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 INTRODUCTION TO THE SCIENCE OF LANGUAGE. 
 
 By the Eev. AECHIBALD SAYCE, 
 
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 INTRODUCTION TO ENGLISH HISTORY. 
 
 By SAMUEL R. GAEDNER, M.A. 
 
 Professor of Modem History in King's College, London. 
 
 [In preparation. 
 
 London : C. KEGAN PAUL & CO., 1 Paternoster Square. 
 
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 STUDIES IN ENGLISH ART: 
 
 G AINSBOROUG H MOBLAND REYNOLDS STOTHARD FLAXMAN C ROME 
 
 COTMAN TURXER DEWINT. 
 
 ' A critic of wide sympathies and cultivated taste he may safely be 
 trusted.' Daily News. 
 
 ' Those who have read them will read them again, for they are the 
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THE 
 
 MASTERS OF GENEE PAINTIKG 
 
THE 
 
 MASTERS OF GENRE PAINTING 
 
 AX INTRODUCTORY HANDBOOK TO THE 
 STUDY OF GENRE PAINTING 
 
 BY 
 
 FREDEEICK WEDMORE 
 
 With Sixteen Illustrations 
 
 LONDON 
 C. KEGAN PAUL & CO., i PATERNOSTER SQUARE 
 
 1880 
 

 {The i-igliU of translation and of nyroduciion are reseired). 
 
NOTE. 
 
 In h'ying to tell the story of Genre Fainting as it is 
 found in the lives and vjorlcs of the greater masters, it 
 has seemed not amiss to pass somewhat lightly over 
 what has already been satisfactorily written of, and 
 to concentrate attention if that may he, on artists of 
 whom English criticism has had little to say. I have 
 thought it chiefly waste of time to dwell in detail on the 
 worh of Hogarth, hut very necessary to insist upon the 
 excellence of Jan Steen and of Watteau. 
 
 The lives and characters.of Genre Painters, wherever 
 we may really Jcnow them, are lihely to have an interest 
 intimately mixed with our interest in the painters^ 
 worh. To have chosen, as the occupation of their art, 
 neither the features of inanimate Nature as men see 
 them in landscape, nor the progress of the august 
 events which mahe up History, nor the cmhodiment of 
 
 301750 
 
VI NOTE, 
 
 visions and hopes of the Future, hut the things of daily 
 happening homely and common experiences revealed 
 to their keenest observation is certainly some evidence 
 of their own capacity for life, of their own closest con- 
 tact with its pains and pleasures ; and such capacity 
 for life, such contact with its pains and pleasures, 
 mahes the foundation of the interest of biography. 
 Some glimpses of the personal career may obviously do 
 much towards interpreting the spirit of men's worJc, 
 Glimpses, therefore, I have often tried to get. 
 
 In a book on Genre Painters I have dared to include 
 much mention of Rembrandt, not only because many 
 of Rembrandt's pictures and etchings the so-called 
 ''fancy subjects " and others not so called properly 
 belong to Genre, but because Rembrandt was in a large 
 sense the head and front of a whole school of Genre in 
 Holland, whose work can hardly be rightly thought of 
 when it is thought of quite apart from the work and 
 influence of the master, 
 
 A word as to the illustrations here introduced. 
 They are not elaborate reproductions. They are, I 
 hope, accurate memoranda plain records of just the 
 things which in my narrative seemed most to demand 
 
NOTE. vii 
 
 io he illustrated. For the fair appreciation of com- 
 pleted worlc we must go to the completed luorJc itself: 
 I have seen no popular reproductions which can quite 
 honestly profess to tahe the place of it. But it seemed 
 to me that designs like M. Tihurce de Mare^s would 
 greatly aid an endeavour to put before the reader per- 
 haps some habitual characteristic, perhaps some sur- 
 prise, of the painter written about to show, say, how 
 profoundly Metsu had studied delicate gesture or subtle 
 expression ; how Jan Steen could give now and then an 
 almost antique dignity of attitude to the housewives of 
 Holland, and still be honest and true ; how Watteau, 
 shilled in the motions of sprightly youth and piquant 
 attire, had at his sure command a power of noble 
 draughtsmanship of the nude figure generally unsus- 
 pected in his work. 
 
 F. W. 
 London: October 1879. 
 
CONTENTS 
 
 PACK 
 
 Genre Painting 3 
 
 Kembrandt 13 
 
 De Hooch and Van der Meer and Nicholas Maes . 46 
 
 Terburg and Metsu 72 
 
 Jan Steen 106 
 
 OSTADE, TENIERS, AND BREKELENKAMP . . . . . 13I 
 
 The Petty Masters 149 
 
 Watteau 155 
 
 Lancret AND Pater 182 
 
 Chardin 196 
 
 \ Fragonard . . 208 
 
 \ Hogarth, Wilkie, and Leslie . . . . . 221 
 
 I 
 \ 
 
LIST OF ILLUSTRATIONS. 
 
 Watteau . . . 
 
 Rembeandt . . 
 Peter de Hooch 
 Nicholas Maes 
 Terburg . . 
 
 Metsu . . . 
 Jan Steen . 
 
 Jan Steen . 
 Brekelenkamp 
 Watteau . . 
 Pater.. . . 
 Chardin . 
 Chardin . , 
 Fragonard . 
 
 Hogarth . , 
 
 WiLKIE . . 
 
 Group from the Enibarqxiement pour 
 Cythere, at the Louvre . Frontispiece 
 
 The Philosojjhery at the Louvre . ^7. 44 
 
 A picture at the Louvre . . . -54 
 
 Le Benedicite, at the Louvre . . .66 
 
 The Guitar Lesson, at the National 
 Gallery 84 
 
 The JDuet, at the National Gallery . . 94 
 
 Group from the picture at Bridgewater 
 House . . . . .124 
 
 TJie Doctor's Visit, at the Hague . .126 
 
 La Consultation, at the Louvre . .146 
 
 A drawing at the Louvre . . . 1 76 
 
 Group from the Desir de Plaire . '194 
 
 La Powvoyeuse, aX the JjOuyxQ . . .198 
 
 La 3Iere lahorieuse, at the Louvre . . 204 
 
 A drawing in the collection of M. 
 Edmond de Goncourt . . . .216 
 
 The second scene in Marriage a la Mode, 
 at the National Gallery . . . 222 
 
 Group from Blind Man's Buff, at the 
 National Gallery 228 
 
THE MASTERS OF GENRE PAINTING 
 
 B 
 
GENRE PAINTING. 
 
 The art of Genre painting lias for its first and plainest 
 characteristic that it deals with the actual and the 
 common world, and by its aspirations as well as its 
 achievements belongs to that common world and 
 to no other. Genre painting, like the fascinating 
 heroine of Wordsworth his truest ideal, after all, 
 just because his sweetest and most living reality 
 claims only, first and last, to be 
 
 not too bright and good 
 Per human nature's daily food. 
 
 It records the struggles, the character, the happiness, 
 the folly of men. It has in it what interests the 
 intelligent curiosity of common folk. And, like the 
 intimate studies of our greatest fiction, it is itself 
 history, and itself analysis. It records, not the rare 
 events which stated history chronicles, but the 
 repeated incidents which we know to be events too. 
 It quickens our senses to the spectacle, in actual life, 
 not of a sensation scene, but of an every-day drama. 
 
 B 2 
 
4r'', ; ;' ,':J/4STFS OF GEN/^E PAINTING. 
 
 And the great Genre painters have been the ones 
 to see that it is the every-daj drama, after all, which 
 must have our closest concern the personal ex- 
 perience, the habitual task, this or that love or liking. 
 Life itself, or at all events the life of most of us, is a 
 success or a failure according to the very closeness 
 with which we lay hold on the incident or occasion 
 of the hour: according as, by the power born or 
 bred within us, we grasp truly or falsely the relations 
 of passing things. But to grasp justly, we must 
 observe keenly. The great Genre painters and the 
 artists of analytic fiction have done a part of our 
 observing for us as much as they could. Other 
 gifted persons soared and dreamed; but these their 
 feefc were very firm on the actual world. 
 
 Perhaps it might have been natural to reward 
 with an equal fame those who in ways however 
 different were working so much to a common end 
 the furtherance of our knowledge of life and living 
 character. But the honour which criticism has 
 allowed so justly to such workers in the art of litera- 
 ture, it has latterly in England been minded to deny 
 to such workers in the art of painting. It may be, 
 indeed, that for the telling a particular message, for 
 the expression of a particular order of thought, the 
 language of the one art is fitted more finely than 
 
GENRE PAINTING. 5 
 
 that of the other. But if some of the truths of 
 character and comedy are presented more easily in 
 writing than in the arts of design, there are some 
 also which the writer must at best labour heavily to 
 present, while the skilled draughtsman or painter 
 can tell them with his lightest touch. ^ This theme 
 perhaps may be proper to the literature of fiction : 
 that to painting. But many at least are within the 
 rights of both to be dealt with necessarily under 
 different conditions. The painters are few who have 
 grappled successfully with the unfolding of a narra- 
 tive, and there are not many writers who in the 
 vivid presentation of incident have had a painter's 
 success. But both hold sway over the realm of 
 character: character formed and constant, or its 
 lightest and most fleeting phase. For both there 
 are the accidents of human feeling, and the droll or 
 serious chances of changing circumstance. 
 
 Perhaps then, there is no substantial reason to be 
 found why, with the honour bestowed on the Genre 
 that is written, a comparative dishonour should rest 
 on the Genre that is only painted. But there are 
 reasonable explanations. The personal predilections 
 
 * Fielding touches this matter, in his preface to Joseph Andrews, 
 " The Monstrous," he urges, " is much easier to paint than describe, 
 and the Eidiculous to describe than paint." 
 
6 MASTERS OF GENRE PAINTING. 
 
 of influential men must have counted for much : and 
 they have counted for most in matters of Art, with 
 which the great public has been little concerned. 
 The public voice has been little heard in questions of 
 painting : it has been able to dictate in questions of 
 literature. And there too, in Art, where the prefer- 
 ences of influential men have counted for most, there 
 has been the least, perhaps, of critical shrewdness. 
 The feeling and the sentiment of genius have usurped 
 the office of criticism ; and genius has soared gener- 
 ally above the aims of the genre painter. At one 
 time Diderot and at another Hazlitt and Lamb had 
 much to say for the painter of humble romance and 
 of character and of society, but the philosophy of 
 the Encyclopedist, so far as it dealt with Art, had 
 until these last years of all in France been over- 
 powered by the tremendous enthusiasm of Ingres 
 for the Antique, and it is no matter of surprise that 
 Hazlitt and Lamb, with their limited knowledge of 
 Art and their very thoughts of it scattered and occa- 
 sional, should have made, in our day, small stand 
 with the body of their doctrine, against the splendid 
 concentration of the critic and poet who revealed 
 Turner. 
 
 And yet, wherever Genre painting of even moder- 
 ate skill has been seen by those who have little 
 
GENRE PAINTING. 
 
 prejudice because they have no prepossession, it has 
 been liked and looked at, whether it has been of the 
 order that rose and was perfected in a single genera- 
 tion among the artists of Holland, in their unique 
 period of manifold excellence, and was somewhat 
 valued by the bourgeois even then, or of the order 
 that gave pleasure to the great and gentle in the 
 France of Louis XV., to the restricted class, who 
 cared for Art delicately or of the kind that the 
 citizen of London found piquant in the designs of 
 Hogarth and that the Academy of 1878 displayed in 
 its glittering decadence. And people too, not at all 
 insensible, one hopes, to the serene beauty and 
 grandeur of the art more purely imaginative of 
 the art that has best concerned itself with the 
 nnion of high thought and noble form have turned 
 at times a little gratefully, and with no sense 
 of necessary fall, to the keen or gracious work of the 
 Genre painters. It is not always, in the realm of 
 music, that wise men want to listen while " Beet- 
 hoven's Titan mace " 
 
 Smites the immense to storm. 
 Mozart and Schubert have also their most proper 
 ministries. And in the art of painting, likewise, 
 there is place for the lighter and more gracious 
 strains. 
 
8 MASTERS OF GENRE PAINTING. 
 
 Genre painting has flourished most in compact 
 and settled and highly civilised societies, not so large 
 as to be very various, and at times when men's minds 
 were little distracted either by political movement or 
 religious aspiration. For the Genre painter has 
 needed, both in himself and in those for whom he 
 has wrought, some sense of the immediate and 
 ultimate importance of the themes he deals with. 
 Other men, other generations, may be pleased to style 
 him trivial ; but he, to see clearly and to chronicle 
 well, must believe in the value and the interest of 
 his work. No overpowering thought of larger iss'ues 
 of a future, of another world, of a different 
 society must hang over him as he records our 
 moods and manners and gains his revelation into 
 permanent character by the accidents of the passing 
 minute. Somewhat conservative therefore, and on 
 the whole content with itself, with its fortunes, with 
 its daily ways, must be the society that offers to the 
 artist of character and comedy his most favourable 
 occasion. Such was the bourgeois society of Holland, 
 in which Genre, the most realistic and veracious, 
 reached perfection at a period when internal trouble 
 was wellnigh over for the State. And such as far 
 as social, not political, order is concerned, was the 
 staid and quiet world of our earlier Georges ; and 
 
GENRE PAINTING. 
 
 such, too the lighter society of France, the society of 
 the court and the capital, which saw with delight 
 the art of the Genre painter occupying itself with 
 themes romantic and luxurious. The Revolution 
 was the death of Genre painting. Society was 
 scattered, exquisite manners gone, and Art was 
 called upon to be heroic. 
 
 Yes, and even in lands and times which had no 
 powerful and special school of Genre painting that we 
 can recognise to-day, the art breaks out the best 
 where there is the least of public pre-occupation with 
 questions of politics or pursuits of theology. Free 
 gesture and manners vivacious and varied, among 
 the people to be pourtrayed, are aids, almost neces- 
 sities, to the artist in Genre, and the slow gait and 
 relatively inflexible visage of the Teuton, must count 
 for something in the comparative absence of Genre 
 among the Germans. But here and there in Ger- 
 many, and in the hands of artists who were them- 
 selves possessed of rich capacity for physical life, it 
 does break out in some among the subjects say, of 
 the Little Masters : in certain prints by the Behams, 
 for instance : chief in this wise among the company 
 of Seven. Here and there there is a touch of comedy 
 character caught by the wayside, as this or that 
 peasant or humble citizen goes onward on his path. 
 
lO MASTERS OF GENRE PAINTING. 
 
 Here and there a romance : the fascination of sex, 
 the passion of love, reduced to their simplest expres- 
 sions, as in the Embrace, a little plate shorn of the 
 common exaltations of classical mythology, pretend- 
 ing to no dignity and no tradition, but charged with 
 the realities of intimate life. 
 
 And what is it but Genre, breaking out, in forms 
 poetical, courteous, and southern, in some among the 
 paintings of the great Secular school of Italy, the 
 school of Venice ? It is true that the comedy of 
 manners, the separate study of character apart from 
 portraiture, was unknown to the Italians. But 
 Giorgione and his fellows and followers live and 
 speak to us to-day, in their rare works, partly in 
 virtue of that art of theirs of carrying their poetry of 
 selected form and august colour into the pourtrayal 
 of scenes that were scenes of daily life to the Vene- 
 tian : the music party in the garden ; the courtyard's 
 rest and silence. What they lacked in variety of 
 characterisation, in the sense of comedy, they atoned 
 for, if atonement was necessary, by the pure beauty 
 of their work and its nobility. It may be that they 
 painted passing pleasure, but, with humanity so 
 organised, ordinary pleasure was extraordinary joy : 
 it was profound and intense. And what is it again 
 but the noble kind of Genre painting, when Bonifazio 
 
GENRE PAINTING. II 
 
 takes such a Bible theme as the passing of Lazarus 
 before the feasting of Dives ? Is Lazarus of a type 
 we should desire ; and does Dives sit self-condemned 
 as a glutton of the East ? Why no great feast is 
 spread ; only there is the daintiness of ripened fruits 
 and draughts of wine in the evening light, and Dives, 
 a comely and portly Venetian, rich in the experience 
 of past pleasure and the expectation of more richest 
 in the refined luxury of that hour and place sits 
 happily and thoughtfully, looking at fair faces and 
 listening to the words they say or sing. Later than 
 Bonifazio there came a poorer man Tiepolo. More 
 than once there was need, even in Venetian art, for 
 the work that records no heroic deeds nor distant 
 aspirations, but the personal life, the vivid impres- 
 sion, the joys that men were born to, the sorrows 
 even of no exceptional souls nor of strange fortunes ; 
 the record of habitual and familiar hours. 
 
 But the art of Genre tlie painting of character 
 and incident is first clearly shaped and recognised 
 in the seventeenth century in Holland. Afterwards, 
 much modified, varied, extended even in its aim less 
 purely naturalistic it counts for its own nearly all 
 that is good or evil in French design for almost 
 eighty years ; and during that time some other modi- 
 fication of it, due to his own peculiar genius, gives 
 
12 MASTERS OF GENRE PAINTING, 
 
 us in England the work of Hogarth. Wilkie, the 
 elder Leslie Mnlready perhaps close its history, so 
 far as the criticism of our day is able fairly to judge 
 it. And the interest of its history does not lie in the 
 study of the development of one given system the 
 concern of the pedant, wherever it may be found, 
 but in the study of the minds of many men. How 
 did these various men look at life and touch it? 
 What struck them ? What did they express ? 
 
13 
 
 EEMBEANDT. 
 
 1607 1669. 
 
 Rembrandt has had many ' biographers, and they 
 have disagreed about him. Investigation among the 
 archives open only lately to the carefulness of modern 
 research appears to show that he was born on the 
 15 th of July, 1607, and shows unmistakably that he 
 died at Amsterdam with fair amount of bourgeois com- 
 fort, and not at Stockholm miserably, in the first days 
 of October, 1669. The son of a miller, he first saw 
 the day in the city of Leyden, and not outside it, as 
 the story went, in any mill like the famous one that he 
 has etched. His parents were well-to-do folk of the 
 good Dutch middle class careful people with pro- 
 perty here and there people with the dignity of real 
 estate the mother, as Rembrandt's portraits show 
 her, a fascinating compound of vivacity and shrewd- 
 ness, goodnature and vanity : a many-sided woman 
 from whom a man may well inherit a keen capacity 
 for life, the power of action and of enjoying action, 
 a great and irrepressible vitality. 
 
14 MASTERS OF GENRE PAINTING. 
 
 They sent Eembrandt to college at Leyden : the 
 city of his birth was the second in Holland at that 
 time, and its university celebrated. But the passion 
 for Art showed itself. His brothers were in com- 
 merce : he, having the gift, might reasonably be a 
 painter : so, after some insignificant teaching in 
 Leyden, he went to Amsterdam, and there, but for 
 six months only, was a pupil of Lastmann to most 
 of us a man of unfamiliar name but to Rembrandt's 
 latest and most complete biographer, M. Yosmaer, a 
 painter of substantial merit and in a style that had 
 its influence on Eembrandt's own. Then he returned 
 to Leyden, and in 1627 we have his first dated work 
 a small oil picture of 8. Paul in Prison,"^ notable, 
 it seems, for careful and minute execution, and 
 interesting as showing that he began his art with 
 that human and natural and secular rendering of 
 sacred things which he carried out to the end of it. 
 Only one year afterwards in 1628 begins the series 
 of dated etchings with a portrait of his mother, 
 ' lightly etched,' as Wilson correctly describes it : so 
 great a masterpiece already that nothing in his art 
 is more astonishing than that early success. This 
 too has fellowship with the painting in its careful 
 and minute execution but the minutest line is deli- 
 
 * In the Museum of Stuttgart. 
 
REMBRANDT. 1 5 
 
 cately expressive, and whether Rembrandt's style be 
 delicate or sweeping, pettiness has no place in his 
 work. 
 
 He settled in Amsterdam in 1630, a painter 
 already of growing fame and in Leyden his time had 
 not been lost. There, in some proof of the mark he 
 had already made, there had come to him before his 
 departure, a lad of fifteen, Gerard Don, the first of 
 his pupils. But there seems to be no record of any 
 association of his with the man at that time at the 
 head of the artistic society of Leyden, Jan Van Goijen, 
 the landscape painter, with whose art, Eembrandt's, 
 in those early days, had little in common. Landscape 
 did not in those first years fascinate Eembrandt. 
 His interest was in men, and, with the means of 
 journeying probably within his reach, it is noteworthy 
 that there did not come upon him as upon so many 
 of a day only a little later, the desire of travel the 
 yearning for Italy. He settled in Amsterdam, at 
 twenty-four : sure already to find profitable service 
 in fixing upon canvas no fleeting beauty of maiden or 
 child, but those stern burgher faces, laden with 
 thought and with past toil, which even then charmed 
 and impressed him more strongly than any other 
 thing he saw in the bounded city streets or under 
 the far-reaching skies skies, we remember, that 
 
1 6 MASTERS OF GENRE PAINTING. 
 
 stretched like a grey canopy over those flats of field, 
 canal, and foot-bridge, which formed the landscape 
 of his youth, and, touched by a magic hand, passed 
 long afterwards into the landscape of his art. 
 
 In Amsterdam he gradually took his place in the 
 best burgher society rich, pious, and intellectual 
 helped thereto, no doubt, by his marriage in 1634 
 with Saskia Uijlenburgh, the young cousin of a 
 famous preacher, Jan Sylvius (we have his portrait 
 by Rembrandt). The marriage was entirely a wise 
 one, and Saskia is the bright figure of Eembrandt's 
 early manhood. Her face, glowing with health and 
 intellect a face of grave affection and vivacious 
 thought is in many places of his work. We see 
 her in her physical splendour, idealised, it may 
 be a little, in the so-called Jewish Bride : a stray 
 sketch on a plate catches her features in a moment 
 of refined meditation : elsewhere, happy and proud, 
 she heads her table : afterwards, if we receive 
 the conjecture of the latest criticism, these are 
 again her features, sharpened and drawn with pain, 
 her eyes with the steady and far-seeing gaze of one 
 for whom the certainty of death has succeeded the 
 vague languor of illness warning has followed 
 warning not to be put aside, and there has entered 
 into her mind the sad but resolute acceptance of 
 
REMBRANDT. 1 7 
 
 the final tilings. She died in 1642 eight years 
 after her marriage her one son, Titus, a child then 
 twelve months old. 
 
 About this time Rembrandt was much occupied 
 with landscape, and I should like to accept Mr. 
 Seymour Haden's theory that he went into the 
 country, to Jan Six's place, to console himself for 
 Saskia's loss. But what Mr. Haden, in that vigor- 
 ous and vivacious monograph, Tlie Etched Work of 
 Rembrandt, calls " the singular preponderance of 
 landscape " in the etchings of this period is hardly, 
 it would seem to me, to be so accounted for. The 
 Burgomaster Six was at that time very young. He 
 was still young, five year-s afterwards, when Eem- 
 brandt etched his portrait. Is there any direct 
 evidence that the two men were acquainted at the 
 time of Saskia's death ? both the etched and the 
 painted portrait being many years later. Again, the 
 popular chef-d'oeuvre of Rembrandt, the Company of 
 Captain Francis Banning Code (called the Night Watch) 
 was finished in the year of Saskia's death : it may 
 have been of course before the actual day of it : but, 
 even if this be so, there is no perceptible break. 
 Some other pictures in the same year, and three 
 indecent etchings out of only seven that Rembrandt 
 ever allowed himself to make : in the next year, 
 
 
 
1 8 MASTERS OF GENRE PAINTING. 
 
 several compositions and several famous portraits 
 no sign of banishment or seclusion. And yet if Mr. 
 Haden's theory on this matter is entirely right, the 
 comparative seclusion stretched over several years, 
 for the dates on the etched landscapes stretch over 
 several years the Cottage with the White Pales, 1642 ; 
 The Three Trees, 1643; Six^s Bridge, 1645; and 
 these two have been preceded by the distant view 
 of Amsterdam, 1641 ; and the Cottage and Dutch 
 Hayharn, 1641 ; and are followed by the Orchard 
 with a Barn, 1648 ; and the Village near the High 
 Road, 1650. For ten years of his middle period 
 Rembrandt worked upon landscape. Some of his 
 finest work in it was done while Saskia lived, and to 
 connect this mass of it with her death as work done 
 by him in periods of rest and seclusion is a pretty 
 fancy that is hardly proved to be a true one. 
 
 Rembrandt however he took this great and sad 
 experience that had befallen him Rembrandt a 
 widower, was again busy with Society and Art, and 
 with both in their most various forms, for his own life 
 and art were reaching then their fullest and amplest 
 capacity. His nature was developed on many sides : 
 his friendships and associations were of many kinds. 
 With feeling, with control of feeling, with a wide 
 vision, with many experiences, he looked life, we may 
 
REMBRANDT. 1 9 
 
 be sure, very hard in the face, and accepted facts 
 wherever he found them. He is a little Bohemian. 
 The habits of his home, the hour and quality even of 
 his meals, vary from day to day. Now gorgeously 
 arrayed, in garments he has painted for us, he has 
 a banquet with a famous citizen ; now humbly 
 he eats a herring and some cheese alone. These 
 are the old stories. And so we are told by those 
 his early biographers ^who understand one side 
 only of wide and various character, that his nature 
 was low, his ways stingy, the god of his idolatry 
 money. And yet contemporary record asserts of 
 Eembrandt, that when he went into a sale-room he 
 would pay more than the richest for precious work 
 of the engraver's art. He caught up eagerly his 
 Lucas Van Leydens. He had long found out that 
 the art work we really study and know is the art 
 work that belongs to us, for that speaks to us in many 
 moods, and unexpected and unawares. He was an 
 enthusiastic collector of beautiful things. Inventories 
 show him to have been possessed of paintings by 
 men as widely divided as Brauwer and Van Eyck. 
 He had remembrances of Titian, " the precious book " 
 of Andrea Mantegua probably his original engrav- 
 ings a collection of prints "^ after Eaphael," which 
 in all likelihood were Marc Antonios. He had a 
 
 c 2 
 
20 MASTERS OF GENRE PAINTING. 
 
 hundred objects of decoration. Armour, casts, Vene- 
 tian glass of the good time, rare porcelains, sur- 
 rounded him as he worked. That is how we like to 
 think of him. 
 
 There came, at last, a break in his prosperity : 
 some change in the fashion of the day no longer al- 
 lowed him to be selected for remunerative public work. 
 Lievens and Flinck and Ferdinand Bol, his contem- 
 poraries, even his pupils, had known how to acquire 
 for a time a reputation that injured his own. He 
 abandoned his old large house in the Breestraat, 
 near S. Anthony's Bridge, and had to separate 
 himself from his cherished possessions. 
 
 In 1653 he is borrowing money in one place ; in 
 1654 he is borrowing it in another ; and in 1656 his 
 affairs, now hopelessly disordered, are placed in 
 liquidation. What is the cause of this disaster? 
 Amsterdam itself, in these very years, is passing 
 through a long commercial crisis. Incomes diminish, 
 some hundreds of houses lie unoccupied ; many 
 luxuries are abandoned and expenses curtailed : it is 
 proposed that the Hotel de Ville building at that 
 moment shall go without its topmost storey. There 
 are mauy suggestions, many explanations as to the 
 way in which Eembrandt's fortunes were dragged 
 down. Saskia, it is known, had had money and had 
 
REMBRANDT. 21 
 
 left the use of it to her husband. Titus was to have 
 it at Eembrandt's death, or, if Rembrandt married a 
 second time, this money was to be the boy's immediate 
 portion. Now, what is the history ? In spite of scandal 
 about Rembrandt in the year 1654 which some have 
 sought to connect with a second marriage it appears 
 certain^ that no second marriage took place till after 
 the time of his calamities. There seems some reason 
 to think, that, perhaps at the suggestion of Saskia's 
 relatives, he had pledged himself to assign to Titus 
 money for his support. Ready money, never very 
 abundant with him, was getting more than usually 
 scarce; but whether, when the crash came, the interest 
 specially endangered, the claim pressing for settle- 
 ment, was that of Titus's trustees or of Rembrandt's 
 business creditors, it is not, with the newest compli- 
 cation of narratives, easy to say. With Titus him- 
 self, his father remained on the best of terms. 
 Friends of his own claimed formally for Titus, in 
 1665, the right to administer his own aflPairs, and 
 Titus half an artist, half a dealer seemingly was 
 in part occupied, if we may believe Houbraken, with 
 commerce in his father's etchings. Who was it that 
 pressed upon Rembrandt? That cannot be known. 
 Why did not his friends help him P We hear in 
 
 * M. Vosmaer declares it in his latest Edition. 
 
22 MASTERS OF GENRE PAINTING. 
 
 subsequent years of their continued intimacy, and I 
 suppose they did help him privately, but let these 
 business matters take their course. Their course 
 was a long one. In 1656, after some times of grow- 
 ing difficulty, the great man is declared bankrupt : 
 in 1657 they sell much of his property : in 1658, his 
 prints and drawings. 
 
 How does he pass through this period, and what 
 is his work ? It is among the finest and strongest 
 of all his life: in 1656, the great etched portrait 
 of Lutma : in the same year, it is hardly to be 
 doubted, the etched portrait of Old Haaring, and 
 his great masterpiece of painted portraiture the 
 Burgomaster Six, now in the house of Six's de- 
 scendant, in the Herrengracht in the Park Lane of 
 Amsterdam. And from that point, as far as the 
 quality of his own work is concerned, all is still well. 
 The art of Rembrandt has hardly a perceptible 
 decline. For his old age there are reserved no 
 colossal failures. 
 
 But the troubles of that late middle period, leav- 
 ing his art great as ever, are not without effect upon 
 his face. We may trace this, and it is interesting 
 to trace it ; not difficult either, for no painter painted 
 himself so much as Rembrandt : none has given us 
 the same opportunity to study and know him. That 
 
REMBRANDT. 23 
 
 was owing, we may be sure, bj no means to vanity, 
 for no one could possibly have flattered himself less. 
 But he knew that his face was full of character, and 
 moreover he had that note of a true artist, that he 
 was continually fascinated by the near and the 
 familiar, wringing out of it fresh variations, some- 
 times only delicately difi'erent, but seeing in the 
 hourly expressions, gestures, turns of head and hand, 
 a thousand differences where most of us, until he 
 painted them, should have seen but a few. And 
 thus it is that we have so many portraits of Rem- 
 brandt paintings and prints to be counted not 
 on the fingers but counted by the score : an un- 
 affected smile of youth round his features in an early 
 etching : some years later he, ' subtly of himself 
 contemplative,' leans at his ease against a window-sill; 
 now stands erect with drawn sabre and ready eyes ; 
 now, a burgher in furred cloak, ponders heavily ; now 
 some joke or story summons a broad grin to the 
 wrinkled and baggy face ; again, with hand on hilt 
 of sword he is magnificent in meditation ; and here, 
 with plainest workday raiment, a keen plain search- 
 ing face looks up at you from the drawing board. 
 It is not sentiment, it is not deep feeling, that is 
 often on the countenance, but the signs of jests to 
 be laughed at, or knotty points to be considered, or 
 
24 MASTERS OF GENRE PAINTING. 
 
 the moment's work to be done with a will. The 
 meditation of one exquisite etching, Rembrandt 
 Leaning on a Stone 8ill, is dreamy and poetical, and 
 so is an exception ; but it is to a painted portrait of 
 the eventful year 1658 the latest, one hopes, of his 
 long misfortunes that we must go for no assumed 
 or temporary pathos or occasional brooding, but for 
 the record of character, saddened and elevated by 
 a more grave experience it is in the Belvedere 
 Gallery at Vienna. 
 
 We see Eembrandt established in his elder years 
 in another dwelling, in a suburb. The Eosengracht, 
 scarcely an aristocratic, is at least a substantial 
 quarter. There his friends come to him, still a 
 goodly company and representative of much of the 
 intellectual activity of Amsterdam. Bol and Flinck, 
 artists of a more abounding prosperity ; Philippe de 
 Koninck, Clement de Jonghe, one fancies, with his keen 
 spirit (as in Rembrandt's etching), struggling with 
 decrepitude and growing age; Coppenol, the writing 
 master; Abraham Francen, the amateur of whom 
 the story goes that there was never an end to the 
 self-denials he practised so only that he might 
 possess art-treasures which he loved ; Lutma the 
 goldsmith a Cellini almost, of Amsterdam in his 
 last days garrulous of distant journey ings for he 
 
REMBRANDT. 25 
 
 had been to Eome and had brought back fine things 
 of Marc Antonios; finally, the Burgomaster Six, 
 who had married a daughter of Tulp the operating 
 surgeon of Rembrandt's early clief-d^oeuvre. The 
 Burgomaster was faithful, let us believe, to Rem- 
 brandt during life, though there exists record that 
 after Rembrandt's death. Six bestowed all his 
 admiration on the art of Italy. For family, there 
 was the son Titus, the wife Catherina Van Wijck, 
 the circumstances of whose marriage with Rem- 
 brandt in these his last years must now for ever, 
 it is probable, remain a mystery. 
 
 The end approaches of his uneventful story a 
 story so humble in comparison with that of those 
 who were almost his contemporaries : Rubens, who 
 travelled with the secrets of diplomacy and state- 
 craft : Vandyck, who was the favourite of a king. 
 Rembrandt, we see, was from first to last either 
 bourgeois or Bohemian : of the middle class always. 
 The end approaches, and as Rembrandt's wife- 
 the wife we know, Saskia, the bright figure of his 
 youth and Rembrandt's mother had died in the same 
 year, so not quite a twelvemonth separates the death 
 of Titus, Rembrandt's son, from the death of Rem- 
 brandt. Our last chronicles are scanty. Titus, 
 married in 1668, and established at the sign of the 
 
26 MASTERS OF GENRE PAINTING. 
 
 Golden Scales on the east side of Amsterdam, dies 
 that very year, in September. Rembrandt is present 
 in March 1669 at the baptism of a grandchild, Titus's 
 posthumous son. Half a year afterwards the registry 
 of the Westerkirk contains the entry of the painter's 
 death. They buried him on the 8th of October : 
 some few florins, as the accounts show us, being paid 
 for his funeral. ... A man of whom our time recks 
 nothing, but accounted great in his own, had been 
 buried in that city with the honours of publicity : 
 a laurel wreath placed on his coffin. Yondel, the 
 Dutch poet of tha,t age, sang over Rembrandt's con- 
 temporaries, but Rembrandt, the great artist, passed 
 away in a silence much in keeping with the gathering 
 dullness of his public life in those last years of occu- 
 pation gone with the giving of the applause to second 
 rate talents, with which he had nothing in common 
 with the indifference of the world of his own later 
 days to his stupendous work. 
 
 His work we divide, as painter's work does so often 
 come to be divided, into three periods ; but here such 
 division as must needs be made is more to signify 
 change, to classify variety, than to mark the too 
 habitual stages of growth, ripeness, and decline. We 
 may take three great pictures as typical of the three 
 periods : round oae or other of them may cluster, as it 
 
REMBRANDT. 2 J 
 
 were, most of the rest ; and the first is the Lesson of 
 Anatomy. That is the picture of Talp the eminent 
 operator standing with earnest mind and delicate hand 
 over the dead subject ; lecturing on the dead arm his 
 dissecting scissors have opened, while near him there 
 presses a group of heads eager to watch and to listen. 
 The thing was painted for the College of Surgeons, 
 and is an assemblage of bespoken portraits, but so 
 grouped that it makes, as even one rough line of de- 
 scription proves, a picture of incident. But the inci- 
 dent itself of which so adroit a use has been made, 
 Rembrandt was not the first to appropriate. ' Lessons 
 of Anatomy' were by no means uncommon sub- 
 jects with the Dutch School ; most of the pic- 
 tures, however, of which these were the themes 
 were produced in the very early part of the great 
 seventeenth century. It did not remain for Rembrandt 
 to invent; it did remain for him so to use the theme 
 that no one after him could follow him in it without 
 predestined defeat. In Rembrandt's canvas on that 
 large canvas at the Hague a stunted and common 
 figure lies out for exposition ; the arrested expression 
 of death being so awfully there, on ashy face and set 
 grey hands. The Morgue itself where, whenever 
 we may chance to go, some stranger, some miserable, 
 some unknown, who most abhorred his life in Paris 
 
28 MASTERS OF GENRE PAINTING. 
 
 yesterday, is sure to be stretched out is not more 
 impressive, and (for I felt constrained to take the 
 opportunity of the comparison) is hardly more real. 
 That, with all its horror, is Eembrandt's achieve- 
 ment and no other's. No other painter, painting 
 death, on the canvasses of Spain or Italy the 
 Deposition, the Entombment is as true as that. 
 Beside that, Eibera with his crude blacks and whites 
 is vulgarly sensational, and the great Mantegna him- 
 self chiefly ingenious in weird expression of torture. 
 But it is Eembrandt's triumph his triumph in years 
 so early that he was not six-and>twenty that over 
 all this terrible reality of the dead, the reality of the 
 living is victorious, and our final impression of his 
 picture is not of the stunted corpse, but of the activity 
 of vigour and intellect in the lecturing surgeon and 
 pressing crowd. 
 
