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M AXWELLS VICTORIES OF WELLING ( ON AND THE BRITISH ARMIES, 20 L|Te* 0*F WELlflNGTO^^ by “ An Otn So. diek,” compiled from the materials of ^‘xiHxwell, and continued hv an eminent Author, with an Account of the i’DSCAPE PAIXTEES. their natural luxuriance, the streams flow unrestrictedly, the roads are primitive and rugged, and every object denotes that the inhabitants are not so refined as to be fastidious. In his larger pictures the skies are remarkably beautiful, the clouds illumined by sunshine producing a rich effect, and the beams passing through the foliage of the trees lighten up the forest or grove in a manner truly magical. Hobbema did not excel in figures or animals, therefore, like his friend Huisdael, he had recourse to painters worthy of the associ- ation, to supply his deficiency: Wouwerman, Adrian Yan de Yelde, Berchem, Lingelbach, and others, lent their as- sistance, and gave additional value to the landscape. It is hardly possible to over-estimate fine specimens of Hobbema ; the price, in fair competition, ranges from three hundred to fifteen hundred or two thousand pounds sterl- ing ; one has been known to reach the sum of three thou- sand pounds in a private transaction. See Principal Masters. HrxsMAJX, CoE^TELius, studied landscape painting under Artois ; he afterwards settled at Malines, and is generally called Huysman of Halines. His landscapes are in a grand style ; his penciling bold and firm, and his colouring rich and harmonious ; but time, or the red ground on which he painted, has greatly diminished the beauty in many instances. He was born at Antwerp in 1648, and died at Malines in 1727. Imme:xeaet, P. A. This artist has hitherto been known by the name of Emeleaet, and under that appellation ap- pears in all the Dictionaries that treat on Blemish painting, but that name is corrected and exploded by the editor of the enlarged edition of Bryan’s Dictionary, in a note to the article Vanuden. Immenraet went to Italy when young, passed seve- ral years at Eome, and returned to Antwerp an accomplished landscape painter. His pictures are on a grand scale, and have a fine effect ; and many historical and portrait painters availed themselves of his talent to enrich their back-grounds. He was born at Antwerp in 1612, and died there, it is sup- posed, in 1668. Kerkuoff, Daxiel, painted landscapes with waterfalls and views of cities. His countrymen speak highly of his productions, and think him deserving of being placed in the first rank of landscape painters. His pictures certainly have great merit, and are found in the best modern collec- LANDSCAPE PAINTERS. 131 tions in Holland. He was born at Amsterdam in 17 66, and died in 1821. Kessel, Jan yan. See Imitators of Jacob Ruisdael, KiERiNas, or Cierincx, Jacques, painted landscapes with a free and light pencil ; they are peculiar in the man- ner of handling and colouring, rather bright and verdant, and owe much of their estimation to the figures introduced by Poelemburg. He was born at Utrecht in 1590, and died in 1646. Some of his landscapes are views in Scotland painted for Charles the First. Knipbergen, H , painted landscapes in the manner of Paul Bril ; they are generally of the romantic scenery of Switzerland and Germany. There is much facility shown in the' handling, but there is want of taste in the arrange- ment of his forms and the disposition of his figures, and his pictures are defective in aerial perspective. These faults distinguish his works from those of Paul Bril, who, as a land- scape painter, may be considered one of the best of his time. Nothing further is known of Knipbergen. Koningh, Philip de. See Imitators of Bemhrandt. Lap, Jan, a Dutch artist who fiourished about the middle of the seventeenth century, painted landscapes with ruins and numerous figures, in which he imitated the manner of Jan Both: he is better known by his drawings than by his pictures in oil. Leepe, Jan Anthony Vander, imitated the manner of Gaspar Poussin in his landscapes ; his penciling is light and his colouring agreeable, but somewhat cold. The figures introduced are by Kerkhove. He was born at Bruges in 1664, and died in 1720. His name will appear again under the head of Marine Bainters. Lint, Henri van, called Studio, was probably bom at Antwerp, where his father resided, but went early to Borne, and remained there the greater part of his life. His land- scapes are in the style of Orizzonte, and occasionally have analogy with those of Claude ; in the latter case they are silvery, rather weak in effect, and cold, but otherwise very pleasing as selections, or compositions. It is only from his parentage and the place of his birth that he is enrolled among the Flemish landscape painters ; his works belong to 132 LANDSCAPE PAINTERS. Italy. jS’eitlier tlie date of his birth or death are recorded, but he Tvas living in 1680. Loten, John, a native of Holland, excelled in painting dark groves of trees, of which the oak was a favourite, water- falls, and land-storms. There is a gloomy grandeur in his pictures, which makes them interesting, and were it not for their blackness, they would be prized for their other good qualities. The scenery of his landscapes is English ; it may therefore be supposed that he was long a resident in the country. It is generally believed that he died in 1681. Mile', or Millet, Erancis, can scarcely be called a Elemish painter, though a native of Antwerp ; but as the Erench claim the Poussins, and Claude, on account of their birth, so the Elemings have a right to Mile from the place of his nativity. His landscapes are Italian, that is to say, they are heroic in imitation of Niecolo Pussino, whose class- ical creations were his models. His figures are adopted from the same school, and accord well with the scene. Elis pictures are remarkably pleasing, but are not to be com- pared with the solemn aspect and majestic grandeur which at all times distinguishes the landscapes of Mccolo. In some of his compositions, where there is more of the ordinary appearance of nature, there is variety and vivacity in the objects and colouring. His penciling is broad and free, and his foliage touched with spirit. He was born in 1644, and died in 1680. Molyn, Peter, the elder, was born at Haerlem about the year 1600. His landscapes have affinity to those of Yan Gioyen both in the subjects and the manner of penciling and colouring, but frequently with a tawny hue. In his best pictures the skies and distances are touched lightly; the fore-grounds are embellished with buildings and ruins, and though there is not much variety, the efiect is pictur- esque. The few figures introduced are his own, and accord witli the unpretending scenery. His landscapes are generally small, and on panel, and many have suffered in colour from the use of Haerlem blue. It is supposed that he died about 1654. jMoltn, Peter, the younger, better known by the name TE:srPESTA, was tlie son of the preceding artist, and w^as born at Haerlem in 1637. He received his first instructions from LANDSCAPE PAINTEKS. 133 his father, afterwards imitated the hunting pieces of Snyders, and lastly seems to have had the ambition to rival Salvator Kosa in bravura. His landscapes are not Dutch, they are rather the Italian heroic ; the scenery is grand in rocks, woods, and water ; the skies turbulent, and often splendid, the clouds roll in masses, and all the objects appear in a state of convulsion. But it is in sea storms that he is truly tremendous, and from painting these with such fury in the warring elements, he obtained among the Italians the cognomen of Tempesta. His seaports are more placid ; they frequently have views of dockyards and ship-building, with much small craft, and numerous figures busily em- ployed; these have resemblance to the style of Salvator llosa in penciling and colour. The story of his turpitude is recorded elsewhere, and it can only be lamented that an artist of his talent should have been guilty of an act so in- famous, that even his pictures are tainted when it is called to remembrance. After some years’ imprisonment for his crime at G-enoa, he escaped to Parma and Milan, and died in 1701. Mompeb, or Mompeet, Jodocus, or Josse. See Coadju- tors of Rubens. Moecheeon, Peedeeic and Isaac. See the articles under Analogists to Jan Roth. The figures and cattle in the landscapes of Prederic are frequently by Adrian Van de Velde and Lingelbach; those in the landscapes of Isaac are by Verkolie and others. Haiwtncx, or Naiwinck, Henei, or Heeman, the two latter being guesses from the prefix H to his family name, was born at IJtrecht about 1620. He painted landscapes in the style of Waterlo, according to some writers, and moun- tainous scenery, views of towns and fortifications, according to others, in which the figures and animals are by Jan Asse- lyn ; but his etchings are perhaps the best guides to the know- ledge of his compositions in oil, which are very rare in this country, at least under his name. IS’eve, Peancis de, born at Antwerp about 1627, after studying the works of Bubens and Van Dyck, went to Borne, w'here he resided for some years. He painted what is termed heroic landscapes, enlivened with poetical subjects, in which he shows fertility of genius, and refinement of taste. He died in 1681. 134 LANDSCAPE PAINTEES. Patentee, Joachim. The exact date of this painter’s birth is uncertain ; some place it about 1480, others in 1490 ; he was admitted a member of the Academy at Antwerp in 1515. He was one of the first artists who painted land- scapes independent of history. His pictures are generally small, highly laboured, and enlivened with diminutive figures. In the style of his landscapes he seems to he the precursor of Poland Savery and Stalbemt ; a picture which appeared in a public sale some years hack, having the name of Joachim Patenier, and also the little clownish figure which he usually introduced, had the characteristic types of those masters. The scene is a wild mountainous locality, with a hermitage in an elevated position, partly hidden by fir trees and others denuded of their foliage, a recluse is seated near to it, and another is seen ascending the hill; lower down in a retired nook is the clownish figure seated on a bar, his back turned to the spectator; two or three travellers are wending their way through the wilderness : all the figures are very small. The landscapes with historical subjects that are now attributed to Patenier differ widely from this in their treatment ; the landscape is more formal, and richer in colour; the figures disproportionally large, occupying too much space for the size of the picture, and not compensating by suitable elevation of character. The battle pieces attributed to him are certainly wonderful pro- ductions for the period at which they were painted; one, now in England, is marvellous for the exquisite finishing of the numerous figures, aU clad in armour of different nations, with their several devices, and varied costume, as carefuUy elaborated as enamel. Patenier is said to have been of low and dissolute habits ; his artistic talents must therefore have been very great to induce Albert Durer to form an intimacy with him. The time of his death is as uncertain as that of his birth, but several writers place it in 1548. See Ancient Flemish and Dutch Fainters. Post, Eeancis, born at Haerlem in 1620, accompanied Prince Maurice in a voyage to the West Indies, and also to South America, wPere he made drawings of the most in- teresting scenery. Erom these designs he afterwards painted large and small pictures, which, no doubt, are faithful repre- LANDSCAPE PAINTEES. 135 sentations of tlie places, and of the customs of the natives ; the easel pictures, however, are now held of little accoimt. He died in 1680. Eademackee, Abeaham, bom at Amsterdam in 1675, was a self-taught artist. He painted landscapes ornamented with buildings and ruins in a very picturesque manner, and remarkable for perspective accuracy. He is no less cele- brated for the numerous engravings he made after his own designs of the ancient monuments of Holland and the Nether- lands. He died in 1735. Eoghman, Eoland. See the article under Imitators of Hemhrandt. Eontbout, J . His landscapes have a resemblance to the small pictures of Euisdael, Hobbema, and Dekker, and represent woody scenery ; they are always on panel, and are marked with his initials in a monogram, the J and E being joined together in the same manner as it occasionally appears on pictures by Jacob Euisdael. There is no account of him, but he must have been contemporary with the artists above named. Eubens, Petee Paul. The coadjutors of Eubens in the landscape portion of his pictures have been noticed in the first division of this work, under the head of Hrincij^al Mas-- ters ; but it is not to be inferred that because he employed these auxiliaries he was unable to perform that part himself ; there are numerous proofs to the contrary. At the same time, full reliance is not to be placed on the authenticity of all that are attributed to his pencil, even when their grandeur of conception and mastery of handling would seem to be a sure warranty. Those that were engraved by Bolswert, under the painter’s own supervision, have the best claim to confidence as being entirely by his hand ; others have the impress of his mind and direction, and no doubt a share of his execution, and so far may be considered his works, espe- cially as there are drawings of some, known to be by him, ’which were probably the guides for his assistants. The series of landscapes engraved by Bolswert have internal evidence of being entirely the work of Eubens in the forms of the trees, the rapid penciling, the arbitrarious distri- bution of objects, the occasional abruptness, as disdaining the trammels of rules, and the introduction of accidental 136 LANDSCAPE PAES'TEES. circumstances tliat do not occur to the minds of painters unendowed with poetic feeling. It would seem that Euhens was jealous of the appropriation of these, and had them engraved to preserve his title TNnth posterity ; others, perhaps of greater pretensions, were not so cautiously guarded. Several of the genuine pictures are in England, of which one is in the National Grallery, one in the Earl of Carlisle’s Collection, and one in the Earl of Mulgrave’s. Duplicates may be known by the variations from the prints. Eosdael, Jacob. The name of this painter is associated with well-wooded romantic scenery and foaming waterfalls ; in such productions he is certainly pre-eminent, and a fine specimen of the kind is considered a great acquisition. But the loyer of nature is not less interested and delighted in contemplating his more rural scenery, where the inter- ference of man may be traced in the remoyal of some of nature’s wild exuberance, and the substitution of thrifty cultivation, yet leaving sufficient of the natural beauties for picturesque effect. In such views there is generally a cot- tage, a wind or water-mill, a church spire in the distance, the body of the church being hidden by clumps of trees, and a quiet streamlet issuing from the verge of a forest, where the woodman’s axe seems to have been recently em- ployed by seeing a fallen oak or beech trunk, stripped of its honours, lying athwart the rivulet; or it may be an extensive \dew over a flat country interspersed with hamlets, isolated cottages and windmills, amidst corn-fields or bleach- ing grounds, where the eye is conducted by the regular gradation of objects to a far distant horizon. In these re- presentations he compensates for the absence of the romantic by peculiar attention to the more common and milder beauties of nature ; but he is never tame. The foliage of the trees is diversified and tenderly touched, the flowering elder and the humffiler aquatic and road-side plants display their summer gaiety, the skies haye a brighter hue, the clouds float un- broken, and the mind of the obseryer partakes of the se-‘ renity. But when he chooses, eyen in such scenes, to exhibit his pictorial power, the fluctuations of autumn are brought into action ; a transient turbidence appears in the heavens, the clouds roll heavily or dispart, casting broad or partial shadows on the objects below, and gleams of sunshine, min- LANDSCAPE PAINTEES. 137 gled with rain, illumine one portion of the picture, while the other suffers the obscurity of twilight. But it would be an endless task to describe the variety of his picturesque selec- tions from nature, and the masterly manner of the treat- ment ; the amateur will find in all something to interest, and in most much to delight a person of taste and judgment. The figures and cattle that embellish many, are by the pen- cils of artists worthy to be the coadjutors of this prince of Dutch landscape painters ; Philip Wouwerman, Adrian Van de Yelde, Nicholas Berchem, Jan Lingelbach, &c. See the article Jacob Ruisdael, under the head of Rrincipal Land- scape Rainters ; also Sea Pieces, Winter Scenes, and other divisions. Byckaeet, Maetin, painted landscapes enriched with ancient ruins, rocks, mountains, and waterfalls ; they are occasionally decorated with figures by Jan Breughel. He was born at Antwerp in 1591, and died in 1636. Btsbeaece;, or Eysbeechts, Petee, was bom at Antwerp in 1657, and was a scholar of Prancis Mile, whom he accom- panied to Paris. He painted landscapes in the style of his master, and also imitated that of Gaspar Poussin. He painted with facility, had a broad touch, and was a good colourist ; his pictures, however, want variety. His penciling in the foliage of his trees is not so tender, nor his colouring so rich and unctuous, as that of Gaspar, and he is more monotonous than Mile ; yet there is such an occasional approach to both, that dealers unhesitatingly attribute his landscapes to one or the other, perhaps from ignorance of there having been a painter of the name of Eysbraeck. His death is supposed to have occurred in 1716. Spieeings, N. {Nicholas ?) was born at Antwerp in 1633. He painted landscapes in the style of Salvator Eosa. His touch is fine and spirited, and his forms grand and pic- turesque. It is not known under whom he studied, but as he went to Italy when young, and remained .there several years, it is possible that he received instructions from Salva- tor. The figures in his pictures are by other hands. He died in 1691. Steaeten, Heney Yandee, a native of Holland, born about 1665, came to England in 1690, and painted landscapes in a superior style, in some of which he imitated the manner 138 LANDSCAPE PAINTEKS. of Ruisdael and Hobbema ; but there is a sad falling off in bis later productions. Yadder, Louis de, born at Brussels in 1560, from the style of his landscapes seems to have studied in Italy, and to have made Titian his model in that department of painting. His touch is firm and free, his colouring tender and chaste, the forms of his trees select and noble, his distances finely marked by a vapoury gradation, and his skies cerulean. So little of the Blemish style appears in his works that they are generally attributed to an Italian master. It is supposed that he died at Brussels in 1623. Yanuden, Lucas. See Coadjutors of Buhens, Yerboom, a . See Imitators of Jacob Buisdael. Yergazon, Henry, a landscape painter, employed by Godfrey Kneller to put in his back-grounds. Yerhaecht, Tobias, an eminent landscape painter, said to have been the first master of Rubens, studied much in Italy. His scenery is grand and extensive, and shows a bet- ter acquaintance with aerial perspective than most of his contemporaries ; and he ornaments the landscape with ruins of antiquity. The figures introduced are by other artists, particularly by Branck. He was born at Antwerp in 1566, and died in 1631. Yinck, J , painted in the styles of Yinckenbooms, Paul Bril, and Breughel. It is supposed that he lived in the early part of the I7th century. Yoogd, Hendrik, born at Amsterdam in 1766, went to Italy to finish his studies, and painted some of the most beautiful scenery there. He was acknowledged to be the finest landscape painter in Rome at that period, and was called the Dutch Claude. He sent several pictures to the exhibitions at Amsterdam, but it does not appear that he ever returned to his own country. He died at Rome in 1839. Yries, Jan Renier de. See Scholars and Imitators of Ruisdael. Waal, or Wael, Lucas de, was a scholar of Jan Breughel, whose manner he imitated in his earlier produc- tions. He also painted mountainous scenery with water- falls, which are very picturesque, the colouring chaste and natural, and the penciling neat and spirited. He was born in 1591, and died in 1676. LANDSCAPE PAINTEKS. 139 Wateeloo, or Wateelo, Anthony, Yery little is known of this artist’s history ; it is supposed that he was born at Utrecht about 1618. His landscapes are interesting for their simplicity ; sometimes representing the entrance to a forest ; a broken road with a few trees ; a solitary cottage, or a watermill; all of which are given with the greatest truth: occasionally he extends the view and introduces a winding stream. The foliage of his trees and plants is fresh and tender, touched with spirit and a marked attention to the species ; his skies are light and floating ; his colouring chaste and natural ; all is easy, and there appears no attempt to produce a striking effect. His pictures in oil are very rare, and it is not known that he ever signed them with his name. The time of his death is uncertain. WiLDENS, Jan. See Coadjutors of Bubens. WiLS, or Wilts, Jan. See Imitators of Jan Both, Wynants, Jan. There is great diversity in the composi- tions of this master’s landscapes, but the same character- istics appear in most. Sandy hills, clayey banks, winding roads, richly foliated trees, luxuriant herbage, a decayed oak, brambles, docks, and wild flowers. In his larger pictures there is generally a wide expanse of country finely varied by undulating grounds, with streams of water irrigating the meadows, well studded with trees, and bounded by hills in the distance. Occasionally ruins of decayed brick -work of an old mansion, or other building, intimates that formerly it was the site of a chateau. All these objects, in his best pic- tures, are excellently arranged and richly coloured. What- ever was the ordonnance of his landscape, he had a pupil, or a coadjutor, at hand to enhance the interest by the introduc- tion of a suitable subject. If a hunting or hawking party was needed for a gay scene, Philip Wouvrerman was master of the hounds ; if for pastoral serenity, Adrian Van de Yelde supplied the cattle ; if the scene admitted of both or either, Jan Lingelbach stepped forward with his ready pencil and did the needful. Even Adrian Ostade sometimes lent his assistance. Peter Wouwerman, Schellincks, Solemaker, and others also contributed to a few. The amateur, however, will find the greatest number have the cattle and figures by Adrian Yan de Velde, or Jan Lingelbach. See the article Jan Wynants, under Brincipal Bainters. LANDSCAPES WITH CATTLE AND FIGUEES. Aktonissen, Henet, was bom at Antwerp in 1737, and died in 1794. His style is weak and ineffective, and bis pictures are not much esteemed out of his own country. Assche, Heinki yak, born at Brussels in 1775, was a scholar of De Boy. He travelled in Switzerland, and de- signed the romantic and picturesque scenery of the country; these, with views on the Bhine, and selections from the forest of Ardennes, form many of his numerous beautiful landscapes. Some of his pictures are of rather large dimen- sions, and are enriched with animals and figures by Omme- ganck. He holds a very distinguished place among the modern landscape painters of his country. He died in 1841. Asselyk, Jak. See Analogists of Karel du Jar din. Aveecamp, Hekei yak, surnamed de Stomme van Cam- pen, on account of his taciturnity, was born at Kampen at the end of the sixteenth century. His landscapes and cattle have lost much of their value by change of colour ; his draw- ings of river and winter scenes are more esteemed than his paintings in oil. Avokt, Petee yak. His landscapes are enriched with figures well drawn, and touched with spirit. He frequently ornamented the landscapes of Yinckenbooms in the same way. He was born at Antwerp about 1619. Be GY, . See Imitators of BercTiem. Begyk, Abeaiiam. See Scholars and Imitators of JBer- cliem. Bekt, Jak Yakdee. See Scholars and Imitators of Ber- chem. Beeciiem, or Beeghem, Nicholas. Though there is greater variety in the compositions of the pictures by this LANDSCAPES WITH CATTLE AND EIGTJEES. 141 master that may properly be called pastoral, than in those of any other painter of the Dutch school, yet they all have his characteristics in arrangement, forms of cattle and figures, masterly drawing, lively action, and rich colouring. A well- wooded and watered landscape with hilly back-ground ; frequently with ruins, or a bridge crossing a stream ; groups of cattle, goats and sheep, browsing, or in repose ; a herds- man, or shepherd following, or tending their charge ; a female peasant in showy costume, mounted on a mule with gay trappings ; or cattle in groups fording a river, while others are grazing in the meadow, or preparing to follow ; constitute several of his fine compositions. The effects of morning, noontide, or evening, are shown in the silvery clouds, sultry sky, or vapoury atmosphere. His landscapes are too richly wooded for Holland, and altogether too picturesque in other respects to leave any doubt in the mind of the observer that they are the artist’s reminiscences of Italy, Switzerland, or Grermany. The peasants, male and female, are manifestly Italian in person, garb, and graceful action. Some of his small pictures, containing a few head of cattle, one or two sheep, a goat, a dog, and a single figure, are of exquisite quality, and command a price accordingly, such as can be afforded only by the most opulent. See the article Nicholas Berchem, under the head of Brin- cipal Bainters ; also, under the heads Hunting Bieces, Sea- ports, Battles, Winter Scenes, &c. Beegen, Dieck van. See Analogists to Adrian Van de Velde. Blinkvliet, M , a painter of whose history very little is known, except by tradition that he imitated Berchem so exactly that his pictures have been mistaken for the works of that master. If they really are so good, there is less reason to regret the loss of his name, except so far as regards his reputation ; the accidental appearance of a picture bear- ing his signature may, some day, confirm or falsify the tradi- tion. It is supposed that he was contemporary with Berchem. Boesijm, Adam. See Analogists to Baul B otter ; he also imitated Adrian Vander Neer in moonlight scenes very closely. By some writers he is called Abraham Van Bore- sum, by others Borssum. Both, Jan and Andeew. These brothers, as artists, 142 LANDSCAPES WITH CATTLE AND EIGUEES. belong rather to Italy than Holland ; they are no more Dutch painters than Claude or the Poussins were Drench. Italy was the place of their studies, and Italian landscapes and skies, with the peasantry and animals of that country, the subjects of their pictures. Their scenes are selected from the environs of Tivoli, the passes of the Apennines, the wilds of Calabria, and other picturesque localities ; generally mountainous, well-wooded, rocky, and frequently diversified with falls of water. The tone is always warm, often glowing, and in the meridian sunshine intensely hot ; the skies pure azure and gold, and the few clouds light and fioating. In representations of morning or evening appearances, a vapoury exhalation rises from the valleys, or between the hills, and is as refreshing to the eye of the spectator as the reality is to the overheated vegetation. Muleteers with their beasts, peasants driving cattle, travellers mounted on mules or asses, and pedestrians, are the living objects in these wild and. romantic regions. Occasionally lawless banditti and their captives remind the spectator that the place is one of hazard and remote from protection. Sometimes a portion of Scrip- ture history is introduced, as Philip baptizing the eunuch, and Hagar and Ismael; the story of Mercury and Battus, or sportsmen in pursuit of game. The figures and animals that are most in accord with the landscapes are by Andrew ; they are true to the country in forms, costume, and manners. Some have nymphs and other ideal characters by Poelemburg, a few have figures and animals by Berchem and Philip Wou- werman. Pine specimens sell in open sales from three to eight hundred guineas ; others are estimated at fifteen hun- dred to two thousand guineas, or more. See the article Jan and Andrew Both, under the head of Brincipal Masters, Bout (properly Baut) and Boudewyns painted conjoint- ly, the landscape being by Boudewyns, and the figures and cattle by Baut. See the article in the enlarged edition of Bryan’s Dictionary. B RE u (ill el, Jan, painted a variety of subjects, and was eminent in all. His small landscapes with cattle and figures are spiritedly touched, and brilliantly coloured ; Bubens did not disdain to have him as an auxiliary. See Painters of Flowers and Fruit. LAI^DSCAPES WITH CATTLE AKD EIGUEES. 