions from Prince Eugene, which consisted 
 in his executing works according to plans of battles and 
 sieges sent to him for that purpose. His pictures show a 
 versatile and felicitous power of invention, moderately 
 good drawing, and great dexterity in the use of the brush. 
 Colouring is his weaker quality, for, though parts of many 
 of his pictures are clear and harmonious, yet the greater 
 number are heavy and crude. Two excellent examples of 
 him — a skirmish, No. 55, and Prince Eugene on horseback, 
 attended by other figures, No. 53 — are in the Hague Gal- 
 lery. A third, also a skirmish, No. 54 of the same gallery, 
 is partially dark. In this respect a skirmish, No. 225, in 
 the Louvre, is still worse. On the other hand, a picture of 
 the same subject. No. 696, in the Amsterdam Museum, is 
 particularly transparent, warm, and careful. Finally, he 
 appears greatly to his advantage in two pictures in the 
 Vienna Gallery ; one of them, a skirmish, is striking in 
 episodes, brilliant in colouring, and of careful treatment ; 
 the other, the Siege of Namur in 1695, with King William 
 ni. and the Elector Maximilian Emanuel of Bavaria, is, in 
 Bize — 6 ft. 1 in. high by 7 ft. 10 in. wide — keeping, and 
 warmth of colour, his chef-d'oeu\Te. 
 
 ' {Vaji der Willigen, ' Lea Artistes de Haarlem,' p. 184.]
 
 Chap. VI. PAUL POTTER. 435 
 
 I now proceed to the painters who devoted themselves to 
 the representation of cattle, sheep, goats, and dogs, with 
 figures engaged in tending them, either in stables or out of 
 doors. In this school we often meet with horses as well, 
 but generally in the open field. At the head of painters of 
 this class stands 
 
 Paul Potter, born at Enckhuysen [in November] 1625, 
 died at Amsterdam 1654. Although the scholar of his 
 father, Pieter Potter, who was but a mediocre painter, he 
 made such astonishing progress as to rank at the age of fif- 
 teen as a finished artist. [He lived for some years with his 
 father at Amsterdam, then wandered (104:6) to Delft, where 
 he painted many of his best pictures. In 1649 he removed 
 to the Hague, where he entered as a master in the Painters' 
 Guild.] ^ Here his talents met with universal recognition, 
 including that of Prince Maurice of Orange, and here he 
 married. In the year 1652, however, he removed to Amster- 
 dam at the instance of one of his chief patrons, the Burgo- 
 master Tulp. Of the masters who have striven pre-eminently 
 after truth he is, beyond all question, one of the greatest 
 that ever lived. In order to succeed in this aim, he ac- 
 quired a correctness of drawing, a kind of modelling which 
 imparts an almost plastic eflect to his animals, an extraor- 
 dinary execution of detail in the most solid impasto, and a 
 truth of colouring which harmonises astonishingly with the 
 time of day. In his landscapes, which generally consist of 
 a few willows in the foreground, and of a wide view over 
 meadows, the most delicate gradation of aerial perspective is 
 seen. He sometimes succeeds in the representation of wild 
 animals, but is very unequal in this class of subjects. With few 
 exceptions his animals are small, and his pictures propor- 
 tionately moderate in size. He must have been industrious 
 in the extreme, having executed 103 pictures, to which may 
 be added numerous drawings and studies, and eighteen etch- 
 ings, in the course of a life of twenty-nine years. This number, 
 however, is sufiiciently small to ensure very high prices for 
 his pictures. As ho usually dated his works, I shall briefly 
 
 1 Consult for the above, ' Paulus Potter, sa Vie et ses GEuvres,' par T. 
 van Westrheene, 8vo., Hague, 1867.]
 
 436 THE DUTCH REVIVAL. BookV, 
 
 notice such as seem to me best calculated to illustrate his 
 characteristic style in chronological order. In the collection 
 at the chateau of Wilhelmshohe near Cassel are four cows 
 near a dead tree in a landscape, dated 16-i4. In this picture, 
 painted in Paul Potter's nineteenth year, the details are most 
 highly finished, but the execution is still dry. A picture, 
 dated 1646, belonging to the Duke of Somerset, represents 
 five cows and other cattle before a farm-house. In this rich 
 composition his forms, while evidently striving after truth, 
 show a certain hardness ; the admh-ably solid handling is 
 also somewhat dry, and the general tone cold. But in the 
 following year, 1647, he attained his full pei-fection. Of the 
 different masterpieces bearing this date, I shall only mention 
 three : the celebrated Young Bull in the Museum of the 
 Hague, with a cow reposing, and a sheep and a shepherd, in 
 a landscape. All these figures are as large as life, and the 
 cattle so extraordinarily true to nature as not only to appear 
 real at a certain distance, but even to keep up the illusion 
 when seen near ; the single hairs on the cow's head being 
 seemingly palpable to the touch. The plastic element and 
 the energy of execution are particularly imposing on so large 
 a scale. There is but one fault, — the legs of the bull and 
 the bent foreleg of the cow are a little stiff. But, indepen 
 dent of these slight demerits, this picture, in spite of its per- 
 fection as a work of art, proves how just was the feeling 
 which led the Dutch painters as a rule to treat their subjects 
 on a small scale. Apart from the portrait, which demands 
 above all the faithful representation of nature, an object 
 should only be large as life when fraught with decided intel- 
 lectual interest. Even the most attractive subjects chosen 
 by Terburg, Metzu, Jan Steen, and Gerard Dow, would fail 
 to satisfy if they were the size of life, and yet they always 
 (leal with the human figure and with human interests. But 
 here, where cattle are the chief object, and presented too in 
 then- merely passive existence, the intellectual interest ex- 
 cited is disproportionate to the space occupied, and we be- 
 come aware of something huge and uncouth. I therefore 
 confess a decided preference for a pictm-e produced in the 
 same year, and new in the Grosvenor Gallery, representing
 
 Chap. VI. PAUL POTTER. 437 
 
 five COWS, a bull, and other animals, in the warm light of a 
 setting sun. In this smaller space — 1 ft. 3| in. high by 1 ft. 
 7^ in. wide — we have an incomparably richer and more attrac- 
 tive effect, and also a truer view of the object, as if looking 
 at it through an inverted telescope. At the same time the 
 warm and clear lighting is most fascinating, while here for 
 the first time we see the complete union of definiteness of 
 forms with softness of execution. 
 
 The admirable picture in the collection of Mr. Walter, at 
 Bearwood, of the same date, stands, as regards size, between 
 those above mentioned, and represents two cows and a bull, 
 so that as a composition it is not superior to the Hague pic- 
 ture. Nevertheless it makes a far more pleasing impression, 
 because the animals, while larger than those in the Grosvenor 
 Gallery, this picture being 1 ft. 5^ in. high, by 1 ft. 3 in. 
 wide, are yet on a small scale. A worthy companion to the 
 Grosvenor picture is found in a rich composition in the 
 Museum of the Hague, dated 1648, where a cow is seen 
 reflected in the clear smooth water. There are few pictures 
 existing in which the freshness and clearness of a summer 
 morning are represented with such mastery ; added to which 
 the composition is very picturesque, the separate motives 
 very attractive, and the touch of wonderful precision. 
 
 The year 1649 is another very remarkable one in this 
 artist's short career. A picture, bearing this date, now in 
 Buckingham Palace, representing two cows and a young bull 
 in a pasture, combines with his customary fidelity to nature 
 a more than common power of effect, and breadth and free- 
 dom of treatment. To this same year belongs also the well- 
 known picture, the Farmyard, 2 ft. 8i in. high by 3 ft. 6i in. 
 wide, formerly in the Cassel Gallery, now in that of St. 
 Petersburg, and which fully deserves its celebrity both for 
 the clearness and warmth of the sunset effect, as Avell as for 
 its masterly execution. To the year 1650 belongs the pic- 
 ture of Orpheus charming the animal world by the strains of 
 his lyre, in the Amsterdam Museum, No. 1133. Here we see 
 that the master had also studied wild animals. He is most 
 successful in the bear. For power and fulness of warm 
 tones this is one of his most beautiful works. In the same
 
 438 THE DUTCH EEVIVAL. Book V. 
 
 gallery, No. 1134, is another chef-d'cEuvre of [1651] — a hilly 
 landscape, with a shepherdess singing to her child, a shep- 
 herd playing on the bagpipe, and oxen, sheep, and goats 
 around. In addition to the master's custoraaiy excellences 
 this picture is remarkable for the clearness of its light golden 
 tone, especially in the sky ; it is also somewhat broader in 
 treatment than any of the pictures already mentioned. 
 [Equally interesting and more accessible to Englishmen is 
 the landscape with cattle, signed, " Paulus Potter, 1651," in 
 the National Gallery.] Of still clearer and more sunny etfect, 
 especially in the shadows, and with a broader and lighter 
 touch, though feebler as a composition, is a picture dated 
 1652, in the Museum of the Hague, No. 113, representing 
 oxen and swine. Another picture of the same year, with 
 ihree oxen and three sheep. No. 400, is in the Louvre. 
 This is on a largar scale, beautiful in composition, delicate in 
 colouring, of clear &unny lighting, and with a combination of 
 sharpness and softness of handhng which renders it one of 
 the master's principal works. In close affinity with the fore- 
 going, though small in scale, is a picture of the year 1653, 
 which I saw in the collection of Lord Ashburton, representing 
 two oxen playfully thrusting at each other with their horns. ^ 
 Lastly, of much importance, both as one of his last works 
 and for the dramatic and humorous element unusual to this 
 master, is a picture in eighteen compartments in the Imperial 
 Gallery of Petersburg, representing the chase of ditferent 
 animals and the injuries they in return inflict upon dogs and 
 huntsmen. Our admiration of this artist is further increased 
 by four volumes of studies by him preserved in the Berlin 
 Cabinet of Engravings. As they atford the only example 
 known to me of such studies by a master of the first class in 
 the Dutch school having been preserved in their original 
 condition (these are bound in boar-skin), I feel myself justi- 
 fied in giving a rather full account of them. 
 
 One volume, a small and narrow folio (8 in. high by 2^ 
 
 wide), contains a number of landscapes, drawn with pen and 
 
 pencil in Indian ink, in a style which recalls the drawings of 
 
 Jan van Goyen ; also, a number of masterly heads of oxen, 
 
 ' 'Treasures,' vol. ii. p. 107.
 
 Chap. VI. PAUL POTTER. 439' 
 
 horses, and sheep executed in the same manner. A second 
 folio volume (1 ft. high by 4 in. wide) contains a few land- 
 scapes, but is filled chiefly with studies of trees, and mainly 
 with trunks of trees, which astonish us equally by the perfect 
 understanding as well as by the firmness and energy of execu- 
 tion they display. Some of them, owing to the ground being 
 in Indian ink, and the lights laid on in white, have quite 
 a picturesque eflect. A quarto volume (9 in. high by 7 in. 
 wide) has some landscapes in chalks and partially in water- 
 colours, but it is chiefly occupied with studies of animals. 
 A series of sheep's feet, in body colours on a brown ground,^ 
 are minutely finished. Some sheep's heads are also thus 
 treated. Other heads of sheep and of cattle are drawn in 
 the most varied positions, with difficult foreshortenings in 
 chalk, Indian ink, or with the pen, but always with the 
 same masterly skill. The same may be said of the head of 
 a dog and of a hare. The feet of calves, the body of a call 
 without head or feet, and a recumbent cow, admii-ably fore- 
 shortened, come next. To these are added carts, ploughs, 
 and all kinds of farming implements, designed and drawn 
 with the pen in Indian ink with singular precision. A horse 
 asleep before a cart, and a peasant boy sitting on the pole, 
 are not only very lifelike, but have something humorous 
 about them. Next occur two boats, a windmill, and studies 
 of horses, cocks' heads, and goats. Amongst other imple- 
 ments is a copper milk-pail, highly finished in body-colours ; 
 then studies of men, a female peasant and a boy in chalk, 
 and whole figures and heads and hands of peasants, of great, 
 excellence, and generally very carefully done. A tall peasant 
 sitting, and taken in profile, is as animated as a Jan Steen. 
 Finally, follow some studies of clothes most minutely exact. 
 The fourth folio volume, of considerable size (1 ft. 6. in. high 
 by 6 in. wide), contains chiefly studies of flowers and plants,, 
 almost all the size of nature, admirably drawn with the pen 
 in Indian ink and slightly washed in water colours. Amongst 
 other less familiar flowers we find anemones, asters, poppies,, 
 crocuses, May-flowers, king-cups, tulips, irises, corn-flowers, 
 and one specimen of fruit, the strawberry. Had these last 
 studies been alone preserved we might have taken Paul
 
 440 THE DUTCH REVIV^AI.. Book V. 
 
 Potter for a flowef-painter. Nothing, however, is more 
 remarkable than two pages of bu'ds, drawn partly in water- 
 colours, partly in body-colours, some of which — the linnets 
 — are as large as life ; others — the partridge and the hoopoe 
 — on a smaller scale. The truth of nature and the equally 
 careful and broad handling are surprising. I may also 
 notice a page with plants on one side ; on the other, partly 
 <;oloured, peasants' cottages, a water-mill, and wooden 
 bridge. Last of all is a series of village churches. We 
 thus see the wide range of this artist's studies, and how 
 abundantly they provided him with materials for his works. 
 
 Considered, however, as works of art, his earlier pictures 
 are surpassed by some of his eighteen etchings, the more so 
 as the date, IGiS, on one of them, called " Le Vacher " (No. 
 14), proves that it was the production of a youth of eighteen. 
 The other, " Le Berger" (No. 15), dated 1644, shows also a 
 delicate perception of chiaroscuro which is not apparent in 
 the picture dated 1646, previously mentioned as belonging 
 to the Duke of Somerset. At the same time, his etchings, 
 •even more than his pictures, show that he was less success- 
 ful in horses than in cattle and sheep. 
 
 Of the painters who have imitated the style of Paul Potter 
 two only are known — Raphael Camphuysen and Albert 
 Klomp. Their works are often mistaken for his. Accord- 
 ing to Smith's authority, a picture of cattle, the size of lift-, 
 •dated 1648, No. 527 in the Cassel Gallery, is by the first- 
 mentioned. It is far inferior to Paul Potter in power of 
 tone and energy of execution ; in all else it nearly equals 
 liim. The Brussels Gallery has a picture by Klomp of cattle 
 in a farmyard. No. 222, the forms of which much resemble 
 those of Paul Potter, and which in other respects is painted 
 very skilfully. However, the tone is heavier, the impasto 
 less solid.^ 
 
 ' [Albert Klomp is the precursor, and there are two Camphuysena 
 who were contemporaries, of Potter. Three cattle-Yjieces in the Amster- 
 ■dam Museum ; a cattle-piece in the Museum of Rotterdam ; a herd 
 near a farm with a woman milking cows, No. 1824 in the Dresdeu 
 Gallery ; a pasture near a farm, No. 222 in the Brussels Museum, are 
 genuine Klomps without dates. They all remiud'us of Cuyp, of Potter, 
 and of Adrian Van de Velde. They bear no date, but Mr. Van der 
 Willigen has stated (' Geschiedenis der Vaderlandsche Schilderkunst ')
 
 Chap. VI. A. VAN DE VELDE. 441 
 
 Adian van DE Velde, born at Amsterdam [1635, president 
 of the Guild of Delft in 1657], died 1672. He ranks almost 
 as high as Paul Potter ; for, if inferior to him in the energy 
 of conception displayed in liis cattle, in plastic modeUing, 
 and in breadth of solid execution, he excels him in variety . 
 of subject, in taste for composition, delicacy of drawing, and 
 in a certain warmth and sweetness of feeling. He has, how- 
 ever, this in common with Paul Potter, that he was a distin- 
 guished artist at the age of fourteen, and died young — namely, 
 at the age of thirty-seven. Generally speaking, he disposes 
 his cattle in broken ground, with trees limiting the distant 
 view, and small pools of still water at their feet. In most 
 cases a herdsman or shepherdess is in attendance. Some- 
 times, however, he depicts a hunting party in a more open 
 district, either setting out from or returning to some chateau. 
 Rarely does he give us mere landscapes, but when this 
 occurs they are masterly in treatment, and usually embody 
 the scenery of the coast of Scheveningen ; generally, how- 
 ever, his landscapes are enlivened by figures — men, horses, 
 (Jogs — most picturesque in grouping, and admirable in draw- 
 ing. Occasionally, and with not less success, he paints 
 winter landscapes. A few examples show us that, on the 
 other hand, nature had denied him a talent for historical and 
 mythological subjects. His refined feeling always preserved 
 him from attempting to work on a scale as large as life. 
 When wo consider the exceeding delicacy with which his 
 pictures are executed, and also the fact that he constantly 
 painted the figures and cattle in the pictures of other masters , 
 
 that he owned two pictures by A. Klomp with the dates of 1602 and 
 1603. If this be so, Potter is not "an imitator" of Klomp. Dirk 
 Rafaelsz, born at Gorcum in 1586, died at Dokkum in 1626, having had 
 two sons, Godfrey or Govert Kampnuysen, born 1624, died 1674, and 
 Raphael Kamphuysen, who died in 1691. It may be that Raphael was 
 a pupil of Potter, but the two pictures signed, " R. Kamphuysen, moon- 
 lights, numbered 1381 and 1:582 in the Dresden Museum, are imitations 
 fi-om Van der Neer. At Rotterdam there is a halt of peasants at an 
 inn door, signed, " G. Camphuysen," No. 32, which does not display abso- 
 lutely a pupil cf Potter. A portrait of a man, signed, " Godef ridus 
 Campbuizen," was lost in the fire of the Rotterdam Museum in 1664. 
 Consult, h/)wever, Biirger, 'Musses de Hollande,' ii. 243, and Westrheene's 
 •Potter,^ p. 115, who registers two more Camphuysens as painters, 
 Raphael and Joachim, whose father was brother to Dirk Rafaelsz]
 
 442 THE DUTCH REVIVAL. Book V. 
 
 for instance, in those of Van der Heyden, Hobbema, Kuys- 
 dael, Wynants, Jan Hackaert, Moucheron, and Verboom, 
 the number of his works — Smith estimates them at 187 — 
 his short life being considered, prove not only extraordinary 
 industry, but an astonishing facility of production. As he, 
 too, was generally in the habit of dating his pictures, we are 
 able to trace the course of his development with certainty. 
 
 The earliest work by him that I know is a small picture of 
 a brown cow grazing, and a gray cow reposing, in an open 
 field, in the Berlin Museum, No. 903 a, dated lGo8. In this 
 Avork by a boy of nineteen we recognise, both in drawing and 
 chiaroscuro, the most careful study of nature, together with 
 a very tender execution. [Next in point of time is the farm 
 cottage, No. 867 in the National Gallery, signed, "A. V. 
 Velde, 1658."] The picture of cattle grazing before a 
 peasant's cottage, in the Dresden Gallery, No. 1643, dated 
 1659, possesses great brilliancy of tone and charming fresh- 
 ness of nature. Three cows, a sheep, and two lambs, in the 
 Louvre, No. 538, dated 1661, are of great truth, and, though 
 very careful, freely treated. " Le Rendezvous de Chasse," 
 dated 1662, is in Mr. Baring's collection. In this rich pic- 
 ture we see how admirably he understood the drawing of 
 dogs and horses ; while it further proves, by its fine keeping 
 in a warm, clear tone, and by its precise yet soft treatment, 
 that the master had reached the summit of his art. In the 
 next year, 1663, he executed the picture entitled " La Fuite 
 de d'acob " [No. G4 in Sir R. Wallace's collection in London], 
 which, though of unusual size, 4 ft. 2|in. high by 5 ft. 
 74 in. wide, combines, with all his other qualities, the most 
 marvellous execution of detail. In the following year he 
 was particularly active. I must content myself, however, 
 with mentioning two only of the gems known to me of this 
 period. In the Louvre, No. 539, is a picture with two 
 horses under a willow-tree, a cow, a goat, and three sheep, 
 and another cow and goat in the foreground. Here the pic- 
 turesque composition, the contrast between the evening light 
 and the tender silvery tone of the water, and the distance, 
 and the graceful execution, all combine to render it one of 
 the master's most beautiful works. In the Hague Museum,
 
 Chap. VI. A. VAN DE VELDE. 44,3 
 
 No. 164, is a similar subject, of equal charm, though with a 
 cool tone of daylight and a fine chiaroscuro. At the same 
 time, the miniature-like execution of this little picture is free 
 and spirited. In worthy affinity to this is a work of the 
 year 1666, in the Amsterdam Museum, No. l-iS4, with two 
 cows, one grazing, the other lying down. Here the clearness 
 of the general daylight effect, the fresh green of the trees, 
 and the soft brownish harmonious tone of the animals are all 
 admirable. Of two pictures bearing the same date (1666) in 
 Buckingham Palace, which possesses seven of this master's 
 works, one — a hunting party crossing a meadow on a bright, 
 fresh morning — has a great charm. But finer still is a richly- 
 wooded landscape, with a shepherdess leaning against a cow, 
 and speaking to a shepherd. Adrian van de Velde seldom 
 attained such intensity and warmth of harmony as is here 
 displayed. A large landscape in evening lighting, with 
 various trees and a stream, and animated by figures of the 
 painter and his family, with a man driving a cart with two 
 grey horses, and a shepherd with a small flock of sheep and 
 goats, is No. 1489 in the new State Museum in Amsterdam. 
 This picture, signed, and dated 1667, and of considerable size 
 (4 ft. 8| in. high by 5 ft. 7 in. wide) is without question 
 the finest work of the master. The composition of the whole 
 is picturesque in no common degree ; while the union of a 
 tenderly graduated keeping with the most delicate carrying 
 out of all the parts shows what a height of perfection the 
 school had attained at this time. 
 
 In 1671, near the close of his career, he produced a 
 picture, now in the Amsterdam Museum, No. 1485, with 
 a shepherdess at the cottage-door speaking to a shepherd 
 on horseback, some cows in the foreground. Although 
 very important as to size and richness, the delicacy of the 
 execution degenerates into over-smoothness, and the back- 
 ground is indistinct and heavy in tone. In some of his latest 
 pictures these peculiarities appear far more strongly, more 
 especially when painted on a dark ground, the general tone 
 being less clear and the effect often crude, — as, for example, 
 in the Munich Gallery, Cabinets, No. 490 : the far more 
 harmonious companion-picture, No. 491, being dated 1671.
 
 444 THE DUTCH REVIVAL. Book V. 
 
 I now proceed to give some examples of his landscape 
 painting, and first of his Scheveningen coast-scenes. At 
 the age of nineteen he was aheady in this department one 
 of the greatest masters that ever lived ; the picture dated 
 1658, in the Cassel Gallery, No. 593, displaying a tender 
 feeling for nature, a mastery of drawing, and a delicacy of 
 chiaroscuro and harmony which are truly astonishing. A 
 similar view in the Hague Museum, No. 165, and probably 
 painted but little later, is very like the foregoing, but 
 the sky is more sunny, and the impasto, considering 
 the miniature-like touch, quite surprising. A third and 
 equally admirable view, in the Louvre, No. 536, is- distin- 
 guished by the warmer efiect of the afternoon sun. A 
 fourth, executed in the same year, now in Buckingham 
 Palace, deserves equal praise. Of his winter landscapes 
 three small examples — one in the Louvre, No. 541, dated 
 1668, [another in the National Gallery, No. 869, also dated 
 1668], a third in Dresden, No. 1842, dated 1669 — are very 
 masterpieces as to clearness and deUcacy of tone, truth 
 and animation in the figures, and softness of touch. As 
 the character of Adrian van de Velde's works peculiarly 
 appeals to the feeling for art among the English, a consider- 
 able number of his best productions are in England. 
 
 Finally, I must add, as an astonishing fact, that this 
 master's powers as an etcher were almost greater than as a 
 painter, the date 1653 on five of the twenty-one plates etched 
 by him proving him, even at the age of fourteen, to have been 
 highly skilled in this art, while his later plates — those, for 
 instance, executed in 1670, Nos. 11-16 — belong in every 
 respect to the best works of the kind. 
 
 Of his scholars, properly speaking, I only know : 
 DiHK VAN Bergen, born at Haarlem, practised 1661 — 90. 
 He successfully devoted himself to the imitation of his 
 master, and, without ever rivalling him in taste, or in 
 delicacy of dravv'ing, the pictures of the middle time of 
 his artistic career approach very near the later works of 
 Van de Velde. Afterwards his cattle became crude in 
 tone, his colouring heavy, and his execution hard. About 
 the year 1673 he set up his atelier in London. Two
 
 Chap. VI. VAN DER LEEUW — ASSELYN. 44!5' 
 
 pictures in the Louvre, Nos. 15 and 16, belong to his best 
 period, and two of no less merit are in the Amsterdam 
 Museum, Nos. 112 and 113, 
 
 Pfter van DER Leeuw, died 1704, was only a zealous 
 imitator of Adrian van de Velde, whom, however, in his 
 best pictures, he nearly rivals : for instance, in one in the 
 Munich Gallery, signed " P. v. Leeuw, 1671," Cabinets, 
 No. 485, representing a grey cow in the water drinking. 
 But generally he is heavier in tone, weaker in drawing, 
 harder in outline, and coarser in execution, as is proved by 
 the companion-picture, No. 486 in the same gallery. 
 
 Various painters, who either had visited Italy or con- 
 ceived a preference for its scenery, took delight in repre- 
 senting cattle and shepherds in combination with Italian, 
 buildings and ruins ; the landscape playing a prominent 
 part in their pictures. Although possessing all the re- 
 sources of the school of their native land, they did not 
 succeed in representing nature in a country not their own 
 with the fidelity that distinguished Paul Potter and Adrian 
 van de Velde, and accordingly their pictures lack that 
 warmth of feeling and intense truthfulness which alone 
 produce a powerful impression on the mind. 
 
 The earliest of these painters is Jan Asselyn, born at 
 Diepen, in the neighbourhood of Amsterdam, 1610, died 
 1660. He was the scholar of Esaias van de Velde and. 
 Jan Miel, and resided from 1630 to 1645 in Italy. His 
 pictures have generally something poetical in conception,, 
 and please the eye by their good drawing and fine feeling 
 for keeping and chiaroscuro, in which a cool scale of 
 harmony generally prevails. Four of his works now in 
 the Louvre afford a good illustration of his style ; a view 
 of the Tiber with a flock passing a ford. No. 3, and a 
 hilly landscape with travellers at a ferry. No. 2, are par- 
 ticularly noticeable. Of the same excellence is another 
 picture, now No. 21 in the State Museum at Amsterdam,, 
 ■with a massive ruin in the foreground, before which stand 
 peasants with asses and mules; in the centre is a bridge, 
 and soft blue mountains in the background. Equally fine, 
 and with singular power and harmony of cool chiaroscuro, is.
 
 446 THE DUTCH REVIVAL. Book V. 
 
 the picture of a mined castle on a rock, in the Munich Gallery, 
 Cabinets, No. 589. One of his best works is in England — a 
 Woman and Cattie reflected in water at the entrance to a 
 cave, in the collection of Lord Northbrook. 
 
 Jacob van der Does, born 1623 at Amsterdam, [married 
 at Haarlem in 1650],^ died 1673 at the Hague. He was a 
 scholar of Nicolas Moyaert, but was strongly influenced when 
 in Rome by Pieter van Laer. He composed landscapes, 
 chiefly of Italian character, with much taste, which he en- 
 livened frequently and successfully with sheep and goats, 
 finely executed. His pictures are rare in public galleries ; 
 the most important known to me, signed with his name, and 
 dated 1672, is in the Vienna Gallery. It represents a flock 
 of sheep and a laden mule resting near an antique fountain 
 overshadowed by two trees, with a shepherdess and two 
 children near. This picture is of a Rembrandt-like clearness 
 •and power of colouring, and in all other respects on a level 
 with the highest efl'orts of the school. A picture, also in 
 the Brunswick Gallery, No. 746, a very large hilly land- 
 scape, with old buildings and various groups of figures and 
 ■animals, is equally fortunate in composition, warm and clear 
 in tone, and spirited in treatment. He also keeps up his 
 reputation in the only plate he etched, dated 1650, which 
 represents five sheep. 
 
 Nicolas [or Claes Pieteesz] Beechem, born at Haarlem 
 [1620],^ died at Amsterdam ,1683, the most celebrated of 
 4;his group of painters. Of the masters from whom he is 
 said to have derived instruction, I mention only Jan Baptist 
 Weenix. He also is one of those artists whose talent was 
 early developed. Although we have but little precise infor- 
 mation as to his sojourn in Italy, yet certain evidence of this 
 fact may be found in his works. Italian nature, both in his 
 landscape and figures, is his favourite subject. His compo- 
 sitions are particularly varied, and sometimes even poetical 
 in feeling ; his drawing is excellent, his aerial persective 
 finely understood, and he handles his brush with great free- 
 dom, playfulness, and spirit. In his colouring he is very 
 
 ' [Van der Willigen, ' Les Artistes,' p., 121]. 
 * [Van der Willigen, 'Les Artistes,' p. 77.]
 
 Chap. VI. BERCHEM. 447 
 
 unequal ; oftenest, indeed, warm, clear, and harmonious, but 
 at tinies cold, heavy, and crude. His shepherds and shep- 
 herdesses are monotonous in character, and the uniformity 
 of his animals shows him even in the zenith of his career 
 to have neglected the study of nature. Unfortunately he 
 sometimes treated Biblical, historical, and mythological sub- 
 jects, in which, as in his life-sized pictures, several of which 
 are portraits, he was equally unsuccessful. Naturally indus- 
 trious, and further stimulated by a covetous wife, the number 
 of his pictures is large ; Smith describes no less than 417. 
 The galleries most richly endowed with his works are those 
 of the Louvre, Petersburg, Munich, Dresden, Vienna, and 
 Berlin. He also frequently introduced figures and animals 
 into the landscapes of other painters, as for example those 
 of Ruysdael, Hobbema, Jan Wils, Abraham Verboom, and 
 Isaac Moucheron. 
 
 That he early discarded the manner of Weenix is proved 
 by a landscape painted in his twentieth year, now in the gallery 
 at Vienna, representing a shepherd and shepherdess in the 
 foreground, seated near a cottage, with two cows and other 
 cattle grazing near, and a lake in the distance. Here he 
 still shows a genuine feeling for Dutch nature, the sunny 
 lighting reminding us of Cuyp. The composition, too, is 
 happy ; the details evince a careful study of nature, and the 
 execution is of a certain elegance. Another picture. No. 
 890 in the Berlin Museum, representing a carrier with his 
 waggon waiting at a tavern, belongs to the same period. A 
 winter landscape, also in the Amsterdam Museum, No. 871, 
 dated 1647, with figures, is a picture of unusual truthfulness. 
 Only one year later he conceived the unfortunate idea of paint- 
 ing the Italian landscape dated 1648, in the Hague Museum, 
 with figures as large as life ; which, while we must admit 
 its cleverness and clearness of colouring, leaves the mind 
 cold and unsatisfied. We see this master to much greater 
 advantage in a cool, rocky landscape, in the Louvre, No. 19, 
 dated 1650, where a shepherdess is driving her cattle through 
 a ford. It is in this species of composition that Berchem 
 peculiarly excels ; while his distance suggests a poetical feel- 
 ing. In this particular picture the cool tone of the landscape 
 
 36
 
 448 THE DUTCH REVIVAL. Book V. 
 
 contrasts happily with the golden tone of the cattle, which 
 are in this instance true to nature ; the solidity of the exe- 
 cution is also admirable. As a worthy companion we may 
 quote Xo. 18 in the same collection — a landscape of similar 
 character, dated 1653, — which ranks in every particular, in 
 clearness of lighting, skilful execution, and fidelity to nature, 
 as one of this master's best works. Another picture of 
 similar composition, bearing the date 1656, in the Amster- 
 dam Museum, No. 89, is distinguished by the same admir- 
 ably sustained cool character, proving that Berchem still 
 retained his feeling for truth of nature. A Wild-boar Hunt 
 of the year 1659, in the Museum of the Hague, No. 10» 
 shows that he could successfully treat the most animated 
 scenes, and is a model of precision combined with elegance 
 of execution ; though, at the same time, that blue, dark tone 
 which, to the eye of a connoisseur, so much detracts from the 
 value of his later works, already partially appears. This is 
 more seen in a landscape dated 1661, in the same museum. No. 
 11, though otherwise belonging to his more attractive works. 
 But here, also, the conventional and monotonous treatment of 
 his cattle begins to be visible. On the other hand, a landscape 
 similar as to composition, in the Louvre, No. 27, dated 1664, 
 evinces a happy return to his warm and clear colouring. It 
 represents a Turk conversing with a woman in the foreground. 
 His glazing tints are here more freely applied than usual, 
 while his masterly handling is less firm than before. That 
 he otherwise retained undiminished the precision and elegance 
 of his execution in his latest years is proved by a landscape 
 of his usual class and of attractive composition, dated 1680, 
 in the Gallery of Vienna, where a woman is talking to an- 
 other who is riding on a donkey. At the same time, a heavy 
 and dark tone prevails throughout the picture. But the 
 most striking example of this master's deterioration is afforded 
 us by one of his latest works, the Cavalry Engagement, in 
 the Hague Museum, No. 12, which is a very type of crude 
 and discordant efiect and hardness of detail. Of his many 
 Avorks in England, [we should note Crossing the Ford, 
 No. 240, and a Landscape with a Kuin, No. 820 in the 
 National Gallery]. Belonging to private collections, I skill
 
 Chap. VI. DU JARDIN. 449 
 
 content myself with naming " Le Fagot," which I saw in 
 the collection of Lord Ashbui'ton.^ Of all his happy com- 
 positions this is one of the best. Its name is derived from a 
 bundle of wood which a man in the foreground is carrying, 
 while a woman on horseback is driving cattle at his side. 
 Here his poetical feeling is united with great force of colour- 
 ing and the sharpest and most spirited touch. 
 
 This industrious master also etched fifty-eight plates, with a 
 very light and spirited point. In some of these, especially in 
 Nos. 3, 4, and 6, of Bartsch, we have tokens of a purer feel- 
 ing for nature than any of his pictures aflbrd. 
 
 Amongst his imitators, Abraham Begyn and J. F. Sole- 
 maker are the most able, though far inferior to him ; the 
 last in particular is always heavy and cold in tone. 
 
 Kakel uu Jardin, born in the year 1622,- died at 
 Venice 1678. He is said to have learned his art from 
 Berchem, but it is evident, as observed in Smith's^ Catalogue, 
 that he formed himself far more after the example of Paul 
 Potter. At an early age he visited Eome, and, like Ber- 
 chem, there conceived a preference for scenes of an ItaHan 
 character. [On his return from Italy he joined (1656) the 
 Guild of the Hague, then settled (1658) at Amsterdam, 
 where he lived till 1669 ; and finally withdrew to Italy, 
 where he spent the rest of his days.]* His animals show 
 greater truth of nature, and his figures more feeling, than 
 those of Berchem, while in both he introduces greater diver- 
 sity of character ; at the same time he is not inferior to him 
 in correctness of drawing, feeling for keeping, and in excel- 
 lence of execution. Occasionally he exhibits a very delight- 
 ful vein of humour. In Scriptural or mythological subjects, 
 however, he is anything but fortunate ; though he succeeded 
 much better than Berchem in portraits, which he sometimes 
 painted as large as life, as well as on a smaller scale. Smith 
 
 ' ' Treasures,' vol. ii. p. 108. 
 
 ^ [The date generally given, of 1635, is undoubtedly erroneous, as is 
 proved by a very finished picture by him in 1646. The earlier date, 
 too, tallies with the age of a portrait of him in the Amsterdam Museum, 
 dated 1660, as Biirger justly remarks, ' Musses de la Hollaude,' vol. i. 
 p. 68.] 
 
 ^ ' Catalogue Raisonn^,' vol. v. p. 28. 
 
 • [Westrheene'B ' Paul Potter,' p. 121, 2.J
 
 450 THE DUTCH REVIVAL. Book V. 
 
 mentions about 145 pictures by him, which would appear a 
 ■small number, considering that he lived beyond the age of 
 fifty, did we not know that he was devoted to a life of plea- 
 sure, by which he lost much time. The Louvre is richer in 
 his best works than any other collection, and there, as well 
 as in Amsterdam and the Hague, he may be thoroughly 
 studied. Up to the year 1660 a warm scale of harmony 
 usually pervades his works, which gradually becomes lighter 
 by tlie introduction of a powerful and clear golden tone. 
 The following pictures are admirable specimens of this 
 period. No. 246, in the Louvre, represents cattle of all 
 kinds in a meadow, surrounded by rocks, and watered by a 
 cascade ; dated 1646. The fine lighting and execution, and 
 the feeling for nature in the animals, which plainly show the 
 influence of Paul Potter, all combine to prove that the master 
 had attained his highest development in this attractive pic- 
 ture. No. 247 belongs to about the same if not to a still 
 earlier period; it represents a horseman giving alms to a 
 peasant boy. This has a beautiful idyllic character, and is 
 still warmer in the lighting. [" Figures and animals resting 
 under the shade of trees," is a characteristic picture, dated 
 1656, No. 826 in the National Gallery. Fording the Stream 
 is an equally interesting work of the following year, No. 
 827 in the same gallery.] Du Jardin's prevaiUng warmth of 
 tone at this period is further exemplified by No. 250, a small 
 portrait of a man, elegantly conceived, and dated 1657. 
 Nor is his celebrated Charlatan, of the same year, in which 
 he appears as a ^enre-painter, of keen observation and very 
 felicitous humour, less warm in colouring. By way of 
 exception the silvery tone appears in a landscape in the 
 Amsterdam Museum, No. 729, of two years' earlier date, in 
 which a peasant is seen winnowing corn in his house. No. 
 249 in the [Louvre], a landscape of the year 1660, is per- < 
 vaded by the pale tone ; only a woman and child, and other 
 figures crossing a stream in a one-horse cart, retaining a 
 warm but very light tone. The cool tone also predominates 
 in his Crucifixion, 242, dated 1661. However little satisfac- 
 tory as a worthy representation of the subject, this picture 
 shows the artist to great advantage in the quahties of keep-
 
 Chap. VI. ROMETN. 451 
 
 ing, chiaroscuro, and delicacy of execution. His own por- 
 trait, painted 1660, No. 723 in the Amsterdam Museum, is 
 good in drawing, but of decidedly cool tone. Still cooler, 
 however, are the portraits of five persons, full length 
 life-size, — the trustees, it appears, of some society, — dated 
 1669, and in the same Museum, No. 724. The arrangement 
 is tasteful, the drawing good, and the execution very careful. 
 The white marble sculpture in the background shows the 
 vmfortunate influence of Lairesse. 
 
 Finally, the portrait of C. E-eynst, the artist's principal 
 patron, also in the Amsterdam Museum. No. 725, is so repel- 
 lingly cold in tone as to indicate a still later period — a 
 supposition which is corroborated by the elegance of the con- 
 ception. We have, however, one proof of his sometimes 
 reverting to a warmer tone, in a rich and careful Italian 
 landscape, in the Hague Museum, dated 1673. There is 
 also an important picture, in which the silvery tone is carried 
 to great perfection, in the Louvre, No. 245. It represents 
 a shepherd- boy under lofty trees playing with a dog, while 
 two horses, a cow, a calf, and some sheep are distributed 
 very picturesquely in a meadow. The Galleries of Munich, 
 Dresden, and Cassel possess good specimens of the master. 
 England, too, is rich in his works. A fine landscape, with 
 two horsemen halting at a tavern, is in the Torry collection 
 in the gallery at Edinburgh ; another, Peasants and Cattle 
 passing a Ford, in a fine silvery tone, is in the Bridgewater 
 Gallery. 
 
 Karel du Jardin also executed fifty-two etchings, between 
 the years 1652 and 1660, the subjects animals, landscapes, and 
 one portrait; all which, taken as a whole, show great mastery. 
 
 Of the imitators of K. du Jardin, the most distinguished 
 are the two following : — 
 
 WiLLEM RoMEYN, [joined the Guild of Haarlem in 1646, 
 after serving his apprenticeship (1642) under Berchem. In 
 1693 he was still living at Haarlem.] ^ He possessed a pure 
 feeling for nature, much taste for picturesque arrangement 
 and general keeping, and drew well. In free and soft exe- 
 cution, too, he worthily approaches Du Jardin. His subjects 
 ' [Van der Willigen, ' Les Artistes,' p. 252.]
 
 452 THE DUTCH REVIVAL. Book V 
 
 were almost always landscapes, with animals introduced, 
 chiefly oxen and their drivers. In the beautiful picture in 
 the Munich Gallery, Cabinets, No. 482, where a herdsman 
 and his drove are resting on then- way, it is evident that 
 Du Jardin was his model. Five good pictures are in the 
 Amsterdam Museum, Nos. 1210— 12U; another, of mild 
 and warm evening lighting, in the Berlin Museum, No. 888b. 
 Sometimes he falls into a cold grey tone, as for example, in 
 his otherwise clear picture in the Dresden Gallery, No. 1417. 
 Henrick Mommeks, born [at Haarlem] 1623, died [there] 
 1697. [He was a master 1647, president 1654, in the 
 Guild of Haarlem.]' His pictures are now rare. In public 
 galleries I only know one— No. 845 in the Berlin Museum. 
 It represents a bare hilly landscape, with a shepherdess on 
 a rising ground carrying a milk-pail, two boys, a cow, and 
 five sheep. This picture is awkward in composition, and 
 the drawing is not firm, but the impasto is fine, the colouring 
 powerful, and the touch so free as to border upon careless- 
 ness. [A mountain landscape, with shepherds, No. 138 
 in the Rotterdam Museum, is an excellent example, signed 
 "Mommer."] 
 
 In the two following masters the heavy and cold tone, 
 that marks a decline in this class of the Dutch school, is 
 particularly apparent. 
 
 Jan van der Meer de Jonge, [born at Haarlem 1656, 
 died at Haarlem 1705. He married, 1683, the sister of the 
 painter Cornells Dusartl." He had a pure feeling for nature, 
 and had thoroughly studied sheep, which form the principal 
 subject of his landscapes. Fm-ther, his handling is free, and 
 his execution careful. He is seldom seen in pubHc galleries. 
 Three pictures, however, in the Berlin Museum suffice to 
 show his character — viz.. No. 931, dated 1679, representing 
 a boy driving a flock of sheep ; No. 930, dated 1680, with a 
 boy resting Avith his flock ; and No. 927, representing a 
 mountainous landscape. 3 This latter is very small, and 
 Aows a tender miniature-like execution. All, however, 
 correspond in their cold, heavy, general tone. This artist 
 
 ' [Van der Willigen, ' Les Artistes.' p. 227.1 
 
 ^ [lb. ib. 221.] ' [Nos. 030, 927, are now withdrawn.]
 
 Chap. VI. VAN DER DOES — J. B. WEENIX. 453 
 
 executed two masterly etchings, the one representing a 
 sheep, the other a small landscape. 
 
 Simon van der Does, born 1653, died 1717. He decidedly 
 belongs to the imitators of Italian nature, though the human 
 figure plays a more prominent part in his pictures than in 
 those of the last-named artists, to whom he was inferior in 
 feeling for nature and solidity of execution. He, too, is 
 seldom found in public galleries ; [four] pictures in the 
 Amsterdam Museum make us acquainted with him. The 
 first, No. 271, dated 1706, contains cattle, with a young girl, 
 who seems to be singing with a shepherd-boy. It is in 
 good keeping, but the execution is too smooth. The second. 
 No. 272, dated 1708, representing a woman with a child at 
 her breast, is already less careful ; [the third, No. 274, a 
 maid milking a cow, a bull on the foreground, executed in 
 1712 ;] while the fourth, No. 273, dated [1703], in which 
 a woman with a child at her breast is looking round at a 
 boy, shows little truth to nature in the cattle, is weak in 
 colouring, and empty in treatment. 
 
 The next three painters on our list are only second-rate in 
 talent, but are distinguished by a great versatility ; painting 
 equally subject-pictures, animals, and landscapes ; while all 
 show a taste for Italian coast-scenery. 
 
 Jan Baptist Weenix, born [1621 ; died in 1660]. This 
 
 painter is the most eminent of the gi'oup, and in his best 
 
 pictures, of which the Munich Gallery has several, most 
 
 nearly approaches masters of the highest class. One, a girl 
 
 asleep near an old building, with a dog beside her. Cabinets, 
 
 No. 636, is of brilliant lighting, and so solid in execution 
 
 that the figure reminds us of Frans Mieris.^ A huntsman 
 
 with a dead hare and birds, and a dog. Cabinets, No. 635, 
 
 is companion-picture to the above. In clearness of the 
 
 sunny treatment this equals Peter de Hooch, and is more 
 
 careful. A girl lying asleep between two columns of verd 
 
 antique, beyond a youth and a pointer dog. Cabinets, 
 
 No. 634 ; this also comes very near Peter de Hooch in eSect 
 
 ' [This picture is ioscribed : " J. B. Weenix f. 1665," which alone 
 would tend to prove that the date, 1660, usually assigned to Weenix's 
 death, is erroneous. But the signature is not intact, and the pictures 
 may be by Jan Weenix.]
 
 454) THE DUTCH REVIVAL. Book V. 
 
 of light. An old knife-grinder near a splendid mansion, 
 Cabinets, No. G33, is singularly clear in chiaroscuro, and of 
 solid execution. A stately specimen of his sea-coast subjects 
 is seen in No. 553, La the Louvre, representing the repulse 
 of Turkish pirates. It is strikingly lighted, but somewhat 
 gaudy. 
 
 Thomas Wyck, [born at Beverwijch, was registered in the 
 Guild at Haarlem in 1642, and died at Haarlem on the 19th 
 of August, 1677.]^ This artist's picture plainly shows that 
 he, too, visited Italy. Although really fortunate in com- 
 position, of good drawing and keeping, and carefully exe- 
 cuted, his works, owing to their generally cold and heavy 
 colouring, and especially to a prevailing hard red-brown tint, 
 are only partially pleasing. One of his best examples, 
 Ruins on the Sea-shore, with an antique fountain in the 
 foreground, at which women are washing, while the artist is 
 seen sketching near, is in the Vienna Gallery. A cool 
 harmony is admirably sustained throughout. A stately sea- 
 port, with various buildings, a statue of Bacchus, and a 
 fountain, round which among other figures are assembled 
 several Turks, is in the Berlin Museum, No. 877. As -a 
 good example of his frequently repeated alchemists in their 
 laboratories, I may mention No. 1294 in the Dresden Gallery 
 as remarkable for its fine chiaroscuro. Wyck also etched 
 twenty-one plates,^ in which he appears far more to advan- 
 tage than in .his pictures. His stroke is light and spirited, 
 and the chiaroscuro, to which he attained without using the 
 graving-tool or the cold point, is so fine that his best plates 
 namely, Nos. 2, 7, 13, 14, 15, 19, 20, approach very near 
 Adrian van Ostade's finest etchings. 
 
 JoHANN LiNGELBACH, bom at Fraukfort-on-the-Maine 1625, 
 died at Amsterdam 1687. [?] He spent some time in Italy, 
 where he made very careful studies. On his return he 
 settled at Amsterdam. Here the works of Wynants, to 
 which he often added the figures and animals, and those of 
 Wouvermans, which he successfully imitated, greatly in- 
 fluenced his style. Lingelbach's colouring, as was almost 
 
 [Van der Willigen, 'Les Artistes/ p. 342.] 
 ^ JBartsch, ' Le Peintre Graveur,' vol. iv. p. 139, etc.
 
 Chap. VI. HONDIUS. 455 
 
 always the case with Wynants, and also with Wouverman. 
 in his latest manner, is characterised by a cool and often 
 delicate silvery tone, which with him sometimes degenerates 
 into coldness and want of harmony. In his flesh especially 
 a cold red tone often prevails, added to which, neither in 
 clearness nor impasto does he equal the above-named mas- 
 ters. He ranks, however, high for skill in composition, good 
 drawing, careful execution, to which is sometimes added a 
 happy vein of humour. He may be studied under all his 
 different aspects in the galleries of the Louvre, the Hague, 
 and Amsterdam. [One of his earliest works is the Dentist 
 on Horseback, dated 1651, No. 842 in the Amsterdam 
 Museum] ; but one of his principal pieces is the plan of an. 
 intended Town-hall at Amsterdam, dated 1656, now in the 
 new Town-hall of that city. Here the individual character 
 of the numerous figures, together with the fine keeping in a 
 fresh morning light, deserve special notice. [A fair picture 
 is No. 837, the Hay Harvest, dated 1661, in the National 
 Gallery.] In the Amsterdam Museum I may also mention 
 a rich Italian harbour. No. 839, dated 1664; another on a 
 smaller scale. No. 838, remarkable for its clearness ; and 
 a riding school, No. 840, in which he nearly equals Wouver- 
 man. Of the four pictures by him in the gallery of the 
 Hague, the Italian seaport, dated 1670, is remarkable for a 
 power and warmth quite unusual in this painter. A vege- 
 table market of the same date, in the Louvre, No. 270, and 
 a seaport, No. 271, possess equal merit. 
 