 That is of 1632. The second picture is the 
 Night Watch, which is not a night watch at all, 
 but a scene of golden sunlight : the Sortie of the 
 company of Francis Banning Cock. It is of 1641. 
 Much has it been praised, but yet the great canvas, 
 filling a wall-side in the Museum of Amsterdam, 
 may interest far less than many a simpler theme 
 than many a single face caught in some quiet moment 
 in which its lines record in silence the character of 
 
REMBRANDT. 29 
 
 a life and its sufferings, its order of pleasures, its 
 humble fortunes. Some of these things we shall see 
 when we come to speak of the portraits. But of 
 manual skill, of dexterous arrangement, of the 
 struggle with complicated painter's problems which 
 the painter has actually courted, and not always 
 solved, this picture is no doubt a tj-pical ex- 
 ample. Far are we here from the minute and 
 chiefly patient work of the /S. Vaul in Prison, and 
 of the Simeon of a Dutch Gallery. The Lesson of 
 Anatomy was already ahead of these. But when he 
 painted the Lesson of Anatomy, Rembrandt had not 
 set himself to the grappling with a score of various 
 movements, with the coming and going of crowds. 
 And his effects of light, in the Lesson of Anatomy, 
 were broad and simple, and his colour restrained and 
 limited; while here in the Sortie of Franz Ban- 
 ning Cock's Company on this great wall-side at 
 Amsterdam, amidst the bustle of the Sortie, lights 
 flash on unsuspected points, half-lights rest on 
 broader spaces, brown, amber and red ; one shadow 
 is impenetrable and another luminous ; the gold 
 of the sunshine, the coloured air of Holland, is 
 diffused over all. Out of it, as it were, figures 
 advance ; behind it, figures recede : it glows, a 
 golden brown, on their soberer raiments, or flashes 
 
30 MASTERS OF GENRE PAINTING. 
 
 on sword. And yet our praise is cold ; the thing is 
 brilliant, but theatrical and forced. 
 
 In the third picture, painted just twenty years 
 afterwards and the last of Rembrandt's great 
 ones there is no decline ; but rather, as I think, 
 a soberer and more enduring triumph. Again, 
 like that early but immense achievement, the Lesson 
 of Anatomy, it is a portrait-group : the Syndics 
 of the Cloth Hall. Again, like the Lesson of Anatomy, 
 and, as I think, unlike the Sortie, no want of 
 high interest in the individuals represented leaves 
 the picture of lower intellectual worth. The scene 
 is a dimly illumined room ; faces, in some stronger 
 light to the foreground, gather round a table to dis- 
 cuss affairs : behind the five grave men seated in 
 committee, stands an attendant ; a pale and second- 
 ary background light falls slanting from the left on 
 the angle of wainscoted wall, shifts along the brown 
 room-side, past dark recess and corner. The figures 
 are life size, but the picture can well be smaller than 
 the Sortie, with its complicated crowd ; and as 
 even this word has indicated, it is far simpler in 
 arrangement. But its sober harmony of tone, rang- 
 ing from the almost black of burghers' hats, through 
 brown of wainscot and wall, and low red of table- 
 cloth, to the whiteish amber of coat and collar, is 
 
REMBRANDT. 3 1 
 
 splendid and unbroken, and in magnificent accord 
 with these gathered and grave faces occupied with 
 weighty concerns. Nor has painter's art ever gone 
 further in expressing, with so much of similarity 
 in material, different individualities bent on a com- 
 mon purpose. Various the expressions are, but not 
 too various for that common end; for theirs, in 
 one work in a quiet chamber, cannot be the variety 
 of the unconnected figures, the chance faces, of the 
 street crowd. And so our last impression is still of 
 a grave harmony of colour, group, and thought. 
 
 We touch here on the portraits. No one who 
 has been to Holland and seen the sober and occupied 
 faces of its business and professional men, with 
 intelligence deep rather than quick, will doubt that 
 if the finest models of physical form were lacking to 
 Rembrandt, the finest models of intellectual expres- 
 sion were abundantly before him not indeed the 
 intellectual expression of dreamer or recluse, but of 
 faces whose lines have been traced and deepened by 
 the experience of men of women of the world. 
 Of course they were also before his fellows these 
 fine models of human expression in a land which 
 allowed itself the luxury of no idle class, and some of 
 his fellows Frans Hals, Theodore de Kaiser, and 
 Yan Loon as pictures in Holland alone can pro- 
 
32 MASTERS OF GENRE PAINTING. 
 
 perly show us, used the occasion nobly ; but Rem- 
 brandt, as paintings and etchings alike prove, 
 was unapproached in his rendering of the mind and 
 the past life in the face. Of those artists, essentially 
 portrait painters, who have made that their business 
 to render the mind and that past life which has 
 made the face what now it is Rembrandt is 
 as completely the chief as Jan Steen is the chief of 
 those artists, essentially painters of comedy, who 
 have made it their business to catch the expression 
 that comes and that fleets. Steen is the most 
 brilliant in retaining the expression that is the result 
 of circumstance ; Rembrandt the most profound in 
 recording the character which is the result of a 
 life. Therefore, in drawing these grave faces of the 
 higher burghers of Amsterdam, he came upon 
 worthy material, but knew too how to use it with an 
 art of deepest penetration. 
 
 He began portraiture early. One small etched 
 portrait of his mother shows it the first dated one 
 of that splendid series of original, now almost price- 
 less works, his own through every process from the 
 first scratch on the copper to the final withdrawal of 
 the paper from the press. Occupied very often in 
 painting the portraits of people of no great note the 
 shipbuilder, say, whom we have seen at Burlington 
 
REMBRANDT. 33 
 
 House, and Daey and his wife in the Van Loon 
 Collection lately dispersed, and scores more difficult 
 BOW to identify and of less engrossing interest his 
 etched portraits are more habitually of men whose 
 force of character has brought them to high places 
 in the city life : the Burgomaster Six, a man of in- 
 fluence in action as well as a poet and connoisseur : 
 John Asselyn, a painter of repute ; Bphraim Bonus, 
 the fiamous physician : Sylvius, the preacher ; Uyten- 
 bogaert, the ' gold- weigher,' Eeceiver-General to the 
 States of Holland ; Clement de Jonghe, the eminent 
 art publisher whose name we read now on many of 
 the prints of that day. His highest types are here, 
 those faces that he knew the best, cared for the most ; 
 save, indeed, those that are constantly recurring : his 
 mother, waning with her gathered years ; his wife, 
 from the freshness of girlhood to the pallor of early 
 decay ; Eembrandt himself, as I have said before, at 
 all the stages of that changeful life. 
 
 We note then a few excellences among a thousand 
 in his etched portraits. We look at the gold- weigher, 
 whom, whether in this case the actual handiwork of 
 the accessories was done by master or pupil, Rem- 
 brandt has chosen to put in his own retired office, a 
 place for quiet business and weighty affairs. There 
 are places enough for laziness and laughter ; this is 
 
 D 
 
34 MASTERS OF GENRE PAINTING.' 
 
 for serious, anxious, yet methodical and ordered toil. 
 See on the table the scales and the ranged money 
 bags; on the floor an iron-bound coffer. To the 
 right, the dull but trusty servant, coarsely etched, and 
 it well may be by some second hand, kneels to take 
 from his master a bag of coin which instantly he will 
 pack in this cask upon the floor, and then he will be 
 off upon his errand. The triumph is the gold- 
 weigher's face, which says, How infinitely precious 
 is that gold- weighted bag ; how great must be the 
 care of it ! and says also, since that thought is only 
 momentary, says, with that sobriety of complicated 
 expression reached by great players in their subtlest 
 times, says also, how the mind is pre-occupied by many 
 an affair, of moneys still to be dealt with, accounts to 
 finish, business to discharge ! 
 
 Place by the side of Uytenbogaert the portrait of 
 Lutma, for both have the same dignity. With his 
 back to the window, from which a placid light falls 
 on his age-whitened head, sits Janus Lutma, gold- 
 smith, meditating on his work. By him are the im- 
 plements of his art, used but a minute since and soon 
 to be resumed. Meanwhile the nervous active hand 
 an old hand, but subtle yet, and in which 
 ancient skill struggles with age is gently relaxed, 
 and there is not even the anxiety of a pleasant busy- 
 
REMBRANDT, 35 
 
 ness in the goldsmitli's face. For it is a happy and 
 tranquil face ; still not unobservant, yet greatly at 
 rest. In the main the work of life is done, and it 
 has prospered: a goodly gift has been well used. 
 There is rest in the thought of past achievements ; a 
 kindly smile on the aged mouth, happily garrulous 
 of far away workdays. 
 
 But in our admiration of the sentiment and cha- 
 racter of this almost unequalled work, let us not 
 forget the technical skill. The play of sunshine, 
 bright and clear, without intensity, throughout the 
 upper half of the picture; the cold, clear stone of 
 the slanting window-sill, washed, as it were, with 
 light; the strain of the leather fabric, stretched 
 from post to post of the chair, on either side of the 
 old man's head, which rests against it, and presses 
 it back ; the modelling of the bushy eyebrows and 
 short grey beard these are but some points out of 
 many. 
 
 To be closely imitative is not the especial function 
 of etching ; and Rembrandt himself is fuller of sug- 
 gestion than of imitation. He does suggest texture 
 very marvellously : sometimes in the accessories of 
 his portraits, as in the fur of the gold-weigher's 
 raiment, and sometimes in the portraits themselves, 
 as in the long hair of the Jewish Bride : 
 
 D 2 
 
36 MASTERS OF GENRE PAINTING, 
 
 Hair, sucli a wonder of flix and floss ; 
 Freshness and fragrance ; floods of it, too ! 
 
 The quality of the hair is best observed in the early 
 state of the print. There too the light is natural, 
 the inspiration direct. Thus far the thing has been 
 done at a sitting. In the finished picture the light 
 is a studio light, and the work, while very vigorous 
 and scientific, lacks the particular delightfulness of 
 a sudden transcript from nature and the life. 
 
 And Eembrandt's etched portraits are sometimes 
 great in proportion as they are transcripts. It is 
 hardly too much to say of him that in his etched 
 work his labour is often faithful in proportion as it 
 is speedy. To this there are many exceptions in 
 work of painstaking fidelity. The great Ephraim 
 Bonus is one of them an elaborate portrait of the 
 Jewish physician musing as he descends the stair, and 
 halting with one hand on baluster, as if he were yet 
 undecided as to whether the last word has been said. 
 The two most perfect portraits of his mother, the 
 first very early, the second later, are again instances 
 of an immense and fruitful patience that missed the 
 record of no fact ; but the larger work of the later 
 time the Clement de Jonghe notably is grand, 
 significant, and swift. 
 
 Leaving the intricate modellings of earlier years, 
 
REMBRANDT. 37 
 
 the largest, broadest treatment of a portrait subject 
 begins almost in tbat Clement de Jonghe and is 
 continued to the picture of the Syndics, the last 
 of the three great landmarks in the work of Rem- 
 brandt to which I have asked attention. But there 
 are other landmarks, smaller ones, it may be, and 
 too many to name : among them, as I think, and 
 much related, this etching of Clement de Jonghe, 
 (165 1 ), and the broad, painted portrait, a few years 
 later (1656), of Six the burgomaster the picture 
 still in the house of the Six family at Amsterdam : 
 naj', the house's glory of Eembrandt's single por- 
 traits, perhaps the greatest of all. From the delicate 
 etching of the same man in his youth Six at the 
 window many years divide it, and a total change 
 in work. Here, as in the etching of De Jonghe of 
 five years earlier, are the broad masses of the master's 
 maturest age. What is precisely the subject ? It 
 is Six, a middle-aged man, making ready to go out : 
 Six, like De Jonghe, with hat and cloak, and some- 
 what stooping, and, like De Jonghe, a little weary, a 
 little saddened now with the knowledge that is under 
 the sun ; Six, with the colours of hair, face, and 
 garments wrought by the skill of that consummate 
 art into a magnificent harmony ; the face reddish- 
 hued, the yellow hair almost orange with tints caught 
 
38 MASTERS OF GENRE PAINTING. 
 
 from the salmon-red cloak, of which a part hangs in 
 a golden shadow; and further draperies of a greenish- 
 grey, low- toned, giving the coolness and the needful 
 rest. 
 
 We go back to the etched portraits to note the 
 drawing of the hands, and how they accord with face 
 and life. Mark the fat hands of Eenier Ansloo, the 
 stolid Anabaptist minister, and the fine, discerning, 
 discriminating hand of this De Jonghe, the print- 
 seller, a man accustomed to the deft fingering of 
 delicate papers. Mark the nervous, fragile hand of 
 that brooding student-like Haaring the younger. 
 For physical feebleness seen in an old man's hand, 
 note the wavering hand, with the almost shaking 
 head, of Haaring the elder; while for physical 
 strength in an old man's hand a tenacious hand, 
 sure yet for subtle uses see the sinewy and crafts- 
 man's hand of Lutma. And then the mother's folded 
 hands, with veins swollen: hands supple once, but 
 now in chief locked gently in each other, passive 
 while the mind is still activ6 ; old age in the quietude 
 of the habitual chair and the habitual corner, 
 having not yet abandoned interest in the life she 
 was once a part of. 
 
 The power that enabled Eembrandt to mark these 
 things, and to mark them with so careful a sym- 
 
REMBRANDT. 39 
 
 path J the penetrating vision of the lives and ways 
 of aged, decrepit, and humble ^is a pov^er to be 
 reckoned with, is a power sure to assert itself, when 
 he grapples with sacred themes. In the sacred art 
 of Rembrandt there is hardl3^room for the aspiration 
 of the earlier Florentines the imagination and the 
 dream. His micd is charged too profoundly with 
 the experience of this present world. It is not for 
 nothing that he has led his life in no seclusion, 
 and has passed daily in and out among the common 
 folk of Amsterdam. There he has met with little 
 of physical beauty ; little, at least, of that pure 
 beauty of form which inspires an art removed and 
 exalted. And the worship of the body near and 
 about us, the creed of the Renaissance exists for 
 him no more than does the worship of the distant 
 and withdrawn the creed of the Middle Age. It is 
 not reverence for the perfection that is realised, nor 
 for perfection dreamt of, desired and yearned for, 
 that is the mainspring of that art of his which we 
 call Sacred. His art is most sacred when it is most 
 human and humane, when it recognises dignity in 
 present poverty and suffering, and this it does with 
 a pathos which no other art known in the world has 
 ever approached. For it was the last and least 
 familiar lessons of Christianity that Rembrandt had 
 
40 MASTERS OF GENRE PAINTING. 
 
 appropriated to himself, and in his turn could teach 
 the religion of pity and of an immense tolerance. 
 His Christianity did not recoil from what was phy- 
 sically hideous. He etches many times though he 
 does not etch so often as old world criticism has 
 supposed the diverse phases of the lives and suf- 
 ferings of beggar and hunchback and cripple and 
 leper, as these unfortunates crouch wretchedly in the 
 corners of hovels, or solicit succour or cure, or hide 
 in loneliness their foulness and degradation. In all 
 Art, is it not an unparalleled array ? Callot and 
 Murillo have painted the miserable, but in how dif- 
 feren t a spirit ! For Rembrandt their existence is 
 a serious fact in life he flings you, with his bitter 
 truth, the record of their condition. 
 
 And so he enters into sacred themes with an 
 imagination profoundly human and veracious. Were 
 it not for some feeble arrival of attendant spirits from 
 the ceiling, the Death of the Virgin, with her 
 piteous gaze, her gesture of the last suffering, might 
 be the death of his own mother. The new pathos of 
 this realistic art surrounds the old and blind Tobit, 
 of the Apocryphal story, as he stumbles to the door. 
 And in the master etching called the Hundred 
 Guilder Print Christ healing the Sick that which 
 is least realised is the Divine figure. Compassionate 
 
REMBRANDT. 41 
 
 in movement and expression, it is wanting* in force, 
 and about it there seems something untrue or in- 
 sufficient when brought into immediate contact with 
 the well observed reality of the spectators, coarse or 
 shrewd, or with the deeply felt sorrow and helpless- 
 ness of the maimed and the sick. "We note the de- 
 ficiency, but it must not count too much in a work 
 which as regards the presentment of each man's se- 
 parate and comprehended trouble is unique in its in- 
 sight. I should be thankful for the Hundred Guilder 
 Prmt. were it only because of the half-dozen lines in 
 which Rembrandt has etched one figure, to me the 
 central one a tall man, old and spare, and a little 
 bent, with drooped arms, and hands clasped together 
 in gesture of mild awe and gently felt surprise, as of 
 one from whose slackened vitality the power of great 
 surprise or of very keen interest has for ever gone. 
 On his face there is the record of much pain of 
 sufferings not only his own, nor only of the body, 
 but of saddening experiences which have left him 
 quelled and for ever grave. 
 
 Rembrandt was a painter of landscape. We 
 should be astonished if we found this man, the very 
 key note of whose character it was that he under- 
 stood the world about him so keenly and profoundly 
 
42 MASTERS OF GENRE PAINTING. 
 
 that it engrossed his interest and won his sympathy, 
 pnrsaiag as a landscape-painter other ends than 
 those he had sought for in all the rest of his art. 
 And yet in Rembrandt's later years the homely 
 landscape that he drew exclusively, and that was 
 made great alone by his own great qualities of 
 style, was not the landscape of fashion. The 
 Boths had come from Italy, and Berghem was pro- 
 sperous. A little into the shade had already been 
 thrown that tender and faithful pourtrayal of the 
 common land, which, beginning with Wijnants, was 
 continued in his best moments by Ruisdael and 
 then by Hobbema with scanty encouragement. But 
 Rembrandt, an untravelled man, had no other land- 
 scape than that common one to paint, and no other 
 to care for. In some backgrounds of his sacred pictures 
 only, did he verge on ideal composition. Generally he 
 was content to render the footbridge, the windmill, 
 the winding of the canal, or its straighter stretch, the 
 two or three cottages clustered together in the low 
 fields, the grey wide sky, and the distant view of city 
 spires miles away behind the infinite flats. Such 
 changes as there are in his landscape art as time pro- 
 ceeds, are changes in treatment rather than changes of 
 kind, and when they occur they are not unconnected 
 with the progress of his methods in the other 
 
REMBRANDT. 43 
 
 subjects for brush or etching needle. Thus among 
 the earliest of his etchings is the Cottage tvith 
 White Pales, a bit of exquisitely found country ; a 
 work showing him already a master in happy selec- 
 tion, but chiefly noticeable for a delicate charm of 
 detail in foreground which in later times he would 
 never have sought for. He passes afterwards not 
 indeed to a nicer selection for none could be 
 daintier than the first but to an art larger and 
 more abstract : dealing by preference with wider 
 country and bolder effect, and dealing with them in 
 a manner gradually more summary and decisive. 
 M. Yosmaer, the student of his work for many years 
 and in well nigh every gallery in Europe, insists 
 that Rembrandt's art was quite apart from that of 
 his contemporaries, except Roghman, a master who 
 preceded him, and De Koninck, a pupil who followed. 
 With much respect for his authority, I must still 
 think M. Vosmaer's estimate of the difference to be 
 too wide. But De Koninck, undoubtedly, is nearest 
 to Rembrandt: a lover of wide plains and various 
 distances : both paintings and etchings of the one 
 have been mistaken, and not by the ignorant, for 
 paintings and etchings of the other. The earlier 
 etched landscapes of our master, in the kind of scene 
 they select and the kind of beauty they chronicle. 
 
44 MASTERS OF GENRE PAINTING. 
 
 have perhaps more in common with such landscape 
 art of his day as was familiar and true, than 
 have the landscapes that he painted. But in both 
 he was himself contentedly Dutch, unmoved by the 
 rising fashion, and he is classed for ever with the 
 greatest artists of landscape, both by the etchings 
 that show his virtue of style, his economy of means, 
 his reticence, his rare power of abstraction and 
 choice, and by paintings that attest how much the 
 realm of colour was at need his own. In the one we 
 have the Cottage and Dutch Hayham, the Cottage with 
 White Pales ; in the other the Mill with its glory of 
 sunset. 
 
 Such easily satisfied criticism as found voice in 
 England in the beginning of this present centur}^ 
 thought that it recognised the greatest quality in 
 Rembrandt's art when it called him the master 
 of chiar'oscuro. It saw that chiar'oscuro much pre- 
 occupied Rembrandt,"^ that he obtained in it effects 
 always striking, sometimes splendid and truthful. 
 But that old world criticism struck with what it 
 chose to call his ' magic ' did not see the occasional 
 failure as well as the habitual success, though indeed 
 both etchings and paintings have been able to reveal 
 
 * See here, as an instance, the PhUoso2)lu'r of the Louvre. 
 
REMBRANDT. 45 
 
 it. That old world criticism would have deemed 
 itself guilty if it had suggested that in that one 
 thing some scholars, some followers of Rembrandt, 
 little valued then, took up, as it were, their leader's 
 unfinished work, and carried it to completion. 
 Triumphs of light and colour to which even Eem- 
 brandt was a stranger, were reserved for Nicholas 
 Maes, for Peter de Hooch, and for Yan der Meer 
 of Delft. 
 
46 
 
 DE HOOCH AND VAN DER MEER AND 
 NICHOLAS MAES. 
 
 The men who dealt with common life in Holland 
 found new and inexhaustible material to their hand. 
 And thej were free from traditions, so that each 
 man's choice was made according to his bent. But, 
 broadly, one of two aims was oftenest before them, 
 and they may be classed almost according to which 
 of these two aims they pursued. That common life 
 they were to paint did they look at it most as sug- 
 gesting on the one hand an interest, so ^o say, 
 literary or dramatic, or, on the other hand, as 
 demanding a treatment resolutely pictorial ? Was it 
 the comedy of life in its brightness and action or the 
 meditative pleasure of the cultivated eye, in the sun- 
 light, in the shadow, in the glow of colour, in the 
 fineness of fine fabrics, and in all these things sug- 
 gested that had its fascination for them? Jan 
 Steen was held by the interest of the first ; Nicholas 
 Maes and Peter de Hooch and Van der Meer of 
 Delft were under the spell of the second. 
 
DE HOOCH, VAN DER MEER, AND MAES. 4/ 
 
 But their interest was not wholly technical. For 
 them, in the brilliant or the sober things they 
 painted, there was the value of association, and 
 these men represented a characteristic of the Dutch- 
 men the appreciation of the charm of home. The 
 climate, with its kind unkindness, prompted the 
 Dutch to domesticity. For how, in flat and low- 
 lying lands, over which, after so little sunshine, the 
 mists rose damp at evening amidst scenes of dreary 
 outlook, with windmills against- Jeaden skies, dark 
 barges on their tardy course along the infinite canals, 
 and all these very wont to be veiled suddenly in chilly 
 rain how not appreciate the charm of home the 
 charm of the great open fireside, of the clean-swept 
 tile-hearth, of the spinet in quiet shadow in its accus- 
 tomed corner, of the curtained window-seat, of the 
 expected meal, of the tranquil occupation? The 
 Dutchmen must have known that charm always, but 
 perhaps they knew it best at the time when their 
 great painters of it rose, when their slow struggle 
 for national independence had ceased. The battle 
 had been fought oat painfully from town to town, 
 village to village, so that for years there had been no 
 sure possession nor quiet rest. At last, when the 
 rest came, then the to us familiar things of every 
 day, which we hardly notice because we hold them 
 
48 MASTERS OF GENRE PAINTING. 
 
 safely, were found to be a keen delight. The charm 
 of home became almost a religion to the people, and 
 their great painters of homely life were its prophets. 
 
 The home, indeed, was not seldom the tavern, 
 where, instead of the swept and garnished chamber 
 with quaint designs of flooring and window-pane, 
 hangings and chair-stuffs of exquisite and changeful 
 colour the chamber of De Hooch, of Maes, of Van 
 der Meer of Delft there was the rough table and the 
 three-legged stool, the beer-pots, the copper vessels, 
 the preparation for the vulgar meal, the litter of 
 carrots on bench and floor, the pipe-smoking, 
 lounging and loafing boors sleepy with drink or 
 revelling with women of concentrated hideousness 
 the tavern of Dusart, the home of Ostade. 
 
 Whatever scene it was, it was seized with vivid 
 apprehension of the charm of the actual, the interest 
 of reality, beheld with an alert perception, and con- 
 veyed with a trained adroitness. The art which, 
 with too little knowledge of the world around, had 
 been fain to imagine and aspire, was to yield some 
 place now to the art contented with familiar obser- 
 vation, and looking with opened eyes on the world 
 as it was. The satisfaction in the life their eyes 
 beheld, and this mastery in the rendering of it, are 
 common to all of the great Dutch painters, lowest or 
 
DE HOOCH, VAN DER MEER, AND MAES. 49 
 
 best of them, whether it be Ostade with his keen 
 careful reproduction, or Yan der Meer with his direct 
 decisive realism, or Maes with his lurking sugges- 
 tions of pathos, becoming one who would not throw 
 aside the heritage of Rembrandt. 
 
 No three artists could be more strongly individual 
 than Maes, De Hooch, and Yan der Meer, and yet 
 their pleasures were often the same; and though one 
 of them had entered more than the others into Rem- 
 brandt's mind had himself a mind more akin with 
 Rembrandt's, and was not only, though he was surely, 
 more directly his pupil yet to the three alike, to the 
 three in common, it was given to realise such sub- 
 tleties of graduated light as had escaped even the 
 keenness of their master. The three alike painted 
 interiors, and painting a room they painted it with 
 fine perception of its ordered harmony its light 
 stealing in at the window and diffused and modulated 
 on the wall, the yellow-tinted wall shrinking into 
 yellowish-browns of shadow, passing by strange 
 reflections into neutral greys and greens, and then 
 by sombre passage into further glooms of corners 
 receding into ultimate darkness. All three painted 
 it so : Maes and Yan der Meer painted it with much 
 perception too of the quietude of life that became its 
 inmate bending over the spinning-wheel, its solitary 
 
50 MASTERS OF GENRE PAINTING. 
 
 musician with slow fingers on the spinet. Differing 
 themselves elsewhere, therein they differed from 
 Peter de Hooch, for whom no human life was quite 
 as interesting as the life of the sunshine. 
 
 The place of De Hooch's birth was long uncer- 
 tain. No great success came to him in his life, and 
 the life passed without any noise of record. After- 
 wards he slept unregarded, and now that in the 
 newer admiration of the Dutch School justice is 
 done to the pre-eminent merit of his work, investiga- 
 tions have been made, and trumpets blown over the 
 results of the investigation blown somewhat pre- 
 maturely, we shall Lave to say, when we take note 
 of how very little it is after all that is known of him. 
 There are two or three bare facts. He does appear 
 to have been born at Eotterdam. Chronicle of his 
 marriage has been discovered ; he was married at 
 Delft in 1654. A year afterwards, having undoubt- 
 edly settled there, he on September 20, 1655, was in- 
 scribed in the register of the guild, ' Painter : as 
 master, Pieter de Hooch, being a stranger. For 
 the duty he has paid three florins.' And, in 168 1, he 
 died it seems to have been at Haarlem. 
 
 The scanty record points to a brief work time. 
 Also his pictures are few. Much contact with the 
 
DE HOOCH, VAN DER MEER, AND MAES. 5 1 
 
 famous in his own day could hardly have been with- 
 out its chronicle. There exists by him, in the mu- 
 seum at Amsterdam, a portrait of himself a small 
 panel, from which a slender and grave face, ' aged 
 nineteen years,' looks out. Probably he was young 
 when he married, as it was not till twelve months 
 after that he took his rank as master : he was born, 
 it is pretty safe to conclude, near about 1630; and 
 the date on one of the works in the Peel collection, 
 because it is one of his masterpieces, establishes the 
 fact that as early as 1658 his art had reached perfec- 
 tion. Waagen and Biirger wish to conclude that 
 he was directly the pupil of Rembrandt. If it was 
 so, then, going from Rotterdam about 1650, he would 
 have entered Rembrandt's studio at the best of 
 moments with Nicholas Maes and arrived in 
 Delft two or three years later, to take up his place 
 in the guild. All this is possible, perhaps even likely, 
 but the facts are waited for. 
 
 In De Hooch's paintings of interiors, parlour or 
 kitchen, with groups of figures, or a single figure, 
 he had but little of the power that was Steen's, and 
 that was Metsu's, of giving interest to the people 
 presented of suggesting a story or of holding us 
 fascinated, as Maes did constantly by his presenta- 
 tion of their quiet and absorbed fulfilment of some 
 
 E 2 
 
52 MASTERS OF GENRE PAINTING. 
 
 commonplace and daily task. Nor in his single 
 figures did he hint at the sentiment that often in 
 reticent and ordered measure filled the work of 
 Maes, and was so in accord with its solemnity of 
 colour and tone. Whether De Hooch's characters 
 are humble or exalted whether it is the serving- 
 woman with her vegetables, the housewife with 
 her beer-jug, the satin -robed gentleman, the cavalier 
 with the long wineglass the persons of his drama 
 have no past, and we are careless of their future. 
 Of human character he was not a subtle observer. 
 His art has no command over the sources of 
 feeling: his mind had little entrance into the 
 secrets of lives. But quite unlike the lower artists 
 among his skilled and accepted contemporaries, he 
 did not sacrifice character to truths of texture and 
 surface to the wooUiness of a table-cover, the 
 lustre of a gown and I no more blame him for his 
 figures being what they are, and of such secondary 
 interest, than I should blame a landscape painter 
 for achievements as limited. De Hooch, like the 
 landscape painter, was not a draughtsman of the 
 figure. He was a student of light. To him though 
 in his paintings he often, in deference to the day's 
 tastes, professed to tell a story people and things 
 had value or uselessness as they helped or obstructed 
 
DE HOOCH, VAN DER MEER, AND MAES. 53 
 
 him in his unparalleled pictorial expression of the 
 subtleties of sunshine. To class him to class in- 
 deed Yan der Meer and Maes so far as they are his 
 fellows as literal imitators of common fact is grossly 
 to misconceive them. They were poets of fine ap- 
 prehension and quickened sensitiveness. 
 
 De Hooch is one of the few Dutch masters not 
 best to be seen in Holland, or rather he is one of the 
 few to whom some justice may be done by any care- 
 ful valuing of the things that are visible at the 
 Louvre and the National Gallery. Yet until ten years 
 ago we had no De Hooch. Now, three pictures, of 
 which one was bought at an auction in Paris and 
 the others with the collection of Sir Eobert Peel, 
 show him in full possession of his manual dex- 
 terity are works of more than average quality, 
 though it may be there are one or two of an even 
 finer charm. For after all, the subject counts, and 
 our own most forcible, our own of most accomplished 
 craftsmanship, presents us not only with the slender 
 brick-wall, yellow and red, the creeping greenery of 
 vine, the light within the wall-door, but close here 
 in the foreground, in distasteful neighbourhood, 
 the dust-bin with its pile of rubbish and kitchen - 
 stufp. The Louvre, on the other hand, is fortunate 
 in two pictures in which that vivid realistic power of 
 
54 MASTERS OF GENRE PAINTING. 
 
 De Hooch, is employed to transport us to pleasanter 
 places : in the most intricate of his pictures there, 
 a lofty parlour, sober and beautiful, is the se- 
 lected spot in which he will play out for us his drama 
 of the sunshine."^ 
 
 There are three main figures, large in the fore- 
 ground: a lady with a red robe and yellow skirt; 
 a cavalier holding the wonted drinking glass ; an- 
 other sitting. Pourtrayed, as often, without special 
 felicity of grouping, colour, or expression, they 
 are not the objects of our interest. But in the 
 background there are two windows, tall, narrow, 
 and placed high in the chamber. One is wholly 
 curtained, shaded hy the simple hanging folds of a 
 brownish green, sober and dark, and yet a little 
 golden. The other is uncovered, its tall oblong 
 panes visible, and patterning space of sky beyond 
 sky flooded by the clear green gold of such a sunset 
 as sometimes follows rain when the sky brightens at 
 evening. These windows with their golden greens 
 the one shrouded and sober, the other uncovered and 
 clear form a chord of colour and lighting of which 
 the harmony is never lost. The harmony is carried 
 over all, where the light falls on background figures 
 
 * Courtry has etched it : not especially successfully. It presents 
 great difficulties to the art of black and white, and our own illus- 
 tration is of its companion. 
 
To fnne page 54 
 
 De IIooclx 
 
DE HOOCH, VAN DER MEER, AND MAES. 55 
 
 of lovers more interesting than that group of the 
 front, where it pauses on cheek or throat, catches 
 at its fullest the shining bosses of the Cordova leather 
 strained like wall-paper to wall, glimmers on portrait 
 high in the chamber, is thrown back again into the 
 black-framed mirror, is diffused in lowest tones over 
 the rich warm textures of many-patterned fabrics, 
 and wavers at last on the alternate black and yellow- 
 grey marbles of the floor. The noblest place this, 
 for De Hooch's drama, and his dramatis personw a 
 chosen company of fine fabrics and delightful things. 
 But take him on humbler ground, with humbler 
 actors the place a simple interior of the lowly, 
 where pleasure in exceeding dainty neatness and ex- 
 ceeding ordered cleanliness must needs be a substi- 
 tute for the more luxurious delight. The chords 
 struck here are less grand and full, but they are clear 
 and brilliant, and in this little picture (of the Yan 
 der Hoop collection at Amsterdam) the joy is just 
 in the sharp sweetness of sunshine of which the 
 humblest cottage in all that country is not to be de- 
 barred, when its latticed windows and its low wicket- 
 gate doors face the full south, and into the cleared 
 space of well-nigh empty chambers streams the 
 airy light that De Hooch loved. To the right in 
 the foreground is the shadowed bed in alcove 
 
56 MASTERS OF GENRE PAINTING. 
 
 humbly curtained. Close in front of that darkened 
 alcove sits a young mother with a child kneeling 
 at her knee, with child's head sunk in lap. To 
 the left, a brick-red floor, with the household cat, 
 curled and contented a dark spot on the floor's 
 breadth of brightness. Just beyond it, a door opened, 
 and sunshine lighting it ; still beyond, through keen 
 clear passages of air, a yet brighter glow of floor in 
 fuller and unbroken light; and there is an open 
 window-shutter, square, daintily drawn, in a more 
 subdued sunlight, silver-grey, and across it, as noon 
 passes, in the airy and open stillness, travel the soft 
 and patterned shadows of the window frame. Of 
 light, in its intricate charm and intricate pleasant- 
 ness, De Hooch is the revealing master. 
 
 At Delft, where De Hooch practised his art, Jan 
 van der Meer was born; and he was born in 1632, 
 within a year or two, therefore, of the birth of De 
 Hooch. In his lifetime he had his admirers ; a 
 gossiping diarist records the ownership of one 
 of his pictures by a prosperous shopkeeper who 
 had paid for it a sum now equal to two or 
 three hundred pounds. It remained for succeeding 
 generations to go far towards forgetting him, till, 
 twenty years ago, M. Biirger, noting here and there 
 
DE HOOCH, VAN DER MEER, AND MAES. 5/ 
 
 his work in the museums of Holland, found in him 
 a source of new and vivid interest, and wrote what 
 he could of Yan der Meer of Delft, and pushed his 
 researches where research had never previously gone. 
 He seems to have identified, or to have pei'suaded 
 himself that he had identified, about eighty of the 
 painter's pictures. Many had till then been un- 
 known ; many had borne the signature of the more 
 popular De Hooch. Of the painter's life, owing to 
 that absence of contemporary chronicle which with 
 so many of these Dutch artists is so much to be 
 lamented, M. Biirger discovered little. Yan der Meer 
 was, it is asserted, a pupil of Fabritius a pupil, that 
 is, of a pupil of Rembrandt. Was he also directly 
 a pupil of Eembrandt ? That is Biirger's supposi- 
 tion, and it may be that Yan der Meer did really 
 arrive, about 1654 after Fabritius's death in Am- 
 sterdam, and enter the great master's painting room 
 when Nicholas Maes had left it. But of Yan der 
 Meer, as of De Hooch, the facts remain to be estab- 
 lished. Of Nicholas Maes alone, among these three, 
 is there trustworthy record of the place where the art 
 was studied and the master of whom it was learnt. 
 