143 Cabel, or Kabel, Adbiah Vanbee, painted landscapes and cattle in wliich he imit-ated Castiglione and Salvator Rosa, and sometimes Mola ; indeed, in most of his landscapes may he found an imitation of some eminent painter of Italy or Holland; he also painted seaports. His figures and animals are correctly drawn, and touched with spirit, but there is much inequality in his pictures. He was born at Ryswick in 1631, and died at Lyons in 1695. Camphuysen, or Kamphuysen, Theodoee Raphael, is mentioned by several writers as a painter of landscapes and cattle in the manner of Paul Potter, and some have supposed that he was his scholar; hut as Camphuysen was horn in 1586, and, it is said, died in 1626, that supposition is dis- posed. of. That Camphuysen painted landscapes and cattle resembling Paul Potter’s is true, for such are in existence ; but that the same artist painted the landscapes with cattle and figures that occasionally appear in commerce under the name of Camphuysen may be doubted, as they have no re- semblance whatever to the style of Paul Potter. See the note to the article Camjphuysen in the enlarged edition of Bryan’s Dictionary, Caepekteeo, Jeati Caeol, born at Antwerp in 1784, painted landscapes with cows and sheep in the manner of Ommeganck, and which are generally assigned to that mas- ter by the importers of them to England. Caeee, Michael, was a scholar of Nicholas Berchem, but he did not adopt the style of his master ; he followed the in- ferior manner of G-abriel Yander Leeuw, as better suited to his bold and facile penciling in large subjects for house decorations. His easel pictures of landscapes with cattle are more carefully painted, and show that his earlier in- structions were not entirely disregarded. These are occa- sionally found in very respectable collections. He was born at Amsterdam in 1666, and died at Alkmaer in 1728. See Scholars of Berchem. CoHDE, Petee, or Chaeles, is mentioned by some writers as a painter of landscapes with cattle in the manners of Jan and Andrew Both and Nicholas Berchem, and that he was born at the Hague in 1640, and died in 1698 ; by others this account is applied to Peter Codde. It is also said that Charles painted assemblies of soldiers and conversation 144 LANDSCAPES WITH CATTLE AND EiaUBES. pieces. Perhaps both names apply to one artist, though the more creditable writers do not mention Charles, and it is not uncommon when a painter has two Christian names to call him indifferently by one or the other. CoRT, Henri de, was born at Antwerp in 1742, and was a scholar of Antonissen and Gr. Herreyns. His landscapes are, however, much in the Italian style, with buildings and ancient ruins, pleasingly coloured and neatly finished. His earlier pictures have figures and cattle by Ommeganck and P. Eegenmorter ; in those painted in England the accessories are by himself. He resided a considerate time in London, and died there in 1810. CuYP, Albert. It is impossible to convey to the amateur by words the superlative excellence that pervades the land- scapes and cattle painted by this great student of nature ; his works must be seen to be appreciated, and can be appre- ciated by those only who have united the study of art with a close and constant observation of nature in her forms and workings. This must be considered as applying to the care- fully painted pictures of his best time ; and not only to the landscapes with cattle and figures, but to all his compositions of that period, whatever may be the subject. In his land- scapes with cattle, by which he is more generally known, nature is arrayed with truth and appears in unsophisticated beauty; she wears her ^ own rich, simple ornaments, without the meretricious tirings and trimmings that painters, unac- quainted with the true principles of art, so frequently at- tempt to adorn her. He selected with the eye of a poet and a painter, and painted what he saw ; he knew that nature could not be improved, and that adherence to her was the best guide to excellence in art ; hence, the merits of his pic- tures, of the period spoken of, are rarely called in question. His landscapes with cattle and figures possess all the art- istic ([ualities that constitute a good picture of that class, and tliose qualities in a high degree ; drawing, composition, rich colouring, transparency, masterly penciling, unequalled warm til, and atmospheric delusion. The landscape and cattle pieces by this admirable painter are sometimes simple, sometimes grand, and always in ac- cordance witli the truth and beauty of nature. In his sim- pler pieces a few cows are represented in a meadow grazing. LANDSCAPES WITH CATTLE AND EiaUEES. 145 or undergoing the operation of milking; or standing in a rushy pool during the heat of meridian sunshine ; or re- posing and ruminating in the golden vapours of the evening or morning. When on a grander scale, the cattle are seen on the hank of a river, with a view of Dort, or some other city, in the distance; the landscape is varied with undu- lating grounds, trees, shrubs, and wild plants ; horsemen are introduced, and the noble animals on which they ride are fit objects for the spectator’s admiration. Occasionally there are indications of a summer shower, or an autumnal storm, in a darkened sky with masses of heavy clouds, but the general aspect is that of glorious sunshine. As England possesses more of the best works of Albert Cuyp than any other country, the amateur may avail himself of many op- portunities to become acquainted with the varied modes of composition adopted by the master to give beauty to, and excite interest in, such every-day scenes as landscapes and cattle. See the article under the head of Principal Paint- ers ; Piver Views, Field Sports, Battles and Fncampments, Moonlights, and other heads in the Alphabetical Classifica- tions. Cdtp, Benjamin, painted landscapes and cattle, in which he endeavoured to imitate the manner of Bembrandt, but was not very successful. There is vigour in his execution, and strong contrast in the lights and shadows, but neither so diffused as to show a perfect acquaintance with the prin- ciples of chiaroscuro. A favourite subject with him, was the angel appearing to the shepherds, which he painted several times ; he also introduced other Scriptural events in his landscapes, such as battles between the Israelites and the Philistines ; these have merit in the grouping, and spirit in the action. It is uncertain whether he was the brother or the cousin of Albert Cuyp, or whether he was born in 1608 or 1615, and the date of his death is equally so. Cuyp, Jacob Gteeeetze, called Old Cuyp, studied under Abraham Bloemart ; he painted views in the neighbourhood of Dort with figures and cattle, somewhat hard in the pen- ciling, and monotonous in colour, otherwise they are not deficient of merit in the representation. The vast superior- ity of his son Albert in this department has caused the father’s works to be slighted by comparison. He was born 116 LANDSCAPES WITH CATTLE AND EIGTJRES. about 1580, and the latest account of him is in 1612. See Portrait Painters. Dalens, Dirck tan. See Imitators of Pynaher. Does, Jacob Yander, the elder, born at Amsterdam in 1623, distinguished himself as a landscape, cattle, and figure ])ainter. In his earlier time he represented views in the vicinity of Rome, in which he imitated the style of Peter va7i Laer, called bamboccio ; on his return to Holland he ]Riinted landscapes and cattle, that have affinity with Paul Potter and Karel du Jardin, but not as imitations. He had associated vdth Du Jardin in Italy. He excelled particularly in painting goats, deer, and sheep, and it is in these that the resemblance lies, not in the landscape part, for in that he is too sombre. The small figures in his compositions are well dravTi, and very sprightly, and introduced with judgment. He died in 1673. Does, Jacob Yander, the younger, born in 1654, or 1656, was instructed by his father and by Karel du Jardin in landscape and cattle painting, and would have become eminent in that department had he continued to pursue it. But after producing several highly finished pictures, admired by every one but himself, he abandoned it, and took lessons from G-aspar Ketscher, and afterwards from Gerard Lairesse. In consequence of this vacillation, his landscapes with cattle, of his first period, are very rare. He died in 1693. Does, Simon Yander, born in 1653, was the elder brother of the preceding, and being instructed by his father, followed Ills manner in painting landscapes and cattle. But he, like ]iis brother, had the further aclvantage of receiving lessons from Karel du Jardin, Avhich may account for the delicacy and transparency of his colouring. His cattle are well drawn, tlie forms of the trees well chosen, and the gradations skil- fully managed ; the Avhole has a pleasing air of rural life and pastoral sim])licity. He died in 1717. Dongen, Dionysius van, is mentioned among the imita- tors of Albert Cuyp, but he studied the style of other mas- ters as Avell, and thereby improved on that Avhich he had learnt in the school of J. Xavery. Yan Dongen, while he looked at the works of Paul Potter, Cuyp, and Y^3niants, did not neglect nature, so there is little appearance of copy- ing in his pictures, though they sometimes cause a reminis- LAIS'DSCAPES WITH CATTLE AND EIGUEES. 147 cence of those masters. His pictures found ready purchasers during his life, aud are now becoming rare in commerce. He died at Hotter dam in 1819. GrOOL, Jan yan, painted landscapes and cattle, in which he seems to have endeavoured to imitate Paul Potter. His pictures are peculiar; they neither resemble Paul Potter’s works nor any other painter’s, except in the subject. The cattle are not always well drawn, but the penciling is neat, and the colomhng bright and attractive. His trees have tin- sel foliage with too much attention to detail. He is, however, a favourite with some. He was born at the Hague in 1685, and died there in 1763. Gteaat, Baeent, painted landscapes, cattle, and figures, in which he imitated the manner of Wouwerman and Peter de Laer ; the scenery is very pleasing, the animals and figures well dravTi, particularly the sheep and goats, in which he excelled. He also painted conversation pieces of a very pleasing character. See Interiors and Conversations. Hackaeet, or Hakkeet, Jan. The landscapes of this master represent views in Switzerland and G-ermany, or por- tions of the woods at the Hague, and sometimes more open scenes suitable for hunting and hawking. His Swiss and German selections partake of the romantic ; his Dutch, of civilization and vicinity to society. The trees in the Dutch scenery are frequently tall and slender, particularly those at the entrance to the Hague w^oods, bounding the walks, or near the water. The sunbeams glimmer through the foliage, which is very tenderly penciled, and the whole is sweetly coloured and in perfect harmony. The figures and animals are always by other eminent masters ; Adrian Yan de Yelde, Berchem, Lingelbach, and Helt Stoccade. These joint pro- ductions are amongst the most valuable of the cabinet pic- tures of Dutch landscape and cattle painters, not only for their beauty, but their exceeding rarity. See the article Jan Kachaert, under the head of Peincipal Mastees. Hagen, Jan van, painted landscapes and figures in the manner of Dekker and Hontbouts ; the scenes are well chosen and admirably painted, but the colours in most are so changed that their original beauty in that respect is lost. The cattle in his landscapes are generally by Jacob Yander Does the 14S LA]S'D SCAPES WITH CATTLE A]S^D EIGUEES. elder. He was born at tbe Hague in 1635, and died in 1679. Jardin, or Jardth, Karel dtj. The compositions of this admirable painter are so various that it is impossible in a synoptical work like the present to give the amateur more tlian a general idea of what he may discover in his researches. His selections are mostly Italian scenery, part ‘ of a hilly country with a stream of water crossing a road, with horned cattle, sheep, and goats, attended by herdsmen in their sheep- skin jackets, mounted on mules, passing the ford, and fre- quently a female in picturesque Italian costume accompany- ing them ; or, it may be, a meadow bounded on the one side by trees, and showing an extensive offscape on the other, with one or two cows, a calf, three sheep, an ass, a herdsman, or a shepherdess employed with her distatf ; or a still more rural scene of a Dutch farm, with level fields intersected by hedges and pollard trees, with rich herbage, wild plants and flowers, cattle lying in the shade, and their keepers asleep, overpow- ered by the meridian heat. In all his Italian views the scenery is picturesque, but seldom wild or romantic ; travel- lers mounted on horses or mules, with dogs following, show that it is a frequented road by the peasantry, their cattle, and other passengers ; a female on a white horse is often of the party. The skies are always clear and brilliant ; deep azure relieved by lightly floating silvery clouds. They are generally of small dimensions, but the estimate of fine speci- mens is from four to eight hundred guineas. See the article Karel du Jar din under the head of JPrin^ cipal Fainters ; also Kxteriors with Figures, Historical, &c. Kalraat, Bernard van, who, it is said, w^as a scholar of Albert Cuyp, for a time painted similar subjects, but after- wards adopted the style of Herman Zachtleven in view^s on tlie Ehine, with boats and small figures, highly finished, and touched with spirit. See Imitators of Cuyp. Kohell, Jan. See Imitators of Faul Fotter. KoNI^c^, James. See Imitators and Scholars of Adrian Van de Velde. IvouwENiiovEN, Jacob, w^as a scholar of Ommeganck, wliose manner he imitated. He was born at Eotterdam in 1777, and died there in 1825. LANDSCAPES WITH CATTLE AND EIGEEES. 149 Leeuw, Gtabeiel Yandek, born at Dort in 1643, after re- ceiving instruction from his father, j^ho had been a scholar of the elder Cuyp, went to Italy and studied the works of Castiglione and ^osa da Tivoli. His landscapes are in the Italian gusto, his animals well drawn and very spirited, and his handling bold and masterly. He died in 1688. Leeuw, Peter Yander. See Scholars and Imitators of Adrian Van de Velde. Lenzen, J. P., born at Antwerp in 1790, and died there in 1840, was a successful copyist of the works of Ommeganck. Meer, Jan Yander, called De Jonghe. See Scholars avid Imitators of Berchem. Meyer, Hendrik, born at Antwerp in 1737, painted landscapes with cattle and figures. His landscapes are rural and pleasing, and well supplied with objects, and his pencil- ing very neat ; but, from his having practised chiefly in water colours, his oil pictures want force. He died at Lon- don in 1793. There are many excellent artists of the name of Meyer, but they chiefly belong to Glermany, and therefore do not come into the scope of this work. Michau, Theobald, (not Theodore, as he is generally called,) painted landscapes with cattle and figures, and some- times merry-makings, that have a considerable resemblance to similar subjects by Breughel. There is much freedom in his handling that gives his pictures a sketchy appearance ; a little more attention to chiaroscuro would have harmonized his colouring, and added much to the value of his composi- tions, particularly in those of his latter time. He was born at Brussels in 1676, and died in 1755. Motaert, or Moojaert, Nicolas or Claas, imitated Elsheimer, Bembrandt, Lievens, and others ; among his scholars may be named, Berchem, Yander Does, Salomon de Koning, and Jan Baptist AYeenix; the pictures of the last have in many respects a strong resemblance to those of his master. He was born in 1600, but there is no printed re- cord of his death. Mommers, Hendrik. See Scholars of Karel du Jardin, Italian Marhets, &c. Murant, Emanuel. See Analogists to Vander Keyde. 1*50 LANDSCAPES WITH CATTLE AND EIGUEES. Mtin, Henri Arnauld, a scholar and imitator of Orame- ganck. His pictures are chiefly confined to Holland. Nikkelen, Jan yan, painted landscapes with cattle some- what in the manner of Karel du Jardin. He obtained a gi’eat reputation, and was employed by the Elector Palatine, and afterwards by the prince of Cassel. He was born at Haerlem in 1649, and died in 1716. XiMEGUEN, Gerard yan, imitated Everdingen, Enisdael, and Pynacker. See their Scholars and Imitators. Ommeganck, Balthasar Paul, an extraordinary fine painter of landscapes and cattle, chiefly sheep and goats. His pictures are remarkable for the truth of nature in every respect, animate or inanimate, and for the glowing and har- monious colouring. He is the great precursor of the Yer- beckhoevens and other eminent Dutch and Elemish land- scape and cattle painters of the present day. He was born at Antwerp in 1755, and died in 1826. His pictures are to be found in the richest collections only. Os, Peter Gerard. See Imitators of Haul Hotter a/nd Karel du Jardin. OssENBECK, JossE, or Jan, borii at Rotterdam about the year 1627, passed the greater part of his artistic life in Italy, and painted views of almost every picturesque locality and object in the vicinity of Rome ; enlivening his pictures with animals and figures in hunting subjects, fairs, and hamloc- elate in the manner of Peter van Laer. His compositions, tliough not equal to Yan Laer’s, are well managed, the ani- mals and figures correctly drawn, his colouring has the rich tone of tlie Italian, and his penciling the finishing of the Dutch school. So numerous were the designs he made of arcliitectural ruins and other remains of antiquity in and about Rome, for the purpose of embellishing his pictures, tliat it became a common saying that Ossenbeck had all Rome in his portfolio ; Ids paintings and drawings are, however, rare in commer(!C. He returned to Holland, and died in 1678. OuDENDYK, Adrien. See Imitators of Adrian Yan de Velde. Potter, Paul. Tlie gi^eater number of this master’s pic- tures may be considered as pastoral scenes, displayed in meadows near to farm-liouses, consisting of a few cows, sheep, and goats, with a lierdsmaii attending them, or a female do- LANDSCAPES WITH CATTLE AND EIGURES. 151 iDCstic milking. These subjects are generally on a small scale, carefully contrasted in the grouping, and most elabor- ately ‘wrought up in all the details of the several objects, the landscape alone seldom exhibiting much picturesque beauty. But such is the absolute truth in the forms and expressions of the animals, the delicacy of the penciling, and the trans- parency of the colouring, that the impression caused by these in combination has made his pictures objects of universal admiration. The largest of his perfect pictures known is The Young now in the Museum at the Hague. This was sold in 1749 for obout Jifty -seven pounds, English money ; were it offered for sale at the present time it would probably bring a hundred times that sum. Small pictures, not twenty inches squares, have been sold in public sales from eight hundred to fifteen hundred guineas each, and a common price is three to five hundred guineas. See the article under the head Principal Painter's^ and also Field Sports, Farriers^ Shops, &c. Pynakee, Adam. This master’s cabinet pictures are not numerous, but they are of fine quality. They generally re- present part of a hilly or mountainous landscape well wooded, in which beech and birch trees are conspicuous by their sil- very bark; the foregrounds are clothed with rich herbage mingled with briers and wild fiowers, and the beams of the morning or evening sun shining on these produce a sparkling effect. Occasionally the scene is diversified by rocks and streams, with hilly back-grounds and a view of some ancient ruins. Sportsmen with their dogs, herdsmen with cattle, and peasants mounted on mules or asses, enliven the composition : an angry ox, or cow, is frequently an object in his pictures. His river views are lively and interesting, being scenes on tlie Tiber, consisting of barges conveying merchandise, pas- sengers, and cattle ; the time evening, when the sun is de- scending below the horizon, just gilding the summits of the hills and the tops of the taller trees, and producing a beauti- ful effect of light and shade. See the article Adam Py- naJcer, under the head of Principal Masters ; also Fiver Views, &c. Bomain, DE LA Bite, had a remarkable talent for imitating the styles of Jan Asselyn, Jan Both, and Herman Swaneveldt. There is no account of him, but his excellent 152 LAIS'DSCAPES WITH CATTLE EiaUEES. imitations occasionally occur under one or other of those names. Komeyh, William. See Analogists to Karel du Jardin, Eoos, Jah Hendrik, was an admirable landscape and cattle painter. The forms of his cattle, and his manner of penciling and colouring, diifer from other Dutch painters of such subjects. His hulls, oxen, and cows are of the buffalo breed, robust and threatening, and generally dun or mouse- coloured. He also painted horses, camels, sheep, and goats, which are represented with the accuracy and liveliness of na- ture. As compositions they are found in fairs, market-places, or some historical subject that required herds and flocks of animals. His landscapes are varied with mountains, rocks, waterfalls, and ruins, romantically picturesque. His pencil- ing is broad, free, and firm, and the finishing that of a mas- ter’s hand. He was horn in 1631, and died in 1685. Eoos, Theodore, brother of the preceding, was born in 1638. It is said that he, like his brother, was a scholar of Adrien de Bie, and afterwards had further instruction from his brother Hendrik, to whom he became an assistant. Though his handling is broad and free, and his colouring lively, he is defective in design, which makes the distinction between his cattle pieces and those of his brother. He died in 1698. There is an error in aU accounts of these two painters as having been scholars of Adrien de Bie, which could not have been the case if he died, as is said, in 1640. It is more likely that Marc de Bie is meant, who was a scholar of Jacob Vander Does, and who made those excellent etchings after Paul Potter, with which every collector is acquainted ; but of this there is no certainty. Eoos, Philip, better knoAvn as Eos a da Tivoli, born at Frankfort in 1655, was the son of Jan Hendrik Eoos, and probably instructed by him. He spent the greater part of his life in Italy, and resided chiefly at Tivoli, whence he took the name by which as an artist he is known, and painted the romantic and beautifid scenery of that district. His subjects are pastoral scenes, the animals frequently of life size, drawn with tlie greatest accuracy and appearance of truth, even to rugged coarseness in his goats, sheep, and dogs. His cabinet pictures are more carefully finished, and are rich and varied LAIRDS CAPES WITH CATTLE AHD EiaiJEES. 153 in colour, with well-selected scenery and brilliant skies. He died at Home in 1705. Eoos, Jah Melchiob, another son of Jan Hendrik Eoos, was born in 1659. He painted landscapes and cattle, in which he imitated the manner of his brother Philip, but they are far inferior. He died in 1751. Eoos, Joseph, born at Vienna in 1728, painted landscapes with sheep and goats, which have considerable merit. He is mentioned here as being probably of the same family as the preceding, all of whom, with the exception of Philip, had re- sided much in Germany. Eoy, Jeah Baptist he, commonly called De Moy of Brus- sels, was an excellent painter of landscapes and cattle. His pictures are warm and brilliant, and have some analogy to those of Ommeganck, but abound more largely with horned cattle ; the latter are accurately designed, skilfully grouped, and carefully finished. He was born at Brussels in 1759, and died there in 1839. Eyx, or Etckx, Nicholas, travelled through Palestine, and made designs of the most remarkable views in the vicinity of J erusalem, and delineated with great precision the various customs and habiliments of the inhabitants of Oriental coun- tries, their caravans, camels, and modes of travelling ; on his return to Blander s he painted pictures of those subjects. His style of painting resembles that of Vander KabeL He was born at Bruges in 1637, and died in 1695. Savekt, EoLAxn, painted wild, rocky landscapes, with cascades, in which he introduced animals of every species. His landscapes have an antique air, and some affinity to Paul Bril in the foliage of his trees, and to Jan Breughel in the penciling of the animals. They have a harsh appearance, though evidently carefully laboured. He was born at Cour- tray in 1576, and died at Utrecht in 1639. ScHELLiXKS, or ScHELLiHGS, WiLLiAM, was an artist of first-rate talent, both in landscape and marine subjects ; he was enthusiastically fond of his art, and travelled into several foreign countries to make himself acquainted with the pic- turesque objects pecuhar to each. He designed with correct- ness, and was a beautiful colourist ; his manner in landscape, cattle, and figures frequently assimilates to that of Karel du J ardin. The amateur must not judge of him by the in- 154 LA^s^DSCAPES WITH CATTLE AIS^D EIGIJEES. different pictures offered in this country under his name, for his genuine works are rare in England, but may be found in the richest collections elsewhere. He was born at Amster- dam in 1G32, and died in 1678. Segers, Hercules. See Scholars and Imitators of Hem- hrancit. Smees, Jai^, a Hutch painter and engraver, flourished in the early ])aid of the eighteenth century. That he was a ])ai liter of landscapes with figures, animals, and ruins, is only known by his prints, and the composition and manner of these have such a strong resemblance to Jan Both, that he may be considered as an imitator of that master. Nothing, however, can be said of his penciling and colouring, until a ])icture corresponding with one of his beautiful etchings is discovered. Solemaceh:r, J. E. See Scholars and Imitators of Ber- chem, Strt, Jacob YAif. See Imitators of Albert Cuyp. Swaxevelt, Hermaiv, though a native of Holland, should be considered, properly, as an Italian artist, as he passed the greatest part of his life in studying and painting the beautiful scenery of that country. So much was he devoted to the study of nature, that he obtained the cognomen of ‘Ahe hermit of Italy I He is distinguished by the peculiar form and foliage of his trees, the warmth and tenderness of his tints, and the delicate gradation in the aerial perspective. He embellishes his landscapes, which sometimes approach the lieroic, with ancient ruins, and with cattle and figures, en- tirely Italian, designed with taste and elegance, and skilfully grouped. It has been said that he was first a pupil of Grerard Hou, and afterwards of Claude ; there is no proof of either in history or his works. He was born at Woerden in 1620, and died at Borne in 1690. Sybrecut, or Sibreciits, Jak, was born at Antwerp in 1625. It is said that lie painted landscapes and cattle, in the manner of Berchem and Karel du Jardin ; but the amateur must not expect to find any such in England ; for, if he ever did so, tliey liave surrendered his name, and adopted those of the masters to whose works they have analogy. He died in England in 1703. Troostwyk, Wouter Jan, studied under Andriessen, LANDSCAPES WITH CATTLE AND EIGTJEES. 