 I now turn to those painters who occupied themselves-- 
 almost exclusively with wild animals and dogs, either in 
 combat or in repose, alive or dead. 
 
 Abrahaji Hondius, born at Rotterdam 1638, pursued his- 
 art for many years in England, and died in London, 1695. 
 The English writers, Yertue and Walpole, laud a picture by 
 him of a dog market, in which thirty different races appear ; 
 another of a bull-fight, etc. ; but I have never been able to- 
 meet with one in England, nor in any of the continental 
 galleries with which I am acquainted. Judging, however,, 
 from some of his works that I have seen at picture-dealers,. 
 I feel inclined to agree with the opinion pronounced by Pil-
 
 456 THE DUTCH REVIVAL. Book V. 
 
 kington, that, although composed with great vigour, they are 
 incorrect in drawing, untrue and inharmonious in colouring, 
 •^and hard and meretricious in handling.^ Hondius appears to 
 far greater advantage in his very rare etchings, of which 
 Bartsch describes nine. The subjects consist of animals 
 both in repose and conflict, as for example, buffaloes fighting 
 Tvith a leopard, a lion with a serpent, and scenes of the chase, 
 -in which he displays a spirited though slight touch. The 
 most important plate, both as to size and invention, is No. 9, 
 •a wild sow defending her young against a pack of hounds. 
 A tenth plate, unknown to Bartsch — a wolf attacked by two 
 dogs — also deserves praise. 
 
 Jan Weenix, born at Amsterdam 1644 [?], died there 
 1719. He was the scholar of his father, Jan Baptist Weenix. 
 Like him he occasionally painted seaport subjects ; one of 
 these is to be seen at the Louvre, No. 556. His principal 
 works represent dead animals the size of life. His fame is 
 ■€specially based on his dead hares, which, both as to form 
 and colour, and the representation of every hair in their 
 skin, are specimens of the most masterly execution. These 
 are often accompanied by difterent kinds of dead birds, most 
 ii-equontly with peacocks, swans, pheasants, partridges, and 
 geese ; sometimes, too, though rarely, a living dog is intro- 
 duced, and painted in a most spirited manner. Again, we have 
 generally a magnificent urn forming part of the picture, and for 
 background a landscape, often rather pale and heavy in tone. 
 
 Pictures of this class, on a large scale, were executed by 
 tiim as decorations of two galleries in the Castle of Bens berg 
 on the Khine, for the Elector John William of the Palatinate. 
 They are masterly in character. A selection from them is 
 in the Munich Gallery. The most important. No. 340, 10 
 ft. 7 in. high by 17 ft. 8 in. wide, represents in the foreground 
 a noble stag, two hares, a wolf, and a wild boar, all dead, 
 
 ' PA Cavalry skirmish, No. 1059, in the Dresden Gallery is only signed 
 " Hont." ; but the Sow defending her young from Dogs, No. 90 in the 
 Museum of Rotterdam, is inscribed in full, " Abraham Hondius, 1672." 
 Dr. Waagen himself has noted a Party of Officers and Ladies at a 
 Musical Performance, signed and dated 1668, with a pendant represent- 
 ing a guard-house, in the Hermitage at Petersburg ; further, iu the same 
 .gallery, a stag-hunt, and a bear-h.unt.]
 
 Chap. VI. VALKENBURG — HONDECOETER. 457 
 
 with a boar-hunt in the distance, and is remarkable for its 
 admirable keeping in a cool harmony, as well as for the 
 truthfulness of the accessories, and for the greatest possible 
 completion, combined with breadth of treatment. In the 
 same gallery are also one of his inimitable dead hares, No. 
 227, dated 1703, and a dead peacock, and other birds, No. 
 332, which for arrangement, power, harmony, clearness, and 
 truth, exhibit the master in full perfection. In the Louvre, 
 too, there is a hare, No. 554, dated 1671, and a dog watch- 
 ing dead game. No. 555, dated 1696, both choice pictures. 
 Next in order is an admirable specimen in the Museum of 
 the Hague, representing, contrary to the artist's wont, a 
 living roe and a swan. [No. 238, Dead Game and Dog, in 
 the National Gallery, is a good specimen of Jan Weenix, 
 whose style is also illustrated by ten first-rate examples in 
 Sir R. Wallace's collection at Eethnal Green.] Finally, 
 there are two pictures of dead game in the Amsterdam 
 Museum, Nos. 1607 and 1 605, the latter with a living dog and 
 ape, which belong to Weenix's best works. Sometimes, though 
 rarely, Weenix painted flower-pieces, which are rendered 
 remarkable by the admirable drawing and singular truthful- 
 ness of individual flowers, but have something heavy in 
 their tone of colouring. A picture of this class is in the 
 Berlin Museum, No. 1001. 
 
 Theodoor Valkenbueg, born at Amsterdam 1675, died 
 1721. He was a pupil of Jan Weenix, and acquired his 
 style so successfully that his pictures, especially of dead 
 hares, are frequently mistaken for his master's. He was 
 also a good portrait painter. He resided long in Germany, 
 where he painted for difi'erent princes. The only work I know 
 by him in a public gallery is [a Dead Hare and Poultry, 
 signed, " D. Valkenburgh, 1704," No. 264] in the Stadel In- 
 stitute at Frankfort. 
 
 Melchior de Hondecoeter, born at Utrecht 1636, [entered 
 the Guild of the Hague in 1659], died 1695. He was the 
 scholar of his father, Gisbert Hondecoeter,^ and chose the 
 
 ' [By Gisuert or Gillis Hondecoeter there is a canvas, No. 88 iu the 
 Rotterdam Museum, signed and dated 1652, representing a hea and 
 chickens.]
 
 458 THE DUTCH REVIVAL. Book V. 
 
 leathered tribe for his subjects, especially poultry, peacocks, 
 turkeys, and pigeons, which he usually represents alive, 
 surrounded with landscape, and engaged in the varied busi- 
 ness of bird life. His subjects are generally arranged with 
 a most picturesque feeling ; the animals animated and true 
 to nature, well drawn, and carefully, but yet freely painted 
 the size of life. Often, too, they are forcible and warm in 
 colouring, but at other times, especially in the shadows, 
 heavy and dull. Nowhere is this master better seen than 
 in the Amsterdam Museum. Of the nine pictures by him 
 there, the following are the best : — The Floating Feather, 
 No. 665, so called from a feather, painted with singular 
 truthfulness and lightness, drifting on a pool, with different 
 bii'ds in the water and on the shore, amongst which a pelican 
 is prominent. A hen defending her chickens against the 
 attacks of a pea-hen, No. 663, with a peacock, a pigeon, a 
 cassowary, and a crane. Divers kinds of parrots and other 
 foreign birds. No. 664 ; this picture is singularly careful in 
 the execution of details. Two pictures in the manner of 
 Jan Weenix, Nos. 660 and 661 ; in the first are dead birds, 
 a heron, and weapons of the chase ; in the second, birds' 
 with a hare. This is tastefully arranged, and handled with 
 remarkable breadth and freedom. Of four pictures in the 
 Hague Museum, I may mention the Crow stripped of his 
 borrowed feathers, No. 47, and the menagerie of birds be- 
 longing to King WiUiam HI. at Loo, a country-seat near the 
 Hague, No. 48, as two of his most unusual and remarkable 
 works. The Louvre also has a picture by him of two pea- 
 cocks, two pheasants, a parrot, and an ape. No. 214, which 
 exhibits this master's truthfulness, power, glow of colouring, 
 and excellent impasto, to great advantage ; though, as usual! 
 the shadows are rather too dark. The galleries of Dresden,' 
 Cassel, Vienna, and Brunswick, also possess admirable works 
 by him. 
 
 [A worthy rival of Hondecoeter is Jacob Victors, re- 
 specting whose life little more is known than is told by 
 Martinioni, in his edition of Sansovino's 'Venice Described,' 
 who, writing in 1663, notes as a living artist at Venice 
 " Jacopo Victors, Olandese, mirabile nel formar animalivola-
 
 Ctap. VI. CUYP. 459 
 
 tile."^ Burger notes a picture signed, " Jacomo Victor, 
 1672," as one of those forming part of the Minutoli collec- 
 tion in 1859. He justly praises a hen and chickens, signed 
 as above, in the Rotterdam Museum.'- There are other works 
 by this artist in the Dresden and Copenhagen Museums.] 
 
 1 now turn to the landscape painters of this period. 
 These, like the animal painters, may be divided into two 
 leading classes ; the first rendering nature as it appears in 
 their native land, or, at least, in the northern countries ; the 
 second devoting themselves to the representation of Italian 
 scenery. Here, too, we have the same results. The first, 
 by the truthfulness and depth of their feeling for nature, are, 
 in spite of the far greater homeliness of the subjects they 
 treat, incomparably more attractive to the genuine lover of 
 art than the latter. 
 
 At the head of this first class I place a master who occupies 
 a peculiar position, and forms a connecting link between the 
 animal and the landscape painter. 
 
 Albert Cuyp, born at Dordrecht [1620, died thare about 
 1691]. Of the life of this great painter little more is known 
 with any certainty than that he was the scholar of his father, 
 Jacob Gerritsz Cuyp. Cattle form a prominent feature in 
 many of his works, though never so highly finished as in 
 those of Paul Potter or Adrian van de Velde ; indeed, in 
 many of Cuyp's pictures they are quite subordinate. His 
 favourite subjects, a landscape with a river, with cattle lying 
 or standing on its banks, and landscapes with horsemen in 
 the foreground, were suggested to him, no doubt, by the 
 country about Dordrecht and the river Maas ; but he also 
 painted winter landscapes, and especially views of rivers 
 where the broad extent of water is animated by vessels. 
 Sometimes, too, with great perfection, fowls, as large as life, 
 hens, ducks, etc. ; and still-life. Nay, he even painted life- 
 size portraits, though less successfully. However great the 
 skill displayed in the composition of his works, their principal 
 charm lies in the beauty and truthfulness of their peculiar 
 
 ' [Sansov. ed. Martinioni, Catalogue v., at the end of the volume, 
 p. 22.] 
 
 2 [Biirger, ' Musses de Hollande,' ii. 39 and 316. Not now exhibited.]
 
 4C0 THE DUTCH REVIVAL. Book V. 
 
 lighting. No other painter, with the exception of Claude, 
 has so well understood to represent the cool freshness of 
 morning, the bright but misty light of a hot noon, or the 
 warm glow of a clear sunset, in every possible gradation, 
 from the utmost force in the foreground to the tenderest tone 
 of the distance. The effect of his pictures is further en- 
 hanced by the skill with which he avails himself of the aid 
 of contrasts ; as, for example, the dark, rich colours of the 
 reposing cattle as seen against the bright sky. The impres- 
 sion of these qualities upon the spectator is often of a highly 
 poetical character. In this respect, as well as in his broad, 
 firm treatment, and his admirable impasto, he much resem- 
 bles Rembrandt. But, on the other hand, his animals, and 
 more especially his cattle, have a certain uniformity, their 
 heads are somewhat narrow, while his execution, generally 
 speaking, does not extend to any nicety of detail. This ia 
 the only explanation of the fact that, in his own country, his 
 pictures, which Smith's Catalogue numbers at 336, should 
 have failed to meet with the admiration they deserve ; so 
 much so that, as is proved by old auction catalogues, no 
 picture of his, tiU the year 1750, ever sold for more than 
 thirty florins. The merit of having first given him his due 
 rank belongs to the English, who, as early as 1785, gave at 
 the sale of Linden van Slingelandt's fine collection at Dor- 
 drecht high prices for Cuyp's works ; these have gone on 
 increasing in value. About nine-tenths of his pictures are, 
 consequently, to be found in England, while, with the excep- 
 tion of the Louvre, they are entii-ely wanting in continental 
 galleries, or very scantily seen. Fortunately some of his 
 most beautiful works in England are in public galleries, or 
 in private collections to which the public have access. Cuj-p. 
 varies much at different stages of his development. The 
 pictures in his earlier time have a certain heaviness of tone, 
 the flesh-tints are of a hard red, the aerial perspective 
 deficient, and his execution, though careful and fused, is- 
 hard in outline. A good specimen of this manner is a 
 picture of a lady and gentleman on horseback conversing 
 with country people on the road, in the Bridge water Galleiy. 
 As observed in Smith's Catalogue, the examples of thi&
 
 Chap. IV. CUYP. 4G1 
 
 period are usually signed A. C. Later, the gradation be- 
 comes more true, tlie colouring clearer, especially the warm 
 flesh-tints, and the solid treatment always more broad and 
 free. At this time he signed his pictures A. Cuyp. We 
 have a good specimen in a cattle-piece, No, 200, in the same 
 gallery, a Woman milking a Cow, with a clear afternoon 
 lighting. As an especially fine example of his favourite 
 contrasts betweeii dark-coloured cattle and a warmly-lighted, 
 river, I may mention No. 239, in the Dulwich Gallery. 
 Another larger picture in the same collection. No. 169, repre- 
 senting a herd of cattle and their driver, conveys again, with 
 wonderful power and clearness, the feeling of a warm, still, 
 summer evening. A landscape in bright, warm, morning 
 light, with two cows reposing in the foreground, and a 
 woman conversing with a horseman, in the National Gallery, 
 No. 53, is a chef-d'oeuvre of this master. The whole picture 
 breathes a cheerful and rural tranquillity. In his mature- 
 time these admirable qualities are seen in higher development, 
 and combined with an increased refinement of taste. ^ The 
 following pictures belong to this period : — In the Louvre, 
 No. 104, is a scene with six cows, a shepherd blowing the- 
 horn in the foreground, and two children listening to him ; 
 beyond a canal is a church-tower. This is admirably 
 arranged, of greater truthfulness as regards the form and 
 colouring of the cattle than usual, and with the warm, 
 lighting of the sky executed with equal decision and softness. 
 This picture is one of the master's chief productions, being 
 also about 4 ft. high by 6 ft. wide. Another, with three horse- 
 men and a servant carrying partridges, and in the centre a. 
 meadow with cattle, is also in the Louvre, No. 106. This 
 is less attractive in subject, but ranks equally high as a work 
 of art. In Buckingham Palace is a picture with three cows 
 reposing, and one standing by a clear stream, near them a 
 herdsman and a woman; other cows are in water near the 
 ruins of a castle. In this picture, 3 ft. 1 in. high by 4 ft. 4| 
 in. wide, we see this master in every respect at his culminating 
 point of excellence. Not less fine, and of singular force of" 
 
 ' [Besides this there are three good Cuyps from the Peel collection,, 
 Nos. 822-4 in the National Gallery.]
 
 4G2 THE DUTCH REVIVAL. Book V. 
 
 -colour, is a landscape, also in Buckingham Palace, with a 
 broad river running through it, and a horseman under a tree 
 in conversation with a countryman. Of his winter land- 
 scapes, I am best acquainted with that in the Duke of 
 Bedford's collection in London, representing several fisher- 
 men plying their craft on the frozen river Maas. The effect 
 of the warm sunlight on the ice and the fishermen is incom- 
 parable ; while the transparency and marrowy execution are 
 beyond praise. Of his works which illustrate the river Maas, 
 more or less diversified with shipping, by far the most im- 
 portant is a view of Dordrecht, in the collection of Lord 
 Brownlow, 3 ft. 10 in. high by 5 ft. Gk in. wide. It would be 
 impossible to describe the pervading transparency of the 
 morning sunlight, or the delicacy of the aerial perspective in 
 the gradation of a succession of vessels lying one behind the 
 other. Nor are the freedom and firmness of the marrowy 
 execution less remarkable. A picture similar in size and 
 subject, and of nearly equal merit, is in the Bridge water 
 Gallery. Another view of Dordrecht, equally admirable, 
 though not so large, is in the collection of Mr. Holford. 
 Here the prevailing transparency is such that light may be 
 said to be painted in light. A fourth picture, worthy to rank 
 with the above, is again a similar subject, in the Northbrook 
 collection. The life-size portrait by Cuyp with which I 
 am best acquainted is that of a man in a velvet coat with 
 white lace, which I saw in Lord Ashburton's collection. The 
 conception is animated, and the colouring, though less clear, 
 as warm and forcible as that of Rembrandt. [A more 
 accessible one is that of a man in a skull cap, dated 1649, 
 No. 797 in the National Gallery.] As a painter of poultry 
 he may be seen to much advantage in a cock and hen now 
 in the Gallery of Schleissheim. \Yitli the fidelity of 
 Hondecoeter he here combines a far clearer and more 
 brilliant colouring.^ 
 
 PiETER DE MoLYN, born [in London before IGOO, was regis- 
 tered in the Guild of Haarlem IGIG, and died at Haarlem in 
 16G1].2 He belonged to those first landscape painters who 
 
 ' [The genuineness of this piece is doubtful.] 
 ^ [Van der Willigen, * Lea Artistes/ pp. 225, C]
 
 Chap. VI. WYNANTS. 463 
 
 earliest developed this branch of art in its full and indepen- 
 dent form. At the same time the figures of men and 
 animals play prominent parts in his pictures. He was a 
 good draughtsman, and portrayed either hilly or flat land- 
 scapes with great truth. His coloui-ing is warm and forcible, 
 his skies of great transparency, his touch so broad and 
 light that he often degenerates into too loose and sketchy 
 a manner. He is seldom seen in public galleries. The 
 Berlin Museum has one picture — two cottages with richly 
 wooded rising ground and a hand-rail. On the road at the 
 foot are pedestrians and horsemen. Inscribed " P. Molyn." 
 It is of very powerful eftect. The horses are in the style 
 of Pieter de Laer, of a common and heavy race, and but 
 weakly drawn. [The Suermondt coll., once at Aix-Ia-Chapelle, 
 comprised a landscape signed, " P. Molyn, 1633," and 
 the Brunswick Museum a fine landscape of trees and sand- 
 hills, inscribed, "P. Molyn, 1626."] Molyn executed four 
 etchings of landscapes with figures, which show much feeling 
 for nature and the picturesque, in a simple and somewhat 
 bold manner. One of them is dated 1626. 
 
 Jan Wynants, born at Haarlem 1600, [?] and still living 
 in 1679. He was the first master who applied all the de- 
 veloped qualities of the Dutch school to the treatment of 
 landscape painting. Nothing certain is known of his 
 instructors, or of the circumstances of his life. Although 
 his pictures are generally tasteful in composition, they have 
 a certain prosaic and monotonous character. His chief aim 
 was truthfulness ; and as he carried this out in all parts, as 
 much in his drawing and delicate aerial perspective as in 
 his foreground, details of different kinds of plants, and small 
 irregularities in the surface of the soil, in which, indeed, 
 they are richer than works of any other landscape painter, 
 his chief pictures have always much attraction for the eye. 
 In general his prevailing tone is clear and bright, more 
 especially in the green of his trees and plants, which, in 
 many cases, merges into blue. In his figures of men and 
 animals he was feeble, but many distinguished painters were 
 found ready to supply this defect ; Adrian van de Velde and 
 J. Lingelbach most frequently, and next to these Philip 
 
 37
 
 464 THE DUTCH REVIVAL. Book V. 
 
 Wouvermans, Barent Gael, Schellineks, and Held Stockade, 
 painted his foreground figures. The carefulness of his exe- 
 cution explains to us how it was that in so long a life he 
 only produced a moderate number of pictures. Smith's 
 Catalogue contains about 214. These differ much according 
 to their different periods. Unfortunately he but seldom, 
 and, as it appears, only in early life, dated his pictures. In 
 his first manner peasants' cottages or ruins play an important 
 part, and the view is more or less shut in by trees. These 
 trees are of a heavy dark green, the execution solid and 
 careful. We have an example of this style in No. 477, in 
 the Amsterdam Museum. A man is reposing in the doorway 
 of a cottage, a woman with her child is walking along a road. 
 In his middle time he generally paints open views of a rather 
 uneven country, diversified by wood and water. In the 
 foreground are frequently seen a sandy hill, a withered tree, 
 large-leaved plants, and a winding pathway. His greens 
 are at this time bright and cool in tone. The following - 
 pictures are illustrations of this manner : — A wooded land- 
 scape, in the Museum of the Hague, dated 1659. The trees 
 present great truthfulness of detail, the falling gleams of 
 light have a happy effect, the distance is delicate in tone, 
 but the treatment of the trunks of the trees and of the leaves, 
 turned blue in the foreground, is rather too broad. A land- 
 scape of very striking composition in the Amsterdam Museum, 
 No. 1663, with hills and trees in the distance, and huntsmen 
 and animals introduced by A. van de Velde, belongs nearly 
 to the same period. A landscape with old walls in the 
 centre, and a wide gateway, through which cattle, painted 
 by A. van de Velde, are being driven, [signed, " A. v. Velde"] 
 1665, is in the Dresden Gallery, No. 1641. For size, 
 picturesque composition, and warm, juicy colouring, this is 
 one of this master's most important works. To judge from 
 feeling and handling, a landscape in the Louvi-e must also 
 belong to this time. It represents cattle, painted by A. van 
 de Velde, returning in the gathering twilight to a peasant's 
 house, and is remarkable for the delicacy of its gradation. 
 A large landscape with many trees and a distant view, with 
 huntsmen and shepherds, by A. van de Velde, dated 1668
 
 Chap. VI. VAN DER NEER. 465 
 
 No, 579, is also in the Louvre. This is a chef-d'oeuvre by 
 the master ; mildly warm in lighting, admirable in har- 
 mony, and as delicate in its execution as it is solid in 
 impasto. That Wynants retained his full skill even in 
 advanced life, is proved by a picture dated 1672, in the 
 Munich Gallery, Cabinets, No. 577, representing a road 
 leading to a fenced wood and a sand-hill, near which, in the 
 foreground, are four cows, by Lingelbach, being driven along. 
 This is a work of rare power and depth, the trees approach- 
 ing those of Ruysdael in juiciness of tone. In his last 
 manner a heavy, uniformly brown tone is often observable. 
 We have an example of this in a landscape in the Hague 
 Museum, No. 180, dated 1675, though it is attractive in 
 composition and carefully finished. Occasionally, however, 
 in his latest paintings the effect is crude, and the execution 
 scenic. 
 
 It is his genuine feeling for nature that makes Wynants' 
 pictures so popular in England, where we meet with a con- 
 siderable number of his best works. I content myself with 
 naming a small landscape, with a party of falconers, the 
 figures by Wouverman, in Buckingham Palace ; another of 
 rare power and completeness, with numerous figures by A. 
 van de Velde, which I saw in Lord Ashburton's collection ; 
 and a third, not less admirable, with two horses in the fore- 
 ground, in the collection of Mrs. Bredel. [The National 
 Gallery now possesses five landscapes by Wynants, one of 
 them dated 1659.] 
 
 Aart, or Artus van der Neer, born at Amsterdam [1603], 
 died there [1677]. This painter offers a decided con- 
 trast to Wynants, and occupies an equally independent posi- 
 tion. While the latter delights to represent his landscapes 
 in bright fresh daylight, and therefore usually in a cool 
 general harmony, Van der Neer gives us, for the most part, 
 canals with towns on their banks lighted by the moon, and 
 with a prevailing warm tone. No other painter, indeed, has 
 BO well depicted the deep broad masses of shadow, as well 
 as the effects of light, and peaceful tranquillity of character 
 observable on a moonlight night, with so much truthfulness 
 and clearness. Often, too, he represents the same scenes
 
 466 THE DUTCH REVIVAL. Book V. 
 
 under the influence of sunset, with a warmth and glow that 
 equals Cuyp, with whom, indeed, he sometimes worked on 
 the same canvas. He often painted conflagrations with 
 equal truth. Even his winter-pieces are generally warm in 
 their lighting. Very rarely, though quite competent to the 
 task, does he choose a full, cool daylight ; as, for instance, 
 in an admirable picture in the Munich Gallery, No. 930.1 
 His earlier manner was hard in detail, and dry in treatment. 
 Of this we have a specimen in a frozen canal, in Lord Over- 
 stone's collection in London. That he early attained com- 
 plete freedom and breadth of treatment, and a delicate feeling 
 for aerial perspective, is shown by another picture of the same 
 subject, dated 1693, in the same collection, which possesses 
 four of his works. His best work known to me is an effect 
 of a warm evening lighting, with figures and animals intro- 
 duced by Cuyp, in the National Gallery, No. 152. The eflect 
 of this large picture, 3 ft. 11 in. high by 6 ft. 3| in. wide, 
 is extraordinary, and its treatment, in an excellent impasto, 
 masterly. A small moonlight picture, also in the National 
 Gallery, No. 239, is equally remarkable for poetic feeling, 
 clearness of tone, and tender finish. Admirable, too, is No. 
 354, in the Louvre, in which, by a warm but tender evening 
 light, objects are seen reflected in a canal, near which three 
 cows are reposing. In this work we observe a great simi- 
 larity to Cuyp. One of the most effective and thoroughly 
 sustained of his moonlight pieces is No. 842 in the Berlin 
 Museum. No. 840, also, in the same gallery, exhibits the 
 most remarkable specimens of his conflagi*ation effects known 
 to me, and in which he has finely contrasted with the truth- 
 fully represented scene of human distress on the one side 
 the peaceful Hght of the rising moon on the other. As a 
 specimen of his winter-pieces in public galleries, may be 
 mentioned No. 1015 in the Amsterdam Museum. Here 
 numerous figures are seen skating and playing at ball on a 
 frozen canal : the sky is covered with dark snow-clouds. 
 The effect, however, is somewhat impaired by the brown 
 tone of the ground and the buildings. Of the many fine 
 worJis by this master which are in England, I shall only 
 ' [This picture is now assigned to Jacques d'Arthois.l
 
 Chap. VL VAN GO YEN — S. RUYSDAEL. 4t)7 
 
 cite, in conclusion, the largest picture that I know by him, 
 and in his late manner — an admirable moonlight-piece, be- 
 longing to Lord Shaftesbury, in London ; a winter- piece, of 
 rare clearness and delicacy, [once] in the collection of Mr. 
 Munro ; [and six moonlight scenes, in the collection of Sir R. 
 Wallace in London.] 
 
 Jan van Goyen, born at Leyden 1596, died at the Hague 
 [1656]. After having studied the art under various artists 
 of no great repute, he undertook, while still quite young, a 
 tour through France, after which he received instruction 
 from Esaias van de Velde. His feeling for the scenery of 
 his native land was marked by extraordinary truth of nature, 
 and his drawing was admirable ; but he was a feeble colourist, 
 and the gi-eater number of his works are rendered unattrac- 
 tive by a general tone of pale and insipid green. The 
 wonderful lightness of his touch frequently betrayed him, 
 moreover, into hasty and sketchy handling. Water, the 
 prevailing element in Dutch scenery, is a prominent feature 
 in his pictures, the best of which are remarkable for decided 
 lighting and lively colouring. We have an example of this 
 kind in the Louvre, No. 181, dated 1653, representing a 
 village on the banks of a canal, to which a sailing-boat and 
 a cart, with figures and cattle, give animation. Another of 
 his best works is a view of the Roman Castle, now in ruins, 
 of Valkenhof, with part of the town of Nymwegen, in the 
 Amsterdam Museum, No. 407. I may also add No. 405 in 
 the same collection, representing a Dutch canal with ship- 
 ping, near which are houses; dated 1645. Its defect con- 
 sists in the heavy brown tone of the water. This master, 
 who, as the first introducer of that mode of treating the 
 beauties of Dutch nature, which the greatest landscape- 
 painters of the school afterwards adopted, has a great signi- 
 ficance in the history of this school, may be also seen in the 
 National Gallery, which possesses a good picture by him. 
 No. 137, but not so remarkable a specimen as those mentioned 
 above. ^ [An early Van Goyen is that of the Berlin Museum, 
 dated 1621 ; a late one that noted by Van Eynden, dated 
 1664, with figures by Jan Steen, Van Goyen's son-in-law.] 
 ' [This picture is no longer exhibited in the National Gallery.]
 
 468 THE DUTCH REVIVAL. Book V. 
 
 Solomon Ruysdael, born at Haarlem [about 1610, entered 
 the Guild of Haarlem in 1623, and died in 1670.]^ He was 
 a scholar of Jan van Goyen, and much resembles him in his 
 peculiar merits and defects. His compositions, however, 
 which chiefly consist of canals, bordered with houses and 
 trees, the latter usually willows, are more monotonous, and 
 his foliage more indistinct and woolly. Sometimes, but 
 rarely, he approached his celebrated brother, Jacob Ruys- 
 dael, in force of coloui-ing ; as, for instance, in an admirable 
 picture in the Munich Gallery, Cabinets, No. 542. Two 
 very meritorious works, Nos. 914 and 957, the last signed 
 Avith his name, and dated 1642, are in the Berlin Museum; 
 and [two], very striking in their composition, in the Dresden 
 Gallery, Nos. 1392, 1393: the first dated 1633. 
 
 [Companion to Solomon is his brother Izaack Euysdael, 
 noted in Van der Willigen's records as a picture-dealer; 
 living at Haarlem in 1642, died there in 1677. Biirger and 
 Bode have both given reasons for placing Izaack amongst the 
 landscape painters of Haarlem, the latter especially having 
 noted pictures with the monograms I. R. and I. v. R., or with 
 the name I. v. Ruysdael, in continental galleries. I quote as 
 examples a small landscape, signed, I. R., in the Frankfort 
 Gallery, and a landscape. No. 430, " I. v. Ruysdael, '^ in the 
 Academy at Vienna,^ and I think we may assign to him a 
 wooded landscape, No. 704, signed I. R., in the gallery of 
 Brunswick.] 
 
 Aldeet van Ea'ermngen, born at Alkmaar 1621, [lived at 
 Haarlem from 1645 to 1651, and died at Amsterdam in 
 1675.]* He was the scholar of Roelandt Savery* and Peter 
 Molyn ; when he represents Dutch nature, however, he 
 resembles far more nearly the style of conception proper to 
 Jan van Goyen, while he far surpasses him in force of tone 
 and energy of execution. Being di'iven, on the occasion of 
 a sea-voyage he undertook, upon the coast of Norway, he 
 made numerous studies from nature, from which he after- 
 
 ' [Van der Willigen, ' Les Artistes,' 254-5.] 
 
 - [Burger, ' Gaz. des Beaux Arts,' 1869, and Bode, 'Die. Kiinstler von 
 Haarlem,' iu 'Zeitsch. f. b. Kunst.' p. 170.] 
 ^ [Van der Willigen, 'Les Artistes,' p. 1-27-8.] 
 * [This is very doubtful, since lloelandt Savery died in 1639.J
 
 Chap. VI. VAN EVERDINGEN. 469 
 
 wards executed those pictures of rocky masses, with lofty 
 fir-trees in the foreground, and dark sheets of water or 
 impetuous waterfalls, bj' which he is principally known. 
 Sometimes, too, but seldom, he painted storms at sea. His 
 always truthful pictures have generally a poetic character ; 
 the skies are uncommonly clear, the rest of the colouring has 
 much force, though sometimes of a monotonous and heavy 
 brown tone. His treatment is unusually spirited in charac- 
 ter. Works by him vary much in value. A wooded hill, 
 with houses and water, No. 351 in the State Museum at 
 Amsterdam, deserves to rank as one of his finest pictures, 
 A scene with high rocks, and a river running through, which 
 turns a mill, No. IGl in the Louvre, has much grandeur of 
 character : the greens are peculiarly forcible and deep, the 
 lighting warm, and the handling solid. The clouds alone 
 have something untruthful about them." In the Munich 
 Gallery, No. 566, is a waterfall dashing down a narrow 
 ravine overgrown with fir-trees; signed with the master's 
 name, and dated 1650. This is admirably composed, and 
 broad and masterly in treatment. A picture of similar sub- 
 ject, and, owing to its size, 5 ft. 5 in. high, by 4 ft. 9 in. 
 wide, still more imposing in character, is in the Berlin Museum, 
 No. 852. In England a Norwegian landscape, in the collec 
 tion of Lord Listowel, may be considered his most important 
 work. In design, size, truth, force, and freshness of tone, 
 it is one of his chefs-d'oeuvre. 
 
 But this master displays far more varied talent in his 
 numerous etchings, 106 of which, representing land and sea 
 views, are known.^ Such was his skill in this branch of art 
 that his somewhat coarse, spirited, and firm point enables 
 him to exhibit in these plates the same truth of nature, and 
 the same fresh, powerful, and warm efi'ect, which render his 
 best pictures so attractive. His waterfalls, however, are 
 rather woolly in character. The fifty-seven plates, also, that 
 illustrate the poem of ' Reineke Fuchs,' show much power of 
 invention in a difierent department, and a happy vein of 
 humour. In the human figure, however, he is weak in 
 
 ' Besides the 103 aescribed by Bartsch there are three in the collea- 
 tion of engravings in the British Museum.
 
 470 THE DUTCH REVIVAL. Book V. 
 
 drawing, which more especially appears in two mezzotinto 
 plates by him. One of these, representing Yenus and Cupid, 
 is most unsatisfactory. It is interesting to compare these 
 etchings from ' Keineke Fuchs ' with the original drawings, 
 executed in a broad, firm style, and with much force and 
 warmth of effect, on brownish-yellow paper, now in the col- 
 lection of engravings in the British Museum. In addition to 
 these, the Museum contains a rich series of landscapes and 
 one sea-piece, executed by the master, in sepia, bistre, and 
 Indian ink, so that in no place shall we meet with better 
 opportunities for a thorough study of him. 
 
 Jacob Ritysdael, born at Haarlem 1625 ('?),^ [was the son 
 of Izack Ruysdael, and entered the Haarlem Guild in 1648. 
 In 1668 we find him at Amsterdam, witness to the marriage 
 of Hobbema. Unmarried himself, he supported the old age 
 of his father with exemplary piety. In the prime of his 
 own manhood he, too, fell into poverty and died, 1682, an 
 inmate of the Haarlem Almshouse.]^ Although it is not 
 known who his master was, it is highly probable that he 
 studied under his [father]. Jacob Ruysdael is, beyond all 
 dispute, the greatest of the Dutch landscape painters. In 
 the works of no other do we find that feeling for the poetry 
 of Northern nature and perfection of representation united 
 in the same degree. "With admirable drawing he combined 
 a knowledge of chiaroscuro in its most multifarious aspects, 
 a colouring pow'erful and w'arm, and a mastery of the brush 
 which, while never too smooth in surface, ranges from the 
 tenderest and most minute touch to the broadest, freest, and 
 most marrowy execution. The prevailing tone of his colour- 
 ing is a full, decided green. Unfortunately, however, many 
 of his pictures have, in the course of years, acquired a heavy 
 brown tone, and thus forfeited their highest charm. Many 
 also were originally painted in a greyish but clear tone. He 
 generally presents us with the flat and homely scenery of 
 his native country under the conditions of repose ; while the 
 
 1 [As a picture and an etching exist by Ruysdael, dated 1646, the date 
 of his birth we have assumed above must ob^■iously appear nearer the 
 truth than that of 1635, hitherto arbitrarily asserted.] 
 
 -' [Van der Willigen, ' Les Artistes,' pp. 256 and following.]
 
 Cihap.TI. J. RUYSDAEL. 4-71 
 
 usually heavy clouded sky, which tells either of a shower 
 just past or of one impending, and dark sheets of water 
 overshadowed by trees, impart a melancholy character to 
 his pictures. Especially does he delight in representing a 
 wide expanse of land or water. If the former, the scene is 
 frequently taken from some elevation in the surrounding 
 country, commanding a view of his native city, Haarlem, 
 which is seen breaking the line of the horizon with its spu-es. 
 In pictures of this kind we plainly recognise the influence 
 which Kembrandt, the great head of the whole Dutch school,, 
 exercised over Kuysdael. Between these and his sea-pieces a 
 connecting-link is formed by his view of the coast of Sche- 
 veningen, with the waves breaking on the shore, and a dark 
 sky threatening a tempest overhead. His sea-pieces, properly 
 speaking, are few, and, unlike those by William van de Velde, 
 never represent the ocean in perfect repose, or beneath a. 
 serene sky, but are always charact3rised by cloudy heavens, 
 and by an agitated and sometimes raging sea. Under every 
 condition, the movement and fluidity of the waves is repre- 
 sented with singular truthfulness. Taken altogether, his- 
 wide expanses of sky, earth, or sea, with their tender grada- 
 tions of aerial perspective, diversified here and there by 
 alternations of sunshine and shadow, may be said to attract 
 us as much by the deep pathos as well as picturesqueness of 
 their character. On the other hand, we often find the great 
 master taking pleasure in the representation of hilly and even 
 mountainous districts with foaming waterfalls, in which he 
 has won some of his greatest triumphs ; or he gives us a 
 bare pile of rock, with a dark lake at its base ; but these 
 latter subjects, which embody the feeling of the most elevated 
 melancholy, occur very rarely. In his drawing of men and 
 animals he was weak, and occasionally obtained the assist- 
 ance of other masters, especially of A. van de Velde and 
 Berchem. As he seldom dated his pictures, and early 
 attained his full development, we find a difficulty in deter- 
 mining the order in which they were painted. His earlier 
 works, however, may be identified by the extraordinary 
 minuteness with which all objects — trees, plants, and ever^r 
 diversity in the soil — are represented ; by a decision of form
 
 472 THE DUTCH REVIVAL. Book V. 
 
 bordering on hardness, and by less freedom of handling and 
 delicacy of aerial perspective. The following are illustra- 
 tions of this period in public galleries : — A hill partially 
 ■wooded, with two peasants' cottages, and a quiet stream, in 
 the Berlin Museum, No. 885. A wooded landscape, with the 
 ruins of a convent, in the Dresden Gallery, No. 1553. Very 
 similar in character is a wood illumined by a sunbeam; and 
 a high-road with a traveller and three dogs, in the Louvre, 
 No. 472. The fine examples of his more perfect manner 
 are so numerous that I can only quote a few which illus- 
 trate his different classes of subjects. At the Museum of 
 the Hague, No. 124, is one of his wide expanses — a view of 
 the country around Haarlem, the town itself looking small 
 on the horizon, and seen from the direction of Overveen ; 
 in the foreground a bleaching-ground ; and some houses, 
 reminding us, by the manner with which they are intro- 
 duced, of Hobbema. The prevailing tone is cool, the sky 
 singularly beautiful, and the execution Avonderfully delicate. 
 A flat country, with a road leading to a village, and fields 
 with wheatsheaves, is in the Dresden Gallery, No. 1554. 
 This is temperate in colouring, and beautifully lighted. 
 Equally fine is an extensive view over a hilly but bare 
 country, through which a river runs ; in the Louvre, No. 
 473. The horseman and beggar on a bridge are by Wouver- 
 mans : here the grey-greenish harmony of the keeping is 
 in fine accordance with the poetic grandeur of the concep- 
 tion. A hill covered with oak woods, with a peasant 
 hastening to a hut to escape the gathering shower, is in the 
 Munich Grillery, Cabinets, No. 545. The golden warmth of 
 the trees and ground, and the contrast between the deep, 
 clear chiaroscuro and soft rain-clouds, and the bright gleam 
 of sunshine, render this picture one of the finest by this 
 master. Although in a private collection, I must not pass 
 over the finest specimen, both as regards size and excel- 
 lence, of Ruysdael's distant views, namely, the picture in 
 the possession of Mr. Sanderson in London; nor a small 
 picture, in which all his fine qualities are united, in the 
 collection of Mr. Holford. Of the difierent Scheveningen 
 coast-scenes, I may name a specimen at the Hague, No.
 
 Chap. VI. J. EUYSDAEL. 473 
 
 123, which is powerful in effect, and remarkable for its 
 gathering, heavy clouds, and dim and broken light upon the 
 water and shipping. But the most beautiful picture of the 
 class with which I am familiar is in [the late] Lord CarUsle's 
 collection in London. This is more clear and true through- 
 out than the former, and of a breadth and softness of touch 
 which only belongs to this master's best works. The pecu- 
 liar charm which is seen in Holland by the combination of 
 lofty woods and calm water is fully represented in the fol- 
 lowing works : — The Chase, in the Dresden Gallery, No. 
 1546, consisting of a beech wood, with a wooded plain seen 
 through the trunks of trees. Here in the calm water in the 
 foreground — through which a stag-hunt, by Adrian van de 
 Velde, is passing — clouds, warm with morning sunhght, appear 
 reflected. In this picture, remarkable as it is for size, being 
 3 ft. 10|- in. high by 5 ft. 2 in. wide, the sense even of the 
 fresh morning is not without a tinge of gentle melancholy. 
 The broken reflections in the water, also, are incomparable, 
 the general tone unusually warm, and the treatment broad 
 and free. A noble wood of oaks, beeches, and elms, about 
 the size o£ the last-mentioned picture, is in the Louvre, No. 
 470. In the centre, through an opening in the woods, are 
 seen distant hills. The cattle and figures upon a flooded 
 road are by Berchem. In power, warmth, and treatment 
 this is also nearly allied to the preceding work, though less 
 clear in parts, and a little disturbed in its keeping by the too 
 glowing tone of the figures. A still larger picture, and of 
 equal mastery, is in Worcester College, Oxford ; it represents 
 a mighty oak and other trees, which mu-ror themselves in- 
 distinctly in a dark pool in the foreground, covered with 
 aquatic plants. A sunbeam lights up a corn-field and one 
 cloud, while others are dark with rain. A fourth picture, 
 worthy to be classed with the foregoing, is No. 1234 in the 
 new State Museum at Amsterdam. This also represents a 
 wood, while in the foreground a small waterfall, painted with 
 wonderful skill, renders it a connecting-link with the next 
 class of his subjects. The sky is bluer here than usual ; the 
 effect of light upon the wood is splendid; the treatment, 
 both in breadth and transparency, almost superior to those
 
 474 THE DUTCH EEVIVAL. Buuk V 
 
 we have just described. ^ Of his waterfalls in public galleries, 
 the most remarkable are — a picture in the Hague Museum, 
 No. 122, which is particularly striking for its warm lighting 
 and careful execution. Another, with the Castle Bentheim, 
 so often repeated by Euysdael, is in the Amsterdam Museum, 
 No. 1228: the cooUighting here is wonderfully harmonious. 
 In the same collection, No. 1227, is a landscape, with rocks, 
 wood, and a lai-ge waterfall. This has a grandly poetic 
 character, which, with the bi'oad and solid handling, plainly 
 shows the influence of Everdingen. The same remark may 
 be applied to the waterfall, No. 547, in the Munich Gallery. 
 Here the dark, rainy sky enhances the sublime impression 
 made by the foaming torrent that rushes down the rocky 
 masses. Another work worthy to rank with the foregoing 
 is the Jewish Cemetery, in the Dresden Gallery, No. 1547, 
 Bee woodcut : a palhd sunbeam lights up some of the tomb- 
 stones, between which a torrent impetuously flows. The 
 profound melancholy of this scene can be conveyed by no 
 description. Two waterfalls in the Brunswick Gallery [and 
 three in the National Gallery, Nos. 628-737 and No. 855], 
 belong to Ruysdael's best productions of this class. I pro- 
 ceed now to the few sea-pieces, properly so called, by the 
 master. A slightly agitated sea with vessels of dilierent sizes, 
 and dark rain-clouds overshadowing, through which a ray of 
 sunshine struggles in faint gleams on the water ; a town in 
 the background ; in the Museum at Berlin, No. 884. The 
 gloomy character of this scene is admirable ; and the sky, in 
 the truth, softness, and moisture of the clouds, one of the 
 finest the master ever executed. A Storm, in the Louvre, 
 No. 471. Here the sunbeams falling through grey and 
 heavy clouds illumine the breakers that dash against the 
 boarding which protects a fisherman's cottage, and also 
 light up other portions of the raging element both in the 
 middle and background of the picture. The awfully poetic 
 character of a subject like this is here united with the most 
 striking efiect, and the rarest breadth and softness of exe- 
 cution. But this picture even is surpassed in sublimity, as 
 
 ' [The blue tinge in this wonderful piece is caused by injudicious 
 cleaning and removal of glazings.]
 
 p 
 
 w 
 
 f- 
 
 o 
 
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 Chap. VI. MEINDERT HOBBEMA. 475 
 
 well as equalled in every other respect, by a Storm, in the 
 collection of the Marquis of Lansdowne at Bowood. And, 
 while Ruysdael, in his sea-pieces, excels every other painter 
 of marine subjects, his only architectural piece transmitted 
 to us, viz., the view of the interior of the New Church at 
 Amsterdam, in the collection of the Marquis of Bute, shows 
 him as equally superior to all painters of architecture. 
 Here, both aerial and linear perspective are admirably ob- 
 served, and the cool clear chiaroscuro incomparable. The 
 figures are by "Wouverman. We need scarcely observe that 
 the union of so many characteristics congenial to the taste of 
 the English has led to a large number of Ruysdael's works 
 being imported into England. [There are twelve specimens 
 of Ruysdael art in the National Gallery.] In my ' Treasures ' 
 I have enumerated 130, and will only now remark, that this 
 large amount includes pictures of the greatest beauty, illus- 
 trative of his different styles, in the collections of Lord 
 Ashburton, Mr. Baring, Mr. Wynne Ellis, Mr. Fountaine 
 (Narford Hall), the Marquis of Bute, Mr. Field, Lord Over- 
 stone, Mr. Foster, Lord Burlington, Sir H. Hume Campbell, 
 and in the Bridgewater Gallery. Ruysdael also executed 
 seven etchings in a spirited and original manner, with a 
 dexterous point.^ 
 
 Meindert Hobbema [was born in 1638, married in 16G8, 
 and died in poverty, at Amsterdam, in 1709. His works, 
 neglected during his lifetime, now fetch much more than 
 their weight in gold, and it is not rare to pay for one of 
 them the sum of £4,000.]^ Hobbema was a contemporary 
 of Jacob Ruysdael, and it is not improbable that he was a 
 scholar of Solomon Ruysdael. The fact that such distin- 
 guished painters as Adrian van de Velde, Philips Wouver- 
 man, Berchem, and Lingelbach, executed the figures and 
 animals in his pictures — Hobbema himself not having sutfi- 
 
 ' [A second Jacob Ruysdael, master in the Haarlem Guild in 1664, 
 died at Haarlem in 1681, is distinguished from his namesake and cousm, 
 the great J. Ruysdael, in the records of Van der Willigen ; but of 
 him we only know that he was a painter, without knowing his pictures. 
 See'Les Artistes,' p. 259.] . , . -r. , 
 
 - [Scheltema (Dr. P.), Amstel's ' Oudheit,' 1863, or Charles de Brou s 
 translation annotated by Biirger, Svo., Paris, 1864.]
 
 476 THE DUTCH REVIVAL. Book V. 
 
 ■cient aptitude — proves the esteem in which he was held by 
 contemporary masters ; nevertheless it is evident that the 
 public was slow in conceding to him the rank which he 
 deserved, for his name is not found for more than a century 
 after his death in any even of the most elaborate dictionaries 
 of art, while the catalogues of the most important picture- 
 sales in Holland make no mention of him at all up to the 
 year 1739, when a picture by him, although much extolled, 
 was sold for only 71 florins, and even in 1768 one of his 
 masterpieces only fetched 300 florins. The English must 
 have been the first to acknowledge the high merit of this 
 master ; for I know various works by him which have been 
 in this country for many generations. Indeed, for the last 
 thirty years, he has become the most popular Dutch painter 
 in England, so that nine-tenths of his works are to be found 
 here. 
 