 The habitual practice of Jan Yan der Meer was 
 of a wider range than that of De Hooch. It is true 
 that, unlike De Hooch, he rarely painted stories was 
 
58 MASTERS OF GENRE PAINTING, 
 
 habitually, though, not always, content to place in 
 his interiors the single figure absorbed in work of 
 the household or in more skilled craft ; the astrono- 
 mer with hand upon his globes and eyes absorbed in 
 study; or the lacemaker, perhaps, bending engrossed 
 over her work of art. But in these interiors, whe- 
 ther of the rarer kind, as where there are two 
 figures and some approach to a story in the 
 Soldier and the Laughing Woman, say "^ or of 
 the commoner kind, where there is but one, and 
 no story attempted but the story of a life very 
 patient in its daily task in these interiors it was 
 less the play of the pure and vivid sunshine than of 
 the milder daylight, under all conditions, that con- 
 cerned and interested Van der Meer. Yan der Meer 
 has never, that I know, reached the gem-like qua- 
 lity of De Plooch's sunshine ; but he is more pre- 
 occupied with problems not less difficult the effect 
 of light upon light, of reflected light on shadowed 
 space, the effect of one thing's lustre on such lustre 
 or texture as may happen to be near it. This De 
 Hooch notes, and Nicholas Maes notes, and both 
 wonderfully, but neither perhaps with quite the 
 keenness, quite the attention, of Van der Meer of 
 Delft. Again, though De Hooch has painted the 
 
 * M Double's, in Paris : excellently etched by Jacquemart. 
 
DE HOOCH, VAN DER MEER, AND MAES. 59 
 
 effects of open air, it is generally the air of the back- 
 yard, sunlit, or of the sunlit porch, or of the court 
 with its paving and its greenery ; and Van der Meer 
 likewise has painted this, but he has also painted 
 broad views of the long Dutch street and of the 
 quaint town seen from across the river. That is, he 
 has painted landscape, though it is but rarely. 
 And again, if not actually with greater frequency 
 than De Hooch, then at least with more triumphant 
 success, he has grappled with portraiture. There is 
 a woman's portrait by him in the D'Arenberg Gal- 
 lery at Brussels, of the subtlest truth of the most 
 irresistible fascination. 
 
 He has, if I may trust my own eyes in this 
 matter, two manners of painting: in one he is 
 smooth, and of an unsurpassed refinement of hand- 
 ling, sometimes even rather thin : in the other he is 
 brusque, decisive, with clots of colour, breaking the 
 surface, in Constable's way. And the two manners 
 sometimes meet in the same picture."^ 
 
 We have in our National Gallery no Van der 
 Meer of Delft, but lately the Louvre has acquired one 
 example of his work, the Lacemaker, a small three- 
 quarter's length, in which the pale thin colours of the 
 
 * See the picture now in the possession of Lord Powerscourt : a 
 characteristic example not, alas I wholly unchanged by time or 
 imprudence. 
 
6o MASTERS OF GENRE PAINTING. 
 
 occupied face do not prevent its dominating over 
 the more vivid accessories, which are tliose wholly 
 of the lacemaker's craft, many needles and blue 
 pillows blue being a colour which Van der Meer 
 much liked, and which he used with even greater 
 audacity than another lover of it, Grabriel Metsu. 
 Now about this picture, in which the background 
 counts for nothing, there is no charm whatever as 
 there often is of the interior ; and if we are to take 
 interest at all it must be wholly in a face not beau- 
 tiful, hardly even vivacious, but into which Van der 
 Meer put, as his wont was, when that alone was to 
 engage us, the charm of a calm and occupied in- 
 telligence. That, and no other charm, but that 
 in a still higher degree is in the D'Arenberg 
 portrait, nearly life size, but hardly a half-length 
 portrait, for it stops where the figure's grey draperies 
 touch the elbow, and throws us back for interest not 
 on the brown eyes or smooth brown hair, but on the 
 strange individual expression of the pale, clear face. 
 The girl is plain of feature, without one point of un- 
 disputed comeliness, and yet if you met her you 
 would go and talk to her, and you know that she 
 would have the charm of conversation either some 
 new thing to tell, or an old thing told in some new 
 way, and her own. 
 
i:>E HOOCH, VAN DER MEER, AND MAES. 6 1 
 
 Of the out-door subjects perhaps the finest is 
 the view of Delft in the Mauritzhuis at the Hague. 
 We look from one bank to the other, across the 
 waters of a broad canal or river ; and on the other 
 rises the town of Delft, one of its gates spanning a 
 small canal as the small canal effects its junction 
 with the greater just in front of us, and by the 
 high gate side, to left and right, rise houses, clusters 
 of houses, roof cutting roof. The town is massed 
 there houses, church, and trees behind that one 
 face of it which fronts the broad water. For vigour 
 and brilliancy of painting it seems almost a unique 
 thing, and yet it is not more vigorous, only more 
 interesting, than an amazing little street and house- 
 front view in the Six collection castellated houses 
 broken to the left by a bit of low wall in which is a 
 dark arch, and here a passage going away from the 
 street, under deep shadows first, but breaking out 
 somewhere into the light beyond, where a woman 
 bends in homely business over a washing-tub ; and 
 there a black doorway in which a woman sits white- 
 capped and tippeted (with Yan der Meer's not infre- 
 quent audacities of contrast) ; and there again, against 
 the red bricks and red shutters of a housefront to the 
 right, there is set in all reality and all consummate 
 harem the coolness of creamy white wall and a grey 
 
62 MASTERS OF GENRE PAINTING. 
 
 green shutter we are grateful for in that bright 
 midday sun. When Van der Meer painted the open- 
 air lights of the street and the town side, he left for 
 the most part his subtleties behind him those 
 subtleties of tint and tone so infinitely graduated, 
 which he extends behind the vigorous freedom of 
 his foreground figures in subjects of interiors. And 
 I think no other painter who has painted the sharp 
 contrasts, the decided colours of the one, has ever 
 been so utterly a master of the timid changes of the 
 other. 
 
 The great interior, with a single figure, of the 
 Six collection is a good example nay, is the most 
 splendid that I know of that amazing vigour of 
 foreground colour common to his landscapes, in full 
 relief against the gently wrought intricacies of modu- 
 lated light in wall and corner. The picture represents 
 a young woman, in greenish-yellow bodice, with a 
 yellowish-green at the sleeves, with a blue apron, 
 and with a sober red skirt for in the arrangement of 
 colour Yan der Meer fears nothing in the way of 
 mixtures, and has nothing to fear. And the young 
 woman so arrayed is just now busy in pouring milk 
 from a red jug to a red basin, while bread rough 
 and brown lies in a basket on the same table, and 
 there is a gathered bit of deep and greyish-blue 
 
DE HOOCH, VAN DER MEER, AND MAES. 6$ 
 
 drapeiy on tlie sunny green of the table-cloth. To 
 the left there is a narrow-paned window, and outside, 
 the sunshine, and inside the sunshine too, striking 
 on the hand and then on the edge of the table-cloth, 
 making it yellow, and turning the yellow bodice gold, 
 and flooding the wall in the near background with 
 a diffused light, of a pale golden grey. Among all 
 Van der Meer's interiors there is no masterpiece of 
 a more brilliant boldness ; yet it is great, not only for 
 its triumphs over the difficulties of local colour and 
 local light, nor only for suggestions of the common 
 texture and substance of homely things, but also for a 
 face profoundly noticed and profoundly understood 
 here again, as so often in the art of Yan der Meer, 
 a face of quiet intelligent absorption in the momen- 
 tary task. 
 
 Nicholas Maes was one of those gifted and 
 brilliant men who should have died young, for the 
 immense achievements of his youth were never 
 supported by the work of his middle age. The last 
 century criticism of the sagacious Descamps has 
 nevertheless classed him in chief as a painter of the 
 works by which he is least entitled to live a painter 
 of portraits, with whom pictures of the kind that we 
 have got to like him for were but a less important 
 
64 MASTERS OF GENRE PAINTING. 
 
 business. Some day the laborious historian may 
 accumulate material which shall enable us to trace 
 with accuracy of detail the rise and fall of Nicholas 
 Maes, from that early but fascinating and already 
 well-nigh masterly picture in the Amsterdam Museum 
 a portrait ennobled by imagination and so through 
 the series of his interiors as splendid in tone as 
 refined and subdued in sentiment, to the later por- 
 traits in which his early preoccupation is leaving 
 him, and so to those in which it is utterly gone and 
 only a painter feebly forcible or avowedly degenerate 
 remains to play fast and loose with the fag end of 
 talent debauched. 
 
 Born at Dordrecht in 1632, he enters in 1650 
 the studio of Rembrandt at Amsterdam, and for the 
 next ten years the greatest of the Dutch masters 
 has no worthier pupil. Just what De Koninck was 
 to Rembrandt in landscape, Maes was to him in 
 pictures whose interest centred in humanity; he 
 was the pupil, that is to say, with whom the seed of 
 Rembrandt's teaching fell on the kindliest and fittest 
 ground. He had too much of individual and per- 
 sonal genius to be an imitator, but he had too 
 profound a sympathy with Rembrandt to avoid 
 resembling him. Like his master, he was a painter 
 of shadowed places and of sad and quiet lives. Of 
 
DE HOOCH, VAN DER MEER, AND MAES. 65 
 
 course he lacked Rembrandt's endless variety. He 
 shut himself up, in the main, with too few types 
 narrowed himself, in the main, to the expression of 
 too few characters. Rembrandt himself was interested 
 in, and Rembrandt understood, the men of action ; 
 these he grasped no less strongly than the figures 
 of reverie. But with Maes it is the mind that 
 broods, the character that meditates and ponders, 
 rather than acts, which interests him. Others 
 subordinately interest him : even a little the servant 
 in her work ; "^ or the servant idle, in a brief sleep 
 which has a snatch of the humour that pleased 
 the age ; f or the woman at the spin net, but her 
 music is already of reverie ; or the child with the 
 Dutch housewife but the child, I note it, is neither 
 at play nor at work, but, true to her part in Maes's 
 drama, watching, obsei*ving, considering, though it 
 is but the scraping of a parsnip. And Maes strikes 
 early his note of meditation strikes it in that work 
 of his youth and apprenticeship. La Revense of the 
 Amsterdam Museum ; a large picture, in technical 
 qualities high already though not perfect, and in 
 expression sweet, tender, reticent, and true. In an 
 olive-green gown, whose colour is set against the 
 
 * La Laitiere, in the Van Loon collection. 
 
 f The Idle Servant, in the National Gallery. 
 
 P 
 
66 MASTERS OF GENRE PAINTING. 
 
 deep, yet glowing red of the open window-shutters, 
 a girl stands leaning from the window ; dark green 
 leaves and clusters of large apricots are around the 
 window and below it. Already there is a pleasant 
 arrangement of form and hue, colour sober and yet 
 rich and splendid rather than subtle, and the picture 
 grapples with no special intricacies of light. But 
 here already is the figure of reverie : no reverie indeed 
 of the ascetic or the disappointed or the feebly 
 sentimental; but a healthy Dutch girl, rounded in 
 form and supple of flesh, her thoughts adrift in 
 strange places of the life that is before her. 
 
 Well, you feel she is the fit forerunner of that 
 other type afterwards constantly repeated; the 
 woman in old age and in humble estate, whose 
 thoughts are rather of the life that is behind. 
 Generally she is sitting at the spinning-wheel a 
 figure half or not quite half-life size, as in Mr. 
 Robarts's picture, seen at Burlington House in i Sy/ ; 
 as in the picture in the Van der Hoop collection : best 
 of all, perhaps, as in the picture not long since at 
 Dordrecht, Maes's birthplace, but now part of a 
 splendid legacy to the Museum of Amsterdam. She 
 is careworn, thin, deeply wrinkled : accustomed 
 always to a rigid and narrow economy, an almost 
 painful and timid carefulness, which yet has come 
 
To face pa?e (ir, 
 
 
 i| "!!'! 
 
 iiki4 } 
 
 
 Nicholas l^faes : ' Le B^n^dicit^' 
 
DE HOOCH, VAN DER MEER, AND MAES. 6/ 
 
 to be regarded by her as life's ordinary and neces- 
 sary condition. On a shelf, perhaps, above her 
 in some half light that penetrates from the narrow 
 window, and is diffused a little over walls mostly 
 bare are ranged the jug or two, and the humble 
 platters, that tell of meals homely and solitary. At 
 her work her hand is ever so little slackened. The 
 hands waxing nerveless and the eyes dim leave her 
 still true to her slow busyness to whatever may 
 be left of her tranquil occupation. With varying 
 painter's skill all this is painted : sometimes with 
 much of subtlety, as in Amsterdam, sometimes with 
 too crude and brutal a contrast of the favourite 
 black and red the almost inevitable red of the 
 sleeve in Maes as in Mr. Eobarts's picture. 
 
 Once or twice it is so in Maes's masterpiece in 
 this order of work, a picture in a club-house at Am- 
 sterdam, and in the pathetic picture in the Lacaze 
 collection the woman of this type, for of course she 
 is not always the very same person, is seated to her 
 meal. It is the Grace hefore Meat : and the aged 
 woman is now at her prayer. Of Maes's large-scale 
 pictures the Amsterdam example is, perhaps, the 
 most finely graduated ; the mere arrangement, effec- 
 tive as that is, of black and white, and shadow and 
 light, being as nothing compared with the tenderness 
 
 7 2 
 
6S MASTERS OF GENRE PAINTING. 
 
 of creeping lights on the wall and on the spread 
 table-cover, or with the warm and almost solemn 
 glow on the qres de Flandre and humble implements 
 of the meal. A plain white cap is on the simple 
 head ; the scanty folds of a coarse gown drape the 
 still figure ; and near the woman's side are ranged 
 the household keys S} mbol of order and care. The 
 lonely face, wrapped now in devout thought, tells of 
 the sadness of age of the sadness of restraint. 
 
 From painting these things and these persons 
 the girl and the old woman ; the family perhaps 
 with its Rembrandt -like pathos of an old man, once, 
 as in the Steengracht collection Maes having 
 quitted the studio, quits at last the influence, of 
 the master. He betakes himself to Antwerp, and 
 having no doubt already ventured upon certaiu 
 portraits that are portraits purely, such as that of 
 the Dutch magistrate in his pleasant workroom,"^ 
 he qualifies for the distinction the sagacious Descamps 
 will presently give him, and during long years of a 
 maturity we should be happy to forget, waxes now 
 coarse, now feeble. At Antwerp he is a friend of 
 Jordaens, now at the latter part of the sixteenth 
 century almost the best man left in a city from 
 
 * In the D'Arenberg Gallery, at Brussels. 
 
DE HOOCH, VAN DER MEER, AND MAES. 69 
 
 which Rubens has passed. Maes is there the prac- 
 tiser of an art so different from his earlier that the 
 question has even been raised whether the portrait 
 painter of chose latter years was not another bearing 
 his name. The facts that are known, though they are 
 few, seem to deny it. And in 1693, aged sixty-one 
 years, died, it seems, Nicholas Maes, one of the 
 strangest instances not of a talent that was promis- 
 ing, but of a genius that was great, an art consum- 
 mate and accomplished, though limited, which be- 
 came too soon perverted, and then was somewhat 
 early buried out of sight yet a genius and an art 
 that left us after all, in our day, no irritating array of 
 ambitious failures on which attention must be fixed. 
 During ten splendid years, from 1650 to 1660 or it 
 may be a little later there is a series of high work. 
 What followed is really known less, and we can 
 afford to ignore it. 
 
 We think of Nicholas Maes then as the painter 
 of a home life cheerful with the merry eyes of child- 
 hood, or dignified with the gravity of common 
 pursuits, or sobered and saddened with the ex- 
 perience of age the age of lonely and humble. We 
 think of him as one who, by the Queen's Listener 
 (painted when he was yet young), by the noble 
 interior seen at Burlington House in 1875, and by 
 
70 MASTERS OF GENRE PAINTING, 
 
 some other pictures, such as that at the Amsterdam 
 club-house, and that in the Lacaze collection, which 
 carry also another message more purely his own 
 we think of him by these as one of the band 
 that carried here and again to perfection what their 
 master left incomplete the subtleties of passage 
 from breadths of sunshine glowing or cool, to the 
 effects of the interior atmosphere, on room side, 
 chamber wall, where, with tints strangely neutral, it 
 is difficult to say whether light begins to be shadow 
 or shadow begins to be light, and so amid half glooms 
 to isolated points of brightness the eye may pass to 
 as in the Queen's Listener, where the rounded baluster 
 head catches at just one point of its equal curve the 
 stray glimmer: the glimmer breaking out again, 
 yellow and brassy, on the further nails of the straight 
 Dutch chair that peers from background space and 
 wall, cosy in their gathered dimness. With these 
 men, these poetic Dutchmen light is more than 
 ever before a presence of slovv and changeful life : 
 giving life too and sense of companionship to else 
 inanimate things. Maes and his fellows followed its 
 subtleties on chamber wall and hanging, and in its 
 narrow yet eventful journey from window to hearth 
 they played out for us its little drama there within 
 that limited space they knew so well and calculated 
 
DE HOOCH, VAN DER MEER, AND MAES. 7 1 
 
 SO acutely much as the more commonly extolled 
 painters of our last generation watched it in con- 
 flicts of sunshine and shadow in English landscape. 
 Nor when prepossessions are once laid aside, is it 
 easy to say whether the greater praise in art belongs 
 to the one or the other. In itself the tree trunk, 
 the damp herbage, the clod of earth, even the rain 
 cloud, is hardly a worthier or more proper object to 
 be painted than hearth and hanging, window and 
 wall. 
 
 The artist, giving a quality as well as finding 
 one, transmutes and exalts alike the one thing and 
 the other ; and so what Turner, Constable, De Wint 
 did for the country in revealing beauty and interest 
 hidden till they pourtrayed them De Hooch and 
 Yan der Meer and Nicholas Maes did for the home. 
 
72 
 
 TERBURG AND METSU. 
 
 We have not seen very much of the Genre paint- 
 ing of Holland before we recognise that the objects 
 for which the painting of interiors was undertaken, 
 were very widely different. The delightful artists of 
 the true succession of Eembrandt De Hooch and 
 Van der Meer, and IVIaes were concerned with the 
 problems of sunshine and shadow. But it was a 
 pupil of Rembrandt, in Rembrandt's early days, it 
 was Gerard Dou, who led the way to the minutest 
 representation of dress, of fabrics that hung on the 
 parlour-wall or covered the parlour chair, of the hun- 
 dred accessories of use or ornament that crowded 
 the well-stored room. And he too had a school. 
 Then again there was that worthier group, the true 
 painters of character : for whom the interest of a 
 household scene lay less in the accuracy with which 
 they could reproduce a fabric than in the finer 
 fidelity with which they could note an expression 
 and record a gesture. Of that group the most 
 
TERBURG AND METSU. 73 
 
 pregnant, the most fruitful Gerard Terburg was the 
 earliest master. 
 
 It is natural, of course, that the first keen and 
 qualified discoverer in Holland of this new art of 
 social observation should have been an eminent 
 painter of portraits : natural too that he should 
 have been a man accustomed from the first to a 
 society in which it was generally a gracious and 
 cultivated character that was caught expressing 
 itself, now by voice, and now by gaze, and now by 
 movement. The humours of the very vulgar, even 
 the awkwardness and dulness of the lower bour- 
 geois, would have had no attraction for Terburg, 
 and had he been born amongst either the one or the 
 other, there would have been nothing to stimulate 
 and encourage his art. Or rather, his art, had he 
 practised it at all, would have been confined to the 
 endeavour to paint history without the truth of in- 
 timate knowledge, and portraits without the truth 
 of sympathy. But Terburg, like Metsu nay, even 
 more conspicuously than Metsu had the privilege of 
 such a birth and breeding as sfave him entrance into 
 what was pleasantest and most refined in the Dutch 
 life of his day; and to live with the pictures of 
 Terburg is to live with no visions indeed of rare 
 and admirable beauty, with no record of high endea- 
 
74 MASTERS OF GENRE PAINTING. 
 
 vour or splendid passion, but with, the counterfeit 
 presentments of dignified dames and courteous gen- 
 tlemen who take life calmly, who are engaged 
 placidly with serious business, or in honest and 
 happy recreation. It is a society quite free from 
 the pressure of circumstance. They are strangers, 
 Ter burg's people, to material want. Poverty is not 
 only not theirs, but the news of its existence has 
 never reached them. The very crises of personal 
 life have been got over by them as befits well-bred 
 people perfectly, and in private. They have erred, 
 being human ; but their errors, as in Conseil Paternel 
 (which we shall study more presently), have been 
 brought home to them gently, over a glass of wine 
 gravely indeed, but by the agency of judicious inter- 
 mediaries, to spare them a shock and the question, 
 even when it was a dangerous one, has been dis- 
 cussed in tones not inconsistent with the friendly 
 civilities of an afternoon call. 
 
 Well, it was necessarily with a subtle eye that 
 Terburg observed and with a gently ordered hand 
 that he pourtrayed the quiet life and reticenb 
 manners of the people of his world. To have pour- 
 trayed them successfully, in their faintly expressed 
 variations, he must have seen very much of them. 
 With such delicate material for art, a stranger, an 
 
TERBURG AND METSU. 75 
 
 outsider, cannot successfully engage himself. Ter- 
 burg was at home with it. 
 
 Born in 1608, at Zwolle, a small place out of the 
 clatter of commercial life and movement, and dying, 
 some seventy years afterwards, in another small place, 
 Deventer his fortunes took him during" that long: 
 interval into many lands, and there were few painters 
 of his day who had so wide an experience of the 
 world of cities and of men. His father had journeyed 
 in Italy, and wished a like opportunity for his son. 
 Terburg was instructed in his craft in his native 
 town ; then at that very famous local centre for the 
 arts, Haarlem."^ Afterwards he began his travels. 
 Tradition records, and necessarily inexactly, the list 
 of places that he visited. He is said to have come 
 to England. Certainly he was in Germany, Italy, 
 and Spain : probably he passed through France, at a 
 period when French art was barren. But foreign 
 travel did nothing to turn him aside from the path 
 early marked out for the exercise of his genius. He 
 survived the peril of Italy. He was in the south in 
 the .last daj s of religious painting there, at a time 
 when the religious sentiment had vanished ; and 
 there is therefore little to wonder at if he a mat- 
 ter-of-fact man of the world, as his portrait shows us 
 
 * M. Van Der Willigen : Les aHistes d' Haarlem : p. 352. 
 
^6 MASTERS OF GENRE PAINTING. 
 
 found small promptings to abandon the art lie had 
 been bred to for the art that cultivated vainly and 
 feebly that which was scarcely felt to be ideal any 
 more. Terburg remained a Dutchman, occupied 
 with the realities that he was able to observe : and 
 his tract was wide for observation. 
 
 Famed already for excellence in portraiture, he 
 found himself in 1646 at Miinster, where the pleni- 
 potentiaries were gathered for negotiations for peace. 
 Here, at this time, he executed his most famous 
 historical picture : a portrait-group made historical 
 by the importance of the event commemorated and 
 the patience and solidity of his work.^ The story is 
 that it was at Miinster that Terburg achieved the ac- 
 quaintance of the ambassador of Spain, and this by 
 the aid of an adroit service rendered to a Spanish artist 
 less gifted than himself. The ambassador took him 
 to Madrid, introduced him to the king and court, and 
 Madrid became to him the scene of brilliant successes 
 and inconvenient triumphs. So well received was 
 Terburg by the women so full of social gifts was he, 
 and of the savoir plaire that he roused personal as 
 well as professional jealousy, and had eventually to 
 depart. From many wanderings he returned to his 
 own country ; married one who appears to have been 
 
 * I'he Congress of Miinster : Peel collection, National Gallery. 
 
TERBURG AND METSU. 77 
 
 a family connection ; painted that portrait of himself 
 as he looked in full middle age which the Museum at 
 the Hague shows us ; and settled down, it is sur- 
 mised, in the town of Deventer, where long after- 
 wards he died. He became a burgomaster of his 
 town, and exercised his craft there, chiefly, it would 
 seem, in that Genre painting which after all is what 
 ensures to him his permanent place in art. In quiet 
 undisturbed prosperity he lived to old age : dying in 
 the year 1681, when he was seventy-three. 
 
 I said that Terburg's Genre painting ensured to 
 him his permanent place, and I add that his por- 
 traits, even his historical pictures, are those of 
 a Genre painter. With rare exceptions the Hague 
 portrait of himself is one of them they are of 
 strictly cabinet size : they were designed for the 
 adornment of the limited chamber, of the city 
 house, and not for the decoration of the public gal- 
 lery. Again, as in the portrait of the Princesse de 
 Conde, niece of Richelieu a small full length 
 figure, seen at our Exhibition of Old Masters in 
 1877 the imitative labour bestowed on the acces- 
 sories recalls and suggests the practice of Genre. 
 Here, as in the pictures of incident and pictures of 
 finery, there is the satin gown studied and rendered 
 by the most accomplished of its interpreters : the 
 
78 MASTERS OF GENRE PAINTING. 
 
 thickish and heavy fold, that makes a broad line 
 catching the highest light, the spaces of lesser light, 
 or light more graduated, or light reflected in cream- 
 coloured glow, and the lower-toned surfaces in 
 gentle and very partial shadow. It may be that this 
 laborious treatment of an ornamental accessory is 
 not here out of place, but there are portions of the 
 design which demand a greater freedom, and they 
 do not, with Terburg, receive it. There is the hair, 
 for instance. A quite noble portrait painter is ac- 
 customed to scan it much, but to render it boldly, 
 with no petty and formal exactness. He sees 
 quickly, and it must interest him to see^ in various 
 models, its many differences of colour, texture, and 
 growth each characteristic of the person pourtrayed. 
 He catches the characteristic, whatever it may be, 
 and he suggests it in his picture. Terburg paints 
 hair without this pleasure in it : without, apparently, 
 this perception of its variety. The fine fabric has 
 interested him more than the hair, and the studied 
 smoothness of the complexion is more precious to 
 him. He had against him, it is true, the fashion of 
 his day, especially with women : whether the rigid 
 straightness of hair plastered or strained to forehead, 
 or the stiflPness of the curl. There is that excuse for 
 him ; but after all here is the beginning, in one 
 
TERBURG AND METSU. 79 
 
 great man and subtle observer, of that mechanical 
 and dullard rendering of living and expressive things 
 which we find afterwards, only more abundantly, in 
 the work of Mieris. We do not need to say 
 that the portraits of Terburg, whether single stu- 
 dies, as in the Princesse de Conde, or richl}^ varied 
 groups, as in The Congress of Mmister, are great 
 in many qualities of portraiture. He never so prac- 
 tised Genre that Genre made him trivial. Rather, 
 it increased his observation ; and as a whole he 
 rises, I think, in The Congress of Munster to the 
 highest power of which that small scale is capable, 
 in recording varied character and the many expres- 
 sions of men engaged upon a common purpose. 
 He did nothing here in which he did not show him- 
 self to be a sober and a serious artist. 
 
 But it was in Genre painting, and in Genre 
 painting of ample size, that Terburg had his best 
 opportunities, and best used them. It was here 
 that his skill in the discernment and expression of 
 character found the fullest and most unfettered 
 play. And considerable as was often the scale on 
 which he worked, no spot of his canvas was empty 
 of valuable record. Here, in Genre painting, he was 
 like a dramatist writing his thought out keenly, 
 without fear of a censor : here he was really painting 
 
So MASTERS OF GENRE FAINTING. 
 
 his very truest portraits because there was no one 
 coming, when they were finished, to say that they 
 failed in this point or in that. In Literature the 
 novelist is often truer, far more profoundly true, than 
 the historian or the professed biographer ; and in Art 
 the vigorous and brilliant painter of Genre has 
 chances denied to the portrait painter, or chances 
 which only the very greatest portrait painters are 
 audacious enough to seize. There was nothing 
 apparently in Terburg's temperament or Terburg's 
 genius to place him keen and serious artist though 
 he was with those very few who in their portraiture 
 paint, remorselessly, unpalatable truths. Like the 
 favourite portrait painters of England like Vandyke 
 and Reynolds he was alive to personal influence. 
 He was a man of society. Such men, without con- 
 scious or palpable flattery, are swayed a little in 
 their work this way or that. Far enough removed 
 indeed from the less adroit courtiers or less skilled 
 artists, they yet take only the best moment, and put 
 only the best interpretation. And the result may be 
 a thing of beauty, a thing of dignity, of grace, even 
 of subtle and exquisite suggestion ; but it will never 
 be for it has never aimed to be a thing of plain 
 uncompromising truth. 
 
 And there are many brilliant painters, moreover, 
 
TERBURG AND METSU. 8 1 
 
 who will have done themselves but scanty wrong 
 in bending thus to the exigency of their craft and 
 place. For perhaps their own happiest expression 
 of themselves in Art consists in the unvaried and 
 fertile production of work that displays a delicate 
 sensitiveness to lovely colour or a curious facility of 
 grace. Their work is to all the world most attrac- 
 tive when they idealise or exalt. Only there are 
 those also whose true gift does not lie in the capacity 
 for impressive stateliness or a dainty research of 
 beauty. Their gift is rather in fine and subtle read- 
 ing of the every-day visage : they understand not 
 human nature endimanche, but the human nature of 
 the six days of the week. Terburg was one of them, 
 and because he was one of them he was greatest in 
 Genre painting. 
 
 But the revelations of expression and character 
 that most interested him were found chiefly, as I 
 said earlier, in the best society. To this rule there 
 are very few exceptions, and the few have been 
 already brought, by influential writers, into almost 
 undue prominence. As a fact, he rarely descends 
 below the comfortable bourgeoisie ; and when, as in 
 the Apfelschdlerinn of a foreign gallery,"^ his lead- 
 ing character is engaged in some humble business 
 
 * The Belvedere at Vienna. 
 
82 MASTERS OF GENRE PAINTING. 
 
 of the house or kitchen, she is generally engaged as 
 an amateur, as a gentlewoman who in simple times 
 at all events should know as much as her servant, as 
 a damsel schooled now in the duties of a house- 
 wife. But in occupying himself with good society, 
 Terburg did not occupy himself wholly with its most 
 intellectual pursuits. From time to time, being 
 Dutchman and naturalist, he concerned himself with 
 the representation of the appetites, and he was 
 never more thoroughly himself than when he was 
 so concerned, for in his representation of bodily in- 
 stincts he knew precisely where to stop if you 
 once grant him that he had a right to begin. He 
 stops always on the right side of grossness, and is 
 guiltless moreover of hints which he has not the 
 courage to embody. There is nothing whatever be- 
 yond a similarity of occupation to connect his drink- 
 ing girl a picture once in the Choiseul Gallery with 
 the boozing and bestial peasants that crowd the 
 canvasses of Dnsart and Bega. And in his picture 
 of the bluflp and middle-aged warrior whose last 
 action of valour has been to arrive, unsought and 
 undesired, in the apartment of a beauty not inti- 
 mately known to him,^ there is nothing to recall the 
 
 * Unmilitaire tendant de V argent a unc jewie femme-. the picture 
 in the Louvre. 
 
TERBURG AND METSU. 83 
 
 meretricious suggestiveness of such themes when, as 
 in the latter years of the Eighteenth Century in 
 France, they are treated by weaker and less manly 
 hands. In his rare treatment of themes like 
 these, Terburg ranks at any rate with the soberer 
 and least repulsive masters. 
 
 Far oftener the art of Terburg invites us to be 
 with him in the fine decorum of a noble chamber -a 
 chamber largely proportioned, massively disposed, 
 carefully tended ; the cheerful hearth is flanked by 
 the marble columns of the mantelpiece; rich hang- 
 ings drape the walls and windows ; pictures framed 
 in the broad deep bands of ebony that suit best 
 to our own day Terburg's works and those of his 
 fellows, stand forth here and there ; the spinnet is 
 open, and refined fingers stray over the keyboard. 
 Here there is perhaps a mandoline, there the now 
 prized handiwork of some first fashioner of the violin. 
 And in this apartment, built to last very long, and 
 furnished once for all, for at least one lifetime, pass 
 the scenes that are most often recorded by Terburg's 
 brush, the scenes that revealed his world to him 
 that gave the very gentle stimulus he wanted to his 
 slow but sure imagination. Perhaps the incident is of 
 quite daily occurrence : the business, the familiar 
 
84 MASTERS OF GENRE PAINTING. 
 
 music lesson tlfie Guitar lesson, it may be.* A lady, 
 in yellow and white satin, is seated, playing. Her 
 master, young, portly, and serene, sits opposite, and is 
 reading tlie music : he is quietly keeping time with 
 his hand. Another man stands in the background. 
 The heads of both, according to the custom of the 
 day, remain covered in the woman's presence. By 
 the lady's chair is the brown and white spaniel the 
 dog of gentle life, the dog of Terburg and Metsu. 
 There is nothing strangely fascinating in such a scene 
 as this. It is purely uneventful. It is the art of 
 Terburg to give it its maximum of interest by re- 
 cording it with thoroughness of understanding and 
 thoroughness of work. The careful Dutchman knows 
 that the interest of a subject depends very much 
 upon the interest and the energy with which he 
 deals with it. 
 
 But often too it is something more of a story that 
 Terburg presents : it is the scene of which Le Conseil 
 Patemel may stand for type. No picture of the 
 master's is more famous than this ; partly because it 
 is in truth great, but partly also because there are 
 no less than three versions of it, only slightly differ- 
 ing, and in three famous collections ; f and partly too 
 
 * Peel collection, National Gallery. 
 
 j- At Bridgewater House, at Berlin, and at Amsterdam. 
 
face i)ase 81 
 
 S : ' The Guitar Lesson 
 
TERBURG AND METSU, 85 
 
 because one of these is the subject of one of the 
 most brilliant engravings by the engraver who has 
 been generally thought to render best the works 
 of the Dutch painters of polite life I mean 
 J. G. Wille. It has been claimed by Waagen, for 
 the Conseil Paternel, that it is not in itself a 
 complete story, but a contribution towards a story : 
 it has been claimed for it that it is part of a 
 suite. But I think we shall see that it is really 
 independent, or, at the least, that it forms no 
 part of the series with which the German chronicler 
 has sought to connect it. We will pass to this later. 
 For the moment it is interesting to note, with 
 regard to Terburg's story-telling, that he did un- 
 doubtedly on more than one occasion make use of 
 some two or three pictures, instead of a single pic- 
 ture, to paint the social intrigue he was just then 
 minded to record. Instances of this practice a 
 practice so valuable to our own Hogarth, so indis- 
 pensable even, one may say, to the due presentation 
 of that wealth of inventive fancy which crowded 
 Hogarth's work are rare among the painters of 
 the seventeenth century are rare, but not wholly 
 without parallel, among the Dutchmen. The visi- 
 tor to the National Gallery who looks with care- 
 fulness at those two pictures of Teniers's called 
 
S6 MASTERS OF GENRE PAINTING. 
 
 A River Scene and The Surprise * but both of them 
 figure subjects really, and not, as the titles would 
 seem to indicate, divided by the difference of their 
 themes will have something to occupy him in de- 
 ciding for himself whether the one picture is, or is not, 
 the sequel of the other. 
 
 Amongst Terburg's own designs a sequence ot 
 theme occurs in three pictures, of which two are 
 at Dresden, and one, the last of them, at Munich. 
 The first and third may be known well through 
 engravings, which alone are enough to prove the 
 connection, by similarity of countenance and costume 
 in the figures. The story is a love-story; and in 
 the first picture the lover, who is an oflB.cer, is writ- 
 ing a letter which will be conveyed to his mistress by 
 a trumpeter now standing by in attitude of attendance. 
 The second scene transports us to the house of the 
 mistress : a damsel dressed in satin, and just now 
 washing her hands in a basin which is bronght her by 
 her maid. This is the middle volume of the novel : 
 the "padding" of the story. Nothing important 
 passes. But in the third picture the trumpeter has 
 arrived in the chamber of the heroine, and proffers 
 the love-letter which the watchful presence of the 
 maid, whose soul is above intrigue, makes the 
 
 * National Gallery : Peel collection, Nos. 86 1, 862. 
 
TERBURG AND METSU. 8^ 
 
 young heroine hesitate to take. It is Waagen's 
 theory that the Conseil Faternel is the end of the 
 business : that the girl has taken the letter : that 
 much or little of unpermitted love has been made in 
 secret between times; that the waiting maid has 
 unburdened herself of what she knows of the matter ; 
 and that the celebrated scene, of which there are 
 such slightly differing versions at Berlin, at Am- 
 sterdam, and at Bridgewater House pourtrays the 
 heroine suffering the reproach of her parents. Now 
 the Conseil Faternel consists of three figures, of which 
 two are father and mother and the third the daugh- 
 ter. The room in which the scene passes is not 
 one which we have seen before : the parents we 
 have not had occasion to see before ; and the damsel, 
 whom Waagen supposes we have seen, has her back 
 to the spectator and is impossible of recognition. 
 Moreover, it seems to have been forgotten that the 
 parents here are not in their own home. Their dress, 
 their attitude, their very occupation of taking the 
 wine of ceremony, as at a visit not very frequently 
 paid, indicates that the house is not theirs. The 
 true story of the Conseil Faternel is more probably 
 this that a married daughter has incurred some 
 displeasure, has been guilty of some folly ; and her 
 parents, still on terms of friendship with her, have 
 
8S MASTERS OF GENRE PAINTING. 
 
 called to enforce an argument or adminisfcer a timely 
 reproof. And so the Conseil Paternel is an indepen- 
 dent picture. 
 