155 and commenced Ms career by copying the pictures of Paul Potter, Karel du Jardin, and Adrian Van de Velde, but was indignant at bearing his works compared with theirs, assert- ing that, like them, he only imitated nature. His productions, which are very good, do, however, bear a resemblance to those masters, and some are worthy to rank with them. He was bom at Amsterdam in 1782, and died in 1810. Tyssens, Augustine, painted landscapes embellished with ancient ruins, cattle, and figures, in which there is evidence that he had studied Berchem’s works assiduously. He was born at Antwerp, and died there, but there is some confusion in the dates of both. See the enlarged edition of Bryan’s Dictionary. Velde, Adrian Van de, in landscapes, cattle, and figures is equal to the best of his contemporaries, and superior to most in exciting pleasurable sensations by the perfect beauty perceptible in every part of the composition. His scenes are sometimes open pasture land, fresh and verdant, with cows, sheep, and goats, varied in colour and position; at other times more sequestered, clothed with trees, and bounded by hills, with a stream of water passing through, and a chateau, or dairy farm, in the vicinity, pasture land in front with cat- tle browsing or reposing, a man on a grey horse, and a woman in a blue skirt, perhaps fondling a kid or a lamb, or employed in milking ; cattle fording a stream, or halting at a fountain to refresh, the herdsman in a sheep-skin jacket, and the shepherdess in her gay costume of blue, and red, and yellow, both mounted on mules, or horses, having something of an air above vulgar peasantry. The skies have the azure of Italy, and the clouds are silvery and floating. But no description can convey a perfect idea of the superlative beauty of these mral subjects as treated by this elegant painter. The prices these pictures obtain are commensurate with their excellences, especially when in their original state. See the article Van de Velde, under the head of Principal Masters, and also under the heads of Field Sports, Man'ines, Winter Scenes, &c. Veesteeg, or Veesteigh, Michiel, who is mentioned among the imitators of Grodfrey Schalcken, also painted land- scapes with cattle, in the manner of the old masters ; in colouring they are verdant, yet warm, and the details care- 156 LANDSCAPES WITH CATTLE AND EIGUEES. fully attended to, particularly in the foliage of the trees. He was born at Dort in 1756, and died about 1840. Yinne, Laurens, Yander. See Scholars of Berchem. Yisscher, Theodore, studied under Berchem, and some of his pictures are said to resemble strongly that master’s style of painting. He went to Italy, where it is supposed he died at the commencement of the last century. See Scholars of Berchem. Wall, AYilliam Eutoaart Yander, born at Utrecht in 1756, was an excellent painter of landscapes and cattle; he was the instructor of the celebrated Jan Kobell. He died in his native city in 1813. Xayery, Jacob, (or Gerard Joseph,) born at the Hague in 1736, was a scholar of Jacob de Wit, the celebrated painter of has-reliefs in chiaroscuro. Xavery was a versatile painter, and exercised his pencil on all kinds of subjects. He is noticed here as an imitator of Berchem in his land- scapes and cattle, but with such differences that they are not likely to deceive. SMALL LANDSCAPES WITH FIGHPES, VIEWS ON THE RHINE AND IN ITALY, WITH RUINS OF ANQENT ARCHITECTURE, ETC. Baak, Hattigh Jan, was probably a scholar of Cornebiis Poelemburg, as there is, or was, a picture of a landscape with figures by him in the hospital of Saint Job, at TJtrecht, that closely approaches that master’s manner. Baesten, Maria, whose maiden name was Ommeganck, painted landscapes with cattle ; she flourished about 1784. Balen, Henri yan, ranks among the best Blemish paint- ers of his time, for the elegant choice of his subjects, the beauty of his designs, the softness of his penciling, and the sweetness and harmony of his colouring. In these particu- lars he was the forerunner of his pupil Yan Dyck, who seems never to have forgotten what he had imbibed from such an able and tasteful instructor. The landscapes, in which his classical or legendary subjects are introduced, are generally by Kierings or Breughel ; the figures illustrative of some story in the Metamorphoses of Ovid, or some circumstance connected with the life of the Holy Yirgin. His females, children, and infant angels are personifications of loveliness in form and expression ; nude, but chaste ; vivaciously active, but not vulgar. He was born in 1560, and died in 1632. Balen, Jan yan, son of Henri, also painted cabinet land- scapes with figures, in which he imitated the style of Albano, but not his purity in design. His colouring is excellent and his handling free, but his contours are defective and his Blemish taste apparent. Still there are beautiful parts in his pictures, that extenuate his faults. Bemmell, ‘William yan, born at Utrecht in 1630, was a scholar of Herman ZachtleYen, and painted landscapes in the 158 SMALL LA^’"!) SCAPES WITH El GLEES. manner of liis master. He also travelled through Italy and Germany, and made designs of the most picturesque views, such as presented themselves in the environs of Home, and of waterfalls and ruins of arcliitecture found in Avilder local- ities ; these, on liis return to his native country, served to fonn compositions which were so highly esteemed that, for a long time after his death, they were scarcely to he met Avith elseAvhere. He died in 1703. Eeukiieyde^s^, Job, the brother of Gerard, painted views on the Ehine Avith small figures, in a very agreeable manner, and also village festivals that haA^e considerable merit. The figures in his brother’s church pieces and architectural views are mostly by him. Block, Jacob Hogee, born at Gouda in 1580, AA^ent to Italy Allien young, and made designs of the remains of anti- quity in the enAurons of Home, which, on his return to Hol- land, he composed into subjects to ornament his landscapes. He was after Avar ds a military engineer in the service of the archduke Leopold, and was kiUed by a fall from his horse in 1632. Blois^beel, Laksloot, born at Bruges in 1500, painted arcliitectural ruins and conflagrations, which he marked with a trowel, in allusion to his first occupation as a mason, and A\dth the initials of his name. He died in 1559. See Con- flagrations. Bol, Haks, was a native of Malines, born in 1534, but settled at Amsterdam, where he painted a number of small views of that city and the neighbouring Aullages, enlivened AAith figimes, the compositions being varied according to the seasons. Some of these he etched himself, and others were eii^graved by Sadeler. He died at Amsterdam in 1593. BouAfAK, P , born at Dort about 1764, painted vieAvs in the neighbourhood of Haerlem, and others of waterfalls and Avint(‘r scenes ; they are chiefly to be found in Holland, Avlierci tliey are deservedly held in estimation. BitEDAEL, Petee A'AET, painted small landscapes Avith figures, in tlie manner of Breughel, and others with ruins of arcbitectiin', sucli as are seen in the environs of Home. He was born at Antwerp in 1630, and was living in 1689. Breenberg, Barth olomeav, in his small landscapes, views in the vicinity of Home and other parts of Italy, is the most SMALL LAIfBSCAPES WITH FIGURES. 159 tasteful and elevated of all the Dutch artists who painted on a similar scale. The scenes are charmingly romantic, en- riched with architecture, ruins, and historical figures, and sometimes pastoral subjects. Though small in dimensions there is much grandeur in the appearance, and the pencil- ing and colouring are refined and delicate. See Landsca/pe Fainters. Breughel, Jak. His small landscapes with figures and cattle are very spirited productions, as also his seaports and markets, and other bustling scenes ; they are touched with a smart, delicate pencil, but are considered somewhat too gaudy in colour, the trees too verdant, and the skies too intensely blue. In his highly- finished pictures he is eminently beautiful, both in the landscape and the animated parts, fiubens was delighted with his skill in landscape painting, and employed him often in that portion of his cabinet pictures, whenever the subject required beauty of colour and delicacy of pencil- ing. The figures in some of his landscapes are by Henry de Klerck. See also Fruit and Flower Fainters. Bro^s^khorst, Jah yah. See Imitators of Foeleniburg. Buyyice, Jah yah, was a scholar of Herman Zachtleven, and for some time painted similar landscapes in his style ; he afterwards went to Borne and associated with Abraham Grenoels and others of his countrymen, and further improved himself by designing the fine scenery of Italy. His works were highly esteemed in his day, they are now rarely met with under his name. He Y^as born at Utrecht in 1654, and died in 1727. Bretdel, Charles, travelled through Holland and Ger- many, and painted views on the Bhine and other landscapes, in the manner of John Griffier. See Fatties and STcirmishes of Cavalry. Buyte^^weg, Willem he, painted small landscapes with ruins and figures, some of which he etched. See Interiors and Conversations. Chaloe, Louis, is mentioned in several catalogues as a painter of viev^s on the Bhine with figures, said to be exe- cuted in a very artistical style, and with an agreeable tone of colour. It is supposed that he v^as born in Holland about 1687, and died at Amsterdam in 1741. CuYLEMBURG, Abraham. See Imitators of Foelemhurg. 160 SMALL LANDSCAPES WITH EiaiJEES. Elsheimee, Adam, does not properly belong to the pre- sent category, being a native of Erankfort and having prac- tised cliieily in Italy ; but as his pictures are found in choice collections, and sometimes, though very seldom, appear in sales, it is deemed proper to give the amateur a short note respecting him. Ilis landscapes are generally small, with subjects from sacred or profane history ; they exhibit an ex- cellent taste in design, an admirable arrangement of the ob- jects, a neat and spirited touch, a precious finish, and har- monious colouring. He was a perfect master of chiaroscuro^ which is strikingly conspicuous in his night scenes, where moonhght, torchlight, or a conflagration is introduced, and also in the difierent effects of the rising and setting sun. His figures, however diminutive, are designed with the greatest accuracy, and have marked distinction of character and ex- pression. The plants and wild flowers, which frequently garnish the fore-grounds of his landscapes, have peculiar beauty and interest, not only in the truth of their minute botanical details, but also in their signification. As the gems engraved by Pyrgoteles and Hioscorides rival in correctness of form and beauty of expression the larger works of Phidias and Lysippus in marble; so the small landscapes and his- torical compositions of Elsheimer will bear comparison with the productions of the most eminent masters, who have painted landscape and history on the grandest scale. He was born in 1574, and died in 1620. Count Groudt, his friend and patron, engraved several of his pictures in a style well adapted to express the polished finishing and admirable effect of chiaroscuro of the originals. These may be recom- mended to the attention of the amateur, who finds difficulty in obtaining a sight of Elsheimer’ s pictures, as conveying a correct idea of his style of painting in everything but colour. Evnden, Eeanz van, painted Arcadian scenes in the man- ner of J an van Huysum, which are skilfully varied, and the difiercDt kinds of trees characterized by a neat and masterly touch ; his skies and distances are serene and delicate, and the clouds, illumined by the sun, are pleasingly reflected in the waters ; his figures are also well painted, and disposed with judgment. He was born at Mmeguen in 1694, and died there in 1742. (taast, IMiciiel de. All his pictures are representations SMALL LANDSCAPES WITH EIHURES. 161 of ancient ruins in and about Rome, with tbe addition of animals and figures. He was born at Antwerp in, or about, 1510 : tbe time of bis death is uncertain, but he was living in 1558 : all the dates respecting him are uncertain. GtEEBBee, Rkanz Pietebsz, painted landscapes, both large and small. It is said that he was a scholar of Roland Savery; he copied that master’s works, and those of Jan Breughel. He was born at Haerlem in 1579, and died in 1636. Grieeiee, John, painted highly-finished views on the Rhine and winter scenes, all of which are remarkable for the picturesque selection, the neatness of the penciling, and the harmonious tone of the colouring. The figures and other objects are distributed with good judgment, and give anima- tion to the scene. He was born at Amsterdam in 1645, and died in England in 1718. Geieeiee, Robert, son of the preceding, imitated his father’s pictures, both in the subjects and manner of paint- ing : he died in 1750. Gheysels, (generally called Gtzen, or Gtsels,) Peter, was a scholar of Jan Breughel, and painted small landscapes in his manner, ornamented with figures, which are often mis- taken for the work of his master. He also painted views on the Rhine, like those of Herman Zachtleven. In both cases his penciling is very neat, and in colour he is little inferior to his models. See Painters of Dead Oame, Birds, &c. Haansbeeoen, Jan yan. See Imitators of Boelemburg. Halen, Peter yan, painted landscapes with a number of small figures, in which he sometimes imitated Claude. He was born at Antwerp, and flourished about 1660. Hangest, Robert Martnus Erederick, an amateur painter, born at Utrecht in 1746, imitated Zachtleven in views on the Rhine and rocky scenery ; landscapes with lakes and rivers, sunsets and moonlights, in all of which he was very successful. He died about 1810. Heck, Jan van, painted small landscape views in the vicinity of Rome, enlivened with figures, neatly dravTi, and richly coloured. See Still Life, Heusch, Jacob de, who was instructed by his uncle William, at first followed his style, but, after studying some time in Italy, adopted that of Salvator Rosa, which he imitated u 162 SMALL LAT^DSCAPES "WITH EIGUEES. with considerable success. He painted select views in the environs of Home, which he enriched with figures correctly drawn and vigorously penciled. See Imitators of Jan cmd Andrew Both. Hoet, Gerard. See Imitators of Boelemhurg. Htjtsum, Jak ya~n, painted small landscapes with figures very prettily ; they are classical, and resemble the style of Glauber, hut not so well coloured ; when he attempted the same subjects on a larger scale, they are monotonous and weak, and are not held in much estimation. See Mower and Fruit Bainters. JoRDAANS, Han^s, painted small landscapes, in which he introduced historical compositions, generally from Scripture, very much in the style of painting of old Francks. He was horn at Delft in 1616 ; the time of his death is uncertain. Kalraat, Bert^ard ya]V, who had been a scholar of Albert Cuyp, adopted the style of Herman Zachtleven, and painted small pictures, views on the Bhine, with numerous boats and figures, which he finished very highly. His pencil- ing is neat and fiowing, and his colouring soft and vapoury, but he is not equal to Zachtleven, though his pictures are sometimes attributed to him from having those qualities. Kessel, Ja^t Ta^^, painted landscapes in the manner of Breughel, but with a much higher degree of finishing. These he enriched with birds and animals, fruit, flowers, and rep- tiles ; and figures remarkably beautiful are introduced, which appear to be by another hand. As there were three artists of the name Van Kessel, who painted similar subjects, and much in the same style, writers have got into con- fusion in describing their works, often confounding Jan the father with Jan the son, and Ferdinand, a second son, with both ; it is, therefore, difiicult to appropriate these landscapes with certainty. It is said that the penciling of Ferdinand was less refined than the others, and his colouring not so pure ; but the allegorical pictures attributed to him negative that assertion. The two Jans visited Spain, and painted many pictures there ; Ferdinand passed much time in Poland, at tlie court of John Sobieski, who was dehghted with his works, and conferred on him the honour of knight- hood, besides many rich presents. Kierings, or Cierincx, James, painted landscapes in SMALL LANDSCAPES WITH EiaXJEES. 163 whicli tlie figures are frequently by Poelemburg, otherwise they are not held in much estimation. The foliage of his trees is lightly touched, and the species discriminated, but verdant and cold in the colouring; his landscapes have however considerable merit, and deserve more favour than they gener- ally find. He was born at Utrecht in 1590, and died in 1646. Knipbeeuen, H , painted landscapes in the man- ner of Paul Bril ; they are generally taken from the scenery of Switzerland and Germany, and show facility of handling without the appearance of negligence ; there is want of aerial perspective, and of taste in the forms and disposition of his figures. He was a Dutch painter, but nothing more is said of him. Leepe, Jan Anthony Vandee, who was eminent as a f >ainter of marine subjects, both calms and storms, also excel- ed in landscape, in which he made the style of Gaspar Poussin his model. His penciling is light, and his colouring agreeable, but occasionally cold. The figures are by Duven- ende and Kerkhove. He was born at Bruges in 1664, and died in 1720. Ltendee, Pe tee van, born at Utrecht in 1727, painted views on the Bhine, and landscapes with cities and villages. He died in 1797. Loon, Petee tan, whose pictures of architecture are very highlv finished, was born at Antwerp, and flourished about 1600.*' Ltjcasz, Pieeee Peancois, painted landscapes with small figures, which he designed and touched with great spirit. His pictures are to be found principally in Germany, as he painted a great number for his patron the archduke Leopold. He was born at Malines in 1606, and died in 1654. Lts, or Lis, Jan Vandee, in his landscapes with figures imitated Poelemburg sometimes to deception ; in his conver- sation pieces he strongly resembles Palamedes. See Imita- tors of Poelemburg. Mans, or Maans, P. H., (supposed Pranz Herman,) paint- ed landscapes, views of villages, and coast scenes, with figures, and also winter pieces in the manner of Molenaer ; they are always small and on panel, touched with great spirit, and are generally signed with his name. He was a native of Holland, and was living in 1677. M 2 SMALL LANDSCAPES WITH EIGIJRES. Maene, Jean Lodis de, born at Brussels in 1744, painted small landscapes with figures and cattle, village festivals, and a variety of other subjects in a very beautiful manner. His touch is crisp, yet fluent, his colouring pleasing, his figures and animals well designed, and his compositions lively, and grouped with skill. He died in 1829. Michait, Theobald (not Theodore). His landscapes, cattle, and figures are generally painted in a free and sketchy manner, warmly, but not harmoniously coloured ; in some he is more pains-taking, and his village festivals show tolerable grouping in the composition, and activity in the figures. {Some have supposed a resemblance to Teniers in his pic- tures ; it is only in the subjects occasionally, not in the man- ner of treating them. He was born at Brussels in 1676, and died in 1755. Mieeis, William van, painted a few small landscapes, which are very highly wrought, and are esteemed as curiosities. They are embellished with fabulous subjects, and certain stories taken from Scripture, neither of which are very edify- ing when represented in pictures. Moltn, Petee, called the Elder. His landscapes may be termed the humble picturesque, being chiefly a portion of views with a cottage, a road, and stunted trees, and figures of the clownish order suitable to the scene. The handling is free, and the colours unctuous, but frequently tawny, except in his very best pictures, which have retained their tints, and where he has given more subject, and less of man- ner. He was of Haerlem, and flourished about the middle of the seventeenth century. Heee, Eglon Hendeik Vandee, painted a few land- scapes with cattle and figures, in which he exhibits the same attention to elaborate detail as in his conversation ])ieces. The figures are mostly of the poetical class, such as Venus and Adonis, Nymphs and Cupids ; and the landscape is suitably embellislied with richly foliated trees, luxuriant herbage, and splendid flowers, resembling rather a cultivated garden than an ordinary view taken from nature. See the article Eglon Hendrik Vander Neer^ under the head of Erincipal Painters. Neve, Eeancis de, painted what are called heroic land- scapes, in which he introduced subjects from the ancient SMALL LA^J^DSCAPES WITH EIGURES. 165 poets; tliey evince good taste in the selection. He was born at Antwerp about 1625, and originally studied the works of Eubens and Van Dyck; but having resided some years at Eome he altered his style, and ultimately preferred landscape painting to historical. He died in 1681. Hietjlant, Adeia^t yah, was a Elemish painter of the sixteenth century ; his landscapes are ornamented with a number of small figures ; there is a winter scene by him in the Museum at Brussels, representing masked figures skating on the ice, in carnival time. Hieulaht, Jan yak, was both an historical and landscape painter in small, but particularly excelled in the latter de- partment. He was born in 1569, and died in 1628. Hieulant, William yan, who had been a scholar of Paul Bril in Italy, on his return to Holland painted land- scapes, in which he introduced the vestiges of ancient archi- tecture designed by him when at Eome. He is very exact in his drawing, and bold and efiective in his colouring. He was born at Antwerp in 1584, and died in 1635. OosTEN, J. YAN, painted small landscapes with cattle and figures in the manner of Jan Breughel; they are pleasing and spirited little pieces, and are generally attributed to the latter master. PoELEMBUEG, CoENELius. See under the head of Frin~ cipal Painters, Eottenhamee, Hans, or Jan, painted small historical subjects in auxiliary landscapes by Paul Bril, and Jan Breu- ghel. Some of these are gracefully designed, and have the splendour of the Venetian school in their colouring. See historical JE^ainters. Euisdael, Jacob. This eminent landscape painter varied some of his scenes by the introduction of ruins of an ancient castle, church, or chateau. One of his finest pieces of this class is the view of a burial-ground with ornamented tombs, and the ruins of a church and convent, seen under the effect of a passing storm. Others, less lugubrious, exhibit the re- mains of a castle, or an ancient church, cottages near a river or a streamlet fringed with rushes or aquatic plants, and a solitary angler indulging in “the contemplative man’s recreation.” Eysen, Waenaeb, or Weenee, yan, born at Bommel 16G SMALL LANDSCAPES WITH EIGUEES. about tbe year 1600, was a scholar of Cornelius Poelemburg. He passed some time in Italy, and on his return to Holland painted landscapes with historical figures in the style of his instructor, which were held in estimation; some of these have been discovered of late years, and they do credit to his talents. He did not continue the profession long, but engaged in commerce as a dealer in diamonds. Sayeet, Jan, nephew of Poland Savery, painted landscapes with animals in the manner of his uncle, several of which have been engraved. He was born in 1597, and died in 1655. ScHALCKE, , painted landscapes vdth cattle and figures, and river scenery. His pictures are very masterly, blending the freedom of Teniers with the deep tones of Pem- brandt : but his works are little known, and his history still less. AVhoever has a picture by him is fortunate, for his works are as rare as they are excellent. ScHUTz, or ScHTJLTZ, Cheistian GtEOEge, painted small landscapes, views on the Phine, which somewhat resemble those of H. Zachtleven and Griffier, but are very inferior in execution, being hard in the penciling, and monotonous in the colouring. SoENS, Hans, was a scholar of Gillis Mostaert. Like many of the young artists of the time, he went to Italy, where he distinguished himself as a painter of landscapes, and was employed by many of the nobility in decorating their palaces. His works, best knovui elsewhere, are small landscapes with figures, which are very spirited and well drawn ; and he shows great skill in the gradation of the dis- tances and in aerial effect. He was born about the middle of the sixteenth century, and died in 1611. Stalbemt, Adeian van. This artist has been debarred of m Lich of the reputation to which he is entitled, by the dif- ferent manners adopted in spelling his name ; but on ex- amining the pictures attributed to Stahen^ Stalband^ and Stalhent, and considering the dates found on some of them, tliere is little doubt that Adrian van Stalbemt is the artist intended. He painted landscapes in the styles of Po- land Savery and Jan Breughel, rocky and wild, fit retreats for anchorites, in which he introduced small figures, neatly drawn and touched ; such were thought worthy of a place in some of the richest collections that formerly existed in France, SMALL LANDSCAPES WITH EiaUEES. 167 as may be seen in tbe engravings of tbe Cboiseul and other celebrated galleries and cabinets. See Interiors and Conver- sations, and also note to the article Stalbent in the enlarged edition of Bryan’s Dictionary of Painters and Engravers.” Stenree, or Steeneee, Gt. See Imitators of I^oelemhurg, Thomann, properly Jacob Ernest Thomann Von Ha- OELSTEiN, is noticed as a scholar and imitator of Adam Elsheimer, under whom he studied for nearly fifteen years in Italy. He painted landscapes of a small size, like those of his instructor, and embellished them in a similar manner with subjects from Biblical history or poetical invention; and such is the finesse of his execution, that there is some difficulty in deciding which is the paiuter. He was born at Landau in 1588, and died there in 1653. The Italians call- ed him II nohile Giacomo. Thts, GtYSbrecht. See Imitators of JCoelemhurg. Tombe, Nicolas la. See Imitators of Foelemhurg. Troost, William, was a scholar of G-lauber, and painted landscapes in his manner, both in oil and Indian ink ; he also painted portraits. He was born in 1684, the time of his death is uncertain. Troten, Eombout yan, born at Antwerp in 1600, painted landscapes with ancient ruins and architecture, such as are seen in the neighbourhood of Borne, enlivened with poetical subjects, in the manner of Cuylenburg. Whatever his pic- tures may have been originally, they are now dark and heavy, and rank in value with those of his model. If what is related of him be true, he was only a copyist, and that from prints ; for it is said that he never left Amsterdam, where he had taken his residence, and that his works were the creatures of his imagination, and that they represent the scenes with the greatest truth ! — He died in 1650. See Imitators of Foe- lewhurg. Ulet, Jacob Vander, designed and painted many beau- tiful small views of Borne and other parts of Italy, enriched with architectural remains of antiquity and existing public buildings, and enlivened with numerous figures tastefully' grouped, frequently in the costume of various nations, and sometimes in subjects taken from Boman history. He was well acquainted with perspective and architecture, and shows much taste in his selections. Erom his choice of subjects it 168 SMALL LAIS^D SCAPES WITH El GHEES. might be imagined that he had passed much of his time in Italy, but the Dutch writers affirm that he never was out of Holland ; the inference drawn is, that he painted from the designs of other artists, or copied from prints, but the latter is not apparent, as there are no prints known, of any anterior date, that are exactly similar to his compositions. JN^o men- tion is made of the master under whom he studied, but he was originally a painter on glass, and executed several fine windows for churches in Grorcum and Guelderland, remark- able for the beauty of the colouring. His draAvings and small pictures are rare, owing to the time and labour be- stowed on the high finishing, and also to the performance of his duties as burgomaster of his native city. He was born at Gorcum in 1627, and died about 1697. Uttenbeoece:, Moses yak. See Imitators of Foelemlurg, Dttenavael, Joachim, painted small landscapes, embel- lished wdth subjects taken from heathen mythology; they partake of the manner of Bartholomew Sprangher, and of Cornelius van Haerlem in drawing and colouring, but, being on a very reduced scale, are more pleasing than either : they are generally on copper. IJytenwael was born at Utrecht in 1566, and died about 1604. Yaeege, . See Imitators of I^oelemhurg. Vehne, Jan Yanhee, born at Brussels, painted landscapes, in which the figures are by Francis Baut. Yeemeijlen, Anheew, born at Dort in 1763, painted landscapes with figures and cattle ; he also painted winter scenes ; they are very lively, well coloured, and touched with spirit. He died in 1814, since which time they have been multiplied. Yeetangen, Daniel. See Imitators of Toelemhurg, Yeewilt, Feancis. See Imitators of JBoelemhurg. A'ieely. Two painters of this name, supposed to be father and son, of whom there are no particulars recorded, produced some excellent views on the Bhine, and other moun- tainous scenery, in the manner of Saftleven and Griffier. They flourished towards the end of the seventeenth century. Yinckenbooms, David, painted small landscapes in the manner of Boland Savery and Jan Breughel, enlivened with subjects from the Bible, and sometimes with merry-makings. They are well composed, and the figures correctly drawn, but SMALL LAIS^LSCAPES WITH EIGITEES. 