 The peculiar characteristics of this master, who, next to 
 Ruysdael, is confessedly at the head of landscape painters 
 of the Dutch school, will be best appreciated by comparing 
 him with his rival. In two most important qualities — fer- 
 tility of inventive genius and poetry of feeling — he is 
 decidedly inferior to Ruysdael : the range of his subjects 
 being far narrower. His most frequent scenes are villages 
 surrounded by trees, such as are frequently met with in the 
 districts of Guelderland, with winding pathways leading from 
 house to house. A water-mill occasionally forms a promi- 
 nent featm'ei Often, too, he represents a slightly uneven 
 country, diversified by groups or rows of trees, wheat-fields, 
 meadows, and small pools. Sometimes, but rarely, he gives 
 us the view of part of a town, with its gates, canals with 
 sluices, and quays with houses ; still more rarely the ruius 
 of an old castle, with an extensive view of a flat country, or 
 some stately residence. In the composition of all these 
 pictures, however, we do not find that elevated and pictur- 
 esque taste which characterises Ruysdael ; on the contrary, 
 they have a thoroughly portrait-like appearance, decidedly 
 prosaic, but always surprisingly truthful. Nor are his lights 
 and shadows distributed in such large masses ; his more 
 isolated lights being therefore more striking in efi'ect. Tu
 
 Chap. VI. MEINDERT HOBBEMA. 477 
 
 the clearness of his aerial perspective also, and in the clouds 
 ■which far more sparingly cover his skies, and, being illumined 
 by the sun, have often a silvery tone, he surpasses his rival. 
 The greater number of Hobbema's pictures are as much 
 characterised by a warm and golden tone as those of Ruys- 
 dael by the reverse; his greens being, in such cases, yel- 
 lowish in the lights and brownish in the shadows — both of 
 singular transparency. In pictures of this kind the influence 
 of Rembrandt is very evident ; and while they equal those 
 of the great master in force and depth of luminous tone, 
 they are superior in brilliancy of effect to any work by 
 Ruysdael, While these works chiefly present us with the 
 season of harvest and sunset-light, there are others in a cool 
 'silvery, morning lighting, and with the bright green of 
 spring, that surpass Ruysdael's in clearness. His woods, 
 also, owing to the various lights that fall on them, are of 
 greater transparency. As regards freedom of the brush 
 both masters rank equally high, while in soHdity of impasto 
 Hobbema stands first. If, too, we compare their trees, we 
 find that, while Hobbema's are less lofty and noble in cha- 
 racter than those in some of Ruysdael's works, the different 
 kinds are in form and colour more clearly defined ; in the 
 pale tone of the willow, for instance : his pictures, conse- 
 quently, have more variety of tone. Lastly, single trees 
 are, both in their branches and foliage, more individualized. 
 Amongst Hobbema's works, however, we find many which 
 have contracted a heavy brown tone, and thus have, in a 
 great measure, lost their original charm. As almost all the 
 galleries on the Continent were formed at a period when the 
 works of Hobbema were little prized, they either possess no 
 specimens, or some of an inferior class, so that no adequate 
 idea can be formed of him. The most characteristic example 
 to be met with on the Continent is an oak-wood, with scat- 
 tered lights, a calm piece of water in the foreground, and a 
 sun-lit village in the distance, in the Berlin Museum, No. 
 886. [But there are also two specimens of this master, Nos. 
 86 and 87, in the Museum of Rotterdam. In England we 
 have access, in the National Gallery, to some excellent 
 specimens of the master, conspicuous amongst which is No. 
 
 38
 
 478 THE DUTCH REVIVAL. Eook V. 
 
 830, " The Avenue, Middelharnis." Fine likewise is No. 
 
 831, ** Ruins of Brederode Castle," dated 1667. Smaller, 
 but hardly less interesting, are No. 685, a landscape in 
 showery weather ; No. 832, a village with water-mills ; and 
 No. 833, a forest scene.] Some of Hobbema's most beau- 
 tiful works in England are in the hands of lovers of art 
 cUstinguished for their courtesy. One of these is a landscape 
 belonging to [Sir R. Wallace, now in London], which, 
 combining all the master's best qualities, may be classed 
 amongst his most admirable works. It is signed, and dated 
 1663. Nor is a picture in the possession of Mr. Holford, 
 which, fi'om its similarity in size, signature, subject, and 
 treatment, may be called a companion to the foregoing, less 
 distinguished in merit : £3,000 was paid for it. Lord North- 
 brook's gallery also contains a good specimen of Hobbema's 
 warmly lighted village- houses and trees. And a still better 
 example, signed and dated 1667, once belonged to Mr. Field. 
 A water-mill of singular clearness, and a landscape of the 
 most luminous chiaroscuro, are Nos. 995-6 in the National 
 Gallery ; [a water-mill, a wood, a landscape, and a woody 
 lane, are highly attractive pieces, in the collection of Sir E. 
 Wallace in London.] But the most celebrated picture of a 
 mill, formerly in the Von Sasseghem collection at Ghent, is 
 [that which passed from the Patureau collection into that of 
 Mr. de Morny, in Paris, and thence into other hands. It 
 was sold at the Patureau sale for £4,000], and is fully entitled 
 to its reputation, for its energetic eflect in the clearest, most 
 golden tone, for the truthfulness of the reflections, and for 
 its masterly execution in a solid impasto. Another picture 
 of the same subject, in which the miU is less prominent, with 
 houses, trees, and fields with sheaves of corn, and a village 
 in the distance, [is in the collection of Lord Overstone, and] 
 belongs also to his chefs-d'oeuvre. There is a peculiar charm 
 in the contrast between the dark foreground and the sun- 
 Ughted distance. 
 
 I proceed to treat of some inferior painters, who, partly 
 as scholars, partly as imitators, followed the style of the 
 Ruysdaels, and in many cases that of Hobbema also. 
 
 [Solomon Rombouts, who died at Haarlem before 1702,
 
 Chap. VI. BE VRIES — JAN LOOTEN. 479 
 
 shows himself a follower of Solomon Ruysdael; ex. gr., in 
 two or three pictures, a winter landscape, in the Gallery of 
 Hamburg, a seashore view, in the Leipzig Museum, and two 
 landscapes, in the Gallery of Schleissheim, the last under the 
 false names of S. Ruysdael and Theodor Rombouts.]^ 
 
 [I. V. RoMBOUTS paints the same subjects as Solomon, and 
 is probably related to him.] He painted in Friesland about 
 the year 1660, and so well succeeded in imitating the style 
 both of Ruysdael and Hobbema that, by obliterating his 
 name, his pictures are often made to pass for theirs. How- 
 ever, he has less taste in composition than the first, less 
 warmth and power of colouring than the second, and a less 
 spirited touch than either. There is a wooded landscape by 
 him, and signed with his name, with a large oak-tree in the 
 foreground, remarkable for its truth of nature ; in the Berlin 
 Museum, No. 888a. [Another, in the Stiidel at Frankfort, 
 No. 439, representing a park, is signed ; yet another, with 
 the monogram and the date 1659, is a Dutch village. No. 
 1395, in the Gallery of Dresden; yet another is in the 
 Museum at Brunswick.] 
 
 [CoRNELis Decher (not Conrad D.), is noted in Van der 
 Willigen's records as a pupil of Solomon Ruysdael, and he 
 appears on the register of the Guild at Haarlem in 1643. 
 His death in poor circumstances occurred in 1678, at 
 Haarlem.] His favourite subjects are peasants' cottages, 
 surrounded by trees, and generally with water near them ; 
 and these he executed with great clearness and minutite of 
 detail. His pictures were sometimes supplied with figures 
 by A. van de Velde and Adrian Ostade. Sometimes he 
 approaches Ruysdael, but at the beet his skill is defective in 
 rendering atmosphere ; and his tones are heavy. [Two 
 landscapes, dated 1666, are in the Haussmann collection at 
 Hanover, No, 126, and in the Museum of Copenhagen, No. 153; 
 a third is (No. 48) in the Museum of Rotterdam.] Two dull- 
 toned pieces are in the Louvre, Nos. 113 and 114. A picture 
 at Munich, Cabinets, No. 560, with figures by A. van Ostade, 
 is distinguished by its warmth and clearness of colouring. 
 
 ' [SeeYnn der WilHgen, 'Les Artistes,' p. 252, and Bode's 'Kiinstler 
 von Haarlem,' in Zeitsch. f. b. Kunst., vii. p. 173.]
 
 480 THE DUTCH EEVIVAL. Book V 
 
 [R. (] Roelof) de Vries] ^ flourished between 1643 and 
 1669 at Haarlem, and painted landscapes, in which buildings 
 .-are generally prominent. Although he frequently approaches 
 Kuysdael, he is less powerful in colouring, and his execution 
 is paltry. In the Antwerp Museum, No. 350, is a wooded 
 landscape and farmyard by him, signed with his name.^ 
 [Three landscapes are in the Stadel at Frankfort, one in 
 the Lichtenstein collection, another in the Czernin Gallery 
 at Vienna. Yet another in the Amsterdam Museum.] 
 
 Abraham Verboom, a contemporary of the two masters, 
 last named, was an imitator of Euysdael, but shows also the 
 influence of Waterloo. His favourite subjects were woods ; 
 his trees are well understood, his aerial perspective good, 
 and bis execution skilful, though in his large pictures often 
 bordering upon the merely decorative. At the same time he 
 is somewhat heavy in colouring, and far less harmonious in 
 general eSect than Euysdael. A grand picture, of a forest 
 with a small stream, is in the Amsterdam Museum, No. 1530, 
 signed, " A. H. V. Boom [fecit], A. 1653." Two smaller 
 works, also of much merit, one a village surrounded by trees, 
 signed, " A. v. Boom," the other an oak-wood, are in the 
 Dresden Gallery, Nos. 1560 and 1561. [Another is in the 
 Stadel Gallery, an evening landscape wdth figures by 
 Lingelbach ; tw'o are in the Gallery of Copenhagen ; one, a 
 landscape, dated 1657, No. 222, is in the Rotterdam Museum.] 
 The best picture by him in England I know is a wooded hill, 
 with figures by A. van de Velde, in the collection of Mr 
 
 Baring. 
 
 [Jan van Kessel, who is not to be confounded with the 
 Kessels of Antwerp, was born at Amsterdam in 1648, and 
 died there 1698.] He also belongs to the skilful imitators of 
 Ruysdael. In feeling and clearness of colouring he comes 
 nearer to him than the generality of the class. I know no 
 
 1 [If R. de Vries — tbe signature on de Vries' pictures — should give 
 " Roelof de Vries," we have a painter of this name in the Guild of 
 Haarlem. One of de Vries' pictures, in the Stadel at Frankfort, is dated 
 1643. So that he is a contemporary or precursor, not a follower, of 
 Ruysdael. See van der Willigen, ' Les Artistes,' p. 38.] 
 
 * [I cannot find this picture at Antwerp.]
 
 Chap. VI. LOOTEN — DUBOIS— VAN DER HAGEN. 481 
 
 work by him in public galleries ; ^ but in the Northbrook col- 
 lection there is a good landscape, with a dark sheet of water 
 in the foreground, and a sunny light in the middle distance. 
 
 Jan Looten died in England, where he had long resided, 
 in [1680?] He usually painted rocky scenes, but sometimes 
 also woods and English parks. He shows much taste in 
 composition, his well-drawn trees are true to nature, and his 
 execution, in various styles, very careful. At the same time 
 he much detracts from the effect of his pictures by an inky 
 and heavy colom-ing. I know no gallery which possesses a 
 picture by him, except that of Berlin, No. 941 — a wooded 
 landscape of considerable size, with a stag-hunt, seen be- 
 tween hills covered with stately oaks. This picture is signed 
 "Jan Looten, 1659."=' 
 
 [GuiLLAM (not Cornelis) Dubois, registered in the GuUd 
 of Haarlem in 1646, died at Haarlem in 1680.^ His journey 
 through the Rhine provinces with Vincent Laurensz Van 
 der Vinne, in 1652-3, gave him subjects for numerous pic- 
 tures,* which are still to be seen in continental galleries. His 
 manner is a mixture of that of Ruysdael and Everdingen. An 
 example is a forest scene, dated 1649, under the name of 
 Verboom, No. 705 in the gallery of Brunswick ; another 
 may be seen in the Czernin Collection at Vienna. Yet 
 another — a village on the sea-shore — in the gallery of Baron 
 Speck von Sternburg at Liitschena, near Leipzig. A stream 
 in a wooded country. No. 1038 of the Berlin Museum, is a 
 characteristic picture of the master, signed, G. d. Bois.] 
 
 JoEis VAN DER Hagen, [Practice 1640-69J. As a painter he 
 is more independent than the above-mentioned, though he, too, 
 betrays the strong influence of Ruysdael. His subjects are 
 generally chosen from a high point of sight, being views of 
 country with a river running through, and with houses and 
 
 ' [There is a very fine forest scene by Van Kessel. No. 748 in the 
 Museum of Amsterdam, and a view of the environs of Haarlem, No. 99 
 in the Museum of Rotterdam.] 
 
 - [There are two landscapes by Jan Looten — one of them dated 1656, 
 in the gallery of Copenhagen ; one dated 1658, representing sportsmen 
 in a wood, is No. 115 in the Museum of Rotterdam.] , 
 
 3 [Van der Willigen, 'Les Artistes,' p. 84.] 
 
 « lb. ib., pp. 314-316.]
 
 482 THE DUTCH REVIVAL. Book'V. 
 
 trees on its banks, and men and animals giving animation 
 to the scene ; sometimes, too, he represents mountains or 
 hilly and richly-wooded landscapes. His pictures have the 
 merit of great truthfulness in all their details ; their great 
 fault is that of dark and heavy colouring. His very care- 
 ful execution often leads to a certain hardness, and degene- 
 rates at times into too great minuteness. The best picture 
 that I know by him is in the new Town-hall at Amsterdam, 
 No. 39. This is a hilly landscape, with men and animals, 
 and the felled trunk of a tree lying in the foreground ; it is 
 expressive in composition, good in chiaroscuro, clear and 
 warm in colouring, and with a certain breadth of handling. 
 The next in merit is in the Amsterdam Museum, No. 133, a 
 view over canals, of the class above described. Two pic- 
 tures belonging to the same department, in the Louvre, Nos. 
 188 and 189, may be classed among his best works. 
 
 Hermann Saftleven, born at Kotterdam 1609, died at 
 Utrecht 1685. This j^ainter occupies an entirely indepen- 
 dent position. Although a scholar of Jan van Goyen, he 
 took quite a difierent direction. His subjects were generally 
 views of the Rhine, and occasionally of the Moselle, diversi- 
 fied with boats and figures, and on a small scale. These are 
 often fortunate as to the point of view, and have all the 
 charm of good drawing and careful execution. Considering 
 the period in which this painter lived, his works have some- 
 thing old-fashioned ; arising from a hardness of objects in 
 the foreground, and a too dark blue in the distance. Owing 
 to a degree of uniformity in his pictures, it will not be 
 necessary to give many examples of them. One Rhine view 
 especially, distinguished by its genuine feehng for nature, 
 the airiness of the distance, and tender execution, is in the 
 Louvre, No. 583. Three others, similar in character, one of 
 which, No. 1266,isdatedl678,areinthe AmsterdamMuseum. 
 His largest pictures in this style known to me are [those 
 which formerly were] in the gallery of Count Schonborn at 
 Pommersfelden, near Bamberg. He does not appear, how- 
 ever, to advantage in them. In his etchings, executed be- 
 tween the years 1G40 and 1669, of which Bartsch enumerates 
 thirty-six, Saftleven proves himself a first-rate artist. His
 
 Chap. VI. JAN GRIFFIER — JAN HACKAERT, 483 
 
 landscapes here are not only more varied in invention than 
 his pictures, but display an admirable delicacy of gradation 
 and a tenderness of handling, in which he is unrivalled. No. 
 12, a river dotted with boats, and with rocky banks, is 
 especially beautiful ; No. 18, a distant view, is marvellously 
 rich and tender ; No. 22, Spring, of the utmost freshness. 
 And of Nos. 27, 28, 30, we may affirm that they belong to 
 the most beautiful etchings of the whole Dutch school. In 
 conception and handling they remind us of Jan Both, while 
 No. 29, which represents a gateway in Utrecht, shows in 
 energy and sunny effect much affinity to A. Cuyp. An 
 extensive view of the town of Utrecht, in three compart- 
 ments, No. 35, is an admirable work. In a series of ten 
 plates, which from their dashing style would appear to have 
 been done in his earlier manner, we find a healthy, though 
 homely, humour. No, 1, a likeness of himself, proves that 
 he was a skilful portrait painter, much akin in feeling to Van 
 der Heist. Lastly, he was very successful in animals, as is 
 proved by No. 33, which represents two elephants. 
 
 Jan Geiffikr, born 1656, and still living in 1720, is sup- 
 posed to have been the scholar of Roland Rogman and PhiUp 
 Wouvermans ; but he invariably imitated in his landscapes 
 the style of Hermann Saftleven, from whom, however, he is 
 easily distinguishable by his less energetic tone and less solid 
 execution. But his best works attract us by their pic- 
 turesque subjects, tender execution, and numerous details. 
 
 The Amsterdam Museum has a pretty example of him, 
 No. 416. Of his [fifteen] pictures in the Dresden Gallery, 
 Kos. 1741 and 1742 deserve special notice. Two pictures in 
 the Berlin Museum, Nos. 1013 and 1014, also belong to his 
 best works. [Both these pictures are now withdrawn.] 
 
 Jan Hackaert, born 1636 (?), [died 1699], forms a con- 
 necting link between those landscape painters who represent 
 northern and those who represent southern scenery. We do 
 not know who his master was, nor have we any information 
 respecting his career, except that while still young he took 
 a journey, for the purpose of studying his art, into Germany 
 and Switzerland. In some of his landscapes with lofty 
 mountain-ranges we trace the result. Other works by him
 
 484 THE DUTCH REVIVAL. Book V\ 
 
 represent the scenery of his own country. He appears to 
 have been peculiarly struck by the picturesque eflect of the 
 lofty- stemmed woods in the neighbourhood of the Hague, 
 with the sunlight streaming through them. While his moun- 
 tain scenery is' rendered attractive by good drawing, great 
 clearness, and a generally warm colour, and careful execu- 
 tion, his more Dutch pictures display the poetic feeling of 
 breezy woods, and the merit of marvellous truthfulness. 
 His inaptitude in figures was sometimes supplied by A. van. 
 Ostade, sometimes by Jan Lingelbach. Smith's Catalogue 
 partly accounts for the rarity of his pictures by the fact that 
 he executed several large pieces for the decoration of rooms. 
 A good example of his art in the style first mentioned is 
 afforded us by No. 8&2 in the Berlin Museum. A warm sun- 
 set lighting shows us every object reflected in a clear sheet 
 of water ; and in the background are mountains : the men 
 and animals reposing are introduced by A. van de Velde. 
 His second style is admirably illustrated by a row of lofty 
 ashes bordering a clear stream, with figures by A. van do 
 Velde ; in the Amsterdam Museum, No. 429. A road lead- 
 ing by a group of lofty trees, and animated by figures intro- 
 duced by Lingelbach, is in the Dresden Gallery, No. 1578. 
 The Wood near the Hague, with Foresters waiting for the 
 Stadtholder, who is seen approaching in a carriage drawn by, 
 six horses, is in the Munich Gallery, Cabinets, No. ,603. Of, 
 the pictures I know by Hackaert in England, one belonging 
 to the first class is a wooded landscape, in the collection of 
 the Marquis of Bute. A noble specimen of his native sub- 
 jects — the Wood near Haarlem, with a hunting party by 
 Held Stockade — is in Stafford House. [Hunting a Stag, No. 
 829 in the National Gallery, is a more accessible example 
 to the English public] This master also etched six plates 
 m the style of Waterloo, but is far inferior to him ; being 
 indistinct in form, woolly in treatment, and spotty in his 
 shadows. His best efforts are Nos. 5 and 6. 
 
 Babtholom.eus Beeenbeeg, born about 1620, died after 
 1663 (?). Although it is not known who his master was, it 
 is evident that he at first took Poelemberg for his model. 
 Subsequently he resided for some time in Italy, where he
 
 Chap. VI. BREENBERG BOTH, 485- 
 
 fell under the infiuence of Italian painters. Although not 
 unsuccessful in his treatment of historical subjects — of which 
 his Joseph selling Bread during the Famine in Egypt, [dated. 
 1641], in the Dresden Gallery, No. 1500,^ is the best exam- 
 ple — he is especially distinguished by his small landscapes,, 
 which are either views of Roman ruins, or scenes in which 
 these, at all events, form a prominent feature. His attain- 
 ments as an historical painter enabled him to animate his- 
 landscapes with cleverly-executed figures ; for this purpose 
 he selected alternately scenes from Holy Writ, from mytho- 
 logy, or from Boccaccio. Breenberg shows himself in his 
 landscapes to be a refined draughtsman, his aerial perspective 
 is well understood, and his execution solid and tender ; yet. 
 owing to their cold and heavy tone, his works often fail to- 
 produce a favourable efi'ect. One, really striking for clear- 
 ness and good chiaroscuro, is the Finding of Moses, in the- 
 National Gallery, No. 208.^ Six small pictures by him are 
 in the Louvre, Nos. 50-55, which fully display his merits 
 and his defects. There is also a Monk praying in the cave,, 
 in the Munich Gallery, Cabinets, No. 529, which is remark- 
 able for its excellent modelling and clear powerful colouring ;. 
 a landscape, also, with ruins introduced, in the Vienna 
 Gallery, is singularly delicate. This master is one of those' 
 who distinguish themselves far more by their etchings than 
 by their paintings. Of these there are thirty-one undisputed 
 specimens, the greater number of Avhich represent, like his- 
 pictures, landscapes with Roman ruins. A fine and skilful 
 point and tender chiaroscuro are their prominent quaUties. 
 But as compositions they are generally poor, with the 
 exception of No. 15, which is also more than commonly 
 remarkable for its execution. In No. 31, which is a likeness- 
 of himself, he has evidently endeavoured to copy the style 
 of Rembrandt, but not with much success ; the drawing of 
 the mouth is weak, and the touch hard. 
 
 Jan Both, born at Utrecht 1610 (?), died [1652]. He 
 learnt the art from Abraham Bloemart, but, having early 
 
 ' The same compositiou, executed by him in life-size, ia to be found: 
 in the Emmaus Church at Prague, , ,, ^. i 
 
 - [This picture has been withdrawn from the national coilection.J
 
 486 THE DUTCH REVIVAL. Book V. 
 
 accompanied his brother Andreas into Italy, he fell under 
 the influence of Claude, and devoted himself almost exclu- 
 sively to the representation of Italian scenery. This ten- 
 dency is far more marked in him than in any other of the 
 Dutch masters. He deeply felt the beauty of this noble 
 form of nature, and made very careful studies from 
 it : added to this, he was an excellent draughtsman, and 
 ■was peculiarly skilful in rendering that eflfect of golden 
 light and ethereal distance which accompany the Italian 
 sunset. Lastly, a free and solid use of the brush com- 
 "pletes the charm of his pictures, which are often animated 
 with figures of men and animals by his brother Andreas, 
 ■and occasionally by Poelemberg. Jan Both was equally 
 successful in pictures of a very large and a very small 
 scale. But we cannot deny, on the other hand, that his 
 productions are somewhat uninteresting from a certain 
 uniformity in their composition. Generally speaking, they 
 xepresent lofty trees in the foreground, with a range of 
 Iiigh rocky mountains, which rise in steps one behind the 
 •other, stretching out into the distance ; while a Avide plain 
 spreads itself at their feet. Sometimes a waterfall, or a 
 •sheet of calm water, is introduced. It is only in excep- 
 tional cases that he paints views of particular scenes ; as, 
 for example, of the Lake of Bolsena, or of the Ponte Molle, 
 In many of his pictures, too, the warm tone degenerates 
 into an unpleasing and monotonously foxy red : finally, his 
 •execution is occasionally somewhat mechanical, especially 
 in the treatment of light trees, which thus acquire a 
 silhouette-like eflect. When we consider his short life, 
 and the careful execution of his pictures, of which several 
 are considerable in size, we cannot wonder that their 
 number, as reckoned in Smith's Catalogue, does not 
 ■exceed 150. 
 
 Of all Jan Both's pictures known to me, the landscape in 
 the Van der Hoop collection in Amsterdam is the most 
 remarkable, both for its size, 6 ft. 1 in. high by 7 ft. 10 in. 
 wide, and for the beauty of its composition, the great variety 
 ■of its subject, the extraordinary clearness of its morning 
 lighting, and the equally careful aad free treatment. A
 
 Chap. VI. JAN BOTH. 487 
 
 landscape in the National Gallery, No, 71, also belongs to 
 this master's best works, in which the fresh light of morn- 
 ing seldom appears. Amongst the examples of sunset eflfects, 
 one in the Louvre, No. 43, stands foremost for attractive- 
 ness of composition and admirable keeping as well as for 
 its considerable size. It is, however, even surpassed by 
 another, No. 162 in the Amsterdam Museum, in whicli his 
 transparent, clear, and glowing light is united with a com- 
 position of more than usual truth of nature. The subject 
 is a large river flowing between rocky banks, and on it 
 a ferry-boat, with shepherds and cattle. That the artist 
 himself had a peculiar value for this composition is proved 
 by the fact of his having etched it. Again, there is a largo 
 landscape of similar character in the Gallery of the Hague. 
 No. 17, which we are tempted to pronounce even more 
 beautiful. Here we have Italian nature of a more simple 
 and truthful character than is usual in Both's pictures ; 
 the glowing sunshine being of singular power and clear- 
 ness, particularly in the chiaroscuro of the foreground, 
 and the touch of the greatest breadth and delicacy. Two 
 ■other pictures — the one No. 161 in the Amsterdam Museum, 
 the other No. 18 in that of the Hague — both remarkable 
 for their style of composition — prove how well Both could 
 execute details in solid impasto, even upon a small scale. 
 [There are six landscapes, Nos. 71,209, 956-9 by Both in 
 the National Gallery.] Of his numerous and generally fine 
 works in English private collections I shall only name the 
 Baptism of the Eunuch, in Buckingham Palace, as one of his 
 best. 
 
 The landscapes etched by him are in every respect 
 similar in character to his paintings. We find in them not 
 ■only the same compositions, but he has marvellously suc- 
 ■ceeded in giving them the same warm, sunny eflect, while 
 the foliage, executed with a very dexterous point, corre- 
 sponds with that of his pictures. The most remarkable of 
 these etchings are Nos. 1, 2, 5, 7, and 10. Besides these, 
 Jan Both engraved the Five Senses with much cleverness ; 
 ■compositions full of rude humour, designed by his brother 
 Andreas.
 
 488 THE DUTCH REVIVAL. Book V. 
 
 WiLLEM DE Heusch, (?) [Dean of the Guild of Utrecht 
 in 1649, still living in 1669.] He was the scholar, and a 
 successful imitator of Jan Both : indeed, both in his compo- 
 sitions and effects of warm light he is so like him, that their 
 pictures might be mistaken, were he not less clear in tone 
 and colouring, and less free and spirited in treatment. The 
 usually very small figm'es in his pictures are generally painted 
 by Poelemberg, Schellinks, or Held Stockade. There are 
 few examples of him in public galleries. One landscape 
 under a glow of sunshine, with cattle and shepherds, is in 
 the Louvre, No. 201. Another picture of ruins on the rocky 
 shores of a lake, with mx'Jes in the foreground — seen by a 
 sunset-light — is in the Vienna Gallery ; and for size, clear- 
 ness, and softness of touch, takes precedence of the former. 
 A third picture — a mountainous landscape, with a bridge 
 leading across a ravine — in the Cassel Gallery, No. 814. 
 [A fourth — Italian country, with a waterfall. No. 85 in the 
 Museum of Rotterdam.] All [four] are signed by him ; but 
 the initial letter of his Christian name is written G. instead 
 of W. Doubtless G. stands for Gulielmo, as he must have 
 been called during his long residence in Italy. In his 
 etchings, too, of which there are thirteen acknowledged to be 
 by him, he shoAved himself a faithful imitator of Jan Both in 
 every respect. 
 
 Jacob de Heusch, born at Utrecht 1657, died 1701. He 
 was the nephew and scholar of the former painter, and imi- 
 tated him, though not very successfully. Of works which, 
 from their signatures are believed to be his, I only know one 
 in the Vienna Gallery, dated 1699. It represents a landing- 
 place on a lake, with several vessels and fignres around, and 
 high mountains in the distance. The evening lighting is 
 warm and very harmonious, and the whole style of conception 
 proves that Hermann Saftleven had influence over him. 
 [The Ponte Eotto, Rome, signed, "J. D. Heusch f. 1696," 
 is No. 750 in the Brunswick Gallery.] 
 
 Adam Pynacker, born [at Pynacker] 1621, died 1673. We 
 do not know who his master was, but he went while young 
 to Italy, and must have remained there three years. Al- 
 though inferior to Jan Both in the taste and grandeur of his
 
 Chap. VI. ADAM PYNACKER. 489 
 
 conceptions of Italian nature, he surpasses him in variety. 
 Besides rocky scenes, with waterfalls and bold bridges, we 
 have sea-coasts with high mountain-ranges and Italian har- 
 bours ; also simple, secluded landscapes, more in the style 
 of his native scenery, with a group of fine trees, low wood, 
 or a brook with sedgy banks. Almost all his pictures are 
 enlivened with figures and animals, which he both drew 
 and painted well. While Jan Both prefers a warm lighting, 
 this master, on the contrary, usually adopts a cool tone ; his 
 trees being generally of a bluish-green. It is in fresh, cool, 
 morning scenes that he especially excels. His inferiority to 
 Both is most marked in point of transparency ; indeed many 
 of his pictures have a heavy and dull appearance. In the 
 use of the brush he is most precise and admirable, and 
 occasionally indulges in much detail. At times this facility 
 degenerates into a decorative manner, which no doubt arises 
 from his having often painted the walls of Dutch rooms — a 
 fact which will also explain the comparatively small number 
 of his works, which Smith's Catalogue estimates at only 
 sixty-nine. As may be inferred from what we have already 
 said, these diifer considerably in value. One, a large land- 
 scape, exemplifying his earlier manner, and dated 1654, is 
 in the Berlin Museum, No. 897 : it represents a torrent 
 rushing over a high rock in the foreground, and a shepherd, 
 with a small flock, blowing his horn. The warm evening 
 light of the sky is not consistently sustained throughout. 
 This is also true of an otherwise admirably lighted and care- 
 fully executed sea-coast, with a tower and some vessels ; in 
 the Gallery of the Louvre, No. 402. There, too. No. 401, 
 may be found an excellent specimen of his simpler subjects, 
 a landscape, namely, with i^ goat grazing, and a muleteer 
 halting before a tavern. This picture, executed throughout 
 in a golden tone, rarely chosen by this master, is for sunny 
 clearness and spirited handling one of his best works. With 
 it we may class a landscape, with a white cow passing 
 through a brook, lighted by a soft, warm, sunset glow — 
 in the Munich Gallery, Cabinets, No. 600 ; and another, 
 also with cattle, and a young shepherdess drinking from a 
 mountain — in the Cassel Gallery, No. 509. As examples of
 
 490 THE DUTCH REVIVAL. Book V. 
 
 his cold, bluish tone, thovigh otherwise very delicate in 
 execution, I may mention a landscape, with cattle and herds- 
 men in the foreground, in the Louvre, No. 403 ; and a hilly 
 landscape with a river and high trees, and the same figures, 
 in the Amsterdam Museum, No. 1148. Of the twenty-five 
 pictvu-es — a large number for this master — known to me in 
 private English collections,, I may mention, both for its value 
 and accessibility, a landscape, with a high-arched bridge, 
 and the sun shining through it, and cattle in half -shadow 
 in the foreground, in the collection of Lord Northbrook. 
 
 Hermann van Swan eve lt, born at Woerden in Holland 
 about 1620, (?) died 1655.^ Who his fixst master may have 
 been is unknown, but it is certain that at an early age he 
 went to Rome, and became a scholar of Claude Lorraine. 
 His very diligent and solitary study of nature won for him 
 while there the appellation of the Hermit. From his great 
 master he acquii'ed taste in composition, and in many cases 
 that tender atmosphere in his distance for which Claude 
 was so distinguislied. He was also an admirable draughts- 
 man. In his middle-grounds and foregrounds, however^ 
 a cold, green tone generally prevails, and the last are often 
 too heavy, dark, and gloomy ; while his sunset skies are of 
 too cold a red. Lastly, his execution, however careful, often 
 degenerates into over-smoothness and indistinctness. These 
 defects are probably the reason why his landscapes so seldom 
 appear in picture-galleries. There are, however, three at 
 Hampton Court, which, both for composition and chiaroscuro, 
 belong to his most pleasing works. There is also a small land- 
 scape in the Berlin Museum, [withdrawn,] distinguished by 
 singular warmth and power, fine harmony, and very careful 
 handling. A wooded landscape, with a river and wide dis- 
 tance, in the Louvre, No. 507, is beautifully composed, and 
 tender in distance, but the harmony is disturbed by the pre- 
 vailing cold, green tone. A Sunset, in the same collection. 
 No. 508, has also an indistinctness in the execution. A 
 large landscape, in the Hague Museum, No. 143, is still less 
 
 ' The date of 1620 cannot be maintained. According to Dr. feode 
 there is a drawing hy Swanevelt in the Brunswick Museum, dated, Paris,. 
 1623, and Swanevelt was in Rome in 1627.
 
 Chap. VI. JAN GLAUBEU. 491 
 
 satisfactory. Indeed, the cold red of the sky, and the heavy- 
 tone of the foreground, render its effect positively nnpleas- 
 ing. It is the foreground again that detracts from the value 
 of a beautiful landscape, in the Munich Gallery, No. 591,. 
 [now assigned to Lodewyck van Ludick], of delicate, airy 
 gradation in the foreground and middle distance. On the- 
 other hand, there is no Dutch master who appears to such 
 advantage in his etchings when compared with his paint- 
 ings. Here he shows himself throughout a worthy scholar 
 of Claude, uniting most happily that master's elevated and 
 poetic conception and treatment of chiaroscuro with the- 
 greater truthfulness of details belonging to his own native- 
 realistic tendency. And it is not only for the high merit,, 
 but for the large number of his etchings, that he claims one 
 of the first places among Dutch engravers. To attain the- 
 picturesque effect which his plates display, he made use of 
 the dry-point and the graving-tool in such a way as to pro- 
 duce more dots than strokes. Of the landscapes, which 
 chiefly form the subjects of these etchings , a large propor- 
 tion are well-known views of the country around Rome. 
 They are all diversified Avith figures, sometimes of mytholo- 
 gical, sometimes of Biblical characters, always well placed ; 
 these figures, however, especially when a little larger than, 
 usual, are weak in drawing. 
 
 Jan Glauber, born of German parents at Utrecht 1646, 
 died at Amsterdam 1726. He was undoubtedly the scholar 
 of Berchem, but as soon as he became independent he 
 devoted himself as specially to the imitation of Poussin as 
 Swanevelt did to that of Claude. In order to perfect him- 
 self in this direction, he spent several years in Italy. After 
 his return he resided long in Hamburgh. In 1684, however,, 
 he seems to have settled in Amsterdam, where he became 
 intimate with Gerard Lairesse, who often painted the figm'es 
 in his landscapes. Owing to the pastoral character which, 
 these possessed, he was nicknamed Polydor by the society 
 of Dutch and German artists called the Schilderbent. In. 
 his best works he more nearly approached Poussin than 
 Swanevelt did his model. It is true he never equalled, 
 Poussin in grandeur of invention, though his pictures always-
 
 492 THE DUTCH REVIVAL. Book V. 
 
 combine a certain elevation and poetry of composition with 
 admirable drawing ; but, in warm and juicy colouring, and 
 gi-eatcr individuality of detail, he often even surpassed him. 
 His works are seldom met with in galleries. One of those 
 TQOst remarkable for size, 5 feet 1|- in. high by 6 ft. 2 in. 
 wide, as well as for beauty of composition, is in the Berlin 
 Museum, No. 430. The rock, crowned with a building of 
 simple and noble form, which occupies the middle-ground, 
 is worthy of Poussin, The landscape nearest to it, both in 
 size and merit, with his signature and the date 1688, is in 
 the Louvre, No. 180. It represents herds grazing in a 
 beautifully- wooded mountain valley. In the middle distance 
 a sacrifice is being offered to Pan. The figures are by 
 Lairesse. The lighting is warm. Two rather smaller land- 
 scapes, one in the Munich Gallery, No. 605. and the other 
 in the Dresden Gallery, No. 1712, both with figures by 
 Lairesse, have, besides their charm of composition, the 
 additional merit of a particularly lively and juicy green. 
 In his etchings, of which nineteen are from his own paint- 
 ings, he, unhke Swanevelt, appears comparatively to dis- 
 advantage. His point is managed with knowledge, but with 
 little spirit, and his light handling makes but little efiect. 
 
 Jan Gottlieb Glauber, born ]667, died at Breslau, 
 where he had settled, 1703. He was the younger brother 
 of the above-named painter, accompanied him to Italy, and 
 adopted exactly the same style ; which gave him among the 
 painters of Rome the nickname of Myrtil. I know no picture 
 attributed to him. But from an etching from a design by 
 himself, it would appear that he also successfully imitated the 
 manner of Poussin, and employed the etching point with 
 much skdl. 
 
 Albert Meyeeing, born at Amsterdam 1645, died there 
 1714. He was the scholar of his father, Frederick Meyer- 
 ing, and went while young, in company with Jan Glauber, 
 to France and Italy, where he followed exactly the same 
 •course. Although by no means equally successful, for his 
 carefully executed pictures are especially inferior to Glauber's 
 in colouring and feeling for nature, yet they have, for all 
 that, considerable merit. They very rarely find place in
 
 Chap. VI. MOUCHERON. 493 
 
 galleries. Two landscapes, signed with his name, in the 
 idealistic taste of his model, with nymphs bathing, and 
 children dancing round a statue of Flora, are in the Berlin 
 Museum, [not now exhibited]. In twenty-eight etchings 
 known to be by Meyering, we find the same taste which 
 •characterises his companion painters ; but — owing to the 
 too great preponderance of antique buildings and ruins of all 
 kinds, temples, monuments, fountains, etc. — the effect is 
 •conventional and artificial, and, consequently, cold. The 
 few trees introduced are mannered in form. But, in the 
 way in which the gradations of foreground, middle-distance, 
 and background are executed ; in his correct drawing, and 
 the good effects which, without employing the dry-point or 
 the graving-tool, he contrived to produce, we recognise a 
 "very skilful artist. 
 
 Fkederik Moucheron, born at Emden 1633, died at Am- 
 sterdam 1686. He was the scholar of Jan Asselyn. After 
 having laboured for some years successfully in Paris, he 
 settled in Amsterdam. He painted landscapes, sometimes 
 ■of Italian scenery, which show that he had never seen Italy ; 
 and sometimes the scenery of his own country : these are 
 chiefly views of particular localities, which, however, in 
 point of detail lack truth of Nature, and have, generally 
 speaking, an insipid, cold, and heavy tone. Such land- 
 scapes, in his earlier days, were often supplied with figures 
 and animals by Helmbrecker, and, at a later time, by A. van 
 •de Velde and Lingelbach. In a view of a park, with a 
 hunting-party setting out, now in the Louvre, No. 344, the 
 insipid tone is somewhat enlivened by a warm light. But 
 the best parts, by far, of the picture are the figures in- 
 troduced by A. van de Velde. This may be said also of a 
 similar subject in the Amsterdam Museum, 987, only that 
 here the cold tone is dominant. These specimens, with two 
 other equally cold landscapes in the Museum of the Hague, 
 enable us to become sufficiently acquainted with this master. 
 [A pretty example is a Garden Scene, No. 842 in the 
 National Gallery.] 
 
 In close affinity to the landscape are the marine painters, 
 M'ho when they represent coast scenery, as is frequently the 
 
 39
 
 494 THE DUTCH REVIVAL. Book V. 
 
 case, necessarily trench upon the domain of the former class. 
 One of the earliest of these is Simon de Vlieger, [born at 
 Rotterdam about 1604, and still living in 1656.] His master 
 is not positively known ; hut there is convincing evidence in 
 several of his works of his having studied under Jan van 
 Goyen. He painted landscapes, too, in the style of that 
 master, but especially devoted himself to sea-pieces, the 
 majority of which include the coast. He had a pure feeling 
 for nature, and was the first to represent the ocean under its 
 diflerent aspects with great truth : his atmosphere is equally 
 true and fresh. At the same time, his pictures excel in keep- 
 ing and aerial perspective, and his execution has the utmost 
 freedom and softness. But, in colouring, his tones are fre- 
 quently of too dirty a grey in the shadows and too white in 
 the lights. [One of his earliest works is a sea-piece, of hard 
 and cold efi'ect, dated 1624, in the Hermitage at Petersburg.]^ 
 A calm sea, with vessels in the foreground, and a fortress in the 
 distance, signed with his name, and now in the Louvre, No. 
 549, strikingly reminds us, in conception and tone of colouring, 
 of Jan van Goyen, and probably also belongs to Vlieger' s 
 early manner. Incomparably superior, and admirable in its 
 impasto, is a view of a river in a profound calm, with a 
 salute being fired from the Admiral's yacht [dated 1655], once 
 in the Amsterdam Museum, No. 438. But the full, and 
 hitherto inadequately recognised, merit of Vlieger is most 
 displayed in a Storm at Sea, in the Munich Gallery, Cabinets, 
 No. 607. The composition is extremely picturesque, the 
 lighting striking, the sky, and whole chiaroscuro, in a cool 
 greyish tone, worthy of Euysdael. Two smaller pictures 
 also — a Storm at Sea, and a Frozen Lake, with skaters and 
 sledges, in the Dresden Gallery, Nos. 1665 and 1666 ^ — 
 executed in a clear, silvery tone, belong to his best works* 
 Of such pictures by him as I am acquainted with in England 
 I may mention a view of the coast of Scheveningen, in the 
 Bridgewater Gallery, as a specimen of all his best qualities 
 — truth, clearness, and careful execution. But de Vlieger 
 
 ' [See Waagen's 'Die Geiuiilde Sammlung in der Eremitage,' p. 251.1 
 ^ [The aiitlmrshipof de Vlieger in 1666 is very doubtful. The picture 
 is signed with the monogram, G. V.]
 
 Chap. VI. REMTGIUS NOOMS. 495 
 
 appears almost more advantageousl}^, or at least more variously, 
 in his etchings, of which Bartsch mentions twenty. Half 
 this number consist of landscapes in the style of Van Goyen 
 and Waterloo ; and only one of them, No. 10, a Sea-coast, 
 approaches the character of his own pictures. The way in 
 which his point is managed reminds us most of Waterloo. 
 And if less free and practised than that master, yet in his 
 two most beautiful plates, No. 6 and 7, he is softer and more 
 picturesque, and shows the influence of Rembrandt. The 
 remaining half represent quadrupeds and birds, the latter 
 of which — geese and turkeys, Nos. 17 and 18 — are admira- 
 ble in truth and handling, and far more successful than the 
 quadrupeds. 
 
 [Jan Paecellis, born at Ghent, married in 1622 at 
 Haarlem, and still lived in that city in 1628, where he had 
 the reputation of being " the best painter of ships in 
 existence." One of his sea subjects, in the Schleissheim 
 Gallery, is a masterpiece, inscribed " Joannes Parcellis^ 
 1629.]^ 
 
 Remigius Nooms, called Zeeman, said to have been born 
 in 1612 or 1616 in Amsterdam. He was contemporary 
 with Simon de Vlieger, as is evident by the dates 1650 and 
 1656 on etchings by him. Otherwise nothing is known 
 either of his master or of his history, except — from his etch- 
 ings again — that he must have visited France and England. 
 He is said also to have resided long in Berlin, where he 
 obtained the name of Zeeman, from his almost exclusively 
 marine subjects. He also occasionally painted architectural 
 scenes. As a painter, however, he is not upon a level with 
 the school. His pictures are arranged with taste, and 
 excellently drawn in every part, especially the vessels, 
 which he had correctly studied ; but he is not comparable, 
 either in aerial perspective or in transparency of colouring, 
 with the great marine painters of the period. His broad 
 treatment is too often also somewhat decorative in character. 
 This may have been the cause why pictures by him occur 
 so seldom in public galleries. I only know three, of con- 
 siderable size, and with all his merits and defects, in the 
 ' [Van der Willigen, ' Les Artistes,' p. 242.]
 
 496 THE DUTCH REVIVAL. Book V. 
 
 galleries of Amsterdam, Vienna, and Cassel, and a view of 
 the ancient Louvre, No. 586, in the Louvre.^ The picture 
 at Amsterdam, No. 1033, represents a fight between the 
 English and Dutch fleets, near Leghorn, in 1653 ; that at 
 Vienna has several vessels in the foreground, and a harbour 
 in the background ; the Cassel picture, No. 906, two men 
 of war, and some figures on the coast in the foreground, and 
 other vessels in the distance. But Zeeman appears to more 
 advantage both in the quality and quantity of his etchings, 
 of which 175 are known. His subjects are far more various 
 here ; for, besides his marine scenes — views of coasts with 
 vessels, single ships, and sea-fights — he deals in a multi- 
 plicity of architectural views — the Burning of the Hotel de 
 Ville at Amsterdam, for instance — and also in landscapes. 
 These are all treated with such picturesque feeling, careful 
 observation of chiaroscuro, and mastery of his point, as to 
 place him on the same level with the great masters in this 
 class of etching, such as Everdiugen and Waterloo. As an 
 exception, I may mention his clouds and his gunpowder- 
 smoke, which are too uniformly circular in form, and too 
 sharply defined ; his sea-fights, therefore, where both these 
 features are prominent, are his least satisfactory pieces. 
 The following are some of his best etchings : — No. 3, the 
 two Blockhouses near Amsterdam. Various vessels are on 
 the stream. This plate recalls, both in composition and 
 efi'ect, the best marine pieces by Cuj-p. No. 4, a landscape 
 with a canal, with a manned bark, and cows grazing on the 
 bank. In the distance, surrounded with trees, is the 
 Amsterdam Plague Hospital. This is of the purest feeling 
 for nature, and of beautiful sunny eftect. The trees and 
 building show great truth and masterly treatment. Nos. 
 32, 38, 55, and 58 are of powerful chiaroscuro. No. 59 
 very sunny. Nos. 60 and 61 of marvellous truth. No. 62, 
 St. Bernard's Gate at Paris, very picturesque. No. 62, 
 " De Harinck Packers Tooren " ; a splendid picture of the 
 Dutch herring fleet. Nos. 84 and 91, good efiects of moon- 
 light. Nos. 110, 111, 116, 117, 118, 120, and 122 to 126, 
 
 ' Two more pictures, mentioned by M. Biirger ;i« iu the Anibterdaiii 
 and Rotterdam Museimis, I have not seen.
 
 Chap. VI. W. VAN DE VELDE THE YOUNGER, 497 
 
 are all remarkable. The last six represent the gates oi 
 Amsterdam. The drawings by this master, most of them in 
 Indian ink, and some in sepia, have similar merits with his 
 etchings. Among those in the collection of engravings in 
 the British Museum are a few which represeiit the calm 
 or the very slightly agitated surface of the sea with great 
 picturesqueness of conception. 
 
 WiLLEM VAN DE Velde THE YOUNGER, bom at Amsterdam 
 1633, died at Greenwich 1707, [was the elder brother of 
 Adrian van de Velde]. His first master was his father, 
 Willem van de Velde the elder, but his principal instructor 
 was Simon de Vlieger. The earlier part of his professional 
 life was spent in Holland, where, besides numerous pictures 
 of the various aspects of marine scenery, he painted several 
 well-known sea-fights in which the Dutch had obtained the 
 victory over the English. He afterwards followed his father 
 to England, where he was greatly patronised by Charles U. 
 and James II., for whom, in turn, he painted the naval vic- 
 tories of the English over the Dutch, He was also much 
 employed by amateurs of art among the English nobility 
 and gentry. There is no question that Willem van de Velde 
 the younger is the greatest marine painter of the whole 
 Dutch school. His untiring study of nature, of which his 
 Bumerous sepia drawings are the best evidence, his perfect 
 knowledge of lineal and aerial perspective, and the incona- 
 parable technical process which he inherited from his school, 
 — all these qualifications enabled him to represent the great 
 element under every form, whether that of the raging storm, 
 the gentlest crisping wind, or of the profoundest calm, with 
 the utmost truth of form and colour. Nor are his skies, 
 with their transparent aether and Hght and airy clouds, less 
 entitled to admiration than his seas ; the surface of which 
 he diversified, with the purest feeling for the picturesque, 
 by various vessels, near and distant, which are drawn with 
 a knowledge which extends to every single rope. Finally, 
 his various lightings create the most charming effect of light 
 and shade. At the same time, while the execution even of 
 his smallest pictures is free and spirited, that of his large 
 sea-fight pieces is often somewhat decorative in character.
 