 Excellence of attitude, the charging of attitude 
 with the maximum of expression, are the most 
 eminent virtues of the Conseil Paternel; and the 
 young wotnan seen from behind the woman stand- 
 ing, timid though composed, ashamed though self- 
 controlled, with head a little drooped, a little turned 
 aside, as she hears the argument and suifers the 
 reproach shows, as perhaps no other figure shows 
 in all the range of Terhurg's work, his command of 
 postures that reveal the mind in meditation. But 
 the charging of the human face itself with its fullest 
 expression an expression chiefly with Terburg of 
 weighty consideration or pre-occupied reverie was 
 also his task in Genre painting ; and in the Queen's 
 collection at Buckingham Palace there is the pic- 
 ture in which with perhaps the most unerring 
 skill he has fulfilled that task. It is called The 
 Letter. Charles Leslie praised it, rightly, as one 
 of the finest of all Terburg's works; and he 
 was thinking, doubtless, when he cited it, not only 
 of the consummate expressiveness of one of its 
 figures, but of the virtue of harmonious and glowing 
 colour and the charm of a touch here unusually 
 
i 
 
 TERBURG AND METSU. 89 
 
 facile and free. But the virtue is common to so 
 many of the Dutchmen, and the charm is so 
 supremely Metsu's Terburg's younger rival that 
 it is not to either that the picture owes its place. A 
 blonde girl, tame and unlovely, but in pretty pale blue 
 bodice and in satin skirt grey and creamy, stands 
 reading a letter; a writing lady stops in her work 
 to listen, pays profound and anxious attention; a 
 page, bearing a chased ewer, waits awhile ; and the 
 brown spaniel lies curled on the grey-brown chair. 
 If the listening woman is indeed the mother, as 
 Waagen says, then she is young for the office ; but 
 it is her intense solicitude that favours the guess, 
 and the expression of her solicitude is the strengbh 
 of the picture. What is the news of the letter, that 
 she comprehends with so much deeper an intelligence 
 than the untutored girl that has filled her face 
 with meaning, and made her a little sad and very 
 heedful ? The hand, with gesture of consideration, 
 is raised to the head, or the head sunk slightly to the 
 supporting hand, but in the dropped lip and the great 
 fullness of the eyes abides the chief expression. " A 
 beautiful and tranquil home scene," the little private 
 Palace catalogue justly calls this untouched and exqui- 
 site work. " The perfection of the painting enforces 
 the sentiment," and never comes in the way of it. 
 
90 MASTERS OF GENRE PAINTING. 
 
 At first sight or at a slight acquaintance, Metsu's 
 work is not easily separated from Terburg's, and in 
 Genre painting, and especially in the painting of 
 home scenes, the difference between the two masters 
 is never, even at the last, a very wide one. But 
 the observer does not take long to see that the 
 touch and execution of the one are not often those 
 of the other that Metsu reached habitually a 
 facility and freedom which were Terburg's only 
 now and now again. And the observer whose 
 vision is not confined to variations or likenesses 
 of handling and technical treatment, perceives that 
 Metsu's world, if sometimes less exalted, was at 
 least a larger world than that of his early rival. In 
 profound and equal comprehension of that larger 
 world, Metsu himself came to be distanced by Jan 
 Steen, the most brilliant humourist, the most biting 
 satirist, the shrewdest and yet most genial chronicler 
 of the unveiled moments of men. But while the 
 dramatic sympathies of Terburg were true, those of 
 Metsu were already more than true they were wide. 
 It is plain indeed that Metsu's imagination had no 
 grasp of the sacred themes with which, as in a 
 Louvre picture, he was pleased now and then to 
 occupy himself. But he was not at fault when, like 
 Terburg, he painted the good society of Holland, nor 
 
TERBURG AND METSU. 9 1 
 
 was he at fault when he went into the market- 
 place and caught such humours of the crowd as 
 the lower painters revelled in. Meeting Terburg 
 on the common ground of home scenes of gentle 
 life, Metsu but rarely followed him in the practice of 
 portraiture ; but he passed beyond Terburg by the 
 wider range which he gave to his comedy of the in- 
 terior : he ventured, here and there, on suggestions 
 which the more courtly and exalted artist discreetly 
 suppressed. And in the heartiness with which, at 
 need, he depicted the pleasures of rustic and boor, 
 Metsu allied himself with artists with whom the 
 mass of his work would never prompt us to associate 
 him. 
 
 Moreover, there was connected with his freedom 
 and facility of touch, the possession by Metsu in 
 larger measure than any of his brethren, of a skill 
 invaluable to the Genre painter. He had at his com- 
 mand the full control of a source of expression 
 which he was among the very first to comprehend. 
 He was the master of the gesture of the hand. 
 Complexity of facial expression and subtlety of atti- 
 tude the expressiveness, in a word, of even the 
 dullish and quiet countenance, and the expressive- 
 ness of the position of the figure Terburg had 
 studied and had often attained. The perfect 
 
92 MASTERS OF GENRE PAINTING. 
 
 drawing of the hand, and the alert and full percep- 
 tion of its interest, character, and beauty which per- 
 fect drawing demands, we shall have to speak of 
 as among the most noteworthy excellences of even 
 so great a man as Watteau. Watteau knew hands 
 absolutely, and nothing in them could escape him ; 
 and he was the first draughtsman, and for all that I 
 know the last, who wrung from the lines of the hand 
 the whole of their charm and meaning. But there 
 were necessarily many artists before Watteau who 
 had recognised in the hand this or that character- 
 istic and a general significance. Severer masters, 
 Holbein and Leonardo, learnt its anatomy. The 
 hand is eloquent in Rembrandt. Sometimes, as in 
 his Clement de Jonghe, it is a character that he makes 
 it express, and sometimes, as in the etching of his 
 mother, " au voile noir" it is a mood. But it is 
 rarely a momentary action. Now with Metsu, the 
 excellence we see is not so much of the hand at 
 rest as of the hand in movement. He had studied 
 a thousand of its actions, and he distinguished each 
 one of them from all the others. 
 
 But of course there cannot be claimed for 
 Metsu, even in this matter of fine and delicate con- 
 trol of the hand's movements, a virtue which his 
 comrades did not share. Without some measure 
 
TERBURG AND METSU. 93 
 
 of it, mucli of the cliarm of Dutch Genre paint- 
 ing would be gone. To possess it, in some 
 measure, is a note of the school ; and to be without 
 it is a note of the contemporary schools of Italy 
 to have it bnt scantily is a note even of the earlier 
 and the greatest. Terburg and Jan Steen had it 
 richly, but it was preeminently Metsu's. There is 
 hardly a picture of Metsu's in which the possession 
 of it is not indicated in a touch decisive and certain, 
 and in which it does not give strength and delicate 
 reality to the idea of the absorbed occupation. Here 
 perhaps the fingers are tuning a violin, as in The 
 Bud of our great Peel collection the very eyes 
 almost closed, the better to listen to the daintiest 
 differences of sound : the senses shrunk and concen- 
 trated as it were upon those two only, of exquisite 
 hearing and exquisite touch, the head and hand of 
 the musician marvels of accurate and sensitive ges- 
 ture. Or there, as in the Music Lesson, the fingers 
 are falling, light and soft, in due succession, 
 upon the keys of the spinnet; or they are hold- 
 ing the drinking glass by the bottom with small 
 firm localised pressure, as in the picture at the 
 Louvre ; or, as in the picture of Metsu^s Wife, 
 at Dresden, they clench faintly the flower's stalk, 
 just that it shall not fall from the smooth hand; 
 
94 MASTERS OF GENRE PAINTING. 
 
 or the pipe, in our Drowsy Landlady,'^ is adroitly 
 manceiivred in its tickling of the plump breast. 
 
 The variety of Metsu is seen in Paris : his 
 perfection even better in London. In Paris, 
 at the Louvre, there is his greatest outdoor 
 scene of humble life, The Vegetable Marhet at 
 Amsterdam : there is there the sacred piece in which 
 he has failed the piece that one wonders he ever 
 painted and there is there too one of his happiest 
 and most expressive interiors, the picture of the 
 lady and the cavalier. It has always been a tradition 
 that Metsu was a friend of Jan S teen's, and The 
 Vegetable Market at Amsterdam is assumed to have 
 been painted not without Steen's influence : " this 
 delicate Metsu," as Biirger conceives him this 
 Metsu, with his " airs de marquis " being, it is 
 urged, incapable of spontaneously and voluntarily 
 forsaking the refinement of the parlour, for the bustle 
 of low life in the market place. But there is no 
 sufficient reason to believe it, and the pictures are 
 numerous which break the seeming abruptness of the 
 transition from the gentle to the vulgar. There is 
 the over-praised picture in Bridgewater House, for 
 example that of a horseman halting at a house- 
 door, while the hostess gives him to drink : no great 
 
 * National Gallery : Wynn Ellis collection. 
 
To face psigc 94 
 
 Mftsii : 'Tlic Duct 
 
TERBURG AND METSU. 95 
 
 instance of the painter's skill, thoiijOfli a painful chron- 
 icler has been pleased to describe it as " of sfreat 
 breadth and lio^htness," and as painted in the silvery 
 tone of Metsu's later time. To ns its interest is 
 partly in that it is one of a Sfroup which connects the 
 paintinsr of the parlour with the painting of ^^ cab- 
 bapfe-stall : partly in the fact that it has the master's 
 universal virtue, truth of sfesture ; but it shows no 
 pleasure in subtle or lovino* treatment of the out- 
 door ligfht : it has even no most dista,nt kinship with 
 the pictures of atmospheric effect. There is asfain 
 the picture in the Amsterdam Museum a second 
 rate picture at best of the man and woman over the 
 small table fully charged. From these to The Am- 
 sterdam Vegetable MarJcet there is no such great or 
 sudden transition. 
 
 But the Vegeiahle MarJcet is in subject an 
 exception in Gabriel Metsu's work. With its free 
 artistic rendering of tent and tree instead of curtain 
 and wall, with its vivid touches of the bargain-making 
 nature, with its laughter of boorish lovers at their 
 roughish horse-play, it has no claim to be typical. 
 It is on the very end and edge of the domain 
 of Metsu. We see him more nobly and more truly 
 in London : in either of the exquisite examples of 
 his work in the Peel collection, and in the one master- 
 
96 MASTERS OF GENRE PAINTING, 
 
 piece of his, so wholly admirable and wholly fault- 
 less, which is in the possession of the Queen. To 
 know these three, and to know them intimately, is to 
 have drawn from Metsu the pleasure he is capable 
 of giving : so full are they, in their due degree, of 
 his most delicate conception and of his most expres- 
 sive design and of the richest and the most harmoni- 
 ous of his hues. The Peel pictures are perhaps the 
 greatest in gesture, and the most varied, thongh not 
 always the most exquisitely ordered, in colour and 
 tone. The predominating hues of the first, The Duet, 
 are a greyish-brown and various reds, and, massed 
 as Metsu has massed them, they are splendidly aglow. 
 Like many others of the Dutchmen, Metsu was fond 
 of reds, and of reds sometimes less sober than those 
 which all the world admires in the works of the great 
 colourists of Venice : reds sometimes violent instead of 
 flat or subdued. Nicholas Maes employed red much, 
 but with him it was generally of one shade only : it 
 made a warm high light among the darkness of his 
 picture : it was part, and an essential part, of a scheme 
 of colour far simpler than Metsu's. But with Metsu 
 the crudest and least agreeable shade of it less toler- 
 able at first than in Nicholas Maes was generally 
 made bearable by its elaborate surroundings of the 
 brownish-red of furniture, the soberer red of fabrics 
 
TERBURG AND METSU. 97 
 
 heavy and thick. In the end as no observer of the 
 colour of Titian and the colour of Veronese will need 
 to be told it rarely satisfies our finest sense of fitness 
 as it does when the Venetians use it. But we feel 
 that Metsu has accomplished a feat : he has over- 
 come a difiiculty. Now in the second Metsu of the 
 Peel collection The Music Lesson he has hardly 
 courted that accustomed obstacle. His colour is 
 quieter than that in the first : the reds are cooler : 
 there is more of grey and of blue an indication of 
 that " silvery tone of his later time " of which we 
 have read, but which in the absence of many dates 
 or other faithful guides to the exact period at which 
 he painted most of his pictures we are wisest perhaps 
 not to associate with any given years. 
 
 In the Buckingham Palace picture, " ce delicat 
 Metsu" takes us to a shadowed room, into which 
 there descends the few steps of a richly banistered 
 staircase leading straight from a corridor, which, 
 by means of arches at the side, communicates with 
 the room itself and serves as a gallery for it. The 
 architectural lines here, as often in the better 
 Dutch dwellings, are with their dignity just suffi- 
 ciently intricate to engage the eye curiously with a 
 sense of undiscovered space and some agreeable out- 
 let guessed at beyond : the effect still being simple 
 
 H 
 
98 MASTERS OF GENRE PAINTING. 
 
 and the sp3,ce not too large for cosiness and quietude. 
 Near the foot of the stairs, at that end of the room, 
 and in a little uncertain shadow cast by gallery or 
 steps, sits, in front of the now silent spinnet, a 
 gentleman playing on the violoncello. Behind and 
 above him in the gallery or corridor call it which 
 we will there leans another man of gentle birth and 
 breeding, entranced with the music ; and on the 
 staircase her thought of the music top arresting 
 her, stopping her action half-way down on the 
 descent stands a lady with music-score in her hand. 
 A spaniel the favourite and petted companion is 
 at the foot of the stair. That is the composition, 
 but how convey the sense of its restful unity of sen- 
 timent, its charm for mind and eye? For colour, 
 there is the red-stockinged musician by the side of 
 the brown-red instrument he plays upon ; and golden 
 browns of many shades predominate ; cooled a little 
 with occasional passages of grey, and harmonised by 
 the creamy red of the lady's bodice and the yellow- 
 white almost a candle-light white of her satin 
 skirt, so beautiful in fold and sheen and glow. 
 Near it, on the same gallery-wall in Buckingham 
 Palace near to so faultless an expression of the 
 master's art hangs the master's portrait, painted by 
 himself. He holds in one hand a pencil, a palette. 
 
TERBURG AND METSU. 99 
 
 and a maulstick, and between the fingers of the other 
 is a piece of chalk he is all but in act to draw with. 
 But he is at the moment looking out of the window 
 that encloses and frames his face and figure. A man 
 of barely middle age : the gracious head still with 
 the free carriage and agile movement of youth and 
 awakened spirit. A well-to do man, refined by 
 nature and by life ; clear-eyed, delicate-handed : 
 grave and firm. 
 
 There is almost nothing known of Metsu's history. 
 Even now, authorities generally in accord dispute 
 the dates of his birth and of his death ; but the more 
 recent investigations justify us at all events in treat- 
 ing him as I have treated him here, not precisely as 
 Terburg's contemporary, but a little as Terburg's 
 follower. It matters not at all that Terburg outlived 
 Metsu : he began to paint years before Metsu ; and 
 of course the thing to note, in discussing the relation, 
 in point of time, of one man's work to that of 
 another, is not, when did each end his work, but 
 when did each begin it. Metsu's life was not a long 
 one. It seems now that he was not born till 1630 
 fifteen years after the date of birth assigned to him 
 in our National Gallery's Catalogue and though it 
 is plain that he did not die, as the old authorities 
 believed he died, close upon 1660, it is yet almost 
 H 2 
 
100 MASTERS OF GENRE PAINTING. 
 
 certain that before a decade from that time had 
 passed he had finished his work. A very few 
 signed pictures, during that decade, exist to attest 
 his life as stretching later into the century. Burger, 
 the discoverer of the dates on certain of those 
 pictures, inclines to think his death was in 1667. 
 Balkema says 1669. But whatever history Metsu 
 had is strangely gone from us ; and a few dry records 
 in the books of Guilds, a few dates upon canvasses 
 scattered over Europe, must serve us as but sorry 
 substitutes for the story of a life for the narrative 
 of such personal fortunes as bef el that refined and 
 observant artist, that sensitive man. The pictures 
 he has left, the face he has himself recorded, point 
 to a vivid life not scanty in intimate experience. 
 
 And indeed he was born with the privilege of a 
 refined kindred : the son of artists, his father and 
 his mother both being painters, there was around 
 him from his childhood that artistic atmosphere 
 which is an endowment to the soul fitted for it. 
 His birthplace was Leyden. He settled for the 
 practice of his art at Amsterdam, and there he ap- 
 pears to have lived out his brief and unchronicled 
 days. 
 
 Metsu's work was less sought after and less famed 
 
TERBURG AND METSU. lOI 
 
 than Terburg's at the time at which he was producing 
 it ; and the work of neither was as purely popular as 
 that of certain pettier men now less considered and 
 destined to fall more and more into disrepute. In 
 its own century the work of the greater Dutchmen 
 who addressed themselves to Genre was known but in 
 quite limited circles, and their contemporaries little 
 guessed that the pleasant painters of the home 
 would rank years afterwards as an unapproachable 
 school. But it was hardly to that unconsciousness 
 among their contemporaries of how original and 
 great these few men were, then in the midst of them, 
 that we can attribute the absence for several gene- 
 rations of any effort worthily to reproduce their 
 pictures by the fine art of engraving. Whatever 
 stories M. Taine may have gleaned of an intelligent 
 baker having paid high prices for the foot or so of 
 panel on which one or other of these sincere home 
 artists had recorded the daily aspect of parlour or 
 shop, there is little reason to think that Art was loved 
 generally by any but a restricted few, though the 
 restricted few, both in that century and in the next, 
 happily loved it well. If, on the one hand, the work 
 of art was not scattered amongst the people, on the 
 other hand it had not been recognised as a necessary 
 article of furniture and a convenient article of com- 
 
I02 MASTERS OF GENRE PAINTING. 
 
 merce. The collector -who is a dealer in disguise, 
 had not discovered his opportunity. Engraving, 
 thus far, had but little attempted to reproduce the 
 picture ; the period was a period in which the artists, 
 when it was question of engraving at all, were very- 
 wont to be their own interpreters. They gave not 
 literal and elaborate renderings of their pictures, but 
 suggestions of their ideas. The painter-etchers of 
 the Seventeenth Century would have flourished ill in 
 a century of pure reproduction. 
 
 But gradually, as time passed, and the works of 
 the Dutchmen, great and small, seemed settled into 
 permanence of fame and favour, the skilled engravers 
 of the Eighteenth Century laboured to reproduce 
 them. Wille's prints have generally been thought 
 the best, and they are the most known ; but there is 
 something a little chilly in that brilliant and self- 
 satisfied mechanism, perfect as it is in its own kind. 
 And because it is chilly, and because it is mechanical, 
 it fails the most when it reproduces the higher and 
 more suggestive artists. It succeeds even mar- 
 vellously with Gerard Dou and Mieris. Its tendency- 
 is to elevate tjiem. Tlie Menagere of Dou one of 
 Don's prettiest things, in Buckingham Palace Wille 
 has touched with a fascinating delicacy. But some- 
 thing is wanting to his rendering of the Conseil 
 
TERBURG AND METSU. 103 
 
 Paternel of Terburg some warmth, some glow and 
 richness which even the rough sketch on copper by 
 the modern Austrian etcher, Herr Unger, has happily 
 secured. But there were FrenchmiBn of the Eight- 
 eenth Century the masters of a school of which we 
 shall have to speak more precisely when Watteau, 
 the master they copied, comes to be discussed 
 who turned aside from the then popular, and justly 
 popular, rendering of the art of France and of their 
 day, and gave us, here and there, and at rare inter- 
 vals, the most spontaneous and spirited translations 
 of the art of the Dutchmen. 
 
 Sometimes in France, in the Eighteenth Century, 
 and sometimes too in its last years in England, the 
 engraver was himself a shopkeeper or publisher a 
 tradesman at the head of an industry. It was thus 
 with Basan, who issued to the public such an 
 engraving by Lucas after Terburg as catches best 
 the tranquil reality of Terburg's expression. It is 
 called Le Coujp reflechi. It is a card party. A 
 young man is leaning sideways over a woman's 
 chair : her head, seen from behind, is turned up at 
 him to watch while he considers, and to listen while 
 he advises. Opposite, at the narrow board, sits her 
 opponent, with vivacious eyes: his face guessing 
 the choice, and with the expectation of immediate 
 
104 MASTERS OF GENRE PAINTING. 
 
 decision. It is a noble print. Nor can we fairly 
 feel disappointment when it is Basan himself who 
 works ; when, as in Xe Magister Hollandais (from 
 Terburg also) there is indeed not much suggestion 
 of the tone and depth of the Dutchman, but when 
 his subtlety of expression is rendered with a free and 
 unerring intelligence which Wille shows, I think, 
 no sign of. The print is in the open, manly, even 
 coarsish style of Surugue, as Surugue is seen in 
 some only of his works; but the large lines lose 
 nothing of the face's subtlety : the girl, so pleasant 
 as to be almost pretty, is a little dreamy, with eyes 
 lowered to the volume and the task ; but she knows 
 that the young tutor's hand is laid affectionately on 
 her arm, and she has a very sweet look of gentle 
 willingness. Terburg might here have anticipated 
 the story of the Nouvelle Helo'ise. His exquisite 
 delicacy has found its best interpreter by the keen 
 and delicate apprehension of the French artist of 
 the burin. After Metsu there should be named a 
 line free line engraving, Le Dejeuner de la Hollan- 
 daise, by Marie Louise Ade Boizot, from one of the 
 Duke of Choiseul's many pictures of price by the 
 great Dutch artists. Perfectly has the engraver 
 preserved the slow gesture of the feeding woman : 
 no glutton : not even much attentive to the business 
 
TERBURG AND METSU. 10$ 
 
 of the solitary meal : but meditative ; her shrewd 
 thought being a good deal elsewhere. 
 
 In England in the Eighteenth Century, and in 
 the latter half of it especially in the great period 
 of mezzotint our artists of mezzotint did not wholly 
 neglect the prized Dutch pictures. C. H. Hodges, 
 who, though English by name, is himself claimed in 
 part by the Dutch School, engraved Dutch works in 
 London : and so did a more illustrious master, 
 James Watson the enterprising Boydell, Alderman 
 and Mayor, being his publisher. Nor did either of 
 these artists W'holly fail ; but their method was 
 adapted far better to the reproduction of contempo- 
 rary work to the large loose touch of our great 
 masters of portraiture. The fame of Watson is 
 associated with the fame of Eeynolds; and it is 
 to the French line engraving of the Eighteenth 
 Century that we have still to look for the most in- 
 telligent and the most accomplished translation of the 
 wit, the character, the art, of the greater Dutchmen. 
 
io6 
 
 JAN STEEN. 
 1626-1679. 
 
 The Dutch artists of the great Seventeenth Century 
 looked at life widely, but none of them, save 
 Rembrandt, so widely as did Jan Steen. He was a 
 moralist too great to be much occupied with his 
 moral : occupied with the record of the life into 
 which he keenly entered, he observed and painted, 
 painted and observed. Nothing was closed to him. 
 Dusart kept himself to the tavern, and if Adrian 
 van Ostade left it, it was rarely for more exalted 
 company. He betook himself to the shadowed hovel 
 or the cottage door ; and he painted gentlefolk, when 
 he painted them at all, not in their hours of leisure, 
 but in professional work : the doctor in his study, the 
 lawyer in his office. Metsu, on the other hand, was 
 the artist of the parlour the painter of the middle- 
 class, the painter of the comfortable. Terburg, as 
 we have seen, was more especially the painter 
 of the rich, the polite assistant at family cere- 
 monies, the recorder even of historic scenes 
 
JAN STEEN. 107 
 
 diplomatists in solemn and wily conclave the 
 chronicler of august features, and of the jewels 
 and sheen on the raiment of the noble. Large, very 
 likely, was the society open to these men large, but 
 not so various. Jan Steen went everywhere. At 
 home in the kitchen, at home at the feast, he 
 followed the thoughts and ways of n:en in tavern 
 and parlour. He photographed debauchery. He 
 knew the depths of the abandoned. He was so 
 refined that the subtlest and most changeful ex- 
 pressions of the svertest and most meditative face 
 became possessions of his memory, and were placed 
 with finest accuracy on his canvas. He knew the 
 humours of little children. 
 
 And yet Jaii Steen in his own lifetime was not 
 much appreciated. A few things of his got into 
 good collections were slipped in there, indulgently, 
 it may be, by some far-seeing man with a sly liking 
 for them, but were never reckoned, by those to whom 
 the collector showed his treasures, as of great 
 account. Metsu, whom at moments Jan Steen 
 resembled, obtained sufficient prices. The elder and 
 better Mieris, Jan Steen's old friend, was rewarded 
 liberally. Steen worked much, and worked for little ; 
 lacking highly placed advocates and the art of 
 social success. 
 
I08 MASTERS OF GENRE PAINTING. 
 
 Fifty years after his death there came what has 
 proved to be but the beginning of the change. The 
 value of his pictures, small enough to begin with, 
 had already doubled. Appreciation grew. After- 
 wards Sir Joshua praised him, and his pictures were 
 a little sought for here. Then Leslie, with a 
 ha,ppier and lighter touch in criticism Leslie, with 
 the art of saying delicately what he had thought out 
 keenly took up the tale, and gave us in the book 
 which his modesty chose to name " A Handbook for 
 Young Painters " what is really the best, though 
 about the briefest, estimate that the Dutch School 
 has had in England. Afterwards, a moment of 
 reaction. The immense critic, whose capital mistake 
 it has been to be blind to any excellence in the art 
 of Holland, saw nothing but evil in our Dutchman's 
 " Human Comedy." The recent academical criticism 
 has taken, though in all sincerity, its note from 
 the error of genius. How shall the deaf hear? 
 And now, as art of most kinds in novels, in come- 
 dies, in the art of sculpture, in Daudet's story, 
 Dumas' play, the group of Carpeaux, the figure of 
 Dalou turns ' to the search of expression pathetic 
 or humorous in the present and the actual, and 
 accepts the Nineteenth Century, there is sure to be 
 an ever readier sympathy with the art of the great 
 
JAN STEEN. 109 
 
 k 
 
 Dutchmen who accepted their own time and pour- 
 tray ed it. 
 
 And who pourtrayed it better than Jan Steen? 
 He recoiled from no coarseness, yet rose to the 
 rendering of the sweetest. Unlike too many of his 
 fellows, while seeing details keenly, he saw the 
 whole widely. The cunning of his hand never 
 betrayed him into concentrating interest on the 
 trivial accessory. He did not paint men for the sake 
 of textures, but textures for the sake of men. He 
 observed life, while others observed satin. And to 
 his observation of life, Jan Steen, too sympathetic to 
 be distant and unmoved, brought his own spirit of 
 gentle and genial and tolerant philosophy. He has 
 painted himself in the near background of some of 
 his pictures, smoking his meditative pipe, while 
 looking with a half-humorous sadness, a half-sad 
 enjoyment (as of one who knows), at the enacted 
 scene of folly or pleasure. He is well within reach 
 may even rise abandon pipe and meditation. 
 That is exactly his own position in the life and world 
 which for thirty years he pourtrays. He feels that 
 the figures he has made to dance are no puppets of 
 his handling, but his own flesh and blood. He is not 
 aloof and elevated, but can cry his own peccavi ! 
 Some of the chroniclers of our follies and errors, of 
 
no MASTERS OF GENRE PAINTING. 
 
 our transient pleasures and baffled ways, scorn us 
 a, little superfluously from the lonely heights to 
 which they are somehow translated. But Steen was 
 Moliere rather than Swift, Balzac rather than 
 George Eliot. To the last he suflPered ander no bitter 
 persuasion of the worthlessness of the chase he 
 depicted. 
 
 To know Jan Steen you must know him in 
 Holland. It is not that England possesses none of 
 his greatest works. We are rich in his pictures ; 
 but save perhaps in the collection of the Duke of 
 Wellington they are scattered. In Holland they are 
 concentrated, and two days' sight of them shows not 
 only Steen's highest excellence, but nearly the whole of 
 his variety. But first for such few details of his life 
 as can be given with accuracy, Steen having suffered 
 in common with several of the better artists, little 
 valued in their own day, from the lack of any trust- 
 worthy chronicle. Nor indeed are those who were 
 already famous wholly exempt from this calamity. 
 Of adequate records there are few, and as against 
 the earlier Italians there is for Vasari only Houbraken. 
 Yasari gossipped, Vasari told strange tales, but in 
 comparison with Houbraken he is a serious historian. 
 And yet for generations, for want of something 
 
JAN STEEN. Ill 
 
 better, Houbraken has been accepted. The later 
 writers generally copied him ; even the latest have to 
 allow that their best work in matters of fact does 
 but enable them to check the raconteur to apply 
 here and there a sufficient test to the popular gossip. 
 Rembrandt's life, of course, is an exception. On 
 that Scheltema and Yosmaer, with infinite labour, 
 have managed to throw light. 
 
 Nor has Jan Steen been without his grave 
 historian. M. van Westrheene had, it seems, the 
 hope that investigations would give him the material 
 for a book, but as the investigations did nothing of 
 the kind, he wrote the book without the material. 
 The endeavour was courageous, but the result dull. 
 Gifted with no power of literary expression with 
 no vivid thought, no word that remains in the 
 mind gifted, moreover, with no exceptional insight 
 into the qualities of works of Art, the respectable M. 
 van Westrheene toiled through his hundred pages 
 to but small purpose. The discovery of a couple of 
 dates important ones, for which we should be 
 seriously grateful was not enough to give sustained 
 interest to his work, and the rest of its value must 
 be sought in the long catalogue raisonne of the paint- 
 ings of the master, with much of which Smith, in his 
 colossal volumes, had preceded the Dutch writer. 
 
112 MASTERS OF GENRE PAINTING. 
 
 Almost the only genuine spontaneous contribution to 
 our understanding of Jan Steen, made within the 
 last twenty years, is that made by Biirger, in 
 his " Musees de la Hollande." Charles Blanc, 
 throughout the two numbers of " Les Peintres de 
 toutes les Ecoles " devoted to Jan Steen, had but 
 neatly repeated the older gossip, and his publisher's 
 sagacity had accompanied it with illustrations which 
 convey nothing but the spiritless skeleton of the 
 picture they are meant to recall. In the matter of 
 reproduction by illustration, Jan Steen has fared as 
 badly as in the matter of biography. Wille, as 
 one of the most brilliant line engravers of the 
 Eighteenth Century, might, notwithstanding the 
 mechanical perfection to which he pressed his 
 work, have recorded some image of Jan Steen 
 not quite unworthy. But now the fine point of 
 a great reproductive etcher is wanted to mul- 
 tiply for many the charm of the observant 
 work. 
 
 It has been said that Jan Steen fared so ill in life 
 that he had to be brewer and publican as well as 
 painter. It seems true that he was a brewer and only 
 gossip that he was a publican. He came of a family 
 of brewers. His grandfather was a brewer. His 
 father carried on the same business at Leyden, and 
 
jfAN STEEN. 113 
 
 must have found it moderately profitable, for such 
 record as there is of him shows his place to have been 
 with the comfortable class, and into that place Jan 
 Steen was born destined, very likely, not always to 
 keep it. Some special aptitude for design or painting 
 must have shown itself early with the boy, for there 
 seems to have been no question at first of making a 
 brewer of him. Born in 1626, he studies loosely, it 
 is believed, under at least one insignificant teacher, 
 but comes, in or about the year 1644, "to Haarlem, 
 to profit by the lessons of Adrian van Ostade, 
 whose fame, made early in that city, is now spreading 
 itself, though it has not as yet induced him to settle 
 triumphantly in Amsterdam. Eesemblances there 
 are, in technical quality, between Ostade's work and 
 Steen's which make probable the statement of 
 Weyerman that the one learnt directly of the other. 
 Had Jan Steen been himself a less consummate 
 artist, I, for my part, should have doubted the 
 history. But an individuality so marked and groat 
 as Steen's can come into the closest contact with 
 another talent while preserving the whole of its own, 
 and with Steen himself that was the case ; for, 
 occasional technicalities apart, no works can less 
 resemble each other than the works of these two, 
 and no two men of the same time and land could 
 
 I 
 
114 MASTERS OF GENRE PAINTING. 
 
 have set themselves to paint more different types, 
 in a more different spirit. What is sure is that 
 Jan Steen, still young, transferred himself to Jan van 
 Goijen, a sober and reticent master, under whose 
 seeming monotony of expression in brown and grey 
 there is a great reserve of knowledge. " See,'* said an 
 artist of our own century a colourist a leader of the 
 landscape school of France Theodore Eousseau, as 
 he stood with a pupil before a work of that last 
 master of Jan Steen's, " this man does not need coloui 
 to give the idea of distance ; " and, looking a little 
 more at the sober harmony of browns, he added, "If 
 necessary, you can do without colour, but you can 
 do nothing without harmony " words of no subtlety 
 of wisdom obvious enough to those who know but 
 they express the lesson which Jan Steen himself, 
 like that great modern artist, found written in the 
 work of Jan van Goijen. He learnt from Jan van 
 Goijen a severe lesson in tone. 
 
 Margaret van Goijen, the master's daughter, 
 became Steen's wife. The mamage was clearly a 
 love-match, arranged and brought about by the two 
 in the first eagerness of youth a match not un- 
 accompanied by scandal, gossip the chroniclers of 
 that day. However that may have been, all was 
 made good ; friendly relations lasted to the end 
 
JAN STEEN. 115 
 
 between Steen and the father-in-law, and Steen's 
 hand painted the figures in one at least of the old 
 man's latest works, fifteen years after the shiftless 
 and thriftless youth had robbed van Goijen of his 
 daughter. Another daughter of van Goijen became 
 the second wife of Adrian van Ostade ; and thus 
 there came about some natural and family connection, 
 hardly perhaps sufficiently remembered when it is 
 sought to show the influence of Ostade on the work 
 of Steen. 
 
 After Steen's marriage there began a double life. 
 Already, in 1648, he had entered the Corporation of 
 Painters at Leyden ; and doubtless selling what he 
 could of his works there, where were his old associa- 
 tions and the earliest of his professional comrades, 
 he yet appears to have sought at Delft the more 
 substantial profits of the old family trade. But he 
 sought it with half a heart. At Delft we find, 
 amidst all the entanglements of his story, 
 Steen became a brewer. He was a painter none 
 the less ; giving to his art, as the great array of his 
 pictures must prove to us, nearly the whole of his 
 serious hours. Four children were born to him, 
 two of whom, there is good reason to believe, 
 were fond enough of Art to pursue it. While Steen 
 was yet at Delft, Margaret died. He came back 
 
 I 2 
 
Il6 Af ASTERS OF GENRE PAINTING. 
 
 finally to Leyden, was much with his own family 
 again, and if we are to trust old stories and the 
 record of one at least of his pictures (Les Amours 
 de Jan Steen), he was prompted by his sister, a nun, 
 to marry for his second wife a widow of a book- 
 seller, one Marie van Egmont. By her he seems to 
 have had another child, but all authentic details are 
 absolutely wanting. To search much after the cir- 
 cumstances of Jan Steen's life, except among his 
 pictui^es^ is a groping in the dark. Little more is to 
 be known, but that he a Roman Catholic to the end, 
 on whom his creed sat lightly died in 1679, in his 
 own inherited house, in his native city ; a man of 
 adventurous and difficult life and unappreciated art ; 
 a man never rich certainly, yet, dying in his own 
 house, clearly at the last not so very indigent. And 
 whether poor or not sometimes in money, rich always 
 in the understanding and enjoyment of the world 
 around him, and in the consummate practice of his 
 craft. A brother painter (Karel de Moor), young 
 when Steen was old, said towards the end of his long 
 life that he had never forgotten how well Jan Steen 
 had talked to him of Art a man of high and keen 
 intelligence ; a man of great sensitiveness, who, 
 even with Ostade for master and companion, became 
 alive to the most fleeting visions of beauty and the 
 
JAN STEEN. 117 
 
 last graces of style. Life all at least but the most 
 intimate must have been pleasant in the company 
 of a wit so caustic yet so genial. He knew too much 
 to be intolerant had too much sympathy with 
 many characters to be monotonous and as he went 
 about his old world-town of Leyden in his daily ways, 
 passed under its arched and ancient gateway, crossed 
 its canals tree-planted, or stood at house-doors on 
 the street, where humble groups lingered in summer, 
 or talked to folk through open windows that disclosed 
 the parlours of the prosperous, one thinks some faces 
 must have brightened faces not alone of dullard and 
 boor, for the tales of his own daily drunkenness 
 must be set aside ; no drunkard ever accomplished 
 so immense a work but of children such as he has 
 painted in St. Nicholas and Tiuelfth Night, of girls 
 at their music-making, of grave men in leisure 
 hours. 
 