169 the painting is hard and dry, and the colouring monotonous. There are four fine pen and ink drawings by him in the British Museum, illustrative of the parable of the Prodigal Son. He was born in 1578, and died about 1629. VoLLEEDT, or YoLLAEET, J. C., a native of Leipsic, may be mentioned as having painted small views on the Bhine, in manner analogous to Saftleven and Griffier. They are spirited and pleasing pictures, but have not the fine qualities of their models ; some of them have been engraved. Yoesteemah, Jais^, born at Bommel in 1643, was a scholar of Herman Zachtleven, and like him painted views on the Bhine, with numerous boats and small figures. His colouring is chaste and agreeable, and his aerial perspective masterly ; his figures are well drawn and touched with spirit. His life was one of vicissitudes, owing to his self-estimation. He died about the end of the seventeenth century. Wit, or Witte, Gaspae he, painted small landscapes, ornamented Muth ruins of ancient architecture, of which he had made numerous designs during his residence in Italy. His selections and compositions are pleasing and ingenious, and his pictures highly finished. He was bom at Antwerp in 1621, and died in 1673. Zachtleyeh, or Saetleyeh, Heemak, painted Yiews on the borders of the Bhine and the Meuse in a neat and highly- finished manner, and enlwened the scenes with a Yast num- ber of boats and figures, correctly drawn, and touched with spirit. His penciling is soft and fluent, yet firm, his colour- ing clear and transparent ; his skies are light and floating ; his aerial perspectiYe and atmospheric efiect skilful, making the gradation perfect. ZachtleYen ranks at the head of his class. He was born at Botterdam in 1609, and died at Utrecht in 1685. MOONLIGHTS AND CONFLAGRATIONS. Baur, Nicolas, an eminent modem Dutch painter of marine subjects, also represented landscapes by moonlight and under the aspect of winter. His works are so highly appreciated by his countrymen, that they are rarely seen out of Holland, and there only in the choicest collections. Blondeel, Lattsloot, painted conflagrations and archi- tectural ruins, marked with his initials and a trowel, in al- lusion to his former occupation as a mason. See Lcmdsca^es with Architectural Ruins, Bramer, Leonard, painted conflagrations occasionally, but they are httle known. See Imitators of Rembrandt. Breughel, Jan. There is the conflagration of a city by night in the Earl of Ellesmere’s Collection, attributed to this artist. See Small Landscapes, Fruit and Flowers, &c. Breughel, Peter. See Drolleries and Devilries. CuTP, Albert, is acknowledged to be superior to every other painter in the representation of sunlight in its modifi- cations, according to the periods of the day and the state of the atmosphere ; and a like superiority may be aw'arded to him in his moonlight scenes. Perhaps in the latter there is a still more enchanting effect, resulting from the quietude of night, the more obvious contrast of light and darkness in the luminary and surrounding clouds, the reflections from the water, and the difierent objects in the landscape, the natural gradations by which the light is diffused through every part of the picture, and the serenity and repose that nature pre- sents under such influences. Cattle ruminating on the banks of the Maes, ships of war, fishermen’s boats, and other small craft, at anchor on its bosom, or employed in their nightly avocation, are the most prominent objects on or near the MOOIiTLIGHTS AKD COlS^rLAGEATIOKS. 171 river ; the old tower and the steeple of the church of Dort mark the locality. See the articles, Albert Cuyp^ Winter JPieees, Lcmdscapes and Cattle^ Horse and Cattle Fairs, Skirmishes of Cavalry, Portraits, Historical Subjects, &c., &c. Elsheimee, Adam, painted the effects of moonlight and torchlight admirably. In his master-piece, known as the “ Flight into Egypt,” both are seen in perfection ; and in the picture of Ceres drinking from a pitcher at the door of a cottage, known as “ The Sorcery,” the light from a candle held by an old woman is very forcible and illusive. See Small Landscapes and Figures. Elzeyiee, Aenould, painted landscapes and conflagrations. He lived about the middle of the seventeenth century. Haccotj, Jatj Coenelitjs, a scholar of J. II . Koekkoek, among a variety of other subjects, painted landscapes by moonlight with the skill belonging to the school in which he was instructed. He died at London in 1839. Hetl, Dakiel YAis", painted conflagrations in a superior style ; among them are two particularly noticed, the burning of Sodom, and the destruction of Troy. He was horn at Brussels in 1604, and, it is supposed, died in 1662. Hetde, or Hetdek, Jan Vandee, the very eminent painter of architecture, and view^s of towns and villages, made many highly-finished drawings of conflagrations ; one of which represents the destruction of the Hotel de Yille, at Amsterdam, in 1652, and another of the Bourse ; these are as elaborately executed as his pictures in oil, hut perhaps with more apparent freedom. They are enlivened with figures actively employed in the endeavour to extinguish the flames. In some, the fire engines, of which he was the inventor or improver, are made conspicuous objects. As none of the Dictionaries of Painters notices Yander Heyde’s performances in this department, it may he useful to know that he did employ his pencil on such subjects. See the article Jan Yander Heyde, under the head of Principal Painters. Hondius, Abeaham, painted conflagrations and towns on fire ; but his chief excellence was in animal painting. See under that head. Honthoest, GtEeaed, called dalle Notti, was horn at 172 MOONLIGHTS AND CONLLAGEATIONS. Utrecht in 1592, but his chief studies were in Italy, where he imitated, to a considerable extent, the manner of Cara- vaggio. He delighted in bold contrasts of light and shadow, such as is produced by torchlight, and most of his subjects are scenes by night, in which he is considered excellent ; it is to be regretted that they have not more of the Italian gusto and a better choice of figures. He came to England, painted portraits, and was patronized by Charles I. He died in 1660. See Historical and JPortrait Painters. JoRDAANS, Hans, painted both confiagrations and moon- lights on a small scale. KAivtPER, Gr . It is said that an artist of this name imitated the works of Vanderneer with considerable success about the beginning of the eighteenth century; it is feared that these imitations have been misappropriated since. They may be detected by being much darker, colder, and less trans- parent than the real works of Vanderneer. Marne, Jean Louis he, occasionally painted moonlights. See Small Landscapes and Mgures. Neer, Arnoulh, or Aart, Yander, may be considered as the prince of moonlight painters for the truth and beauty* of his representations, as they leave nothing to be desired in the selection and ordonnance of the views, the smartness of the penciling, and the transparency of the colouring. The scene is generally a perspective view of a village near the bank of a river, the moon rising in the distance, partly obscured by the clouds of evening, casting a dim religious light,” or “ riding at her highest noon,” silvering the trees, the waters, and every object in the landscape with her brightest reflection. In either representation the eye and mind are captivated by the truth and calm beauty of the scene, exhibited with the perfection of pictorial art, and re- plete with the silent poetry of nature. Many of these are painted on a small scale, but may be considered as precious gems when found in their original purity. A mistake has prevailed with regard to the figures in his larger landscapes, many supposing that they were inserted by other artists ; there are good reasons for believing that they are by his own pencil. He was born at Amsterdam in 1610, and died in 1683. He marked his pictures A. V. I). IN’, in a monogram. MOOI^LiaHTS AT^D COJ^rLAaRATIONS. 173 OvEiirs, JuRiAN, a scholar of E/ombrandt, painted land- scape nigbt-scenes, the figures and other objects being made visible by fires and burning torches ; consequently the his- torical subjects introduced are meetings of conspirators, or of patriots consulting for the deliverance of their country from the oppression of foreign conquerors or domestic ty- rants. He had a bold and forcible manner of painting, and the chiaroscuro is very efiective ; the colouring has the sci- entific combinations as seen in the works of the master by whom he was instructed. His pictures are rarely found in England under the right name. See Scholars of Rembrandt and Rortrait Rainters. PoEL, Egbeet Vakdee, was a good painter of various subjects, some of which are in the manner of Brauwer and Teniers ; but his chief excellence is in confiagrations and moonlights. His penciling is soft and mellow, and his colour- ing fit for the occasion, and there is vivacity of action in his figures. He flourished in the middle of the seventeenth century ; the date 1654 is found on several pictures painted by him of the explosion of a powder magazine, which oc- curred at Delft in that year. Tt]V, Lambeet, a scholar of Van Eegemorter, painted landscapes by moonlight, and conversations by candle-light. He was born at Antwerp in 1770, and died in 1816. Vliet, Heis^ei VAIS', painted landscapes by moonlight, and churches illumined by torches. See Rainters of Interiors of Churches, Well, Aekold yais", a scholar of Vermeulen, painted moonlight scenes occasionally, and also cabinet pictures in the manner of Abraham van Stry. WINTER SCENES. Baur, Nicolas, whose marine subjects are so highly prized in Holland, also painted winter pieces which are held in great estimation. His works are rarely seen out of his own country. Baut, Peter, (commonly called Brands Bout,) painted winter scenes, and views of the sea-shore, with numerous small figures very spiritedly executed. See ^out and Bo~ deivyns, in the enlarged edition of Bryan’s Dictionary. Beerstraetent, Jain, painted principally winter scenes. His pictures generally represent a chateau covered with snow in the depth of the season, and a number of figures amusing themselves in various ways on the ice. The colour- ing is true to nature ; the cold blue sky is relieved by clouds of a fieecy texture, portending a further fall of snow. The figures are well designed and active, the groups varied, and the^vhole has a cheerful aspect for the time of year. He was a native of Amsterdam, where it is supposed that he died, in 1687. Berciiem, or Berghem, Nicholas. The winter pieces of tliis master are not numerous, and are mostly of small di- mensions ; the season is represented with great truth, and the cattle and figures make them lively and interesting. The scene generally represents a frozen canal, or branch of a river, on which are numerous figures, skating, or pushed along on sledges ; the canal is crossed by a rustic bridge, cottages and windmills appear in the distance. Sometimes horses are seen standing on the ice or the banks, their riders having dismounted to join in the diversions ; the ani- mals are contrasted in their colour, one being gray, the WINTER SCENES. 175 other brown : dogs also are introduced, indicating that the equestrians are sportsmen. Some represent farm buildings, cottages, and windmills, with horses feeding, or laden for a journey, poultry and other objects in the fore-ground, a woman with milk pails, and figures wrapped in cloaks, ex- pressive of the chilliness of the morning. These rare pic- tures are of high value in commerce, and are to be seen only in first-rate collections. See the article Nicholas JBerchem, under the head of Principal Painters ; Hunting Pieces, &c. Cappelle, Jan Vander, painted rivers frozen, with figures skating and othervdse amusing themselves on the ice. His subjects are treated much in the same manner as those by Yanderneer and Isaac Ostade, the figures being well dis- posed for perspective effect, the sky, clouds, and atmosphere gray and hazy, and true to the nature of the climate of Hol- land. See Marine Painters. CuTP, Albert. The amateur of paintings, who is also a lover of nature and desirous of seeing her beauties repre- sented with truth under the different aspects of the seasons, must be charmed with the winter scenes of Cuyp. He generally selects a fine day while the frost is intense, and makes his favourite river, the Maes, the scene of action. Here he assembles numerous figures of various grades en- joying the healthful sports to which the season invites, and interests the spectator by their feats of activity, incidental mischances, the daring confidence of the veteran skaters, or the timid movements of the neophytes. Horses drawing sledges, and fishermen with poles endeavouring to break a portion of the ice, show the solidity of the element ; or these latter form groups on the shore, and strive to force their nets below the surface to obtain in an underhand manner what they are precluded from taking above. The spire of the church of Dort, a round tower and a tent with flags, frequently form objects in the picture. But the great charm of these subjects proceeds from the beauty of the colouring, the truth of the atmospheric effects, and the perspective gradation; for the sun, “shorn of his beams,” tinges the clouds sufficiently to cause a cheerful aspect in nature, to neutralize the chilling sensation produced by the ice and snow, and to diffuse an appearance of warmth in the distant exhalations. See the articles Albert Ouyp, Landscape and 176 TVI^^TER SCET^ES. Cattle, battles of Cavalry, Moonlights, Cattle MarJcets, Morse Fairs, Historical Subjects, Portraits, &c., &c. Haccou, Jan Cornelius, painted landscapes under the aspect of winter, and figures amusing themselves on the ice. See Moonlights. Heil, Daniel van, who was a painter of conflagrations, also painted winter scenery ; both are on a small scale. Mans, E. H., (Franz Herman, ?) painted small landscapes, winter scenes with numerous figures, in the manner of Mo- lenaer. They are clever little pieces, always on panel, and generally with his name, omitting the initials E. H. Molenaer, Jan and Nicolas, painters of merry-makings and conversations, painted winter scenes excellently. There is a w'oolly appearance in the clouds that distinguishes their pencil, and less of crispness in the snow than is found in the pictures of Beerstraeten ; otherwise there is analogy between them. See Conversations and Merry-makings. Neer, Arnould, or Aart, Yander, painted winter scenes by daylight, with the same skill as he did moonlights, and, for their rarity, they are sometimes rated even higher in commerce. Ostade, Isaac tan, painted winter scenes analogous to those of Yander CappeUe and Yander Neer. See the article J. Ostade. Buisdael, Jacob. All the aspects of nature were equally at the command of this master, and under his hand became delightfully interesting to the spectator. A flat country covered with snow, a frozen canal with a few figures skating, a winding road leading to a distant village, a mill, and the tower and spire of a church, a single-arched bridge and a sluice, generally form the composition. But it is the truth of tlie natural sober garb with which he arrays these objects that deliglits the observer ; he sees nature as she is in her sullen mood, and admires her no less than when the same artist has dressed her Avith the smiling verdure of spring, the cumbrous exuberances of summer, or the rich and varied garniture which she assumes in autumn. O See Principal Painters, Landscapes, Ac. Yermeulen, Andreav, painted landscapes and frozen ca- nals with striking effect. The colouring is clean, the penciling firm, and the chiaroscuro well managed by the occasional in- WINTER SCENES. 177 terposition of a wall, or the shadow of one. The figures are larger than those of the preceding painters. His genuine landscapes, both summer and winter, with figures and cattle, begin to rank with the better part of the second class masters. He was born at Dort in 1763, and died in 1814. Van be Velde, Adrian. His winter pieces are small, seldom more than twelve inches square, and often much less, but they are of precious quality. The general view is of a frozen canal with skaters, men playing the game of hockey on the ice, women in a sledge pushed by boys ; a tent on the bank of the canal, or river, with horses and figures standing near. Sometimes ladies and gentlemen are partaking of the amusement, the former in a handsome sledge drawn by a horse, with the driver sitting on the side ; the latter are either skating or making the necessary preparations ; a man with a basket at his back is a frequent object; and some buildings, a mill, or a bridge, show that it is in the vicinity of a village. The penciling is delicate, there is a beautiful harmony in the subdued colouring, (though he sometimes clothes one of his figures in a scarlet coat or jacket,) and his skies have the cheerfulness of a dry winter, reconciling the skaters to its severity. See the article Adrian Van de Vedde, under the head of Principal Vainters ; also. Landscapes with Cattle and Figures, Field Sports, Sea-shores, &c. Well, Arnold yan, imitated Vermeulen in painting winter scenes. WoDWERMAN, Jan, the younger brother of Philip, has left a fevf mnter pieces, which are very pleasing in the se- lection of the scenes, the natural appearance of the land- scapes and skies, and the spirited execution. See Scholars and Analogists of Fhilip Wouwerman. N BATTLES AND SKIEMISHES, ENCAAIPAIENTS, SUTLERS’ BOOTHS, ETC. ETC. Berchem, or Berghem, Nicholas, shows remarkable vigour in his representations of rencontres of cavalry, attacks on baggage waggons, and other subjects of irregular warfare. In these his knowledge of horsemanship and the action of the noble animal are conspicuous. All parties are in earnest, and the contest appears furiously energetic; but there is generally something of an episode. Apart from the melee two have singled out each other for trial of prowess and skill, and by their bold bearing attract the admiration of the spec- tator. These ride chargers of different colours, one being chesnut the other white, and the warlike habiliments of the combatants show them to be of different nations, sometimes K siatic or African, opposed to European. Dead and Avounded, both men and horses, strew the ground, and a trumpeter is sounding the charge. These scenes are represented some- times in a wdld rocky pass, or near a wood whence one party issued from ambush ; sometimes on marshy ground where tliere is a pool with rushes and aquatic plants, and near the ruins of an ancient castle. See tlie article Nicholas Berchem, under the head of Brim- cipal Bainters ; Landscapes and Cattle, Hunting Bieces, Win- ter Scenes, &c. Bloeaien, Peter vah, pamted skirmishes of cavalry, marchings and lialts of soldiers, horse fairs, sutlers’ booths, and other matters connected with military life. His figures and horses are well designed, his penciling broad and full, and his colouring rich and clear. His landscapes are fre- quently ornamented with ruins of ancient architecture. BATTLES AKD SKIEMISIIES. 179 When at Rome the Society of Painters distinguished him by the sobriquet “ Stated aed,” from his frequently painting bat- tles. He was horn at Antwerp in 1649, and died there in 1719. Beeda, Ja^^t yan. See Analogists of I^hilip Wbuwerman. Beeydel, Chaeles, painted small battle pieces in a very spirited manner. The figures and animals are well designed, put cleverly into action, and pleasingly coloured. The land- scape part is tenderly penciled and very agreeable. He was born at Antwerp in 1677, and died in 1744. CuTP, Albeet, contrary to what might have been ex- pected from him, painted no actual battle pieces, the nearest approach being encampments, of which the Siege of Breda forms the principal one. This subject he repeated, intro- ducing Prince Maurice on horseback, attended by his ofiicers ; a trumpeter and groups of military distributed in the field ; soldiers carrying a bier, and others standing near tents. The city and its fortifications are seen in the distance, and the surrounding country is marked by military oper- ations. A sutler’s booth, though connected with a camp, serves for a separate composition, as does also a soldier standing at the head of an officer’s horse in a landscape in which is seen an encampment. See Albert Guyp under the head of Principal JPainters ; also under various heads in the Alphabetical Classifications. Eyck, Gtaspae yak, painted sea-fights between Christians and Turks, in which the figures are well drawn and penciled, and the fire and smoke admirably represented. He was born at Antw^erp in 1625 ; the time of his death is uncertain. Eyck, Nicholas yak, supposed to be a brother of the pre- ceding, painted skirmishes and attacks of cavalry with great spirit. He resided at Antwerp, but nothing more is recorded of him. Eeakck, Cokstaktike, painted sieges and battles that are highly commended by those who have seen them ; judging by the comparisons made they are probably in the manner of Vander Meulen. The subject of one of his pictures is the Siege of Namur by King William, in which are portraits of that monarch and his principal generals ; this was no doubt intended as a set-oft' against Louis the Fourteenth sieges painted by Vander Meulen. The style of Constantine 180 BATTLES A^TD SKIEMISHES. Franck, in general, is hard and dry. He was born at Ant- werp in 1660, and died in 1718. Francks, or Vrancx, Sebastian, painted skirmishes of cavalry and infantry tolerably well; his colouring is fre- quently dark, and his penciling wiry and harsh, but there is considerable spirit in the action. He was a son of Old Francks, and was born at Antwerp in 1573, or thereabout, and is supposed to have died in 1635. Gtaal, Barent, painted small battle pieces very cleverly, in which he displays his skill in horses and horsemanship. See Scholars and Imitators of Wouioerman. Gtaelen, Alexander yan, was a scholar of Huchtenburg, and a copyist of Wouwerman ; he painted battle and hunting ])ieces, which have more merit than originality, participating of tlie manners of his master and his model. He was born at Haerlem in 1670, and died about 1728. Haan, Datid de, born at Eotterdam in 1602, studied in Italy, and is said to have been a good painter of battles ; but liis pictures are very little known. He died at Home, but writers differ about the period, and it is probable that his birth should be dated ten or twelve years later than above stated. lIoECK, Egbert van, born at Antwerp in 1609, painted battles, skirmishes, and encampments, in which he introduced numerous small figures neatly drawn and spiritedly penciled, which remind the observer of Callot. His history is not known. Huchtenburg, or Hugtenburg, Jan van, born at Haerlem in 1646, was a scholar of Jan Wyck and an imi- tator of AV^ouwerman. He painted battles admirably. His colouring is clear, his penciling neat and spirited, the action of his figures and horses full of fire and motion ; the passions of the combatants well discriminated, better perhaps than in most of such representations, and, amidst all the hurly-burly of the dubious fight, he preserves a beautiful harmony in his skies, waving standards, and warlike habiliments. See Imi- tators of Wouwerman. IIuYSUM, Justus van, tlie elder, who was partly in- structed by Berchem, among the various subjects which he painted, represented skirmishes of cavalry that have consider- able merit. BATTLES SKIEMISHES. 181 Hutstjm, Justus yais^, tlie younger, son of Jan the cele- brated painter of fruit and flowers, painted battle pieces in a manner that gave promise of great future excellence, but he died at the early age of twenty-two, in 17 06. Joiva, Ludolph de, who excelled as a portrait painter, occasionally painted small pictures of battles and hunting subjects, in which there is skill shown in the composition and vigour in the execution. He was born at Eotterdam in 1616, and' died in 1697. Langeis'dtk, Theoboee, designed and painted combats, in which he showed extraordinary skill in the composition, ex- pression of the passions, and the details of the subject, and gave to all the highest degree of finish. He was born at Rotterdam in 1748, and died there in 1805* Lit^, Haks yak, called Stillheid, or de Stifle, on account of his calm disposition, flourished from 1667 to 1675, and painted battles and hunting pieces which were held in much esteem, and are now become rare. His pictures are marked H. y. L. Maas, or Maes, Theodoee, or Dteck, studied under several eminent masters, for a short time with each, lastly under Hugtenbiurg, v^hose manner he chiefly followed, and became an excellent painter of battles and hunting pieces. He had a thorough knowledge of the form and action of the horse, which he drew with the greatest exactness. His com- positions are skilful and his penciling spirited. He was born at Haerlem in 1656, and died in 1715. Meee, Jak Vakdee, the elder, though more of a land- scape and marine painter, has left some battle pieces, in which the horses and figures are depicted with great spirit. His skies have a purity more in accordance with the atmosphere of Italy than that of Holland, and by which his pictures may be distinguished. See Marine Painters, Meulek, Akthoky Feakcts Yakbee, though born at Brussels in 1634, may almost be considered as a Brench painter from being so long employed by Louis theBourteenth,in repre- senting his sieges and battles. He is accurate in his delinea- tions, silvery and clear in his colouring, neat in his penciling, and spirited in action, but without the fire and poetic fer- vour of Hugtenburg. In the landscape there is a pleasing 182 BATTLES AIS^D SKIEMISHES. freshness and verdure, the distances are nicely gradated, and the skies light and brilhant. He died at Paris in 1690. Meulen, Peter Yander, was brother to the preceding, and painted some battles and hunting pieces ; in the former he did the same service to AYilliam the Third of England that his brother had done to Louis the Fourteenth of France. Nollet, Dominick, distinguished himself by painting battles and sieges in the manner of Yander Meuleh, to which in some instances he approached so very close that it is a matter of difficulty to distinguish their works. But his general style and execution are very different ; his pictures on near inspection appear crude and sketchy, though viewed at a distance the , colours blend harmoniously. His figures and horses are correctly drawn, and his landscapes are grand and striking. He was born at Bruges in 1640, and died in 1736. Palamedes. See Staevaerts. Quereurt, Augustus. See Imitators of Wouwerman, Snaters, Peter, painted small battle pieces with great vivacity. His compositions are rich and ingenious, and his colouring approaches the splendour of Bubens. His larger pieces are chiefiy in foreign countries, and are seldom seen in England. He was born at Antwerp in 1593, and died, ac- cording to some, in 1662, and according to others, in 1670. Snellincks, or Snellinx, Hans, was one of the best artists of his day in painting battles and skirmishes of cavalry. His compositions are judiciously grouped, his figures and horses correctly and spiritedly designed, and the animated courage of the combatants admirably expressed. He is ex- cellent in aerial perspective and chiaroscuro, in the manage- ment of which he produces a surprising effect. He was born at Malines in 1544, and died in 1638. Stavaerts, (properly Steyers,) Palamedes, was an ex- cellent painter of battles and skirmishes. His compositions are bold and vigorous, and have a great air of originality, be- ing uidike in style to most of the artists who painted similar subjects. The horses are purely Flemish, which perhaps gives a heaviness of appearance to the action, but are well suited to their ponderously armed riders, and the colouring, BATTLES Al^J) SKIBMISHES. 