 498 THE DUTCH REVIVAL. Book V. 
 
 With this combination of qualities, so calculated to please a 
 seafaring nation, it is no wonder that he should have become 
 the most popular painter with the Dutch and English ; so 
 that, of the 329 pictures by him, enumerated in Smith's 
 Catalogue, many are in his native country, far more in Eng- 
 land, and very few in other lands. The public galleries of 
 Holland alone display this master in his full glory. The 
 following pictures in the Amsterdam Museum are particularly 
 remarkable: — No. 1507, the moment when the English flag- 
 ship, the " Prince Royal," is striking her colours in the fight 
 with the putch fleet of 1666 ; and No. 1508, the companion 
 to the foregoing, four English men-of-war brought in as 
 prizes at the same fight. Here the painter has represented 
 himself in a small boat, it being historically known that from 
 such a position he witnessed the battle. This accounts for 
 the extraordinary truth with which every particular of the 
 scene is rendered in pictui-es not above 2 ft. high by 2 ft. 
 8 in. wide ; which, combined with their admirable keeping in 
 his delicate, greyish tone, and the mastery of the execution, 
 render them two of his finest works. No. 1512, an agitated 
 sea, with various sailing vessels, is also of moderate di- 
 mensions. The movement of the waves is rendered with 
 astonishing truth, the warm lighting is enchanting, and the 
 treatment of incomparable freedom and softness. Of the two 
 pictures in the Amsterdam Museum, representing a profound 
 calm — a class of subject in which the master particularly 
 delighted, and in which he has achieved his greatest 
 ti-iumphs — I may pai-ticularly mention No. 1511, with two 
 vessels in the foreground, for the tenderness of its cool 
 keeping. Finally, No. 1506, a view of the city of Amster- 
 dam, taken from the river Y, and with numerous vessels, is 
 an especially good specimen of his large pictures. It is about 
 5 ft. high by 10 ft. wide. The vessels are arranged with 
 great feeling for the picturesque, and the treatment of details 
 is admirable ; but the water and the sky have both some- 
 thing heavy in tone. Signed and dated 1686. The greatest 
 successes, however, of this master in the representation of 
 calm seas can only be fairly seen in the following examples : 
 — In the Gallery of the Hague are two pictures, Nos, 167
 
 Chap. VI. W. VAN DE VELDE THE YOUNGER. 499 
 
 and 168 ; both are of moderate size — 2 ft. 2 in. high by 2 ft. 
 6 in. wide — and animated by vessels of various kinds and 
 dimensions. The one, in power and transparency of sunny 
 light, approaches Cuyp, while it unites with that quality the 
 highest delicacy of finish ; the other is almost as fine, but, 
 owing to the greater blackness of the water in the fore- 
 ground, produces a less harmonious impression. In the 
 Munich Gallery, Cabinets, No. 613, is a small picture, only 
 1 ft. 7i in. high by 1 ft. 10 in. wide. In the centre of the 
 middle distance is a frigate, and in the foreground smaller 
 vessels. The fine silvery tone in which the whole is kept 
 finds a sufficient counterbalance of colour in the yellowish 
 sunlighted clouds, and in the brownish vessels and their sails. 
 Nothing can be more exquisite than the tender reflections of 
 all these objects in the water. Of almost similar beauty is 
 a picture of about the same size, with four vessels, in the 
 Cassel Gallery, No.390,which is signed and dated 1653. As 
 a contrast to this class of works I may mention a Gathering 
 Tempest, in the Munich Gallery, Cabinets, No. 612. This 
 is brilliantly lighted, and of great delicacy of tone in the dis- 
 tance, but the foreground has somewhat darkened. Of the 
 abundance of fine works by this master in England many of 
 the best are fortunately [in the National Gallery and] in 
 accessible galleries. [All the styles of the master are repre- 
 sented in the canvases purchased in 1871 for the nation 
 from Sir Robert Peel. Of his calm seas, Nos. 149, 870, 
 871, and 874 are most charming for delicacy of finish and 
 tenderness of tone. Breezy seas are admirably represented 
 in Nos. 872, 873, and 875. Gales of wonderful skill and 
 truth are Nos. 150, and 876.] Among the four examples m 
 Buckingham Palace, a Sea-coast, with a calm sea, and two 
 fishermen with their boats, dated 1669, is the most remark- 
 able. Of the seven pictures in the Bridgewater Gallery, I 
 may particularise — a View of the Entrance of the Texel by 
 stormy and rainy weather ; this picture, which is 4 ft. 4 in. 
 high by 6 ft, 3 in. wide, is unquestionably one of the finest of 
 the painter's large works, having, in addition to the truth- 
 fulness and thorough development of his art, a certain 
 poetic charm ; — the Mouth of the River Bril, with a slightly
 
 500 THE DUTCH REVIVAL. Book V. 
 
 agitated sea ; this is a marvel of delicate gi*adation from the 
 broadly-treated foreground to the soft and tender distance ; 
 — and two pictures, Nos. 134 and 175, which, like that in 
 the Amsterdam Museum, represent the "Royal Prince" 
 striking her flag. In Lord Ashburton's collection I saw the 
 picture known by the name of " La Petite Flotte." This, 
 with its picturesque objects and tender gradations, is one of 
 the most beautiful specimens of his calm seas. A picture 
 [late Butler Johnstone's gallery] represents a storm, and 
 is admirable for its truthfulness, transparency, and liquid 
 effect. Finally, Lord Northbrook has two Calm Seas : the 
 one, with pier and vessels in the foreground, recalls Cuyp 
 both in composition and impasto ; the other, with a gun just 
 fii-ed, reminds us of Ruysdael in its delicate and tenderly 
 graduated grey tones. 
 
 Jan Dubbels. Though so little is absolutely known of 
 this excellent painter that he alternately passes for the 
 master and the scholar of Backhiiysen, yet the few pictures 
 I have met with by him are of such a class that only the 
 supposition of his having been the master of that painter is- 
 possible. His subjects were chiefly sea-coast scenes, which, 
 for truth, mastery of keeping and aerial perspective, beauty 
 of lighting, ana breadth and softness of execution, may be 
 placed on the same level with Ruysdael and Willem van 
 de Velde. His sea-pieces, properly speaking, and namely 
 his storms, are, according to Smith's Catalogue, frequently 
 attributed to Backhuysen, which may partially account for 
 the great apparent rarity of his pictures. His chief work, 
 signed with his name, and of considerable dimensions, is 
 a Sea-coast, against which an agitated sea is breaking 
 No. 292 in the State Museum at Amsterdam. It is one 
 of the tiucst sea-pieces in the whole Dutch school known 
 to me. The truth, liquidness, and softness of the waves 
 have never been better given. Next to this I may class a 
 similar subject, also signed, in the Pitti Palace, Stanza dei 
 Putti. The sense of solitude is almost increased by the 
 single figure of a man who is extricating himself from the 
 breakers. The whole picture is kept in the most delicate 
 silvery grey, merely relieved by gleams of sunlight, which
 
 Chap. VI. VAN DE CAPELLE — PARCELLTS. 501 
 
 fall upon the waves, the sands, and the horizon. The only 
 example I have seen of this master in England is in the 
 collection of the Duke of Bedford in London ; it is of 
 marvellous truth, power, and clearness. 
 
 Jan van de Capelle. Of this master [1650-80] little morO' 
 is known than of the foregoing, only that he was a native of 
 Amsterdam, and that he received the freedom of that city 
 in 1653. From this date, as well 'as from the evidence of 
 his o-vyn works, it is obvious that he belonged to the best 
 period of his school. His favourite subject is a quiet sea, and 
 generally under the aspect of cheerful weather and warm 
 lighting, so that objects are clearly reflected in the water. 
 Such pictures have frequentl}'- much resemblance to Cuyp. 
 The same subjects under the conditions of a silvery tone, 
 approximating more to Willem van de Velde, are more 
 rare. At the same time, he may be considered as a 
 thoroughly independent master for composition, clearness,, 
 and a style of treatment in a solid impasto. By way of 
 exception, in a few cases, a heavy red tone is seen to prevail 
 in sky and water. Van de Capelle is again one of those 
 masters whose worth can only be appreciated in England. 
 The only distinguished pictm-e by his hand I have met with 
 in continental galleries is in that of the Duke d'Aremberg 
 at Brussels, No. 10. It represents the mouth of the Scheldt, 
 with numerous vessels, in calm weather, and is signed 
 " J. V. Capell." It belongs to that rarer class of his works 
 in which sky and water are kept in a cool grey tone. The 
 gradation is of great delicacy. [A Calm at low water is 
 a very pleasing and quiet specimen of Van de Capelle's art, 
 No. 865 at the National Gallery. Four others have been 
 acquired, Nos. 964-7, by gift of the late W3'nn Ellis.] 1 
 may add that admirable pictures by him are in the most 
 accessible collections in England — those of Lord Northbrook 
 (the picture, namely, where the gun is just fired), and the 
 Duke of Bedford and Lord Overstone. 
 
 Julius Parcellis, born 1628, at Leyderdorf, the scholar 
 of his father, Jan Parcedlis, who was a mediocre marine 
 painter. The son attained such skill in the same depart- 
 ment of art that his best works, in point of transparency.
 
 502 THE DUTCH REVIVAL. Book V. 
 
 delicacy of aerial perspective, and freedom of touch, approach 
 those of Willem van de Velde. In Smith's Catalogue it is 
 told that a picture by him was once sold in London as a 
 work by Van de Yelde for 300/. His authentic works are 
 rare ; I know only one small and delicate example, signed 
 *' J. P.," in the Berlin Gallery, No. 832 ^[Now withdrawn.] 
 LuDOLF Backhuysen, bom at Embden 1631, died at Am- 
 sterdam 1708.^ Up to his eighteenth year he was devoted 
 to trade, and then first applied to the study of painting, 
 in which he had the benefit of Aldert van Everdingen's 
 instructions. He practised marine painting with great 
 ardour, making studies not only of this element in all 
 its phases, and of skies and coasts, but also of vessels of 
 every description. Having thus become an excellent 
 draughtsman, his hand being previously exercised with 
 no common skill in the art of caligraphy, he overcame 
 the technical difficulties with such success as to paint 
 a large number of pictures, which are satisfactory in 
 every respect. At the same time it must be owned that 
 in feeling for nature, and harmony of colouring and 
 M-ansparency, he is inferior to Willem van de Velde. 
 Many of his works, especially of his later time, from the 
 contrast between his cold red and the grey of his skies, 
 produce a crude eftect. The tone of his colouring is also 
 often opaque and heavy. On the other hand, many of his 
 views of particular coasts are characterized by admirable 
 truth ; while his storms, both in the action of the raging 
 waves, and in the clouds, which are rent by the winds, 
 have a poetical charm. His works were not only in 
 request in his native country, but he received numerous 
 commissions from the King of Prussia, the Elector of 
 Saxony, and from the Grand Duke of Tuscany. He was 
 also a most industrious painter, and Smith enumerates 
 not less than 184 of his works, among which are many of 
 considerable dimensions. One of the finest I know is in 
 
 ' [It is not at all certain that pictures signed J. P. are by Julius 
 Parcellis. They may be by Jan Parcellis, who was not the " mediocre 
 yainter" that Dr. Waagen supposed. See antea.] 
 
 ^ [Scheltema in Amsterdam Gallery Catalogue for 1870.]
 
 o 
 
 g 
 S 

 
 Chap. VI. BACKHUYSEN. 503 
 
 the State Museum, No. 47, at Amsterdam ; a coast scene 
 with a sHghtly agitated sea and sky, and lighting of the 
 greatest beauty. The trees and plants on the coast are 
 of a livelier local tone than is usually the case with him. 
 Another picture of the same kind, dated 1673, is a view of 
 the river Y, from the landing-place called the " Mossel- 
 steiger," in the Amsterdam Museum, No. 41. This is of 
 gi'eat brilliancy and clearness. No. 42 in the sarn>^ museum, 
 dated 1692, shows how thoroughly he understood to 
 depict waves under the influence of a storm ; the lighting 
 here is warm, the colouring clear, and the treatment care- 
 ful without being over-smooth. As a specimen of what 
 may be termed only a rough sea, I may quote, for its tender 
 warm tone and delicate handling, No. 7, in the Louvre, 
 tbe view of the mouth of the river Maas, with a fishingrboat 
 trying to run in. In the same gallery. No. 5, is a view 
 of the mouth of the Texel, with ten men-of-war sailing 
 before a fresh wind. This is dated 1675, and is an ad- 
 mirable example of his deUcate aerial perspective, even 
 in pictures of a large size. The eye is only disturbed by 
 the reddish tone of the clouds and the heavy shadow of 
 the waves. No.4Uin the Amsterdam Museum, dated 1690, 
 representing the embarkation of the " Rathspensionair," 
 John de Witte, in the year 1665, is cold and crude in eflect, 
 though the treatment of the retiring planes of distance is 
 much to be admired. An agitated Sea, No. 6, in the Hague 
 Museum, is particularly remarkable for the happy distri- 
 bution of sunlight and shadows of clouds upon the water, 
 and for the broad yet delicate treatment. On the other 
 hand, a view of the wharf then belonging to the former 
 Dutch East India Company, No. 7, in the same gallery, 
 is hard and heavy. Of Backhuysen's works in the other 
 public galleries of the Continent, I will only mention one 
 in Vienna, which is remarkable for its subject ; being an , 
 extensive landscape, with a stream, on which are several 
 boats, and mountains in the distance. The tone of colour, 
 though rather heavy, is very harmonious, and the execu- 
 tion very soft and delicate. Of bis numerous fine pictures 
 in England I can only name some of the most conspicuous.
 
 )04 THE DUTCH REVIVAL. Book V. 
 
 [Dutch Shipping, No. 204 in the National Gallery, is a 
 clever picture of Backhuysen's middle period. A coast 
 scene. No. 818, shows his power on a small scale. His 
 best piece is No. 819, " Oft' the mouth of the Thames."] 
 A view of the Texel, in the Bridgewater Gallery, No. 122, 
 by high tide, and animated with seven vessels, dated 1670 : 
 the touch is of extraordinary elegance, A Sea with a fresh 
 and fair wind, which I saw in Lord Ashhurton's col- 
 lection, with various vessels, and five persons in the fore- 
 ground, is of rich and tasteful composition, clear and har- 
 monious, and most tenderly handled. In the same collection 
 is a slightly rough Sea, of the finest silvery tone, and with a 
 touch worthy of a cabinet picture of the first class. In the 
 collection of Lord Northbrook is a subject of ships sailing 
 before a fair wind, and a boat in the foreground, the sail of 
 which is illumined by the sun. This is of his best time, and 
 is admirable in the eflfect of its clear, cool tone. A slightly 
 troubled Sea, with boats in the foreground, in the collection 
 of Mr. Holford, is dated 16G3; the sunny lighting of the 
 water has a peculiar charm. 
 
 Backhuysen's numerous drawings in Indian ink 'and bistre, 
 chiefly studies from nature, are of masterly character, and 
 highly esteemed. At the age of seventy-one he undertook a 
 series of thirteen etchings, in which he succeeded by the alter- 
 nate use of a delicate and a powerful point in producing a fine 
 efiect of chiaroscuro. Eleven of these plates represent marine 
 subjects ; one is a landscape, and the thirteenth is his own 
 portrait. 
 
 I now proceed briefly to consider the various marine 
 painters who, having been more or less dependent on the 
 above described masters, occupy a subordinate position. 
 
 LiEVE Vershuur, [born at Rotterdam in the early part of 
 the seventeenth century], a scholar of Simon de Vlieger, died 
 in 1691. He was a good draughtsman, and a careful executor 
 of detail ; but he fails in the sense of harmony. The Amster- 
 dam Museum possesses two stately and signed pictures by 
 hishand : the one. No. 1538, representing the arrival of the 
 Prince of Wales, afterwards Charles II., in Rotterdam ; the 
 other, No. 1539, the keel-hauling of a surgeon who had at-
 
 ChAp. VI. STOKK — MADDEKSTEG — RIETSCHOOF. 505 
 
 tempted to poison Admiral van Nes. Both are somewhat 
 spotty in general eflect. [The Light Breeze, in the Van 
 der Hoop collection, is a fine example of his manner. So is 
 the view of Rotterdam, No. 226 in the Museum of that city.] 
 The best picture I know by Verschuur, approaching Van de 
 Capelle in power and transparency, is a Seaport Town, with 
 several vessels, in the Landauer Briiderhaus at Nuremberg, 
 No. 52. 
 
 Abraham Stokk, born in Amsterdam 1650,^ died 1708. 
 He especially devoted himself to the imitation of Backhuysen, 
 but though a skilful and careful draughtsman, he is far in- 
 ferior to him in taste of composition and elegance of touch. 
 One of his best works, dated 1689, is the view of the har- 
 bour of Amsterdam, in the Dresden Gallery, No. 1724. In 
 this the study of Backhuysen is very evident. Another 
 picture, which is signed, of a Sea-fight, with two burning 
 vessels, is in the Berlin Museum [withdrawn]. The scene is 
 rendered with much animation, but the colouring is rather 
 heavy and dark. A moderately good example of a Calm Sea 
 by him is in the Hague Museum, No. 141. He also etched 
 a small number of plates, with a slight but spirited point, of 
 which Bartsch describes six. Some of these are seaports, in 
 the taste of Lingelbach and Thomas Wyck, and show the- 
 influence of these masters. 
 
 MicHiEL Maddersteg, bom 1659, died 1709 ; a scholar 
 of Backhuysen. He was employed for some time at tha 
 Court of King Frederick I., at Berlin, and in the treatment 
 of water and vessels often approached his master. But his 
 skies are inferior. His clouds, for example, are very lumpy. 
 Nor did he equal him in delicacy of aerial perspective and 
 touch. I know only one picture by him, in the Berlin 
 Museum, [withdrawn] — a view of the Spree, with those 
 small vessels of war constructed by that King of Prussia ; in 
 the background is a view of the castle and town of Kopenick. 
 The reflections in the calm sunny water are admirably given. 
 
 Jan Claasze Rietschoof, born at Hoorn 1652, died 1719. 
 
 ' [This date must be wrong. There is (Burger, ' Les Musses de 
 Hollande,' ii. 309) a picture of " a Lock" in the Gisignies collection at 
 Brussels, signed and dated 1667.]
 
 506 THE DUTCH EEVIVAL. BookV. 
 
 He was also a scholar of Backhuysen, and copied his style 
 of art with no despicable skill, though he remained far in- 
 ferior to him in all essential qualities. Two of his pictures, 
 the one a nearly calm Sea, the other a stormy Sea, both 
 signed with his monogram, and animated with vessels, are in 
 the Amsterdam Museum, Nos. 1199 and 1200. 
 
 Peter Coopse. [? ?] This otherwise unknown artist be- 
 longs to the imitators of Backhuysen. I only know a rather 
 large picture, the view of a port, in the Munich Gallery, No. 
 230, there attributed to Backhuysen. In Smith's Catalogue, 
 however, it is recognised as by Coopse, with whose name it 
 is also signed.-^ 
 
 In the rich schools of art which distinguished the Dutch, 
 the painters of buildings form also a distinct group. These 
 again divide into two branches — those who painted the 
 ■exterior, and those who treated the interior of a building. 
 I first consider the painters of exteriors. 
 
 The earliest of these is Ejianuai, Murand, born in Amster- 
 dam 1622, died at Leeuwarden, where he had settled, in 
 1700. He was the scholar of Philip Wouvermans, but 
 selected the speciality of depicting Dutch village houses. 
 His feeling for the picturesque was further gratified by the 
 dilapidated state of such subjects. He also skilfully intro- 
 duced the appropriate foregrounds of figures or cattle. His 
 pictures are executed in a fine impasto, and so carefully that 
 every stone is given. At the same time they are generally 
 warm and powerful in colour. His works are rare, and 
 occur so seldom in public galleries that I only know one. No. 
 271, in the Amsterdam Museum. It represents a dilapidated 
 farmhouse ; the details given with the utmost truth. A man 
 is feeding cocks and hens, and some pigs are near a woman 
 at a spinning-wheel. [Another picture, a yard with cattle, 
 bought at the Hodshon sale at Amsterdam in 1872, is now 
 in the Eotterdam Museum.] 
 
 Jan van der Heyden, born at Gorinchem 1637, died in 
 Amsterdam 1712. He may be called the Gerard Dow of 
 architectural painters. Like that painter, he understood 
 
 ' [The name of Coopse is not on this picture, which, on the coutrarj', 
 if signed : " L. Backhuizen. ]t>97."J
 
 Chap, VI. VAN DER HEYDEN. 507 
 
 how to combine an unspeakable minuteness of detail with 
 such keeping of the whole that his best pictures look like 
 nature seen through a diminishing glass. His subjects 
 chiefly consist of well-known buildings, palaces, churches, 
 etc., in Holland and Belgium, the views selected with great 
 taste ; also of canals in Dutch towns, with the buildings on 
 their banks. These arc treated in a powerfully warm and 
 transparent tone, with an accurate application of the laws of 
 perspective, both lineal and aerial ; and with a touch which, 
 in spite of its fineness, is not meagre. His trees only are 
 occasionally ill understood, over-minute in foliage, and 
 silhouette-like in effect. Nor are we destitute of examples 
 of his works which are cold in general tone, spotty in effect, 
 and somewhat hard in outlines. A peculiar charm is given 
 to most of his pictm'es by the introduction of figures by the 
 hand of Adrian van de Velde, which are placed so exactly 
 in the right spot, and harmonise in tone so entirely with Van 
 der Heyden's own work, as greatly to enhance the unity of 
 keeping. This is, however, not so much the case with the 
 figures by Eglon van der Neer and Lingelbach, who, after 
 the death of Adrian van de Velde, supplied his place. The 
 number of Van der Heyden's pictures, which are generally very 
 small, is considerable, when we take into account their extreme 
 finish; Smith's Catalogue enumerates 158. But, considering 
 that he lived to the age of seventy-four, the number would 
 doubtless have been much larger had not his extraordinary^ 
 mechanical talents led to an invention on his part by which 
 the construction of fire-engines was considerably improved. 
 In consequence of this the magistracy of Amsterdam placed 
 him at the head of the fire-engine establishment, thereby so 
 encroaching on his time that little remained to devote to his 
 art. Most of his pictures are in England, but many still in 
 Holland. In the chief continental galleries, however, he is 
 represented. The following are a few of his most charac- 
 teristic works. In the Museum of Amsterdam, Nos. 493 and 
 494, are two companion pictures of Streets, with a canal in 
 the centre and lofty trees on each bank. The views selected 
 are very picturesque, the general tone of particular warmth 
 and power, and the execution free and soft. Both, and 
 
 40
 
 508 THE DUTCH REVIVAL. Book V. 
 
 ■especially the second, are richly adorned with figm-es by 
 Adrian van de Velde. A third picture, No. 492, of a similar 
 subject, is of brilliant etiect of sunny lighting, but less har- 
 monious in colour and soft in touch. In the Hague Gallery, 
 No. 41, is a very fine example ; the view of a portion of a 
 town, and which, besides his name, also bears the date 1666 
 or 1667, which is a rare addition. The warm, clear chiaros- 
 curo in which the whole foreground is kept is admirable, 
 while the sunlight falling on the middle distance has a pecu- 
 liar charm. Here also the figures by Adrian van de Yelde 
 have their value. In the Louvre, No. 202, is a view of the 
 Amsterdam Town-hall ; signed and dated 1668. Its unusual 
 dimensions, 2 ft. 2 in. high by 2 ft. 7 in. wide ; its delicate 
 keeping in a cool morning light ; and the tenderness of the 
 somewhat broader touch, render this one of his chief works. 
 It was purchased of one of his descendants by Louis XVI. 
 for 6,000 florins. The figures by A. van de Velde are 
 particularly rich and beautiful. No. 203 is the view of the 
 Market-place and a Church in some Dutch town ; the figures 
 by the same hand again. This is of the utmost truth of 
 nature in every detail. No. 204, the view of a Dutch village, 
 on the banks of a stream. The vessels in the stream are by 
 Willem van de Velde, the figures by Adrian. But, though 
 worked upon by these three hands, this little picture shows a 
 wonderful unity of feeling : it is also admirable in perspective, 
 of great depth and juiciness of tone, and of somewhat broader 
 touch than usual. Of the examples of Van der Heyden in 
 the galleries of Dresden, Munich, Cassel, and Vienna, I only 
 mention one in Vienna, which shows the master in a new 
 aspect. This is an old fortified castle, surrounded with 
 water ; as clear and warm in tone as it is delicate in exe- 
 cution, and with the figures by A. van de Velde. Some of 
 the finest works of the master [are] in the Hermitage at 
 Petorsburg. [In London we have the beautiful Street in 
 Cologne, No. 886 of the National Gallery, the Cologne 
 Cathedral, No. 177, and two church views, in Sir R. Wallace's 
 capital collection.] Of pictures in private English collec- 
 tions I can only mention some of the most excellent. In 
 Buckingham Palace, the view of a Dutch house, upon a
 
 Chap. VI. BERKHEYDE. 509 
 
 canal; the figures by A. van de Velde, two of which — men 
 in a boat — are very fine. In the Bridgewater Gallery, No. 
 135, a somewhat larger picture, of similar subject : this 
 shows a remarkable combination of power, clearness, and 
 warmth, with the utmost minuteness of finish. In Lord 
 Ashburton's collection I observed a view of the Market- 
 place of a Dutch town, with a church, lighted by the warm 
 noon sun, with more than twenty spirited figures by A. van 
 de Velde : a marvel of clearness, keeping, and miniature-like 
 execution ; in every respect a chef-d'oeuvre of the master. 
 
 Gereit Berkheyde, born at Haarlem [1638, entered the 
 Painters' Guild in 1660, and died June 1698.]^ This artist 
 treated chiefly exteriors of buildings in his native country ; 
 also, from time to time, Italian buildings, and occasionally 
 interiors of churches. He was also a skilful draughtsman 
 of figures and animals, and enlivened his pictures with both. 
 Although thoroughly versed in lineal and aerial perspective, 
 and displaying great care in execution and a feeling for 
 harmony, he is yet not comparable with Van der Heyden in 
 power, warmth, and clearness of tone, his scale of which is 
 generally cool, nor in the minute finish of detail. But few 
 pictures by him are in public galleries. In the Amsterdam 
 Museum, No. 101, is a view of the Cathedral, with the old 
 Town-hall and new Church, in Amsterdam. This is one of 
 his more delicate pictures. The same may be said of a view 
 of the new Town-hall at Amsterdam, in the Dresden Gallery, 
 No. 1675.- A specimen of his treatment of Italian edifices 
 is a view of Trajan's Column, in the Louvre, No. 28. It is 
 painted in a powerful but rather grey tone, and the figures 
 iive rather spotty in effect. The best picture I know by him 
 in England is the view of a Dutch town, with numerous 
 figures, of sunny effect and careful finish, in the Northbrook 
 collection. In many of his pictures Gerrit was assisted by 
 an elder brother, by name Job Berkheyde, born [1630, 
 
 ' Van der Willigen, ' Les Artistes,' p. 79. 
 
 ^ [Waagen here mistakes Job for Gerrit. The picture of the Town- 
 hall of Amsterdam is signed : " J. Berckheyde." There are two pictures 
 signed by Gerrit in the Dresden collection, No. 1677, a man riding in 
 front of some houses, and No. 1678, a gentleman riding out with a 
 lady to fly a falcon.]
 
 510 THE DUTCH REVIVAL. Book V. 
 
 master at Haarlem in 1G44, died 1693.]^ Entire pictures 
 by him, which greatly resemble the style of his brother, only 
 that they are of a more landscape and (jenre character, are 
 very rare. A landscape, signed with his name, is in the 
 Berlin Museum, No. 84:5 a. He also painted portraits. 
 
 Jacob van der Ulft, born at Gorinchem 16127, was still 
 living in 1688. It is not known who was his master. He 
 chiefly painted the piazzas, single buildings, and monuments 
 of Rome. Never having been there himself, his subjects 
 can only have been derived from engravings. He also 
 successfully represented the buildings of his native land, 
 and, being skilful in the delineation of figures and animals, 
 he enlivened his works abundantly with them, with much 
 picturesque taste. His powers in art were versatile, and we 
 occasionally find him representing landscapes and sea-coasts. 
 Van der Ulft combined good drawing with a powerful colour- 
 ing, which is generally warm, though sometimes heavy. His 
 execution in a solid impasto is, in spite of great finish, very 
 free and sj)irited. His works are rare. His principal picture, 
 representing the new Town-hall of Amsterdam, completed 
 in 1667, now the palace of the King of Holland, is in the 
 present Town-hall, No. 22. It is remarkable for size, ad- 
 mirable keeping, warmth, and transparency, and for the 
 richness of the figures. In the Amsterdam Museum, also, 
 N'os. 1451-2, are two pretty cabinet pictures by him, con- 
 Bisting of various antique buildings and monuments arranged 
 together. A large picture in the Hague Museum, No. 163, 
 of the same class of subjects, with troops marching in the 
 foreground, is far more important as a work of art. It is 
 (varm in tone, and the treatment is particularly soft and 
 fcroad. Onthe other hand, a picture in the Louvre, No. 534, 
 representing a square surrounded with antique buildings, and 
 in which a Triumph is being celebrated, though executed 
 with great precision, is rather heavy in tone. No. 533 in 
 the same collection breathes a far purer feeling for nature. 
 The scene is a fortified town on the banks of a river. The 
 cool harmonious tone and lighting recall Asselyn. The 
 treatment is highly delicate. Finally, the Berhn Museum, 
 ' [Van der Willigen, ' Les Artistes,' p. 78.]
 
 Chap. VI. SANREDAM — VAN DELEX. 511 
 
 No. 908, possesses a view of the shore at Scheveningen 
 [now withdrawn; and No. 908a, a view of a Market scene 
 in Italy, formerly in the Suermondt collection at Aix-la- 
 Chapelle : signed and dated lac. vander Vlft 1671.] The best 
 picture I know by him in England is one of Roman ruins, 
 of great transparency and warmth, in the collection of Mr. 
 H. T. Hope. 
 
 We now come to the painters who applied their art 
 especially to the delineation of interiors of buildings. 
 
 At the head of these stands Pieter [Janszoon] Sanredam, 
 born at Asseudelft 1597 [entered the Haarlem Guild in 1623, 
 died at Haarlem in 1665].^ He was the scholar of Frans 
 Pieters de Grebber. He forms the transition from the earlier 
 architectural painters — such, for instance, as Pieter Neefs — 
 to those who flourished at the maturest time of the Dutch 
 school. A certain decision in his forms recalls Pieter Neefs, 
 while at the same time he attained that picturesqueness 
 which was the principle of the seventeenth century. Of this 
 master, so justly celebrated in his native country, I know 
 no example in foreign public galleries, excepting a picture of 
 great charm of light, representing the interior of a Protestant 
 Church, in the Turin Gallery, No. 361. [His earliest picture 
 is a Gothic Church, No. 1256, dated 1636, in the Amsterdam 
 Museum.] His principal work is a view of the Town-hall at 
 Amsterdam, which Avas buimt down in 1651, signed and dated 
 1641, and which is now in the present Town- hall, No, 21. 
 This admirable picture is like light painted with light, for 
 even the shadows contain no darkness, and the treatment 
 is broad. Another picture, the Choir of the large Gothic 
 Church at Haarlem, is in the Amsterdam Museum, No. 1257, 
 a work of great purity, and of transparent light and tone. 
 
 Dirk van Delen, born at [Alkmaar in 1605], died at 
 Armuyden. He was a scholar of Frans Hals [?], and [lived 
 till May, 1671.] His subjects were alternately interiors 
 and exteriors of buildings in the antique taste. His per- 
 spective, both linear and aerial, was well understood, and 
 his works show a generally clear and silvery tone, and a 
 skilful use of the brush. His over-decision, however, in 
 ' [Va,u der Willigen, 'Les Artistes,' pp. 261-2.]
 
 512 THE DUTCH REVIVAL. Book V, 
 
 the indication of separate forms, recalls the earlier period. 
 He is seldom seen in public galleries. [Of his earlier pieces 
 the earliest is the Football Players, at the Louvre, dated 
 1628 (No. 115) ; another, Castles in the Air, No. 832 in 
 the Gallery of Brunswick, is dated 1635 ; a Concert, No. 
 49 in the Museum of Rotterdam, is of 1636.] The two best 
 works I know by him are in the Vienna Gallery. The one 
 represents a grand building with a colonnade of pillars, and 
 bears the inscription, "Dirk van Delen fecit, anno Do. 1640." 
 It is enlivened with numerous figures, and is, both as respects 
 size, 5 ft. 1^ in. high by 9 ft. wide, beauty of aerial perspec- 
 tive, and freedom of hand, a chef-d'cBuvre by the master. The 
 other, a widely extended building with columns, also signed, 
 and of considerable size, equals the foregoing in delicacy 
 and clearness, and is stUl softer in execution. A view of 
 the hall called the Binnenhof, at the Hague, with the last 
 great meeting of the States-General held in 1651, is in the 
 Hague Museum, No. 22. It has great merit, though the 
 effect is disturbed by the numerous and gaudy banners. A 
 smaller picture, a view of buildings in the antique taste, 
 dated 1647, in the Berlin Museum, is distinguished for its 
 great clearness and delicacy of tone. [The latest pictures of 
 the master is an allegory with figures by Theodore Boeyer- 
 inans, executed in 1669 for the Chamber of Rhetoric at 
 Antwerp, and now No. 378 in the Antwerp Museum.] One 
 of the best specimens of his hand in England is the Interior 
 of a Church, in Mr. H. T. Hope's collection. This is par- 
 ticularly powerful in tone for him. 
 
 Emanuel de Witte, born at Alkmaar 1607, died in Am- 
 sterdam 1692. He was the scholar of Evert van Aelst, a 
 painter of dead game and still life, but devoted himself 
 exclusively to the representation of interiors, and chiefly of 
 churches of the later Italian style. This master may be 
 considered to have brought this class of art to the same 
 perfection as Ruysdael did that of landscape, or Willem van 
 de Velde that of marino painting. With the complete know- 
 ledge of linear and aerial perspective he combined a masterly 
 treatment of chiaroscuro, and a touch of admirable impasto, 
 as broad as it is free. His lights and shadows are kept in
 
 Chap. VI. HENDRIK VAN VLIET. 513 
 
 large masses, and his columns and other single objects ad- 
 mirably modelled. With all this the figures which animate 
 his pictures are well drawn, and introduced with very pic- 
 turesque efiect. A small view of the Interior of a Church, 
 very attractive for its sunny lighting, and signed with his 
 name, is in the Amsterdam Museum, No. 1638. A picture of 
 similar subject, admirably carried out in a cool tone, Avas 
 latelyadded to the same collection at Amsterdam. A chef- 
 d'oeuvre by the master is in the sacristy of the old Church at 
 Amsterdam.^ Two of his works, as remarkable for beauty 
 as for size, are in the Berlin Museum. The one, No. 898, 
 representing the Interior of a Church of rich Italian archi- 
 tecture, with pictures, statues, and monuments, 4 ft. 3 in. high 
 by 3 ft. 5 in. wide, is signed with the name and dated 1667. 
 The deep and clear chiaroscuro which prevails throughout 
 is broken in the foreground and background by a ray of sun. 
 In the foreground and middle distance are various figures. 
 The other, No. 904a, representing the Synagogue at Amster- 
 dam during a religious ceremony, is also signed, and dated 
 1680. The eflfect of the sunlight through the windows on 
 the columns supporting the curtain is admirable ; and the 
 treatment of the spectators in the foreground, both as respects 
 arrangement and distribution of colour, very picturesque. 
 Finally, the Interior of a Church with numerous figures, in 
 the chateau of Wilhelmshohe near Cassel, is quite a gem in 
 delicacy of chiaroscuro and brilliancy of tone. [An unusual 
 form of subject for De Witte is that which we find in a pic- 
 ture, No. 249 in the Rotterdam Museum, dated 1672, where a 
 fish-wife, with a copious supply of fish, bargains with a maid 
 in presence of a man.] 
 
 Two painters who show the decided Influence of De Witte, 
 and almost equal him in their best pictures, are the following : 
 
 Hendrik van Yliet, born 1608, [died, poor, in 1675], 
 scholar of his father H. C. van Vliet. The only pictures I 
 know by him in public galleries in Holland are two ; the one 
 at Amsterdam, the other at the Hague. The first. No. 1573, 
 is the view of the Interior of part of the old Church at Delft, 
 
 ' My efforts to induce t^ clerk to unlock the sacristy door were un- 
 ffl]rUuiat«}y in vaiSc
 
 514 THE DUTCH REVIVAL. Book V. 
 
 signed " H. van Vliet, 1654," which in all respects closely 
 approaches Emanuel de Witte, especially in the manner with 
 which the effect of sunlight is rendered ; the second, another 
 view of the same Interior, in the Hague Museum, No. 169, 
 is of peculiar warmth and briUiancy of effect, and with the 
 reflected lights delicately given. ^ In the Munich Gallery, 
 Cabinets, No. 367, is a smaller and otherwise similar view, 
 of great transparency. This master also occasionally painted 
 genre pictures by lamplight, in the style of Schalken, with 
 success, A specimen of this kind is a woman sewing by 
 lamplight, in the Berlin Museum, No. 851 ; signed "Hendrik 
 van der Yiiei, 165 . ." [not now exhibited.] 
 
 C HocKGEEST. This almost unknown artist is a new 
 proof of the astonishing efflorescence of excellent painters 
 in Holland about the middle of the seventeenth century. 
 Two views of the Interior of the n<Dw Church at Delft, in 
 the Hague Museum, are on a level with the highest de- 
 velopment of the school. It would be difficult to render the 
 brilliancy and transparency of full sunlight more completely 
 than in No. 46, which contains the monuments of the Princes 
 of the House of Orange. The other picture also, inscribed 
 with the master's monogram, and 1631, is in every respect, 
 and especially in the soft and full treatment, of the utmost 
 excellence. [There are two pictures by this master, Nos. 
 196 and 197, in the Gallery of Antwerp.] 
 
 A painter who followed in the footsteps of the foregoing, 
 though with rather less success, is Isaac van Nickelen, [who 
 entered the Guild of Haarlem in 1660, and died at Haarlem 
 in 1703.]^ His interiors of churches are generally kept 
 ver}' light and transparent, but less carefully modelled in 
 separate details. A picture of this class of subject, signed 
 " Isaac van Nikkelen 169 . . ," is in the Berlin Museum, 
 [withdrawn]. The best work known to me, the luterior 
 of the large Church at Haarlem, is in the Six collection at 
 Amsterdam. [A fine view of the Haarlem Cathedral, No. 255 
 in the Brussels Museum, is signed " Ipaac van Nickele."] 
 
 ' [A third is the Interior of a Church, dated ] 666, No. 228 in the 
 Rotterdam Museum.] 
 - [Van der Willigen, ' Lea Artistes,' p. 231.]
 
 Chap. VII. J. D. DE HEEM. 515 
 
 CHAPTER Yir. 
 
 THE PAINTERS OF PLANTS, FRUITS, AND STILL LIFE. 
 
 For our last consideration remains that group of painters 
 who devoted their art to the representation of flowers, fruits, 
 plants, and still life. This last-named subject is given under 
 very different aspects ; sometimes in the form of a luncheon, 
 or of groups of small dead birds ; or as an assemblage of 
 costly vessels of gold, silver, or glass ; or of articles used in 
 art or science, such as musical instruments, globes, circles, 
 etc., or, finally, of objects, such as the human skull, which 
 point to the instability of all things. All will admit that such 
 subjects can afibrd no moral interest, properly speaking. 
 They may gratify the cultivated eye, however, by picturesque- 
 ness of arrangement and perfect keeping, by harmonious com- 
 bination of various colours, or beauty of single colours, by 
 extraordinary truthfulness of every detail, and, finally, by the 
 solidity and mastery of technical qualities. As the best known 
 fruit and flower painters also occasionally painted still life and 
 vice versa no strict division is possible. We may consider 
 them, however, in the order they assume, according to the 
 branch in which they most excelled. I begin with the fruit 
 and flower painters. 
 
 Jan David de Heem, born at Utrecht 1603, [entered the 
 
 Guild of Antwerp in 1636, and was still a member of it in 
 
 1643. From 1658 to 1667 he paid the dues " as a stranger." 
 
 He died at Antwerp either in 1683 or 1684].^ He was the 
 
 scholar of his father, David de Heem, and was not only the 
 
 master who first developed the art of fruit painting in the 
 
 school, but was also the greatest master of this class that 
 
 the school produced. No one can be compared with him in 
 
 his admirable taste of arrangement, which occasionally 
 
 reminds us of the fruit festoons of Giovanni da TJdine ; at 
 
 the same time he was a first-rate draughtsman, every fruit 
 
 ' [Liggeren, ii. 71, 72, 77, 134, and 142.]
 
 516 THE DUTCH REVIVAL. Book V. 
 
 or plant being rendered with the finest feeling for nature, 
 extending to the smallest particulars, and -with a touch which 
 combines the utmost decision with all necessary softness. 
 Nor is he less great as a colourist. A warm scale generally 
 predominates in his works ; and no one ever better under- 
 stood so to combine various colours of intensest depth and 
 force as to make them tell agreeably upon the eye. The- 
 works of his earlier time are distinguished by a golden tone 
 of such depth, juiciness, and clearness, as sometimes to ap- 
 proach Rembrandt; his somewhat later pictures, though 
 still warm, are, in the separate fruits, flowers, and leaves, 
 truer to nature in colour, though somewhat at the cost of 
 the general tone. He usually signed his pictures with his 
 name, seldom adding the date. His two most important 
 works, both in point of art and size, are in the galleries 
 of Vienna and Berlin. The picture in Yienna represents the 
 Chalice of the Sacrament crowned with a stately wreath,, 
 above which hangs the resplendent Host. Sheaves of corn 
 and bunches of grapes are introduced among the flowers 
 and fruit by way of allusion. Inscribed "I. de Heem fecit, 
 1648." This picture is 4 ft. 4 in. high by 3 ft. 11 in. wide. 
 In the union of a fine style of arrangement with a Rembrandt- 
 like harmony of colour, and of broad and careful treatment, 
 tliis is the master's finest work. The picture in Berlin, No. 
 963, represents, above, beloAv, and at the sides festoons, of 
 flowers, intended to decorate a chiaroscm-o picture of the 
 Madonna which once occupied the centre. This, however, 
 disappeared in the wars of 1806, and is now very unworthily 
 replaced by a coloured Madonna and Child, executed by a 
 modernhand. It is inscribed " Johannes de Heem f., 1650." 
 Here also the arrangement of form and colour, and the pro- 
 portion of flowers and fruits to leaves show admirable taste. If 
 inferior to the picture at Vienna in general tone, it surpasses it 
 in richness of composition, in the execution of detail, and in 
 the excellence of impasto. The following, in size and sub- 
 ject, are more usual examples of the master. In the Hague, 
 No. 38, is a table Avith fruit and other accessories. No. 39^ 
 in the same galler>% represents a festoon of fruits and flowers. 
 These are as tasteful in arrangement as they are admirable
 
 Chap. VII. CORNELIS DE HEEM. 51T 
 
 in drawing, and decided, yet soft, in treatment. In the Am- 
 sterdam Museum, No. 459, is a rich garland of fruits and 
 flowers enUvened with insects. In the Louvre, No. 192, is 
 a table with a green cloth, on which lie various fruits, a 
 bunch of grapes, strawberries, and an oyster. This is a 
 model oT power and transparency, and of the utmost truth 
 of detail and delicate execution in a fine impasto. As a 
 specimen of those subjects by him which incline to still life,. 
 I may mention one, also in the Louvre, No. 193, a table, with 
 bowls, water-pots, and dishes, with fruit, knives, a table- 
 cloth, and a clock. I may also observe that the galleries of 
 Dresden and Cassel have fine pictures by the master. Hip 
 works are not frequent in England. 
 
 CoRNELis DE Heem, SOU of the foregoing, born 1625 
 [still alive in 1678], painted successfully the same subjects 
 as his father. For if his composition does not exhibit the 
 same conformity to style, but is often rather scattered 
 and accidental in effect, he is not inferior to his father in- 
 drawing and warmth of colour, and, with an equally solid 
 impasto, almost surpasses him in melting softness of touch. 
 He is, however, in rare instances, somewhat gaudier. Under 
 these circumstances it is easy to understand that his works 
 are often mistaken for those of his father. I therefore 
 mention a few of his pictures in galleries, where he may be- 
 compared with his father. In Munich, No. 627, is a speci- 
 men of the scattered character of his composition, though 
 displaying all his otherwise good qualities. It represents 
 fruit and flowers, with a ham upon a table. In the same- 
 gallery. Cabinets, No. 626, are various fruits upon a marble 
 slab, signed. The utmost truth of nature, in all parts, and 
 transparency of colour, are here vinited with the rarest model- 
 ling and a melting and solid treatment. In the Vienna Gallery 
 is another signed picture of still life, fruits, oysters, and 
 lemons on a plate, a watch, etc. Here the same qualities 
 are combined with a more pleasing arrangement. Finally, 
 in the Dresden Gallery, No. 1262, is a similar subject, also 
 signed; and. No. 1263, a boiled lobster and several fruits on- 
 a table. This latter has an astonishing depth of warm tone. 
 
 Maria van Osterwyck, born at Nootdorp, in the vicinity of
 
 •518 THE DUTCH REVIVAL. Book V. 
 
 Delft, 1(530, died 1G93. This lady painter was a scholar 
 of Jan David de Heem, and painted generally flowers in 
 vases or in glasses, occasionally and successfully also fruits. 
 In my opinion she does not occupy that place in the history 
 of the art of this period that she deserves, which may be 
 partly owing to the rarity of her pictures, especially in public 
 galleries. For, although her flower- pieces are weak in arrange- 
 ment, and often gaudy in the combination of colour, yet she 
 represents her flowers with the utmost truth of drawing, and 
 with a depth, brilliancy, and juiciness of local colouring un- 
 attained by any other flower painter. At the same time, her 
 execution, in spite of great finish, is broad and free, and the 
 impasto excellent. It is, therefore, not to be wondered at 
 that the first monarchs of the age, Louis XIV., "William III. 
 of England, the Emperor Leopold, and King Augustus I. of 
 Poland, should have given commissions to this lady. Her two 
 best flower-pieces known to me, both inscribed with her name 
 «t length, are in the galleries of Vienna and Florence. The 
 Vienna picture is distinguished by a large sunflower, tulips, 
 and poppies. The glowing colour and peculiar brilliancy of 
 both the last-named flowers I never saw so perfectly repre- 
 sented by any other painter. But the arrangement is taste- 
 less, and the green colour has darkened. The Florence 
 picture is better in the last-mentioned respect, and equal in 
 every other. Two pictures in the Dresden Gallery, flowers 
 in a glass vessel. No. 1535, and a fruit-piece. No. 1536, are 
 by no means of the same merit as the foregoing. 
 
 Abraham Mignon, born at Frankfort [1635], died at 
 Wetzlar [1679]. He was first instructed in the art in his 
 native town by Jacob [Murel] ; but his pictures bear far 
 more the impress of his second master, Jan David de Heem. 
 The most that can be said in his praise is that he approaches 
 •the latter in his best works. But he is less tasteful in 
 arrangement, much weaker in drawing, not only less warm 
 and clear in scale of colour, but, on the contrary, cold and 
 heavy in many of his pictures, and with an execution at 
 once less free, more minute, and sometimes trivial and over- 
 smooth. He must have plied his brush very diligently, for 
 his pictures are pretty abundant both in public and private
 
 Chap. VII. JACOB WALSCAPELLE. 519- 
 
 galleries. In the Amsterelam Museum, No. 960, is a marble 
 Table, on which are fruits and flowers, a boiled lobster, a 
 silver plate, etc., approaching Jan D. de Heem in harmony 
 and softness of touch. In the same galleiy, No. 961, 
 Flowers in a Vase, with a cat and a mouse-trap, is a good 
 picture in his usually inferior tone and touch. No. 964 in 
 the same collection at Amsterdam is a dish Avith grapes,, 
 pomegranates, oysters, and white bread, which, in composi- 
 tion, warmth and harmony of tone, and truth of nature in 
 every detail, belongs to his best pictures. Next to this may 
 worthily be placed two pictures in the Louvre, No. 380, a. 
 Nosegay of field flowers, and No. 333, Flowers and Fruit. 
 Two others, on the other hand, No. 329, a Squirrel, dead 
 Fish, and Birds, and No. 331, a Flower-piece, are examples- 
 of his scattered ai'rangement, cold tone, and hard details. 
 In the galleries of Munich and Dresden are excellent pictures, 
 by him ; but his little success in the representation of dead 
 animals, as large as life, is proved by a dead Cock and other 
 Birds, No. 1621 in j;he Dresden Gallery. 
 
 Jacob Walscapelle. He also belongs to those numerous, 
 and admirable Dutch painters whose names are only known 
 by the signatures on their works. From this source alone 
 we gather that he flourished about 1670, and formed his art, 
 with admirable success, upon the example of Jan D. de 
 Heem, whose scholar he may also have been. No other 
 painter so nearly approaches De Heem in fine style of" 
 arrangement and tastefulness of feeling. Also in sense of 
 harmony and truthful execution of detail he comes very 
 close to his model. Only in depth of transparency of 
 colour, and in decision of modelling, does he fall short oi 
 De Heem. The reason why his pictures appear so rare is, 
 because most of them are attributed to one of the De Heems. 
 This is the case with a flower-piece in a glass vessel, of' 
 beautiful arrangement and powerful tone, in the Dresden 
 Gallery, No. 1258, which, though signed with the name ol 
 Walscapelle, is there assigned to Jan D. de Heem. A rich., 
 festoon of fruits, mingled with flowers, and enlivened with, 
 butterflies and other insects, of the finest quality of arrange' 
 ment, colour, and touch, is in the Berlin Museum [withdrawn]..
 
 520 THE DUTCH REVIVAL. BooL V, 
 
 Two pictures by him, which I have not seen, are in the 
 Gallery at Schwerin. 
 
 PiETER DE EiXG is a painter who [entered the Guild of 
 Leyden in 1648, and became] a good follower of Jan D. de 
 Heem. A picture inscribed -svith a ring, as a sign of his 
 name, representing fruit, a boiled lobster, oysters, bread, etc., 
 is in the Amsterdam Museum, No. 1201, and nearly equals 
 his model. In the Berlin Museum, No. 918, is another, 
 inscribed " P. de King, ft. 1650," which shows him in a more 
 original form. It represents a globe, a book in which is the 
 picture of a man blowing soap-bubbles, an hour-glass, dice, 
 musical instruments, etc., in very picturesque arrangement 
 and of capital execution. 
 