 The great artist is weakest in his grasp of divine 
 things. Keener than so many of the Dutchmen, so 
 much less gross, so far more sensitive to human 
 beauty, the spirit of Jan Steen has this in common 
 with that of the poorest of them : he is feeble, he is 
 powerless, when he sets himself to the treatment of 
 religious themes, unless he can so treat them as to 
 
Il8 MASTERS OF GENRE PAINTING. 
 
 ignore their religious significance. It is not that 
 like Rembrandt he needs, to be very real, to inspire 
 himself with the suffering and sorrow of the miserable 
 in Amsterdam it is not that then he can give a new 
 fidelity to the representation of subjects otherwise 
 outworn. It is that his art is of his world and century, 
 and comedy always ; comedy high, broad, or low, 
 vulgar or gentle, but always comedy, even when it 
 rises to remonstrance or reproof, or brings tears a;:, 
 easily as laughter. Therefore his religious pictures, 
 wh-en he paints them at all, are not religious, but 
 biblical. He grasps his scene with an intense imagina- 
 tion, but with an imagination of the earth alone. He 
 paints the stories that he understands : Bathsheba be- 
 come aware of David's love ; the Prodigal Son one 
 stage earlier than that of his return. If he ventures 
 on miracle, miracle sinks into nothing. Of his sacred 
 works, presumably the greatest is the Marriage 
 Feast at Gana.^ The divine gruest is of little ac- 
 count ; Jan Steen has concentrated himself on the 
 joys of the feast, and not on the mere greediness of 
 it, but on the heartiness of pleasure, the outflow of 
 geniality, the social effervescence and facile goodwill 
 of each man to his neighbour, befitting the occasion. 
 In the colour, in the grouping, Teniers, presenting 
 
 * In the possession of the Duke d'Arenberg, at Brussels. 
 
JAN STEEN. 119 
 
 that story, would have equalled Steen, and possibly 
 surpassed him. Steen is not greatest in colour there 
 Metsu is preferable. But in dramatic movement, in 
 varied and rich expression, in truth to a low ideal 
 the ideal of Dutch reality Steen is not to be outdone, 
 Never before was the thing painted with such a relish 
 in the serving, eating, drinking, and embraces which 
 succeed. Never such a plenty in the dishes, such a 
 passing of glasses, such a serious daylong settlement to 
 the business of the feast. Nor is this Dutch art alone 
 in the absence of religious significance. On a church 
 wall in Venice "^ a great Venetian has painted the 
 same scene. The persons shown are comparatively 
 few. One behind another, large and near, in irregu- 
 lar line along the side of a receding table, a row of 
 girl guests the fairest figures of the Venetian's daily 
 meeting speak, smile, or bend to listen with exqui- 
 site rhythmic movement and splendid and gracious 
 ease. Well, you would choose to be of Tintoret's 
 company, but no face there suggests the divine and 
 the miraculous any more than in the Dutchman's. 
 And as to beauty, Jan Steen is not dull to such scanty 
 and rare show of it as is there for his recordingr ; but 
 sensitive rather, as much as the more fortunate 
 amidst his wealth. Here in the foreground a happy 
 
 * In the sacristy of Santa Maria della Salute. 
 
120 MASTERS OF GENRE PAINTING. 
 
 child busily rolls a wine cask ; there, in the pleasant 
 liofht of the distance, a slender serving-girl, laden with 
 jar and candlestick, looks over her shoulder mounts 
 the stair.^ And Steen has lost neither the lively 
 freshness of the one nor the unconcerned grace of the 
 other. And the draperies and raiment of his choice 
 lie here as often beside, in folds and lines of simple 
 elegance and dignity. 
 
 Above all others of the Dutchmen, Jan Steen is 
 the painter of the charm of youth and of the dignity 
 of active age. There is his weak point, the limit of 
 his interest age must be active, or at least capable, 
 if he is to pourtray it with sympathy. In his pictures, 
 the grandfather, still alert, watches the play of the 
 child ; a hale old woman is busy with domestic work ; 
 an elderly doctor, upright and active, noble of gesture, 
 clear and keen in thought, holds his patient's hand 
 with a father's solicitude. These are figures of 
 comedy still, and their place is a fine one in the 
 work of Steen. But for the capacity that is begin- 
 ning to wane, for the years that now in the steady 
 coming of decrepitude draw more and more about 
 them the tenderness of youth, for the age for which 
 the hour of helplessness has struck, Jan Steen has 
 nothing to say. Rembrandt followed with subtle 
 
 * Marriage Feast in D'Arenberg Gallerj, 
 
JAN STEEN. 121 
 
 record, on canvas or etching, the slow passage, 
 through its last years, of a life chiefly fulfilled and 
 accomplished. For him the stoop of Sylvius, the 
 garrulous smile of Lutma, the weariness of De Jonghe, 
 the bitter acceptance which is hardly resignation 
 of his mother with folded hands."^ ]S"or were some 
 of Rembrandt's scholars without this feeling for 
 the aged this sense of the interest art mny 
 have in the fag end of life and experience which 
 in modem work I know only in Legros. Fliuck 
 painted the very old, and a greater than Flinck 
 Nicholas Maes had for his habitual subject the 
 worn and solitary woman's figure that bends over the 
 spinning-wheel the resigned loneliness of the aged 
 in humble and dark places where no great things 
 have ever been hoped for. But Steen was for the 
 sunlight of prosperity, in tavern or parlour. 
 
 Thus perhaps it is that his conception of children 
 is altogether lighter and happier than that of his 
 brethrei'. Most of the Dutch painters painted 
 children, but had no place for child life. Around 
 them it hardly seems to have existed. One of them, 
 and strange to say it was Steen's master, Adrian van 
 Ostade, drew infancy and childhood not only ill- 
 shaped, button-nosed, short-necked, stumpy and 
 
 * La Mere de Rerrihrandt au voile nai/r. 
 
122 MASTERS OF GENRE PAINTING. 
 
 square for most of them did that but weary of soul 
 already ; already sad and bitter of experience. Into 
 these dwarfish figures, these pigmy denizens of the 
 hovel and drinking-shop, there has entered already 
 the mark of a life dull, grovelling, and bestial. They 
 w^re born vulgar, and they were born old. The 
 others Peter de Hooch amongst them painted the 
 children early broken into domestic ways ; dutifully 
 fulfilling their little share of the cares of the house- 
 hold ; small replicas of their mother, gravely careful, 
 as she would be, of the beer or milk jug they are 
 trusted to carry. Generally in Dutch art they take life 
 seriously. In Dutch art, elders and betters may be 
 moved to mirth by song or fiddle it is not the chil- 
 dren that are merry. Jan Steen is an exception. 
 The child in Jan Steen's pictures has found no task 
 in life. If he rolls a wine cask at the feast, it is 
 merely because it chances to be there and he is 
 vivaciously active. But he has nothing to say to the 
 pursuits of his elders the world of his own thoughts 
 is leagues away. 
 
 With this happy carelessness Jan Steen has joined 
 great physical charm. His aro often the prettiest 
 children that we have known since the Renaissance, 
 and their arch liveliness might almost be of France, 
 and of the Eighteenth Century. They have the grace 
 
JAN STEEN. 
 
 of St. Aubin's, and are a hundred times more individual 
 and various. Look, for instance, at the child that 
 tumbles over the candles in the Queen's picture of 
 Twelfth Night. Better still, in Amsterdam, see 
 the Saint Nicholas. It is the children's fete, the 
 day of the Dutch Santa Claus, when the child faces, 
 strained with expectancy, since these are the great 
 moments, the crises of life to the imagination of 
 young children, become suddenly radiant with ful- 
 filled delight. Here is a girl-child, laden with new 
 toys ; her expression is exquisite. And then the 
 liveliness of the elder girl, and the heavenly, glad- 
 hearted merriment of the open-mouthed singing boy 
 that is behind the chair. You have no purer, no 
 more vivacious, no more manly painter of children's 
 
 joy. 
 
 And the charm of adolescence and young woman- 
 hood ! Painters of pretty faces generally weary us. 
 They are wedded commonly to one order of prettiness, 
 if they have made any type at all thoroughly their 
 own. And their sweets cloy. Only the very greatest 
 Italians, and, out of Italy, Watteau and Jan Steen, 
 can keep us permanently interested in the young 
 women of their art. In Italy with Raphael, Titian, 
 Tintoret the highest and most perfect types have 
 been realised for ever ; the charm of imperfection is 
 
124 MASTERS OF GENRE PAINTING. 
 
 Watteau's and Jan Steen's. They give you irregular 
 and unforeseen beauties : vivacity and alert intelli- 
 gence these v^^ithout stint ; fleeting graces of light 
 and colour ; gracious attitudes ; a piquant gesture 
 of mutiny, relaxing unexpectedly into a smile of sub- 
 mission. It is the art of Watteau and of Steen to 
 express changefulness. In their faces they paint not 
 only life but moments of life, and so suggest to you, 
 if you understand them at all, other moments that 
 have gone before, and quite diflPerent ones that will 
 come after. 
 
 Not that Jan Steen is wholly regardless of perma- 
 nent beauty of form. The better built of the Dutch 
 figures, men and women alike, are to be found in his 
 work : a head well poised, a figure lithe, svelte, and 
 erect ; they are not uncommon with him. See our 
 illustration from Lord Ellesmere's gallery ; it is here 
 because of the figure of the woman, which in its 
 robust grace, its dignity, its splendid balance, is the 
 spirit of classic art brought into humble life and into 
 the art of Holland. And what perfection of form 
 Steen does draw, he draws be sure with the dain- 
 tiest draughtsmanship. No touch is lighter, more 
 vivacious, more assured. But generally that certain 
 and vivacious touch is needed to record the charm of 
 the imperfect and the faulty the form in which 
 
To face poue 124 
 
JAN STEEN. 125 
 
 some happy success of Nature is side by side with 
 her failure ; just the interest of every day humanity, 
 and nothing more ; the actual and the not too good. 
 Here,"^ in one of those scenes between physician and 
 patient which Steen, with a surgeon for intimato 
 friend, delighted to depict here, receiving the visit 
 of the doctor, and awaiting its result, but suffering, 
 it would seem, from no organic disease, a browny- 
 blond girl, in pink and white bed-dress, occupies 
 Steen's brush. With formless nose perhaps, and a 
 mouth not noticeable till some arch and intelligent 
 smile kindles and expands it, she would hardly be 
 pretty at all but for chance points of pleasantness 
 to cover the imperfections a turn of the elbow, a 
 light on the hair, Anne Page's "eyes of youth/' 
 Here, again, in the Museum of the Hague, f is the 
 charm of youth also, less robust, but heightened bj 
 an expression of the most tender plaintiveness and 
 almost childish languor. For concentration of senti- 
 ment in the face of the girl, this, amongst his 
 medicine scenes, is one of the most admirable. But 
 it is equalled in interest, and excelled in subtlety^ 
 by one other, which is in Amsterdam. J Again a 
 
 * In M. Steengracht's collection, at the Hague, and at the 
 Museum of the Hague. 
 
 t No. 136. Tin Mededn tdtant le pouls a unejeu7iefiUe. 
 X In the Van der Hoop collection. 
 
126 MASTERS OF GENRE PAINTING. 
 
 physician feeling a pulse strange secrets in the 
 pulses of the heroines of Steen ! but the room this 
 time is at least a lady's, grave and ordered in its 
 simple dignity, which accords well with the gesture, 
 gaze, and carriage of the serious old-world doctor, on 
 whose experienced face is consideration and respect. 
 What is the secret of the pulse ? The invalid, robed 
 in a brownish-yellow satin, with blue slippers peeping 
 from below, sits in an arm-chair, the figure bending 
 freely over to the right, and the head, with white 
 wrappings, pillowed on white pillow at a table by the 
 chair-side. At the wise man's intimation, a subtle 
 and dreamy pleasure wins its slow way over a tired 
 face, like a diffused and passing light the record of 
 it highest among Jan Steen's records of expression, 
 and so among the greatest feats I know in Ai-t. 
 
 In the comedy of Jan Steen, as in the comedy of 
 life, there is room generally for the curious spectator. 
 He gives the condiment to the dish of satire is the 
 vehicle for the artist's caustic wit, and expresses his 
 moral. Perhaps, as in one Medecin tdtant le pouls a 
 unejeune fille, it is a servant who passes slowly in 
 the background, her attention not quite absorbed by 
 menial duties, her lips lifted in a satirical smile. 
 Perhaps, as in a scene of orgie, in the Yan der Hoop 
 collection, it is the paid musicians, who, their work 
 
JAN STEEN. 127 
 
 done, pass out behind with grimaces of intelligent 
 tolerance. Alas ! their betters are no better thai^ 
 themselves. Or, it is a servant listening at a half- 
 opened door, while within the quiet chamber a 
 cavalier gives a lady a guitar lesson, with pauses like 
 to Paolo's and Francesca's, when " in that book they 
 read no more that day." Or it is a scene the lowest 
 perhaps that Jan Steen's adventurous and exploring 
 steps ever led him to a scene of Bad Com'pany^ in 
 which a simple youth, a little drunk and heavy, is 
 entrapped by harlots, one of whom robs him of 
 his watch while he, with open mouth, sleeps upon 
 her knee. A hideous hag, in league with the 
 marauder, receives the stolen goods. Broken bits 
 from a feast lie on the board. A fiddler fiddles still 
 merrily from behind, and one sad face of a philosophic 
 smoker, prudently removed from the action of the 
 piece, points its Hogarthian moral. 
 
 It is not all scenes happily ! that need such 
 bpectators ; two masterpieces at the Hague arc 
 quite without them. In one of them there is Steen 
 himself, surrounded by his family, and taking his 
 part in the pleasures of the home. It is painted in 
 large style, and in the middle, Jan Steen, at a not 
 
 * Sold in the Levy collection for 997Z. A kindred picture, of the 
 finest composition, is in the Museum of Berlin. 
 
128 MASTERS OF GENRE PAINTING. 
 
 empty board, sits, a sharp, witty, happy observer, his 
 face screwed up with merry appreciation of the inno- 
 cent gambols around. In the other, a scene in an inn, 
 which has nevertheless and justifiably been known as 
 The Picture of Human Life, many persons, and of all 
 ages and various ranks, are assembled in a large guest- 
 room. From the old man who takes such pleasure in 
 the child (and he is the grandfather of the preceding 
 picture), to the child who takes pleasure in the 
 favourite caged bird, all are there. Family love is 
 represented naturally, incidentally, in no didactic 
 strain ; work is represented ; idleness ; the isolation 
 of the self-absorbed ; the old man, whose own best life 
 is now in the fresher life of his kindred ; the dullard, 
 whose adoration is the beer-pot and who is now com- 
 pletely and contentedly occupied with that alone. 
 Grace and bustle of arrangement, fertility in happy 
 invention, cannot go any further. Here, too, as in the 
 serving- girl who kneels at the hearth squeezing lemon 
 into oysters for the feast, is Steen's vivacious and 
 firm beauty of contour ; here, in a brown damsel, 
 happy with brilliant eyes, who listens but lazily to 
 the protestations of her gallant, is not the worst of 
 his so varied types of womanhood. 
 
 But for concentration of vivacity in girls' ex- 
 pression, one must see the Oyster Girl at M. Siy 
 
JAN STEEN. 129 
 
 Van Hillegom's : in execution, a gem of sharp cutting; 
 with the influence of Mieris, I suppose, and done 
 perhaps with hopeful glance at Mieris' prices, but 
 with how much more than his charm ! What a 
 revel of appetite ! yet never coarse, as some of Steen's 
 things were coarse, being painted, in a day when 
 the point was hardly yet established, where, in 
 that new realistic art, reticence must needs begin. 
 Not coarse at all, but the best conceivable realisation 
 of a healthy and innocent zest. Five inches by seven, 
 yet never petty in one touch, because the pleasant 
 lighting and the happy malice, the coquetry of the 
 face, and its invincible relish of life and the moment, 
 dominate over the detail. 
 
 Now and then Steen's technical methods approach 
 to Metsu, as here, in the Oyster Girl, they have been 
 near to Mieris. That is chiefly when he paints a 
 subject characteristically Metsu's a parlour of the 
 opulent; rich hangings, eastern table-cloth, velvet 
 chairs, Cordova wall leathers, and the inlaid spinnet. 
 An example is in our own National Gallery : a fair 
 thing, certainly, yet wholly insufficient as sole repre- 
 sentative there of the varied and inexhaustible work. 
 When this does chance, that Steen passes on to 
 Metsu's ground, he is perfectly at home there. 
 Somehow an unsuspected liveliness has lurked in the 
 
 K 
 
130 MASTERS OF GENRE PAINTING. 
 
 sober and fine parlour ; an unwonted subtlety, and a 
 rare and intimate truth, as of moments that really 
 pass and stories that really happen, gather into faces 
 charged by the keener artist with more than Metsu's 
 life. 
 
131 
 
 OSTADE, TENIERS, AND BREKELENKAMP. 
 
 Adrian van Ostade wanted nothing but a soul to 
 make him one of the immortal masters. He was an 
 absolutely perfect craftsman, who excelled in the 
 technical practice of every branch of art that he 
 attempted ; he was as completely accomplished in 
 the newer work of water-colour drawing as in the 
 more familiar business of oil painting, and his 
 handling of the etching needle displayed in its 
 proper turn his unerring skill. The resources of 
 colour, of composition, and of light and shade were 
 entirely at his command. He was born to express 
 himself in pictorial design, and what he expressed 
 most perfectly was his keen and consummate obser- 
 vation of the worst instincts of men. And this can 
 hardly surprise us when we are accustomed to his 
 face. Peaked and narrow, his face has hardly even 
 the virtue of fine bodily health, though he lives 
 in dreary self-contentment to full old age. His 
 thin lips are tightly closed ; cold and cynical. The 
 penetrating hardness of his small eyes, foxy of 
 
 K 2 
 
132 MASTERS OF GENRE PAINTING. 
 
 hue, relaxes never, it seems, into kindness or 
 geniality. He is of faultless selfishness : the con- 
 cert of evil within him broken in upon and dis- 
 turbed by no stray discord of good. All is harmony 
 and satisfied order within his little kingdom of the 
 bad. So at least one reads the unfortunate face. 
 
 And yet a couple of centuries have rightly done 
 justice to the technical perfection of his work ; and 
 he was too brilliant an observer and too shrewd a 
 recorder to have wholly sacrificed the quality of 
 giving people pleasure by his art. Much of his work 
 we look at now with patience, and some of it with 
 praise. 
 
 The facts of his life have nearly all been wrongly 
 narrated. Only recent investigation and that 
 chiefly of M. Van der Willigen, the results of which 
 are set forth in "Les Artistes d'Haarlem" has led 
 to the discovery of his true birthplace. It was per- 
 haps the grossness of the laughter of his art a thing 
 so different from the genial and flowing coarseness of 
 certain of his brethren that made men fancy that 
 he was not of Dutch birth. But he was not born, 
 as men have said, at Lubeck. Ostade was not a 
 German. 
 
 Adrian van Ostade's father was a citizen and 
 tradesman of Haarlem, and there, into the bourgeois 
 
OSTADE, TENTERS, AND BREKELENKAMP. 1 33 
 
 world, Ostade was born, in 16 10, in the month of 
 December. There, in 1685, he died. Showing, no 
 doubt, his faculties early, he was made a pupil of 
 Franz Hals, but never in the subjects of his choice, 
 and only rarely in his treatment, does he recall 
 the summary work of that profound and audacious 
 master. He follows his own way : developes for 
 himself an order of skill of which his first teacher 
 had no need imitates rather than interprets aims 
 more at precision than freedom. A member, in due 
 time, of the Guild of S. Luke the famous society 
 at Haarlem to which the better part of the great 
 Dutch artists and art craftsmen at one time or other 
 belonged he entered into the full companionship of 
 painters. He was fittingly Brauwer's comrade. And 
 he married, as Jan Steen did, a daughter of Jan van 
 Goijen. In 1662 instead of having at that time, 
 as the older stories told us, finally quitted the town 
 for Amsterdam he was still at Haarlem, and occu- 
 pying a conspicuous place in the affairs of the Guild. 
 Students came to learn from a practitioner so skilled 
 as Ostade, and Ostade, having been the companion 
 of Brauwer, formed Dusart and Bega, and so is 
 shown to have been connected as by every link with 
 all the coarsest brutalities to which Dutch art has 
 stooped. Even the finer genius of Jan Steen did not 
 
134 MASTERS OF GENRE PAINTING. 
 
 escape, as we have noticed, the potent and pernicious 
 injSiience the poison that was in the air. Isaac, the 
 younger brother of Ostade, was also his pupil. But 
 Isaac's subjects were but seldom those of his kinsman 
 and teacher. He seems to have gone on early to 
 Amsterdam, and practised chiefly there that more 
 agreeable and innocuous art of the stable, the inn 
 door, and the field, in which sometimes he anticipated 
 our English Morland. But Isaac lacked the vitality 
 of Adrian, and, though eleven years younger, died in 
 1657. At that time Adrian, though in the tide of 
 success, was still far from the days when his ever 
 energetic nature would prompt him to the cultivation 
 of new methods. Adrian was an accomplished artist 
 in oil-painting and etching : it was only in old age 
 that he became a master in water colour. In 1673 
 and 1674 appear the finest known examples of his 
 work in that newer medium examples happily now 
 placed in England, in the great collections of Mr. 
 Malcolm of Poltalloch and Mr. Cook. 
 
 When we see how the Dutch practised water 
 colour, we find that they were the first to use 
 it in a manner not only tentative and occasional, like 
 Diirer, but often familiar and accomplished as our 
 own, of our great last generation. Rembrandt 
 himself made coloured sketches : at least coloured 
 
OSTADE, TENTERS, AND BREKELENKAMP. 1 35 
 
 sketches assigned to him on what seems good foun- 
 dation exist in the collections of the British Museum 
 and of Monsieur J. de Yos, a veteran collector at 
 Amsterdam ; and at the Burlington Fine Arts Club, 
 in the spring exhibition of 1878, there was shown, 
 from Mr. Seymour Haden's collection, the sketch 
 of a citj gate a sketch in which line counted for 
 little, and the effect was sought and gained by tender 
 gradations of tinting in monochrome. In landscape 
 De Koninck came nearest to Rembrandt, and he 
 used his orange-browns in water colour with subtle 
 variation, to pourtray his wonted effects of infinite 
 distance. Colour, or, it may be, a wash of sepia, 
 used by Eembrandt and by De Koninck chiefly to 
 suggest distance or tone, was used by Berghem more 
 often to suggest the pleasantness and warmth of 
 sunlight which were so precious to him, and were the 
 charm of his art. Berghem's artificial but agreeable 
 landscape of ordered valley and well-disposed moun- 
 tain and happy peasant of the opera is represented 
 perfectly in England, in drawings safely housed by 
 Mr. Malcolm and Mr. Holford delicately coloured 
 designs, airy and sunny almost as his best paintings, 
 and much, it seems, to be noticed not only for the 
 extreme rarity of such work in water colour at that 
 time and by that master, but also for its foretaste of 
 
136 MASTERS OF GENRE PAINTING. 
 
 the subtlety with which our own great art of water 
 colour learned, so many generations afterwards, to 
 reach atmospheric effect. 
 
 But it was in the painting of interiors that the 
 resources of the art of water colour were destined to 
 be used most full}^ by the Dutchmen, and they were 
 only used most fully in the old age of Berghem and 
 after the death of Rembrandt, when Adrian van 
 Ostade, himself now old, was perhaps as much at 
 Amsterdam as Haarlem, and they were used best by 
 this master of ignoble conception and often repulsive 
 work. The special virtues of Ostade, accomplished 
 management of light and shade, and faultless com- 
 position of mean subjects an instinct, that is, for 
 the spacing out, the perfectly balanced filling, the 
 never crowding, of his given area of paper or panel 
 have long ago been acknowledged ; and his sense of 
 beauty in colour, and beauty indeed sometimes in 
 line in the humble forms of inanimate things, has 
 gone far to atone for that vulgar indifference to 
 charm of figure and face, common indeed to many 
 of the Dutchmen, but Ostade's in exceptional degree. 
 Mr. Malcolm's drawings, and one of Mr. Cook's, 
 show him once for all the consummate practitioner 
 of a branch of art the precedence in which the 
 invention of which, almost our own country has 
 
OSTADE, TENIERS, AND BREKELENKAMP. 1 3/ 
 
 liked to claim. Eich and mellow, tender and lumi- 
 nous, beyond all that has thus far been acknow- 
 ledged was the great work of Ostade in his old age 
 in the English art of water colour. Dusart followed 
 him in elaboration of work, but not in harmony 
 not at all in felicitous adaptation of means to the 
 end. 
 
 Ostade's brilliant water colours, unspoilt, un- 
 damaged, are rare, while of oil paintings it is reckoned 
 that he made some three or four hundred. They 
 meet us everywhere, in every great collection of the 
 skilled Dutch work; and, as no fine imagination 
 ever inspired him no generous impulse, I take it, 
 ever prompted his invention the level he reached 
 does not so greatly vary that we need seek him at 
 the Hague instead of in London ; or here, say, 
 rather than there. He is the painter of many pic- 
 tures finished and sufficient. He is not the painter 
 of a masterpiece. But did we need to single out 
 examples at least desirable for study, it may be that 
 we should think first of such pictures as Le Mene- 
 trier in the Moritzhuis at the Hague a most bril- 
 liant and luminous panel, crowded, as needs must 
 be in Ostade's village pictures, with the habitual 
 assemblage of hateful types or, again, of such a 
 picture as that at Bridgewater House, of the old 
 
138 MASTERS OF GENRE PAINTING. 
 
 lawyer to whom, in his business chamber, a some- 
 what fearful client brings an offering of game. 
 
 But the mind of Ostade and the whole character 
 of his work can best be seen in his etchings. There 
 are fifty of these. There is The Tavern Dance and 
 there is Rustic Courtship where " the males pursue 
 the females." There is The Family where " the 
 female gives suck to her young." But then again 
 there is The Painter, in which is well expressed the 
 calm pursuit of labour for labour's sake : there is The 
 Spectacle Seller a suburban incident depicted with 
 point and simplicity. In the Peasant Family saying 
 Grace there is a homely piety, though the types of 
 course are poor, and with no natural dignity : the 
 father as sheep-like a parent as ever fostered his 
 young, and accepted without struggle or question 
 that succession of dull days of which his life is 
 made. Of all the etchings, at least of all the smaller 
 plates, I find the Feasant Paying his RecTconing 
 the finest and most fascinating. It is not here the 
 bliss of boozing that is primarily thought about, but 
 the effect of the interior the departing peasant who 
 fumbles for his coin, the watchful hostess, the still 
 abiding guests. How good the space and cosy the 
 accessories : the leisure, how delightful ! A tavern 
 indeed, but somehow glorified by that art of delicate 
 
OSTADE, TENTERS, AND BREKELENKAMP. 1 39 
 
 perception, of dexterous execution. And then from 
 this we are back again among the gluttonous and 
 beer-bibbers (Bartsch, 50) a group of kindred de- 
 lighting in and commending to each other this drink 
 and that : this and that savoury mouthful that fitly 
 crowns with sensual jollity the dull task of the 
 monotonous day. 
 
 Take Adrian van Ostade out of doors, and he is a 
 little better. In open air, somehow, he is less 
 grossly animal. Not that in presence of a wide 
 landscape and far reaching vista there is any hope- 
 fulness in him. His own vista is bounded as before. 
 It is not the landscape that he sees with his mind, 
 but the near pursuit of the peasant by the roadside, 
 the peasant by the bridge. The Fishers, two boys 
 with old men's faces, bend over the bridge's railings, 
 and above them hangs a grey Dutch sky, dreary 
 as their lives. A wide landscape says nothing to 
 Ostade. It is too great for him he is never con- 
 cerned with the infinite in any way. But just out- 
 side the cottage door on the bench, within easy 
 reach of ale-house tap he and his work are happiest 
 and best. Here is evoked such sense of beauty as he 
 is dowered with by the gods, who are never profuse 
 to him such sense of beauty as the conditions of 
 his Netherlands life and stunted northern nature have 
 
140 MASTERS OF GENRE PAINTING, 
 
 enabled him to keep and cultivate. Tims, in ha 
 Fete sous la Treille we have some charm of open-air 
 life, much movement, some vivacity, and here and 
 there a gleam of grace. In the group of The 
 Charlatan there is some dramatic interest, and 
 there are characters more varied than he is wont to 
 present. But as we have seen him in his interiors 
 alive to the picturesqueness of litter sprawling 
 brush and pot and saucer, and strewn cards upon 
 the floor so let ns take leave of him in recognising 
 that he was alive also to the picturesqueness of 
 Nature, when that was shown in little things of 
 quite familiar appearance, and alive too, now and 
 again, to such picturesqueness as men can make. 
 The last he proves by the care and thought and 
 delicacy he bestows on the often prominent quaint 
 lines of diamond-patterned casements ; and the 
 first, by the lightness and sensitiveness of his touch 
 when he draws the leaf and tendril of the vine by 
 the house-wall, as it throws its slight cool shadow 
 on the rustic bench, or curls waywardly into the 
 now open window, through which there glances for a 
 moment (brief indeed in Ostade's life) a little of the 
 happy sunshine of De Hooch. 
 
 Teniers, like Ostade, is the painter of the boor. 
 
OSTADE, TENIERS, AND BREKELENKAMP. 141 
 
 but of the boor more often in his hours of joy. His 
 revelries, like Ostade's, are revelries of ugliness, but 
 he is more familiar than his fellow with the ex 
 pression of pleasure on mean features and the 
 abandonment of the body to a drunken delight. 
 Also he paints from time to time not only the 
 debauch of popular festivities which no one perhaps 
 has painted so much or so well but the humbler 
 and more decent merry-making of family occasions ; 
 the jollities always of the vulgar, but still some- 
 times of the modest. For good and bad, his sym- 
 pathies in Art were with the people, and there was 
 never a people of whom Montesquieu's word was 
 truer than of those of the Netherlands " Le bas 
 est le sublime." The subjects of Teniers in his 
 Genre painting, and the models that he chose, can 
 never of themselves give pleasure. The animation 
 of his crowd, whether in the orgie of the Kermesse 
 or in the rustic dance at wedding festival, must atone 
 as best it can for the commonness of each individual 
 type. There is no face nor figure in all the crowd to 
 gladden the eye. The crowd may be joyous in mood, 
 but in type, if not actually in its pursuits, it is always 
 debased, so that the lover of such art as deals with 
 beautiful things cannot wonder over much at the 
 phrase of the Great Monarch who, when the creatures 
 
142 MASTERS OF GENRE PAINTING, 
 
 of Teniers' pencil were brought in amidst his magni- 
 ficence, desired that they might be promptly removed 
 " Otez-moi ces magots-la." 
 
 But the monarch did not know how to do justice 
 to the truth and skill with which that crowd of 
 human maggots was realised. Familiar too much 
 with the art that before all things will be pretty, he 
 saw no virtue in an art that before all things would 
 be veracious. Yet it can hardly be demanded of any 
 man now-a-days that he shall find particular joy in 
 the Genre painting of Teniers ; too much of art not 
 only more immediately fascinating, but more justly 
 and abidingly attractive, is brought within his ken ; 
 but he may be asked at all events to give Teniers his 
 due to recognise the truth of the type, the unceas- 
 ing industry in the seizure of the thousand individuals 
 that belong to it; the marshalling of these squat 
 figures into combined movements of harmony, even 
 of fire and grace ; the frequent and goodly sobriety 
 of tone ; the occasional brilliancy and flush of colour. 
 
 In execution, the work of Teniers is perhaps at 
 its best in the signed pictures of his middle period. 
 Unlike Ostade, he decayed in his old age. And his 
 execution, in his best time, appears of two orders. 
 His work could display the always prized quality of 
 dainty precision of almost accurately imitative re- 
 
OSTADE, TENIERS, AND BREKELENKAMP. 14-3 
 
 production or it could possess tlie broader sugges- 
 tiveness of an interpretation large and free. Com- 
 promises are there also between the two methods, 
 such as in the picture of the market gardener the 
 gardener with his barrow shown at Burlington 
 House in 1877, and recognised then as fresh and 
 excellent in its kind. Execution, indeed, whether of 
 the most elaborate or of the freest and the sketchiest, 
 is that in which the strength of Teniers has generally 
 been seen. Sir Joshua even says that " his manner 
 of touching has, perhaps, never been equalled : there 
 is in his pictures that exact mixture of softness and 
 sharpness which it is difficult to execute." ISTor will 
 the visitor to our National Gallery care to deny 
 this, if he stops before the bright little figure of 
 The Tojper one of the lightest and breeziest of 
 character sketches "^ or before the Boors Regaling, 
 with its background figures sharp, detached, like 
 figures in a frieze, so careful, so composed in out- 
 line and arrangement as was Teniers' wont ; or be- 
 fore the figures of The Seasons, with their rare 
 truth to nature in its pleasantness. And then, 
 amongst so many others, there is the Paysage avec 
 
 * It is signed I know with that T within a D which is accounted 
 generally" the signature of the less famous father ; but it is ascribed 
 nevertheless to Teniers the younger, who is thought to have not 
 always been careful to distinguish his own from his parent's work. 
 
144 MASTERS OF GENRE PAINTING. 
 
 une Maison Bustique in the Van der Hoop Museum, 
 the famous Bonne Cuisine of the Museum of the 
 Hague a Teniers painted on copper, and in the 
 style of complete yet not mean realisation habitually 
 extolled; there is The Guard Room, with its un- 
 wonted differences of lighting the distance from 
 gate to courtyard, from courtyard to outer gate 
 again, and so beyond, marked with precision rare 
 and notable there is The Festival, in the possession 
 of the Queen, with its ordered disorder, with its rap- 
 ture of the dance the dance's various movement, free 
 yet controlled, serving the painter's need. We can- 
 not pass before the greater groups of Teniers before 
 the pictures in which he was not pre-occupied either 
 by the rendering of the details of the kitchen or the 
 larder, or by the j)resentation of humble raiment or 
 garden-stuff in agreeable fulness and concord of 
 glow without avowing that, among the painters of 
 low life, he was somewhat alone in the dignity he 
 cared to give to those grouped figures which made, 
 not the main theme of his work, but the decorative 
 charm of his background. In idea, as well as not 
 seldom by mere hastiness of skilful execution, there 
 is something of decorative art in the art of Teniers 
 a design from which nobility of movement and 
 contour is not absolutely banished. When Teniers 
 
OSTADE, TENIERS, AND BREKELENKAMP. 145 
 
 was occupied with men as individuals, he was 
 occupied with vulgar men ; but when his men are 
 the pure landscape painters' figures, placed here 
 or there for the picture's sake, for vivacity of 
 motion or as agreeable lines in an ordered design, 
 the vulgarity has gone out of them, and they take 
 their place not unworthily in the midst of that quiet 
 country, that placid nature of undulating field and 
 breezy sky, which Teniers loved. 
 
 The place of Teniers among the artists of the 
 Low Countries must always be high. It was high in 
 public estimation already in his own day, when good 
 society of Spain and Flanders met not seldom at his 
 chateau outside Antwerp.^ He obtained in his long 
 lifetime the full honour and reward due to his place 
 among his fellows : he was Court painter, he was 
 chamberlain to the governor of the Spanish Nether- 
 lands : but his place was gained and kept very speci- 
 ally, as we are bound to remember, by the variety of 
 his qualities more than by the preponderating influence 
 of any one of them. He was a master of technical pro- 
 cesses,but that was not all. He was the rival of Ostade 
 in the keenness of his perception of what was low, and 
 what must needs be humorous and be welcome, in the 
 
 * The chateau at Perck, his picture of which is in the National 
 Gallery. 
 
 L 
 
146 MASTERS OF GENRE PAINTING. 
 
 peasant life ; but that was not all. He gave to certain 
 of his figures, to certain of his groups, a dignity of line 
 and contour found only besides (among his brethren 
 of the Low Countries) in one artist of more brilliant 
 spirit in Jan Steen. He was almost alone, and 
 even where not quite alone, he was certainly the 
 foremost, in the felicitous alliance of the representa- 
 tion of the humble merry-making with the art of the 
 landscape painter. He found a genuine and ever 
 fresh and various interest in the changing aspects of 
 a country world monotonous to duller eyes ; and in 
 the effects of weather gleam of sunshine striking 
 across meadows, or gathering of clouds over the 
 fully charged stream he anticipated something of the 
 task and the delight of the modern art of landscape. 
 
 For twenty years, beginning with the middle of 
 the Seventeenth Century, we trace thS signature to 
 pictures of Genre of a man of whom nothing was 
 known until lately, and onlytoo little can be known now 
 Quilijn Brekelenkamp. His work unrepresented 
 in our National Gallery, and not seen quite at its 
 best in the Museum of Amsterdam is of so high an 
 order in Dutch Art that we cannot think of him as 
 we have been bidden to do, chiefly as the pupil of 
 Gerard Dou, or chiefly as the follower of Ostade. 
 