183 thougli clear, is not brilliant. Yet there is an earnestness and truth in his representations that must insure favour. This artist was the brother of Anthony Stevers, called Palamedes, who painted gallant conversations ; he was three years younger than Anthony, and should be called Paul Palamedes Stevers for distinction. Stoefe, J. V. D., flourished about the middle of the seven- teenth century. He painted small pictures of skirmishes, always on panel, well designed, spirited in action, rather faintly coloured than otherwise, and smoothly flnished. They are generally attributed to Stoop, but the name of Stolfe is distinguishable enough on some of them. Nothing of his history is known. Stoop, Theoboee and Petee. See the articles in the enlarged edition of Bryan’s “Dictionary of Painters and Engravers.” Steaba, or Steabantjs, Jais^, or GtIOTAOTI, was born at Bruges in 1536 ; he passed the greater part of his artistic career in Italy, but never divested himself entirely of the Blemish manner of painting. His works are numerous in historical subjects, battles and skirmishes of cavalry, combats between wild animals, hunting pieces, birds, and fishes. His compositions are skilful, and his colouring generally bril- liant. There are more than four hundred subjects by him engraved. He died in 1605. Tillemans, Petee, born at Antwerp in 1684, made ex- cellent copies of some of Borgognone’s pictures of battles, but was more original in hunting pieces. He died in Eng- land in 1734. Yelbe, Esais Yanbee, was born at Leyden in 1597, and died in 1648. He painted battle pieces with considerable spirit, and was popular in his day. His pencil is light and free, the action lively, but the colouring is not sufficiently pleasing to insure him favour at present. His figures are found in the pictures of contemporary painters. Yeehoeck, or Yeehuik, Petee Coenelius, born in 1633, after studying under Abraham Honduis, went to Italy, and painted battles and skirmishes in the style of Borgognone. He died in 1702. See Meld Sports. Yeehoeck, GtTSbeet, or GtIlbeet, brother to the pre- ceding, was born in 1644. He painted battles, marches of 184 BATTLES AKB SEIIEMISHES. cayalry, and encampments, and particularly excelled in draw- ing horses in every variety of action. He died in 1690. YEBScnuBiNU, Henri, was an excellent painter in several departments, but his best pictures are thought to be his bat- tles, skirmishes, plundering of villages, and attacks of ban- ditti, subjects which he was too well acquainted with by experience ; but it is a mere matter of taste to say which is best when all are good. He was born at Grorcum in 1627, and was drowned near Dort in 1690. Waal, or Wael, Cornelius be, was born at Antwerp in 1594, but acquired his reputation in Italy as a painter of bat- tles and skirmishes of cavalry. He represented the fury of the combatants with dramatic truth of expression, and his figures and horses are correctly designed. He died in 1662. Wyck, John, born at Haerlem in 1640, accompanied his father to England, and remained there for the remainder of his life. He painted various subjects, in which horses formed part ; particularly battles on a large scale, but his smaller pieces are more esteemed. In the latter he sometimes imi- tated Wouwerman, but though he painted them with neat- ness and delicacy, and not deficient in spirited action, they want the magic of that pencil. He died at Mortlake in 1702. AVouwerman, Philip. In a work like the present, which is necessarily restricted, it is impossible to convey to the inquirer more than a general idea of the varied manner in which this inimitable artist has represented battles and skir- mishes of cavalry, and other circumstances incidental to military operations. Some of his large pictures represent general engagements, in which cavalry and infantry are both hotly employed, each in its division according to military tactics, and warriors are seen contending with equal skill and bravery for the mastery of the field. The leaders are gener- ally distinguislied by a richer costume, and by being mounted on superl^ chargers, always contrasted in colour, the one being eitlier gray or pied, the other perhaps black or deep chesnut. These seem to be rushing to single combat, as they are detached from the m^ee ; the trumpeters and stand- ard bearers are also conspicuous. The dead and dying, Imrscs and men, strew the ground, and the greatest artistical skill is exhibited in the struggles and positions of the fallen BATTLES A^I> SKIEMISHES. 185 animals and their hapless riders. Other of his skirmishes are more episodical ; as contests for the possession and defence of a standard, the accidental meeting of two detachments of cavalry near a wood, or in the vicinity of a fortified town, and the fight has more the appearance of irregular warfare than of a pitched battle ; the combatants are paired, and various feats of prowess and of skill attract the attention of the spectator ; a Turk, or a valorous African, is distinguish- able among the parties by wild and furious action. In all these encounters the skill of the artist is conspicuous in the delineation of the horses and figures, according to their se- veral positions and movements, and in the expression of the passions engendered by the fray. Encampments and meet- ings at sutlers’ booths form other of his military subjects, and these are numerous, and being of smaller dimensions, are general favourites ; a trumpeter sounding his instrument, or an officer discharging a pistol, is a frequent object in them. The subjects described formed but a small portion of the variety of his military pictures, and though he repeated each and every of them, the composition is always difierent ; a duplicate by his pencil is not known. FIELD SPORTS, CHIEFLY STAG HUNTING AND HAWKING PARTIES. Beeldemaker, Jan, painted wild boar and stag hunts, and other subjects connected with the chase. They are well treated, generally on a small scale, and on panel. He was born at the Hague in 1636, and died about 1669. Berchem, or Berghem, Nicholas. His pictures of field sports include wild boar and stag hunts, hawking, and parties going out to the chase, or halting on their return. The scene is usually an open country with a river crossed by a bridge ; on the one side may be seen the sportsmen and ladies gallantly mounted, the attendants with the dogs and hawks ; on the other, groups of cattle with herdsmen, and a traveller or two on mules. The wild boar and stag hunts are represented in a more hilly country, richly wooded, with many figures mounted and on foot, accompanied by suitable dogs pursuing the game, and a dead stag lying in front, or the boar at bay in a thicket. The halt, or repose, is near a country inn, or other habitation ; perhaps the workshop of a farrier, who is seen examining the foot of one of the horses ; some of the party dismounted, and a lady elegantly habited, holding a hawk on her hand, and gracefully reining up a bright bay palfrey ; or it may be near a sea-port, indicating the return, and the huntsman is seen coupling the dogs, and on the water are passage boats with various cattle. These sub- jects are represented in glowing summer or clear autumnal weather ; nature herself seems to participate in the joyous hilarity. They are amongst the most esteemed of the artist’s productions, and are to be found only in the richest col- lections. See the article Nicholas Berchem, under the head of Brincijpal Bainters ; and also of Landscapes loith Cattle and riELD SPORTS. 187 Figures, and other subjects in the Alphabetical Classifi- cations. CiTTP, Albert. Pictures by this admirable painter that class as bunting pieces, are rather preparations for than actual enjoyments of the chase. A sporting party mounted on heaut&il horses are assembled near a wood, with a hunts- man advising their proceedings ; or halting in an open country in which is a winding river, and conversing with herdsmen in the care of cattle near the stream, and one of their party is seen in the distance galloping towards them : they all represent the departure, the halt, or the return. But these suppositions of hunting enabled the painter to ex- hibit his masterly powers in landscape, animals, and figures, and to invest the whole with the magical hues of nature. If the departure for the chase he a summer morning, while the sun is peering over the mountain tops, the dewy exhala- tions are rising and partly obscuring the distant objects ; the refreshed brambles, docks, and other wild herbage, with which he profusely decorates his fore-grounds, begin to glit- ter with dew-drops as they catch the increasing rays. The halt near a river, in a meadow where cows and sheep and their keepers are reposing during the mid-day heat, enables him to spread his glorious sunshine on every object, and show in the distance a tower, a church, or other indications of a city. The return intimates the approach of evening, in the gradually subsiding heat of the atmosphere, the level rays in the horizon, and the lengthened shadows. Cuyp’s pictures of this class may almost be deemed invaluable ; they have been sold in public sales for sums varying from seven to twelve hundred guineas, and others in royal and noble gal- leries are estimated at two thousand and upwards. See the article Albert Cuyp, under the head of Frincipal Fainters ; also Battle Bainters, Biver Views, Landscapes and Cattle, and other classified divisions. Esselens, Jacob, among other subjects, painted stag hunts, in a clear tone of colour and with a spirited touch. It is said that he was a scholar of Bembrandt, but it is not confirmed by his works. Ealens, Charles yak, painted landscapes with hunting subjects. See Imitators of Bhilip Wouwerman. 188 FIELD SPOETS. Gaal, Bake^t, exercised his pencil on hunting pieces ^vith his usual ability. Hokdies, Abrakam, painted wild boar, bear, and stag hunts, in a very S 2 )irited manner ; he particularly excelled in dogs, in which he is little, if anything, inferior to Snyders or Byt, and frequently reminds the observer of Velasquez. He was born in llolland in 1638, and died at London in 1695. Jacobsz, Jueiaek, born at Hamburgh, a scholar of Francis Snyders, is excellent in combats of wild animals and subjects of the chase, in which he shows so much knowledge of the art, and infuses such spirit, that he almost equals his celebrated master. He was born in 1610, and died in 1664. jAEDiisr, or Jaedyi^, Kaeel dij. There are very few pic- tures knoAvn by this master that may be absolutely termed hunting pieces, but several that have affinity with field sports. One that belongs to a rich collection of an opulent commoner and tasteful amateur, represents a party assembled near a noble mansion, preparing for the chase. Some are mounted, and a beautiful wffiite horse with yellow saddle and housings, is near a flight of steps, which a lady, assisted by a cavalier, is descending ; and in front is a domestic carrying a scarlet cloak ; attendants and dogs make up the composition. Other pictures merely represent a sportsman reposing, or bait- ing his horse at an inn door, and himself taking refreshment, or doing some act that indicates that he is returning from the field. In these pieces he seldom introduces any other animals but horses and dogs, and perhaps occasionally a mule with a male or female peasant, a goat and a few' stray sheep. Such pictures, though generall}^ smaU, are of high estimation. See Landscapes loith Cattle and Figures, Fxteriors, &c. Laae, Petee yak, or de Laee, called Bamboccio, painted hunting pieces, in wffiich he exhibits great skill in the forms and actions of his animals, and his usual vigorous penciling and rich tone of colour. Ljngelbacii, Jak, introduced subjects of the chase in the landscapes of other painters. He possessed such versatility of talent that he could accommodate his brother artists, who w^ere not expert in the drawing of figures and cattle, with groups of both suited to the scenery of their pictures. iStag hunts and hawLing parties are the most frequent of his riELD SPOETS. 189 additions, in the way of field sports, and they are always re- presented with freedom, spirit, and correctness. Lin, Hans van, wLo painted battle pieces, also produced subjects of hunting which are well treated. See under the head of Battle Painters . Miel, Jan, painted hunting pieces and battles with his usual ability, hut his works in this way are seldom seen in England except in engravings. Molyn, Petee, the younger, better known by the name Tempesta, imitated Snyders in hunting pieces with great success ; hut this was previous to his going to Italy. Hicasius, Beenaed, a scholar of Snyders, painted huntings of wild animals in close imitation of that master. Ossenbeck, Jan, or Josse van, painted landscapes with hunting subjects, fairs, and festivals, in the manner of Peter van Laar, called Bamhoccio. He was born at Potter dam about 1627, but passed the greater part of his life in Italy ; he died at Eegensburg in 1678. PoTTEE, Paul, when he deviated from strictly pastoral Subjects, still kept to the field, or matters connected with animals, as is seen in a few hunting pieces, sportsmen halt- ing at inns, or at farriers’ workshops to have their horses examined. The largest of these subjects is a bear-hunt, but it has undergone such alterations by passing through the hands of ignorant picture cleaners and restorers, that it is utterly worthless. Another, not so large, is in the Hermitage at St. Petersburg, and represents animals attacking hunts- men; and in the same collection a hunting party passing through a wood ; two are on horseback preceded by a pack of hounds, and two on foot holding hawks ; these are met by three oxen and a herdsman. A few smaller pieces, consisting of a cavalier watering his steed, a tired sportsman refreshing at an inn, with his horse and dogs and attendants near, and other matters connected with the subject. Though such compositions obtain good prices at sales, they bear no com- parison with his landscapes with farming cattle. Snydees, Eeancis, the prince of animal painters of his era, and coadjutor of Pubens in all subjects of the chase, where the more ferocious beasts of prey were the objects of attack, has stood unrivalled until the. present time, in the representation of such dangerous encounters, in giving the 190 FIELD SPORTS. true character of the wild animal roused to fury, and the in- domitable courage of his antagonist the dog. Many of his finest pictures of this class are in the rich collections of Eng- land. See Coadjutors of Bubens, and Animals and Dead GamCj &c. Stoop, Peter, or Theodore. See the articles in the en- larged edition of Bryan’s ‘‘Dictionary of Painters and En- gravers.” Strada, or Stradakus. See Battle Bainters. Tillemaks, Peter, who was born at Antwerp, but resided chiefly in England, painted stag hunts and other subjects of the chase, in which he showed a perfect knowledge of the horse. He also shows considerable talent in several depart- ments of the art, and his productions are frequently found in the mansions of the old nobility, but seldom associated with fine collections. He died in 1734. Yalkenburg, Theodore, studied under Weenix, and be- came an excellent painter of animals, which he evinced in hunting pieces, and especially in the representation of dead game. See Animals and Dead Game. Velde, Adriai^ VA^ir de, though he embellished the land- scapes of several first-rate painters in that department with hunting parties, composed but few of those subjects in pic- tures entirely his own ; but w^hat he did are of first-rate excellence. The party assembles at a noble mansion near a well-wooded park, the owner and his lady in rich costume are seen approaching towards their horses, the one intended for the lady is a beautiful white palfrey with blue velvet sad- dle and housings, and held by a page in a scarlet dress ; the huntsman with his horn is apart from these, and farther re- moved are the hounds, and gentlemen mounted on chesnut and roan coloured horses, waiting the Seigneur’s approach to begin the sport. If the picture represents the party in full activity, the huntsman is seen giving direction by his hand to those more distant, the lady on her wMte palfrey is prancing forward, followed by the gentlemen; attendants on foot are seen at a distance with hooded hawks, and dogs in leash. The time b(ung morning, all nature is clothed in smiles, tlie animals vigorous, and tlie rational part joyous. The colouring and execution are always in the painter’s best manner. FIELD SPORTS. 191 See the articles Adrian Van de Velde^ under the head of Vrincijpal Painters ; also Landscapes, Pattle and Figures, Ma- rines, Winter Scenes, &c., in the Alphabetical Classifications. Yerbeeck, Peter, who is mentioned as one of the first in- structors of Philip Wouwerman, painted landscapes enlivened with hunting subjects. There were several artists of this name, natives of Haerlem, who flourished during the first half of the seventeenth century, and the accounts of them are confused with each other. Yerdusse^t, Peter, was an excellent painter of horse fairs and hunting pieces; he flourished from 1743 to 1763. There are pictures by him in the Collection at Munich, and there are a few fine specimens in England. Yerheyden, Erai!^cis Peter, though originally a sculptor, by imitating the works of Snyders became an excellent ani- mal painter, and produced hunting pieces and dead game that would not disgrace his model. He was born at the Hague about 1657, and died in 1711. Yerhoeck, or Yerhijik, Peter Cori^eliijs, who parti- cularly excelled in battles and skirmishes of cavalry, also painted hunting pieces. See Pattle Painters, Yerschurtnu, Heivri, painted hunting pieces and skir- mishes, and was excellent in both. Yinive, Jan Yander, was a scholar of Hugtenburg, visited England in search of employment, but not being very suc- cessful returned to his own country, where he painted hunt- ing pieces and skirmishes, and became wealthy. His pictures, which appear occasionally, are not in high repute. Yos, Paul de, was probably a scholar of Snyders, for he painted animals and dead game much in his manner. He sometimes approaches him very closely in his hunting pieces, particularly in his dogs. See under the head of Animals and Lead Game, Hunts of Ferocious Animals, Portraits, &c. Weeninx, or AYeenix, Jan Baptist, who painted almost every subject connected with landscape, and painted them well, frequently enriched the scene with hunting parties, in which the animals are given with accuracy and spirit. He was born at Amsterdam in 1621, and died in 1660. AYeeninx, or AYeenix, Jan, was the son of the preceding, born in 1644, and was instructed by his father in all matters in which he so eminently excelled. In dead game and hunt- 192 EIELD SPOETS. ing pieces he surpassed every artist of his country. His colouring is clear and brilliant, his penciling exquisite ; in Ins cabinet pictures the animals are as highly finished as those of Mieris or Metsu. He died in 1719. See the articles under Animals and Dead Game, Sea-ports, &c. WouwEEMA?^, Philip. The sporting pictures of Wou- werinan consist principally of stag hunts and hawking par- ties. The former are represented in a well-wooded land- scape, with a river, or a fine sheet of water, in which the pursued animal isf endeavouring to take refuge ; the cavaliers and the ladies forming the party, all richly habited and splendidly mounted, are seen hastening to the spot, and the dogs eager for the prey dashing after their victim. If it be a hawking party, the landscape presents an open country, and the ladies and gentlemen are proceeding more leisurely to their sport, with the attendants carrying the hooded hawks, followed by the dogs, and frequently by rustics as intrusive spectators. Occasionally a lady of the party bears a hawk on her hand ready to let slip, if a heron, or other bird of sport, should appear, and frequently one of the damsels car- ries a parasol. These scenes are very exciting, and the time being the early part of the day, the heavens and the earth are bright and smiling, and there appears no alloy to the pleasure, except in the person of a crippled mendicant so- liciting alms. But it is at the going out and the return of the sporting parties that the artist exhibits his skill to the greatest advantage, and delights the spectator, whether he be a connoisseur or not, with the splendour of the scenery, the ricli dresses of the company, and the noble animals that share with them in the healthful exercise. The departure is from the splendid mansion of an opulent Seigneur, and the polished manners of the company betoken high breeding and its usual accompaniments ; the return is equally satisfactory, though tlie ladies exhibit some symptoms of fatigue, which elicits still greater attention from the gallant cavaliers. Perhaps the party makes a halt at the workshop of a farrier to replace a lost shoe on one of the steeds, or it may be at tlie door of an inn for a little temporary refreshment, which enables the artist to contrast high life and mediocrity of cir- cumstances without disadvantage to either. Allied to these subjects are his horse fairs, in which for variety and beauty FIELD SPOETS. 193 he may be said to be unrivalled. Many other analogous compositions by him might be cited, but the amateur will by degrees become acquainted with them, and perhaps de- rive more pleasure from making the acquaintance himself. One word on the artist’s circumstances. It has been said that his works were unappreciated during his life-time, and that he was poor. How comes it that his pictures are in such numbers, and, generally speaking, in such excellent preservation ? A poor artist is not able to give his daughter a marriage portion of about two thousand pounds, as he did when money was nearly four times its present value. HUNTS OF FEEOCIOUS ANIMALS, LIONS, WILD BOAKS, WOLVES, ETC. Eubens and Sntdees are tlie only Memisli painters par- ticularly distinguished for representations of these hazardous encounters. They both painted ferocious animals with so much spirit and truth, that the work of the one is frequently attributed to the other ; and they so often conjoined their talents in depicting these bold subjects, that there is consi- derable difficulty in apportioning to each his due share in the composition. In the lion-hunts it is generally supposed tliat the greater portion belongs to Eubens, the design en- tirely. Snyders assisted in forwarding the colouring of the animals, that is to say, the lions and dogs, but the horses and their riders were undoubtedly the work of Eubens. The same may be said of the wolf-hunts ; but in those of the wild boar, Snyders seems entitled to the larger share. An exception, however, may be made in favour of Eubens, to several of this subject, as connected with the story of Ata- lanta, Meleager, and the Calydonian boar, in which both the animals and figures appear to be by him. Attacks on the crocodile and the hippopotamus may be apportioned to each. The celebrated Wolf-hunt, formerly in the Altamira Col- lection, and now in that of Lord Ashburton, (which is per- haps the finest picture in England of that class by Elemish artists,) has divided the opinion of connoisseurs respecting the title of Eubens to the whole ; but it is doing no injustice to his reputation to claim some share for Snyders in the wolves, the foxes, and the dogs. That this was a favourite picture with Eubens there is no doubt, as the two principal HUNTS or UEEOCIOUS ANIMALS. 195 figures are portraits of himself and his first wife, Elizabeth Brandt, and it was painted for his friend Greneral Leganes, served in Elanders under the Marquis Spinola ; to him, therefore, must be conceded the honour of the composition, the execution of the figures and horses, and additional touches to the inferior animals to bring the whole into harmony. The opinion that Snyders painted the dogs, wolves, and foxes, in this picture is strengthened, not only by the acknow- ledgment that he painted similar animals in other large hunt- ing pieces of which the compositions are by Bubens, but in the Altamira Collection, from which this was obtained, there were several boar and fox-hunts with the name of Snyders, wherein the dogs and foxes were in every respect the same as in this ; there was also the picture of an enraged lion that might have passed for the work of Bubens, had it not borne the name of Snyders. The highest praise must be awarded to both these dis- tinguished masters in hunting-subjects of this heroic charac- ter, to each in his department ; to Bubens, for the invention and arrangement of the composition; to Snyders, for the ability displayed in embodying the conceptions of the inventor with such truth of nature and delusion of art, and similitude of execution, that it would seem one spirit actuated in both. The landscapes of all may be ascribed to Wildens, Artois, Vanuden, or Momper, always admitting that Bubens went over them in part at his pleasure. Two grand lion hunts, one in the Grallery at Munich, and the other in thp,t at Dresden, are attributed entirely to Bubens, so far as regards the composition, the animals, and the figures. The picture at Munich exhibits a party of seven huntsmen, four of whom are on horseback, attacked by an enraged lion, which has fastened on one of the horse- men and is tearing him to the ground, the rest of the party are endeavouring to relieve their companion by assailing the lion with lances and swords, and the horses are rearing, plunging, aiid lashing out in aU directions ; one of the hunt- ers, lying on the ground, is defending himself from a young lion which has sprung on him, and another hunter is ad- vancing to the fallen man’s assistance ; opposite to them is one hors de combat. It is a most energetic performance, and in painting it Bubens seems to have been inspired by a re- 196 HUKTS or PEEOCIOUS ANIMALS. collection of Lionardo da Vinci’s Eattle of the Standard, of which he had previously made a hasty transcript. The picture at Dresden varies in the composition ; the hunters are fewer and the animals more numerous. One of the hunters wears an Oriental dress, and rides a superb mottled gray horse ; a lion has sprung on his steed and seized the rider by the shoulder : another hunter is dismounted and in the power of a lion, and an African in a scarlet cloak, on a plunging horse, is attacking the animal with a hunting spear. On one side is a lionness with a cub in her mouth, and a dead tiger lying near. These pictures are so equal in merit that it would he in- vidious to award the palm for superiority to either. A sketch of the latter, done en grisaUle hy E/uhens, is in the collection of Sir Eobert Peel ; one picture was engraved hy Bolswert, the other hy Suyderhoef, during the life of Eu- hens : this establishes his claim. The pictures of the class under consideration, and of which Snyders painted all the animals, are chiefly wild hoar hunts. In some, the sportsmen and dogs are in full chase of the animal, who is endeavouring to take shelter in a wood ; or they are attacking him in his lair, and he is defending himself with courage and obstinacy; or they are encountering him on all sides, and he is furiously avenging himself on his assailants the dogs, some of which are ripped hy his tusks, and lie struggling in death, while others are harassing him by seizing his legs and ears ; the huntsmen armed with lances, swords, and other weapons, are hastening to terminate the contest, hut one of them is sometimes represented as paying the penalty of his temerity, and lying disabled on the ground. In these pictures Snyders generally had the assist- ance of Wildens in the landscape part, and that of Paul de A^os, or Jordaens, in the flgures. His hear hunts are of a similar description, and equally interesting. See Animals and Dead Game^ &c. Tliere were but few Plemish or Dutch artists that suc- ceeded in this lieroic style of painting ; many were eminent in representing tlie less dangerous sport of stag hunting, and have already been noticed. The following are perhaps the best entitled to be named after Eubens and Snyders, not as analogous painters, except as regards Paul de Vos, but as HUNTS OP PEEOCIOUS ANIMALS. 