 I now approach a group of painters who were especially 
 devoted to that class of still life in which dead birds are 
 prominent ; and who also occasionally painted fruit and 
 flowers. A cool general tone usually prevails with them. 
 
 Evert van Aelst, born at Delft 1602, died 1658. He 
 painted dead birds, sometimes also a hare, and all kinds of 
 instruments of the chase, with great truth and detail, in a 
 grey and somewhat heavy tone. His pictures occur rarely 
 in public galleries. Two of this class are at Dresden, Nos. 
 1284 and 128.5;^ two at Berlin, Nos. 921 and 936 ; [and two 
 at the Uffizi in Florence.] 
 
 C. Lelieneergh, known only from the signatures on his 
 works, was a contemporary of the above, and executed 
 similar subjects, to which he sometimes added fruit and vege- 
 tables, with good drawing, and in harmonious though cool 
 keeping. His very decided touch is also broader. His pic- 
 tures are also but seldom found in public galleries. The 
 Berlin Museum has one, No. 990, a table on which are two 
 woodcocks, and smaller birds, quinces, and artichokes; 
 signed, " C. L. 1650." The Dresden Gallery has also one 
 specimen, No. 178-3, a dead partridge and a ring-dove, 
 signed, " C. Lelienbergh, f. 1654." The dates on other pic- 
 tures show that he was still living in 1663. 
 
 WiLLEM VAN Aelst, born at Delft 1620, died at Amster- 
 
 ' [This picture (118S) is signed " ninll"'" van Aelst, 1644," and is 
 therefore by E. van Aelst's nephew Willesn.] [Berlin, No. 936, is with- 
 •IrawB.I
 
 Chap. VII. WILLEM KALF. 521 
 
 dam 1679. He was the scholar of his uncle Evert van 
 Aelst, whom he far excelled, being, without question, the 
 best master of this group. The pictures by him, represent- 
 ing, like those of his uncle, dead birds, are, as respects 
 picturesque arrangement, finely balanced harmony of cool 
 but transparent colour, perfect nature in every detail, and 
 delicate and soft treatment, admirable types of the perfection 
 of the Dutch school. Specimens of this class are a picture 
 in the Munich Gallery, Cabinets, No. 357, of two dead 
 partridges and instruments of the chase, and another in the 
 Berlin Museum, No. 961, signed " W. v. Aelst, 1653," 
 representing a marble table with two woodcocks and other 
 small birds, and two French partridges suspended above. 
 His favourite subjects, however, were fruit and other eat- 
 ables, herrings, oysters, bread, etc., with glasses and gor- 
 geous vessels in gold and silver. These have all the same 
 excellent qualities. A very choice picture of this class, 
 including also peaches, grapes, and a piece of mother-of- 
 pearl, is in the Berlin Museum, No. 975. It is inscribed 
 " Guillelmo van Aelst, 1659." Three other good pictures of 
 similar subjects are in the Dresden Gallery, Nos. 12*36, 1287, 
 and 1288.^ [Four are in the Pitti at Florence.] 
 
 Some other painters may be characterised as executing 
 subjects of still life, with various vessels, especially of metal, 
 and fruit and eatables, in a warm, brownish, but somewhat 
 heavy tone. 
 
 The most notable is Willem Kalf, born at Amsterdam 
 1630, died there 1693. He was the scholar of Hendrik Pot. 
 A specimen of his art may be seen in the Amsterdam Museum, 
 Ko. 743, in which a silver vase of elegant form, and a 
 porcelain vessel with oranges and lemons, etc., are skilfully 
 arranged and solidly painted in a powerful tone. By way 
 of exception he occasionally painted genre subjects, especially 
 kitchens, in which utensils and vegetables play the chief 
 part. The Louvre has one of these, No. 259, with a few 
 figures of good chiaroscuro and powerful touch. 
 
 C. PiERSON. This name is wrongly given to Pieter Claasz, 
 father of Berghem, who lived in Haarlem 1617-61, and 
 ' [Na 1288 is signed, " B. van der Ast."
 
 522 THE DUTCH REVIVAL. Book V. 
 
 painted, with the monogram P. C, drinking vessels, table 
 utensils, and eatables, in a rather monotonous and heavy 
 brown tone, though with much skill of drawing and touch. 
 Two pictures of the kind, the last signed with his monogram, 
 are in the Berlin Museum, Nos. 948 and 9S5a. 
 
 Good painters in this department of art are also Pieter 
 EoESTRAETEX, born at Haarlem 1627, died in London 1698, 
 a scholar of Frank Hals ; and Willem Klaasz Heda, born 
 at Haarlem 1594, [still living in 1668],^ who also occasionally 
 painted game, fish, and birds. I am not able, however, t6 
 indicate any work by the first in galleries. By Heda's hand 
 there is a breakfast subject of broad masterly treatment 
 in the Germanic Museum at Nuremberg, No. 289. [One 
 of his earliest pictures is a tin tray with ham, bread, and 
 glasses. No. 619 in the Munich Pinakothek, signed " Heda, 
 1 G35." The adventures of his relative, Cornelis Cleesz Heda, 
 as a painter at the Court of an Indian prince, are told by 
 Van der Willigen.]^ 
 
 Finally, I call attention to a small number of painters 
 who took pleasure in representing all kmds of plants upon 
 a dark background, with butterflies and other insects about 
 them, and below, between mushrooms and other such 
 growth, snakes and lizards, and toads and frogs, sometimes 
 fighting with each other. Pictures of this kind have, upon 
 the whole, a dark efi'ect, and are therefore not often admitted 
 into collections. 
 
 The founder and chief painter v/as Otto Makseus (also 
 often wrongly called Marcellis) van Scheiek, born in Amster- 
 dam 1613, died 1673. His works are skilfully arranged, 
 the single objects well drawn, of great truth of nature, care- 
 ful detail, and powerful colour. In the Dresden Gallery are 
 two pictures; No. 1400, a poppy-plant, and, in the grass 
 below, a hedge-sparrow's nest, out of which a snake is steal- 
 ing an egg, and in the foreground a polecat who seems in- 
 
 ' [A. van der Willigen, 'Les Artistes,' p. 156.] 
 
 - [C. C. Heda was registered in the Guild of Haarlem in 1587. Being' 
 at the Court of the Emperor of Germany in 1C05, he was taken into the 
 Bervice of an Indian prince, whose envoy was at that time at the Impe- 
 rial Court, and he subsequently lived (till 1617) at divers places on the 
 coast of Coromandel. See Van der Willigen, ' Les Artistes,' pp. 153-5.]
 
 Chap. VIII. WITHOOS. 523 
 
 clined to do the same. The other picture, No, 1401, has 
 only a plant with insects. In both the many white butter- 
 flies 'occasion a spotty look. A picture of similar composi- 
 tion, in the Berlin Gallery, No. 959, signed with the name 
 at length, contains two snakes hissing at each other. It is 
 far more harmonious in eflfect [It is now withdrawn.] 
 
 Matthew Withoos, born 1629, died 1703, trod close in 
 the footsteps of the foregoing painter, who was both his 
 friend and teacher. Also Nicolaus Veomans, called the 
 Snake Painter, born 1655. Both of these painted with much 
 skill in the style of Van Schriek. I am not, however, able 
 to quote a specimen of their art in any public gallery. 
 
 CHAPTEK VIII 
 
 THE GERMAN PAINTERS OF THIS PERIOD. 
 
 The number of painters who worthily represent German art 
 at this time is, for the reasons I have before given, but small, 
 the more so as the greater number of Germans of distinguished 
 talent, such as both the Ostades, Caspar Netcher, Govaert 
 Flink, and Johann Lingelbach, repaired in early life to 
 Holland. There they adopted both the feeling and technical 
 practice of the school, lived, brought up scholars, and died 
 there ; so that they are rightly included among the masters 
 of the Dutch school. Even such painters as we are about 
 to consider are some of them scholars of Dutch painters. 
 They, however, returned to their own country, and there 
 took up an independent position. Other German painters, 
 on the other hand, were also subject to the influence of 
 Italian schools — those of the eclectic and naturalistic painters 
 — and, later, to that of Pietro da Cortona, Trevisani, and of 
 other painters of the late Venetian school. Some painters 
 even, like Ulric Loth and his son Carl, adopted not only the 
 entire manner of the Venetian school, but lived even in 
 
 41
 
 524 SEVENTEENTH CENTURY GERMANS. Book V. 
 
 Venice, so that they are justly reckoned among the Italian 
 schools. 
 
 I take first in order the historical painters. 
 
 Paul Ju^^:NEL, born at Nuremberg 1579, died at Presbm-g 
 1643. He was the son of Nicolas Juvenel, a Dutch painter 
 of perspective views, who had settled in Nuremberg, and 
 received his first instruction from his father. His second 
 master was Adam Elzheimer. In the only work I know by 
 him — the paintings on the ceiling in the small hall of the 
 Town-hall at Nuremberg — it is evident from the chief com- 
 partment, representing a German emperor surrounded with 
 allegorical figures, that he shared the unfortunate taste for 
 allegory which prevailed at that time. Two of the other 
 compartments, however, Horatius Codes defending the 
 Bridge, and the Entrance of Attila into Kome, are of animated 
 conception, and all alike are powerfully coloured.^ 
 
 A far more important name is that of Joachim von Sandeart, 
 born at Frankfort 1606, died in Nuremberg 1688. Having 
 acquired the knowledge of drawing from Theodor de Bry 
 and Matthew Merian, and that of engraving from Egidius 
 Sadeler, he turned for instruction in painting to the school 
 of Gerard Honthorst at Utrecht. In 1627 he went to Italy, 
 first to Venice and then to Rome, where he spent many 
 years in an independent position, not only in the character 
 of a painter, but in that of a man of general cultivation, in 
 the society of the best artists and of other distinguished men 
 of the time, such as Galilei and the Marchese Giustiniani. 
 On returning to Germany his art became very popular, 
 namely, in Bavaria and Austria ; and he executed numerous 
 altarpieces for Munich, Augsburg, Wiirzburg, Bamberg, 
 Regensburg, Eichstadt, Freising, Landshut, Salzburg, Linz, 
 etc., and for various convents in Austria. Besides these, he 
 treated in various ways subjects from history, mythology, 
 and allegory, and painted a large number of portraits. His 
 line of art was from the first decidedly i-ealistic, which was 
 further fostered by the instruction of Honthorst. But, 
 although the influence of that master is unmistakably seen 
 
 ' [One of Paul Juvenel's works is a copy of Albert Diirer's Coronation 
 of the Virgiji. It is now in the Saalhof at Frankfort am Main.]
 
 Chap. VIII, J. VON SANDRART. 525 
 
 in his works up to a late period, yet we often perceive a 
 happy Inspiration derived from Rubens and Van Dyck. 
 Sandrart united good drawing, and feeling for composition, 
 with a thorough use of the brush. Up to 1645 also most of 
 his pictures show a prevailing warm and transparent colour- 
 ing. After that he degenerated more and more into a heavy 
 brown tone. The following works are characteristic of him : 
 — The Death of Seneca, in the Berlin Museum, [withdrawn,] 
 executed in Eome, and therefore before the year 1634, for 
 the Marchese Giustiniani. This is a night-piece, quite in the 
 style of Honthorst, more delicately drawn, but far less trans- 
 parent in colour. His best picture known to me is in the 
 Amsterdam Museum, No. 1279, the Amsterdam Archers' 
 Company at the entry of Mary of Medicis, the bust of whom 
 occupies the centre of the picture. This work was doubtless, 
 executed during a prolonged residence in Amsterdam after 
 the j&iT 1637 ; and its larger conception of forms, greater 
 vivacity of heads, some of which are not unworthy of Yan 
 Dyck, and higher qualities of colour and treatment, show 
 that the vicinity of the great Dutch masters. Van der Heist 
 and Rembrandt, had stimulated his powers to the utmost. 
 On the other hand, his pictures of the Months, [once] in tlT^ 
 Munich Gallery, are specimens of his solid but rather vulgar 
 manner, in the taste of Honthorst. The subjects, as in 
 illuminated calendars, are the occupations of each month. 
 Thus January, No. 101, is represented by an old man in an 
 arm-chair, warming himself at a fire : February, No. 102, by 
 a fat cook. The first shows the obvious influence of Rem- 
 brandt ; the second that of Jordaens. The other pictures 
 will be found under Nos. 115, 116, 117, 140, 141, 142, 159, 
 160, 161, and 163. In allegory, properly speaking, he 
 principally followed Rubens. A good specimen of this class, 
 Pallas and Saturn defending the Genii of the Fine Arts 
 against the Furies of Envy, signed and dated 1644, is in the 
 Gallery at Vienna. On the other hand, an example of his 
 failure in the department of mythology is seen in his Apollo 
 rejoicing over the defeat of the Python, in the Gallery of the 
 Uffizi at Florence. The god is as vulgar in feature as in 
 action. A small picture of the Marriage of St. Catherine,
 
 526 SEVENTEENTH CENTURY GERMANS. Book V. 
 
 •dated 16-17, in the Yienaa Gallery, though still showing the 
 influence of Rubens, is already weak and insipid in tone. 
 An Archimedes with his Sphere, in the same gallery, dated 
 1651, and carefully painted in the manner of Honthorst, is 
 of heavy brown-red tone in the flesh. Finally, though far 
 inferior to his Archers' Company in Amsterdam, I may men- 
 tion his Celebration of the Peace of Westphalia, painted in 
 1650, and now in the Landauer Briiderhaus at Nuremberg. 
 Here, while his colour is heavy and dark in other respects, 
 his heads, many of them portraits, are well painted in a 
 warm tone, especially his own portrait, which is on the 
 right in the foreground. Sandrart's merit as a writer upon 
 Art I have already mentioned. 
 
 Carl Scketa, born at Prague 1604, died there 1674. He 
 formed himself as a painter in Italy — namely, in Rome — 
 which he visited in 1634 in company of Wilhelm Bauer. He 
 was, however, so original and remarkable in talent, that no 
 imitation of any master can be traced in his works, though 
 they show that he availed himself of all means of cultivation 
 in art. This painter was endowed with a singular facility 
 of invention. Many of his historical pieces display a 
 fire allied to Rubens. His male saints are characterised by 
 power and dignity, his female saints by a feeling for beauty : 
 both of them show an elevated and warm feeling. At the 
 same time his best pictures have excellent keeping, and dis- 
 play thorough knowledge of chiaroscuro. Finally, he is 
 spirited in the use of the brush, and of great softness. "With 
 the exception of his portraits, which, in arrangement, trans- 
 parency, and power, recall Van der Heist's earlier works, 
 there is something in his heavy dark shadows which shows 
 the influence of the degenerated practice of the school of the 
 C'arracci. The fire of his ideas also often hurries him into 
 extravagant attitudes and incorrectnesses of drawing, and 
 even into works of great superficiality in every respect, which 
 are very unworthy of his art. Of the 103 altarpieces by 
 him, quoted by Dlabacz,^ I can only adduce a few. Among 
 those in the Theins church at Prague I may mention St. 
 Luke painting the Virgin on the Altar of the Painters. An 
 
 Kiinstler Lexicon fiir Bohmen.   — Prag. 1815, 1 vol. quarto, beiHaase.
 
 Chap. VIII. MATTHIAS SIMBRECHT. 527 
 
 excellent example also of his talent for large and dramatic 
 compositions is the picture on the high altar of the Maltese 
 church in that part of Prague called the " Kleinseite." The 
 subject represents the Infant Christ (in this respect a new 
 motive), with the archangel Michael and other angels, hurl- 
 ing, at the request of John the Baptist and other knights of 
 St. John, thunderbolts against the Turkish fleet, the destruc- 
 tion of which is seen in the background. The invention is 
 very bold, the colouring powerful, and the heads of the 
 knights noble. ^ On another altar in the same church is the 
 Martyrdom of St. Barbara by her father, for her refusal 
 to worship idols. Here the saint is very beautiful and 
 elevated in character and expression. As an example of 
 Screta's power as a portrait painter, I may give a man seated, 
 with a crayon in his hand, looking at a woman standing by 
 him, in the Gallery of the Estates at Prague, No. 5, in the 
 tenth room, which also contains other good but subordinate 
 pictures by the artist. 
 
 Matthias Simbkecht or Zijibkecht, born at Munich, died 
 of the plague at Prague 1680. It is not known who was 
 his master ; but his pictures show that he formed himself 
 especially after Eaphael, and lead us to conclude that he 
 spent much time in Italy. He appears only to have painted 
 subjects of a religious import. I know of no other instance 
 at so late a period where this great model has been imitated 
 with such rare simplicity and repose of composition, elevation 
 of forms, purity of feehng, and fine taste in drapery. With 
 these qualities, also, Zimbrecht combines a warm and power- 
 ful colouring. Judging from the small number of his existing 
 pictures, it would appear that he did not attain to old age. 
 On the high altar in the church of St. Stephen, in the Neustadt, 
 at Prague, is a large composition by him of good arrangement. 
 In the details the influence of the school of the Carracci 
 is, in this instance, evident. The colouring is of a power 
 recalling Rubens. A picture of S. Rosalia, on another altar 
 in the same church, shows, however, the influence of Raphael 
 above mentioned, which is still more apparent in two pictures 
 
 » The assistance of another painter, who completed this unfinished 
 picture, does not appear to have been of much importance.
 
 528 SEVENTEENTH CENTURY GERMANS. Book V. 
 
 — Joachim and Anna teaching the Virgin to read, and the 
 Visitation — originally painted for the Hiberner church, now 
 in the Gallery of the Estates. 
 
 JoHAXN Georg Heintsch, bom in Silesia, lived, from 1678 
 to his death in 1713, in Prague. He formed himself, in many 
 respects, upon the model of Carl Screta ; but was more ideal 
 in tendency, and had a peculiar feeling for grace of action, 
 and for purity and sweetness in the heads of women and 
 children. In colouring he adheres to a cool but clear tone, 
 and excels in broad and tender treatment. The following 
 are remarkable pictures by him : — the youthful Christ disput- 
 ing with the Doctors, in the Estates Gallery at Prague ; the 
 head of the Ckrist, in pure and childlike expression, recalls 
 Borgognone, and the expression in the heads of the Virgin 
 and Joseph is dignified and animated. The standing figure 
 of t'he Vii'gin, painted in 1696 for an altar in the church of 
 tlie Karlshof at Prague : this is excellent in form and ex- 
 pression. Christ after the Temptation ministered to by 
 Angels, in the summer refectory of the Strahow Convent at 
 Prague : the conception of this is highly original ; Christ if 
 seated at a table which is richly supplied with viands by 
 graceful angels ; one of them is flying up with a dish, on 
 which is a large crab ; the Saviour, who is thoroughly dignified 
 in form and expression, has just selected an oyster, while 
 the angels perform their business with the utmost respect. 
 
 Heinrich Schoenfeldt, born at Biberach 1609, died 
 at Augsburg 1675. He was the scholar of Johann Sichel- 
 bein, but completed his studies by a journey to Italy. His 
 artistic powers were very versatile, for he treated sacred 
 and profane, mythological and allegorical figures. He 
 also painted idyllic subjects with landscapes. At the same 
 time, the number of his altar-pictures in churches in Munich, 
 Bamberg, Salzburg, Eichstadt, Augsburg, Brixen, Ingold- 
 stadt, and Nordlingen is very considerable. He has great 
 skill in composition, and frequently something pleasing 
 in his figures, nor are his works wanting in keeping. 
 But the drawing is superficial, the colouring only occasion- 
 ally transpsj-ent, but more generally crude and heavy in the 
 shadows. lis execution is sometimes broad tmd powerful,
 
 Chap. VIII. nEINRICH ROOS. 529 
 
 sometimes tender and soft. His works, accordingly, vary- 
 greatly in value. As a good specimen of his altar-pictures, I 
 may mention his Crucifixion in the cathedral at Wiirzburg, 
 and, as one of his Old Testament subjects, the Reconciliation 
 of Jacob and Esau, in the Vienna Gallery, which is remark- 
 able for composition, keeping, silvery tone, and careful finish. 
 A somewhat larger example of the same subject, and its 
 companion, Gideon watering his flocks in the Jordan, in 
 the same gallery, belongs, on the other hand, to his cold and 
 spotty productions. He is still more unattractive in mytho- 
 log}' ; as, for example, the Battle of the Giants, in the 
 Dresden Gallery, No. 1988. Two other subjects, however, 
 in the same gallery, Nos. 1989 and 1990, musical parties in 
 the costume of his time, though decorative in treatment, are 
 lively in action and clear in colour. 
 
 I now proceed to the painters of Genre. 
 
 By far the most distinguished of this class is [Johann] 
 Heinrich Roos, born at Ottendorf, in the Palatinate, in 1631, 
 died at Frankfort 1685. Having been brought to Amsterdam 
 when a boy, he received the instructions of Julieu Dujardin 
 from his ninth to his seventeenth year, and afterwards those 
 of Adrian de Bye. When he left Holland is uncertain, but 
 there is no doubt that he settled in Frankfort in 1671. He 
 devoted himself almost exclusively to animal painting ; his 
 subjects being placed in landscapes, which, by the intro- 
 duction of buildings, ruins, and fountains in the Italian 
 taste, show the influence of Weenix and Berchem. These 
 landscapes have too often the efi'ect of dry compositions 
 as opposed to the fresh and perfectly natural scenes 
 which give such a charm to Paul Potter's and Adrian van 
 de Velde's cattle-pieces. Nevertheless Heinrich Roos may 
 be said to have united a choice taste in composition with 
 the most delicate feeling for nature and admirable draw- 
 ing in his animals, of which his sheep may be considered 
 the most successful. Although most of his works are 
 satisfactory in keeping, warmth, and transparency of tone, 
 yet feehng for colour was altogether the weaker part of his 
 talent, so that many of his pictures have a gaudy, and 
 others an insipid and cold efi'ect. However free and deli-
 
 530 SEVENTEENTH CENTURY GERMANS. Book V. 
 
 cate also the use of his brush, he does not equal the great 
 Netherlandish painters in the quality of impasto. The 
 number of his works, notwithstanding their great finish, 
 and a life not extended beyond fifty-four years, is great ; thus 
 showing that he must have exercised great industry. Of 
 the German galleries, Munich and Dresden are those 
 which possess most examples of his art. The earliest 
 dated picture I know by him is inscribed 1663. It repre- 
 sents flocks reposing, with a shepherd who is taking a lamb 
 to a girl, and is in the Gallery of Sehleissheim.^ The 
 composition is agreeable, the lighting brilliant, and of 
 unusually powerful impasto, but somewhat crude in 
 effect. As a specimen of how crude and spotty this master 
 covdd sometimes be, I may mention a white Ox going 
 through the water, in the Munich Gallery, No. 1413. On 
 the other hand, Flocks reposing, with a shepherd and 
 shepherdess playing with a ram, at Schleissheim, is of 
 charming composition, harmonious and juicy colouring, and 
 careful finish. Two of his best pictures, both dated 1672, 
 are in the Vienna Gallery. The one, with cattle near a 
 well, is beautifully composed, of sunny lighting, and trans- 
 parent in every part; the other, with cattle grazing near 
 a ridge of rock, adds to the same qualities a still greater 
 power and a truthfulness in the harmonious evening light- 
 ing which is rare for him. A picture in the Berlin Gallery, 
 [withdrawn,] remarkable for its size, 4 ft. 1 ^ in. high by 
 6 ft. 2^ in. wide, and for the richness of the composition, dated 
 1683, is far less harmonious. The stately landscape, in 
 this instance, contains a numerous flock, and also a lumting 
 party refreshing themselves at a well. Of his cattle-pieces 
 in the Stadel Institute at Prankfort, No. 278, a Flock 
 reposing near columns, and a shepherd with a lamb, dated 
 1674, are the most remarkable for transparency of tone. 
 No. 277, in the same collection, a portrait of himself, 
 bust size, as large as life, as well as another in the Schleiss- 
 heim Gallery, show by their good drawing and mo- 
 
 ' [This picture is signed "J. H. Roos, fecit 1679." An earlier 
 picture in the Munich Gallery is No. 1411, Cabinets, representing a 
 brown ox, a ram, and a flock of sheep, signed " J. H. Roos, fecit 1661.']
 
 Chap. VIII. PHILIP EOOS. 531 
 
 delling, and masterly treatment, that he was quite equal tO' 
 his subject. The colouring only is somewhat cold and 
 heavy. But in his etchings, where colour does not come 
 into the field, Heinrich Roos asserts his equality with the 
 greatest of the Dutch painters. The extraordinary truth 
 of his animals, especially of his sheep, in which, to my 
 feeling, he stands alone, and the admirable drawing, which 
 grapples securely with the most difficult foreshortenings, 
 are here combined with the highest dexterity of hand, by 
 which every detail — for instance, the various coats of the 
 difi'erent animals, cows, sheep, and goats — is rendered 
 with the happiest result. Nor is this purchased with any 
 sacrifice of general keeping or chiaroscuro. Bartsch enu- 
 merated thirty-nine plates by Heinrich Roos, to which 
 Weigel has since added three : one of the finest among these 
 is No. 13, called by Bartsch "La Bergere," of which, not- 
 withstanding their great rarity, two impressions are in the 
 British Museum ; and No. 38, a rich landscape in the Italian 
 taste, with a shepherd asleep, and his little flock in the fore- 
 ground. The efi"ect of this etching is as picturesque and 
 warm as the treatment is broad and spirited. 
 
 Philip Roos, called Rosa di Tivoli, son and scholar of the 
 foregoing, born at Frankfort 1G55, died at Rome 1705. In 
 his earlier time he painted in the same style as his father,, 
 but after settling at Tivoli formed a peculiar style for himself. 
 His subjects are figures and animals the size of life, painted 
 in a broad and decorative manner. Occasionally his figures 
 are taken from sacred or profane history, such as Noah leav- 
 ing the Ark, or Orpheus playing the Fiddle. Notwithstand- 
 ing that his animals are painted freely with a broad brush, 
 the greater number of these pictures, by their superficial 
 treatment and heavy brown colour, which extends over the 
 whole, with the exception of the lights, have a most unplea- 
 sant eff'ect. Belonging to the better specimens of his art are 
 — Noah surrounded with all kinds of animals, in the Dresden 
 Gallery, No. 2007, and a Flock of Sheep, with the shepherd 
 asleep, in the Vienna Gallery ; where are also two Combats 
 of horsemen, rare subjects with the painter, and a view of 
 the Falls of TivoU [?], a careful work of powerful colour.
 
 532 SEVENTEENTH CENTURY GERMANS. Book V. 
 
 Among the twenty-one pictures also in the Gallery and 
 Chateau at Cassel are some of his best works. 
 
 Carl Euthaed. Nothing is known of this master but 
 that he visited Italy from about 1660 to 1680. He painted 
 principally stag and bear hunts, in which, however, the 
 huntsmen do not appear at all, or play a very subordinate 
 part. He also took pleasure in depicting the habits of these 
 animalp, and also of lions, panthers, aquatic birds, etc.. 
 either peacefully dwelling in the wilderness, or engaged ir 
 combat with each other. Generally speaking, they art 
 given on a small scale, and only by way of exception as 
 large as life. Ruthard represented the habits of these 
 animals, especially their momentary action in combat or the 
 chase, with much spirit, and, being an excellent draughtsman, 
 with much truth. But his compositions have often some- 
 thing indistinct, and his colouring is cool, and frequently 
 also heavy. His very careful execution, which seeks even to 
 express single hairs, becomes often trivial. Pictures by him 
 occur most in German galleries — Dresden possesses four : 
 Stags upon a Precipice, No. 2024 ; Stags attacked by Dogs, 
 No. 2025 ; and a Fight between Bears and Dogs, No. 2026, 
 Berlin also has pictures of both the last subjects [both now 
 withdrawn], the Stag-hunt bearing the name of the master. 
 Another Stag-hunt in the Vienna Gallery, signed with the 
 monogram only, is particularly dark and heavy. I know but 
 •of one picture by him not in German galleries, which is No. 
 476, a good picture, in the Louvre, representing a Bear-hunt. 
 
 JoHANN Philip Lejibke, born at Nuremberg 1631, died at 
 Stockholm 1713. He received instruction in the art from 
 Matthew Weycr and George Strauch. His subjects were 
 chiefly taken from military life — skirmishes, fights, marches, 
 sieges, etc. — in which he displays great vivacity of concep- 
 tion, very able drawing, powerful and clear colouring, and 
 a broad and free execution. These qualities are exemplified 
 in a Skirmish, in the Vienna Gallery, the only picture by him 
 I can speak of from personal observation. His principal 
 pictures are doubtless to be found in Stockholm, to which 
 court he was summoned as painter, and, namely, in the 
 ■chateau of Drottuingholm.
 
 C!lap.^^II. FRA.NS WERNER TAMM. 533 
 
 Frans Werner Tamm, born at Hamburg 1658, died at 
 Vienna 1724. He visited Italy, and there devoted himself 
 to the painting of fruits and flowers, following especially the 
 decorative manner of the painter Mario Nuzzi, though 
 giving, by means of dead birds, game, and vessels, an 
 additional attraction to his pictures. Although skilful in 
 arrangement and well drawn, pictures of this kind are 
 generally heavy in colour as well as decorative in treatment. 
 Subsequently, having been called to the court of Vienna, he 
 ■devoted himself to the study of the Dutch masters, such as 
 Jan Weenix and Melchior Hondecoeter, and executed 
 pictures of a far clearer and more careful description in their 
 manner. Of the seven pictures by him in the Vienna Gallery, 
 the one representing poultry and a white rabbit in the fore- 
 ground is the most remarkable. In truth and masterly 
 treatment it resembles Hondecoeter. The Tiichtensteiu 
 •Gallery at Vienna has also several of his works.
 
 534 THE DECLINE OF ART. Book VI. 
 
 BOOK YI. 
 
 THE DECLINE OF ART. 
 1700—1810. 
 
 INTRODUCTION. 
 
 The deterioration of painting both in Belgium and Holland, 
 which had begun to show itself in the latter time of the last 
 period, now took the unmistakable character of a total decline. 
 The faculty of invention, that first condition of an indepen- 
 dent art, became entirely paralysed, and historical painting, 
 for instance, ceased altogether, or, where attempted, followed 
 chiefly, according to the precepts and practice of Lairesse, 
 certain academic rules which destroyed all originality. In 
 all other departments of art, the various branches of genre, 
 landscape, marine, and architectural painting, a generally 
 spiritless imitation of the great masters of the foregone period 
 took place. In portrait painting only, where the painter is 
 referred directly to nature, respectable works were produced, 
 and in flower painting pictures even of a high quality. What 
 is particularly characteristic of this time is the fact that the 
 feehng for colour was gradually lost, and the pictures became 
 gaudy, cold, and dark. This circumstance is intimately con- 
 nected with the degeneration of technical practice, whose 
 essence consists in the happily balanced proportions of the 
 solid and the glazing colours. Thus, by the predominance 
 of the first a picture loses in transparency, and becomes 
 heavy and dull. A want of caution also as to the durability 
 of the colours became a fertile cause of changes, by render- 
 ing the picture liable either to darken or to lose colour. 
 Finally, the quaUty of execution degenerated in two extreme 
 directions — becoming either very slight and decorative, or too
 
 Chap. I. BALTHASAR BESCHEY. 535 
 
 smooth and meagre. As the interest which is attached to 
 the works of art of this period is, as compared with that be- 
 longing to the former time, very subordinate, I shall content 
 myself with considering only the most remarkable and char- 
 acteristic painters of their time, and also only a limited 
 number of their works. 
 
 CHAPTER I. 
 
 THE FLEMISH SCHOOL. 
 
 The historical painter is here the most weakly represented. 
 The following two masters are most characteristic of the 
 period : — 
 
 Balthasae Beschey, born at Antwerp 1708, died 1776. 
 Although in his youth he painted landscapes in the taste of 
 Jan Breughel, who was now greatly imitated, he applied 
 himself later to historical and portrait painting. Judging 
 from his pictures from the life of Joseph, Nos. 12 and 
 13, in the Antwerp Museum, he appears, of all the 
 earlier masters, to have chosen Gaspard de Craeyer for his 
 model. He is not wanting in talent or in feeling for har- 
 mony, but expression, form, and colouring are all weak. In 
 the department of portrait painting also, represented in 
 No. 14 in the Antwerp Gallery, which is his own portrait, 
 he appears easy in conception and careful in execution, but 
 weak and gaudy in colouring. Several younger brothers of 
 Balthasar Beschey practised painting under his instruction. 
 Their subjects were generally careful, but, in point of colour, 
 feeble copies on a small scale from works by Rubens and 
 Van Dyck. 
 
 Andries Cornelis Lens, born at Antwerp 1739, died 
 there 1822. He was the scholar of Carel Eyckens and 
 Balthasar Beschey. This master marks the last faint efforts 
 and degeneration of this once famous school, in which he 
 takes the same place as Fiigger in Vienna towards the
 
 536 THE DECLINE OF ART. Book YL 
 
 German school, with this exception, that he is far inferior to 
 ^he latter. His compositions are lame, his heads of a 
 monotonous and feeble prettiness, his flesh of a thoroughly 
 untrue tone, sometimes honey-Hke and sometimes rose- 
 tinted, and his execution uncertain and pufty. It is no httle 
 remarkable that this, the last and most unworthy scion of 
 the school, considered it beneath his dignity to belong to St. 
 Luke's Guild of Painters in Antwerp — a company of which 
 Quentin Massys and Rubens had been members — and that at 
 his instance it was actually dissolved. As the grounds for 
 my opinion of this artist, I may mention some of his historical 
 pictures: — An Annunciation, No. 234, and an allegorical 
 subject, dated 1763, No. 236 of the Antwerp Museum ; also 
 a Delilah cutting off Samson's hair, in the Brussels Museum.^ 
 Even in portraits, where nature was immediately before him, 
 such as his own and that of the engraver Martenasie, No. 
 235, in the Antwerp Museum, and the Emperor Leopold's, in 
 the Brussels Museum, he was empty in form and conventional 
 in colour. 
 
 In this dearth of interest the works of various genre 
 painters, usually combined with landscape, in the manner of 
 Jan Breughel, though of very inferior value, are still some- 
 what more cheering. 
 
 Balthasar van den Bossche, born 1681 at Antwerp, died 
 1715, is favourably distinguished among this class. He 
 usually painted masquerades, apothecaries in their labora- 
 tories, market-criers, etc. ; also occasionally portraits. His 
 pictures are arranged with discrimination ; the heads lively 
 and individual, the colouring powerful and warm, though 
 of rather too uniform a brick-red in the flesh, and the stroke 
 of the brush of a certain softness. As a specimen of his 
 art, I may name the reception of a Burgomaster of Antwerp 
 in the younger Guild of Cross-bow Shooters, in the Museum,. 
 No. 379. 
 
 Jan Joseph Hoeemans, born at Antwerp 1682, died there 
 1759. He generally painted conversation pieces, peasant 
 parties, quack doctors, etc. He was skilful in composition, 
 and executed his works carefully ; but the heavy and un- 
 
 ' [Lens' pictures have been withdrawn from the Brussels Museum.]
 
 Chap. I. MICHAU, FALENS, AND OTHEES. 537 
 
 truthful colouring of every part renders his pictures little 
 attractive. Only two of the galleries known to me have 
 any of his works: Cassel, namely, five, Nos. 774-778, and 
 Dresden two, 1172 and 1173. These are all of the class of 
 subjects I have mentioned. In the Antv/erp Museum also, 
 No. 200, is the Admission of an Abbot of St. Michael into 
 the Fencing Company. 
 
 Theobald Michau, born at Tournay 1676, died [at Antwerp] 
 1755. He painted subjects in the style of Pieter Bout, which 
 are pleasingly composed and skilfully executed, but feebly 
 coloured. His brick-red flesh-tones are particularly disagree- 
 able. The Vienna Gallery has two pictures signed with his 
 name — a summer and winter landscape with numerous 
 figures. [A group of peasants near some cottages, No. 126 
 in the Museum of Rotterdam, is signed " T. Michau."] 
 
 Kabel van Falens, born at Antwerp 1684, died at Paris 
 1733. He imitated Wouverman with some success. But his 
 touch is too smooth. The Dresden Gallery, No. 1082, has 
 a Departure of a Party of Falconers — the Berlin Gallery, 
 No. 100, figures and animals in a landscape [now withdrawn]. 
 
 Jan Frans van Bredael, born at 'Antwerp 1683, died 
 there 1750. He also imitated Wouverman not unsuccess- 
 fully, but is inferior to him in every respect, especially in 
 his heavy brown shadows. Two of his pictures are in the 
 Dresden Gallery, Nos. 1829-30. 
 
 Karel Breydel, born at Antwerp 1677 (?), died at Ghent 
 1744 (?). He was a scholar of Peter Rysbraek, and painted 
 alternately views of the Rhine in the taste oi Jan Grifiier, 
 and scenes from military life in imitation of Van dar Meulen. 
 As regards public galleries, I only know one specimen of 
 him, a Combat of Horsemen in the collection of the Duke 
 d'Aremberg at Brussels. [Two Cavalry Skirmishes, No. 189' 
 and 190, are in the Brussels Museum; one of them bears 
 the painter's signature.] 
 
 Pieter Snyers, born at Antwerp 1681, died 1752. He 
 painted portraits, flowers, and landscape, and, in a rocky 
 landscape in the Antwerp Museum, No. 337, shows himself 
 to be one of the best painters of this period. 
 
 Simon Denys, born 1755 at Antwerp, died at Naples.
 
 538 THE DECLINE OF ART. Book VL 
 
 1813. He attended the atelier of H. J. Antonissen, went 
 to Italy in 1786 and settled at Naples, where he was ap- 
 pointed first painter to the king. He painted landscapes 
 in the Italian taste, which are judiciously composed and 
 skilfully executed, but of an insipid and heavy tone of 
 colour. Three pictures of this class are in the Antwerp 
 Museum, Nos. 62-3. 
 
 Finally, I should mention Balthasar Paul Ommeganck, 
 born in Antwerp 1755, died there 1826. He also studied 
 under Antonissen, and became a good painter of cattle, espe- 
 cially of sheep, and one of the best landscape painters of 
 his time. He decidedly pursued a realistic tendency, and 
 often introduces into his pictures the picturesque scenery of 
 the Maas in Walloon Belgium. His sheep have great truth 
 of nature and careful execution. The landscape is of good 
 General harmony, the lighting treated in large masses, and 
 the aerial perspective delicate. But his colouring is heavy, 
 and often cold in tone, and his otherwise skilful touch some- 
 what thin and bladdery. His numerous pictures are, with 
 few exceptions, in private galleries, and vary much in value. 
 But the Louvre has two landscapes with cattle, principally 
 sheep, Nos. 364 and 365— the first is dated 1781 ; the 
 Brussels Gallery, a landscape from the forest of Ardennes, 
 ■[withdrawn,] of briUiant and very tenderly graduated light- 
 ing, though dull in the shadows, and too woolly in the 
 animals ;i and the Cassel Gallery, and the adjacent Chateau 
 of Wilhelinshohe, have three pictures, Nos. 1035, 1036, and 
 1037, which belong to his best works. Among the pictures 
 known to me in England, that in Lord Northbrook's collec- 
 tion is one of the most accessible ; but it is unattractive in 
 ■colour, and too smooth in treatment. 
 
 ' [This picture is no longer exhibited.]
 
 Chap. II. WERFF — LIMBORCH — SCHLICHTEN. 539 
 
 CHAPTER II. 
 
 THE DUTCH SCHOOL. 
 
 Historical painting in Holland at this time was represented 
 only by a few feeble scions of the cold and artificial style 
 of Adrian van der Werff, while the majority of the painters 
 treated generally rjenre subjects, and occasionally also por- 
 traits. 
 
 Pieter van der Werff, born 1665 at Ptotterdam, died 
 there 1718. He was the scholar and assistant of his 
 brother Adrian, and so entirely acquired his manner that 
 the uninitiated are apt to mistake his pictures for the work 
 of his brother, the more so as he often copied his produc- 
 tions. They may be distinguished, however, to his disad- 
 vantage, by a certain poverty of feeling, weaker drawing, a 
 colder and heavier colouring, and by a still more spiritless 
 and smooth execution. Three pictures by him in the Amster- 
 dam Museum suificiently tell his style. The one, dated 1710, 
 represents a St. Jerome, No. 1621; the others, Nos. 1622 
 and 1623, two girls crowning the statue of Cupid with 
 flowers, dated 1713 ; and a young girl pointing to a statue 
 of Venus, dated 1715. 
 
 Hendrik van Limborch, born at the Hague 1680, died 
 1758. He was also a scholar of Adrian van der Werff, and 
 besides historical subjects, in which he appears as a faithful 
 but inferior imitator of his master, he occasionally painted 
 portraits and landscapes. The Louvre has two of his 
 pictures, signed with his name, a Eepose in Egypt, No. 268, 
 and the Golden Age, No. 269. 
 
 Jan Philip van Schlichten, [died] 1745. Also a scholar 
 of Adrian van der Werff, and though also upon the whole 
 feebler and more mannered, yet often displaying a warmer 
 colouring. In the Munich Gallery is a St. Andrew by him, 
 Cabinets, No. 470 [dated 1732], and a Peasant playing the 
 Fiddle, Cabinets, No. 469 [dated 1731J. 
 
 42
 
 540 THE DECLINE OF ART. Book VI. 
 
 Nicolas Verkolie, born at Delft 1073, died there 17i6. 
 He was the scholar of his father Jan Verkolie ; but, in his 
 historical pictures, imitated Adrian van der Werff. He is 
 more affected in action and emptier in his heads ; but has 
 occasionally a warm colouring, and is careful in execution. 
 An example of this kind is in the Louvre, No. 548, Proser- 
 pine gathering Flowers with her Companions. His rjenre 
 pictures sometimes show good invention, but also a great 
 coldness of colour. This is seen in a picture at Berlin, No. 
 1012, a girl refusing to take a partridge which is offered 
 her by a sportsman. This artist also executed a series of 
 plates with much skill in mezzotint. 
 
 Philip Yandyk, born at Amsterdam 1683, died at the 
 Hague [1753]. He was the scholar of Arnold van Boonen ; 
 but belongs, in his historical pictures, to the most disagree- 
 able of Yan der Werff''s imitators. His composition is taste- 
 less, his heads unpleasiug, and his execution over-smooth. 
 Two pictures of this class, Sarah presenting Hagar to 
 Abraham, and the Dismissal of Hagar, are in the Louvre, 
 Nos. 156 and 157; a third, Judith with the head of Holo- 
 fernes, in the Hague Museum, No. 23. But this painter is 
 far more pleasing in his genre pictures, which are often 
 characterised by happy invention, pretty heads, and a highly 
 delicate touch. In colouring only they are generally cold 
 and spotty. Two good pictures of the kind — a Lady play- 
 ing the guitar, and a Lady at her toilette — are at the Hague, 
 Nos. 2i and 25. Two pictures of more importance — Young 
 People at a window, and a Girl teaching a Boy to draw, 
 the latter signed and dated 1728 — are in the Berlin Museum, 
 Nos. 1020 and 1028. [A Young Woman dressing, in the 
 Brussels Museum, is signed "P. Yan Dyk 1726."] 
 
 Jacob de AVit, born at Amsterdam 1695, died 1784. 
 This painter attained a marvellous excellence in the imita- 
 tion of sculpture in all kinds of materials, bronze, Avood, 
 plaster, and particularly white marble, in which he produced 
 Buch complete illusion that even the practised eye is 
 deceived. He added to this a happy gift of invention, and 
 was a good draughtsman. His most important work is the 
 decoration of a hall in the Hotel de Ville of Amsterdam, of
 
 Chap. II. THE FAMILY VAN DER MYN. 541 
 
 which he painted the ceiling, the spaces over the four doors, 
 and the piers of the windows, with subjects in sculpture, 
 statues and reliefs. Another favourite subject with the 
 master was the representation of pretty children in the taste 
 of Fiamingo. Of six pictures of this kind, four representing 
 the Seasons, and one signed and dated 1751, are in the 
 Cassel Gallery, Nos. 796 to 801, and one with the attributes 
 of the chase in the Dresden Gallery, No. 1831. In his 
 general style of art he may be said to have attached 
 himself to Lairesse. 
 
 Karel van Moor, born at Leyden 1656, died 1738. He 
 had the advantage of the instruction of Gerard Dow, Abra- 
 ham van den Tempel, and of Frans van Mieris, and followed 
 the realistic tendency of these masters. He treated both 
 sacred and profane history on a large and small scale. But 
 his life-sized portraits were his best works, which, in 
 animation and mastery, have a worthy affinity to those of 
 A. van den Tempel, though somewhat heavier in the brownish 
 flesh-tones. Specimens of this class are the portraits of the 
 trustees of the Leprosenhuys at Amsterdam. He painted 
 also (jenre pictures, in imitation of Gerard Dow, and etched 
 his portrait and that of other masters. 
 
 A suitable transition to the ijenrs painters, properly so 
 called, who also only imitated the painters of the foregoing 
 period, is formed by the family Van der Myn, who painted 
 occasionally historical pictures, numerous portraits, con- 
 versation pieces, and also flowers and fruit. The head of 
 this family is Herman van der Myn, born in Amsterdam 
 1684, and scholar of Ernst Steven. Like him, he at first 
 painted flowers and fruit, though he afterwards devoted 
 himself to the branches of art I have just specified, especially 
 to that of portraiture, which he practised frequently in a 
 residence of several years in London. He was a good 
 draughtsman, but cold and heavy in colour, while his execu- 
 tion was almost over-careful. Many of his pictures must 
 still be in private families in England. He is seldom met 
 with in public galleries. Flowers in a jar, in the Munich 
 Gallery, Cabinets, No. 659, are of great merit, and show by 
 their cool, slightly violet general tone, and by the execution
 
 542 THE DECLINE OF ART. Book VI. 
 
 of parts, the decided influence of Rachel Ruysch. A Child, 
 life size, with a parrot and flowers in its hands, and rich 
 accessories, is in the Gallery at Augsburg. But the cold and 
 heavy general tone has an unpleasant efi'ect, though it is 
 painted with the utmost delicacy in detail. 
 
 This painter had five sons and one daughter, who all 
 learned the art of painting from him, and practised it in 
 London. 1 The most successful of the family were Geehart 
 VAN DER Myn, born 1706, and Feans van der Myn, born 
 1719. By the first is a Lady, dressed as a shepherdess, in the 
 Berlin Museum [withdrawn]. This picture, which is signed 
 and dated 17C3, show's in the aflected way with which the 
 shepherdess is plucking a rose with her right hand, whilst 
 she holds her apron with flowers in the other, the strong 
 influence of the French school of that time ; but it is very 
 skilfully-painted, in a cool tone. Frans van der Myn is 
 lauded for his mastery in the painting of various stufi"s ; but 
 I know of no specimen by him in a public gallery. 
 
 I now take those genre painters who, occasionally, though 
 with most unfortunate results, painted subjects from sacred 
 and profane history — also mytholog}'. They are seen to 
 better advantage in portraits. 
 
 A. DE P.iPE. This almost unknown artist is decidedly one 
 of the best ge7ire painters of this time. He is true and 
 speaking in action, animated in his heads, harmonious, and 
 even in some of his pictures warm in colouring, and very 
 careful and soft in execution. An example of him is a 
 signed picture in the Hague, No. 106, a Woman plucking a 
 Hen, and a Boy ; and an old Painter teaching two Boys to 
 draw, in the Berlin Museum [now wdtbdrawn]. 
 
 "WiLLEM VAN MiERis, bom at Leyden 1662, died there 
 1747. He w-as the scholar of his father, Frans van Mieris, 
 and, besides the paternal subjects, occupied himself with 
 representations from mythology, which, being very prosaic 
 and insipid in feeling, and totally deficient in grace, have an 
 odious efi'ect. In his earlier gem-e pictures he approaches 
 his father in merit, whom, by the way, he often copied, 
 though always inferior in drawing and impasto. Afterwards 
 ' Couceruing the family Van der Myn, see Walpole, p. 425.
 