To face lage UO 
 
 Brekeleiikainp : ' J^ii Coasultati 
 
OSTADE, TENTERS, AND BREKELENKAMP. \Ac7 
 
 Perhaps he forfeited individuality he forfeited at 
 least the chance of promptest recognition by the 
 wide range of his work. In comparison with the 
 more popular masters whose pictures have been ex- 
 plored by several generations, the canvasses which 
 we attribute to his hand are few. But the few can- 
 vasses show many themes. In one Brekelenkamp 
 follows Ostade at his best, Ostade at his most artistic, 
 at his most refined; in another, in A Chemisfs Shop, 
 he recalls the preoccupation of Peter de Hooch, 
 busier with problems of light than with problems of 
 character ; and so it is, too, with his Boutique de 
 Tailleur, in the Van der Hoop Museum. Once, in 
 a picture I saw at an auction room, he had painted 
 rough kitchen life with what must needs have been a 
 native refinement. And again, in the subject of which 
 a sketch is given in this book, La Consultation, from 
 the Salle Lacaze we have Brekelenkamp engaged 
 with a favourite subject of Jan Steen. The quiet and 
 gentle dignity of the group of two is worthy of re- 
 cord : and the people and the scene are painted with 
 the simple directness of Brekelenkamp's art. Like 
 most of the true painters of character, he found two 
 or three figures enough for him. With a crowd a 
 painter must be slightly acquainted ; the selected 
 two or three he may profoundly know. Sometimes 
 
 L 2 
 
148 MASTERS OF GENRE PAINTING. 
 
 witli Quilijn Brekelenkamp these two or three were 
 subordinate to the effects of light and line and tex- 
 ture he was then near to De Hooch or near to 
 Teniers but oftener, as with Steen, character was 
 the supreme interest. He had a various and a 
 masculine mind, and he put it into his work. 
 
149 
 
 THE PETTY MASTERS. 
 
 And now we have considered, perhaps, the artists 
 who did most to worthily uphold the art of Genre 
 Painting in the schools of the Low Countries, and 
 are to pass from that world of reticent manner 
 and limited charm to the world of sunnier and 
 ampler life which opened to the privileged classes of 
 the Eighteenth Century in France. As we cross the 
 border and go from Amsterdam and Haarlem to 
 Paris and "Versailles, a fine sense of human beauty 
 and grace, happily nourished on the sights of every 
 day, comes to be added to that keen penetrating 
 quality of which the Dutch themselves had already 
 so much. But so many Dutch masters of whom the 
 dictionaries tell us nay, whose works face us proudly 
 in every gallery in Europe have thus far been with- 
 out a word. In a school great and influential like 
 that of Holland, there is necessarily the company of 
 minor artists witnesses to the virtue of their leaders : 
 pupils perhaps, perhaps followers, with this much of 
 what is in them derived from another, and that much 
 
ISO MASTERS OF GENRE PAINTING. 
 
 painfully or spontaneously developed from their own 
 nature and their own observation of life. Then, 
 again, there are the eminent men who upheld the 
 art of Genre Painting less worthily, as it seems to 
 us, with our taste of to-day, than most of those of 
 whom we have been thinking in these by-past pages, 
 but who whether because too fortunate in their own 
 time or too slightly esteemed in ours hold a rank 
 verj- different now from that exalted one which their 
 own time accorded them. This at all events is an 
 important class : it consists of men of whom the 
 world has at least heard : for the large public, little 
 occupied to get the first news of changes of taste, 
 some of these men have still names that bear autho- 
 rity. Gerard Dou, Frans Mieris, his pupil or asso- 
 ciate, and Wniiam, the son of Frans, were reckoned 
 a century since among the most imposing and mar- 
 vellous of masters. The field for popular triumph 
 was at one time almost theirs alone among the Genre 
 painters ; and if Metsu and Terburg and Jan Steen 
 a generation ago, and De Hooch and Van der Meer 
 and Nicholas Maes to-day, have come up to share, as 
 it were, their triumph even, as one hopes, to prevail 
 over them for ever in the eyes of those who look for 
 mind and spirit in the art of painting still the 
 place that was won by these men long ago, and which 
 
THE PETTY MASTERS. 151 
 
 they have never wholly lost, was won by qualities 
 which it behoves ns not quite to ignore. 
 
 Two points have told greatly, even in these recent 
 years, against a cordial acceptance of the Dutch 
 Genre School by the thoughtful man, by the tasteful 
 woman by the hdle dme with whom lies after all in 
 the last resort the faculty and right of judgment on 
 beautiful things. The first is the dominance, not of 
 beauty at all, but of unmitigated ugliness, in so many 
 of the Dutch pictures the result not alone of that 
 special aptitude for hideousness of which certain men 
 give evidence, but also of the world that was around 
 these painters in their daily lives, and the unrecog- 
 nised consequence of 
 
 Was ims alle bandigt das Gemeine. 
 
 And the second point is the dull and petty me- 
 chanism of too many a long accepted master. It 
 happens that the two faults are rarely found toge- 
 ther. Indeed, they are almost incompatible. Dusart, 
 Bega, and Brauwer are the masters of the repul- 
 sive : Brauwer, through his brief life and stormy 
 days, the strongest, truest, most repulsive of the 
 three. Gerard Dou, Frans Mieris, and William 
 Mieris are the masters of the petty. They concen- 
 trated their attention upon realising in their art 
 the accurate prose of material things. On the small 
 
152 MASTERS OF GENRE PAINTING. 
 
 scale of his invariable choice Gerard Dou was the 
 most successful. His at all events was the finer and 
 daintier imitation. What seems the meanness and 
 narrowness of aim common to all crushed him the 
 least. Of course he had no large entrance into the 
 interests of life. Pupil of Rembrandt, he was never 
 in matters of the mind Rembrandt's follower. But 
 there are portraits by him, there are tiny figures on 
 his curiously wrought panels such as the tailoress 
 at the Hague,* with face gravely pleasant that 
 show, now and again, not profundity indeed, but the 
 qualities of esprit and attractiveness. There is some- 
 thing of esjprit in his very touch. It has less of 
 dull and laboured elaboration than the touch of the 
 Mierises. And in this quality of esprit^ Schalcken, 
 his scholar, to some extent resembles him. Both of 
 them can paint faces which it is not disagreeable to 
 know. In Don's portrait of himself in our National 
 Gallery we have a picture characteristic no doubt of 
 the man as well as of the artist. He was a very 
 finished little gentleman, and his portrait shows him 
 with small pale brown eyes, wide apart; the delicately 
 moulded pleasure-ioving mouth only softly closed 
 not firmly set. A pipe is in his long and slender 
 tapering hand. He is thirty-three or thirty-five. 
 
 * La Jeune Tailleuse : one of the finest works of Gerard Dou. 
 
THE PETTY MASTERS. 1 53 
 
 And near this picture hangs the portrait of his wife, 
 in which we see Don's work fullest of the qualities 
 that it is best for it to have the extreme delicacy of 
 manipulation justified by the daintiness of the theme. 
 The wife, with her small prettiness, is painted con 
 amore, in a green gown bordered with fur: in a 
 white chemisette and with ornaments of pearl. She 
 is fresh- coloured, with brown eyes and warm brown 
 hair, the delicate lips a little parted. Yet happier, 
 because affording more opportunity for graces of 
 composition, is a picture portrait at Bridgewater 
 House. It is said to be Dou himself. Here the thin 
 and agile figure, seen full length, sits in a chamber 
 crowded with the signs of the pursuits and pleasures 
 of the educated class, and the dainty hands are 
 closed lightly over the fine lines of a violin. Let us 
 hope that works like these, with something of the 
 interest of humanity and something of the interest 
 of legitimate art, were in part the occasion of his 
 fame. His Poidterer^s Shop, with the skinned rabbit, 
 duck and hare and cock with its horrible red 
 truth to hideous objects may well be the surprise of 
 the vulgar. And here and everywhere the minute- 
 ness of scale is the delight of the curious. 
 
 Schalcken was the painter of candle-light as it 
 fell upon pretty little things accessories of the 
 
154 MASTERS OF GENRE PAINTING. 
 
 toilette, the furniture of the dressing table and the 
 National Gallery has all we need require in the study 
 of his work. Like Dou, he was a painter for the 
 upper classes of art patrons. These would chiefly 
 care for the themes he chose and for his way of 
 treating them : for LesMa Weighing Jewels against her 
 Sparrow, the refined illustration to Catullus and the 
 best of Schalcken's works in England if by triumph 
 of dainty imitation we must rank him. These would 
 care for The Singing Lesson, with its luxurious in- 
 terior ; for the evening scene in the warmly-lighted 
 bedroom, where a soldier presses jewellery on a lady 
 nothing loath. Schalcken's art ministered to plea- 
 sure. He was wholly secular and wholly luxurious. 
 He was the painter of the trivial and the painter of 
 the superfluous a typical " petit-maitre." 
 
155 
 
 WATTEAU. 
 
 1684-1721. 
 
 In Watteau's day some of the people who meant 
 to be sincerely his friends scarcely began to know 
 what were really the greatest virtues in the art he 
 practised with such feverish ardour. De Caylus, in 
 careful lines written for the Academy to listen to, 
 made sapient reflections on things lacking to his 
 work. And Watteau himself had what it is pleasant 
 to think of as the modesty of genius ; at least he 
 had none of the visible self-confidence of successful 
 talent. He was not he had not been able to become 
 that which he wanted to be. He died still young, 
 but after a restless life which he had mistaken for 
 failure. His personal qualities, bright, tender, and 
 loveable, ensured him certain friends, but he found 
 them less in his equals than in one or two curious and 
 kindly collectors of his art, and in a country clergyman, 
 remembered now for Watteau's love of him. The 
 merely fashionable buyers of the day purchased his 
 pictures and thought them just as light, as pretty. 
 
156 MASTERS OF GENRE PAINTING. 
 
 as superficial as they wished them to be. Watteau 
 remained dissatisfied, and the circumstances of his 
 life counted for something in the discontent, for he 
 was profound in a trifling generation, and was emi- 
 nent for intellect in an age eminent for the triumph 
 of the senses. But his temperament counted for 
 more. He was physically weak his nervous system 
 too finely developed for the success that pays no 
 penalty. A man's temperament, active and brilliant 
 as Watteau's, includes the qualities of womanhood. 
 He was like a book closed to the duller apprehension. 
 Among common minds, this mind of Watteau, so quick 
 to see and to feel, found itself homeless and lonely. 
 
 The child of a tiler of Valenciennes, Watteau was 
 born (in the autumn of 1684) into the smaller bour- 
 geoisie. The story of his earliest years is only the habi- 
 tual one among artists first of parental opposition to 
 his career, then of aid grudgingly given for the in- 
 efficient training to be had of the provincial master. 
 It matters very little to us now whether the father 
 of Antoine Watteau, at one time anxious for his 
 son to be a tiler like himself, did or did not con- 
 tinue long in attitude of opposition, for the result in 
 either case is before us, and could hardly anyhow 
 have been other than it was. For Watteau's life, 
 and especially his early life, the materials are small : 
 
WATTE AU. IS7 
 
 there are four pages prefixed to a reproduction of 
 certain of his works issued after his death : there are 
 the anecdotes which the compiler of a last century 
 catalogue the catalogue of Lorangere gathered 
 together to add interest to the scattering of a collec- 
 tion, and there is the memoir which the Count de 
 Caylus read to the Academy at its sitting of the third 
 of February, 1748. As to the difficulties of the 
 painter's days at Valenciennes these various records 
 differ ; but what is known is that while still almost 
 a youth Watteau came to Paris the narrow 
 fortunes finally abandoned for more adventurous 
 career, that might include, as far as outward things 
 were concerned, complete triumph or complete failure, 
 as Watteau himself had learned to understand lonof 
 before he uttered the phrase that has become a pro- 
 verb of despair^ " Le pis-aller, n'est ce pas I'ho- 
 pital ? " 
 
 One of the stories says that he was drawn from 
 Valenciennes by a painter who worked for the Opera. 
 Another, that his first Parisian master was Metayer 
 " peintre mediocre " and that he left him very soon. 
 The Pont Notre Dame became a resource by which 
 he eked out a living : it was there that the small 
 traders of the day had established a market for 
 copies : the copies of copies, the originals of which 
 
158 MASTERS OF GENRE PAINTING. 
 
 were themselves remote from the works that they 
 professed to actually be. It was from business of this 
 kind from copying sacred works, and I suppose in- 
 venting them that Watteau passed on to be a pupil 
 and a helper of Gillot, and afterwards, whether from 
 Gillot's jealousy or Gillot's good will, passed again 
 from the studio of the early painter of the operatic 
 festival to the studio of Claude Audran, the concierge 
 of the Luxembourg, a decorative painter, a designer 
 of ornaments. In the Palace of the Luxembourg 
 Watteau was lodged with his master. There were 
 before him the pictures of Rubens, which fired him 
 with the desire of movement and life in his art : so 
 much did he remember them that in the period of 
 his maturity he introduced into the group of Tlie 
 Surprise'^ two figures violent of action that are 
 Rubens' wholly except in the costume. And there, 
 too, in the gardens of the Luxembourg, were the 
 scenes that became later the elements of his selected 
 landscape not a landscape of the opera, with trees 
 of the coulisse, the boarded foliage of the wings of a 
 theatre, as has been often declared, but a landscape 
 of ordered beauty and carefully planned pleasantness ; 
 the scene not indeed of rustic occupation and of the 
 growth of field crops, but such a stately garden land- 
 
 * Buckingham Palace. 
 
WATTEAU. 159 
 
 scape as might alone be allowed to surround the Medi- 
 cean palace. 
 
 The presence of Eubens, the presence of the 
 Luxembourg, the presence even of such design of 
 Audran as drew its motives from the Eenaissance, 
 and taught that sense of rhythm and harmony of line, 
 for line's own sake, which the art of the arabesque 
 teaches best, counted for much in the making of 
 Watteau. And from Gillot he had his example in the 
 themes of the fete galante. But these things alone, 
 acting upon a nature of not much more than ordinary 
 intelligence and sensitiveness, though they might, with 
 years of waiting, have produced an artist of secular 
 mind enamoured of the ardours of physical life, and 
 of large, noble, and gracious forms, would never have 
 produced Watteau as his work reveals him to us. It 
 is interesting to take note of them as influences on 
 his career as some of the chance circumstances 
 which bend, this way or that, even the impulses of 
 genius. But Watteau speedily brought into his 
 work his peculiar and personal qualities a profundity 
 of vision into human character ; an observation so 
 accurate and so novel that it detected differences in 
 kindred types the variety of which had escaped the 
 efforts of a rougher analysis ; and a vivacity and cer- 
 tainty of hand which indeed never failed him, but 
 
l6o MASTERS OF GENRE PAINTING. 
 
 which in all his work served him most exquisitely 
 in the quite perfect record of those French graces of 
 motion and stillness which express not merely phy- 
 sical beauty but the mind's sprightliness, quickness, 
 and courtesy. 
 
 Watteau began his independent work by a con- 
 scious and planned departure from the ways of all his 
 masters, but he did not at first discover his own. He 
 painted the soldiery : only once, indeed (and wisely 
 only once), in those moments of battle with which he 
 was never familiar, but oftener on the halt, as the 
 troops pass through the village, or the departure for 
 the war, or the amusements of the camp. Perhaps 
 he never quite abandoned that order of theme, but it 
 soon became secondary. " Le sieur Cochin," says 
 Lorangere, has engraved two of the earliest. Wat- 
 teau went away to Valenciennes at the end of his 
 period of pupilage and service, and from thence sent 
 the second of them to the " sieur Sirois," the patron 
 who had admired the first and commissioned another. 
 The journey to Valenciennes, undertaken then, when 
 Watteau must needs still be poor, may possibly have 
 been prompted by that wish to see his parents and 
 his early companions which the artist avowed as the 
 reason of it ; but it may also be that he was wanting 
 an excuse to break completely with those associations 
 
WATTEAU. l6l 
 
 in Paris which had taught him something, but from 
 which he had now gained all that they could give ; 
 or it may well be that the desire to go the very 
 home-sickness, if such it was came of the restless- 
 ness, the changefulness of mind and mood, which from 
 the first was in the temperament of Watteau. At 
 any rate we find him, without any long sojourn, in 
 Paris again, and his reverence for such great old 
 masters as he knew, whether of Venice in the Six- 
 teenth Century, or of Flanders in the Seventeenth, 
 urged him to obtain if possible the knowledge of 
 others, and made him a candidate for the prize of 
 Rome. In 1709 the second prize fell to his lot, 
 but it did not bear with it the grant for the 
 wished-for journey. More and more an admirer of 
 Venetian art its composition and its colour Wat- 
 teau still counted upon the prize of Rome as a means 
 of seeing Venice. But there were those who soon 
 held of him that he did not require the opportunity; 
 and when, three years after the first effort that is, 
 in 1712 he showed to members of the Academy 
 certain works that he hoped might get him the boon, 
 one of the influential, it is related, taking him aside, 
 said that he knew more of his art than many Acade- 
 micians, and that the time had come not for the prize 
 he was waiting for, but for reception into the Aca- 
 
 M 
 
1 62 MASTERS OF GENRE PAINTING. 
 
 demy itself. M. de la Fosse, a forgotten celebrity, 
 an ignored artist, but a generous and influential fur- 
 therer of the art of others, urged him to undertake 
 the formal visits of request for admission, and all 
 should be made smooth for him. So, unexpectedly, 
 did Watteau achieve a position, and the painter who 
 was to give a new life and value to the often trivial 
 theme of the fete galante the painter who in his 
 early manhood had now been singled out less for the 
 work by which he would be eventually remembered 
 than for the work in which he had attempted to be 
 the Wouvermanns of France found himself far 
 on the road to be fashionable : his pictures talked 
 about, his rooms crowded, his time engaged by the 
 attentions of the demi-connoisseur. 
 
 This was the period at which it was very fitting 
 that De Caylus should make his acquaintance, and 
 begin to undervalue his pictures, thinking all the 
 while that he was praising them. " Watteau," said 
 De Caylus, years afterwards, in his paper for the 
 Academy, "voyait Tart beaucoup au-dessus de ce 
 qu'il le pratiquait." He seemed then to " practise 
 it " very humbly. For De Caylus, the art of Watteau 
 was " piquant," and scarcely more. Yet De Caylus 
 expressed in sober words to the Academy the judg- 
 ment of the day. Perhaps the humble painter him- 
 
WATTE A U. 163 
 
 self hardly knew that he was profound. His critic 
 told him he was " as mannered as he could be," and 
 one day praised him for being " correct in the expres- 
 sion of his fabrics." 
 
 Fortunately Watteau discovered amongst the 
 crowd two or three more appreciative persons 
 though De Caylus, we may be sure, intended to 
 be good-natured, and was now and then helpful. 
 There was De Crozat, the great and cultivated 
 amateur for whom he sometimes painted ; at whose 
 house he stayed long and with a welcome, and who 
 gave him free access to a rich and useful gallery. 
 There was M. de Julienne, the friendly patron 
 whom Watteau represented with himself the painter 
 holding a palette ; the patron, who was so much a 
 friend, playing the violoncello by his side. De 
 Julienne seems to have counted no hours so well 
 spent as those which were spent in Watteau's 
 society, and no pictures so well bought as those 
 which came from Watteau's brush. For him 
 Watteau's art was "I'art divin." Indeed he is 
 reputed to have been at one time the owner of nearly 
 the whole of Watteau's works, When distance 
 divided the two friends they took to letter writing. 
 Books passed between them. "Eeading," admits 
 De Caylus, " was Watteau's greatest delight." He 
 
 M 2 
 
1 64 MASTERS OF GENRE PAINTING. 
 
 liad also, it seems and tliat must have pleased M. 
 de Julienne " la delicatesse de juger de la musique 
 et de tous les ouvrages d'esprit." For several years 
 the two men were associated intimately, and after 
 Watteau's death it was De Julienne who was pre-- 
 eminently the furtherer of his fame : it was he who 
 undertook the business of arranging at great cost 
 with the skilled engravers of the day, that they 
 should apply themselves diligently to translate into 
 black and white the pictures of the master. The 
 task was splendidly achieved, and, on De Julienne's 
 part at least, love for the work was at the bottom of 
 the energy, though " in giving these things in their 
 perfection " wrote he very modestly and adroitly 
 as the last lines of the prospectus of them " M. de 
 Julienne has had as much in view the satisfaction 
 of collectors as the reputation of Watteau, who was 
 his friend." There is no pleasanter story of friend- 
 ship to tell, even in that age in which these two 
 men lived an age of friendship often closely culti- 
 vated by those who held no virtue greater than the 
 virtue of helpfulness. 
 
 Some other friends of Watteau deserved to be 
 at least briefly noted. There was M. Sirois, an early 
 supporter Lorangere's father-in-law, and the buyer 
 of some among Watteau's earliest pictures. Many 
 
WATTEAU. 165 
 
 years after their first acquaintance, the painter, seek- 
 ing for quietness, found refuge and retirement at M. 
 Sirois's the " instability " of character on which De 
 Caylus insists at all events not having estranged Wat- 
 teau from those who had very thoroughly liked him. 
 Again, there was M. Yleughels, sometime director of 
 the Academy at Eome, but whom our painter knew 
 in France only, and with whom he was wont to live. 
 Lastly, a man for whom Watteau in gratitude went 
 so far out of his way as to paint a religious picture 
 I'Abbe Harenger, a clergyman of Nogent, near 
 Vincennes. To Harenger's house, in the quiet village 
 with its poplar-edged fields lying along the Marne, 
 Watteau betook himself when he was experiencing 
 in ruined health the last fatigues of Paris. Sprightly 
 of observation, sober of life, often by reason of his 
 temperament sad of spirit, Watteau during the fif- 
 teen years of his manhood owed much to one or 
 other of these faithful friends, and showed that he 
 knew it. He worked constantly during those 
 fifteen years, but not always with persistence in one 
 object. '' He talked well," wrote M. de Julienne : 
 " he wrote well also ; and he was almost always 
 meditating." 
 
 It is related that there was some difficulty in 
 getting Watteau to decide on his diploma picture 
 
1 66 MASTERS OF GENRE PAINTING. 
 
 to wliich the Academy was entitled. It came five 
 years after his admission to the honours of the 
 society, but when it came he had chosen no unworthy 
 work."^ Failure of health, and restlessness or the 
 desire of travel, took him in 17 19 to London, of 
 wliich friends had told him ; and the tradition is 
 that he was well received. Afterwards, with health 
 finally broken, he was again in Paris : then quitted 
 it for !N'ogent, and there died, at the Abbe's house 
 July 18, 1721 aged only thirty-seven. 
 
 To the precise and intimate truth of various 
 gesture, which the greater Dutchmen of the Seven- 
 teenth Century had made their own, Watteau added 
 a refined vivacity and exquisite grace to be learned 
 from the every-day models of France, and hardly to be 
 learned from any others. In his quickened and in- 
 tense appreciation of that grace and that vivacity so 
 happily before him, lies the key to the fine peculiarity 
 of his art. For his appreciation of these things 
 enabled him to record and reveal many most signifi- 
 cant beauties of character and being too much ac- 
 customed to be overlooked and mistaken ; and the 
 veracity and range of his art of gesture mark it ofP 
 as something very different from a merely mecha- 
 nical accuracy in the reproduction of pantomime 
 
 * L' Emlarquement pour Cy there. 
 
WATTE A U. 167 
 
 from a mimicry whicli may well owe part of its 
 seeming success to the clear shallowness of an ob- 
 servation untroubled by thought or memory, and 
 forgetting the action of the just past moment in the 
 action of the present. If what is commonly under- 
 stood as incident had a greater place in his work, if 
 he were more engaged with the course of his story 
 and less with the nature of his characters, his work, 
 while more popular (since fraught with the interest 
 of obvious and intelligible theme), would be less 
 precious and valuable, and its novelty would be less 
 really original. I am thankful then that he was a 
 painter of comedy, and not a painter of melodrama, 
 for the light and daily action of the one leaves play 
 for the truths and graces of character far better for 
 most of us than does the exceptional moment or the 
 exceptional fortune of the other. And we shall not 
 have begun to get at the truth about the art of 
 Watteau until we have done with the well-worn 
 fancy that he can only be superficial, because his best 
 painting is the painting of a picnic or of an embark- 
 ation to an isle of secular happiness and light- 
 some loves. De Caylus himself urged somewhat 
 regretfully that there was no violence by which he 
 meant no intensity in the pictures of Watteau : " il 
 ne s'est jamais expose a rendre aucune passion.'* 
 
1 68 MASTERS OF GENRE PAINTING. 
 
 " Expose a rendre ! " indeed. There are drawings 
 of Watteau that might confute the statement, yet it 
 is plain that passion was not his preference. But 
 as to the representation of it, was he incapable or 
 was he careless? Perhaps the truth is that one 
 dominating passion would have been too simple a 
 thing for him ; and as in the gestures of his figures 
 in all the trained grace of them he records the in- 
 fluence of breeding and race, so in the expression of 
 his faces (where these are not the very young faces 
 of promise alone) he records not a dominating im- 
 pulse but the experience of a life. His greatest 
 faces albeit the owners of them may but rest just 
 now in tree-shaded gardens or put out in golden 
 pleasure barques, on summer waters are the faces 
 over which a various life has passed, and their 
 painter has profoundly known it. Of that various 
 life he has given them the inextinguishable interest, 
 so that for the spectator of them they are no simple 
 reflections of a mood of anger or bliss. There is no 
 one passion, but of passions, sufferings, likings, 
 gentle thoughts, the trace and track. 
 
 There is a way in which we are able to explain 
 to ourselves the dissatisfaction which, as contempo- 
 rary chronicle assures us, Watteau felt with his own 
 painted work. His painted work is not in its record 
 
WATTEAU. 169 
 
 of character the equal of his drawings. Other quali- 
 ties and charms, the necessary and expected gains of 
 finished work in well skilled hands, the paintings 
 acquired ; but this supreme and most enduring in- 
 terest, the interest of character, some of them were 
 "without. The precision of figure drawing was hardly 
 less keen, and the grace of gentle action was all the 
 greater because for the full beauty of both in the work 
 of Watteau each figure must have relation to some 
 other. And it had that, of course, in the completed 
 pictures-- had it most perfectly in the Emharquement 
 pour Cythere. 
 
 And again, his control and command of noble 
 hues, golden and brown, and crimson and grey, are 
 displayed completely only in his pictures ; though 
 they are certainly suggested in the drawings by 
 his adroit employment of the reds touched with 
 black, or blacks touched with red, that in realising 
 gradation, indicate change, and pamt for us, as it 
 were, in the limited colours of his couple of crayons, 
 the sunny complexion and the hair of ruddy gold. 
 They can but suggest, however, what the picture 
 can realise : not for them actually tlie rosy gold of 
 the JEmbarquement, the steely greens of the Finette, 
 the warm and creamy whites and full-flushed browns 
 of Gilles. And the picture too, the finished compo- 
 
170 MASTERS OF GENRE PAINTING. 
 
 sition, has a rhythm of line carried into subtle 
 complications to which the drawing must needs 
 remain a stranger. But for the drawing is reserved 
 that crowning value of Watteau's work which to 
 those who have once entered into it accounts for and 
 ensures its continual fascination his very keenest 
 and yet most gracious record of the secrets of 
 character, of the history of a life perhaps very 
 weary, perhaps very happy, at all events very full. 
 The pictures of Watteau are, with hardly an excep- 
 tion, small that is, the figures are small but the 
 scale is much larger in these great drawings which 
 fortunately remain : the " studies " as they would be 
 called in inaccurate description : the "pensees," the 
 thoughts for, the very motives of, the pictures, as he 
 called them himself. And it may be that for 
 Watteau not troubled, probably, very much with 
 the reflection that the Virgin of his sacred picture 
 was a comely village girl and nothing else, and that 
 his pictures of the soldiery were below Wouvermann's, 
 and his rendering of a tempest only worthy of the 
 scene painter of an opera it may be that for 
 Watteau the unattainable and longed-for thing was 
 the quite adequate transfer of a character from 
 paper to canvas, from the isolation of the drawing, 
 with its simpler material, to the crowd of the picture, 
 
WATTEAU. 171 
 
 with its different conditions and its more complicated 
 aims. For this, whether the painter thought it or 
 not, is at least the most important matter in which 
 the great art of Watteau yields to the great art of 
 Eembrandt in which the intellectual painter of the 
 chosen world of France lags behind the supreme 
 painter of all the world of Holland. 
 
 Watteau had never all the world before him : the 
 limitations of his practice were stricter than the 
 limitations of his mind. He was thrown chiefly 
 with the great and with those who ministered to 
 the wants of the great : with lord and lady, actor, 
 musician, damsel, servitor. But when he dealt with 
 types with which these, his selected ones, had nothing 
 in common, he was likewise quickly and clearly at 
 home. Not very often does the theme of some 
 bourgeois occupation strike in among the subjects of 
 cultivated leisure and pleasure; but it does 
 sometimes, as in U Occupation selon VAge, and in 
 several drawings. And when it is dealt with, it is 
 dealt with thoroughly : the spirit, if not always the 
 letter of it, has been well observed. The place of 
 the bourgeois, seen now for the first time in French 
 art, is plainly admitted, as the bourgeois himself is 
 at this time just beginning to assume importance, to 
 see the employment of the Civil Service open to him. 
 
172 MASTERS OF GENRE PAINTING. 
 
 to save money, to taste the comforts and recreations 
 of a life not wholly menial or material. The place 
 of the bourgeois, during the next half-century, is 
 gradually to become greater, till it is not only 
 admitted, but defined and honoured in Art, in the 
 accurate poetry of Chardiu. But Watteau already 
 understood a little of the staid charm of the French 
 bourgeois quietness. 
 
 "Le peu]3le," too that more abounding class 
 which existed, in the days of Watteau, in the 
 interest not of itself but of the nobles is pourtrayed 
 here and there, in a stray figure, with the remem- 
 brance of the early Valenciennes days, and with the 
 observation of the streets of Paris. Here most 
 happily perhaps in Miss James's collection of draw- 
 ings, the unequalled assemblage of the pensees of 
 the master is a mendicant woman, half peasant 
 and half tramp : a beggar woman, basket in hand, 
 looking us full in the face with all the confidence 
 (nay, all the insistance) of French mendicancy, 
 whether now or then. Again, in the same collection, 
 which reveals as does no other Watteau's range 
 and skill, is the draggling and half-drunken figure 
 of a skinny and loose-gestured youth, now at the 
 fag end of a short life that began in debauchery and 
 ends in drivel. The art of Watteau, which reflects 
 
WATTE AU. 173 
 
 the charm of the actual, can reflect, if need be, its 
 repulsiveness. 
 
 Of men's faces few appear to have interested the 
 painter so much as the mobile faces behind the 
 footlights of the theatre behind the footlights and 
 behind the scenes the theatre interested him, and he 
 knew profoundly its peculiar vivid life which others 
 studied vaguely. Often enough often, I know, by 
 choice he is occupied with the race of artists : 
 genus irritahile, of which he was himself pre-emi- 
 nently one. In rare works among his rare portraits 
 they are avowedly recorded. There is the engraved 
 drawing, for instance, of the sturdy yet kindly 
 intelligent face of J. B. Eebel, " compositeur de la 
 chambre du roi ; " and at Valenciennes there is a 
 painted portrait of Antoine Pater, the sculptor, 
 father of Watteau's pupil. Mariette assures us 
 that the countenance of Yleughels, the painter, 
 appears as one of the faces etched by Cars in the 
 Recueil des Figures de Differents Garaderes; and 
 from the writing on the margin of a drawing at the 
 Louvre we learn that that sheet makes us acquainted 
 with the features of the flutist Antoine, the Italian 
 singer Paccini, and a Frenchwoman who appeared 
 like these at Crozat's concerts D'Argenton. This 
 and that fascinating damsel of the theatre is here 
 
174 MASTERS OF GENRE PAINTING. 
 
 and there, and there again. But as far as I have 
 been able to see or to discover, no face appears so 
 often and so readily as the face of the comedian 
 Poisson. Pourtrayed avowedly in those little Figures 
 Frangoises et Comiques, which are engraved with so 
 light and sketchy a touch, he appears over and 
 over as a most chosen model, the square broad face 
 of quick expression set on the square shoulders and 
 the great but comely frame* He is in the back- 
 ground of the Fetes Venitiennes^ engraved by 
 Laurent Cars. I think we trace his profile as the 
 father in La Famille^ and certainly his is the 
 figure falling back in the Assemhlee Galante^ with 
 hand and arm upraised ; and again he is the man talk- 
 ing to the girl at the right of the engraving from 
 L^Ile Enchant ee. 
 
 And as Watteau repeated a favourite head, he 
 repeated a favourite gesture, or a figure that pleased 
 him. We may see that the figure of the girl putting 
 the rose in her bosom, in Les Champs Ely sees, is in 
 every accident as well as in every essential precisely 
 repeated in one of the three figures that form the 
 composition of Les Deux Cousines, And the whole 
 group of three which make up the dainty little 
 subject of Le Toucher the blindfold youth with 
 hands and arms extended in search, and the peasant 
 
WATTEAU. 17S 
 
 girl and man who stand together, and whom he is 
 darkly making for, as best he can is found again, 
 distinct enough bj itself, in the midst of the more 
 intricate and many-figured subject of Le Colin 
 Maillard. 
 
 On the whole the highest strength and keenest 
 accuracy of Watteau is not seen in his pictures of 
 men. Some element of truth is in the assertion of 
 De Caylus, when, having found harsh fault with his 
 drawings of the male figure, he adds, " Les corps 
 des femmes, exigeant moins d^ articulation, lui etaient 
 un peu plus faciles." But De Caylus ranked too 
 low the work of Watteau both with the one and 
 the other. For him, as far as pure draughtsmanship 
 was concerned, the men were bad : the women only 
 not so bad. First, of the men. Designs of the male 
 nude figure are found but very seldom in the draw- 
 ings of Watteau. An artist so careful for perfection 
 would have been less imperfect here less open, that 
 is, to the objections of pedantry if the outline of 
 the nude male figure had been a thing with which 
 he was seriously concerned. But though he draws 
 the face of a man with intense interest, the male 
 figure, in every accurate detail of its modelling, is 
 of less account to him. He deals in his pictures 
 with the draped figure generally: often even that is 
 
176 MASTERS OF GENRE PAINTING. 
 
 hardly more than a foil for the display of the grace 
 and vivacity of women, and his study of it has been 
 sufficient, if it has not been exhaustive. Then, of 
 the women we speak now of Academical studies 
 only : studies much independent of the charm of 
 gesture and countenance. Miss James owns draw- 
 ings that prove by modelling of torso, arm, and 
 thigh, on what a solid foundation of knowledge and 
 mastery rests the success of Watteau with those 
 costumed figures that people so vivaciously his 
 pictures of park and garden. The Louvre owns one 
 desigrn of which alike the motive and the execution 
 would do honour to any master a woman's deep 
 and ample figure seen from the side, the extended 
 arm and delicately modelled hand raised and curved 
 over the head : a thing splendid in roundness and 
 fulness of contour : perfectly harmonious in line 
 and gesture."^ The truth is, the nude of Watteau 
 never suggests the workmanship of the student of 
 anatomy. It suggests the healthy moving figure : 
 its substance for touch and its hue for the joy of the 
 eye. It realises life. 
 
 Boucher in his youth engraved after the master, 
 and we find, not only in his Pomona, proof how his 
 
 * See the illustration. At Sir Richard Wallace's there is a 
 picture of the nude, in which Watteau recalls, but does not re- 
 produce, this design. 
 
WATTE A U. 177 
 
 own lax line translated ill the decisiveness of Watteau 
 how he suffered the individual to pass away, and 
 needs must feebl}^ prettify the type that remained. 
 But in some of Watteau's own designs for the nude 
 in that study, for instance, for Le Printemps, the 
 picture " chez M. Crozat " in which for once the 
 Season was represented by him symbolically as a 
 naked figure seated, with promise of treasure scat- 
 tered in spring time over earth the touch is want- 
 ing in precision : it is not clearly begun nor promptly 
 arrested : it wanders only in the vagueness of a large 
 and sketchy outline : an ehaiiche at beginning : an 
 ehaitche still at the end. But even then the design 
 lives and moves has that quality at least in common 
 with designs of happier motive and of execution 
 more splendidly precise. The coldness of the purely 
 academical is never suggested. For ill as well as 
 for good it is so much away from the art of Watteau 
 that the nude figures of his statuary the statuary 
 in his gardens are not the unyielding surfaces of 
 sculptured marble. They are living things : entirely 
 modest, but entirely women. ^ 
 
 * See notably the statue in his Champii Ehjsces. It happens to 
 be precisely the female figure from his painting of Jupiter et Antiope 
 of the Salle Lacaze, of the Louvre. See also Recreation Italienne. 
 