197 artists who exhibit great talent in depicting the wilder sort of animals, without exhibiting the powerful genius of the two great masters in putting them into action. Beeldemakee, Jan. The pictures by this master, best known in England, are of the cabinet size, but in some of the galleries and collections in foreign countries they are found of large dimensions. His wild boar hunts are spirited and rich in colour, and the animals well drawn ; his stag and fox hunts are also held in estimation. See Field Sports. Fyt, Jan, born at Antwerp in 1625, painted all kinds of animals, alive or dead, with great natural beauty, but parti- cularly excelled in the forms and characters of the dog species. His hunting subjects, on a large scale, are gener- ally found in the landscapes of other eminent masters, and add much to their value. It is said that Bubens employed him in this manner, but this may be doubted, as Eyt was only fifteen years of age when Bubens died. See Fainters of Animals and Dead Game. Hondius, Abeaham, born at Botterdam in 1638, painted animals in a very vigorous style, particularly dogs of the chase. His bear and boar hunts are of a robust character, the animals are rugged and truly savage, and his hunters little less so ; but they are true to nature, and the scene is very exciting. Some of his dogs much resemble those painted by Velasquez. He resided a considerable time in London, and died there in 1695. Jacobsz, Jueiaen, or Jueiaen, Jacobsz, (it is uncertain which,) was born at Hamburg in 1610, but went early to Antwerp, and entered the school of Snyders. He became an excellent imitator of his master in subjects of the chase and in combats of ferocious animals ; and there is so much similarity in the style of his painting, that one not fully ac- quainted with the handling of Snyders may be deceived by the resemblance. His name is rarely mentioned in accounts of English collections, but his pictures are frequently seen in houses of distinction. He died in 1664. See Field Sports. V os, Paul be, was born in 1600 ; it is more than probable that he was a pupil of Francis Snyders, as he not only painted huntings of the wild boar, stags, and other game, entirely in his manner, and also interiors of larders with 198 HUNTS OE EEEOCIOUS ANIMALS. dead animals and vegetables ; but was usually employed by Snyders in painting the figures in his hunting pieces. His own pictures are of large dimensions, and, until a late period, were seldom seen out of Elanders, except in Spain and Ger- many. Eevolutions and wars have changed the locality of some, and they have been received with honour, having the name of Snyders for their passport, and their own merits to give plausibility to the appellation. The landscape part is generally by Wildens. He died in 1654. A^os, Simon he, was a scholar of Eubens, and excelled in portraits and history ; but there are hunting subjects of the gi’and order, bearing his name, that would do credit to mas- ters eminent only in that department of painting. He was born at Antwerp in 1603, and was living in 1662. See His- torical and Portrait Painters. There are many large pictures of stag, bear, and boar hunts, which dealers are pleased to attribute to Snyders, and sometimes modestly to one of his best scholars, that are so inferior in composition and execution to the works of his pupils or assistants, that it is not deemed necessary to rescue the names of the actual painters from oblivion ; and they are merely hinted at to put the inexperienced on their guard against fraudful imposition. The imitators, whose pictures have merit, are noticed among the painters of Eield Sports. ANIMALS AND DEAD GAME. Aelst, Eyert, or Eyerard, yain, was an excellent painter of dead ganire, birds, and objects of stiU life ; bis works are carefully finished, and are frequently painted on a white ground. He was born at Delft in 1602, and died in 1658. Aelst, William (GtEillaume) yan, born in 1620, was EYert’s nephew, and studied under him. He painted simi- lar subjects, but they are more highly wrought. His pen- ciling is beautifully soft, and his colouring transparent. He died in 1679. Ainchillijs, IN’— — , born at Antwerp in 1688, Yisited England and copied pictures by Snyders for Sir Eobert Walpole. See Painters of Conversations, Bernaerts, Nicaise, was a scholar of Erancis Snyders, and painted Yery like him ; there is no doubt that many of his pictures have been attributed to that master. The dates of his birth and death are Yariously giYen, but it is agreed that he died at the age of seYenty, either in 1663 or 1678. Berre, Jeai^ Baptiste, born at Antwerp in 1777, painted dead game and other objects, in the manner of Weenix, which are finely composed and beautifully finished. He also painted living wild animals, landscapes with cattle, and sub- jects connected with history. He resided a considerable time at Paris, and died there in 1828. Boekel, YANT, was also a scholar of Snyders, and painted living and dead animals in the manner of his master. He died in 1673. Boel, Peter, another pupil of Snyders, was an excellent painter of animals, birds, flowers, and fruit ; of which he made ingenious compositions, emblematic of the seasons and 200 ANIMALS AND DEAD GAME. the elements. He was bom at Antwerp in 1625, and died about 1680. Bockiiodst, Jan tan, called Langen Jan, was a scholar of Jacob Jordaens. He painted history and portraits, in which he adopted the style of Bubens and Van Dyck ; and also larders with dead game, fish, fruit, and vegetables, in the manner of Snyders, though these have not been noticed by vTiters on the subject. Fyt, Jan, is quite original in painting living animals and dead game, and particularly excellent in his representations of dogs and partridges ; not that he is inefiicient in the forms, characters, and texture of other species, for he is true in all ; but these seem to be favourite objects with him, and attract notice by their positions in the picture, and the evident care bestowed on the delineation : they may be considered as characteristic of the master. His penciling is firm and free, and his colouring remarkably good, of a fuU tone, and trans- parent. His animals are frequently found in the landscapes of the most eminent Flemish painters of his time, and are easily recognised by their peculiarity. He was born at Antwerp in 1625, and died in 1671. See Hunts of Ferocious Animals. GtHETSels, Petee, (improperly called Gyzen^ painted small pictures of dead game, birds, and other objects, in a highly-finished and beautiful manner; his works are rare and valuable. See the enlarged edition of Bryan’s “Dic- tionary of Painters and Engravers,” in the article Feter Ggzen. Gtrteff, Anthony, painted wooded landscapes with dead game, dogs, and sporting apparatus ; they are executed with spirit, occasionally sombre in tone, and sometimes in the sil- very manner of Teniers ; the latter are the most esteemed. They are generally of small dimensions. He lived about the middle of the seventeenth century. Hendriks, Wybrand, painted fruit, flowers, and dead game, in which he approaches very closely to Weenix. His pictures are in higli estimation, and are worthy of a place in the best modern collections of the Dutch masters. He was born at Amsterdam in 1744, and died in 1830. Koninck, or Koninoh, David de, was a scholar of Jan Fyt, and painted pictures in the manner of his master, which, AliTIMALS AND DEAD GAME. 201 tliougli good, are not to be mistaken for Eyt’s ; as he painted much in Italy the Italians have fallen into that error. Leeienbeeg, (Cheistian, ?) painted dead game and sub- jects of the chase in the manner of Weenix ; they are very good, and not common. According to the dates on some of his pictures, he flourished about 1663. Mieehop, Peancis tan Cutck de, from being an ama- teur designer, became a professed painter. He imitated the subjects and style of Snyders, and painted flsh, fruit and game, dogs and other animals, in a manner so spirited and true that they may be mistaken for the works of that master. He was born at Bruges in 1640, and died at Ghent in 1701. Some writers name him Mierhoop, Snydees, Beancis, a name synonymous with the highest excellence in wild animal painting, larders with dead game, fruit, and vegetables. Bor masterly design, vigorous handling, and richness of colouring, particularly in fruit and vegetables, he has never been surpassed. See the articles Coadjutors of Buhens, Hunts of Ferocious Animals^ &c., &c. Steaaten, Jan Joseph Ignatius tan, painted dead game, in the manner of Weenix. He was also a flower painter. His pictures are well composed and highly flnished. He was born at Utrecht in 1766, and died in 1808. Uteecht, Adeien tan, painted dead game and other ob- jects of still life, in the manner of Snyders. See also under the heads Birds, Fruit and Flowers. Vaaet, Jan Vandee, bom at Haerlem in 1647, came to England, and was some time employed in painting draperies and back-grounds to portraits by Wissing and others; he afterwards employed himself on objects of still life and dead game, and produced several excellent pictures. Valkenbueg, Theodoee, studied under Jan Weenix, and was an eminent painter in several departments of the art, but particularly excelled in subjects of dead game, in which he sometimes rivals his master. He was born at Amsterdam in 1675, and died in 1721. Yonck:, or Yonk, C , painted birds in the manner of Hondecoeter, and dead game in the manner of Snyders ; he is excellent in both. His pictures are better known in foreign countries, particularly in Germany, than in England ; here they are generally attributed to one or other of the 202 ANIMALS AND DEAD GAME. above-named masters. There is no satisfactory account of him. Yos, Paul de, painted larders with dead game, fish, fruit, and vegetables, in the manner of Snyders. See Field Shorts. AYeenix, Jan, in his cabinet pictures of dead game, may be said to surpass every artist of his country for accuracy and high finishing. In painting the hare, the swan, the duck, and the peacock, he is inimitable; and all the ac- cessories are of superlative beauty. A picture of such sub- jects, imperfect in any of its parts, cannot with truth be attributed to Jan Weenix. See Field Shorts, Italian Sea-- portSj and other Classifications. The painters of Dead Grame are very numerous among the Flemish artists, from the time of Snyders to the present day. Many of the more modern have imitated the compositions of Weenix with considerable success ; combining fiowers, fruit, and objects of still life, with live and dead animals, in one picture. Some of these will be found in the Classifications of Still Life, Birds, Fruit and Flower Fainters. BIEDS, ETC. Alen, or Olek, Jak tan, imitated and copied the worts of Melchior Hondecoeter with such success that they pass for originals, except with the practised connoisseur. He was horn at Amsterdam in 1651, and died in 1698. Casteels, Petee, painted domestic poultry, fruit and flowers ; his pictures are of small dimensions, frequently on copper, the penciling is hard and wiry, and there is nothing commendatory in the composition. He was horn at Antwerp in 1684, practised in England, and died in 1749. Dalens, Dieck, or Theodoee. There are landscapes with birds of uncommon excellence attributed to this artist ; they are aquatic fowl, or such as resort to marshy lands. These he grouped skilfully, and painted in the manner of Melchior Hondecoeter. As there were several artists named Dirck Dalens, it is uncertain to which of them the honour of painting these pictures is to he awarded, hut it is supposed to he the son of William Dalens ; if so, he was horn at Amsterdam in 1659, and died in 1688. Ghetsels, Petee. See under the head Animals and Dead Game. Geteee, Aitthokt, painted small landscapes on copper, which he enriched with birds, sporting dogs, and animals of the chase. There is a pleasing smartness in his style of painting, somewhat sharp in the penciling, well coloured, hut frequently too deep in tone ; some of his pictures, how- ever, are in the silvery manner of Teniers, and these being the rarest are the most prized. He lived about the middle of the seventeenth century, hut there are no particulars of him recorded. 204 BIRDS, ETC. Hondecoeter, Q-iles, or Gillis, painted fowls and other birds with landscape back- grounds, agreeably coloured, and well finished. His father was Marquis of Westerloo, in Belgium, and was expatriated on account of his religion, being a Protestant ; he took refuge in Amsterdam, and was supported by the talent of Giles, which in happier days he had acquired and exercised only for amusement. Hondecoeter, Gysbrecht, son of Giles, painted domes- tic fowls ; they have considerable merit, and are often attri- buted to his son Melchior, though they are much inferior to his best works. He was born at Utrecht in 1613, and died about 1654. Hondecoeter, Melchior, son of Gysbrecht, stands amongst the most eminent painters of birds, foreign and domestic, living or dead. There is such liveliness and truth in the representation, that they almost appear realities. In the farm-yard the cock, displaying his bright plumage, struts majestically, his sparkling eye flaming defiance ; if two en- counter, the combat is furious, the feathers ruffle, and there is almost motion. The character of every fowl is accurately discriminated. The composition in his larger pictures is well arranged, and the variety of rich colouring beautifully harmonized. There is no appearance of labour in the pen- ciling, all is bold and fluent. He was born at Utrecht in 1636, and on the death of his father, when he was about seventeen, was taken under the care of his uncle, Jan Bap- tist Weenix, with whom he completed his artistic education. He died in 1695. SciiouMAH, Artits, painted birds in imitation of Honde- coeter and Weenix, in which there is considerable merit. He died at the Hague in 1792. Utrecht, Adriah yah, painted domestic fowl in a superior style, like all his productions vigorous and true; he closely approximates to Snyders in manner. See Animals and Dead Game^ Still Life^ Fruit and Floivers, &c. Veen, or Yenius, Eociius yah, painted live and dead birds, which he finished with great care. He was born at Antwerp in 1650, and died at Haerlem in 1706. Yerheydeh, Frahcis Peter, painted fowls and dead game in the manner of Hondecoeter and Snyders, in which BIEDS, ETC. 205 he was very successful, considering the late period at which he commenced the practice. See Field Sports, Yonck, or Yokk, C . It is apprehended that the works of this master, whose history is not known, are fre- quently attributed to Melchior Hondecoeter from the simi- larity of execution. His birds of different species are found in the landscapes of other painters, who rarely attempted animals or figures, and are very attractive objects. The period in which he fiourished is only known by the land- scapes he embellished ; there is one in the Dresden Gallery by Jacob Euisdael with birds exquisitely painted by Yonck, and others are noticed in old catalogues of sales in Holland and elsewhere, generally comparing him with Hondecoeter. See Animals and Dead Game. Wykteanck, or Wynteack, A. D. The omission of this painter’s name by all the Dutch writers on the art is sur- prising, considering the great beauty of his aquatic birds, which are to be found in the landscapes of Wynants, Huis- dael, and others, as well as his own ; they would do honour to the pencils of Hondecoeter or Jan Weenix. Pictures entirely by his hand are not common. The landscape is very simple, with a pool, or stream, shaded by willows or alders to serve as a resort for water-fowl ; the penciling of this part is remarkably free, and the effect that of subdued sunshine. Weeistix, or IYeekinx, Jai^, who painted every subject that he undertook in a manner to excite admiration, excelled all the artists of his time in representing dead swans, ducks, and peacocks. These objects are introduced with dead hares, live spaniels, and other dogs, in landscapes, not in larders, as is generally the case with others who painted similar objects. His dead swans and peacocks are superb ; the one producing great breadth in the picture by its flood of light, and the other enrichmg the scene by its varying and dazzling splen- dour. His ducks are no less admirable; their glossy and downy plumage rivals the work of nature, and communicates a pleasure far beyond by the wonderful truth of the imita- tion. See Animals and Dead Game, and other Classifications. STILL LIFE. Adriaksen, Alexander, painted fish admirably; they have the glittering freshness of nature, and are quite illusory. He was born in 1625, and died in 1685. Aelst, Evert, or Everard, van, painted armour, vases of gold and silver, and various other objects, in a highly-finished manner, on a clear white ground. See also Dead Gome, Fruit and Flowers, &c. Aelst, William (G-ijillaume) van, painted similar sub- jects to those of his uncle Evert, but still more elaborately finished. He also painted dead game. See Fruit and Flow- ers, &c. Aertsen, Peter, represented interiors of kitchens, in which the culinary utensils are principal objects, and capitally painted. He abandoned these subjects for history and paint- ed altar-pieces. See Historical Fainters. Aken, E. van, painted objects of still life, fruit, and fipw- ers. There is no account of him by the Dutch writers ; his pictures are respectable, and are signed with his name, F, v, Aken, or liis monogram. Alen, or Olen, Jan van, painted still life, birds, &c., and was a successful imitator of Hondecoeter and others. See under the head of Birds. Andriessen, Hendricks, (called MankenJiein^ was a skil- ful painter of still life, and finished his pictures artistically. He was born in 1600, and died in 1655. Begue, DE, an artist of whom there is no record, painted still life in the manner of Jan David de Heem. Beuckelaer, Joachim, nephew of Peter Aertsen, was born at Antwerp in 1530. He painted interiors of kitchens STILL-LIFE PAIl^TEES. 207 and larders, with dead game, fish, fruit, and other objects of still life; hut finding these subjects produced very little emolument, he abandoned them for market-places, fairs, and kermesses. He died in 1570. See Exteriors, Market- places, &c. Biltitts, Bea^^’cis, flourished about 1650 ; his subjects are dead birds and sportmen’s implements. He painted on a white ground, and the birds are pendent from a nail in the wall, and being carefully designed, and true to nature in colour, have an illusive effect. By a date on one of his pic- tures it appears that he was living as late as 1671. Beamee, Leoi^aei), painted gold and silver vases, and other rich objects, which he imitated most minutely, to orna- ment his small historical pictures. See Scholars and Analo- gists of Rembrandt. Beize, Coekeliijs, painted defensive armour and military weapons with accuracy and brilliancy, especially in the or- namental parts of helmets and breastplates. It seems that his talent was confined entirely to these objects, as none else is known by him. He was born at Haerlem about 1635, and died about 1680. Dicht, T . An artist of this name painted objects of still life in the manner of William Kalf ; they are small pieces, generally on copper, well executed, and signed with his name. There is no account of him in the Dutch writers, but his pic- tures show that he belongs to that country. Duti^en, Isaac van, was a painter of sea and river fish, which he represented with great accuracy. He was a native of Dort, and lived about 1670. Es, Jaques yan, painted fish, fruit and flowers, and other objects of still life. There is a picture by him in the Museum at Antwerp. He touched his pictures with spirit, and was a good colourist. He lived at the latter end of the sixteenth and early part of the seventeenth centuries. Elamen, Albeet, well known for his numerous spirited etchings, painted sea and river fish, with marine back-grounds, and in landscapes, several of which he engraved. He flour- ished about 1660. His pictures are seldom met with in England. G-abeon, William, born at Antwerp in 1625, was a good painter of gold and silver vases, porcelain and other orna- 208 STILL-LIFE PAII^TEES. ments, as well as fruit and flowers. He died in 1679. See Fruit and Floirers. Gillig, Jacob, represented river flsH on the bank of a stream in a landscape. He was a native of Utrecht, bom in 1636, and died about 1688. Heck, Jan van, born in 1625, resided many years in Italy, and painted small landscapes with figures, but particularly excelled in flowers, fruit, vases of gold and silver, bronze and marble figures, and other ornamental objects. On his return to Flanders he continued to paint similar subjects. He died about 1670. See Fruit and Flowers. Heda, Guillaume Klaasz, painted still life, insects, flowers and fruit, in the manner of De Heem. He was born at Haerlem in 1594, and lived to a very advanced age. Heem, David de, born at Utrecht in 1570, was an excellent painter of fruit, flowers, gold, silver, and crystal vessels, and other objects of still life. He was the father of the celebrated John David de Seem, to whom his pictures are generally at- tributed by dealers and others. He died in 1632. Heem, Jan de, was instructed by his father David, and followed his manner very exactly. He was born in 1603, and died in 1650. Heem, Jan David de, was born at Utrecht in 1600, and was instructed in the art by his father David ; but he sur- passed him and every other contemporary painter of still life, by the accuracy of his delineations, the richness and beauty of his colouring, and his artistical mode of composition. Every object is represented with the greatest truth, whether vessels of gold, silver, or crystal, shell-fish, fruit, fiowers, or insects. His penciling is firm, crisp, and free, and the arrangement of the subject is so masterly that the various colours unite in perfect harmony. A young artist cannot do better than study the pictures of John David de Heem for colour and chiaroscuro. He died at Antwerp in 1674. See also Fruit and Flowers. Heem, Cornelius de, was the son of John David, born at Utrecht in 1623, painted similar subjects, which are well coloured and highly finished, but do not reach the excellence of his father’s works ; amateurs are however sometimes de- ceived by them. HooGSTiiAETEN, Samuel VAN, the Scholar of Eembrandt, STILL-LIFE PAINTEKS. 209 when in England painted fruit, flowers, and objects of still life ; the last being what are called deceptions, consisting of printed titles of almanacks and other periodicals, broken glass, letters with seals, &c. ; all worthless, though represent- ed with great truth. Kaalf, or Kale, William, was an admirable painter of still life. His pictures are generally of small dimensions and are very highly wrought, with a spirited touch, and clear and sparkling colour. They represent to deception vases and other ornamental furniture of gold and silver. In humbler objects he is equally excellent, as in the utensils of a Dutch boor’s habitation and the articles usually found there, parti- cularly the vessels of brass and copper. His management of the chiaroscuro gives value even to the meanest of his sub- jects. He was born at Amsterdam in 1630, and died there in 1693. Kessel, -Jaii YAiv, is remarkable for the accuracy with which he painted volatile and creeping insects, shells, corals, fruit, and flowers ; his younger brother Eerdinand also paint- ed similar objects ; they are found in the landscapes of both. Jan frequently made them the entire subject of a picture, painted on tin or copper, of small dimensions, and on a white ground, and occasionally of a large size, in curious devices, and signed with his name and the date ; the letters and figures being formed of caterpillars and worms, and other lithe insects. Kick, Coekeliijs, painted objects of still life in imitation of J. D. de Heem, and succeeded admirably, especially in flower and fruit pieces, which he coloured delicately and finished in a careful manner. He was born at Amsterdam in 1635, and died in 1675. His pictures are rare. See Fruit and Flowers. Lives, J. C. A painter of still life, of whom there is no account ; but from a picture signed with his name, and hav- ing the date 1693, he appears to have been a close imitator of Jan David de Heem. Mieehop, or Mieekoop, Eeai^cis yak Ctjtck de, painted fish, fruit, and other objects of still life, as well as dead game. Moeell, H , (Nicholas, ?) painted vases, hassi rilievi, and other ornaments, as accessories to his flower and fruit pieces, in a superior manner. See Fruit and Flower Fainters. 210 STILL-LIFE PAIKTEES. Peuteman, Petee, painted musical instruments, books, emblems of mortabty, and sucb-like objects with great ac- curacy. He was born at Rotterdam in 1650, and died in 1692. Some writers call him Nicolas Peuterman. PiXG, PiETEE EE, floimished about the middle of the seven- teenth century ; in the Museum at Amsterdam is a specimen of liis talent in painting still life ; it represents a table cover- ('d with blue velvet, on w^hich are placed various kinds of fruit, oysters, and other shell-fish. In some part of his pic- tures will be found a ring, probably intended as his signature. There are several excellent pictures by him in England, but they are generally attributed to an artist with whose name tlie public a.re more familiar. Eoesteaetejt, Petee, or Nicolas, bom at Haerlem in 1627, was a scholar of Prank Hals, whose daughter he married. He came to England to practise portraiture, but not finding sufiicient encouragement, painted silver and gold ornaments, bas-reliefs, musical instruments, &c., which he imitated with great precision, and touched with freedom and delicacy. He died at London in 1698. Eoodtseijs, Jacob, was a scholar of Jan David de Heem, and imitated his manner very closely. He was born in 1619, and died in 1669. Etsbeack, Gr. E., painted dead animals, vegetables, and otlier objects of still life. His pictures show but little skill in composition ; some are well coloured, others are monoton- ous and coarsely penciled. There is no account of him, but liis name is found on works of the above description. vSteenwyck, Nicholas, born at Breda in 1640, painted vases, books, musical instruments, river and sea-fish, and otlier objects, excellently well. vStomme, . A picture of still life by this artist is in the Museum at Brussels. lie is supposed to have been a scholar of J. D. de Heem. vSteeeic, Jueiah vah, was a painter of dead game, and also of musical instruments, books, vases, &c., which he finished neatly and with good effect of light and shadow. In many of his pictures he introduced a ball of soap, a skull, and a sepul- chral lamp. He was born at Amsterdam in 1632, and died in 1678. Tyssens, Nicholas, painted subjects in which he intro- STILL-LIFE PAINTEES. 