 Chap. II. WILLEM VAN MIERIS. 543 
 
 he became spiritless and uniform in his heads, cold and 
 gaudy in colour, and meagre and licked in touch. In his 
 later time he painted chiefly vegetable and poultry shops, 
 and kitchens, which gave him opportunity to show his 
 wonderful but most unattractive industry in the unspeakable 
 finish of all these details. The number of pictures executed 
 in his long life is very large. The following are very cha- 
 racteristic of him: — Three Children, variously occupied, in 
 the Louvre, No. 326. The Child blowing soap-bubbles is 
 copied from the picture by his father. This is of his earlier 
 time, and one of his best works. The companion to it, No. 
 327, a Poultry- dealer laying out his stock, is somewhat less 
 pleasing, but of similar good qualities. A Grocer's Shop 
 also, in the Hague Museum, No. 88, is a specimen of the 
 endless pains of his execution, and, at all events, belongs to 
 that time when his colouring was still tolerably warm, A 
 good copy from a picture by his father, though hea\ier in the 
 shadows, is a Warrior, in the Vienna Gallery, signed and 
 dated 1683. The companion, however, in the same gallery, 
 dated 1684, shows how far inferior he was when left to his 
 own unassisted efi'orts. The subject is a Lady in a satin 
 dress, of great hardness and cold colouring. But in no 
 gallery is this painter so completely seen, for better and for 
 worse, as in that of Dresden, which has twelve pictures by 
 him. No, 1772, a Woman pouring out wme for a Gentle- 
 man, may be mentioned as a good work for animation and 
 execution; No. 1776, Bacchus and Ariadne, with their 
 attendants, as a specimen of his weak manner — the heads 
 being monotonous and disagreeable, the colouring cold, and 
 the forms hard. Among the numerous works by Willem 
 van Mieris in England are some c" great merit. A Woman 
 giving a violin-player something to drink, in the Bridge water 
 Gallery ; this is of his earlier time, and approaches in every 
 respect to the excellence of his father. A W^oman and Girl, 
 in Lord Northbrook's collection, is of signal value. One of 
 his chefs-d'oeuvre is a Kagged Youth showing a child a peep- 
 show. This was executed for the Holderness family, and I 
 saw it in the possession of Mr. Heusch.^ [The largest choice 
 ' 'Treasures,' vol. ii. p. 252.
 
 544« THE DECLINE OF ART. Book VI. 
 
 cf pictures by W. van Mieris is to be fouud in Sir R. Wallace's 
 collection,] 
 
 Frans van Mieris the younger, born [at Leyden] 1G89, 
 died [there] 17G3 ; son and scholar of "Willem van Mieris. 
 He exhibits the school in its utter decline, being far weaker 
 in drawing, colouring, and even in the still careful finish, 
 than his father. Two pictures, which are amongst his best 
 examples, are in the Cassel Gallery : a Baker and a Woman, 
 No. 787 ; and a Pedler and a Boy, No. 788. [A Fisherman, 
 No. 130 in the Rotterdam Museum, bears his name and the 
 date 1747.] 
 
 A. D. Snaphaan. This painter resided long in Dessau 
 and Leipzig, and appears, judging from his pictures, to have 
 also formed himself from the elder Frans van Mieris. He 
 treated principally conversation-pieces, in which he ap- 
 proaches so near the best works of Willem van Mieris as to 
 be often mistaken for him. A Lady at her Toilette receiving 
 a Letter is in the Berlin Museum [withdrawn]. [There are 
 specimens of his deceptive art in the Gallery of Worlitz, near 
 Dessau.] 
 
 CoNSTANTiN Netscher, bom at the Hague 1670, died there 
 1722. He successfully imitated the style of his father, 
 Caspar Netscher, but is weaker and emptier in his heads, 
 and heavier in colour. He is seen in the picture of a Shep- 
 herd and a Girl at a Well, in the Munich Gallery, Cabinets, 
 Ko. 1402. His pictures of mythological subjects are most 
 insipid and dull : for instance, Venus bewailing Adonis, who 
 is metamorphosed into a flower, in the Louvre, No. 360. 
 He is most successful in portraits on a small scale, of which 
 he executed a large number. A portrait of a General is in 
 the Berhn Museum, No. 1018. 
 
 Arnold van Boonen, born at Dordrecht 1669, died 1729, 
 scholar of Schalken. He imitated his master faithfully, but 
 is heavier and weaker in colour. Like him, his subjects are 
 chiefly taken by candlelight. He also painted life-sized 
 portraits ^vith great success at some of the German Courts. 
 In the character of a genre painter he is best studied in the 
 Dresden Galleiw, which possesses several of his works, viz., 
 Nos. 1794 — 1800, chiefly young girls, men, and hermits,
 
 Chap. II. MOUCHERON — NICKELEX — GRIFFIER. 545 
 
 by candlelight ; and No. 1675, two Young Men, one of them 
 smoking a clay pipe, which is the most remarkable for truth 
 and feeling for nature. 
 
 LoDowYCK DK MoNY, bom at Breda 1G98, died at Leyden 
 1771. He was the scholar of [Van Kessel and] Philip 
 Vandyk, and painted r/enre pictures in the style of the latter, 
 though a greater weakness in modelling and colour show 
 the deeper decline of the school. The Amsterdam Museum, 
 No. 977, has an old Woman watering a flower ; the Hague 
 Museum, No. 94, an old Woman and a Boy in an arched 
 space ; [the Rotterdam Museum, a Girl bargaining with a 
 fishmonger. No. 139.] 
 
 Among those who in their turn imitated the landscape 
 painters of the foregone time were the three following : — 
 
 Isaac Moucheron, born at Amsterdam 1670, died there 
 1744. He was the scholar of his father, Frederic Mou- 
 cheron, and imitated his style with tolerable success ; but 
 he is duller and heavier in colour, emptier in the carrying 
 out of accessories, and tamer in touch. His works are 
 seldom seen in public galleries. He may, however, be 
 completely known in that of Dresden, which has seven 
 pictures by him — Nos. 1805 to 1812. One of the best is a 
 rocky landscape, No. 1810, with underwood, with a stream 
 flowing through rocks in the foreground. The composition 
 is agreeable, and the treatment of a certain breadth and 
 freedom. No. 1807 is one of the emptiest and weakest in 
 colour ; it represents a landscape, with a stream, and a 
 gentleman and lady riding out with falcons. 
 
 Jan vanNickelex, scholar of his father, Isaac vanNickelen, 
 the architectural painter. Landscape painting was his 
 department, in which buildings play a prominent part. He 
 spent some time at Diisseldorf, at the Court of the Elector 
 of the Palatinate, and was afterwards at the Court of Cassel, 
 where he died. His pictures are cleverly executed, but often 
 in too decorative a style. A series of views of the Electoral 
 chateau and grounds in the neighbourhood of Cassel are still 
 in the Chateau of Wilhelmshohe. The Dresden Gallery has 
 two smaller landscapes, Nos. 1832 and 1833. 
 
 Robert Griffier, born in England, 1688. He was tho
 
 546 THE DECLINE OF ART. Book VI. 
 
 u 
 
 scholar of liis father, Jan GrifRer, and painted Rhine scenery, 
 enlivened with vessels and figures, quite in his style. I 
 know of no example of his art in any public gallery. 
 Many must exist, doubtless in England, where he spent his 
 
 life. 
 
 The only class of painting which may be said to have 
 flourished at this time, and which, at all events, produced a 
 master of the highest order, was that of fruits and flowers. 
 The cause for this may unquestionably be found in the 
 national love of the Dutch for flowers, which at this period 
 became a mania. The following painters deserve a more 
 circumstantial notice. 
 
 Rachel Ruysch, daughter of the celebrated Professor, born 
 in Amsterdam 166-4, died there 1750. She was the scholar 
 of Willem van Aelst, and devoted herself with rare success 
 to the art of flower painting. She also occasionally painted* 
 fruits, with great perfection. She is not so fortunate in the 
 arrangement of her subjects as in the execution of separate 
 flowers, which combine excellent drawing with an admirable 
 power of execution — both these qualities extending also to 
 the butterflies and insects she introduces. The somewhat 
 cool colouring of her teacher prevails also in her works, only 
 that the tone is heavier and darker. Although she practised 
 her art with undiminished vigour to a good old age, the 
 number of her works is but moderate. Two remarkable 
 flower-pieces are in the Hague Museum. The largest, No. 
 120, is of a warmth and harmony rare with her ; the tender 
 treatment is also somewhat broader than usual. The smaller 
 pictiue, No. 121, is of peculiar clearness and softness. In 
 worthy succession to those may be classed two flower- 
 pieces in the Munich Gallery, Cabinets, Nos. 656 and 654. 
 A fruit-piece also in the same Gallery, No. 655, is the finest 
 I know by her in truth, impasto, and mastery of finish. 
 Among the seven pictures by her at the Chateau of Wilhelm- 
 shohe, near Cassel, are some of her best productions. 
 
 Jan van Huysum, born at Amsterdam 1682, died there 
 1749. He was the scholar of his father, Justus van Huysum, 
 a clever scene-painter, Avho, in this style, executed subjects 
 of the most various kinds — animals, landscapes, marine and
 
 Chap. II. JAN VAN HUYSUM. 547 
 
 architectural pieces, fruits, and flowers, and also only orna- 
 ment, for the decoration of apartments, according to the 
 fashion of the Dutch at that time. In these works he was 
 assisted by Jan and three other sons, on which occasions 
 Jan exhibited so great a talent for flower and fruit painting 
 as subsequently to devote himself exclusively to this branch 
 of art. But while the history of art frequently exemplifies 
 the fact that painters begin their career with qualities of high 
 finish, gradually expand as they advance in life into a broader 
 style, and even degenerate into a decorative manner, the life 
 of Jan van Huysum aflbrds a rare instance of an exactly 
 reversed course ; for he began in youth with a highly decor- 
 ative practice, and then gradually developed an execution of 
 details of the utmost beauty and finish, to which he faithfully 
 adhered even in his advanced age. That he retained, never- 
 ' theless, the power of treating his subjects in a broader man- 
 ner, in his maturer years, is seen in a large bunch of flowers, 
 in a bronze vase, standing on a marble slab, which is in the 
 Berlin Museum, No. 972, and bears the inscription, "Jan 
 van Huysum fecit 1722." The majority of his pictures are 
 compositions of this class. His vases, often in imitation of 
 terracotta, are generally antique in taste, with nymphs, 
 amorini, etc., and of great eloquence of execution. If com- 
 pared, however, with the greatest fruit and flower painter of 
 the last period, Jan David de Heem, he must be owned in- 
 ferior in style of arrangement, and in combination and har- 
 mony of colours. There are even pictures by Van Huysum 
 which are scattered in composition and gaudy in colour. On 
 the other hand, his peculiar sunny and clear lighting, pur- 
 chased at no sacrifice of local colour, his extreme care in the 
 modelling of the various fruits and flowers, and the exchange 
 of the usual dark background, hitherto in vogue, which ho 
 also often adopted in his earlier time, for one of a light cha- 
 racter, — all these qualities distinguished him favourably from 
 his rival. If De Heem, by the harmony of his warm golden 
 colour, be called the Titian of flowers and fruits, Jan van 
 Huysum's bright and sunny treatment entitles him to the 
 name of the Correggio of the same branch of art. In mas- 
 terly drawing and truth of single objects, both masters may
 
 548 THE DECLINE OF ART. Book VI. 
 
 be classed on the same level, only that De Heem's principal 
 subjects were fruit, Van Huysum's flowers, in which he en- 
 tered into greater detail ; for instance, in the gloss of the 
 tulip, the polen of the auricula, and the dewdrop on the 
 petal. It is to these merits, fitted as they are to the capacity 
 of the greater number of admirers of art, that Van Huysum 
 owed the eager demand for and high payment of his pictures 
 by princes and wealthy amateurs even in his own day, and 
 also that, of all the painters of this class, he still commands 
 the highest prices. Nor did he confine himself to flowers,. 
 but occasionally painted landscapes. These are generally 
 in the conventional Italian taste, and of a monotonous 
 green tone. His high finish also here degenerates at times 
 into mechanical minuteness. He v^nst have been a painter 
 of extraordinary industry, for, though he reached the age of 
 sixty-seven years, yet, such is the finish of his works, that 
 the IIG pictures mentioned by Smith in his Catalogue must 
 be considered a very large number. To these must be added 
 a considerable number of drawings, many of them executed 
 in water-colours, and some so highly finished as to have 
 occupied much time. His pictures are very various in value, 
 and their prices vary accordingly. To give an example of 
 his earlier manner, when he Avas still a scene-painter, I may 
 mention a picture in the Louvre, No. 240, of flowers on a 
 large scale, broadly executed, in a terracotta vessel decorated 
 with reliefs, and with a bird's nest at the side. A Table 
 spread with Fruit, consisting of grapes, peaches, plums, and 
 a melon, intermingled with flowers upon a light ground, and 
 a vase with children playing in the background, in the same 
 Gallery, No. 238, shows the master, on the other hand, at 
 the highest development of his most favourable phase ; for,, 
 in addition to his exquisite finish, admirable impasto, and 
 glowing power of light colour, this picture has more feeling 
 for harmony of keeping than usual. The companion piece, 
 also painted on light ground. No. 239, with poppies, tuberoses, 
 and anemones, in a similar vase, has also the same fine 
 qualities. Two other pictures, also in the Louvre, Nos. 285 
 and 23G, I may mention as examples in which the utmost 
 delicacy of execution and luminous colouring do not com-
 
 Chap. II. VAN HUYSUM — CONRAD EOEPEL. 549 
 
 pensate for the scattered character of arrangement and the^ 
 gaudiness of the eflect. There also are — Nos. 231 to 234 
 — four of his rather unfortunate h\ndscapes. Again, the 
 Amsterdam Museum has a fruit-piece by him, ISo. 706, 
 painted on a Hght ground, which may be placed on the same 
 level with that at Pai-is; while a Hower-piece, No. 707, dated 
 1723, though otherwise highly finished, degenerates, as was 
 sometimes the case in the attempt at clearness, into a general 
 insipidity of tone. As a specimen of his best work known 
 to me upon a dark ground, though scattered in composition, 
 and not of his higliest finish, I may mention a flower-piece, 
 No. 708 in the State Museum at Amsterdam. Two pictures 
 in the Hague Gallery, Nos. 56 and 57, a fruit and a flower 
 piece, though very small in scale, are thoroughly charactei*- 
 istie of his sunny light and high finish. The galleries alsa 
 of Dresden, Munich, Vienna, and Berlin possess more or less 
 remarkable w^orks by him. Of those in England I may 
 mention a fruit and a flower pioce, Nos. 29 and 39, in the 
 Dulwich Gallery,^ which are painted on a light background, 
 and are, especially the fruit, of admirable quahty. Next to 
 these, for luminous and delicate qualities, may be considered 
 two small bunches of flowers, on a light background, dated 
 1723 and 1724, both in the Bridgewater Gallery. [A master- 
 piece in its way is the Vase with Flowers, dated 1737, No. 796^ 
 in the National Gallery.] Two chefs-d'oeuvre of the master, 
 both as respects size — about 3 ft. high by 2 ft. 3 in. wide — 
 richness of subject, and high finish, dated 1731-2 and 1732-3, 
 formerly in the Cassel Gallery, I saw in Lord Ashburton's 
 collection. Finally, I must mention some drawings of great 
 beauty [once] in Mr. B lie's possession, ^ and a collection of 
 160 in that of [the late] Mr. William Kussell,^ in London. 
 
 Conrad Eoepel, born at the Hague 1679, died there 1748. 
 He was the scholar of Constantin Netscher, and painted 
 portraits at first, but afterwards devoted himself to fruits 
 and floweis, in which he especially followed the taste of Jan 
 van Huysum, and in his best eflbrts approached him very 
 
 ' ' Treasures,' vol. ii. p. 345. 
 
 * ' Galleries and Cabinets,' u. 119 
 
 » Ibid., p. 18S.
 
 556 THE DECLINE OF ART. Book VI. 
 
 closely, as, for example, in a fruit and flower piece in the 
 Cassel Gallery, Nos. 753 and 754. Generally speaking, his 
 treatment, like that of Van Huysum's earlier time, is some- 
 what decorative. Five pictures of this class, festoons of 
 -flowers and fiuits, with parrots, squirrels, and monkeys, are 
 also in the Gallery of Cassel. [These are now withdrawn.] 
 In the Dresden Gallery, No. 1823, is a flower-piece which 
 belongs to his good works. 
 
 Jan van Os, born at Middelharuis 1744, died 1808. He 
 distuiguished himself by his fruit and flower painting, in 
 which he took Jan van Huysum entirely for his model. His 
 best works are not only arranged with taste, but border 
 closely on those of Van Huysum in sunny clearness and 
 power, and careful carrying out. The only example I know 
 of him in a public gallery is a remarkable fruit-piece in the 
 Louvre, No. 368. 
 
 This is the fitting place to call attention to some members 
 •of the numerous family of Hamilton, for, though the best 
 of them were sons and scholars of the Scotch painter James 
 Hamilton, who, in Cromwell's time, settled in Brussels, and 
 afterwards in Germany, as a painter principally of still life, 
 yet their works show us that they formed themselves chiefly 
 from the painters of the Dutch school, 
 
 Philip Ferdinand von Hamilton, born at Brussels 1064, 
 died at Vienna, where he had entered the service of the 
 Emperor, in 1750. He painted principally subjects of the 
 chase, especially wild animals contending for their prey, 
 wild and tame birds, and dead animals, alternately in the 
 taste of Jan Weenix and of Willem van Aelst. He is the 
 best painter of the family ; his animals are conceived with 
 truth of nature, well drawn, and very carefully finished. 
 Though somewhat feeble in colour, his pictures are always 
 clear and of good keeping. He may be best seen in the 
 Vienna Gallery. His chief work there is a "Wolf disem- 
 bowelling a hunted Stag, while another wolf is snarling at 
 him; dated 1720. In point of truth of nature, warmth, 
 and clearness of colour, and solidity of execution, a Leopard, 
 in the same gallery, defending his prey, a hen, against a 
 -vulture, dated 1722, is the most admirable picture I know
 
 Chap. II. THE HAMILTON FAMILY. 551 
 
 by him. Also four Vultures, painted in 1723, and Aquatic 
 Birds, painted in 1724, and three Chamois and Turkey Hens 
 being observed by a Hy?ena, are good and careful works. A 
 Pantry with a Dead Hare and Wild Birds, in the Munich 
 Gallery, No. 97G, looks like a faded and somewhat lamely 
 executed Jan Weenix. 
 
 JoHANN Georg a'on HAMILTON, brother of the foregoing, 
 born at Brussels 16G6, died in the service of the Emperor 
 Charles VI., at Vienna, 1710. His chief subject was horses, 
 which, however, are treated with but little truth : his stags 
 and does are more successful. Occasionally also he painted 
 dead animals and hunting weapons. He is far inferior to his 
 brother, more mannered in conception, cold, gaud)', and 
 heavy in colour, and more spiritless in execution. The best 
 picture I know by him is a Stag and two Does in a landscape, 
 in the Vienna Gallery. Two horse-pieces in the same gallery 
 have the faults I have already described. A Boar's Head, 
 also there, is at all events careful in execution. A Dead 
 Hare, in the Munich Gallery, No. 977, is tasteless in arrange- 
 ment, and less careful than a similar picture by his brother. 
 
 Carl Wilhelm von Hamilton, born 1668 or 1670 at 
 Brussels, died 1754, a brother of the two preceding painters. 
 He treated subjects with all kinds of plants, with snakes, 
 lizards, etc., after the model of Van Schriek. But he is 
 heavier and darker in colour, and his highly finished execu- 
 tion is over-smooth. I know no example of him in a public 
 gallery. 
 
 CHAPTER III. 
 
 THE GERMAN SCHOOI- 
 
 It was about the beginning of the eighteenth century that 
 Germany began, in so far, to recover from the deep wounds 
 inflicted on her by the Thirty Years' War, as to regain a 
 certain amount of that prosperity which is indispensable to 
 the general culture of art. Thus it was that a number of
 
 552 THE DECLINE OF ART. Book VI, 
 
 pictures were produced which in some measure satisfied that 
 longing for art indigenous in the German nation. Neverthe- 
 less the elements of the time were not sufficient to iavour 
 the development of a school of painters Avhich could be said 
 to bear the impress of a national character. The greater 
 number of painters attached themselves also now either to 
 the Dutch, the Italian, or the French schools of art ; others 
 followed the eclectic rules of academies ; while there were 
 some, principally fjenre and animal painters, who, being of a 
 decidedly realistic tendency, adhered to nature. It is the 
 woi'ks of these latter painters which are most characterised 
 by true German feeling, and which inspire the spectator with 
 by far the greatest satisfaction. But, upon the whole, a 
 decline is observable even here in technical qualities, and 
 feeling for clearness and harmony of colour. 
 I take first the historical painters. 
 
 JoHANN KuPETZKY, bom at Pcissing, in Upper Hungary, 
 in 1666, died at Nuremberg 1740. He Avas the scholar of 
 the Swiss painter Klaus, but, during a residence in Italy, 
 formed himself upon the model of the great masters there. 
 His historical pictures, and, still more, his portraits, which 
 were numerous, became very popular in Vienna and other 
 places. He was a capital draughtsman, his colours were 
 powerful and generally warm, but often rather heavy, and 
 his touch broad and free. His impasto is occasionally exag- 
 gerated in solidity. A realistic feeling prevails in his histo- 
 rical pictures. His portraits, though of animated conception, 
 have generally something afi'ected in action. His historical 
 pieces occur rarely in public galleries. A St. Francis, by 
 him, is in Berlin, [withdrawn,] of portrait-like forms, but of 
 earnest and dignified expression, and warm and powerful 
 painting. The last may be also said of his portrait [with- 
 drawn] ; but the portrait of his daughter, depicted as a shep- 
 herdess, is afi'ected and cold in colour. On the other hand, 
 the portrait of a Lady, with her little Son, in the Vienna 
 Gallery, is easy in arrangement and carefully executed in 
 clear colouring ; while his own portrait, in the same gallery, 
 dated 1709, has a Rembrandt-like clearness in the eyes and 
 shadows; only the lights are of a heavy, greasy tone.
 
 Chap. 111. WENZEL LORENZ REINER. 5o3 
 
 Wenzel Lorenz Reiner, born at Prague 1G86, died there 
 174:3. He was the scholar of Schweiger at Prague, where 
 his multifarious talents for painting were early declared. In 
 his first time he painted chiefl}^ scenes from military life, 
 especially battles, and also architectural views. In the 
 former he followed the manner of Peter van Bloemen ; in 
 the latter that of Heinrich Roos. Examples may be seen in 
 Dresden, — a View of the Campo Vaccino, No. 2046, and of 
 the Golden House of Nero, No. 2047. The pictures of this 
 class, however, would not entitle him to mention here. His 
 reputation is founded principally on his large historical pic- 
 tures, to which he afterwards devoted himself, and also on 
 his frescoes ; in both of which he treated subjects from 
 sacred, profane, and mythological history, and in which he 
 showed a vigour and facility of production which allies him 
 somewhat with Luca Giordano. His works are distinguished 
 by a decided distribution of large masses, united with much 
 feeling for momentary action, and a thorough study of the 
 nude. His heads are animated, and occasionally even noble 
 in character ; his colouring conformable to his subject, some- 
 times powerful and warm, sometimes tender and silvery, 
 almost always transparent. Though his works are numerous, 
 — Dlabacz speaks of no less than eighteen frescoes of more 
 or less extent in as many buildings — and though his oil 
 pictures include various altarpieces, yet, as the majority 
 are in remote places in Bohemia, I am only able to mention 
 a few. Of his frescoes in Prague I may single out the 
 cupola and other parts of the Crusaders' church, and the 
 Fall of the Giants, on the ceiling of the staircase of the Czer- 
 nin Palace on the Hradschin ; a work of extraordinary pro- 
 fuseness of power and striking efl'ect, but unfortunately, 
 with the building which contains it, hastening to decay. Of 
 his oil pictures I may enumerate the high altarpiece in the 
 church of St. Peter, in the Neustadt at Prague, and four 
 pictures in the Gallery of the Estates, which represent the 
 Jesuits suffering death in the dissemination of Christianity, 
 in all four elements — earth, air, water, and fire. 
 
 Adam Fkiedeeich Q5ser, born at Presburg 1717, died in 
 Dresden 1799. His artistic career was passed chiefly in
 
 554 THE DECLINE OF ART. Book VI. 
 
 Dresden and Leipzig, and be was the intimate friend of 
 Winkelmanu. He was a painter of various attainments, 
 good taste, and of pleasing though feeble talent. His agree- 
 able compositions are too tame, and often cloudy, in execution. 
 The paintings in the St. Nicholas church at Leipzig are among 
 his most notable works. He also executed successfully a 
 number of etchings. 
 
 Christian Bernard Rode, born at Berlin 1725, died there 
 1797. He was the scholar of A. Pesne, attended also the 
 school of Yanloo at Paris, and became the most notable 
 native painter of history at the Court of Frederic the Great, 
 for whom he executed a' number of pictures in chateaux 
 and churches. He was also employed in other places. 
 His chief merit consists in a gift of easy invention ; but in 
 expression he is monotonous and superficial, in coloaring 
 gaudy, and in execution slight. Some of his best works are 
 the ceilings in the new Palace of Sans Souci at Potsdam. 
 He has also left 150 etchings, executed with a light, spirited, 
 and playful point, though the mannered motives, loose forms, 
 and want of feeling for beauty, render them little satisfactory. 
 
 JoHANN Heinrich Tischbein, bom at Kloster Hayda, in 
 the Electorate of Hesse, died at Cassel 1789. He formed 
 himself in the first instance in the school of the French 
 painter Yanloo, but was also greatly influenced by Boucher 
 and Watteau. He was one of the favourite painters of the 
 Elector of Hesse Cassel, and executed a large number of 
 all classes of subjects, including portraits. In these works, 
 which remain in the gallery and various Electoral cha- 
 teaux of Cassel, he shows himself as a decided but not very 
 happy imitator of the above-named French masters. It is 
 not to be denied that he possesses a certain facility of 
 invention, but this is more than outweighed by the affecta- 
 tion of motives and expression, the coldness and crudeness 
 of the colouring, and the lackered polish of the execution. 
 One of his chief pieces is the Battle of Herrmann, in the 
 chateau at Pirmont. 
 
 Anton Piaphael Mengs, born at Aussig in Bohemia 1728, 
 died at Rome 1771. He was the scholar of his father 
 Ishmael Mengs, a very distinguished miniature and enamel
 
 Chap. III. ANTON RAPHAEL MENGS. 555 
 
 painter, who educated him with iron severity, but very 
 systematically and thoroughly for the profession of painting. 
 From his twelfth year he was set to draw from the finest 
 antiques, and from the masterworks of Michael Angelo 
 and Kaphael in Kome ; and it may be safely said that no 
 other painter of his time so thoroughly profited by every 
 advantage of instruction in art, and so conscientiously 
 applied all he had learnt. He composed according to the 
 rules he had gleaned from Raphael ; he sought to give his 
 forms the beauty which had pleased his eye in the most 
 celebrated antiques ; his drawing was perfectly correct ; he 
 imbibed the knowledge of chiaroscuro from Correggio, and 
 of truth of colour from Titian ; finally, he was acquainted 
 with all the technical processes belonging to fresco, oil- 
 painting, enamel, miniature, and crayons ; and adopted 
 them all with great conscientiousness as occasion required. 
 No one, therefore, can better establish the proof that even 
 the complete and rare possession of all these faculties by 
 no means suftices to make a great master, but that the first 
 and indispensable condition is inventive fancy and warmth 
 of feeling. These, however, Nature had denied to him ; 
 or, if the germs were ever latent in him, the unscrupulous 
 harshness which so long compelled him to adopt the 
 thoughts of others, without giving the slightest expression,, 
 even in an imperfect form, to any of his own, must have 
 utterly stifled them. His pictures, therefore, present the 
 aggregate of very desirable qualities, which, however, 
 without the creative and vivifying spark, leave the spec- 
 tator cold. The most successful of his various works were 
 his portraits, because truth of conception, correct drawing, 
 good colouring, and masterly treatment are sufficient excel- 
 lences in this line of art ; though even here the coldness 
 of his feeling is observable. Notwithstanding, if we com- 
 pare the works of Mengs with the aff"ected, superficial, and 
 utterly ignorant performances of his day, the admiration 
 they excited may readily be understood. As early as at 
 the age of seventeen he was appointed court painter at 
 Dresden to King Augustus of Poland, with a salary of 
 600 thalers. During his long residence in Rome he 
 
 43
 
 556 THE DECLINE OF ART. Book VI. 
 
 received commissions from the Cardinal Alexander Albani 
 and from Pope Clement XIV. ; finally, lie was summoned 
 by Charles III. of Spain, with a high salary, to the Court 
 of Madrid, Avhere he repaired in 17G1. I must content 
 myself with mentioning a few of his numerous works. 
 The picture of the Assumption, on the high-altar of the 
 Catholic church at Dresden. Apollo and the Muses, on the 
 ceiling in the Villa Albani ; the figures, however beautiful 
 in form, have here too much the effect of painted statues. 
 An allegorical subject in fresco, on the ceiling of the 
 Camera de' Papini in the Vatican, is, without doubt, the 
 maturest result of his eclectic efforts — perfect beauty of 
 form being here combined with the most delicate observa- 
 tion of chiaroscuro, excellent keeping, and masterly model- 
 ling. Of his works in Madrid I cannot speak from personal 
 knowledge ; but his frescoes executed there, especially the 
 veiling in the dining-room of the palace — the Apotheosis 
 of Trajan, with the Temple of Fame — gained great admira- 
 tion. There are no less than twelve of his oil-pictures in 
 the Madrid Gallery, of which his Adoration of the Shep- 
 herds, No. 1057, is said to be particularly characteristic of 
 him. In the Munich Gallery are several of his portraits. 
 That of a Capucin Friar, No. 1430, evidently aims at the 
 warmth and power of Rembrandt ; but, though careful in 
 execution, it is somewhat heavy in colour. His own poi-- 
 trait, No. 143, in which the intelligent but highly prosaic 
 and unimaginative features are delicately drawn, and 
 modelled with great mastery in truthful colouring, is 
 only too heavy in the shadows. The same may be said 
 of his portrait in the collection of painters' portraits in 
 the Utiizi at Florence, only that it is colder in feeling. A 
 portrait of his father, in the Berlin Museum, No. 491, is 
 particularly remarkable for energy of conception and 
 powerful and warm colouring. As a specimen of his skill 
 in the use of pastels, I may mention his Cupid in the 
 Dresden Gallery. Mengs also wrote upon the Ai'ts ; and, 
 although his reflective and eclectic feeling is not disguised, 
 yet his writings contain many refined observations and 
 valuable notices upon remarkable pictures.
 
 Chap. III. MAEIA A. KAUFFM ANN— MARTIN KNOLLER. 557 
 
 Maria Angelica Kauffmann, born at Chur, in the Grisons, 
 1742, died in Rome 1808. She was the scholar of her 
 father Joseph Kaufl'mann, a mediocre portrait painter, but 
 formed herself from the study of the great masters of Italy, 
 whither her father early took her, and where, after a 
 residence in England, she permanently settled. Although 
 her career had commenced with portrait painting, she 
 devoted herself later and chiefly to historical subjects, in 
 which she acquired so much popularity as hardly to be able 
 to execute the commissions that flowed in upon her from all 
 countries, and especially from England. An easy talent for 
 composition, though one of no depth ; a feeling for pretty 
 forms, though they were often monotonous and empty, and 
 for graceful movement ; a colouring blooming and often 
 warm, though occasionally crude ; a superficial but agreeable 
 •execution, and especially a vapid sentimentality in harmony 
 with the fashion of the time, — all these causes sufliciently 
 account for her popularity. A picture in the National 
 Gallery, No. 139, EeHgion surrounded by the Virtues, is 
 very characteristic of her whole style of art.^ As a speci- 
 men of her powers as a portrait painter, I may refer to the 
 portrait of the Duchess of Brunswick, sister of George III., 
 in the Hampton Court Gallery, No. 594. Among her best 
 pictm-es may be reckoned two, dated 1786, in the Vienna 
 Gallery : Hermann welcomed by Thusnelda after his victory 
 over Varus, and the Lament for the youthful Pallas, from 
 the .^neid. In the Munich Gallery, No. 1432, is her own 
 portrait, dated 1784. Although empty, its w^armth and 
 clearness and good impasto constitute it one of her best 
 works. Nowhere is she studied more completely than in 
 Burleigh House, the seat of Lord Exeter, where no less than 
 fifteen of her pictures are preserved. She also etched a 
 series of thirty-one plates, chiefly of half-length figures or 
 heads, wdth much skill, and even sometimes with much 
 delicacy of feeling. 
 
 Martin Knollek, born at the village of Steinach in the 
 Tyrol, died 1804. He was the scholar of Troger in Vienna, 
 but afterwards had the instruction of Raphael Mengs at 
 
 ' [This i^icturfe is not now exhibited.]
 
 558 THE DECLINE OF AHT. Book VI. 
 
 Rome, was protected by Count Firmian, Governor of Lom- 
 bardy, and became one of the best and most vigorous his- 
 torical painters in Germany, both in fresco and oil painting. 
 His talent was especially adapted to the representation of 
 momentary and violent action, which, from the spirit of the 
 times, degenerated sometimes into mannerism. In quiet 
 subjects this tendency takes often the form of a sickly sen- 
 timentality. At the same time he is a powerful colourist in 
 fresco, but very unequal in this respect in his oil pictures. 
 He was also an able portrait painter, and painted, for 
 ' instance, the Emperor Leopold II., full-length and life-size. 
 Of the large number of his works executed in Italy, Ger- 
 many, and especially in the Tyrol, I only mention those 
 painted from 1769 to 1790 in the convent of Ettal in the 
 Tyrol ; those finished in 1792 in the convent of Gries in 
 the same country ; the ceiling in the saloon of the Town- 
 hall at Munich ; and SS. Benedict and Scholastica presented 
 to the Holy Trinity by the Virgin, in the Schleissheim Gallery, 
 No. 128. The last picture is tinged by sentimentality of 
 feeling, and feebleness of colour, but is carefully and very 
 cleverly painted. As a specimen of his portrait painting I 
 may quote the portrait of Joseph Rosa, Director of the 
 Vienna Gallery, dated 1794, in that gallery. The conception 
 is lively, though somewhat studied, and the execution, in 
 a powerful tone, careful. 
 
 JoHANN Victor Platzer, born in the Tyrol 1704, died 
 there at Epan 1767. He was the scholar of his step-father 
 Kepler, and flourished in Vienna from 1735 to 1750. He 
 treated various historical subjects on a small scale, but also 
 painted genre. He is one of the most disagreeable of the 
 known painters of this period, but also one of the most 
 characteristic. With great mannerism of action and heads, 
 hardness of outline, coldness and crudeness of colouring, and 
 absence of keeping, his only merit consists in a careful and 
 melting execution. His figures look like china. That his 
 pictures should have been so much admired is one of the 
 most striking proofs of the corrupt taste of the period. It 
 is enough to mention the four pictui-es of mythological and 
 allegorical subjects in the Dresden Gallery, Nos. 2070-73,
 
 Ckip. III. C. W. E. DIETRICH. 559 
 
 and tl^e two genre pictures, parties with music and cards, in 
 the Vienna Gallery. The only specimens I know of Platzer 
 in England are in the collection of Mr. Walter of Bearwood. 
 Christian Wilhelm Ernst Dietrich, born at Weimar 
 1712, died 1774. He was the scholar of his father and of Alex 
 ander Thiele. The latter resided in Dresden, where Dietrich 
 was greatly patronised in his art by the well-known minister 
 Count Briihl. In 1743 he visited Italy. Upon his return 
 he was appointed court painter to King Augustus of Poland. 
 Without possessing original talent of any importance, he had 
 the peculiar power of imitating painters of different schools 
 and epochs — in history, genre, and landscape ; thus forming, 
 properly speaking, the transition to the genre painters. Of 
 the Dutch school, he best imitated such masters as Rembrandt, 
 Ostade, Everdingen, and Poelemberg ; of the Italian, Salva- 
 tor Piosa ; and of the German school, Heinrich Roos. But 
 independent of the fact that the feeling proper to each of 
 these pictures was beyond his attainment, he also fell far 
 short of the power, warmth, and clearness of colouring, as 
 well as of the spirited execution, which characterises them 
 — almost all his works being heavy, and many of them crude 
 in colour, and his touch sometimes tame and over-smooth. 
 But their popularity was nevertheless very great, and their 
 number — generally pictures on a small scale — very consider- 
 able. All the public galleries of Germany are well provided 
 with specimens of him, and nowhere can he be more tho- 
 roughly known than in the Dresden Gallery, which is blessed 
 with no less than fifty-one of his works. Ilis best picture I 
 know in England is that of the Itinerant Musicians in the 
 National Gallery, No. 205. It is executed with unusual power, 
 clearness, and solidity for him, in the taste of Adrian van Os- 
 tade, and generally known by Wille's fine engraving. Dietrich 
 appears to far more advantage in his numerous etchings, where 
 no colour betrays him. Here the spirit and great variety of 
 effect he gives to his etching point can only be admired. In 
 some of his plates — for instance, his Ballad Singer and a 
 Fiddler in front of a cottage, he approaches very near A. 
 van Ostade, and in some of the heads even somewhat to 
 Rembrandt. But he is most fortunate in his landscapes, in
 
 560 THE DECLINE OF AKl. Book VI. 
 
 the style of Everdingen, which often exhibit a pure feeUng 
 for nature, also in the style of Salvator Rosa and Heinrich 
 
 Roos. 
 
 Of the rjenre painters, properly speaking, some took Jan 
 Breughel for their model. The most distinguished of these 
 is Fkanz de Paula Ferg, born in Vienna 1689, died in Lon- 
 don 1740. He was principally the scholar of his father 
 Pancratius de Ferg. His usual subjects were fairs, market- 
 criers, and such like, introduced in landscapes, which often 
 contained buildings in which a southern character prevails. 
 He had much feeling for picturesque arrangement, and had, 
 for his time, a powerful and clear tone, and a careful and free 
 execution. The Dresden Gallery has six pictures, Nos. 2048 
 to 2053, of this class, two of which, Nos. 2050 and 2U51, 
 show the imitation of Herman Saftleven. Two very remark- 
 able pictures by him, of fairs, are in the Vienna Gallery. 
 
 But by far the most original of the German painters of 
 this period was Daniel Nicolas Chodowiecjii, born at 
 Dantzic 1726, died at Berlin 1801. Although he followed 
 the mercantile calling of his father up to the age of twenty- 
 nine, yet he had also studied the art of miniature painting, 
 as an. amateur, under his father, who took much delight, 
 also as an amateur, in the pursuit, and brought it to further 
 perfection in Berlin under the teaching of an aunt. He had 
 also mastered the technical process of enamel painting. 
 Finally, in 1754, he made the arts his sole profession, form- 
 ing himself so rapidly without any teacher, properly speaking, 
 but only by means of careful study, that he soon attained an 
 artistic and most original power of expressing his thoughts. 
 These also embraced so wide a circle that he may be pro- 
 nounced the chief artist who reflected the whole epoch of 
 Frederic the Great, under its various aspects, in the form of 
 art. With great versatility of composition, in which an 
 alternately domestic and kindly humorous feeling, always of 
 great truth, predominates, he combined a delicate and vivid 
 power of observation, and consequently great variety of forms 
 of character. Nevertheless that world of subjects not com- 
 prised under the term of common life was closed to him. 
 His representations of mythology and of Shakspeare's plays —
 
 Chap. III. GEORGE PHILIP EUGENDAS. 561 
 
 as for instance, of Hamlet — have therefore the effect of paro- 
 dies. Although he gives his figures somewhat too lengthy 
 proportions, yet he was in other respects a good draughts- 
 man. His feeling for colour was less happy. His oil pictures, 
 which are comparatively few, are therefore somewhat cold 
 and gaudy, though occasionally showing a delicate feeling for 
 aerial perspective. The chief implement by which he ex- 
 pressed his art was that of the etching point, which he 
 managed with a rare delicacy of feeling, and tenderness and 
 mastery of touch. Of his pictures in public galleries, I only 
 know two in Berlin, Nos. 482 and 485, Cavaliers and Ladies 
 in the open air, amusing themselves with social games. 
 Here we observe the influence of Watteau, Lancret, and 
 Pater, whose pictures Chodowiecki had seen in the royal 
 palaces of Berlin and Potzdam. His etchings, which amount 
 to more than 1300, decorate a large number of the books of 
 the period — novels, almanacs, children's books, etc. I need 
 only mention the very successful illustrations in Gothe's 
 ' Sorrows of Werther.' In others he sought to embody, 
 like Hogarth, a moral lesson — giving us, for instance, the 
 results of a virtuous life, and of one of an opposite tendency : 
 and married couples living in harmony or discord. Occa- 
 sionally his patriotic feeling breaks forth in a representation 
 of old Fritz on the parade, or his purely human sentiments 
 in that of the unfortunate Galas taking leave of his family. 
 Above all I must mention a mother and her daughters, in an 
 apartment occupied with household work. 
 
 Of the painters who treated principally military life, the 
 two following have attained general reputation. 
 
 Geokge Philip Rugendas, born in Augsburg 1666, died 
 1742. He was the scholar of Isaac Fischer, but developed 
 his own form of art especially by the zeal with which he 
 studied the various events of a soldier's profession — battles, 
 sieges, camps, marches, etc. — from real life. The chief merit 
 of his compositions is accordingly their truth. He was also 
 an able draughtsman, and well skilled in the effect of momen- 
 tary and pathetic incident. On the other hand, the forms of 
 his horses, and still more his figures, are marked by a certain 
 monotony ; and his colouring is generally too black in the
 
 562 THE DECLINE OF ART. Book VI. 
 
 shadows, and colourless and insipid in the lights. His light 
 and happy touch is also apt to degenerate into a decorative 
 style. But few of his numerous pictures are seen in public 
 galleries, that of Brunswick excepted, where he may be 
 studied in Nos. 387 — 395. Vienna and Berlin have also each 
 two pictures — the latter Nos. 997 and 1000. Kugendas is 
 more widely known by more than thirty etchings, executed 
 with a broad and certain point, and by above one hundred 
 mezzotint engi'a\dngs from his own compositions. 
 
 Augustus Querfurt, born at Wolfenbiittel 1G96, died at 
 Vienna 1761. He was the scholar of his father Tobias 
 Querfurt, and of Rugendas ; but he formed his style espe- 
 cially from that of Wouverman. But while far inferior to 
 Rugendas in fire of invention, and also limited, like Wouver- 
 man, in the scale of his pictures, he excels the first of those 
 two masters in transparency of colour, solidity of impasto, 
 and care of execution. I am not able to say where certain 
 large battle-pieces, which he executed when settled for a 
 time at Vienna, for Prince Alexander of AViirtemburg, and 
 for Count von Waldegg, are now to be found. Of his works 
 on a small scale two fine hunting-pieces are in the Vienna 
 Gallery, and six of less merit in the Dresden Gallery, 
 Nos. 2057 to 20G2 ; also a good Stag-hunt, No. 969, in the 
 Berlin Museum [now withdraw^n]. 
 
 Elias Riedinger, born at Ulm 1695, died in Augsburg 
 1767, may be mentioned here as an animal painter. He was 
 brought up in the calling of a huntsman, but having been 
 instructed in art by Christopher Resch, he applied himself 
 to the delineation of many tame and of all sorts of savage 
 animals, both in their various habits of life and in the mode 
 of giving them chase. But, apart even from the absence of 
 correct drawing, the result of these eflbrts was very unequal. 
 He was at all times very weak in the drawing of horses, 
 while he so excelled in the representation of the stag that 
 no other artist of this department could compete with him. 
 Next in order he was most successful in the life and habits of 
 the wild boar. But many of his other animals, and particu- 
 larly the carnivorous races, such as the lion and tiger, are 
 very mannered and arbitrary. The pictures by him which
 
 Chap. III. BALTHASAR DENNER. 568 
 
 represent sucli subjects are few in number. The Gallery 
 at Cassel only has a specimen of him, No. 807, a Sta^ 
 pursued by Dogs, and caught in a net. But the number 
 of engravings from his drawings is large, and the diflerent 
 series contain, besides the above-quoted subjects, the repre- 
 sentation of Paradise, Fables of Animals, the Riding-school, 
 etc., and amount to about 350 plates. 
 
 I now proceed to the portrait painters, the foremost of 
 whom is Balthasar Denner, born at Hamburg 1685, died at 
 Rostock 1749. His first instruction in water-colour drawing 
 was received from one Ammana, an insignificant painter at 
 Altona ; from an equally obscure painter in Dantzic he ob- 
 tained the technical process of oil-painting. Such being his 
 school, it is not surprising that he should always have 
 remained a mediocre draughtsman. On the other hand, he 
 so far cultivated his feeling for the minute but prosaic and 
 uninteresting imitation of Nature in all her details, combined 
 with a clear and powerful colour, that in this last respect he 
 takes the lead of all the Dutch painters of this period. His 
 reputation has hitherto rested on a small number of bust pic- 
 tures of old men and old women, which not only give every 
 little wrinkle with their attendant minutite, but even every 
 hair and every freckle, so as to lose nothing of their truth 
 even when seen through a magnifying glass. These pictures 
 are in so far useful in the study of art, as exemplifying the 
 falseness of an axiom too often repeated, even nowadays, 
 that the highest object of the arts is to represent nature in 
 the most exact form. If this were true, Denner would be 
 the greatest of all painters. But the truth is, that, to the 
 feeling of all endowed with a refined perception of art, those 
 heads have a highly disagreeable and wax-figure-like effect. 
 Almost all the public galleries of Germany have specimens of 
 this class of portraits. The best of these, as regards extreme 
 minutia of execution, is that of an Old Woman, in the Vienna 
 Gallery, which the Emperor Charles VI. purchased of the 
 painter at a high price. The truth of the minutest detail, 
 for instance, of the lips, is truly frightful, and the coldness of 
 the colour heightens the unpleasant impression. Though 
 iuot carried so far in execution, the portrait of an Old Man,
 
 564 THE DECLINE OF ART. Book VI. 
 
 of great warmth and of the utmost transparency of colour, is 
 far more attractive. Similar qualities characterise the picture 
 of an Old Man in the Berlin Museum, No. 1014. But besides 
 these, Denner painted a considerable number of portraits, in 
 a careful but far broader style, which gratify the lover of art 
 infinitely more than those spiritless results of unspeakable 
 labour. These combine animation of feeling with a colouring 
 alternately powerful and tender, and a masterly though occa- 
 sionally too soft a manner of painting. One of his principal 
 works was the family picture of the then reigning Prince of 
 Holstein Gottorp, at the castle of Gottorp, in Holstein— ^ 
 twenty-one figures, life size. He also found much occupation 
 at the court of the Duke of Mecklenburg Schwerin, and many 
 of his works are still at SchAverin. Finally, the miniature 
 portraits which Denner executed in his later time, not only 
 in oil but also water-colours, belong to the best productions 
 of this class of his period. A specimen in oil is in the Berlin 
 Museum, No. 1014b ; and a whole series of portraits in 
 water-colour are in the City Library at Hamburg. 
 
 DoMiNicus VAN DEK Smissen, brother-in-law and scholar of 
 Denner, painted portraits very skilfully in his broader manner, 
 some of which are still in possession of families in Hamburg. 
 
 Christian Seibold, born at Mayence 1697, died at Vienna 
 17G8. The study of nature alone enabled him to become a 
 very clever portrait painter in the manner of Denner, who 
 must, doubtless, have had some influence over him. His 
 art was so much admired in Vienna as to procure him the 
 appointment of cabinet painter to Maria Theresa. He was 
 more artificial in feeling than Denner, less clear and delicate 
 in colour, harder in touch, but a better draughtsman. One 
 of his best pictures, his own portrait, is in the Louvre, No. 
 485. It is warmer and of more powerful modelling than 
 usual. His insipid, aflected, and smooth manner may be 
 seen in the portraits of two Girls, in the Vienna Gallery, and 
 in those of a Youth and a Girl, in the Dresden Gallery, Nos. 
 1987 and 1938. In his very highly-finished heads of Old 
 Men and Women, such as Nos. 2uGo and 2064 in the samo 
 gallery, he is, in point of tameness, dryness, and coldness, 
 still more disagreeable than Denner.
 
 Chap. III. GRAFF — HARTMANN — SCHUTZ. 565 
 
 Anton Graff, born at Winterthur, in Switzerland, 173G, 
 died at Dresden 1803. He was the scholar of Ulric Schel- 
 lenberg, and became one of the best portrait painters of his 
 time. He resided first in Augsburg, then, from the year 
 1766, in Dresden, where he had received an appointment at 
 court. He also laboured in Leipzig and Berlin, painting at 
 all these cities a large number of notabihties of all classes. 
 His best pictures are distinguished by a truthful and animated 
 feeling, able drawing, tasteful arrangement, powerful and 
 clear colouring, and solid carrying out. Some excellent 
 portraits — two, for instance, of King Frederic Augustus of 
 Saxony — are in the Dresden Gallery, Nos. 2149-50. 
 
 Of the landscape painters of this period I consider first 
 those who had a realistic tendency. 
 
 JoHANN Jacob Haktmann, born at Kuttenberg, in Bohe- 
 mia, flourished in Prague about 1716. He was a late, but 
 very clever and careful imitator of Jan Breughel. Like his 
 model, he represented the four elements, expressed by as 
 many landscapes ; now in the Gallery of Vienna. In the 
 treatment of his trees and general cool tone, Anton Myron, 
 a Netherlandish imitator of Jan Breughel, was evidently the 
 painter who influenced him. 
 