178 MASTERS OF GENRE PAINTING. 
 
 Master, then, of the essential characteristics of 
 the nude figure ; master, as we have seen abeadj, 
 of the grace and expressiveness of gesture, Watteau 
 has risen here and there to such heights in the 
 pourtrayal of refined womanhood and ingenuous 
 childhood as have been surpassed by no earlier and 
 no later rival. We are among Miss James's treasures. 
 There is a drawing of a simple chubby bourgeois 
 child, who, with hands solemnly folded, looks at us 
 with almost an old woman's placidity : the placidity 
 rather that is of childhood and of age alone. There 
 is another, of a child knitting, with absolute business 
 and absorption, with not a thought but of the all- 
 importance of her work ^a thing to note indeed for 
 eminent delicacy of conception and handling."^ Even 
 better perhaps at least more of a picture is the 
 drawing that brings before us two girls looking and 
 leaning: leaning out over the ledge of playhouse 
 box, it may be to look at comedy, at Pantaloon, at 
 passing show of some kind, but with what different 
 minds, and the mind of each how absolutely realised ! 
 In each case it is expression caught in the act : at 
 
 * One of these children is used as a secondary figure in Sir 
 Richard Wallace's Leqon de Musique. Surugue has an exquisite 
 little print after this picture. 
 
WATTE AU. 179 
 
 the time when it is fullest and most revealing : only 
 in the one face the time is a moment, and in the 
 other much longer, for the one face chuckles glee- 
 fully, brightens to pleasure with an instant's sally, 
 while the other face is absorbed, and has been, and 
 will be, with grave intensity of interest. No painter 
 of childhood, of early girlhood not even the greatest 
 of our English who have excelled in this has ever 
 sketched the phases of girl-life with a touch quite 
 so precise, guided by an imagination quite so pene- 
 trating. For any equal of it, in sudden and vivid 
 truth, we must go back very far to the naive im- 
 pulsiveness of Florentine sculpture. 
 
 Then, again, there is Miss James's drawing of a 
 thin- cheeked girl of refined and admirable beauty : 
 one of the highest types in Watteau's noblest society. 
 A broad curved hat, with trailing feather, sits lightly 
 on the oval and dainty head, and the head rises like 
 a bell-flower from throat and shoulders, having in 
 almost ideal fulness the virtue of exquisite carriage. 
 The eyes, far apart, look out with an expres- 
 sion of entirely calm perception and clear intelli- 
 gence : an expression only graciously indifferent to 
 the proffered admiration. It is the face of one who 
 has known culture, but has never known hurry ; and 
 
 N 2 
 
l8o MASTERS OF GENRE PAINTING. 
 
 having no work to be weary of, is now and again, 
 in her sweetness and refinement, a little weary of 
 pleasure. Her beauty has brought her the experi- 
 ence of men : her understanding has allowed her to 
 profit by it. 
 
 For some of us, this profound entrance which 
 Watteau has, and gives, into human life where it is 
 rich and full, yet not delivered, even so much as is 
 the commonest and poorest, from undefined longing 
 and regretful meditation, bestows a value on his 
 nobler drawings which the pictures painted for the 
 world can hardly possess. But the Emharquement 
 pour Cythere whether that of the Louvre or that 
 slightly differing version of the German picture gal- 
 lery which the engraving has made familiar remains 
 supreme, no doubt, in its union of qualities material 
 and mental : graces of the painter and gifts of the 
 draughtsman : endowments of a spirit now gladsome 
 and now sad, but never deadened and dull. Into 
 a melting canvas of rosy gold and green, there are 
 concentrated, on the fields which slope to the tran- 
 quil waters, so many of the best figures of the work 
 of Watteau, in their gestures the most expressive 
 and the most vivacious. That dream of unvext hap- 
 piness and untroubled life is at least the abstract of 
 
WATTEAU. l8l 
 
 his most accepted art of the pleasant art by which 
 men have been wont to rank him. Many others of 
 his pictures prolong that vision. But some of his 
 finer di*awings are charged with the sadness and 
 subtlety of his more private thought. And here and 
 there they may arrest the too confident dream. 
 
1 82 
 
 LANGRET AND PATER. 
 
 If it is true tliat the two great poets of France in 
 the Eighteenth Century were her painters Watteau 
 and Fragonard, it is true certainly that among her 
 minor poets were her painters Lancret and Pater. 
 Both of them owed very much to Watteau, and more 
 to the age that made the work of Watteau pos- 
 sible. Yet neither was without some share of 
 originality, Lancret's being generally accounted the 
 larger. But, all together, they formed a group, small, 
 compact, influential Watteau and his school 
 devoted to the record, in their changed ways, of the 
 lightness of the Eighteenth Century of all the sense 
 of pleasure in human life, fair weather, and ordered 
 landscape, which had been expressed with a profundity 
 almost oppressive, with some afterthought of its 
 transiency, by the school of Giorgione, two centuries 
 before. The school of Watteau if not Watteau 
 himself was troubled by no afterthought. Its 
 pictures whisper no significant hint of the brevity of 
 the joy they record. For that school accepted once 
 
LANCRET AND PATER. 183 
 
 and for all and very franklj, this present world the 
 bright side of it always : the side that civilisation 
 had made possible to refined and cultivated leisure: 
 the pleasure of music, of the comedian, of the 
 dance, of the adornment of dress, of a sure succession 
 of exquisite gestures, of dainty refreshments relished 
 slowly with chosen company under pleasant skies. 
 
 Its keen perception of all these things, and its 
 facile understanding of a life that began and ended 
 in fchem, fitted its art to be the dominant art of its 
 own time, when Art could already no longer be 
 dominant by such appeal to the general sympathies 
 as the treatment of sacred themes had once allowed, 
 but only by appeal to the particular sympathies of 
 the privileged class. And so the painters of the 
 school of Watteau, recording not merely the life, 
 but the aim in life, of those for whom they worked, 
 became accepted painters, painters in vogue. The 
 spirit of the privileged class of their own time they 
 interpreted. And if Watteau himself here and 
 there went further and deeper, he was none the 
 more popular for that ; only he was perhaps the 
 more enduring. 
 
 Lancret was an indefatigable worker, and his 
 undoubted works are still sufficiently common. 
 Even the ludicrously inadequate representation of 
 
1 84 ' MASTERS OF GENRE PAINTING. 
 
 the French School in our National Gallery has not 
 left us quite without them ; and in the better 
 museum of French Art in England that of Sir 
 Eichard Wallace they occur abundantly. They 
 abound at Berlin, at Sans Souci, Potsdam, and 
 Charlottenburg, and are to be traced at Dresden and 
 at Stockholm. Lancret left behind him important 
 drawings ; and, popular in his own day in his own 
 day the accepted rival or successor of Watteau his 
 works, like Watteau's own and Pater's, gave 
 occupation to the talent of the cleverest engravers of 
 the time. As he exposed at the Place Dauphine a 
 little in his earlier years, and later at the exhibitions 
 of the Louvre, Tardieu, Laurent Cars, Larmessin, Le 
 Bas, or it may be B. Audran or Scotin, were employed 
 by Chereau (or other such enterprising merchant) at 
 the sign of the "Deux piliers d'or," to issue re- 
 productions of his pictures translated into the black 
 and white, at once careful and spirited, of that day. 
 A very few francs made the happy bourgeois or the 
 elegant bachelor the possessor of them, and they 
 have brought down to our own time the almost 
 faultless record of much that has been lost and much 
 that is scattered. Thanks to these men all the 
 subjects of Lancret lie out for our inspection in one 
 given place in a given afternoon; and the artist. 
 
LANCRET AND PATER. ^' 1 85 
 
 like his fellows, was fortunate in being tlie contem- 
 porary of engravers who could render, if hardly the 
 charm of his " temperament de peintre " his fre- 
 quent gift of colour at least all the charm of his 
 gift of tone aud of the completed expressiveness of 
 his work and of the seemingly unsought-for grace 
 and ease of gesture which were not his alone but 
 of his master and his school. 
 
 Pictures in the Louvre suffice to show 
 Lancret that " poete d'un souffle plus large " than 
 Pater which the most informed are in the habit of 
 granting him to be, and one at least of the pictures in 
 the Lacaze collection there, lie Gascon Puni (which 
 Larmessin engraved), shows him to have not been 
 wanting at need in that significant finish whose 
 delicacy was never pettiness : that kind and degree 
 of finish with which those engravers who themselves 
 had it were wont to credit him were wont to bring 
 out in their translations of his work but which he 
 displayed more rarely than his rival and contem- 
 porary. But, whatever qualities may have been 
 peculiar to him, and may be seen as such by the 
 anxious searcher among his work, generally the 
 differences that distinguish him, whether from Pater, 
 his immediate contemporary, or from Watteau, in 
 some sense his master, are but such as are to be 
 
1 86 MASTERS OF GENRE PAINTING. 
 
 perceived in the various members of one family 
 notoriously alike. The differences are subtle. It 
 was a compact school. The master, Watteau, 
 dominates the school, and has thus far absorbed in 
 England such interest as among us has been be- 
 stowed on it. A German poet has said that there 
 are many echoes but few voices. Watteau was a 
 voice. Yet Lancret was not wholly an echo. 
 
 Both of them in the main professedly painters 
 of sujets galants, they both stopped short of the point 
 at which gallantry waxed indecorous. Their 
 gallantries were but an excuse for the graceful and 
 perpetual presentation of the happy and vivacious 
 figures that they were able to place in elegant interiors 
 or in those garden landscapes of orderly disorder 
 which French taste had made common in the 
 environs of Paris, and which Lancret as well as 
 Watteau assiduously studied. The world of their 
 habitual practice was the same; and if Watteau 
 painted no event more moving than the arrival or 
 departure of the Italian comedians, Lancret's most 
 considerable portraits are those of the great dancers 
 of the day, Mdlle. Camargo, Mdlle Salle, and Mdlle. 
 Silvia. His was the endeavour to catch the charac- 
 teristics of each, as each appeared in the dance 
 Salle, the accomplished mistress of graceful and 
 
LANCRET AND PATER. 1 87 
 
 poetic pantomime, and Camargo, wlio sprang only to 
 lively airs. Voltaire has celebrated them both in a 
 couple of lines written to Camargo : 
 
 Les nymphes sautent comme yous, 
 Et les Graces dansent comme elle. 
 
 But when Lancret passed beyond his habitual 
 world, of the amusements of the dance, of light 
 refreshments, gentle labour, elegant intrigue, and 
 love without violence or emotion, he inclined here 
 and there a little to such nudities as the laxer pencil 
 of Boucher was then, after Watteau's departure, 
 finding fittest for decoration though with Lancret 
 they had a distinction which in Boucher they were 
 without and he inclined not at all to that intimate 
 study of homely and bourgeois life which Watteau, 
 when he had the chance, pursued with heartiness of 
 interest. The drawings of an artist, more even than 
 his engraved work, show the subjects his mind by 
 preference turns to, and I know no drawings of 
 Lancret which evince in him any considerable share 
 of that love of very various and very strongly marked 
 character which was certainly Watteau's. In one 
 drawing of a girl swinging, at the British Museum 
 not to speak of those in the Louvre and other collec- 
 tions which it is a student's business to see there 
 is the very nearest approach on Lancret's part to the 
 
1 88 MASTERS OF GENRE PAINTING. 
 
 peculiar grace of liis leader, much, as in a study 
 of hands by Pater, at the Museum also, there is 
 on his part the same very near approach to the per- 
 fection of quality only possessed habitually by the 
 man who had inspired their art. But we may seek 
 far before we find in Lancret on the one hand or 
 Pater on the other, any such near approach, to 
 Watteau in his other virtues the understanding of 
 the old, and the sympathy with the subtle naivete of 
 children. Watteau's children among the drawings 
 in the Louvre, his children among the drawings in 
 the collection of Miss James which all the world 
 was able to see, and few were willing to see, at 
 Bethnal Green are achievements of profound and 
 sympathetic intelligence which not Lancret only, but 
 indeed e^ery painter of that century was unable to 
 rival. 
 
 Lancret, in his work, was sometimes more con- 
 tentedly decorative than his master. More frequently 
 than his master he conceived of themes which were 
 decorative in chief the Pour Seasons of the Year, 
 the Pour Periods of the Day, the Pour Elements, for 
 example or made them decorative by their titles and 
 their grouping ; and the treatment of these- things for 
 the corners of a salon, or often for the boudoir of some 
 influential beauty, was popularised by the engravings 
 
LANCRET AND PATER. 1 89 
 
 which M. Bocher has so perseveringly chronicled. 
 Here and there, as in the " Season " subjects in the 
 Louvre, he treated what are thought of as decorative 
 themes in a style partaking of Genre. Throughout 
 this series he is not symbolical at all : the things 
 depicted are simply the pursuits incident to the 
 season among a leisured gentry or happy peasantry. 
 Here, too, in his Genre of daily life in what that 
 century permitted to be the realism of its elegance 
 he is quite away from Watteau with his Genre of 
 the dream. And now and again, as in Le Nid 
 cf^Oiseaux of the Louvre, he is away from Watteau 
 in quite another track: the impulse of the figures 
 suggests a foretaste of the vehemence of Eragonard. 
 Lancret's engraved pictures, including portraits, 
 and subjects of gentle life and moderated gallantry, 
 and subjects of light symbolism, and subjects drawn 
 from the fable of the accepted authors (of whom, for 
 Lancret, La Fontaine was the chief), reach the 
 number of eighty- seven, and they vary in size from 
 the big plates covered with the often large touch of 
 Larmessin, to the little ones on which is traced the 
 delicate work of Marie Hortemals. Among the 
 prettiest, the pleasantest, both as to subject and 
 manipulation, is that set of the Four Seasons 
 which is engraved not by Larmessin (good though 
 
ItQO MASTERS OF GENRE PAINTING. 
 
 that also is) but by four different engravers B. 
 Audran, G. Scotin, N. Tardieu, and Ph. le Bas. 
 That series represents, with every gentleness of 
 contrast, such groups of coquettishly or quietly 
 occupied people^ people reiEined of bearing and 
 refined of life as interested most the pencil of this 
 intelligent and gracious master. In the Spring, the 
 woods are covered with greenery and the fields with 
 flowers ; birds mate, and the shepherd of Arcadia 
 (in* France) is happy with his love. In the Summer 
 the afternoon-sunshine glows warm on a nook of 
 the gentle river ; there is the plashing of water and 
 the play of undulating forms, with gestures of native 
 amenity. In the Autumn there is the feast of the 
 grape : by a stone seat in the terraced garden fruits 
 and wine are served ; the bow is drawn melodiously 
 over the strings of the violoncello, and a courtly dance 
 of measured grace is slowly fulfilled. In the Winter, 
 a small yet goodly company is settled near the hearth 
 of a lofty chamber purest Louis Quinze against 
 whose panels, carved here in low relief with details 
 for the pleasure of the eye, or here left blank with 
 the consummate ornamentist's knowledge of the 
 use of spaces for its rest, there stand the clock and 
 the stately mirror and the wall side candelabri with 
 bickering stems the hours passing genially with 
 
LANCRET AND PATER. 19I 
 
 cards and needlework and talk. To possess these 
 prints is to enjoy at its best the talent of Lancret. 
 
 It would seem almost as if these sensitive painters 
 of a joyous life- these Watteaus, Lancrets, Paters, 
 in whose hands all mundane pleasures become deli- 
 cate and exquisite were destined, all, to wear them- 
 selves out too swiftly : not one of them reached old 
 age or approached it. That faculty of theirs by 
 possession of which they were singled forth to be 
 the favoured recorders of the beautiful movement 
 and selected form peculiar to their day and race 
 that excitable perception of the most refined of car- 
 nal loveliness bore with it, it seems, its terrible 
 bane of a life destined inevitably to burn with a too 
 hurried brightness. That nervous and fragile activity 
 which alone made possible their art, was supported 
 by a too inadequate reserve of purely material 
 strength. Watteau died " at the age of poets " % 
 Lancret, born six years after him, survived to be 
 fifty-three : Pater, born six years after Lancret, died 
 seven years before him died, that is, at the age of 
 forty. 
 
 The story of Pater's life is one of almost preco- 
 cious aptitudes and of consuming work. A fellow 
 townsman of Watteau whose family Watteau must 
 
192 MASTERS OF GENRE PAINTING. 
 
 have known, since there existed a portrait by the 
 master of Pater's father, a sculptor of Valenciennes 
 Pater was sent to Paris in earliest youth and became 
 Watteau's pupil. The tradition perhaps is not untrue 
 because it is also pathetic, that the irritability bred 
 of an exhausting disease and of a yet more exhaust- 
 ing genius severed master from pupil, until Watteau, 
 reproaching himself with this injustice during his 
 life's last month, sent for Pater and diligently taught 
 and counselled him. Never at all events were les- 
 sons more implicitly received : the identity of Pater's 
 work, or, at least, of Pater's conception, is almost 
 merged in that of his master and model. 
 
 And yet some delicate differences come gradually 
 to be noticed. It is perhaps not all a fancy that 
 Pater's record of the pretty trivialities of daily life, 
 where life was most easy and pleasure most gracious, 
 was undertaken by a mind wholly contented with its 
 task, and that so there came to be, in the task's 
 fulfilment, a dainty precision of handiwork of which 
 Watteau precise indeed among great painters was 
 nevertheless a little impatient. The power of sym- 
 pathetic imagination, the fine appreciation of 
 various types, belonged to the master and hardly to 
 the pupil. To the pupil belonged facility and exact- 
 ness in work that lay contentedly between more 
 
LANCRET AND PATER. 193 
 
 limited lines. The master was occupied, in manj 
 societies, with types of thoughtful beauty and pro- 
 found experience. The pupil was occupied with the 
 pretty, and in a favoured society alone, and his desire 
 was that " desir de plaire " which gives the name to 
 one of his pictures and which covers the range of his 
 art. With the prettiness of womanhood or the 
 comeliness of adolescence that art is greatly engaged. 
 His Gathering of Comedians in a Park * draws the 
 portraits of the actors of the Italian comedy with 
 insistance on physical charm; but in the lighter 
 fancy of his Baigneuse of the same gallery f he is 
 more completely characteristic, in the lighting and 
 drawing of the figures with their elegant suppleness 
 in the eagerness of the youth who beseeches, and the 
 happiness of the girl who is besought. Here, as not 
 seldom in Pater's work, the figure of the foregound 
 that gives its name to the design is not con- 
 spicuously the first: the background group is as 
 daintily considered and is at least as interesting : 
 that group of two is a completed picture, exquisite 
 for action, expression, vivacity, and finish. And 
 full of delicate expression and naive gesture of youth 
 is the Desir de Plaire, so perfectly engraved by 
 Surugue, which records the joy of an ingenuous 
 
 * Lacaze collection : No. 234. f No. 237. 
 
 
 
194 MASTERS OF GEiYRE PAINTING. 
 
 damsel at the varied preparations of the dressing 
 room and their enhancement of her comeliness. 
 Pleasant is the pleasure that her comrades take 
 in her. 
 
 At Buckingham Palace there are four pictures, in 
 two of which Pater seems to have reached the limit 
 of his power. By Waagen thej were assigned to 
 Watteau, but that industrious authority had no 
 profound knowledge of the art of Prance, and the 
 privately printed catalogue of the Palace treasures is 
 probably right in attributing them to the pupil 
 instead of to the master. Of the two pictures 
 which aa-e finer and richer than their companions, 
 one is, after Pater's fashion, a scene of lovers in 
 pleasant landscape : the other is of a larger group 
 of joyous people, of whom one plays on the flute, and 
 the scene passes again in open air, in the gracious 
 climate and agreeable weather which the French 
 painters of the " fetes galantes," with rare excep- 
 tions, have been agreed to record. The master of 
 the school himself scarcely admitted any other. In 
 his group of the Seasons, painted for M. Crozat 
 to name the instance that comes uppermost he has 
 in no way entered into the joys of winter, but has 
 only painted its rude horrors, and these with exag- 
 geration the blasted tree, the wind, the darkening 
 
LANCRET AND PATER. v 195 
 
 storm, the old man crouched repiningly over the 
 scanty fire on the field. Watteau, Lancret, and 
 Pater held popularity on this condition that they 
 should paint sympathetically the sunshine and the 
 summer, and the life that knew them. 
 
 2 
 
196 
 
 C HARDIN. 
 
 1699-1779. 
 
 The revived appreciation of his pictures in the coun- 
 try of his birth has not yet made Ohardin known 
 familiarly in England. Our National Gallery so 
 absurdly unrepresentative of great French art that 
 it can dispense with the presence of a Watteau is 
 of course without a Chardin. Dulwich, indeed, has 
 got one : it must be one of several versions of the 
 Serinette exhibited at the Louvre in 1751, and at 
 Dulwich it appears under the title of A Woman with 
 a Barrel Organ. Stafford House, too, possesses a 
 couple of Chardins ; one of them a portrait of the 
 painter, and the other a portrait of the Encyclopaedist 
 D'Alembert. But generally Chardin is not known. 
 The very name is unfamiliar, here in England. The 
 pictures are held to be of little account : it is not here 
 that the prints are collected with eagerness. 
 
 And yet the art of Chardin, or even that limited 
 part of it which the prints alone might make us know, 
 has its own entirely distinctive character and charm. 
 
CHARD IN. 197 
 
 In each of its various metliods of manifestation it is 
 finely original and quietly fascinating. The part 
 most capable of popularity has been worthily repro- 
 duced. Chardin, indeed, was hardly so conspicuously 
 fortunate in having his things multiplied by Laurent 
 Cars and Lepicie, by Surugue and Le Bas, as Sir 
 Joshua his English contemporary in being "im- 
 mortalised," as he himself admitted, by the work 
 of the Watsons, McArdell, and Valentine Green. 
 But at least the art employed was in each case quite 
 happily adapted to the qualities to be rendered. 
 One cannot, in Chardin's case, say perfectly, 
 for Etching would doubtless succeed in giving to the 
 reproduction an amount of " colour " which no line 
 engraving could hope to give ; and it might give also 
 a subtlety in light and shade combined with that 
 definiteness in the forms of objects which is beyond 
 the reach of the mezzotint. Some etcher who feels 
 the qualities of Chardin keenly should set himself 
 to render them in his own art. But on the whole 
 the best of the existing reproductions are in a high 
 sense satisfactory and delightful. Colour, or what 
 the engraver calls colour, they possess in some 
 measure, and they are more entirely successful in 
 their more important business the rendering of that 
 subdued and genuine sentiment for wbich such works 
 
MASTERS OF GENRE PAINTING. 
 
 of Chardin as they attempt to translate are in the 
 main remarkable and in the main charming. 
 
 Emmanuel Bocher's book, which has recorded 
 with minute care all the engravings after the long 
 neglected master, tells nothing of the master's life, 
 for exactly the reason that occasioned the reticence 
 of the learned junior of Mr. Serjeant Buzfuz it was 
 " not within his province " to tell anything. But the 
 life has been told elsewhere. The Brothers de Gon- 
 court, turning over on our behalf the dusty files of 
 the " Mercure de France," ransacking the now rare 
 catalogues of Eighteenth Century picture-sales, 
 reading ignored memoir es^ and, as the least of their 
 labours, bringing out from the mass of Diderot's 
 criticism such parts as are devoted to praise and 
 comment on Chardin, have discovered and compiled 
 much ; and though their discoveries do not prove the 
 painter of bourgeois manners to have led any other 
 than the uneventful bourgeois life, they have made 
 an interesting chapter in a work devoted to the adroit 
 illumination of these Eighteenth Century names, 
 hidden too long in darkness. 
 
 Jean Baptiste Simeon Chardin was born in Paris 
 in the last year of the Seventeenth Century, the son 
 of a skilled maker of furniture " fabricant des billards 
 du roi." Entering the studio of Cazes he began by 
 
To face pa:ic IW 
 
 Chardin : ' La Pourvoyeuse 
 
CHARDIN. 199 
 
 painting that which had no kinship whatever with 
 the work by which he became known. But it 
 chanced soon that Coypel wanted his assistance, and 
 engaged him to paint a gun. Astonished, so goes 
 the story, at Coypel's pains in the placing and lighting 
 of the gun, Chardin set to with a will. He was now 
 for the first time painting from nature ; the charm 
 and interest of reality laid strong hold upon him. 
 It was some little while ere he was well before the 
 public, but when once an exhibitor, he was at once 
 appreciated ; a fresh painter of still-life had arisen in 
 him ; Jean Baptiste Yanloo bought a picture of a 
 " bas-relief" in bronze which the young man had sent 
 to the Exhibition in the Place Dauphine, and paid 
 him for it better than had been hoped. In 1721 
 Chardin exhibited T}ie Shate, which by common 
 consent was declared a masterpiece in still- 
 life painting. That and many others grouped 
 together by the painter when M. Largilliere 
 went to see his things, imposed upon a worthy 
 j adge, who took them for the work of " some 
 good Dutchman," and held them up to Chardin as 
 models for his own work. The fact that they were 
 themselves his work being presently made known, 
 the young man was asked to present himself for elec- 
 tion, and he was soon a member of the Academy. A 
 
200 MASTERS OF GENRE PAINTING. 
 
 life of calm and moderate prosperity was, doubtless, 
 in store for him. He was a man of qniet mind. 
 He liad married early. His wife died young, and lie 
 married a second time. He had a son, who followed 
 him for a while at a distance in his art, and died 
 before him, leaving him then childless. Social and 
 professional engagements grew on him. He was 
 for twenty years the hanger of pictures at the Exhi- 
 bition, making of course enemies, but at least com- 
 mended for the humble places chosen by him for his 
 own works. He did not receive high prices, for his 
 art was not of the kind sought after at Court, and 
 rich and liberal patrons of the middle class were 
 necessarily few. 
 
 Only with a second order of pictures, later on to 
 be mentioned, did he succeed in reaching a popularity 
 denied to the first, which themselves ought to have 
 been popular. For there is nowhere a greater painter 
 of still- life than Chardin. !N'o one has conceived of 
 still-life so nobly : there is no one perhaps who has 
 given quite so well as he a reality without meanness 
 an arrangement without pretension or artifice. The 
 very gathering of his groups of household things has 
 a significance, and reveals the human interest with 
 which his brethren were never occupied. Nothing 
 is put into his pictures thoughtlessly, and possessed 
 
CHARDIN. 20I 
 
 as lie was of a perception uniquely keen to note the 
 varied individualities of matter and its artistic in- 
 terest, he yet had little of mere pride in his ability to 
 paint so well the object and the substance of his 
 choice. The simple materials gathered by him on 
 his kitchen-slab have their place there of right, and 
 tell the story of modest and frugal provision from 
 the little red jar of rough but highly glazed pottery, 
 to the eggs and the saucepan. Here in one picture 
 is exactly the material for the humblest meal and the 
 things that are required to prepare it that and no 
 more. Here, in another, the fruits for the dessert of 
 the rich, and with them the silver, the gold, the 
 china sugar-bowl of famous Dresden. The drawing 
 of these things is right, though never elaborate : 
 the roundness and relief astonishing for truth. Still- 
 life has perhaps not before, and certainly has not 
 since, been painted with such a perfect and sober 
 veracity, with such a frequent excellence in endless 
 variation. He has painted musical instruments, on 
 a large scale, and with something less than his 
 habitual triumph. But the charm of the very simple 
 never escaped him three tiny onions and a tumbler 
 of water made for him a picture in which he could 
 convey the most refined beauty of tone and of colour 
 and of liquid light. The very quality of colour and 
 
202 MASTERS OF GENRE PAINTING. 
 
 substance colour and substance seen through atmo- 
 sphere and never harshly defined abounds in his 
 work. Sometimes it is very rich and glowing and 
 very bold, as in a picture in the Lacaze collection of 
 peaches, melons, and a big paper-labelled bottle * and 
 in that Silver Gohlet^ in which he has so nobly realised 
 the splendid and elaborate interchange of reflections 
 and reflected lights in copper- coloured pottery of the 
 basin and silver of the cup. And each reflection is 
 not clear and cold, but vague and warm in its shifting 
 lustre. And sometimes, as in No. 726 in the Louvre, 
 also, but not in the Lacaze, the work is tender and 
 subtly refined a cup of pink and greyish-white 
 porcelain stands near a brown wooden jewel-box, of 
 which the pale blue lining of soft silk catches deli- 
 cately the discreet light. What infinite harmony in 
 juxtapositions seemingly so natural, yet in truth so 
 splendidly discovered ! with what facility the supple 
 hand sweeps over the keyboard of colour, and wakes 
 the fullness or sweetness of its sound ! A dozen of 
 these pictures, of which these three are typical, are 
 now seen publicly in Paris. And though in their 
 own day they could not make Chardin's fortune, they 
 might have sufiiced for his fame. 
 
 They were followed, however, after many patient 
 
 * No. 173. t No. 181. 
 
CHARDIN. 203 
 
 years, by work which won more promptly a title to 
 celebrity His domestic scenes the quite different 
 work which succeeded his still-life were multiplied 
 and reproduced at once by the engravers of the day. 
 Issued very often at a couple of francs apiece, they 
 hung by the dozen on bourgeois walls, reflecting the 
 life led. in the chambers they ornamented. Presently 
 a third order succeeded to the pictures which were 
 the originals of these prints. Char din had now long 
 enjoyed notice, and waxed fearful of the time when 
 notice should be withdrawn for lack of novelty. That 
 motive, and the success of Quentin de la Tour, now his 
 neighbour as a resident in the galleries of the Louvre 
 Quentin de la Tour, who has enriched the museum 
 of his native town, St. Quentin, so that it is worthy 
 of a pilgrimage ^led him to the execution of pastel 
 portraits. Whatever their vivacity and truth and 
 they were often true and vivacious they were beneath 
 the brilliancy of La Tour. Chardin's day was past. 
 Enemies multiplied. Critics became indifferent. And 
 the old man, long a martyr to the disease which 
 caused a worthy Englishman to declare that the 
 keenest pleasure in life was the cessation of pain, 
 lingered useless and sad. In the last days, dropsy 
 followed upon stone. On December 6, 1779, a friend 
 wrote of the veteran of eighty that he was so feeble 
 
204 MASTERS OF GENRE PAINTING. 
 
 that he had taken the last sacrament. " Monsieur 
 Chardin a recu le bon Dien." He died before the 
 close of the day, and was buried at St. Germain 
 I'Auxerrois. 
 
 Interest centres still for most men in the second 
 phase of his art. Chardin, for most men, is the 
 painter of Le Benedicite, of La Mere Lahorieuse, of 
 I/Econome, of La Gouvernante. He is the painter, 
 that is, of decent middle-class life, in its struggle 
 with narrow means, and in its happiness, which, is 
 that of the family and of tranquil and ordered work. 
 Allied to certain of the Dutchmen, though hardly 
 indeed to be confused with them, he resembles them 
 in his faithful pourtrayal of the things that he saw, 
 whether these be only the heaped-up contents of the 
 fish-stall, and the fruits massed for dessert, and 
 glasses from the cupboard, and a goblet, chased 
 richly, or whether they be mother and the children 
 saying grace before the meal in a narrow room, 
 curiously ordered {Le Benedicite), and child and 
 mother grave over the embroidery of canvas-work {La 
 Mere Lahorieuse), and the housewife reckoning with 
 contented gravity her morning's outlay in marketing 
 {VEconome)^ and the white-capped care-taker, gentle 
 and young, bending forward with pleasant but 
 impressive warning to the boy who is her charge {La 
 
3 To face page 20 1 
 
 Chardln : ' La M&re Laborieiise' 
 
CHARDIN. 205 
 
 Gouvemante), But in the painting of what a man 
 sees, there is, of course, choice always, and Chardin's 
 choice was other than the Dutchmen's other, at 
 least, than that of Teniers, Brauwer, Ostade, Dusart : 
 those to whom for certain qualities he has distantly 
 been likened. His choice was guided by a sentiment 
 sincere and healthy. So that between his work and 
 theirs there comes to be a great wide difference the 
 gulf that separates vulgarity from simplicity, lowness 
 from homeliness besides that other difference which 
 needs must be when their work is concerned with 
 the round-faced phlegmatic type that lives its slow 
 life among the grey canals of Holland, and his with 
 the type of happy vivacity and quiet alertness and 
 virginal or motherly grace which is that of the true 
 middle-class of France, and the existence of which 
 has saved that land in its difficult hours. 
 
 This difference there must always be, even if 
 we take the work of Chardin and set it, as indeed we 
 have a right to do, against that of another order 
 of Dutchmen, the men whose sentiment is nearer it 
 Nicholas Maes, and Van der Meer of Delft, who, 
 like Chardin, took representative moments of common 
 occupations, and in recording them recorded a life. 
 The finer spirit will still be Chardin's, and in look- 
 ing over the suite of his engravings, or passing in 
 
2o6 MASTERS OF GENRE PAINTING. 
 
 review even the titles only of his pictures^ we have 
 proof that these figures which he painted he painted 
 more with a single mind to the lives which the faithful 
 pourtrayal of the habitual occupation was destined 
 to reveal. Ko doubt the greater Dutchmen thought 
 of the life much, but in their unrivalled triumph 
 of lights and shades, and tints and textures, they 
 thought of it^even the best of them less than did 
 Chardin. 
 
 And it is very noteworthy that Chardin, when he 
 passed from the still-life which first engaged him, to 
 the painting of these domestic scenes, became, so to 
 say, a second and quite another artist* Of the painter 
 of stilHife, the artist unaccustomed to the contour 
 of the living figure or texture of the living face, there 
 lingered hardly a sign, save in the comparative sub- 
 ordination, the occasional effacement, of the flesh 
 a technical defect or technical deficiency of which 
 the prints after his works afford no hint, though the 
 Benedicite and other pictures show it. He accepted 
 frankly, and generally triumphantly, the new voca- 
 tion : the marble of the mantelpiece, the red tiles of 
 the floor, the shining metals of the parlour clock- 
 case, were thenceforth chiefly accessories. With 
 significant design, pleasant sobriety of tone, true 
 observation, happy sentiment, he concentrated him- 
 
CHARDIN. 207 
 
 self upon those scenes of the humble interior that 
 life contentedly restrained whose quietness and dili- 
 gence and homely grace and charm no one has more 
 finely felt or finely rendered. And from the one 
 order of work we have hardly a cause to suspect him 
 to be the creator of the other. In each he was ex- 
 cellent, and in each he was alone. He was so pos- 
 sessed with the pure beauty of matter that in his 
 art it takes new dignity. He saw so well and he 
 believed so deeply in the virtues of his race and class 
 that, more effectively and truly than any writer 
 of his time, he grew to be their historian and their 
 poet. 
 
208 
 
 FRAGONAKD, 
 7321806. 
 
 The hours known to most of us, if we will but avow 
 them, when even for the appreciation of beautiful 
 things an effort of intellect is an annoyance we 
 resent, when we feel we should be overpowered by 
 the great, and are ready only for the graceful and 
 the pleasant, for the art which does not teach and 
 does not aspire these hours alone, intervals of 
 indolence perhaps painfully purchased, are the 
 hours for the art of Fragona i-d. Effort appears to be 
 absent from the long and varied performances of 
 Fragonard's spontaneous industry. The fire in his 
 work comes only from the ardours of his tempera- 
 ment. He is roused to energy or passion only by the 
 urgent demand of personal enjoyment. His southern 
 nature suffers him to provide luxury and to provide 
 pleasure. The possessors of old wealth, and those 
 upon whom old wealth is newly lavished the noble 
 of the court of Louis Quirize and the dancer of the 
 
FRAGONARD. 209 
 
 ballet understand the art that Fragonard can give 
 them, and little besides. So it is that he is greatly 
 caressed until he is wholly neglected. With the 
 stress of times that succeed in earnestness and reach 
 towards the heroic, what symjDathy has Fragonard, 
 and what chance? The wind of the Revolution 
 sweeps through his boudoirs finds in his cabinets 
 de gargon a superfluity of naughtiness. His occu- 
 pation is gone, and in the last years, to the weariness 
 of sorrow since he has lost his daughter, Eosalie, 
 whom he profoundly loved there is added the 
 weariness of professional failure. He goes back 
 into the South, solacing himself, as best he can, 
 with the sights and sounds of the familiar land, 
 and in Paris an inappropriate silence settles over 
 his name. 
 
 Inappropriate, because the art of dryness and 
 austerity that succeeded Fragonard's was in itself 
 as incomplete as his own. The art of David and 
 Ingres, which recalls Rome, could never permanently 
 put aside the art of Watte au and Fragonard, which 
 recalls Venice. The saner appreciation of a remote 
 time a time at all events remote enough to be 
 removed from the prejudices of the very moment of 
 production restores that dispossessed art to its 
 proper honours : values Watteau, it may be, a little 
 
 p 
 
210 MASTERS OF GENRE PAINTING. 
 
 more than lie has ever been valued before, and claims 
 for Fragonard no greatness indeed, but yet some very 
 personal gifts of impulse and charm. 
 
 He seems to nie to be distinguished from the not 
 less popular Boucher by the sincerity which is con- 
 spicuous in his work. The painter who was at 
 once the master and the protege of Pompadour hardly 
 believed in his own gods and goddesses. It was 
 his error and misfortune that he tried too frequently 
 that which he could not achieve. But the goddesses 
 of Fragonard represent life, and Hazlitt, if he could 
 ever have appreciated things wrought in France, 
 would have recognised that they were well within 
 the limits he prescribed for the ideal. *'We may 
 raise the superstructure of fancy as high as we 
 please : the basis is custom " the basis is the beauty 
 we familiarly know. 
 