211 duced objects of still life as accessories, such as dead game, fruit, flowers, and armour, which he made interesting by pic- turesque arrangement and management of chiaroscuro. He was born at Antwerp in 1660, and died at London in 1719. Uteecht, Adeiak VAIS', painted fruit and vegetables in a bold and admirable manner, much resembling the productions of Snyders. See Dead Game, Fruit and Flowers, &c. Veote, Hubeet Ya^tdee, painted bas-reliefs, groups of children, vases, and other ornaments in chiaroscuro. He was born at the Hague, but there is no further account of him : he is supposed to have lived about the middle of the seventeenth century. Yictooes, Lodovick, is supposed to be the member of the family of Yictoors that paintecl fish, fowls, and objects of still life. See the enlarged edition of Bryan’s “Dictionary of Painters and Engravers,” in the notes to Victoons, and also Exteriors and Markets, in the Classifications. Yoet, Chaeles Boschaet, painted flowers, fruit, plants, birds, and objects of still life, which are correctly designed and very highly finished. He died at the Hague in 1745. See Fruit and Flowers. WiLLiKGEN, Petee Yanbee, painted gold and silver vases, books, musical instruments, and other objects of still life. His pictures are highly finished, and have a natural effect. He was born in 1607, and, it is supposed, died in 1665. Wit, Jacob be, is celebrated for his admirable bas-reliefs of children, painted in chiaroscuro, or Camaieu. Xaveet, Jacob, who was a scholar of De Wit, painted similar subjects in imitation of his master. ZooN, or Soisr, Jai^ vak, painted Turkey carpets, curtains fringed with gold, vases, flowers, fruit, and dead game, in a free and picturesque manner, with rich transparent colouring. He was born, it is said, at Antwerp in 1650, and died in 1700 ; but writers differ respecting both. FLOWER AND FRUIT PAINTERS. Adeiainsein, Alexais^eee. His flower and fruit pieces are tastefully arranged and have the freshness of nature in their coloiu’ing. He also painted fish in an admirable manner. See Still Life. Aelst, Eyeet, or Eteeaed yaist, painted still life, fruit and flowers. He frequently painted on a white ground, which produces a singular though not unpleasing effect. Aelst, GtUILLAUME tain, the nephew of Everard, excelled in fruit and flower painting as well as in dead game and objects of still life. His pictures are highly esteemed, being richly coloured, and finished with the delicacy of AVeenix. Aelst, Paul yak, was a good painter of fruit and flowers, but more noticeable as a copyist of the works of Jan de Ma- beuse. He lived in the middle of the sixteenth century. Akek, E. yak, painted fruit, flowers, fish, and other ob- jects of still life. There is no published account of him, but his pictures have his name or monogram. Ast, Baetholomew Vakdee, was a laborious painter of small pictures of fruit, flowers, insects, and shells, in the manner of Breughel ; the individual objects are correctly rej)resented, and are interesting, but the composition is not well arranged, and appears discordant. He lived in the first quarter of the seventeenth century. Boel, Petee, was a scholar of Snyders, and as such painted dead game and animals ; but he painted fruit and flowers from nature and coloured them beautifully. See Animals and Dead Game. Boeciit, Hekei Vakdee, an antiquary patronized by the FLOWER AND FETJIT PAINTERS. 213 Earl of Arundel, painted fruit and flowers with considerable reputation. He was born at Brussels in 1583, and died at Antwerp in 1660. Bos, Louis Janssen, designed, grouped, and coloured flowers beautifully; they are generally placed in globular bottles of water very transparent, and reflecting the light on the convexity. Dew-drops hang on the leaves, and butterflies and other insects flutter or creep in form and manner truly natural. He was born in 1450, and died in 1507. Bosch, Jacques Vander, painted fruit pieces with great neatness, truth, and transparency. His objects are generally peaches, nectarines, cherries, and grapes ; they are well ar- ranged, and have the bloom and freshness of nature. He was born at Amsterdam in 1636, and died in 1676. Boschaert, Nicholas, had a very delicate pencil, and a nice taste in the arrangement of his fruit and flowers. Other contemporary artists have much of the credit due to him, from having obtained his assistance in the embellish- ment of their pictures, and which gives them great addi- tional value. He was born at Antwerp in 1696, and it is supposed died in 17 46. Brandt, Albert Jonas, who was a pupil of Morel and the younger Van Os, ranks among the fine modern flower and fruit painters of Holland. There is a specimen of his talent in the Museum at Amsterdam. He died in 1821. Breuohel, Abraham, though a Eleming by birth, may be considered as a Neapolitan painter, from having resided a long time at Naples, where his pictures of fruit and flowers are chiefly to be met with ; they are more in the Italian than Blemish style. Breughel, Jan, was very eminent as a landscape and flower painter. His works in the latter branch of art are distinguished by brilliancy of colouring, and spirit and crispiness in the penciling. His earlier pictures of flow- ers, shells, insects, &c., are generally of small dimensions, and frequently on copper. As he advanced in reputation, his ability was in great request by the most eminent art- ists of the day, and he is found as ^ coadjutor of Bubens and others, painting the landscapes, or embellishing them with his richly glowing floral ornaments. His finest produc- tions are therefore to be found connected with the works of 214 TLOWEB, AND EEUIT PAINTEES. other painters. He was called by his countr3rtnen Breughel de VI ours for his skill in flower painting ; Vlottrs has been corrupted to Velours, on the supposition that he always dressed in velvet. Beeugiiel, Jan Baptiste, called by the Italian artists ILeleager, was born at Antwerp in 1670, but practised chiefly at Borne as a painter of fruit and flowers. He was so well paid for his productions, that it seems he preferred ^remaining there to returning to his native country : he died at Borne in 1719. Beoeck, Elias Yandee, a scholar of Abraham Mignon, imitated the manner of that master, and of He Heem, in fruit and flowers ; he also painted reptiles and insects, in which he shows a good acquaintance with their forms and habits. He was born in 1657, and died in 1711. Beuggen, J. Tee, designed his flower pieces correctly, and arranged them skilfully, but is not happy in his pencil- ing, which is too full and heavy. Beussel, Paul Theodoee tan, is distinguished among the modern painters of his class, for skilful composition, vigorous penciling, rich and harmonious colouring. His pictures are held in high estimation,* and may be found in the best modern collections in Holland ; the latest seem to be the most valued. He was born near Schoonhoven, was a scholar of H. Meyer, and died in 1795. CoosEMANS, Alexis, painted fruit and inanimate objects : he lived about 1630. Ceepu, JSTicolas, born in Holland about 1680, was an offlcer in the Spanish service, which he quitted when about forty years of age, and devoted his time to flower painting. His bouquets are well arranged, his pencibng light and free, and the colouring harmonious. His works were in great estimation during liis life, and are now rare. It is supposed that he commenced as an amateur and was self-taught. He died at Antwerp about 1742. Hael, Jan Eeanz van, painted fruit and flowers in the manner of Van Huy sum and Van Spaendonck. He practised chiefly at Paris, where he died in 1840. Hyk, Eloeus van, born in 1600, painted fruit and flowers witli great freedom and beauty. Whether he was really baptized ITorus, or received that name for his excellence in TLOWEB AFD EEUIT PAIOTEKS. 215 flower painting, and to distinguish him from Anthony, is uncertain, hut his drawings are signed sometimes E. Van Dyk, and sometimes Yan Dyk only. His oil pictures are rare. He died in 1649. There is no further account of him. Ellioeb, Ottomae, the Elder, was a scholar of Daniel Seghers, and painted in the style of that master ; his pictures are chiefly confined to Glermany, where they are held in great estimation. He was horn in 1633, and died in 1686. Eycket^s, Jan and Eeanz yan, painted fruit and flowers, which were esteemed in their day, hut are now little known. They were horn at Antwerp and died there, Jan in 1669, and Eranz in 1673. Eaes, P . Of this artist nothing is recorded, hut he is the greatest rival of the elder Yan Os, in the competi- torship for the nearest approach to Jan van Huysum in fruit and flower painting. A little more of force and vigour, hy judicious management of chiaroscuro in his heautiful produc- tions, would have enhanced the difficulty of deciding. He must not he confounded with Sir Peter Lely, the portrait painter, whose family name was Yander Eaes, as this artist lived at a much later period. GtAbeon, William, horn at Antwerp in 1625, was a good painter of fruit and flowers as well as ornaments of gold, silver, and porcelain. See Still Life. GtAllis, Petee, was an amateur painter of flowers, fruit, and still life. He was horn in 1633, and died in 1697. Gillemans, Jan Petee, painted small pictures of flowers and fruit, hut generally as accessories to tlie works of other painters. He was horn at Antwerp in 1672 ; the time of his death is uncertain, hut it is said that he fell into a canal and was drowned. Govaeets, Jan Baptiste, occasionally painted fruit and flowers, hut his works in this way are very little known out of his own country. There is a picture hy him in the Museum at Antwerp, representing an assembly of the fra- ternity of Cross-howmen on occasion of the peace of 1713. It is prohahle that he painted what are called historical sub- jects, and portraits ; hut there is no notice to that effect in the short accounts of him. He was born at Antwerp, and died in 1746. Hendeiks, Wtbeand, occupies a very eminent position 216 PLOWEE AND EEUIT PAINTEES. among the modern Dutch painters for the versatility of his talents exhibited in portraits, landscapes, views of villages, dead game, fruit and flowers ; but it is by his compositions of the two last that he is best known in foreign countries. Some of his pictures combine dead hares, birds, fruit, and flowers, and these have analogy to Weenix ; others consist of fruit and flowers only, and these class him with the followers of Van Huysum ; but in neither case is he to be considered as a servile imitator. His compositions are skilfully arranged and richly varied ; the penciling firm, decided, and fluent ; and the colours brilliant, without gaudiness ; and though in the texture of his flowers there is more of solidity than in those of Van Huysum, there is no want of transparency. The same may be said of his grapes, currants, and cherries ; his melons, peaches, plums, and pomegranates, &c., are very rich and attractive. His pictures are more likely to improve than deteriorate by time, if they have the good fortune to escape the hands of an unskilful cleaner. Haedtm]^, Petee, painted four pictures of the Seasons for the Convent of the Bernardines, near Antwerp, in which he represented the fruit and flowers peculiar to each: others are mentioned, but as they were painted for particular places, and in conjunction with other painters, they rarely appear in commerce, and are not much known. He died at the Hague in 1748. Haveeman, Maegaeet, born at Amsterdam, was a scholar of Jan van Huysum, and, it is said, was so skilful as to ex- cite his jealousy. It is also said that Yan Huysum, at his death, left several unfinished pictures, which were completed by Margaret. If these be facts, she has not received half the ])raise that is due to her. She resided chiefly at Paris, and it is supposed died there. Heck, Jan van, painted fruit and flowers in the Italian style. His pictures are generally small, and the composition embraces objects of still life as well as flowers and fruit. His works are not common. See Still Life. Heem, John David de. See the article under Still Life, Herck, Jacor IMelchior van, copied the works of-his fatlier-in-law, P. Gi. A^erbruggen. Kale A AT, Abraham van, painted flowers and fruit with good effect. He died in 1699. PLOWER AIST) EREIT PAIliTTEES. 217 Keleeemais', Jak, born at Dort in 1741, painted flowers, fruit, and birds. He was an artist of good taste ; bis pic- tures are well composed, ricblj coloured, and show masterly execution in tbe handling. He died at Dort in 1820. Kick, Coekelius, imitated De Heem and Daniel Segbers, and pamted bis subjects well ; be would bave arriyed at great distinction if be bad not been intolerably indolent. Tulips and byacintbs seem to bave been bis favourite flowers, as they are prominent objects in most of bis pictures of tliis class. See Still Life. Kkip, Nicholas Deedeeic, painted small fruit and flower pieces, wbicb bave great merit ; bis drawings are beld in bigb estimation. He unfortunately lost bis sight, and lived in a state of bbndness for nearly fourteen years. He died at Tilbourg in 1809, at tbe age of sixty-seven: bis daughter, Henriette Gertrude, was also a flower painter, and took lessons from Van Spaendonck. She died at Haerlem in 1842. Koekeaat, , a scholar of Constantine Ketscber, painted flower pieces with a bgbt pencil and good tone of colour. He died in 1747. Laieesse, Jacques, or James, painted fruit, flowers, and bas-reliefs. He was a younger brother of Gerard Lairesse, tbe historical painter, but there is no account of him that can be rebed on. Likthoest, J — = — , an excebent painter of fruit and flow- ers, of which there are two flne specimens in tbe Museum at Amsterdam. His pictures are found in the best coUections in Hoband, and several bave been imported to England. He was born at Amsterdam in 1755, and died there in 1815. Loo, Petee yak, was a landscape painter, but being em- ployed by tbe florists of his native city, Haerlem, to paint tbe choicest specimens to exhibit as signs of their periodical return, he became an accomplished artist in flower painting. He was born in 1731, and (bed in 1784. Look, yak, painted birds, fruit, and flowers. He resided at Amsterdam, where be died in 1787. Lotyk, Jeak, a native of Brussels, is said to bave been a long time in England, and employed, as flower painter, by Queen Mary, consort of "Wibiam the Third ; at her decease be returned to bis ovm country. 218 FLOWER AIN'D FREIT PAINTERS. Mignon, Abraham, was a native of Erankfort, but ob- tained bis artistic knowledge in Holland, under Jan David de Heem. His works are bigbly prized for the accuracy of the delineations, the firmness of his penciling, and the truth and force of his colouring, in all of which he emulates his master. He must have been an artist of unwearied applica- tion and unconquerable patience, for the bloom on his fruit, and the dusty plumage of his moths and butterflies, in all their varieties, are represented with microscopic accuracy; the devr- drops on the flowers seem transparent realities, wliicli a touch or a breath would displace. Creeping insects are abundant in all his compositions, so that the naturalist may enjoy them with as much zest as the lover of the pic- turesque. He was born in 1640, and died in 1679. His works have become rare in commerce. Monnoter, Anthony, son and scholar of Jan Baptiste Monnoyer, painted in a similar manner, but not equal to his father. JMonnoter, Jean Baptiste, commonly called Boftiste, painted flowers in a very bold manner, and composed them artistically ; but they are better adapted for house-decorations than for cabinets that admit only the highly-finished pictures of this class. He was born in 16eS5, and died in 1699. He lived a considerable time in England, and was employed in several mansions of the nobility ; among these he ornamented Montague House, which stood on the site now occupied by the British Museum. Moortel, Jan, born at Leyden in 1650, was an excellent painter of fruit, flowers, and still life. His fruit pieces are particularly rich, and in such high relief that they are quite delusive. He was also a skilful copyist of the works of De Heem and JNIignon. He died at Leyden in 1719. Morel, Jan Evert, was a scholar of Linthorst, but made the worlds of Jan van Huysum his particular study. His touch is light, and his colouring delicate, nearly approaching to his prototype. There is a picture by him in the Museum, at Amsterdam. He was born in 1777, and died in 1808. Morell, iS'iCHOLAS, iiot Only excelled in painting what are specially termed objects of still life, but was eminent as a painter of fruit and flowers, having been instructed by IST. Verendael. His compositions are elegant in the arrange- TLOWER EEUIT PAINTEES. 219 ment, the penciling free and spirited, and the colouring fresh and true to the object. He was born at Antwerp in 1664, and died at Brussels, it is said, in 1732. Myis", Heemais" Yandee, was a very promising painter of fruit and flowers, but abandoned that department for the his- torical and for the more lucrative one of portrait painting. He visited England and exercised the last branch very profit- ably. He was born at Amsterdam in 1684, and died at London in 1741. OosTEEWTCK, Maeia YAi^, was a scholar of Jan David de Heem, and became very eminent as a flower and fruit painter. She composed with taste, and finished with delicacy ; her colouring is fresh and transparent, and her touch admirably adapted to the several objects. Erom the great pains she bestowed on the finishing of her pictures they are very rare. She was born in 1630, and died in 1693. Os, Jan tan. See Anatomists of Van Huy sum. OuwATEE, Jacob, a Dutch painter of fruit, flowers, in- sects, birds, &c., of whom there is no account, but whose compositions, design, colouring, and admirable finishing de- note a painter of a high order in this class. Erom appear- ances, it is conjectured that he flourished in the middle of the last century. His pictures are duly appreciated in Hol- land, and are to be found in the richest collections there. Pol, Cheetien tan, born near Haerlem in 1752, was an eminent painter of arabesques, which he enriched with birds, fruit, and flowers. He also painted cabinet pictures of flow- ers in oil, which are very beautiful in composition and colour. His penciling was so delicate that he frequently painted bouquets on snuff-boxes, which, when examined through a magnifying medium, appear to rival the finest works of the most esteemed flower painters. He exercised his talent chiefly at Paris : he died in 1813. Eobaet, , a painter of fruit, flowers, and dead game, is supposed to have been a scholar of Jan van Huy sum. There was an artist called “ The Beligious Willem Bobartf who painted such subjects ; he flourished about the year 1770. E-oepel, Coneade, or Koeneaad, was a scholar of Con- stantine JN’etscher, but became an eminent fruit and flower painter. He painted for the Elector Palatine at Dussel- 220 PLOTTER AND FRUIT PAINTERS. dorp, Prince William of Hesse, and for tlie families of Pagel and Lormier in Holland ; a proof of his superior talent. He died in 1748. Seoiiers, Daniel, previous to entering the Society of the Jesuits, was a scholar of Jan Breughel. He ceased practising the art during his Noviciate ; afterwards he went to Borne and designed every curious plant, flower, and insect he met with, and returned to Antwerp with a rich collection of drawings of these objects. He then cultivated the flowers that served him as models, and painted them with all the freshness, elasticity, and beauty of nature. His manner is almost peculiar to himself, the nearest resemblance is to that of John David de Heem in firmness of handling, richness and transparency of colour ; he is, however, no imitator of any but nature. Some of his finest works are decorations for sacred subjects by Bubens, and other eminent painters, in which he frequently obtains the larger share of admiration. Though all the then known species of the floral kingdom are to be found in one or other of his pictures, the lily, tulip, and orange-flower seem to have been his favourites, as they are the most frequently introduced in the garlands decorat- ing figures of the Virgin and infant Christ. Butterflies and moths of every species, and creeping insects that are parasitical to each plant or flower, are represented with microscopic accuracy. He frequently painted, even large pictures, on copper ; a practice to be lamented, as it tends to injure certain colours, and is very liable to receive damage not easily repaired. He was born at Antwerp in 1590, and died there in 1660. Son, or ZooN, Jan van. See painters of Still Life. Spaendonck, Cornelius. See Analogists of Van Huysum. Spaendonck, Gerard tan. See Analogists of Van Huy- sum. Spelt, Adrian Vander, was born in Holland, but resided a long time in Germany. He painted clusters and wreaths of flowers witli a firm pencil and good colour ; his pictures are not common in England. He w^as born about 1630, and died in 1673. Staveren, Jacor van, a relation of the artist who imitated Gerard Don, painted fruit and flowers. It is supposed that he lived at the latter part of the seventeenth century. TLOWER AlfD ERUIT PAIJ^TEES. 221 Stuyeis", Eei^est, a scholar of Abraham Mignon, painted subjects in imitation of his master, which are well executed, and are worthy of a place in good collections, though they are not so exquisitely finished as those of Mignon. He was a native of Hamburg, horn in 1657, and died in 1712. Teewestejs", Elias, painted fruit, flowers, and still life. He was born in 1651, and died in 1724. Thielik, or CqwEKEEEO, Jais" Philip yak, born at Mechlin in 1618, took lessons of Daniel Seghers, whose man- ner he adopted, and painted festoons of flowers surrounding subjects from church history. He also painted bouquets in crystal vases, which he arranged with great taste, and finished with delicacy, and was no less excellent in the representation of insects and other objects connected with natural history. He occasionally painted landscapes embellished with elegant architecture, and enlivened with hunting parties. He died in 1667. Thielek, Maeia Teeesa, Akka Maeia, and Eeakces Catheeika yak, daughters of Jan Philip, were instructed in the art of flower painting by their father, and arrived at considerable excellence. Their works, however, appear in many instances to be direct imitations of compositions by their father, or by Daniel Seghers, if not copies. Teoost, Jacob a Maeia yak ]^^’IKKELEK, was a scholar of H. Vander Myn, and was an excellent painter of fruit and flowers. Pictures by her in the Grallery at Dusseldorf are erroneously attributed to her father, J an van Nikkelen, who was a landscape painter, and imitated Karel du Jardin. IJteecht, Adeiak yak, was an admirable painter of fruit and vegetables in the grand style of Snyders. His talent in this way is generally exercised as accessory to the works of other eminent painters of figures and animals ; but there are compositions entirely his own. His handling is remarkably vigorous, and his colouring solid and transparent. He was born at Antwerp in 1599, and died there in 1651. Yandael, Jak Peakz, born at Antwerp in 1764, went early to Paris and settled there. He was self-instructed, but made such progress in the art of painting that he obtained the principal prizes at several exhibitions. He was patronized by the Empresses Josephine and Marie Louise. Two pictures which he painted for the former are at Munich ; 222 TLOWEB AjSTD EEUIT PAINTEES. they represent an offering to Plora, and the Tomb of Julia, but the flowers are the principal objects. YeebeL'GGEn, Gtaspae Petee, painted fruit and flowers as ornaments to figures by other artists in house decora- tions ; his manner resembles Baptiste’s in composition and freedom of handling. He is mentioned merely to warn the amateur not to confound him wdth the two celebrated carv- ers in wood, Pieter and Henri Prangois Verbruggen, who were first-rate artists in their line. Veeelst, Simon, born at Antwerp in 1664, was a very re- spectable painter of flower pieces, when he confined himself to pictures of small dimensions. His penciling is light and his colouring delicate ; but none of his surviving pictures will justify the hyperbolical epigram of Matt. Prior. He died in 1710. Veeendael, Hicolas, painted flowers and fruit in a very superior manner. In some instances he approximates to ]\Iignon, in others to He Heem, not as a copyist in either case. In his minute observances he has the fidelity of the first, in his pure and transparent colouring the truth and beauty of the second. His compositions of flowers in bottles of water are exquisite. His penciling is firm without stiff- ness, free and delicate without tenuity. He was born at iHitwerp in 1659, and died in I7l7. Vidal, L . Of this painter there is no account ; but his pictures are analogous to those of the elder Van Os, but not so full of effect. Plis penciling is delicate and tender, the dew-drops hang on the flowers like as in nature, and a bird’s nest with eggs is hardly inferior to any painter wlio has made them objects in his composition. VoET, Chaeles Bosciiaet, born at Zwolle in 1670, painted fruit, flowers, and insects, birds and objects of still life, all of which were correctly designed and highly finished. He was cliielly employed in decorating the palace at Loo, so that his works in cabinet pictures are not numerous, and would, if more common, be interesting to the student of natural history rather than to the amateur of pictorial com- position. He died at the Hague in 1745. Veee, or Veeem, Nicolas de, born at Utrecht in 1650, was of note in his day, as a flower painter, for the lightness of his pencil, and the fresh and natural brilliancy of his FLOWEE AISTD EEUIT PAIKTEES. 223 colours. His works are little known out of Holland. He died at Alkmaar in 1702. Walscapelle, or Waltskapeele, Jacob, painted flow- ers and fruit in a rich and beautiful manner. In colouring and transparency his pictures have a resemblance to those of John David de Heem, the same firmness and fresh look of nature. His groups of flowers placed in water are particu- larly attractive, and they are surrounded by all those objects which naturalists delight to contemplate, and which, however annoying they may sometimes he in their state of activity, are subjects of admhation when skilfully represented in pic- tures. This admirable painter has, until very recently, escaped the notice of the Dutch writers on artists, while they have recorded the names of many who have not ex- hibited a tithe of his talents. Wexeemak, Jak, painted fruit and flowers. He was born in 1636, and died in 1681. Weyeemaj^s, James Campo, was a scholar of D. van Kessel; he painted fruit and flowers, insects and still life. His pictures are of very little account ; his Lives of the Dutch Painters,” perhaps of still less. He was born at Am- sterdam in 1679, and died in 1747. Wotjtees, properly Jacques Woutees Vosmeee, was a good painter of landscapes, but quitted that department for fruit and flower painting, in which he was equally success- ful. He was born at Delft in 1584, and died there in 1641. WiTHOOS, Petee, a son of Matthew, painted flowers, plants, and insects, in water colours on vellum, which were accurately designed and coloured from nature, and finished very delicately. He died in 1693. His brother William painted similar subjects, but was very inferior. WILD FLOWEES, PLANTS, EEPTILES, AND INSECTS. Beoeck, Elias ya.h^, was an excellent painter of flowers, reptiles, and insects of every description ; he had a nursery of frogs, toads, serpents, and lizards, in order that he might represent them truly from nature. His penciling is free, and his colouring vigorous and transparent. He was born in 1657, and died in 1711. Heil, Leonaed yak, painted small pictures of flowers and insects, which he finished with great delicacy. He lived in the middle of the seventeenth century. Heusch, Abeaham be, was a landscape painter, but his great excellence was in the representation of wild plants, reptiles, and insects. Nothing can exceed the labour he be- stowed on these objects ; they rival the works of the most renowned masters for high finishing. His pictures of this class are of the greatest rarity. He was probably a relation of William and Jacob de Heusch, as he was born at Utrecht in 1650 ; he died at Leerdam in 1712. Hoefkagel, GtEOEge, painted plants and insects in a very spirited style. He is, however, better known by the en- gravings of the drawings of ancient monuments made by him in Italy. He was born in 1546, and died in* 1600. Hulst, Petee Yanbee, painted wild flowers and broad foliated plants, reptiles, and insects ; his colouring is good, his penciling free and large, more in the Italian than Dutch style ; he generally introduced a sun-flower in his pictures, which obtained for him tlie sobriquet of Toicrnesol.