 Christian George Schutz the elder, born at Flores- 
 heim-on-the-Maine 1718, died at Frankfort 1791. He ac- 
 quired the art of painting at Frankfort from Hugo Schlegel, 
 and painted at first in fresco in a decorative manner on the 
 exteriors of houses. After this he devoted himself especially 
 to landscape painting, generally representing views of the 
 Rhine and the Maine, on a small scale. His whole style of 
 conception shows the influence of Hermann Saftleven and of 
 the two Griffiers. Although these pictures are less power- 
 ful in colour and decided in execution, yet they are remark- 
 able for a happy choice of the point of view, for a pure 
 feeling for nature, good drawing, and tender touch. As he 
 worked Avith great facility, the number of his pictures is 
 considerable. Those executed from 1760 to 1775 are most 
 esteemed. He may be thoroughly studied in the Stiidel 
 Institute at Frankfort, which contains seven of his works, 
 Nos. 291 to 298 ; and at the Cassel Gallery, which has ten
 
 5G6 THE DECLINE OF ART. Book VL 
 
 pictures, Nos. 842 to 851. He also occasionally painted 
 interiors of churches. 
 
 JoHANx Alexander Thiele, born at Erfurt 1685, died at 
 Dresden 1752. He began life as a common soldier, but 
 devoted himself with such success to painting views from 
 nature, especially in the picturesque scenery of the Elbe 
 and the Saal, that he was commissioned to execute a number 
 for Iving Augustus of Poland, and, in the year 1747, was 
 appointed his court painter. His pictures are distinguished 
 by a happy choice of situation, good drawing, great truth, 
 and careful execution ; their chief demerit, especially those of 
 his earlier time, is a heavy and dark colouring. The forty- 
 six pictures of various subjects by him in the Dresden Gallery 
 give a complete view of the painter for better and for worse. 
 One of his best works, for clearness of colour and delicacy 
 of carrying out, is a View near Dresden, now in the Berlin 
 Oallery [withdrawn, as are also the pictures at Dresden], 
 
 Jacob Philip Hackekt, born at Prenzlow, in the Branden- 
 burg Marches, 1737, died at Florence 1807. He was the 
 scholar of X. B. le Sueur, at Berlin. He resided for many 
 years, in the most brilliant circumstances, at the Court of 
 Naples, and painted a number of views of the most beautiful 
 parts of Italy, highly coiTect and usually careful, but equally 
 prosaic and spiritless in feeling. The skies and distances, 
 however, are good, but the foregrounds hard and crude. 
 In the Electoral residences of Cassel are several of his 
 landscapes. He left, also, a number of drawings of scenery 
 in sepia and bistre, in which his cattle are very monotonous. 
 
 Salomon Gessner, the well-known poet, was born at 
 Zurich 1734, and died there 1788. He practised art as an 
 amateur up to his thirtieth year, after which he formed 
 himself for the profession of landscape-painting by the study 
 of nature and of the etchings of the Dutch masters, namely, 
 Waterloo and Evcrdingen, and of the engravings from 
 Ruysdael, Claude, and Poussin. He did not, however, 
 proceed further than the use of body colours, and his chief 
 artistic activity was confined to the practice of etching. 
 Some of these etchings ornament his literary works, others 
 were published in series by themselves. As his landscapes
 
 Chap. III. BEICH— AGRICOLA. 567 
 
 assume alternately the realistic feeling of the Dutch masters 
 above mentioned and the idealistic tendency of Claude and 
 Poussin, he forms, properly speaking, the transition to the 
 landscape painters of the last class. He excelled in each— 
 the first showing a pure feeling for nature, and much sense 
 of the picturesque ; the last an elevated and often highly 
 poetic taste. Both alike bear witness to a spirited and able 
 management of the point. Only those in his idealistic style, 
 where figures play a prominent part, are not attractive, the 
 figures being conceived in the monotonous style of beauty,, 
 taken from antique sculpture, then in vogue, and stiS" and 
 ill-understood into the bargain. 
 
 Franz Joachim Bf.ich, born in Munich 1663, died there, 
 in the capacity of court painter to the Elector, 1748. He 
 takes the first place among the painters of ideal tendency. 
 Although a scholar of his father, Wilhelm Beich, he formed 
 himself in Italy upon the model of Gaspar Poussin. At the 
 same time he is by no means to be classed as a mere imitator 
 of that master, but as a gifted artist deriving inspiration 
 from the same sources of nature. His compositions are 
 elevated and yet rich in detail, the lighting often decided and 
 thoroughly carried out, and the execution careful. If some 
 of his pictures offend by that heaviness and darkness of 
 colour which were the faults of the time, they are also, some 
 of them, distinguished even by warmth and transparency of 
 tone. Such are the landscapes, Nos. l423-l!-i in the 
 Munich Gallery; while his faults are illustrated by two 
 landscapes, otherwise of great excellence, in the Vienna 
 Gallery. Beich also etched a series of successful plates^ 
 
 in the style of his pictures. 
 
 Christoph Ludwig Agricola, born at Regensburg 1667, 
 died there 1719. He formed himself as a landscape painter 
 chiefly by the simple study of nature when travelling in the 
 south, and namely in Italy. But in his feeling for lines, 
 and in the lighting of his pictures, we recognize the influence 
 of Nicolas Poussin. Ruins of ancient buildings also form, as 
 with Poussin, an important feature in his pictures : while his 
 favourite figures for the foreground are men in oriental 
 costumes. He was a good draughtsman, loved decided and
 
 508 THE DECLINE OF ART. Book YI. 
 
 warm lighting, and has a warm and masterly brush. One 
 of the finest of his pictures, with the ruins of a monument 
 and the columns of an antique temple seen between trees, 
 is in the Vienna Gallery. The Dresden Gallery has also two 
 of his works, Nos. 2033-34, the first of which is of an 
 unusual size. 
 
 Finally, the art of architectural painting has at least one 
 respectable proficient to show at this time. This was Lud- 
 wiG Ernst Moegensteen, born at Rudolstadt in Thiiringen 
 1737, died at Frankfort 1819. He painted chiefly interiors 
 of churches, which exhibit a delicate observation of linear 
 and atirial perspective, a clear colouring, and very careful 
 execution ; but the effect is generally cold and spotty, and 
 the treatment has something smooth and china-like. Two 
 pictures of this class, one in the Gothic and the other in the 
 Italian taste, are in the Stadel Institute, Frankfort, Nos. 310 
 and 311.
 
 INDEX. 
 
 ACHEN. 
 
 A. 
 
 AcHEN, Hans ^'AX, 271 : at Vienna, 
 
 271 ; Munich, 271. 
 Acker, Jacob, 147. 
 Adrianssen, Alexander, 3-38 : at 
 
 Berlin, several, 339. 
 Aekex, Hieronymus van : at Berlin, 
 
 121 ; Antwerp, 121 ; Madrid, 121. 
 Aelst, Evert van, 520 : at Dresden, 
 
 520 ; Berlin, 520 ; Florence, 520. 
 , WiLLEM VAN, 520 : at Munich, 
 
 521 ; Berlin, 521 ; Dresden, 520, 
 521 ; Florence, 521. 
 
 Aertszen, Pi.rter, called Lange 
 Peer, 248: at Antwerp, 248; 
 Berlin, 248 ; Vienna, 248. 
 
 Agricola, Christoph Ludwig, 567 : 
 at Vienna, 568 ; Dresden, 568. 
 
 Aldegrever, Heinrich, 177 : at 
 Prague, 177 ; Berlin, 177 ; Lich- 
 tenstein Gallery, 177 ; Breslau, 
 177. 
 
 Altdorfer, Albert, 180 : at Ber- 
 lin, 180 ; Munich, 180, 181-2 ; 
 Landauer Briiderhaus, several, 
 180, 182 ; Chapel of St. Maurice, 
 182; Augsburg, 182 ; Regeu.sbarg, 
 182 ; Rev. J. Fuller Paissell, 182 ; 
 Vienna, 183. 
 
 AuBERGER, Christopher, 218 : at 
 Berlin, 219 ; Sienna, 219 ; Augs- 
 burg, 219 ; Vienna, 218. 
 
 Amman, Jost, 270. 
 
 Apshoven, Michael, 328. 
 
 Arthois, Jacob van, 342, 466 : at 
 Brussels, several, 342 ; Vienna, 
 343 ; Dresden, 343. 
 
 AsPER, Kans, 219 : at Zurich, 219. 
 
 Asselt, Jan van der, 36. 
 
 BEHAM. 
 
 AssELTN, Jan, 445 : at the Louvre, 
 445 ; Van der Hoop Gallery, 445 ; 
 Munich, 446 ; Mr. Baring, 446. 
 
 B. 
 
 Backhutsen, Ludolf, 502 : at Van 
 der Hoop, 503 ; Amsterdam, 503 ; 
 Louvre, 503 ; Munich, 506 ; the 
 Hague, 503 ; Vienna, 503 ; Na- 
 tional Gallery, 504 ; Bridge water 
 Gallery, 504 ; Lord Ashburton, 
 504 ; Mr. Baring, 504 ; Mr. Hol- 
 ford, 504. Drawings and Etchings, 
 504. 
 
 Baerse, Jacques de, 37, 52. 
 
 Bakker, Jacob, 377 : at Van der 
 Hoop, Amsterdam, 377; Bruns- 
 wick, 377 ; Dresden, 377. 
 
 Baldung, Hans, surnamed Grien, 
 222: at Freiburg, 222; Berlin, 
 223; Colmar, 223; Basle, 223; 
 Vienna, 223 ; Munich, 223. Car- 
 toon, Berlin, 223. Engravings and 
 Designs, 223, 224. 
 
 Balen, Heinrich van, 243, 293 : 
 at Antwerp, 243, 260. 
 
 Barbalonga, Juan de, 236. See 
 Vermeyen. 
 
 Bassen, Bartholomew van, 264 : 
 at BerUn, 264. 
 
 Beaumez, Jean de, 36. 
 
 Beck, David, 308. 
 
 Bega, Cornelts, 423 at Amster- 
 dam, 423 ; Louvre 423. Etch- 
 ings, 423. 
 
 Begyn, Abraham, 449. 
 
 Beham, Bartel, 178 : at Chapel of 
 St. Maurice, 178 ; Berlin, 178 ; 
 Munich, 179 ; Schleissheim, 179. 
 Engravings, 179.
 
 oi 
 
 
 
 INDEX. 
 
 BEHAM. 
 
 Beham, Hans, Sebald, 179 : at the 
 Louvre, 179. Miniatures, Ascha.i- 
 fenburg, 179. Ewjravings, 179. 
 Beich, Franz Joachim, 567 : at 
 Munich, 567 ; Vienna, 567. Etch- 
 ings, 567. 
 Bellechose, Henri, 36. 
 Bellegambe, Jean, 120 : at Auchin, 
 
 120 ; Douai, 120. 
 Bercheji, Nicolas, 446 : at Vienna, 
 447, 448 ; Berlin, 447 ; Amster- 
 dam, 447, 448 ; Hague, 447, 448 ; 
 Louvre, 447, 448 ; National Gal- 
 lery, 448 ; Lord Ashburton, 449. 
 Etchings, 449. 
 Bergen, Dirk van, 445 : at the 
 
 Louvre, 444; Amsterdam, 444. 
 Berkheyde, Gerrit, 509 : at Am- 
 sterdam, 509 ; Dresden, 509 ; 
 Louvre, 509 ; Mr. Baring, 509. 
 
 , Job, 509 : at Berlin, 510 ; 
 
 Amsterdam, 509. 
 Beschet, Balthasar, 535 ; at Ant- 
 werp, 535. 
 BiNK, Jacob, 184 : at Vienna, 185 ; 
 Copenhagen, 185 ; Eagraviags, 
 185. 
 ^LES, Herri de, 124, called Cfvetta: 
 at BerHn, 124 ; at Dresden, 124 ; 
 National Gallery, 124 ; Munich, 
 124. 
 Blocklandt. See Montfort. 
 Blondeel, Launcelot, 236 : at 
 Bruges, 236 ; Berlin, 236. Design 
 for manteljnece, Bruges, 236. 
 Bloemart, Abraham, 244: at Berlin, 
 244 ; the Hague, 244 ; Munich, 
 245. 
 Bloemen, Jan Frans van, called 
 Orizonte, 345 : at the Louvre, 
 several, 346 ; Vienna, 346. 
 
 , PiETER VAN, called Standaart, 
 
 331 : at Dresden, 331. 
 
 Bock, Hans : at Hotel de Ville, 
 
 Basle, 271. Frescoes, Hotel de 
 
 Ville, Basle, 271. 
 
 BoEL, Fieter, 336 : at Munich, 336. 
 
 BOEYERMANNS, Theodor, 309 : at 
 
 Antwerp, 309. 
 Bohemia. Early School, 22, 31, 
 
 38-43. 
 BoL, Ferdinand, 376 : at Berlin Mu- 
 seum, 376 ; Dublin, 376 ; Dresden, 
 376 ; Baring Collection, London, 
 
 3RIL. 
 
 376, 377 ; Lej^den, 376 ; Amster- 
 dam, 376, 377 ; Louvre, 377 ; 
 Liitschena, 377. 
 
 BoL, Hans, 264 : Miniatures at 
 Paris, 265 ; Munich, 265 ; Berlin, 
 265. 
 
 BooNEN, Arnold van, 544 ; at Dres- 
 den, several, 544. 
 
 Bosch, Hieronymus. See Aeken. 
 
 BosscHE, Balthasar van dkn, 536 : 
 at Antwerp, 536. 
 
 Both, Andreas, 424 : at Dresden, 
 424. Etchings, 424. 
 
 , Jan, 485 : at Van der Hoop, 
 
 486 ; National Gallery, 487 ; Lou- 
 vre, 487 ; Amsterdam, 487 ; the 
 Hague, 487 ; Buckingham Palace, 
 487. Etchings, 487. 
 
 BouDEWYNS, Anton Frans, 331. 
 
 Bout, Pieter, 330 : at Vienna, 331 ; 
 Dresden, 331. 
 
 Bouts {or Stuerbout — Dierick), 
 104 : at Louvain, 104, 105, 108 ; 
 Brussels, 105, 109; Bruges, 107, 
 
 108 ; Nuremberg, 108 ; Munich, 
 
 109 ; Berlin, 109. 
 Brakenburg, Richard, 426 ; at 
 
 Vienna, 426 ; BerHn, 426 ; Wind- 
 sor Castle, 426 ; Amsterdam, 426. 
 
 Bramer, Leonhard, 357 : at Deltt, 
 357 ; Rotterdam, 357 ; Dresdep, 
 357. 
 
 Bredael, Jan Frans van, 537 : at 
 Dresden, 537. 
 
 , Jan Peter, 330 : Bruges, 
 
 330. 
 
 Breenberg, Bartholom^us, 484 
 at Dresden, 485 ; National Gal 
 lery, 485 ; Lou\Te, 485 : Munich, 
 485; Vienna, 485. Etchings, 485 
 
 Breughel, Jan, called Velvet 
 Breughel, 250 : at Dresden, 258 
 Berlin, 258 ; Louvre, 258 ; Ma 
 drid, 258 ; Hague, 258, 263 
 Munich, 264 ; Louvre, 264. 
 
 , Pieter, the Elder, called Pea 
 
 SANT Breughel, 249 ; at Vienna, 
 several, 249, 260. 
 
 , Pieter, the Younger, called 
 
 Hell Breughel, 250 : at Antwerp, 
 250 ; Berlin, 250. 
 
 Breydel, Karel, 537 : at Aremberg 
 
 Gallery, 537 ; Brussels, 537. 
 Bril, Matthew, 259.
 
 INDEX. 
 
 571 
 
 BRIL. 
 
 Bkil, Paul, 259 : at Berlin, 259 ; 
 
 Louvre, 260, 272. 
 Bkobderlam, Melchioe, 36. 
 Brouwer, Adrian, 417: at Munich, 
 
 several, 417, 418 ; Dresden, 418 ; 
 
 Mr. Munro, 418 ; Sii- R. Wallace, 
 
 418. Etching. 418. 
 Bruges, John of, 33. 
 Bruyn, Bartholomew, de, 267 : 
 
 at Xanten, 267 ; Berlin, 268 ; 
 
 Cologne, 268 ; Munich, 268. 
 
 BUECKLAER, JoACHLM, 249 ; at 
 
 Munich, 249. 
 BuRGKMAiR, Hans, 1 35, 1 95: at Augs- 
 burg, 196, 197 ; Dresden, several, 
 
 196 ; Chapel of St. Maurice, 196, 
 
 197 ; Kensington, 197 ; Munich, 
 197 ; Landauer Briiderhaus. 197 ; 
 Castle. Nuremburg, 197 ; Vienna, 
 197. Miniatures, 183. Woodcuts 
 196, 198. Etching, 198. 
 
 • , Thoman, 144: at Augsburg Ca- 
 thedral, 144 ; Augsburg Museum, 
 145. 
 
 C. 
 
 Calcar, Hans von, 266 : at the 
 Louvre, 249; BerHn, 267; Vienna, 
 267. 
 
 Camphhysen, Govert, 441 : at 
 Rotterdam, 441. 
 
   , Raphael, 440 : at Cassel, 440 ; 
 
 Dresden, 441. 
 
 Candido, Pieteo. See Witte, 242. 
 
 Capelle, Jan van de, 501: at Arem- 
 berg Gallery, 501 ; National Gal- 
 lery, 501 ; Mrs. Butler Johnstone, 
 501; Mr. Baring, 501; Wynne Ellis, 
 501 ; Duke of Bedford, 501; Lord 
 Overstone, 501. 
 
 Champagne, Philippe ds, 318 : at 
 the Louvre, several, 318; National 
 Gallery, 318. 
 
 Christoph, 227 : at Cologne, several, 
 227 ; Munich, 227 ; Mayence, 227 ; 
 National Gallery, 227 ; Louvi-e, 
 228. 
 
 Christophsen, Pieter, or Cristus, 
 
 75 : at Stiidel Institute, 75 ; Veru- 
 1am, 75 ; Suermondt, 75 ; Madrid, 
 
 76 ; Mr. Oppenheim, Cologne, 
 76 ; Berlin Museum, 76 ; Peters- 
 burg, 76 ; Turin, 76 ; Copenhagen, 
 
 cranach. 
 
 76 ; Florence, 76 ; National 
 
 Gallery, 76 ; Dresden, 76. 
 Chodowiecki, Daniel Nicolas, 560 : 
 
 at Berlin, 561. Etchings, 561. 
 CiVETTA. See De Bles. 
 Claeissens, Peter, 120 : at Potteiy 
 
 Hospital, Bruges, 120. 
 Cleef, Hendrik van, 259. 
 Cleve, Joas van, 251 : at Windsor 
 
 Castle, 252 ; Althorp, 252. 
 Cologne Master, 224 : at Cologne, 
 
 225 ; Munich, 225 ; Naples, 225, 
 226 ; Mr. Blundell Weld, 225 ; 
 Dresden, 226 ; Stiidel Institute, 
 
 226 ; Louvre, 226 ; copy, Lord 
 Heytesbury, 226. 
 
 , Meister Stephan of, 126. 
 
 , Meister Wilhelm of, 43, 44. 
 
 , Schoolof, 19,29, 43, 121,123, 
 
 137 : at Munich, 132 ; Cologne 
 Museum, 128, 132 ; Mr. Lyvers- 
 berg, 132 ; Linz, 132 ; Sinzig, 
 132 ; Calcar, 133 ; 
 
 CoNiNCK, David de, 338 : at Am- 
 sterdam, 338. 
 
 Coopse, Peter. 506 : at Munich, 
 506. 
 
 Coques, Gonzales, 257, 334 : at 
 Dresden, 334 ; National Gallery, 
 335 ; Buckingham Palace, 335 ; 
 Su- R. Wallace, 335 ; Stoke Hall,. 
 335 ; Bearwood, 335. 
 
 CORNELISSEN, CORNELIS, Called COR- 
 
 NELis van Haarlem, 243 : at 
 
 Berlin, 244 ; the Hague, 244 ; 
 
 Dresden, 244. 
 Coxis, or Coxcyen, Michael van, 
 
 235 : at Antwerp, 236 ; copij, 
 
 236. Fresco, Rome, 235. 
 Craesbecke, Jost van, 329 : at 
 
 Aremberg Gallery, 330 ; Mr. 
 
 Henderson, 330. 
 Craeyer, Gaspard de, 295 : at 
 
 Ghent, several, 296 ; Louvre, 
 
 296 ; Brussels, several, 296 ; 
 
 Munich, 297 ; Vienna, 297. " 
 Cranach, Lucas 188 : at Halle, 
 
 187 ; Leipsic, 189 ; Gotha, 189 ; 
 
 Schneeberg, 189 ; Prague, 189, 
 
 190; Munich, 189; Mr. Baring, 
 
 190 ; Naumburg, 190 ; Berlin, 
 
 190, 191 ; ilr. Labouchere, 191 ; 
 
 Madrid, 191 ; Moritzburg, 191 ; 
 
 Weimar, 191, 192; National 
 
 44
 
 572 
 
 INDEX. 
 
 CRANACH. 
 
 Gallery, 191 ; Sciarra Colonna 
 Palace, 191 ; Vienna, 191 ; Augs- 
 burg, 191 ; Lord Lyndsay, 191 ; 
 Wittenberg, 192, 193. 
 
 Cranach, Lucas, the Younger, 192, 
 194 : at Wittenberg, 194 ; Bruns- 
 vnck, 194 ; Munich, 194 ; Dresden, 
 194. 
 
 Cuyp, Albert, 459: at Bridgewater 
 Gallery, 460, 461, 462 ; Dulmch, 
 461 ; National Gallery, 461, 462 ; 
 Louvre, 461 ; Buckingham Palace, 
 461 ; Duke of Bedford, 462 ; 
 Lord Brownlow, 462 ; Mr. Hol- 
 ford, 462 ; Mr. Baring, 462 ; Lord 
 ^Vshburton, 462 ; Munich, 462. 
 
 , Jacob Gerritz, 354 : at 
 
 Berlin, 355 ; Amsterdam, 355 ; 
 Metz, 355 ; Rotterdam, 355 ; 
 Munich, 355. 
 
 David, Gheerardt, 112 : Bruges, 
 112, 113; Rouen, 112, 113; 
 Sigmaringen, 113; Munich, 113; 
 Berlin, 113 ; Madrid, 113; Brus- 
 sels, 113 ; Culling Eardley, 113 ; 
 Louvre, 113. 
 
 Decher, Cormelis, 479 ; at Han- 
 over, 479 ; Copenhagen, 479 ; 
 Rotterdam, 479 ; Louvre, 479 ; 
 Munich, 479, 
 
 Deelen, Dirk van, 511 : at the 
 Louvre, 512 ; Brunswick, 512 
 Rotterdam, 512 ; Vienna, 512 
 the Hague,. 512 ; Berlin, 512 
 Antwerp), 512 ; H. T. Hope, Esq 
 512. 
 
 Delft, Jacob, 257 ; at Stiidel Insti- 
 tute, 257. 
 
 , JoHANN Wilhelm, 257 : at 
 
 Delft, 257. 
 
 Delmoxt. See Mont, 296. 
 
 DenSer,Balthasar, 563: at Vienna, 
 563 ; Berlin, 564 ; City Library, 
 Hamburg, 564. 
 
 Denys, Simon, 537 : at Antwerp, 
 538. 
 
 DiEPENBECK, Abraham van, 312 : 
 at Antwerp, 312 ; Vienna, 312 ; 
 Berlin, 312; Louvre, 312. Designs, 
 312. Etching, 313. 
 
 DURER. 
 
 Dietrich, Christian, Wilhelm 
 Ernst, 559 : at Dresden, 559 ; 
 National Gallery, 559. Etchinqs, 
 559, 
 
 Dobson, William, 309. 
 
 Does, Jacob van der, 446 : at 
 Vienna, 446 ; Brunswick, 446. 
 Etchings, 446. 
 
 Does, Simon van der, 453 : at 
 Amsterdam, 453. 
 
 Dorste, I. v., 390 : Dresden, 390. 
 
 Douffet, Gerard, 319 : at Munich, 
 319. 
 
 Dow, Gerard, 405 : at Wardour, 
 Castle, 406 ; Bridgewater Gallery, 
 406, 407 ; Louvre, several, 406, 
 407 ; National Gallery, 406, 407 ; 
 Amsterdam, several, 407 ; the 
 Hague, 407. 
 
 Drost, 389 : at Cassel, 389 ; Amster- 
 dam, 390 ; Dresden, 390. 
 
 DuBBELS, Jan, 500 : at Van der 
 Hoop, 500 ; Pitti, 500 ; Duke of 
 Bedford, 501. 
 
 Dubois, Guillam, 481 : at Bruns- 
 wick, 481 ; Czernin Collection, 
 Vienna, 481 ; Liitschena, 481 ; 
 Berlin, 481. 
 
 Due, A., 415 : at Vienna, 415 ; 
 Dresden, 416. 
 
 Duchatel, Frans, 328 : at Ghent, 
 328 ; Antwerp, 328. 
 
 DucQ, Jan le, 416 : at Munich, 
 416 ; Berlin, 416 ; Gotha, 416 ; 
 Dresden, 416. Etchings, 416. 
 
 DULLAERT, HeTMAN, 391. 
 
 DtJNWEGE, Victor and Heineich, 
 133 : at Dortmund, 133 ; Berlin, 
 134. 
 
 DusART, CoRNELis : at Dresden, 423 ; 
 Amsterdam, 423 ; Mr. Baring, 423. 
 Etchings, 423. 
 
 DuRER, Albert, 152 : at Sion 
 House, 155 ; Munich, 155, 156, 
 157, 166, 167, 170, 171, 173; 
 Florence, 155, 157, 158, 160, 
 169, 173; Liitschena, 155; Aix- 
 la-Chapelle, 157 ; Nuremberg, 
 157, 166, 174 ; Vienna, 158, 160, 
 161, 165, 166, 170, 171, 172; 
 Belvoir, 158 ; Rome, 158, 159 ; 
 Prague, 159 ; Lyons, 159 ; Dres- 
 den, 159 ; Madrid, 160 ; Mayence, 
 160 ; Schleissheim, 161 ; Frank-
 
 INDEX. 
 
 673 
 
 ECKHOUT. 
 
 frrt, 161, 172; Naples, 161; 
 Milan, 166 ; Cologne, 172 ; Bur- 
 leigh House, 172 ; late Pommers- 
 feld Collection, 173. Woodcuts, 
 156, 162, 163-5, 168, 169, 170-1. 
 Engravings, 158, 160, 165, 167, 
 168, 172. 
 
 £. 
 
 ECKHOUT, GeRBRANDT VAN DER, 380 
 
 at the Louvre, 380 ; Munich, 880 
 Schleissheim, 380 ; Amsterdam 
 380 ; Berlin, 380 ; Marquis of 
 Bute, 380 ; Frankfort, 380. 
 Egmond, Justus van, 315 : at 
 Vienna, 315. 
 
 ElMBECK, JOHANN RaPHON VON, 
 
 134 : at Halberstadt, 134. 
 
 El Mayo, 236. See Vermeyen. 
 
 Elzheimer, Adam, 272 : at Devon- 
 shire House, 273 ; late Honour- 
 able E. Phipps, 273 ; Cambridge, 
 273 ; Corsham Court, 274 ; Broom 
 Hall, 274 ; Louvre, 274 ; Stiidel 
 Institute, 274 ; Munich, 274 ; 
 Vienna, 274 ; Uffizi, 274. 
 
 Engelbrechtsen, Cornelis, 120 : 
 at Ley den, 120. 
 
 Es, or Essen, Jacob van, 338 : at 
 Vienna, 338 ; Antwerp, 338. 
 
 EVERDINGEN, ALDERT VAN, 468 : at 
 
 Van der Hoop Gallery, 469 ; 
 Louvre, 469 ; Munich, 469 ; Ber- 
 lin, 469 ; Lord Listowel, 469. 
 Etchings, 469. Draivings, 470. 
 
 Etck, Hubert van, 51, 52-64 : at 
 Naples, 63 ; Ghent, 55-6 ; Berlin, 
 56 ; Brussels, 57, 61, 62. 
 
   , Jan van, 53, 65 : at Antwerp, 
 
 62 ; Berlin, 61, 68, 71 ; Chats- 
 worth, 64, 67 ; Hague, 62 j 
 Heytesbury, 67 ; Madrid, 68 ; 
 luce Hall, 69 ; Stiidel Institute, 
 69 ; National Gallery, 69, 70 ; 
 Burleigh, 70 ; Louvre, 70 ; Bruges, 
 71, 72 ; Vienna, 71, 72 ; Antwerp, 
 67, 71 ; Dresden, 72 ; ecclesiasti- 
 cal robes, 72. 
 
 , Lambert van, 72 : at Louvain, 
 
 gelder. 
 
 FABRiTros Carl, 381 : Rotterdam, 
 381 ; Amsterdam, 390. 
 
 F.VES, Peter van der. See Lely, 
 308. 
 
 Falens, Karel van, 537 : at Dres- 
 den, 537 ; Berlin, 537. 
 
 Ferg, Frans de Paula, 560 : at 
 Dresden, 560 ; Vienna, 560. 
 
 Fesele, Martin, 183 : at Munich, 
 183. 
 
 Flemael, Bartholomew, 319 : at 
 Dresden, 319. 
 
 Floris, Frans. See Vriendt, 238. 
 
 Flinck, Govaert, 377 : at Bruns- 
 wick, 377, 378 ; Amsterdam, 378 
 Berlin, 378; Rotterdam, 378 
 Copenhagen, 378 ; Dresden, 378 
 Munich 378. 
 
 Francisque. See Millet, 344. 
 
 Francken, Ambrosius, the Elder, 
 240 : at Antwerp, several, 240. 
 
 the Younger, 240. 
 
 73 ; Antwerp, 74. 
 , Margaret van, 72. 
 
 , Jerome, the Elder, 240. 
 
 , the Younger, 240. 
 
 , Frans, the Elder, 240. 
 
 , the Younger, 251, 263, 264 : 
 
 at Vienna, 251 ; Antwerp, 251. 
 
 Franconian School, 147 : at St. 
 Sebaldus, Nuremberg, 148, 
 
 Freybeckh, Johann, 130. 
 
 Fruitiers, Philip, 335. 
 
 Fyoll, Conrad, 134 : at Stiidel In- 
 stitute, 134 ; Berlin, 134. 
 
 Fyt, Jan, 336 : at Vienna, 337 ; 
 Berlin, 337 ; Munich, 337 ; Gros- 
 venor Gallery, 337 ; Ravensworth 
 Castle, 337 ; Louvre, 337 ; Aix-la- 
 Chapelle, 337 ; Lutschena, 337. 
 Etchings, 337. 
 
 Futerer, Ulrich, 150 : at Schieiss- 
 heim, 150. 
 
 G. 
 
 Gandt, James, 310. 
 Gassel, Lucas, 259 : at Vienna, 259, 
 Gast, Michael de, 259. 
 Gelder, Aart de, 387 : at Dresden, 
 387 ; Amsterdam, 387.
 
 574 
 
 INDEX. 
 
 GELDORP. 
 
 Geldorp. See Gortzius. 
 
 Genoels, Abraham, 343 : at Ant- 
 werp, 344 ; Brunswick, 344. £tch- 
 inr/s, 344. 
 
 Gerard, Mark, of Bruges, 255 : at 
 Burleigh, several, 255. 
 
 Gerhart, 110. 
 
 Gessner, Salomon, 566. Etchings, 
 566. 
 
 Ghent, Justus of, 89 : at Urbino, 
 89 ; Barberini, 90 ; Paris, 90. 
 
 Ghent, School of, 27, 28. 
 
 Glauber, Jan Gottlieb, 492. 
 
 , Jan, 491 : at Berlin, 492 ; 
 
 Louvre, 492 ; Munich, 492 ; Dres- 
 den, 492. 
 
 Glockenthon, George, the Elder, 
 and Nicholas, 185. Miniatures, 
 at Aschaffenburg, 185. 
 
 Goes, Hugo van der, 85 : at S. 
 Maria Novella, Florence, 87. 
 
 Goltzius, Heinrich, 241. Engra- 
 vings, 241. 
 
 Goubau, Anton, 332 : at Meinin 
 gen, 332 ; Prague, 332 ; Antwerp, 
 332. 
 
 Gortzius, Gualdorp, called Geld- 
 orp, 254. 
 
 GossAERT, Jan, called Mabuse, 118 : 
 at Castle Howard, 119 ; Scawby, 
 119 ; Brussels, 119 ; Hampton 
 Court, 232 ; Antwerp, 119, 232 ; 
 Mr. Baring, 232 ; Berlin, several, 
 232 ; Munich, 232 ; Louvre, 232; 
 Middelburg, 232. 
 
 GoYEN, Jan van, 467 : at Louvre, 
 467 ; Amsterdam, 467 ; National 
 Gallery, 467 ; Berlin, 467. 
 
 Graff, Anton, 565 : at Dresden, 
 565. 
 
 Grebber, Franz Pietersz, 244 : at 
 Haarlem, 244. 
 
 Grebber, Pieter de, 356 : at Haar- 
 lem, 356 ; Dresden, 356. 
 
 Grien. See Baldung. 
 
 Griffier, Jan, 483 : at Amsterdam, 
 483 ; Dresden, 483 ; Berlin, 483. 
 
 . HOBERT, 545. 
 
 Grimmer, Hans, 188 : at Chapel of 
 
 St. Maurice, 188. 
 
 , Jacques, 258. 
 
 Grunewald, Matthew, 186 : at 
 
 Munich, 187 ; Aschatfenburg, 187; 
 
 Halle, 187 ; Bamberg, 187 ; Heils- 
 
 heem. 
 
 bronn, 187 ; late Prince Consort, 
 ISS. 
 Gyssens, Peter, 260. 
 
 H. 
 
 Haarlem, Cornelis van. See Cor- 
 nelissen, 243. 
 
 , DiERiCK VAN. See Bouts, 104. 
 
 Hackaert, Jan, 483 : at Berlin, 484 ; 
 Amsterdam, 484 ; Dresden, 484 ; 
 Munich, 484 ; Marquis of Bute, 
 484 ; Stafford House, 484 ; Na- 
 tional Gallery, 485. Etchings, 
 484. 
 
 Hackebt, Jacob Philip, 566 : at 
 Cassel, 566. Dratvings, 566. 
 
 Hagen, Jan van der, 481 : at Am- 
 sterdam, 482 ; Louvre, 482. 
 
 Hals, Frans, 350 : at Haarlem 
 Museum, 352 ; Oude Mannen 
 Huys, 352 ; new Town - hall, 
 Amsterdam, 353 ; Munich, 353 ; 
 Sir R. Wallace, 353 ; Amsterdam 
 Museum, 353, 354 ; Buckingham 
 Palace, 353 ; Sedelmeyer, Vienna, 
 
 353 ; Berlin, 353 ; Rothschild, 
 Paris, 353 ; Cassel, 353 ; Hague, 
 
 354 ; Aix-la-Chapelle, 354. 
 Hals, Frans, the Younger, 354. 
 Hals, Dibk, 354 ; Stuttgardt, 354 ; 
 
 Hausmann Collection, Hanover, 
 
 354. 
 Hamilton, Carl Wilhelm von, 
 
 551. 
 , JoHANN Georq von, 551 : at 
 
 Vienna, 551 ; Munich, 551. 
 -, Philip Ferdinand von, 550 : 
 
 at Vienna, several, 550 ; Munich, 
 551. 
 
 Hannemann, Adrun, 307 : at Rot- 
 terdam, 308 ; Vienna ,308. 
 
 Hartmann, Johann Jacob, 565 ; 
 at Vienna, 565. 
 
 Heda, Coknelis Cleesz, 522. 
 
 Heda, Willem Klaasz, 522 : a 
 Laudauer Briiderhaus, 522. 
 
 Heem, Cornelis de, 517 : at Munich 
 517 ; Vienna, 517 ; Dresden, 517 
 
 Heem, Jan David de, 515 : at 
 Vienna, 516 ; Berlin, 516 ; the 
 Hague, 516 ; Amsterdam, 517 ; 
 the Louvre, 517.
 
 INDEX. 
 
 575 
 
 HEKRBCHOP. 
 
 Heeeschop, Hendeik : Berlin, 390. 
 
 Heintsch, JoHA^■^• Georg, 528 : at 
 Estates Galleiy, Prague, 528 ; 
 Karlshof Church, Prague, 528 ; 
 Strahow Convent, Prague, 528. 
 
 Heinz, Joseph, 271 : at Vienna, 
 several, 271. 
 
 Helmont, Matthew van, 328 : at 
 Aremberg Gallery, 328 ; Rotter- 
 dam, 328. 
 
 Helst, Bartholomew van der, 359 : 
 at Amsterdam, 359, 360, 361 ; 
 Haarlem, 359, 360 ; Rotterdam, 
 360 ; Louvre, 361 ; H. T. Hope, 
 London, 361. 
 
 Helst, van der (L.), 361. 
 
 Hemskerk, Martin, 237. See Veen. 
 
 Hemessen, Jan van, 247 : at Munich, 
 248 ; Vienna, 248 ; copies, Ant- 
 werp and Vienna, 248. 
 
 Herlen, Frederick, 48, 138 : at 
 Nordlingen, several, 139 ; Rothen- 
 burg, 139. 
 
 Herp, Gerard van, 315 : at National 
 Gallery, 315 ; Berlin, 315 ; Arem- 
 berg Gallery, 315. 
 
 Hedsch, Jacob de, 488 : at Vienna, 
 488 ; Brunswick, 488. 
 
 , WiLLEM DE, 448 : at Louvre, 
 
 488 ; Vienna, 488 ; Cassel, 488 ; 
 Rotterdam, 488. Etchings, 488. 
 Heyden, Jan van der, 507 : at 
 Amsterdam, 507 ; the Hague, 
 
 508 ; Louvi-e, 508 ; Vienna, 508 ; 
 National Gallery, 508 ; Sir R. 
 Wallace, 508 ; Buckingham Palace, 
 
 509 ; Bridgewater Gallery, 509 ; 
 Lord Ashburton, 509. 
 
 HOBBEMA, Meindert, 475 : at Ber- 
 Un, 477 ; Rotterdam, 477 ; Na- 
 tional GaUery, 477, 478 ; Sir R. 
 Wallace, 478 ; Holford Collection, 
 478 ; Baring Collection, 478 ; Mr. 
 Field, 478 ; Morny Collection, 
 478 ; Patureau Collection, 478 ; 
 Lord Overstone, 478 ; Mr. Wynne 
 Ellis, 478. 
 
 HoECKE, Jan van der, 313 : at Ant- 
 werp, 313 ; Vienna, 314. 
 
 HoECKE, Robert van, 341 : at 
 Vienna, 341 ; Berlm, 341. Etch- 
 ings, 341. 
 
 Hoefnagel, Jooris, 265. Minia- 
 tures, Vienna, 265 ; Brussels, 266. 
 
 hondekoeter. 
 
 Hoekgeest, C, 514 : at the Hague, 
 
 514 ; Antwerp, 514. 
 Hoffmann, Samuel, 316 : at Stadel 
 
 Institute, 317. 
 Holbein, Hans, the Grandfather, 
 140. 
 
 , Hans, the Elder, 140 : at 
 
 Augsburg, 140, 141, 142, 144; 
 Munich, 140, 142, 144 ; Isenheim, 
 141 ; Nuremberg, 141 ; Frankfort, 
 142 ; Prague, 142 ; Donauesch- 
 ingen, 142 ; Berlin, 143 ; Copen- 
 hagen, 143; S. Gallen, 144; 
 Vienna, 144. 
 
 , Hans, the Younger, 198 : at 
 
 Bale, 201, 202, 203, 204, 205, 207, 
 210 ; Lucerne, 201 ; Carlsruhe, 
 201 ; Freiburg, 202 ; Lisbon, 202 ; 
 Soleure, 204 ; Longford Castle, 
 115, 204, 208, 211 ; Louvre, 205, 
 209, 212, 215 ; BerUn, 205, 207, 
 211 ; Antwerp, 205 ; Hampton 
 Court, 205, 207, 214 ; Turin, 205 ; 
 Parma, 205 ; Darmstadt, 206 ; 
 Dresden, 206, 207, 214 ; Windsor, 
 207, 209, 210, 211, 215 ; Marquis 
 of Westminster, 209 ; Munich, 
 209 ; Mr. Huth, London, 209 ; 
 Lambeth House, 209 ; Nostall 
 Priory, 209; Cassel, 211 ; Schon- 
 born Collection, Vienna, 211, 
 212, 214, 215, 216 ; Hague, 212 ; 
 Suermoudt Collection, Ais-la- 
 Chapelle, 212, 215 ; Brunswick, 
 212; Hall of the EasterHngs, 
 2] 2 ; Lady Caledon, 213 ; Hard- 
 wicke Hall, 214 ; Prague, 214 ; 
 Arundel Castle, 214 ; Sion House, 
 215 ; Lord Yarborough, 215 ; 
 Hanover, 215 ; Mr. Millais, 215 ; 
 Uffizi, Florence, 215 ; College of 
 Surgeons, London, 216. Minia- 
 tures, Col. Meyrick, 216. Draw- 
 ings, Windsor, 216 ; Bale, 216. 
 Cartoons, British Museum, 217. 
 Woodcuts and Engravings, 217, 
 218. Designs for furniture, 218. 
 SiGisMUND, 144 : at Landauer 
 
 Briiderhaus, 144 ; National Gal- 
 lery, 144. 
 
 Hollander, Jan de, 258. 
 
 Hondekoeter, Gisbert, 457 : at 
 Rotterdam, 457. 
 
 Hondekoeter, Melchior, 457 : at
 
 576 
 
 INDEX. 
 
 HONDICS. 
 
 Amsterdam, 457 ; the Hague, 457 ; 
 Loo, 457 ; Louvre, 457. 
 
 HoNDius Abraham, 455: at Dresden, 
 456 ; Rotterdam, 456 ; Petersburg, 
 456. Etchings, 456. 
 
 HONDT, DE, 328. 
 
 HoNTHOKST, Gerard, called Ghe- 
 KARDO dalle Notti, 347 : at Staf- 
 ford Gallery, 349 ; Berlin, 349 ; 
 Louvre, several, 349 ; Munich, 
 349 ; new Hotel de Ville, Amster- 
 dam, 349 ; Hampton Court, 349. 
 
 HONTHORST, WiLHELM, 350. 
 
 Hooch, Petek de, 385 : at Bucking- 
 ham Palace, 386 ; Lord Ashbur- 
 ton, 386 ; National Gallery, 386 ; 
 Suermondt Collection, 386 ; Lou- 
 vre, 386 ; Amsterdam, 386 ; Van 
 der Hoop Gallery, 387; Munich, 
 387 ; Landauer Briiderhaus, 387. 
 
 Hoogstraten, Samuel van, 380 : 
 at Amsterdam, 381 ; Van der 
 Hooa Gallery, 381 ; Vienna, 381 ; 
 the Hague, 381. 
 
 Horemans, Jan Joseph, 536 : at 
 Cassel, 536 ; Dresden, 536 ; Ant- 
 werp, 536. 
 
 Horst, G., 389, 302: at Berlin, 
 389. 
 
 Horst, Nicholas van der. 316. 
 
 Huchtenburgh, Joon van, 434 : 
 at the Hague, 434 ; Louvre, 434; 
 Amsterdam, 434 ; Vienna, 434. 
 
 HuTSMANN, Cornelis, 343 : at 
 Brussels, 343 ; Louvre, several, 
 343 ; Dresden, 343 ; Munich, 
 343 ; Edinburgh, 343. 
 
 HuYSUM, Jan van, 546 : at Berlin, 
 547 ; Louvre, several, 548 ; Am- 
 sterdam, 549 ; Van der Hoop, 
 549 ; the Hague, 549 ; Dulwich, 
 549 ; Bridgewater Gallery, 549 ; 
 National G;dlery, 549 ; Lord Ash- 
 burton, 549. Drawings, Mr. Bale, 
 549 ; Mr. William Russell, 549. 
 
 Htds, 248 : at Berlin, 248, 
 
 Jameson, George, 310. 
 
 Jans, St., Geertgen van : at 
 
 Vienna, 91. 
 Ja>'sens, Abraham, 292, 293 : at 
 
 KNOLLER. 
 
 Antwerp, several, 293 ; Vienna, 
 293. 
 
 Jansen, Cornelius, 257 : at Hamp- 
 ton Court, 258 ; Longford Custle, 
 258 ; Buckingham Palace, 258 ; 
 Burleigh, 258. 
 
 Jaedin, Kaeel du, 449 : at Amster- 
 dam, 449 ; Louvre, 450, 451 ; 
 National Gallery, 450 ; Amster- 
 dam, 450, 451 ; Hague, 451 ; 
 Munich. 451 ; Cassel, 451 ; Dres- 
 den, 451 ; Edinburgh, 451 , 
 Bridgewater Gallery, 451. Etch- 
 ings, 451. 
 
 Jarenus, 133 : at Wilton, 133 ; 
 Berlin, 133. 
 
 JOEST (J.), 133. 
 
 JoxGH, LiEVE DE, 362 : at Rotter- 
 dam, 362. 
 
 JoRDAENS, Jacob, 310 : at Antwerp, 
 
 310 ; Louvre, 310, 311 ; Vienus, 
 
 311 ; House in the Wood, 311 ; 
 Berlin, 311 ; Cobham Hall, 311. 
 
 JuvENEL, Paul, 524 : at Town-hall, 
 Nuremberg, 524 ; Frankfort, 524. 
 
 Kalf, Willem, 521 : at Amster- 
 dam, 521 ; Louvre, 521. 
 
 Kamphutsen. See Camphuysen. 
 
 Kauffmann, Makia Ajvuelica, 557: 
 at National Gallery, 557 ; Hamp- 
 ton Court, 557 ; Vienna, 557 ; 
 Miinich, 557 ; Burleigh House, 
 557. Etchings, 557. 
 
 Kessel, van, 480 : at Mr. Baring, 
 481 ; Amsterdam, 481. 
 
 , Ferdinand van, 258. 
 
 Ketel, Cornelis, 255. 
 
 Key, Willem, 254. 
 
 Keyser, Thomas dk, 357 : Aix-la- 
 Chapelle, 358 ; National Gallery, 
 358 ; Petersburg, 358 ; Amster- 
 dam, 358 ; Hague, 358 ; Brussels, 
 358 ; Munich, 358. 
 
 Kierings, Alexander, 261. 
 
 Klomp, Albert, 440 : at Brussels, 
 440 ; Van der Hoop, 440 ; Rotter- 
 dam, 440 ; Dresden, 440. 
 
 Knoller, Martin, 557 : at Convent 
 of Ettal, 558 ; Convent of Gries, 
 558 ; Town-hall, Munich, 568 ; 
 Munich, 558 ; Vienna, 558.
 
 INDEX. 
 
 677 
 
 KONING. 
 
 KoNtNO, Solomon, 392 : at Bridge- 
 water Gallery, 393 ; Rotterdam, 
 393 ; Berlin, 393 ; Devonshire 
 House, 393. 
 
 KoNiNGH, Phiup de, 387 : at Am- 
 sterdam, 388; Aremberg Gallery, 
 388 ; the Hague, 388 ; Munich, 
 388 ; Uffizi, 388 ; National Gal- 
 lery, 388. 
 
 KuLMBACH, Hans van, 176 : at 
 Vienna, 176 ; Chapel of St. ]VIau- 
 rice, Nuremberg, 176 ; St. Sebal- 
 dus, Nuremberg, 176 ; Munich, 
 177 ; Stiidel Institute, 177 ; 
 Heilsbronn, 177 ; Ansbach, 177. 
 
 KuNZ, 38. 
 
 KuPETZKT, JoHANN, 552 : at Berlin, 
 552 ; Vienna, 552. 
 
 KUTLENBUEG, C, 350. 
 
 Laer, Pieter van, called Bamboc- 
 cio, 429 : at Cassel, several, 429 ; 
 Louvre, 429 ; Dresden, 429 ; 
 Vienna, 429. Etckings, 429. 
 
 Lastmann, Pieter, 245 : at Berlin, 
 245 ; Brunswick, 245 ; Rotter- 
 dam, 245, 261. 
 
 Lairesse, Gerard de, 320 : at 
 Louvre, several, 320; IJerlin, 320; 
 Cassel, 321. Etchings, 321. 
 
 Lautensack, Hans Sebald, 270. 
 
 Leuenbergh, C, 520 : at Berlin, 
 520 ; Dresden, 520. 
 
 Lelt, Sir Peter, 308 : at Sion 
 House, 308 ; Windsor Castle, 
 308 ; Duke of Portland, 308 ; 
 Earl of Stamford and Warring- 
 ton, 308 ; Hampton Court, 308. 
 