 It was the kind of beauty and the kind of joy he 
 knew familiarly that inspired Fragonard and were re- 
 produced in his art ; and we find this not only in the 
 figures which he drew from his experience of Paris 
 or of Italy, but in the landscapes which are 
 memories of his own sunny country of Provence, 
 or pleasant jottings of the poplar-bordered fields 
 in the wide valley of the Seine or the Marne. He was 
 born at Grasse the town of luxurious scents in a 
 
FRAGONARD. 211 
 
 land of luxurious fertility : a place that might have 
 suggested those affluent lines of " Sordello " : 
 
 A footfall there 
 Suffices to upturn to the warm air 
 Half-germinating spices : mere decay 
 Produces richer life ; and day by day 
 New pollen on the lily petal grows, 
 And still more labyrinthine buds the rose. 
 
 Coming to Paris while a youth, he is Chardin's pupil 
 and Boucher's, and within two years gains " the 
 prize of Rome." There follows a period of travel, in 
 which not only ISTorth Italy but Sicily and Naples 
 are explored. The chief result of Roman influence 
 is the Callifrhoe of the Louvre ^ an elegant 
 tragedy, gracefully conceived by one who was incapa- 
 ble of horrors. Afterwards he learnt what were the 
 things in which he could hope to be sincere, and it 
 was perhaps no calamity for his art that disputes and 
 delays as to the payment of commissions for the 
 State threw the young man back upon the support of 
 a private patronage whose demands were singularly 
 in accord with the light promptings of his genius. 
 Hardly greater in tragedy than our own Bartolozzi, 
 our Cipriani, our Angelica Kaufmann^ whose weak 
 elegance is the subject of contemporary delight 
 
 * Ze grand i)retre Coresns sf sacrifie pour saiiver CallirrlioL 
 p 2 
 
212 MASTERS OF GENRE PAINTING. 
 
 Fragonard, unlike these, had the happiness to abstain 
 from failure. He addressed himself to the facile but 
 ingenious painting of portraits, to the realisation of 
 those visions of landscape which he owed to the 
 years of his youth, to the painting of figures either 
 in allegorical design under which pure reality 
 scarcely affects to be hidden, or in scenes of common 
 life and familiar passion of which he caught the 
 grace and the fire. 
 
 But Fragonard, like the light poet that he was, 
 so prone to be diverted and prone to be charmed, 
 was greater in invention and suggestion than in po- 
 sitive performance : he was not the painter of a mas- 
 terpiece, but of a hundred pieces of unassuming 
 fascination: and his early deficiency in definition 
 was prolonged and perpetuated by his accustomed 
 undertaking of rapid and decorative work. 
 
 That deficiency in definition that absence of 
 precision of line could have little result upon his 
 pictures of landscape : it neither counts as quality 
 nor as defect. Moreover his touch is often daintier 
 and more precise in the finished landscape than in 
 the design of the figure. His landscape, in its ordered 
 disposition of foliage and of gardens of fountain 
 and terrace, is at once a dream of the opera as well 
 as a memory of Provence. Sometimes its unfamiliar 
 
FRAGONARD. 213 
 
 blues and greens suggest the colours of a night fete 
 under the selected and artificial light which the 
 painter himself loved, and which he arranged for in his 
 Paris studio. It must have seemed sometimes that the 
 common day and common atmosphere were too vulgar 
 to plaj around the fairj marchionesses of his fancy 
 group or fable. At other times the landscape repre- 
 sented is purely natural, but I do not know that it is 
 always most interesting then. Fragonard, it seems, 
 had not the heart to accentuate and exalt the fami- 
 liar nature. He paints a heath or broken ground 
 with tameness : he makes no significant study of the 
 dail^ skies. UOrage of the Louvre "^ is perhaps an 
 exception. That he liked landscape counts for some- 
 thing : that he painted it is a fact to be noted, 
 especially in England, which has always entertained 
 too mean a notion of the limitations of his work. 
 But that he contributed materially to the knowledge 
 of Nature and the love of her, as some have asserted 
 but lately in France, is by no means evident or pro- 
 bable. The simple picturesque was understood 
 better, and interpreted more faithfully, more point- 
 edly, by a painter still less known than Fragonard 
 for landscape at all by the Parisian master of the 
 
 * Lacaze collection : No. 202. 
 
214 MASTERS OF GENRE PAINTING. 
 
 southern pupil by Boucher. The occasional studies 
 of Boucher in this field reveal a more contented 
 dealing with pure rusticities with the pretty acci- 
 dents and combinations of form that occur in the 
 farmyard with its well, in the village street with its 
 clustered roofs than was often, to my knowledge, 
 evidenced by the work of the fervent artist of facile 
 passion. 
 
 Where, then, is Fragonard's greatest sincerity 
 and Fragonard's charm, apart from the ordered 
 landscape of poplar group and terrace steps whose 
 elegance he felt and loved ? In the painting of the 
 daily human grace around him and of the light emo- 
 tions which he knew of the subtle beauty that 
 eludes analysis because it is neither chiefly of form 
 nor chiefly of colour, but much in a happy alacrity 
 in elegant movement of the impetuous desire that 
 knows no denial : that claims, revels, and is satisfied. 
 His portraiture has character without force or pro- 
 fundity. It seems as very notably in the reading 
 maiden of Sir Eichard Wallace's collection, and, less 
 conspicuously, in L'Etiide of the Louvre"^ to be 
 the bright and faithful record of a vivid impression. 
 The girl-child's nature is seized, because its ex- 
 
 * Lacaze collection : No. 198. 
 
FRAGONARD. 21 5 
 
 pression is yet simple : very simple, ingenuous, and 
 sweet. With the woman's, Fragonard has not, in 
 the Louvre painting, been very greatly occupied : he 
 saw in her figure the opportunity of large and liberal 
 gesture ; and as she stands, w^ith the rich browns 
 and yellows of her raiment, with the red leaves of her 
 big book wide open across the breadth of canvas on 
 which she is depicted, she confesses, in her rough 
 fashion, to the ideal of her painter the art of 
 Venice, from Veronese down to Tiepolo. La Mu- 
 sique of the same gallery is just as much a rapid 
 study from the life. A man plays the guitar : he is 
 seen from behind : the head is turned, and very vivid 
 are the features caught up in momentary and 
 speaking expression. 
 
 The line is indistinguishable that divides portrait 
 from the life study destined for fancy composition, 
 and it was the happiness of Fragonard and of his 
 school in France that their life studies could be 
 realistic could be utterly true while yet supremely 
 elegant. An openness of impulse and freedom of 
 vivacity marked their accustomed models. And just 
 as Fragonard could throw into his etching of 
 UArmoire the subtlety of shame-faced and crest-fallen 
 looks, or could paint the delicate moment of Le 
 Contrat with a delicacy only less subtle than that of 
 
2l6 MASTERS OF GENRE PAINTING. 
 
 Lavreince or his engraver in tlie hesitation of Les 
 Offres Seduisantes so he could put upon canvas the 
 impetuous demands of the rival lovers in La Coquette 
 fixee : a design which is no mere pastiche of the 
 Venetian, but Venetian itself in the flow of form and 
 the liberal grace of posture. But drawings perhaps 
 because most absolutely from the life are 
 at once the first and the completest records of the 
 French elegance and French alertness that were 
 around Fragonard in the salon. Two studies of 
 figures in interiors occur to me as the finest examples 
 of his easy and immediate transfer to paper of the 
 pleasant lives and the bright movements of his daily 
 company. One of them is a group of two figures, 
 the sepia drawing of La Lecture in the Louvre. 
 Two heads are drawn close to each other almost 
 nestle side by side in the cosiness of the reading 
 he figures somewhat veiled in the falling drapery of 
 a half-discarded cloak. The few dashes of the 
 vigorous brush have conveyed the models' elegance 
 and their contented absorption in the pleasant book. 
 Nor for its swift study of light and shade, for its rapid 
 arrangement of artistic effect, is this design less re- 
 markable. The other, which is yet more interesting, 
 since it is more abounding in the last secrets of human 
 expression, is a red chalk drawing of a young woman 
 
To (nee page 
 
 I Fragonard : From a Drawing 
 
FRAGONARD. 21 J 
 
 in society.* The head, compactly built but with 
 high cheek bones rising in thin cheeks, with the firm 
 chin cut very sharply is leant back serenely, while 
 the eyes, of infinite expressiveness, so lively and so 
 knowing, address, as it were, and hold in their pos- 
 session, the unseen sharer in the fascinating dialogue. 
 I suppose no artist, ever before or since, has shown so 
 completely, and in lines so few, the nervous, active, 
 fragile type that lives by the vivacity of its spirit alone 
 each turn of eye, or curve of mouth, or lift of the 
 thin shoulder, or motion of the hand, seen as part of 
 a character gracious yet decided a mistress she, and 
 swaying men wherever she may meet them, by right 
 of mental vivacity and of features shaped in unison 
 with the bright keenness of the pleasure-loving 
 nature. 
 
 Fragonard, a master of the expressiveness of 
 raiment skilled in the dainty devices of the toilette, 
 from the proper placing of a meaning breast-knot 
 to the tightening of the sleeve at the elbow or the 
 flow and fall of ribbons by the neck Fragonard is at 
 home with the nude. The occasional inaccuracy 
 of the form is covered as it were and justified by that 
 calculated vagueness which may suggest movement. 
 
 * Our illustration. From the collection of M. Edmond de 
 
 Goncoiirt. 
 
2l8 MASTERS OF GENRE PAINTING. 
 
 He avoids a precise contour nature cannot be ex- 
 pressed to him by lines alone. Fragonard cares 
 more to indicate than to realise ; and his sketches of 
 the naked figure have thus a value greater than his 
 finished work. Les Baigneuses at the Louvre^ is a 
 completed thing, and in what for him is elaboration 
 Fragonard has lost his grace and truth of move- 
 ment and of being. The figures are posed a little as 
 Boucher would have posed them. The fire of action, 
 which is Fragonard's and the Venetians, has gone 
 out. The limbs are lumps of red and cream colour. 
 But there is quite another power when we turn to 
 the hastier work in which the facile brush has 
 wrought the theme of the moment. The Bacchante 
 endormie,f though sketchy indeed, and, as it were, 
 effaced, has the posture of truth : in the relaxed arm 
 there is the abandonment of sleep. La Chemise 
 enlevee,X with the lazy twist of the figure still play- 
 fully resolute to resist the Cupid ardent and over- 
 bold, is perfect for attitude and modelling. How 
 perfect it is also, in its own sketchy and indicative 
 way, as colourist's work, with its light painting of 
 the flushed rose colour and creamy whites of flesh 
 and linen, we may find by looking afterwards at 
 
 * Lacaze collection : No. 194. f Ibid. No. 195. 
 
 \ Ibid. No. 196. 
 
FRAGONARD. 219 
 
 Guersant's rare print, and noting what the adroit 
 engraver has been compelled to lose. 
 
 The world has seen in Fragonard a painter of light 
 loves. It has forgotten how much he was a painter 
 of unsophisticated grace, and of that other grace 
 which, though not inborn, is, in the life of courts and 
 fashion at a privileged time a habit so settled that 
 it gets to be nature too. He had his true perception 
 of child-like character and girlish simplicity. He 
 had his vision of landscape his thought of noble 
 gardens set with terrace and statuary : his midsummer 
 night's dream of blue and silver moonlight: his 
 memory of the white sunshine of the brilliant land. 
 Other men, leaving, like Fragonard, and leaving 
 legitimately, the paths of pure imitation, have had 
 higher ways than his, but his way at all events was 
 his own. Here in landscape, as elsewhere in his 
 work, the inventive faculty, so priceless in art, burst 
 at least through the barriers of tradition if it left the 
 realm of reality. Fragonard believed in his work and 
 in what his work represented; and on the perilous 
 ground of those light loves with which we have been 
 wont to associate his name, his sincerity saved him. 
 Not for him indeed to depict the devotion of a life, 
 but he caught the enthusiasm of a moment. He 
 conceived of love and painted it not as an elevating 
 
220 MASTERS OF GENRE PAINTING. 
 
 sentiment, but as a healthy rejoicing over the pre- 
 sence of beauty. Perhaps it is unfair to him to forget 
 that in his time and in his world that was already 
 much. He was a man of his epoch. You take him 
 with his failings, as you take Laurence Sterne. At 
 his worst he remains an artist. It is much to ex- 
 change the wantonness of Baudouin for the wit of 
 Fragonard or his happy malice Les Plaisirs reunis 
 for Le Pot an Lait and Les Hasards Heureux de VEs- 
 carpolette,^ And it is much to have Fragonard's 
 vehemence even if it be shown in Le Verrou f 
 succeeding to the considered laxity of Boucher, or 
 his impotent effort at passion. 
 
 * At Sir Richard Wallace's. 
 
 f The violent composition engraved by Blot. M. Waif erdin, the 
 
 veteran collector of Fragonard's works, owns a drawing for the 
 picture. 
 
221 
 
 HOGABTH, WILKIE, AND LESLIE. 
 
 What Hogarth did we hardly require now-a-days 
 to remember very carefully, because his works are 
 household words ; but it behoves ns still to keep in 
 mind what was the place he held, for the passage of 
 time has only made his place more eminent. He was 
 the first of English Genre painters, and though a cen- 
 tury and a half has passed since his practice, he re- 
 mains the greatest. For myself I hardly know where 
 I may light upon another instance anywhere in which 
 an endless fertility and ingenuity of invention has 
 been allied with technical powers of execution so sane 
 and so unerring in which the gifts of the dramatist 
 are joined so completely to those of the pure painter. 
 There are stories by Hogarth which will live with 
 " Tristram Shandy," and with "Tom Jones," and with 
 " Robinson Crusoe," not a few of his canvasses, 
 touched from end to end with consummate dexterity 
 and painter's art, are as fresh to day as if they had 
 come but yesterday from an easel at Kensington, 
 
222 MASTERS OF GENRE PAINTING. 
 
 They at least can witness to his mastery of technical 
 processes. 
 
 "We have seen already^ in looking at Butch pic- 
 tures, that Hogarth was not the first to tell stories 
 on canvas, and to tell them from common life. In 
 the art of the Low Countries to go back no further 
 stories from common life were told by Steen, by 
 Teniers, by Metsu, by many another. Here and 
 there we have found they were continued, but the 
 personages were few, the incidents simple. Jan 
 Steen is full of witty or of coarse suggestion : by the 
 careful introduction of telling accessories he plays the 
 part of a mocking and explanatory chorus. But 
 generally the scene is brief there is no Before and 
 After. Still often er the Dutch painter, like the homely 
 Genre painter of the Eighteenth Century in France, 
 is not occupied with invention at all. He draws the 
 family group he happened to see : the bit of love- 
 making, or of placid worship, or of frugal provision, 
 that met his eyes as he went by. But Hogarth 
 painted not so much what he saw as what he might 
 have seen. By his constant observation he accumu- 
 lated stores of experiences. But his story is con- 
 structed and not found. 
 
 Of course he has to share with the greater 
 Dutchmen with Jan Steen especially the credit of 
 
HOGARTH, WILKIE, AND LESLIE. 22^ 
 
 liaving constructed out of permanent material. 
 They dealt with no merely fleeting folly of their day, 
 but with the vices and the frailties that endure 
 throughout civilised society. And so it is that 
 there is hardly one of their pictures which is less full 
 of meaning to us than it was to their contemporaries. 
 From what they observed they had the art to 
 eliminate all that was transient and casual, all that 
 appealed merely to the public of a moment, to the 
 public of a comic newspaper. There are other points 
 in which the two high humourists of painting, Jan 
 Steen and Hogarth, were alike, and in which they 
 differ from so many of their fellows. Their fellows, 
 from Bega to Gillray, in a desire to make life funny, 
 have been wont to pass swiftly from nature to carica- 
 ture. And they have caught a cheap success. But 
 a more profound and accurate insight controlled the 
 labour of these greater men. They could go far and 
 not be further than the truth. They could give an ex- 
 treme with delicacy. Again, there belonged to both of 
 them a gift generally denied to the caricaturist ^the 
 low comedian of Art. They appreciated beauty in 
 its most faultless form a simple, naive, and dainty 
 maidenhood. 
 
 The sentiment of Hogarth, for all his vivacity, 
 was entirely English, but his design was influenced 
 
224 MASTERS OF GENRE PAINTING. 
 
 bj tlie French. Practically there were no English 
 masters whom in design he could have been willing 
 to follow. But Watteau and Watteau's pictures of 
 Society in its lightest hours were known a little in 
 the England of Hogarth's day. Watteau had been 
 in London, and after him an artist who inherited 
 directly from the master his grace, his precision, his 
 conspicuous ease ; transferring them from the rela- 
 tively ample spaces of the cabinet picture to the 
 measured and minute inches into which the illustra- 
 tor of books must needs compress his design. Hubert 
 Gravelot lived long in England he had a school in 
 the Strand and his influence was great on English 
 art. Then there were the professed engravers, of 
 whom the finest were sure to be French, in a gene- 
 ration preceding that of the rise of English mezzo- 
 tint. Baron, the pupil of Tardieu, did his best work 
 in London. Scotin followed him here. Both were 
 personally associated with Hogarth. It has not been 
 sufficiently remembered that the artistic world of 
 England in Hogarth's day was very French indeed. 
 The influence of France, in unflagging liveliness and 
 agility, in precision with freedom, must be traced in 
 the design and draughtsmanship of the first great 
 English master. It deserted him in his coarser 
 subjects, his subjects of lowest life. It was not 
 
HOGARTH, WHKIE, AND LESLIE. 225 
 
 apparent in some of liis earlier. There is none of it 
 in the Harlot's Progress. It is absent from his 
 portraits. But it may possibly be discovered in the 
 Beggar^s Opera, and how are we to escape the re- 
 cognition of it in the Marriage a la Mode ? 
 
 But if the design and draughtsmanship of 
 Hogarth were due in a measure to France, his 
 colour was his own and his sentiment the nation's 
 to which he belonged. His personal instinct for 
 pure art is evidenced by the hues that are conveyed 
 to his canvas from his palette : fresh yet subdued, 
 rosy yet harmonious. As a deceptive or imitative 
 painter of object and fabric of the table, of the jewel- 
 box, of the curtain, of the velvet that covers the 
 chair it could never indeed be seriously contended 
 that he is the equal of the Dutchmen ; nor is his 
 sense of the refinements of colour, of the delicate tran- 
 sitions and gradations of hue, as keen or as faultless 
 as theirs. But in England at all events, even in 
 these matters, he has but few equals. His sense of 
 colour is much finer, his control more ample, than 
 that of the humourist who followed him David 
 Wilkie. His sense of a sober harmony is greater than 
 that of Leslie the latest English Genre painter who 
 has entered into history. 
 
 We said that his sentiment was entirely English : 
 
 Q 
 
226 MASTERS OF GENRE PAINTING. 
 
 let it be added that at least the worst of it his 
 inclination to grossness was English of his time. 
 Quite as harmful sugges.tions as anj that disfigure 
 Hogarth's work and banish so much of it from the 
 drawing-rooms of our day, are to be found in the work 
 of Hogarth's French contemporaries, but presented 
 there with a sincerity less brutal, an insistance 
 less revolting. It would seem as if whole generations 
 of culture, instead of the mere barrier of race, stood 
 between the civilisation of George the Second and 
 the civilisation of Louis Quinze. But if Hogarth.'s 
 coarseness must be claimed as English claimed as 
 akin to that of Smollett and Swift, who knew no 
 reticence at all so, too, unless our national pride 
 may perchance be found in error, must Hogarth's 
 sense of the sternness and stress of duty, his con- 
 viction of the necessity of honesty and of work. 
 His art was perhaps all the more readily ac- 
 cepted because it taught and not alone in Tlie 
 Lidustrious Ajpjpr entice that honesty may count 
 even in this world upon a very snug reward. 
 
 The prints of Hogarth have been more popular 
 than his pictures, though their pure art merits 
 are generally less great, since Hogarth's triumph 
 with the technical parts of painting was certainly 
 more signal than his skill as an engraver. As an 
 
HOGARTH, WILKIE, AND LESLIE. 22/ 
 
 engraver, dealing with the technicalities of the craft, 
 it is idle to compare him with the craft's consum- 
 mate masters. Thus it is that the most brilliant 
 and finished of all the engravings that record his 
 genius were the work of other hands. The expres- 
 sive plates of Marriage a la Mode were wrought by 
 Scotin, Baron, and Ravenet ; and later in the 
 century the subjects were repeated in the mezzotint 
 of Earlom. The delicate sharpness of line which 
 was at the command of the first engravers, the con- 
 trol of tone and suggestion of texture in black and 
 white which belonged to the mezzotinter, were alike 
 beyond the skill of Hogarth. But Hogarth in his 
 engravings was able to fulfil what has been some- 
 what too indulgently put forth as the restricted task 
 of the artist in etching. He could express his purely 
 mental conceptions : he could tell the story that 
 dwelt upon his mind. And in one piece at least, in 
 which no mission of morality or satire prompted his 
 burin the Strolling Actresses, of which Walpole 
 rightly said that " for wit and imagination without 
 any other end " it was the best of Hogarth's works 
 the artist, in a touch both spirited and patient, 
 presses hard on the success of the craftsman. 
 
 Probably it would have been well for David 
 
 Q 2 
 
228 MASTERS OF GENRE PAINTING. 
 
 Wilkie if in spirit he had remained, as Hogarth did 
 to the end of his days, within these British Isles. 
 He travelled to enlarge his culture and to lose some- 
 thing of his individuality. But fortunately for his 
 ultimate fame he had done much before he changed 
 so considerably the subject and manner of his labour. 
 He was forty, and he had painted The Rent Day, 
 the Blind Man's Buff, and The Village Festival 
 before he went abroad and turned to history and to 
 portraiture. Born in Fifeshire in 1785, he was 
 popular in London by 18 10, and when the change 
 came in his work it was he only who had demanded it. 
 In the importance assigned to him to humour in 
 his earlier pictures, Wilkie followed Hogarth; but 
 his humour was gentler. His satire was mild and 
 very tolerant. Like the great Dutch masters of 
 Genre, he saw that the frailties he satirised were a 
 part of humanity, and he was never fierce, and often 
 sympathetic. They beheld drunkenness with as 
 complete a tolerance as he did, but the drunkenness 
 they represented was more debasing than his. They 
 painted evil natures brutalised by bad liquor. In 
 Wilkie's Village Festival the men are very drunk, 
 but you cannot be angry with them, for the good 
 fellows have had wholesome drink and are as genial 
 in their cups as Rip Van Winkle. In his painting 
 
HOGARTH, WILKIE, AND LESLIE. 229 
 
 of the northern vice, his nationality influenced 
 Wilkie. 
 
 But if Wilkie entered sympathetically into frailty, 
 he entered with the heartiest and purest zesfc into 
 innocent fun. He had his Scotch naivete with his 
 Scotch intelligence. Little things amused him : 
 little themes were enough for him. His figures have 
 " a parochial air." His early art was burdened by no 
 message and was conscious of no dignity, and in it 
 he discharged what must have seemed then his 
 sufficient function to amuse with the humours of 
 humble life and the record of its facile happiness. 
 But though his earlier pictures seem of so spontane- 
 ous and easy a conception, there had been needed to 
 paint them the trained observation of an artist as 
 well as the natural keenness of a shrewd witness of 
 life. The Blind Marl's Buff,^ painted in 181 1, is, in 
 all save absolute exquisiteness of colour, as pretty a 
 Genre picture as we may see. It is alive and a-sparkle : 
 the tone harmonious ; the composition finely ordered 
 yet of apparent spontaneity, so that it does not 
 suggest composition at all ; the movements and 
 gestures taken happily from the life ; certain groups, 
 as that of which the white-capped, yellow-skirted girl 
 is the centre, being of the most ingenious invention 
 
 * National Gallery. 
 
230 MASTERS OF GENRE PAINTING. 
 
 and the most pointed pourtrayal. In The Village 
 Festival, too, we find a like amazing appropriateness 
 of attitude and piquancy of pose in the girl-child, 
 for instance, with the bare shoulder-blades seen from 
 behind, and in the well nigh Stothard-like grace of 
 other young heroines of the same design. 
 
 No wonder these things were successful in popular 
 engraving : they are so successful in story and in 
 humour, in pointedness of expression and prettiness 
 of line. Only the painter's particular gift of noble 
 and pure colour was withheld from Wilkie. By 
 what Fortune denied as well as by what she granted 
 he was to be proved and recognised a Scotchman, 
 and colour is not generally a Scotchman's gift. 
 Wilkie is happiest with browns, with yellows that 
 verge upon brown. Later he ventures upon red, 
 but quite without a living Scotchman's excep- 
 tional triumph. He fails as conspicuously as Mr. 
 Pettie succeeds. The oily reds with which Wilkie 
 loaded his canvas, in his later time, and in juxta- 
 position with the heaviest blacks as in The First 
 Earring produce an effect not noble, not even 
 brilliant, but tawdry. One other limitation must be 
 set to Wilkie's excellence in Genre painting his 
 other painting we are here fairly suffered to pass by 
 and that we find in the loss which is experienced 
 
HOGARTH, WHKIE, AND LESLIE. 23 1 
 
 in his Genre work whenever his ambition pushes it to 
 a scale too large for his theme. Even The Village 
 Festival and The Blind Fiddler show something 
 of the loss. The First Earring betrays the whole 
 of it. The incident does not allow of such a scale : 
 the moment it is not painted small it is seen to be 
 trifling. 
 
 In England the succession of fine Genre painters 
 who have joined the true artistic faculties to the 
 possession of humour, has never been very sure or 
 rich. But twenty years before the painter of the 
 Rent Day died off the harbour of Malta his death 
 yet more remembered than his life, through the 
 great picture which tells us of the passionate affection 
 of Turner there had risen and become conspicuous 
 the third and last high English master of Genre. 
 Charles Eobert Leslie. Of all our humourists he was 
 the most gentle and the most refined. Had he been a 
 little coarser and louder he would have been much 
 more popular with his own generation : had he had 
 more of positive force and genius as an artist, he 
 might legitimately have imposed himself upon ours. 
 Unlike his very agreeable contemporary, Gilbert 
 Stuart Newton, his art is more intellectual than 
 sensuous more thoughtful than purely picturesque. 
 
232 MASTERS OF GENRE PAINTING. 
 
 As it is, enthusiasm is not a feeling he commonly 
 evokes, and when, hardly ten years ago, what was 
 meant to be a representative selection of his pictures 
 was clustered together at Burlington House, the high 
 comedy of Leslie's art passed very much without 
 applause. In this there may have been something 
 disappointing, there was but nothing that could 
 fairly surprise. His very studied carefulness was al- 
 most incompatible with fertility : his delicate truth to 
 the character he was depicting to the silly gentle- 
 man of Shakspeare or the seductive widow of Sterne 
 was too subtle for popular favour ; nor had popular 
 favour been drawn by the bait of imitative reproduc- 
 tion of textures a device Leslie was on the whole 
 too simple to deliberately adopt. 
 
 And perhaps another reason why Leslie failed of 
 hearty popularity is that he departed, and was 
 among the first to depart, from depicting in Genre 
 painting the follies and familiar scenes of his own day. 
 He differed in this from Wilkie as he differed from 
 Hogarth as he differed also from the great Dutch 
 masters. These sought their comedy only at their own 
 doors and in the occurrences of their time. The de- 
 parture from his own day the placing of the painted 
 drama in any age other than his own while it invokes 
 for the painter the associations of Romance and Lite- 
 
HOGARTH, W ILK IE, AND LESLIE. 233 
 
 rature, deprives him at once of the force of immediate 
 interest, of the attraction of piquancy. Of such de- 
 parture Leslie experienced both the gain and the 
 loss. He gave us in Sancho Panza, in Anne Page, 
 and Sir Roger de Goverley, the best of which he was 
 capable : he gave it thoughtfully, in works which 
 his diligence pursued without either haste or pause. 
 His true gift was in the temperate pourtrayal of that 
 gentle life he cared for a gentle life endowed with 
 the colours of Romance. He is the last link firmly 
 added to the chain of Genre painters, for his successors 
 are our contemporaries. 
 
INDEX. 
 
 Basax. a publisher of Prints 
 103. Engraving Terburg's Ma- 
 f/ister Holla/ndais 104. 
 
 Baudouin. His Free Subjects 
 220. 
 
 Beeghem. His rare Water 
 Colours 135. 
 
 Bocher. Catalogue of Engrav- 
 ings from Lancret 189. Cata- 
 logue of Engravings from Char- 
 din 198. 
 
 BoNiFAZio. A picture in the 
 Academy at Venice 11. 
 
 Boucher. Engravings after AVat- 
 teau 176. His care for the 
 Kusticities of Landscape 214. 
 
 Brauwer. His work 151. 
 
 Brekelenkamp. His place 146. 
 The Variety of his Themes 147. 
 His Picture in the Salle Lacaze 
 147. 
 Burger. On De Hooch 51. On 
 Van der Meer of Delft 57. 
 
 C HARDIN. Prints after Chardin 
 197. A pupil of Coypel 199. 
 His Life 200. His Painting of 
 Still Life 200. His painting of 
 Domestic Scenes 203. Of Mid- 
 
 dle Class Life 204. The senti- 
 ment of Chardin 205. His in- 
 terpretation of his own class 
 207. 
 
 De Goxcourt. Study of Chardin's 
 Life 198. A drawing of Pra- 
 gonard's 217. 
 
 De Hooch. The few Facts of his 
 Life 50. His comparative In- 
 ditlerence to Character 52. His 
 Devotion to Light 52. His 
 works in the National Gallery 
 53. In the Louvre 54. At Am- 
 sterdam 55. 
 
 De Koninck. His order of Land- 
 scape 43. His Water Colours 
 135. 
 
 Diderot. A Eulogist of Chardin 
 198. 
 
 Dou. The greatest of the Petty 
 Masters 152. His Portraits in 
 the National Gallery 152. His 
 Work at Bridgewater House 
 153. 
 
 Fragonard. The public he ap- 
 peals to 208. The Sincerity of 
 
2^6 
 
 INDEX. 
 
 His Art 210. Early Work 211. 
 His Artistic Improvements on 
 Nature 213. His pom'trayal of 
 daily human grace 214. Sepia 
 and Chalk Drawings 216. Nude 
 Figures at the Louvre 2 18. The 
 Impulsiveness of his Art 220. 
 
 HOGAETH. His stories elabo- 
 rately constructed 222. He 
 deals with Permanent Weak- 
 nesses 223. Hogarth's Obliga- 
 tions to French Art 224. His 
 skill as a Pure Painter 225. The 
 Sentiment of his Pictures 226. 
 The Prints of Hogarth 226. 
 
 Laxcret. The whereabouts of 
 his Pictures 184. Lancret and 
 Pater 185. Lancret's World 
 186. The Basis of Reality in 
 his Decorative Painting 188. 
 Prints after Lancret 189. 
 
 Latour. His Pastels 203. 
 
 Laveeince. Les Offres Sedui- 
 santes 216. 
 
 Leslie. On Terburg's Letter 88. 
 His appreciation of Dutch Art 
 and of Jan Steen 108. Some 
 characteristics of his Art 231. 
 His Pictures of Gentle Life and 
 of Old Romance 232. 
 
 Maes. Birth and Pupilage 64. 
 Maes and Rembrandt 65. La 
 lievense 65. His Spinning Wo- 
 men ()Q. The Grace before 
 Meat at Amsterdam 67. The 
 Queen's Listener 10. His Study 
 of Shifting Light 70. The poe- 
 try of Interiors 71. 
 
 Metsu. His World, larger than 
 Terburg's 90. The Gesture of 
 the hand 91. The Duet&xi6. the 
 Mmio Lesson of the Peel Collec- 
 tion 93 and 96. The Vegetalle 
 Marliet of the Louvre 94. The 
 Queen's Metsu 97. The Birth 
 and Life of Metsu 99. His 
 Death ICO. Prints after Metsu 
 104. 
 
 Mieeis. 151. 
 
 Ostade. His Parentage 132. 
 His Master, Frans Hals 133. 
 His Pupils, Dusart and Bega 
 133. His Brother Isaac 134. 
 His Water Colour Work in his 
 Old Age 134. The virtues of 
 his Interiors 136. The Etchings 
 of Ostade 138. The Elements 
 of Picturesque effect in his 
 Work 140. 
 
 Pater. His connection with 
 Watteau 191. His Character- 
 istics 192. The Besir de Plaio'e 
 193. 
 
 Rembrandt. Birth and Parent- 
 age 13. First Works 14. His 
 wife Saskia 16. His Collection 
 19. His Money Troubles 20. 
 His countenance 22. His later 
 Associates 24. His Son Titus 
 25. His wife Catherina 25. 
 His Death and Burial 26. The 
 Lessmi of Anatomy 27. Sortie of 
 Frans Banning CocJi's Company 
 28. Syndics of the Cloth Hall 
 30. The Cliaracter of his mo- 
 dels in portraiture 31. Lntma 
 
INDEX. 
 
 237 
 
 34. The Six and the Be 
 JongJw 37. The hands in Rem- 
 brandt's Etchings 38. The 
 Humanity of his Sacred Art 39. 
 His homely Landscape 42. TJie 
 CoUage with White Pales 43. 
 The Cottage with Dutch Hay- 
 Ba/f-n 44. The Mill 44. 
 
 SCHALCKEN. His Candle Light 
 Pictures 153. The Luxury of 
 his Pictures 154. 
 
 Steen. The range of his Art and 
 Sympathy 106. Contemporary 
 Neglect 107. Steen's Parentage 
 112. At Haarlem 113. A pupil 
 of Van Goijen 114. His Life at 
 Delft 115. His Death 116. 
 His treatment of Sacred Themes 
 
 117. llan-iage Feast at Cana 
 
 118. His portraiture of hale 
 old Age 120. Children in the 
 Art of Steen 121. Girlhood in 
 the Art of Steen 123. Beauty 
 of Form 124. The Doctor's 
 Visits : Van Der Hoop Collec- 
 tion 126. Bad Comimmj 127. 
 The Picture of Hwman Life 128. 
 The Oyster Girl in the Six Col- 
 lection 128. Steen in the Na- 
 tional Gallery 129. 
 
 SuEUGUE. His Engraving of 
 Watteau 178. Of Pater 193. 
 
 TiNTOEET. A Picture in the 
 Salute 119. 
 
 Teniees. The painter of 'the 
 People' 141. At the National 
 Gallery 143. Sir Joshua's opi- 
 nion 143. The Guard Room and 
 the Festival 144. His Figures 
 
 in Landscape 145. His effect 
 of Weather 146. 
 Teebueg. a man of Society 73 
 The Society he pourtrays 74 
 His Life and Travels 75. Ter- 
 burg in Spain 76. His Portraits 
 those of a Genre Painter 77. 
 His Profoundest Portraits in 
 his Genre Painting 80. His 
 Masculine Treatment of Dan- 
 gerous Themes 82. The Guitar 
 Lesson of the National Gallery 
 84. His Subjects Continued 86. 
 The Conseil Paternel 87. The 
 Queen's Letter 88. Prints after 
 Terburg 103. 
 
 Van dee Meee, of Delft. Birth 
 56. His Masters 57. His treat- 
 ment of Interiors 58. Of Out- 
 door Subjects 59. His work in 
 the Louvre and in the D'Aren- 
 berg Gallery 60. His Belft at 
 the Hague 61'. His Audacities 
 and Subtleties of Colour 62. 
 His Interior in the Six Collec- 
 tion 62. 
 
 Van dee Willigen. His 'Ar- 
 tistes d'Haarlem ' 132 
 
 Van Goijen. His Reserve of 
 Strength 114. 
 
 Van Westeheene. His Life of 
 Jan Steen 111. 
 
 VOSMAEE. On Rembrandt's 
 
 Second Marriage 21. On Rem- 
 brandt's Landscape 43. 
 
 Watson. His mezzotint Engrav- 
 ings 105. 
 
 Watteau. His Birth 156. Pupil 
 of Gillot and of Audran 158. 
 
238 
 
 INDEX. 
 
 Early Influences on his Art 159. 
 Military Pictures 160. M. de 
 Julienne 163. His other Friends 
 164. His Wanderings and his 
 Death 166. Watteau a Painter 
 of Romance and Comedy 167. 
 Yet of Character 168. Colour in 
 His Drawings 169. The limits 
 of His Practice 171. His P-our- 
 trayal of Artists 173. Figures 
 repeated 174. His drawing of 
 
 the Nude 176. Child-life and 
 Girl-life in his Works 178. 
 The meditative mind shown in 
 his Drawings 180. 
 
 WiLKiE. An effect of his Travel 
 228. His Tolerance 228. His 
 Function, to Amuse 229. Blind 
 Man's Buff 229. The Limita- 
 tions of Colour and Scale 230. 
 
 WiLLE. The Engraver of Dutch 
 Genre Pictures 102. 
 
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