 Lembke, Johann Philip, 532 : at 
 Vienna, 532. 
 
 Lens, Andries Cornelis, 535 : at 
 Antwerp, 536 ; Brussels, 536. 
 
 Leveque, Jacob, 391. 
 
 Leeuw, Peter van der, 445 : at 
 Munich, 445. 
 
 Leyden, Lucas van, 121 : at Ley- 
 den, 122 ; Wilton, 122 ; Munich, 
 122. Engravings, 122. 
 
 Liemakere, Nicolas de, called 
 RoosE, 293 ; at Ghent, 293. 
 
 LiMBORCH, Hendrik VAN, 539 : at 
 the Louvre, 539. 
 
 MASSYS. 
 
 Lingelbach, Johann, 454 : at new 
 Hotel de Ville, Amsterdam, 454 ; 
 National Gallery, 455 ; Amster- 
 dam Museum, 455 ; the Hague, 
 455 ; Louvre, 455. 
 
 Lion, A., 357 : at new H6tel de 
 Ville, Amsterdam, 357. 
 
 Lis, Joan van der, 350. 
 
 Livens, Jan, 391 : at Berhn, 392 : 
 Louvre, 392 ; Rotterdam, 392 • 
 Amsterdam, 392 ; Munich, 392. 
 
 Lombard, Lambert. See Suster- 
 mann, 238. 
 
 LooTEN, Jan, 481 : at Berhn, 481 ; 
 Copenhagen, 481 ; Rotterdam, 
 481. 
 
 Lochner, Stephan, 126 : at Cologne 
 Museum, 126 ; Archbishop of 
 Cologne, 126 ; Cologne Cathedral, 
 126 ; Darmstadt Museum, 127 ; 
 National Gallery, 127 ; Munich, 
 several, 127 ; Berlin, 128. 
 
 Lucidel. See Neuchatel, 254. 
 
 M. 
 
 Maas, Arnold van, 328. 
 
 , Nicholas, 384 : at National 
 
 Gallery, 384 ; Amsterdam, 384 ; 
 Uffizi, 384 ; Rotterdam, 385 ; Sir 
 R. Wallace, 385 ; Buckingham 
 Palace, 385 ; Berlin, 385 ; Van 
 der Hoop Gallery, 385 ; Six Col- 
 lection, 385 ; Institution of Felix 
 Meritis, Amsterdam, 385. 
 
 Mabuse. See Gossart, 118. 
 
 Maddersteq, Michiel, 505 : at 
 Berlin, 505. 
 
 Mahselkircher, Gabriel, 149 ; at 
 Schleissheim, 149. 
 
 Malwel, Jean, 36-7. 
 
 Mander, Carel van, 242. 
 
 Manuel, Nicholas, surnamed 
 Deutsch, 219 : at Basle, 220. 
 Frescoes, Basle, 220 ; Berne, 220. 
 Drawing, Stuttgart, 220. 
 
 Marinus de Seew, 117 : at Munich, 
 117; Dresden, 117; Antwerp, 
 117 ; .Madrid, 117 ; Copenhagen, 
 •117. 
 
 Martin, Nabor, 90. 
 
 Massys, Jan, 247 : at Windsor 
 Castle, 247 ; Berlin, 247 ; Muuicli, 
 247 ; Vienna, 247 ; Antwerp, 247,
 
 578 
 
 INDEX. 
 
 MASSYS. 
 
 ilASSYS, QnENTix, 114 : at Antwerp, 
 115; Louvain, 115; Longford, 
 115, 208 ; Berlin, 115 ; Amster- 
 dam, 116 ; Antwerp, 116 ; Ka- 
 tional Gallery, 116 ; Rev. Mr. 
 Russell, 116 ; Rev. Mr. Heath, 
 
 116 ; Mr. Barker, 116 ; Windsor 
 Castle, 116 ; Louvre, 116 ; Vienna, 
 
 117 ; Rothschild, Paris, 117 ; 
 Uffizi, 117. 
 
 Matsys, or Metsts, or Messys, 
 
 QoENTiN. See Massys. 
 Maurer, Christoph, 27. 
 Meer, van der, of Delft, 381 : at 
 
 Dresden, 382 ; Pereire Collection, 
 
 382 ; Bruns\\'ick, 383 ; Vienna, 
 
 383 ; Six Collection, Amsterdam, 
 383 ; Van der Hoop, Amsterdam, 
 383 ; Aix-la-Chapelle, 383 ; Arem- 
 berg Collection, Brussels, 383 ; 
 Hague, 383. 
 
 Meer, van der, of Haarlem, 384. 
 
 Meer, Jan van der, of Utrecht, 
 384. 
 
 DE JoNGE, Jan van der, 384, 
 
 452 : at Berlin, 452 ; Etchings, 
 453. 
 
 Meert, Pieter, 332 : at Brussels, 
 332 ; Berlin, 332. 
 
 Meire, Gerard van der, 76, 88 : 
 at Ghent, 88 ; Berlin, 88, 89 ; 
 Liitschena, 89 ; National Gallery, 
 89. 
 
 ■Melem, Johann van, 228 : at Mu- 
 nich, 228. 
 
 Memling, Hans, 92 : at Munich, 
 97 ; Palais de Justice, Paris, 93 ; 
 Rev. J. F. Russell, 93 ; Vernon 
 Smith, Esq., 93 ; Dantzic, 94 ; 
 Stuttgart, 96 ; St. John's Hos- 
 pital, Bruges, 96, 98, 99, 100, 
 101 ; Prince Radzivil, Berlin, 97 ; 
 Vienna, 97 ; Bruges, 97 ; Chis- 
 wick, 98 ; Holker Hall, 98 ; 
 Antwerp, 98 ; Rev. Mr. Heath, 
 98 ; Count Duchatel, Paris, 99 ; 
 Strasburg, 100 ; Uffizi, 100, 101 ; 
 National Gallery, 100 ; Gatteau 
 Paris, 100 ; Worlitz, 101 ; Doria, 
 Rome, 101 ; Louvre, 101 ; Turin, 
 96; Lubeck, 103; Madrid, 103. 
 Miniatures, 104. 
 
 Mengs, Anton Raphael, 554 : at 
 the Catholic church, Dresden, 
 
 MOL. 
 
 556 ; Vatican, 556 ; Madrid, 556 ; 
 Munich, 556 ; Uffizi, 556 ; Berlin, 
 556 ; Dresden, 556. 
 
 Metsu, Gabriel, 396 : attheLouvre, 
 397, 398 ; the Hague, 397 ; Dres- 
 den, several, 397 ; Van der Hoop 
 Gallerv, 397 ; Dresden, 397. 398 ; 
 Munich, 398 ; Berlin, 398 ; Mr. 
 Suermondt, 398 ; National Gal- 
 lery, 398 ; Buckingham Palace, 
 399 ; Baring Collection, 399. 
 
 Meulen, Anton Frans van der, 
 
 340 : at the Louvre, several, 340; 
 Munich, 340 ; Buckingham Palace, 
 
 341 ; Petworth, 341. 
 Meyering, Albert, 492 : at Berlin, 
 
 493. Etchings. 493. 
 MiCHAU, Theobald, 537 : at Vienna, 
 
 537 ; Rotterdam, 537. 
 Miel, Jan, 331. 
 MiEREVELT, Michael Janse, 256 : 
 
 at Delft, several, 256. 
 
 , Pieter, 256. 
 
 MiERis, Frans van, 407 : at Vienna, 
 
 408 ; Munich, several, 408, 409 ; 
 the Hague, 408, 409 ; Dresden, 
 
 409 ; Uffizi, 409 ; National Gal- 
 ler\', 410. 
 
 , the Younger, 544 : at 
 
 Cassel, 544 ; Rotterdam, 544. 
 , WiLLEM VAN, 542 : at the 
 
 Louvre, 543 ; the Hague, 543 ; 
 
 Vienna, 543 ; Dresden, 543 ; 
 
 Bridgewater Gallery, 543 ; !Mr. 
 
 Baring, 543 ; Mr. Heusch, 543 ; 
 
 Sir R. Wallace, 544. 
 MiGNON, Abraham, 519 : at Amster- 
 dam, 519 ; Van der Hooj"), 519 ; 
 
 Louvre, several, 519 ; Dresden. 
 
 519. 
 Millet, Jean FRAN901S, called Fran- 
 
 ciSQUE, 344 : at Munich, several, 
 
 344. Etchings, 345. 
 Minnebroer, Frans, 258. 
 modena, tommaso da, 40. 
 Molenaer, Claas, 426 : London. 
 
 426. 
 , Jan Miense : at Berlin. 
 
 426 ; Amsterdam, 426. 
 
 -, Jan, 425 : at Berlin, 
 
 425 ; Mr. Field, 425 ; Brunswick, 
 426. Etchings, 426. 
 Mol, Pieter van, 31(3 : at Antwerp, 
 316 ; Louvre, 316.
 
 INDEX. 
 
 579 
 
 MOLYN. 
 
 MoLTN, Peter, 462 : at Berlin, 463 ; 
 
 Suermondt, 463. 
 MoMMERs, Henrick, 452 : at Berlin, 
 
 452 ; Rotterdam, 452. 
 MoMPER, JossE DE, 260 : at Berlin, 
 
 260 ; Antwerp, 260. 
 Mont, Deodat van der, called Bel- 
 mont : at Antwerp, 314. 
 Montfort, Anthony de, 292. 
 MoNY, LoDOWYCK DE, 545 : at Am- 
 sterdam, 545 ; the Hague, 545 ; 
 Rotterdam, 545. 
 Moor, Karel van, 541 : at Lepro- 
 
 seuhuys, Amsterdam, 541. 
 Moreelse, Paul, 256 : at Rotter- 
 dam, 256 ; Hague, 256 ; Amster- 
 dam, 256 ; Berlin, 256. 
 Morgenstern, Ludwig Ernst, 568 : 
 
 at Stiidel Institute, 568, 
 MoRO, Sib Antonis, 252 : at Lord 
 Yarborough's, 253 j Petworth, 
 253 ; Vienna, 253 ; National 
 Gallery, 253 ; Dresden, 253; 
 Madrid, 253. 
 MosER, Lucas, 125: at Tiefenbronn, 
 
 129. 
 Mostaert, Jan, 118 : at Antwerp, 
 118 ; Bruges, 118 ; Rev. Mr, 
 Heath, 118. 
 MoucHERON, Frederick, 493 : at the 
 Louvre, 493 ; Amsterdam, 493 ; 
 the Hague, 493 ; National Gallery, 
 493. 
 
 , Isaac, 545 : at Dresden, 
 
 several, 545. 
 Moyaert, Nicolas, 392 ; Brunswick, 
 
 392. 
 MuLicH, Hans, 269 : at Collection of 
 King of Prussia, 2G9. Miniatures, 
 269 ; Munich, 269. 
 MuRAND, Emanuel, 506 : at Amster- 
 dam, 506 ; Rotterdam, 506. 
 MuscHER, MiCHiEL VAN, 401 : at Six 
 Collection, 401 ; the Hague, 401 ; 
 Mr. Baring, 401 ; Aremberg Gal- 
 lery, 401 ; Rotterdam, 401. 
 Myn, Frans van der, 542. 
 
 , Gerhart van der, 542 : at 
 
 Berlin, 542. 
 
 , Hermann van der, 541 : at 
 
 Munich, 541 ; Augsburg, 542. 
 Myron, Anton, 260. 
 Mytens, Daniel, 257 : at Serlby, 
 257 ; Dunmore Park, 257 ; Dres- 
 
 OCHTERVELT. 
 
 den, 257 ; Buckingham Palace, 
 257. 
 
 N. 
 
 Nason, Pieter, 362 : at Berlin, 
 
 several, 362 ; Rotterdam, 362. 
 Neefs, Peter, 263 : at the Louvre 
 263 ; Vienna, 263. 
 
 , Peter, the Younger, 263, 264. 
 
 Neer, Artus van der, 465 : at Mu- 
 nich, 466 ; Lord Overstone, 466 ; 
 National Gallery, 466 ; Berlin, 
 466; Amsterdam, 466; Lord 
 Shaftesbury, 467 ; Mr. Munro, 
 467 ; Sir R. Wallace, 467. 
 , Eglon van der, 412 : at Mu- 
 nich, 413 ; Dresden, 413 ; Uffizi, 
 413; H. T. Hope, Esq., 413; F. 
 Heusch, Esq., 413. 
 Netscher, Caspar, 399 : at Dresden, 
 several, 399, 400 ; National Gal- 
 lery, 399, 400 ; Amsterdam, 400 ; 
 Berlin, 400 ; the Hague, 400 ; 
 Louvre, 400 ; Mr. Baring, 400 ; 
 Lord Ashburton, 400. 
 
 , CoNSTANTiN, 544 : at Munich, 
 
 544 ; Louvre, 544 ; Berlin, 544. 
 Neuchatel, Nicolas, called Luci- 
 DEL, 254 : at Munich, 254 : 
 Prague, 254. 
 NiCKELEN, Jan van : at Wilhehn- 
 
 shohe, 545 ; Dresden, 545. 
 - — , Isaac van, 514 : at Berlin, 
 514 ; Six Collection, Amsterdam, 
 514 ; Brussels, 514. 
 
 NiEULANDT, WiLLEM VAN, 260. 
 
 Notti, Gherabdo DALLE. See Hont- 
 horst, 347. 
 
 NooMs, Remigius, called Zeeman, 
 495: at the Louvre, 496; Amster- 
 dam, 496 ; Cassel, 496. .Mchings, 
 496. Draivings, 497. 
 
 Nuremberg, School of, 47 : at St. 
 Sebaldus, 128, 148; Church of 
 our Lady, 129 ; Church of St. 
 Lawrence, 47, 129. 
 
 Ochtervelt, J., 400 : at the Hague, 
 400 ; Aremberg Gallery, 401 ; 
 Rotterdam, 401 ; Amsterdam, 
 401.
 
 580 
 
 INDEX. 
 
 OESER. 
 
 Oeser, Adam Frederick, 553 : at 
 
 St. Nicholas Church, Leipzig, 554. 
 Olendorf, Hans von : at Schleiss- 
 
 heLm, 150. 
 Ommeganck, Paul, 538 : at the 
 
 Louvre, 538 ; Brussels, 538 ; 
 
 Cassel and Wilhehnshohe, 538 ; 
 
 Mr. Baring, 538. 
 OosT, Jacob tan, the Elder, 317 : 
 
 at Bruges, 317. 
 Orizonte. See Bloemen, 345. 
 Orley, Bernhard van, 232 : at 
 
 Brussels, 233; Lierre, 233; Lii- 
 
 beck, 233 ; Vienna, 233 ; Antwerp, 
 
 234 ; Liverpool, 234. Tapestry, 
 
 Hampton Court, 234. 
 Os, Jan van, 550 : at the Louvre, 
 
 550. 
 OsTADE, Adrian van, 418 : at Berlin, 
 
 419 ; Munich, 419 ; Mr. Baring, 
 
 420 ; Buckingham Palace, 420 ; 
 K Heusch, Esq., 420 ; Tan der 
 Hoop Gallery, 420 ; National 
 Gallery, 420 ; Louwe, 420 ; the 
 Hague, 420, 421 ; Dresden, 420 ; 
 Eridgewater Gallery, 421 ; Lord 
 Ashburton, 421. Etchinr/s, 421. 
 
 , Isaac van, 421: at the Louvre, 
 
 several, 422 ; Amsterdam, 422 ; 
 National Gallery, 422 ; Lord 
 Ashburton, 422 ; Mr. Baring, 423. 
 
 Ostendorfer, Michael, 269 ; at 
 Regensburg, 269 ; Munich, 269. 
 
 OsTEUWYCK, Maria van, 517 : at 
 Vienna, 518; Florence, 518; Dres- 
 den, 518. 
 
 Ovens, Jurian, 388 : at Hotel de 
 Ville, Amsterdam, 389; Schleswig, 
 389 ; Huyssittenhuys, Amster- 
 dam, 389 ; Haarlem, 389. 
 
 Ou WATER, Albert van : at Vienna, 
 90, 91. 
 
 Palamedes, Anton, 414 : at Han- 
 over, 415 ; Berlin, 415 ; Brussels, 
 415 ; Lichtenstein, Vienna, 415 ; 
 Warsaw, 415 ; Frankfort, 415 ; 
 Hague, 415. 
 
 , Stevens, called Palamedess, 
 
 415 : at Vienna, 415 ; Berlin, 415; 
 Dresden, 415. 
 
 I'ASiiKus, Willem, 316. 
 
 ptnacker. 
 
 Pare, A. de, 542 : at the Hague, 
 
 542 ; Berlin, 542. 
 Parcellis, Jan, 495 : at Schleiss- 
 
 heim, 495. 
 
 , Julius, 501 ; Berlin, 502. 
 
 Patenter, Joachim, 120 : at Madrid, 
 
 123 ; Berhn, 123 ; Brussels, 124 ; 
 
 Antwerp, 124 ; National Gallery, 
 
 124. 
 Paula Ferq, Frans de. See Ferg, 
 
 560. 
 Peer, Lange. See Aertszen, 248. 
 Pencz, George, 183 : at Chapel of 
 
 St. Maurice, 184 ; Munich, 184 ; 
 
 Berlin, 184 ; Landauer Briider- 
 
 haus, 184 ; Windsor Castle, 184. 
 
 Engravings. 184. 
 Pepyn, Martin, 292 : at Antwerp, 
 
 several, 292 ; Aremberg Gallery, 
 
 292. 
 Peters, Bona venture, 262 : at 
 
 Vienna, several, 262. 
 
 , Jan, 262 : at Munich, 262. 
 
 PiERSON, C, 521 ; Berlin, 522. 
 
 PlETERSEN, AeRT, 356. 
 
 Pilen, Hans, 261. 
 
 Platzer, Johann Victor, 558 : at 
 Dresden, 559; Vienna, 559; Bear- 
 wood, 558. 
 
 PoEL, Egbert van der, 425 : at the 
 Louvre, 425 ; Amsterdam, several, 
 425 ; Mr. Henderson, 425. 
 
 Poelemberg, Cornelis, 272, 350 : 
 at the Louvre, 350. 
 
 Pol of Lijiburg, 52. 
 
 PooRTER, W. DE, 378 : Dresden 
 378 ; Rotterdam, 379. 
 
 Potter Paul, 435 : at Wilhehnshohe, 
 
 436 ; Duke of Somerset, 436 ; 
 the Hague, 436, 437, 438 ; Gros- 
 venor Gallery, 436, 437 ; Bear- 
 wood, 437 ; Buckingham Palace, 
 
 437 ; Petersburg, 437, 438 ; Am- 
 sterdam, 437, 438 ; National Gal- 
 lery, 438 ; Louvre, 438 ; Lord 
 Ashburton, 438 ; Berlin, draw- 
 ings, 438-9. Etchings, 440. 
 
 Pourbus, Frans, the Elder, 253 : 
 
 at Vienna, 254. 
 , Frans, the Younger, 255 : at 
 
 the liOuvre, 255 ; Madrid, 255. 
 
 , PiETER, 263 ; Bruges, 253. 
 
 Pynacker, Adam, 488 : at Berlin, 
 
 489; Louvre, 489; Munich, 489;
 
 INDEX. 
 
 581 
 
 QUELLINUS. 
 
 Cassel, 489 ; Amsterdam, 490 ; 
 Louvre, 490 ; Mr. Baring, 490. 
 
 Q. 
 
 QuELLiNUS, Erasmus, 313 : at Ant- 
 werp, 313. 
 
 , Jan Ekasmus, 313, 317 : 
 
 at Vienna, 317 ; Antwerp, 317. 
 
 QuEEFUKT, Augustus, 562 : at 
 Vienna, 562 ; Dresden, 562 ; Ber- 
 lin, 562. 
 
 R. 
 
 E iVESTYN, Jan, 355 : at Hotel de 
 Ville, the Hague, 355 ; Brunswick, 
 355 ; Aix-la-Chapelle, 355 ; Am- 
 sterdam, 355 ; Munich, 355 ; Rot- 
 terdam, 356. 
 
 Reinee, Wenzel Lorenz, 553 : at 
 Dresden, 553 ; Crusaders' Church, 
 Prague, 553 ; Czernin Palace, 553 ; 
 St. Peter's, Prague, 553 ; Estates 
 Gallery, 553. 
 
 Rembrandt van Ryn, 363 : at the 
 Hague, 368, 369 ; Cassel, 368, 370, 
 373 ; Amsterdam, 369 ; Munich, 
 370 ; Petersburg, 370; Buckingham 
 Palace, 370, 372 ; Grosvenor Gal- 
 lery, 370 ; Louvre, 370, 371, 372 ; 
 National Gallery, 370, 373 ; Schon- 
 bom, Vienna, 371 ; Wilhelmshohe, 
 
 371 ; Berlin, 371 ; Piotterdam, 
 871 ; Mrs. Butler Johnstone, 371 ; 
 Dresden, 372 ; Lansdowne House, 
 
 372 ; Bridgewater Gallery, 372 ; 
 Eastlake Collection, 372 ; Lord 
 Ashburton, 373 ; Eowood, 373 ; 
 Lord Overstone, 373. Etchings, 
 374. 
 
 Reyn, Jan van, 307. 
 
 Riedinger, Elias, 562 : at Cassel, 
 
 563. Designs, 563. 
 RiETSCHOoF, Jan Claasze, 505 : at 
 
 Amsterdam, 506. 
 Ring, Herrjiann tom, 268 : at 
 
 Munster, 268. 
 , IjUdger tom, the Younger, 
 
 268: at Berlin, 269. 
 , LuDGER TOM, the Elder : at 
 
 Westphalian Art- Union, Munster, 
 
 268. 
 
 RUBENS. 
 
 Ring, Peter de, 520 : at Amsterdam, 
 520 ; Berlin, 520." 
 
 Rode, Christian Bernard, 554 : at 
 Potsdam, 554. Etchings, 554. 
 
 Roepel, Conrad, 549 : at Cassel, 
 several, 550 ; Dresden, 550. 
 
 Roestraeten, Pieter, 522. 
 
 RoGHMAN, Roland, 359 : at Cassel,. 
 359; Aix-la-Chapelle, 359; Rot- 
 terdam, 359 ; Copenhagen, 359. 
 
 RoKES, Hendrik Martenz, called 
 ZoRG, 424 : at Van der Hoop Gal- 
 lery, 424 ; Louvre, 424 ; Dresden, 
 424 ; Munich, 424 ; Mr. Hender- 
 son, 424. 
 
 Romeyn, Willem, 451 : at Munich, 
 452 ; Amsterdam, 452 ; Berlin, 
 452 ; Dresden, 452. 
 
 Rombouts, I. VAN, 479 : at Berlin, 
 479 ; Frankfort, 479 ; Dresden, 
 479 ; Brunswick, 479. 
 
 Rombouts, Solomon, 478 : at Ham- 
 burg, 479 ; Leipzig, 479 ; Schleis- 
 sheim, 479. 
 
 Rombouts, Theodore, 294 : at 
 Ghent, 295 ; Antwerp, 295 ; Ma- 
 drid, 295 ; Schleissheim, 479. 
 
 Roos, JoHANN Heinrich, 529 : at 
 Munich, 530 ;'Vieuna, 530 ; Berlin, 
 
 530 ; Stiidel Institute, 530. Etch- 
 ings, 531. 
 
 Roos, Philip, called Rosa di Tivoli, 
 at Dresden, 531 ; Vienna, several, 
 
 531 ; Cassel, 532. 
 
 Rosa di Tivoli. See Roos, Philip. 
 
 Rothenhammer, Johann, 260, 272 : 
 at Louvi-e, 272 ; Munich, 272. 
 
 Rubens, Peter Paul, 260, 280 : at 
 Mantua, 282 ; National Gallery, 
 283, 287, 289, 291 ; Sir K. Wal- 
 lace, 283, 291 ; Vienna, 283, 286, 
 287, 288, 289, 290, 291 ; Antwerp, 
 283, 284, 285, 286 ; Munich, 284, 
 285, 286, 287, 288, 290 ; Louvre, 
 285, 287, 288, 289 ; Leigh Court, 
 285 ; Cologne, 286 ; Blenheim, 
 287, 289 ; Madrid, 288 ; Grosvenor 
 House, 288 ; Longford, 288 ; Dres- 
 den, 288, 290 ; Pitti, 289, 290 ; 
 Hague, 289 ; Warwick Castle, 289 ; 
 Lord Ashburton, 290 ; Berlin, 
 290 ; H. T. Hope, 291 ; Bucking- 
 ham Palace, 291 ; Windsor Castle, 
 291.
 
 o82 
 
 INDEX. 
 
 EUGENDAS. 
 
 RuGENTJAS, George Philip, 561 : at 
 Brunswick, 562 ; Vienna, 562 ; 
 Berlin, 562. Etchings, 562. Mez- 
 zotints, 562. 
 
 RuTHARD, Carl, 532 : at Dresden, 
 532 ; Vienna, 532 ; Berlin, 532 ; 
 Louvre, 532. 
 
 RcYSCH, Rachel, 546 : at the Hague, 
 546 ; Munich, 546 ; Wilhelmshiihe, 
 546. 
 
 RuYSDAEL, Izaack, 468 : at Frank- 
 fort, 468 ; Vienna, 468 ; Bruns- 
 wick, 468. 
 
 , Jacob, 470 : at Berlin, 
 
 472, 474; Dresden, 472, 473, 474 ; 
 Lou\Te, 472, 473, 474 ; the Hague, 
 472, 474; Munich, 472, 474 ; Mr. 
 Sanderson, 472 ; Mr. Holford, 
 472 ; Lord Carlisle, 473 ; Wor- 
 cester College, 473 ; Van der 
 Hoop Gallerj', 473 ; Amsterdam, 
 474 ; Brunswick, 474 ; National 
 Gallery, 474. 475 ; Bowood, 474 ; 
 Marquis of Bute, 475. Etchings, 
 475. 
 
 , Jacob, the younger, 475. 
 
 , Solomon, 468 : at Mu- 
 nich, 468 ; Berlin, 468 ; Dresden, 
 468. 
 
 JIyckaert, David, 329 : at Dres- 
 den, 329 ; Vienna, 329 ; Brussels, 
 329. 
 
 RvsBRAEK, Peter, 345 : at Berlin, 
 345 ; Antwerj), 345 ; Dresden, 
 345. Etchings, 345. 
 
 S. 
 
 Sachtleven, Corxelis, 424 : at 
 Dresden, several, 425 ; Cologne, 
 425. Etchings, 425. 
 
 Saftleven, Herrmann, 482 : at the 
 Louvre, 482 ; Amsterdam, 482 ; 
 Pommersfelden, 482. Etchings, 
 482-3. 
 
 Sandrart Joachim van, 524 : at 
 Berlin, 525 ; Amsterdam, Town- 
 hall, 525 ; Munich, several, 525 ; 
 Vienna, 525, 526 ; Uffizi, 525 j 
 Landauer Briiderhaus, 526. 
 
 Sandvoord, D. D., 388 : at Werk- 
 huys, Amsterdam, 388 ; Louvre, 
 333. 
 
 screta. 
 
 Sanbedam, Peter, 511 : at Turin, 
 511 ; Town-hall, Amsterdam, 
 511 ; Amsterdam Museum, oil. 
 
 Savery, Roelandt, 258 : at Berlin, 
 258, 261. 
 
 Saxon Painters, 188. 
 
 Schafener, Martin, 220 : at Chapel 
 of St. Maurice, 221 ; Berlin, 221 ; 
 Munich, several, 221, 222 ; Ulm 
 several, 221, 222 
 
 Schalken, Godefried, 410 : at 
 Vienna, 411 ; Dresden, 411 ; 
 Munich, 411, 412 ; Louvre, 411 ; 
 Amsterdam, several, 411 ; Berlin, 
 411 ; Amsterdam, 411 ; Bucking- 
 ham Palace, 411, 412. 
 
 Schauffelein, Hans, 177 : at Cha- 
 pel of St. Maurice, Nuremberg, 
 177 ; Castle, Nuremberg, 178 ; 
 Nordlingen, several, 178. Wood- 
 cut, 178. 
 
 Schlichten, Jan Philip van, 539 : 
 at Munich, 539. 
 
 ScHON, Martin. See Schongauer. 
 
 Schoenfeldt, Heinrich, 528 : at 
 Cathedral, Wiirzburg, 529 ; 
 Vienna, 529 ; Dresden, 529. 
 
 Schongauer, Martin, 134 : Mu- 
 nich, 135, 138 ; Sienna, 135. En- 
 gravings, 136 ; National Gallerj', 
 137 ; Palermo, 137 ; Colmar, seve- 
 ral, 137 ; Mr. Green, 138. 
 
 Schoeeel, Jan, 234 : at Utrecht, 
 234, 235 ; Warmeuhuizen, 234 ; 
 Vienna, 235 ; Amsterdam, 235 ; 
 Corsham House, 235 ; Ghent 
 235. 
 
 SCHOTEN, JORIS VAN, 357. 
 
 Schrieck, 0. M. VAN, 522 : at 
 
 Dresden, 522 ; Berlm, 523. 
 ScHUHLEiN, Hans : at Munich, 138, 
 
 145 ; Tiefenbronn, 145 ; Schleis- 
 
 sheim, 145 ; Nuremberg, 145 ; 
 
 Sigmaringen, 145. 
 ScHUTZ, Christian George, the 
 
 Elder, 565 : at Stiidel Institute, 
 
 565 ; Cassel, 565. 
 ScHUT, CoRNELiDs, 314 : at Antwerp 
 
 314 ; Vienna, 314. Engravings 
 
 314. 
 Schwartz, Christopher, 272 : at 
 
 Munich, 272. 
 Screta, Carl, 526 : at Theins 
 
 Church, Prague, 526 ; Maltese
 
 INDEX. 
 
 58a 
 
 SEGERS. 
 
 Church, Prague, 527 ; Gallery of 
 the Estates, 527. 
 
 Segers, Daniel, or Zegers, called 
 Pater Segers, 346 : at Antwerp, 
 346 ; Berlin, 347 ; Dresden, 347 ; 
 Ince, 347. 
 
 Seibold, Christian, 564 : at the 
 Louvre, 564 ; Vienna, 564 ; Dres- 
 den, 564. 
 
 SiMBRECHT, or ZiMBRECHT, MaRTIN, 
 
 527 : at St. Stephen's, Prague, 
 
 527 ; Gallery of Estates, 528. 
 Slingelandt, Peter van, 41 : at the 
 
 Louvre, 410 ; Amsterdam, 410 ; 
 
 Munich, 410 ; Buckingham Palace, 
 
 410 ; Bridgewater Gallery, 410. 
 Sluter, Claes, 51. 
 Smissen, Dominicus van der, 564. 
 Snaphaan, a. D., 544 : at Berlin, 
 
 544 ; Worlitz, 544. 
 Snayers, Peter, 339 : at Vienna, 
 
 339 ; Dresden, 339 ; Brussels, 
 
 339. 
 Sntders, Frans, 297 : at the Louvre, 
 
 298 ; Dresden, 298 ; Munich, 
 
 298 ; Vienna, 298 ; BerUn, 298. 
 Snyers, Pieter, 537 : at Antwerp, 
 
 537. 
 Solemaker, J. F., 449. 
 
 SOLIS, ViRGILIUS, 269. 
 
 SoMER, Paul van, 255 : at Pans- 
 hanger, 256; Arundel Castle, 256. 
 
 SouTMAN, Pieter, 316. 
 
 Spilberg, Joannes, 361 : at new 
 Hotel de Ville, Amsterdam, 361. 
 
 Spranger, Bartholomew, 241 : at 
 Vienna, several, 241. 
 
 Staveren, Johan Adrian van, 412 : 
 at Amsterdam, 412. 
 
 Steen, Jan, 401 : at the National 
 Gallery, 403 ; Mr. Baring, 403 ; 
 Lord Ashburton, 403 ; the Hague, 
 several, 404 ; Amsterdam, 404 ; 
 Vienna, 404 ; Brunswick, 404 ; 
 Cassel, 404 ; Aremberg Gallery, 
 404. 
 
 Steenwyck, Hendrik van, 263 : at 
 Vienna, 263. 
 
 , the Younger, 263. 
 
 Stephanus, Hans. .See Calcar, 266. 
 
 Stevens, Anton G. , called Palame- 
 DESS. See Palamedes. 
 
 Stimmer, Tobias, 270 : at Mr. Carl 
 Waagen, Munich, 270. 
 
 TENIERS. 
 
 Stone, Henry, called Old Stone, 
 309. 
 
 Stoop, Dirk, 428 : at Berhn, 428. 
 Etchinrjs, 429. 
 
 Stork, Abraham, 505 : at Dresden, 
 505 ; Berlin, 505 ; the Hague, 
 505 ; Brussels, 505. Etchings, 
 505. 
 
 Stradanus. See Straet. 
 
 Straet, Johannes, called Strada- 
 nus, 240. 
 
 Stuerbodt, Dierick. See Bouts. 
 
 Stuerbout, Hubert, 109. 
 
 Swabian School, 129, 139. 
 
 Sunder, 187. 6'ee Lucas Cranach. 
 
 Sustermans, Justus, 300 : at Berlin, 
 
 300 ; Florence, 300 ; Pitti, several, 
 300 ; Vienna, 301 ; Edinburgh, 
 
 301 ; Corsham Court, 301 ; Cam- 
 bridge, 301. 
 
 Sustermann, Lambert, called Lam- 
 bert Lombard, 238 : formerlv at 
 King of Holland, 238 ; Berlin 
 238. 
 
 Swanenburg, J. L 363 : Copen- 
 hagen, 363. 
 
 SWANEVELT, HERMANN VAN, 490 : at 
 
 Hampton Court, 490 ; Louvre, 
 490 ; the Hague, 490 ; Munich, 
 491. Etchhujs, 491. 
 
 Tamm, Frans Werner, 533 : at 
 Vienna, 533 ; Lichtenstein Gal- 
 lery, 533. 
 
 Tempel, Abraham van den, 362 :. 
 at the Rotterdam Gallery, note, 
 362 ; Berlin, 362 ; Amsterdam, 
 362. 
 
 Teniers, Abraham, 328. 
 
 , David, the Father, 260, 263, 
 
 321 : at Vienna, 321 ; Dresden, 
 321. 
 
 , David, the Younger, 321 : 
 
 at Madrid, 324 ; Vienna, 324 ; 
 Louvre, several, 324, 325 ; Mu- 
 nich, several, 325; Vienna, several, 
 325 ; Berlin, 326 ; Buckingham 
 Palaee, 327 ; Ashburton Collec- 
 tion, 327; National Gallery, 327. 
 Etchings, 327. 
 
 , Julian, 321.
 
 584 
 
 INDEX. 
 
 TEBBDRQ. 
 
 Terburg, Gerard, 394 : at the 
 Kational Gallery, 395 ; the Hague, 
 395 ; Dresden, 395 ; Munich, 395; 
 Amsterdam, 395 ; Berlin, 395 ; 
 Bridgewater House, 395 ; Louvre, 
 395 ; Wilhelmshiihe, 396 ; Buck- 
 ingham Palace, 396. 
 
 Theodorich of Prague, 38. 
 
 Thiele, Johaan Alexander, 566 : 
 at Dresden, 566 ; Berlin, 566. 
 
 Thielex, Jan Philip van, 347 : at 
 Antwerp, 347. 
 
 Thomas, Jan, 316. 
 
 Thvs, Peter, called Ttprus, 309 : 
 at Antwerp, several, 309. 
 
 TiLBORGH, Egidius VAN, 329 : at 
 Dresden, 329. 
 
 TiscHBEiN, JoHANN Heinbich, 554 : 
 at the Chateau at Pyrmont, 554. 
 
 ToL, DoMiNicus VAN, 412 : at Am- 
 sterdam, 412 ; Dresden, 412. 
 
 Tulden, Theodorvan, 311 : at the 
 House in the Wood, 311 ; Louvre, 
 312; Vienna, 312; Berlin, 312; 
 Antwerp, 312. Etchlnc/s, 312. 
 
 TrPBOS. /6'ee Thys, 309. 
 
 Uden, Lucas van, 299 : at Dresden, 
 several, 299 ; Munich, 299 ; Lord 
 Bute, 300. Enyravincjs, 300. 
 
 Ulft, Jacob van der, 510 : at King 
 of Holland's Palace, 510; Am- 
 sterdam, 510; the Hague, 510; 
 Louvre, 510 ; Berlin, 510 ; Mr. 
 H. T. Hope, 511. 
 
 Utrecht, Adrian van, 338 : at the 
 Van der Hoop Gallery, 338 ; 
 Dresden, 338. 
 
 Uvt-den-Bkoeck, Moses, 305. 
 
 Vadder, Lodewtck de, 341 : at 
 Brussels, 342 ; Munich, 342. 
 
 Vaillant, Bernard, 333-4. 
 
 , James, called Lewerik, 333 : 
 
 at Potsdam, 334 ; Berlin, 334. 
 Wallekant, 332 : at Amster- 
 
 V^NIUS. 
 
 Valkenburg, Frederick van, 251 : 
 
 , Lucas van, 251 : at Vienna, 
 
 251, 260. 
 
 , Martin van, 251. 
 
 -, Theodoor, 424 : at the Stadel 
 
 dam, 
 333. 
 
 333. iJrawini/s, Berlin, 
 
 Institute, 425. 
 
 Van Dyck, Anthony, 301 : at 
 Savelthem, 303 ; Berlin, 303 ; 
 Pitti, 303 ; Lichtenstein, 303, 306 ; 
 Vienna, 303, 306 ; Louvre, 303, 
 305 ; Genoa, 303 ; late Earl de 
 Grey, 304 ; Mechlin, 304 ; Mu- 
 nich, 304, 305 ; Vienna, 304, 
 305 ; Antwerp, several, 304 ; Ber- 
 lin, 304 ; Madrid, 305 ; Sir R. 
 Wallace, 305 ; National Gallery, 
 305 ; Castle Howard, 305 ; Wind- 
 sor Castle, several, 306 ; Pans- 
 hanger, 306; Wilton, 306; Turin, 
 306. Etchings, 307. Small chia- 
 roscuro pictures, Duke of Buc- 
 cleugh, 307 ; Munich, 307. 
 
 Vandyk, Philip, 540 : at the Louvre, 
 540 ; the Hague, 540 ; Berlin, 
 540 ; Brussels, 540. 
 
 Veen, Martin van, 237 : at Berlin, 
 237 ; Vienna, 237 ; Delft, 237 ; 
 Haarlem, 237. 
 
 , Othon van, called Otto 
 
 V^Nius, 242, 292 : at Antweri^, 
 several, 243 ; Munich, several, 
 243. 
 
 Van de Velde, Adrian, 441 : at 
 Berlin, 442 ; National Gallery, 
 442, 444; Dresden, 442, 444; Mr. 
 Baring, 442; Sir R. Wallace, 442 ; 
 Louvre, 442, 444 ; the Hague, 
 442, 443, 444 ; Amsterdam, 443 ; 
 Buckingham Palace, 443 ; Mu- 
 nich, 443 ; Cassel, 444. Etchings, 
 444. 
 
 Van de Velde, Esaias, 358 : at 
 Brunswick, 359 ; Vienna, 359 ; 
 Rotterdam, 359 ; Amsterdam, 359 ; 
 Dresden, 359 ; Copenhagen, 359. 
 
 Velde, WiLLEM van de, the Younger, 
 497 : at Amsterdam, 498 ; the 
 Hague, 498, 499 ; Munich, 499 ; 
 Cassel, 499 ; National Gallery, 
 499 ; Buckingham Palace, 499 ; 
 Bridgewater Gallery, 499 ; Lord 
 Ashburton, 500 ; Mrs. Butler 
 Johnstone, 500 ; Mr. Baring, 500. 
 
 ViENius, Otto. See Veen, 242.
 
 INDEX. 
 
 585 
 
 VENNE. 
 VENNE, ADRIA.N VAN DEB, 245 : at 
 
 Amsterdam, 246 ; Louvre, 246. 
 Drawings, 247. 
 
 Verbeck, Pieter Cornelis, 430 : at 
 Berlin, 430. Etchings, 430. 
 
 Verboom, Abraham, 480 : at Am- 
 sterdam, 480 ; Dresden, 480 ; 
 Mr. Baring, 480 ; Copenhagen, 
 480 ; Rotterdam, 480. 
 
 Verdoel, Adrian, 391. 
 
 Verelst, Peter, 389 : at Berlin, 
 389 ; Vienna, 389 ; Haarlem, 389. 
 
 Verendael, Nicholas, 347 : at 
 Berlin, 347. 
 
 Verkolie, Jan, 414 : at the Louvre, 
 414 ; Rotterdam, 414. 
 
 , Nicolas, 540 : at the Lou\Te, 
 
 540 ; Berlin, 540. Mezzotint, 540. 
 
 Vermeyen, Jan Cornelis, 236 : 
 Coburg, 237. Cartoons, Vienna, 
 237. 
 
 Verschdur, Lieve, 504 : at Am- 
 sterdam, 504, 505 ; Laudauer 
 Briiderhaus, 505. 
 
 Verschuring, Hendrik, 433 : at 
 Berlin, 433 ; Rotterdam, 434. 
 Etchings, 434. 
 
 Verspronck, Johannes, 354. 
 
 Vertanghen, Daniel, 350. 
 
 Verwilt, Frans, 350. 
 
 Victors, Jacob, 458 : at Rotterdam, 
 459 ; Dresden and Copenhagen, 
 459. 
 
 Victors, Jan, 379 : Brunswick, 379 ; 
 Amsterdam, 379, 380 ; Munich, 
 379 ; Dresden, 379 ; Frankfort, 
 379 ; Copenhagen, 379 ; Bridge- 
 water Galleiy, 379 ; Louvre, 
 379. 
 
 ViNCKEBOOMS, David, 250, 261. 
 
 Vlieger, Simon de, 494 : at Peters- 
 burg, 494 ; Louvre, 494 ; Amster- 
 dam, 494; Munich, 494; Dresden, 
 494 ; Bridgewater Gallery, 494. 
 Etchings, 495. 
 
 Vliet, Hendrik van, 513 : at Am- 
 sterdam, 513 ; the Hague, 513, 
 514 ; Munich, 514 ; Berlin, 514 ; 
 Rotterdam, 514. 
 
 , Jan Jork van der, 390 : at 
 
 Berlin, 390. Etchings, 390. 
 
 Vois, Ary de, 413 : at Amsterdam, 
 413 ; Dresden, 414 ; Louvre, 
 414; Berlin. 414. 
 
 weydeh . 
 
 Vos, Martin de, 239 : at Antwerp, 
 several, 240 ; BerHu, 240. En- 
 gravings, 239. 
 
 , Paul ee, 335 : at Schleissheim, 
 
 335. 
 
 Vrancx, Sebastian, 251 : at Vienna, 
 251. 
 
 Vriendt, Frans de, called Frans 
 Floris, 238 : at Berlin, 239 ; 
 Antwerp, several, 239. 
 
 Vries, Jan Frebemann de, 262 : at 
 Dantzic, 263. 
 
 , RoELOF DE, 480 : at Antwerp, 
 
 480 ; Frankfort, 480 ; Lichtenstein 
 Collection, 480 ; Czernin Collec- 
 tion, Vienna, 480 ; Amsterdam, 
 480. 
 
 Vromans, Nicolaus, 523. 
 
 Vruom, Heinrich Cornelius, 261 : 
 at Haarlem, 261 ; Antwerp, 261. 
 
 W. 
 
 Wael, Cornelis dk, 340 : at Vienna, 
 340. 
 
 Wagner, Hans. See Kulmbach, 
 176. 
 
 Walscapelle, Jacob, 519 : at Dres- 
 den, 519 J Berliii, 519 ; Schwerin, 
 520. 
 
 Weenix, Jan, 456 : at the Louvre, 
 456 ; Munich, 456 ; Louvre, 457 ; 
 the Hague, 457 ; Amsterdam, 457 ; 
 Berlin, 457 ; Sir R. Wallace, 457. 
 
 , Jan Baptist, 453 : at Munich, 
 
 several, 453 ; ]>iuvre, 454. 
 
 Weesop, 308. 
 
 Werff, Adrian van der, 426 ; 
 at Munich, several, 426 ; Cassel, 
 several, 428 ; Buck-ingham Palace, 
 428. 
 
 , PlETER VAN DER, 539 : at Am- 
 sterdam, 539. 
 
 Wet, J. DE, 378 : Brunswick, 378. 
 
 , Jacob, Willemsz de ; Bruns- 
 wick, 391 ; Copenhagen, 391. 
 
 Wette, Frans de, 390 : at Schleiss- 
 heim, 391. 
 
 Weydex, Roger van der, 77 : at 
 Berlin, 78, 79, 80, 82 ; Hospital 
 at Beaune, 78, 81 ; Westminster 
 Gallerji, 81 ; Stiidel Institute, 79, 
 S-i, 84 ; Louvaiu, 78 ; Madrid,
 
 586 
 
 INDEX. 
 
 WEYDEN. 
 
 81, 82 ; Escurial. 
 
 82; 
 
 83; 
 
 MS., 
 
 78, 79, 
 
 Munich, 83 ; the Hague, 
 
 Antwerp, 83. Miniature in 
 
 84. 
 
 Weyden, Rogek van eer, the 
 Younger, 109 : at Escurial, 110 ; 
 Madrid, 111 ; Berlin, 111; Liver- 
 pool Institution, 111 ; Prince 
 Consort, 111 ; Mr. Green, 111 ; 
 Sir Culling Eardley, 111 ; iS'aples, 
 111 ; Brussels, 111. 
 
 Westphalian Master, 133, 228 : at 
 Naples, 228 ; Berlin, 228 ; Ant- 
 werp, 229. 
 
 , School : at National Gallery, 
 
 138. 
 
 Wielandt, G, 84. 
 
 WiLDENS, Jan, 298 : at Dresden, 
 298 ; Madrid, 299 ; Marquis of 
 Bute, 299 ; Nuremberg, 299. 
 
 WiLLAERTS, Adam, 261 : at Berlin, 
 262 ; Antwerp, 262. 
 
 WiLLEBORTS, Thomas, Called Bos- 
 CHAERTS, 308 : at Berlin, 309 ; 
 Munich, 309. 
 
 Wit, Jacob de, 540 : at Town-hall, 
 Arusterdam, 540 ; Cassel, 540 ; 
 Dresden, 541. 
 
 WiTHOOS, Matthew, 487. 
 
 WiTTE, Emanuel de; 51-2 : at Am- 
 sterdam, 513 ; Van der Hoop, 
 513 ; Old Church, Amsterdam, 
 513 ; Berlin, 513 ; Wilhelmshohe, 
 513 ; Rotterdam, 513. 
 
 • , Pieter de, 242. 
 
 Wohlgemuth, Michael, 148 ; Mu- 
 nich, 148 ; Zwickau, 148 ; Nurem- 
 berg, 149 ; Schwabach, 149 ; 
 Heilsbronn, 149 ; Rev. J. Fuller 
 
 ZORG. 
 
 Russell, 1 49 ; Liverpool Institu- 
 tion, 149. Tf oorfcMts, 1 49. 
 
 Wolfvoet, Victor, 316 : Antwerp, 
 316. 
 
 Worms, Anto.v von, 229 : at Co- 
 logne, 229. Woodcuts and Designs, 
 229. 
 
 Wouters, Frans, 314 : at Vienna, 
 315. 
 
 Wouvermans, Jan, 433. 
 
 , Peter, 433 : at Louvre, 433. 
 
 , Philip, 430 : at Dresden, 431 ; 
 
 Van Loon Collection, Amsterdam, 
 431 ; the Hague, 431 ; Louvre, 
 several, 432 ; Dresden, 432 ; 
 Amsterdam, 432 ; Munich, 432 ; 
 Dulwich, 432 ; Buckingham Pa- 
 lace, 433 ; Lord Ashburton, 433. 
 Etchings, 433. 
 
 WuBMSER, Nicolas, 33. 
 
 Wyck, Thomas, 454 : at Vienna, 
 454 ; Berlin, 454 ; Dresden, 454. 
 Etchings, 454. 
 
 Wynants, Jan, 463: at Amsterdam, 
 
 464 ; the Hague, 464, 465 ; Dres- 
 den, 464 ; Louvre, 464, 465 ; 
 Munich, 465; Buckingham Palace, 
 
 465 ; Lord Ashburton, 465 ; Mr. 
 Bredel, 465 ; National Gallery, 
 465. 
 
 Z. 
 
 Zegers, Gerard, 293 : at Antwerp, 
 
 several, 294 ; Vienna, 294. 
 Zeitblom, Bartholomew, 145 ; at 
 
 Augsburg, 145 ; Stuttgardt, 146 ; 
 
 147 ; Ulm, 146 ; Berlin, 147 ; 
 
 Blaubeuren, 147 ; Heerberg, 147. 
 ZoRO. iSee Rokes. 424. 
 
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