^^ He was born in 1652, and died in 1708. See the article Verhulst under this head. WILD LLOWEES, PLAKTS, EEPTILES, ATO IlSSECTS. 225 Kessell, Jak yak, painted flowers, birds, reptiles, and insects, witli great accuracy and beauty. His pictures evince an extraordinary attachment to the study of natural history, particularly in the insect tribe, and of application in the de- lineation of the most minute objects. Yforms and other creepers he combined in words, and signed some of his pic- tures in this manner. In flower painting he resembles Breughel. His talent was in request by some of the most eminent Blemish landscape painters, for the objects in which he excelled are frequently found ornamenting their pictures of the cabinet size. The small pictures, painted entirely by himself, are generally on copper, sometimes on tin. There were two artists of the same name, Jan, who painted alike, and writers have blended their history. See the enlarged edition of Bryan’s “ Dictionary of Painters and Engravers.” Mate, La, imitated Otho Marcellis in his subjects, but his colouring is brighter, and he painted on a light ground. Nothing of his history is recorded, excepting that he resided at Nimeguen in the eighteenth century. His pictures are generally attributed to Marcellis. Maecellis, or Masseus, Otho, painted wild plants, rep- tiles, and insects, in a manner almost peculiar to himself; certainly more in the Italian than Blemish style. Broad- leaved plants, mushrooms, and toad-stools, with serpents, lizards, frogs, butterflies, and moths ; a withered tree covered with ivy or moss, or a fragment of rock half hidden by fern, constitutes his general composition. He was born at Am- sterdam in IGIfS, and died in 1678'. Yakyitelli, , a scholar of Matthew Withoos, painted similar subjects to those of that master. He was probably of the family of the Witels, who Italianized their name ; several of them having settled at Borne for the pur- pose of studying architecture. Yeehtjlst, Petee, a native of Dort, and scholar of William Doudyns, imitated Otho Masseus, or Marcellis. This is, no doubt, the same as Peter Vander Hulst, called Tournesol ; but most of the Dutch writers have quoted both names as belonging to different painters. Yeoomaks, Nicolas, is eminent as a painter of all sorts of wild plants, briers, and parasitical creepers, among which he placed frogs, toads, serpents, moths, butterflies, mice. 226 ATILD TLOWEES, PLATs^TS, KEPTILES, AIS^D INSECTS. birds’ nests, and even spiders’ webs ; in all of w^hicb be is ex- cellent in design, penciling, and colour. He was born in Holland about 1660, and died about 1719. His pictures are rare in England. AVitiioos, Matthew. The pictures of tbis master de- serve tbe amateur’s attention ; they are of a superior order in tbe landscape selection, tbe masterly freedom of penciling, and tbe barmonious tone of colouring. He was on intimate terms with Otbo Marcellis, and travelled witb bim to Italy, wliere they both studied tbe same subjects, but tbeir style of painting is widely different : Marcellis italianized, but AVitboos retained his Dutch predilections for high finishing and fine transparent colouring, yet exhibiting no actual ap- pearance of labour. Tbe serpents and birds’ nests are parti- cularly beautiful, and among bis plants and wild flowers, the scarlet poppy makes a conspicuous figure. He was born in 1627, and died in 1703. MARINE PAINTERS. ITALIANS SI:AP0ETS, EITEE YIEWS, ETC. Aeteyelt, Aneeew YAiN, bom at Antwerp about 1570, painted storms at sea with great force and good effect. Vandyck painted bis portrait when at Genoa in 1620. Asseltim, Jat^. This Yery excellent landscape and cattle painter also excelled in representing seaports and river views ; they cannot be too bigbly appreciated. See Analo- gists of Karel du Jar din. Backhutseim, Litbole. See under tbe bead of Principal Masters. Batje, ISTicolas, an eminent modern Dutch painter of marine subjects, was born at Harlingen in 1767, and died there in 1820. There are two sea pieces by him in the Mu- seum at Amsterdam. See also Landscapes hy Moonlight, and Winter Scenes. Beeck, Petee yak, a Dutch painter of sea pieces, whose works are not known in England, flourished about 1680. Belleyois, , resided at Hamburg, and died there in 1684. His style of painting seaports, storms at sea, and other marine subjects, indicates that he made the works of W. van de Yelde and Backhuysen his models ; he succeeded better in calms than in storms. His works are but little known in England, and there is no satisfactory account of him. Beeesteaetek, Jak, sometimes painted sea pieces and seaports, to which Lingelbach added the figures. See Winter Scenes. Beechem, Nicholas. The Italian seaports by Berchem are enriched with handsome buildings, fountains, obelisks, and statues ; the figures are often of different nations, dis- Q 2 228 MAEINE PAIIfTEHS. tinguished by their costume, as Turks, Armenians, Africans, and Italians ; ladies richly habited are prominent in the groups, and frequently followed by a negro slave bearing a large parasol ; vessels are seen in the harbour ; herds of cat- tle and flocks of sheep and goats are approaching for embark- ation, and other incidents enliven the scene. In some of liis seaport views a hawking party is introduced, consisting of ladies and gentlemen elegantly dressed and mounted on beautiful horses, followed by their dogs and sporting at- tendants ; or a party assembled near to a grand mansion overlooking the bay, listening to the music of a guitar, and enjoying the marine prospect. All these scenes are remark- able for their richness and variety of objects, and the artist has paid the greatest attention to the details and the finish of the dresses and ornamental parts. Many of them remind the observer of his last master, Jan Baptist Weenix, and are generally said to be in his manner, by way of distinguish- ing them from the usual style of Berchem in his landscapes and cattle. See under the heads of Principal Masters^ Landscapes and Cattle^ Winter Scenes, Battles, Huntings, &c., &c. Blat^khoe, Jan Teunisz, a scholar of Caesar van Ever- dingen, passed much of his time in Italy, and painted sea- ports and storms on the coast of the Mediterranean, in which he combines the minute attention to nature of the Dutch school with the grand scenery of Italy. He was born at Alkmaer in 1628, and died in 1670. Bos, Gaspar Yanden, painted storms and calms at sea, which have considerable merit in their truth of colouring and neat finishing. He was a native of Hoorn, and died at the age of thirty-two, in 1666. Cappelle, Jan Yander. See Analogists of W. van de Velde. Cassembroodt, or Casembrodt, Abraham, was a native of Holland, but practised chiefly at Messina. He painted landscapes and marine subjects, and was considered particu- larly excellent in storms at sea. He lived about the middle of the seventeenth century. CoopSE, Peter. See Analogists of BacMiuy sen. CuYP, Albert. The magnificent marine subjects by this painter are generally views on the Maes and in the vicinity MAEIIS^E PAINTEES. 229 of Dort. Numerous vessels are seen lying near tlie walls of the town ; boats filled with passengers are quitting or ap- proaching the harbour. If the representation be of some grand public ceremony, the principal personages are seen in a state barge, accompanied by their attendants, with trum- peters, and other martial musicians, followed by yachts and boats crowded with spectators, and all is bustle, activity, and hilarity. A rich glow of sunshine gilds the objects, and a slight vapoury exhalation marks the earlier or later part of the day. If the view is taken under ordinary circum- stances, it is of the same river, on which is seen a large passage boat filled with persons of different grades, among which there is one more conspicuous than the rest by a scarlet coat, or other rich dress, marking him of superior rank; yachts and small craft are variously disposed, and vessels of larger build are seen in the distance. Or, it may be a morning scene, looking towards Dort, which is known by the church tower, and the spire of the house that forms the entrance to the city ; near the walls are sloops and fish- ing smacks at anchor, and others under sail in various direc- tions. Whatever may be his particular selectign, there is always the glorious effect of sunshine and atmosphere. All his marine subjects are highly appreciated, and it is no ex- aggeration to say that such as are above indicated readily find purchasers at from one to two thousand guineas. See the article Albert Cuyp, under the head of lPrinci])al Painters ; and also under various other heads in the Alpha- betical Classifications. Dam, Ai^thoivt yan, born at Middelbourg, painted sea pieces of long dimensions, but his works are not known out of his own country. He lived about the middle of the last century. Dam, Gatjtiee yan, born at Dort in 1726, was a scholar of Aart Schouman; he is known chiefly for his copies of Backhuysen and Albert Cuyp. He died about 1786. Dubbels, Hei^et. See Analogists of PachJiuy sen. Dijbbels, Jaist. See Analogists of PacMiuy sen. DtxhooejV, Petee Aexout, bom at Eotterdam in 1810, was a scholar of M. Schouman and of J. C. Schotel. The Dutch writers speak highly of his sea pieces and river views ; they are chiefly confined to Holland. He died in 1839. 230 MAEINE PAIOTEES. Eeyest, Jacob, a scholar of Elsheimer, painted marine subjects and naval combats. Esselens, Jacob, painted, among other subjects, sea- ports and shipping in a clear tone of colour and in a spirited manner ; no dates are given by those who have mentioned him, and he is perhaps best known by his drawings, which are very fine. See Landscape Painters. Eveedingen^, Albeet vai^. See Analogists of Jacob Puisdael. GtEEL, Jost vak, who was a scholar of Metsu, also painted marines and seaports, which are well coloured and highly finished. See Scholars of Metsu. Goebouw, or Gobatj, A^tthony, born at Antwerp in 1625, who painted village festivals in the manner of Teniers and Ostade, imitated Lingelbach in the representation of Italian seaports and markets with numerous figures, mounte- banks haranguing a multitude, soldiers and camp-followers stripping the slain after a battle, and other subjects that ad- mitted a display of knowledge of the figure. Some of his seaports are on a large scale. He died in 1677. GrOYEK, Jan van, painted river views in an admirable manner ; he was a perfect master of his art, and seemed rather to sport with it than to make it a toil or labour. Some of his larger pictures of such scenes have the spirit of Euis- dael and Everdingen in the movement of the water, and if the colours had not faded in the skies, would have appeared equally vigorous. See Landscape Painters. Jagee, Geeaed de, a native of Dort, who flourished about 1646, painted marine subjects, and particularly excelled in tlie representation of still water. Jelgeesma, Tako Hajo, according to several Dutch writers, was a scholar of Vitringa. The few marine pictures that lie painted are real chef s-d'' oeuvre, and it is to be la- mented that he quitted such subjects for portraiture. He was born at Harlingen in 1702, and died at Haerlem, where he had settled, in 1795. It maybe doubted whether Jel- gersma was a scholar of Vitringa, unless there be some serious errors in the dates respecting the latter. Kobell, Hendeik, born at Eotterdam in 1751, designed marine views and naval engagements with the pen, height- ened with Indian ink and water colour, in which he showed MAEINE PAINTEES. 231 great talent ; some of tliese lie afterwards painted in oil, and they are highly valued in Holland. His colouring is, how- ever, considered too green, and his water vapoury. He died in 1782. Koekkoek, jAiir Heemaist, born in 1778, painted marine subjects, which were highly appreciated in his day, and are still valued in Holland. He was the father of the cele- brated Koekkoeks now living, and whose works are in such great request. Leepe, Jak Anthokt Vat^dee, painted calms and storms at sea with surprising fidelity, and was an excellent land- scape painter in the Italian style. He was born at Bruges in 1664, and died in 1720. See Landscape Lainters. Liis'gelbach, Jai^, is amongst the most eminent painters of seaports; his subject is always composed in a very pic- turesque manner, enriched with ornamental objects, such as fountains, statues, and pharos, enlivened with numerous figures of Levantine and- other merchants, and ladies of rank in elegant costume ; ships riding in the haven, and boats actively employed in the transfer of merchandise. Every object is made interesting by the beauty of his drawing, rich colouring, and the harmonious union of the parts whether as regards composition or colour. See Analogists of Lhilip Wouwerman^ Field Sports^ &c. Lint, Henei tan, though of Flemish parents, can scarcely be called a Flemish artist. He passed the greater part of his life in Italy, where, for his application to study, he was named Studio van Lint. He painted small silvery land- scapes and marine views, designed in the manner of Claude ; pleasing, but weak in effect. He was living in 1680. Loevees, Petee, born at Groningen in 1710, painted marine subjects with great ability. He died in 1788. Loevees, Henei, son of Peter, painted similar subjects ; he also excelled in painting fruit and fiowers. He died in 1805. Maddeesteg, Michael. See Scholars of Lachhuy sen. Meee, Jan Vandee, the Elder, painted sea pieces ad- mirably ; his vessels are correctly designed, the water trans- parent, the clouds light and fioating, and there is a sunny brightness in his colouring, similar to that in the seaports of Claude. He has been accused of making his skies too azure ; but this perhaps will not be considered a fault by those 232 MAEI^E PAT^^TEES. accustomed to the atmosphere of Italy. He was horn in 1627, and died in 1691. Mexheeee, Coenelis Latjeei^sz, lived at the beginning of the eighteentli century at Flushing, and painted views of that city, taken from the sea-coast. Mindeehoet, Hendeik, painted seaports and storms of a large size ; they are bold in design, touched with spirit, and prolbably liad a good effect when first painted, but they now appear very unequal, and sometimes very dark, and therefore are not held in much estimation. He was born in 1637, and died in 1696. Molyn, Petee, the Younger, called also Tempesta and Fietro Mulier by the Italians. He painted marine subjects, particularly storms, with such Iravura, that he obtained the name II Tempesta. In these subjects he rivals Salvator Eosa, and often surpasses him. His seaports are grand and interesting, full of objects and action. The penciling is vigorous, and the colouring attractive. Hitherto they have not been appreciated in England as they deserve, and it is only when they are attributed to Salvator Eosa that they attract attention. See Landscape Fainters. Mommees, Hendeik, is perhaps more generally known in England by his representations of Italian fruit and vegetable markets, but he was also a distinguished painter of Italian seaports, enriched with magnificent buildings, ancient re- mains, and numerous figures habited in Oriental and European di'esses ; in these scenes he is little, if at all, inferior to Jan Baptiste AYeenix, whose manner, on such occasions, he seems to have adopted. See Analogists of Karel du Jardin. Paecelles, Jais" and Julius, father and son. See Analo- gists of W. van de Velde. Petees, or Peetees, Bonaventuea, painted storms and tempests at sea in a very original manner, and with the great- est truth. His works are easily distinguished from those of other marine painters by the peculiarity of the colouring, whicli frequeutly exhibits a pale foxiness. In his composi- tions there is generally an elevated or a projecting rock, against whicli an ill-fated vessel has been dashed, and the mariners are seen fioating on spars, struggling with the waves, or climbing the precipitous cause of their ship’s de- struction. In his calm scenes, views on the Scheldt, with MAEIKE PAINTEES. 233 fishing-boats and small trading-barques sailing with a gentle breeze, the atmosphere and water are clear and transparent, and the effect remarkably pleasing. He w^as born at Amster- dam in 1614, and died in 1671. Petees, or Peetees, Ja^t, was the brother and scholar of Bonaventura, and painted similar subjects, but not with equal ability. He died in 1677. Eietschooe, Henei. SeeAnalopsfs of Backhuysen. Beits CHOOE, Jak Klaasz. See Analogists of Bachhuy sen. Buisdael, Jacob. ISTot content with supremacy in land- scape painting, Buisdael contended for dominion of the sea. Had he devoted his talent to marine subjects alone, it would have been a matter of difficulty to decide whether he, or Backhuysen, or Vander Velde should have the palm. As it is, the superiority must be awarded to the two last for the architecture and management of their vessels, and the excel- lent figures with which they are manned ; but in the repre- sentation of the elements in their angry movements, selecting the best example of each master, there seems an equality of excellence. Unlike his noble brothers in art, Buisdael seldom or never entirely quits the coast, but the stormy seas or large rivers of HoUand afforded sufS.cient scope for ob- servation of the action of the elements in commotion, and*a practised eye and hand like his, guided by intuitive genius, readily seized and embodied the presentation. The fresh breeze, the increasing gale, and the continuous darkened storm were his favourites ; he rarely painted a decided calm. In an absolute storm he is sublime ; the objects of terror are rendered more terrific by their obscurity ; the rolling clouds, thickly clustering, aftbrd no gleam of light to the mariner to enable him to baffle the agitated and boiling ocean beneath ; and, to increase his alarm, the straining eye can only discover on the curling foam those streaks of white that indicate breakers. See the articles Buisdael, under Brincipal Baint- ers, Landscapes, Winter Scenes, &c. Salm, a. yak, painted marine and other views in Holland in black and white, with a reed pen ; a practice which the elder W. van de Velde occasionally adopted. He lived about the middle of the seventeenth century. ScHELLiKGS, or ScHELLiKKS, WiLLiAM, painted seaports, which he enlivened with figures and cattle, spirited, and well 234 MAEIKE PAIKTEES. drawn, and in the style of Karel du Jardin. See Landscape JPainters. ScnoTEL, Ja?^ Cheistiak, may be ranked as the third ^eat marine painter of Holland. In his calms he rivals William van de Yelde, in his storms Backhuysen. His colouring is remarkably clear, his penciling masterly, his clouds float as in nature, the water is transparent, and, ac- cording to the scene, flows with placidity, or rolls majestically. Pictui’es by him are in great request, and almost unattain- able. He was born at Hort in 1787, and died there in 1838. ScHOTEL, Petee Jais", son and scholar of the preceding, paints in the manner of his father, and bids fair to be a Ibrmidable rival, especially in pictures of the cabinet size. Smit, or Smidt, A. There were several marine painters who signed their pictures with A. Smit. Some are of large dimensions representing storms, and are analogous to Back- huysen’ s, and have become dark; others of smaller size are clearer. One of the Schmidts, or Smidts, meddled with fable, and attempted Triumphs of JSTeptune and Amphitrite. There is a capital picture with this name in the Berlin Gallery. Stoeck, Aeeaham, is quoted among the analogists of AVilliam van de Yelde, but there is great difference between their style of painting, as well as their choice of subject. The best pictures by Abraham Storck are views on the Amstel, or the Y. These he fills with every class of marine vessel, ornamented with flags, and the stems and sterns of several enriched with carving, and all well manned. His figures are particularly well drawn, and very active. He avails himself also of the noble buildings near the Amstel, and introduces them with considerable effect ; and the scene is enlivened by promenaders in carriages, and on foot. The penciling of Storck is remarkably fluent and neat, and the colouring rich without gaudiness ; but his pictures, however good they may be, do not hold rank with the w^orks of William van de Yelde, or Backhuysen. His chef-d'oeuvre is a large picture representing the reception of John, Duke of Marlborougli, in the river Amstel, in which the ships and state barges are numerous, richly decorated with flags, and crowded with figures in variety of costume. MAEINE PAII^TEES. 235 Stoeck, J , is supposed to have been the elder brother of the preceding. He painted similar subjects, but mostly on a smaller scale ; they are inferior to Abraham’s in every respect, but still have a pleasing character, being evidently imitations in execution and colouring as well as subject. They are generally signed with his name, J. Storck. SwAaEES, Teancis, was born at Utrecht in 1756, but re- sided chiefly in France. He painted landscapes and marine view^s off the coast of Holland, in which there is a mixture of the Hutch and French schools. He died in 1836. Yelde, Adeiak VAIS' DE. All this master’s sea views are taken from the beach at Schevening. The sand hills of that locality form the back- ground; a fisherman’s cottage and the spire of a church in the distance are the only varia- tions. On the shore are groups of figures, apparently visitors to enjoy the view and the sea breezes ; shrimpers, sailors lying on the beach, or engaged near their vessels, a man carrying a package, and a woman with a basket, a tilted waggon, or a carriage drawn by horses, with a party of ladies and gentlemen : on the sea are a few fishing vessels. Simple as these compositions are, they excite very pleasing sensa- tions by their truth, harmonious colouring, and fine aerial perspective. See Adrian van de Velde^ under the head of Principal Painters^ and” also of Landscape^ Cattle and Figure Painters^ and other subjects in the Alphabetical Classifica- tions. Yelde, William yak de. See under Principal Painters, Yeeschuue, Lievek, painted sea pieces and river views by moonlight, which are much esteemed. His manner re- sembles that of He Ylieger, but his colouring is clearer. He was a native of Rotterdam, and flourished towards the latter part of the seventeenth century. Yiteikua, Wigeeijs. See Analogists of W. van de Yelde. Yliegee, Simok de, reputed to be the master of "W”. van de Yelde, was a really excellent marine painter, if his pic- tures are judged by their composition and design. He re- presents the efiect of a fresh breeze, or a gale, with a gran- deur approaching Huisdael, and his river views are remarkable for their flow, and perspective truth. Unfortunately he used treacherous colours, which causes his other merits to 236 MABIJ^E PAIKTEES. be too generally overlooked. He was born at Amsterdam in 1612 : the time of bis death is not ascertained. AYeekix, or AYeenikx, Jax Baptiste, painted Italian sea- ports admirably, in which he availed himself of the noble architecture of the country and the sculptures of antiquity to increase their grandeur, and with elegant forms and rich costumes to enliven the scene. They rank with the highest of the class. See Field Sports, Animals and Dead Game, &c. AAierekget^, Cobxelius Nicolas yan, born at Haerlem in 1600, excelled in the representations of storms at sea, and also as a landscape painter. His sea pieces are richly orna- mented with vessels and figures. It is said that he died in 1658, but this is uncertain, as very little is known respecting him. WiLLAERTS, Adam, born at Antwerp in 1577, painted seaports, views on the coast, and ships on fire ; he introduces groups of small figures, which are neat and spirited. His pictures however have an antiquated appearance, and are not mueh regarded in commerce, though they w^ere formerly held in estimation. AVtck, Thomas, represented seaports in the Mediterra- nean, in which he introduced numerous small figures of different nations, painted in a style approximating to that of Peter van Laar. They are executed with much spirit, a good body of colour, and have a lively effect. Zeeman, Eeinier, or Eemigiijs. See Analogists ofW. van de Velde, I INTEEIOES OF CHUECHES, Atemak, Wolee, was a scholar of Steenwyck, and painted interiors of churches and other buildings in the manner of his master. He died in 1620. Babeue, Theoboee, was a scholar of Peter Neefs the Elder, and painted interiors of churches in the manner of that master. He was born in 1570, and died in 1624. Basseit, B. tai^, flourished about the middle of the seven- teenth century. His subjects are interiors of churches and other public buildings, which are executed with perspective truth and lively colour, and neatly penciled. The flgures are by other artists of repute ; but there is an apparent voidness in some of his interiors from want of objects to relieve the architecture. \ Beekhetde, or Beekhetbef, Geeaed, whose principal works are exterior views of the great church at Haerlem, and of the Town Halls in several other places, occasionally painted interiors of Dutch Protestant churches, which he represented during the time of religious service. The figures, forming the congregation, are by his brother. Job. Pictures treated in this manner by the brothers must have been very few, as it is a rare occurrence to meet with one. See Analogists of Vander Heyde. Blicke, DAmEL YAK, painted in the manner of Yan Vliet. He lived in 1656. Beokkhoest, Petee yak, painted interiors of churches and temples, which he enlivened with subjects from history in small figures. His manner partakes both of Steenwyck’ s and ISTeefs’. He was born at Delft in 1588, and died in 1661. 238 ^ INTERIOES OE CHUECHES. Dalens, or Deleft, Theodoee, or Dieck, ta-n, painted churches, temples, palaces, and other public buildings ; they are frequently enlivened with figures by Van Herp, by which they may be distinguished. He was born about 1635 : the time of his death is not noted. Fontaine, Pieeee la, born at Courtrai in 1758, painted interiors of churches in the manner of Peter Neefs and Steenwyck. His imitations of those masters were so exact that they passed with many for their works. He died at Paris in 1835. This La Fontaine was an eminent picture dealer, and brought many of a high class to England, which he sold very profitably. Gheeing, Jan, a Flemish painter of architecture, fiourished from the middle until towards the latter part of the seven- teenth century. This is conjectured from finding his hand- some fa9ades of mansions, vestibules, terraces, and richly decorated saloons, forming auxiliaries to the landscapes and conversation parties of other eminent artists who lived during that time. Gonzales Coques was one that availed himself of the talents of Ghering to embellish his masterly compositions, by providing a scene suited to an assemblage of persons of elevated rank in society. He also painted per- spective views and interiors of churches ; the latter are of a grand character. His works are rare in England, and are seldom seen but in conjunction Avith those of other masters. Hoeckgeest, or PIogeest, Giovachimo, or Joachim, painted interiors of churches in the style of Emanuel de Wit. He is knovui in England by his smaller pictures, which are not his best ; there are two fine specimens in the Museum at the Hague, on one is the date 1651. He signed his pictures Avith a G for Giovachimo, which has caused some writers to mistake the master. JuA'ENEL, Paul, a scholar of Adam Elsheimer, painted interiors of churches, and was a skilful copyist of the older German and Flemish masters, particularly of the works of Albert Durer. He was born in 1579, and died in 1643. Neefs, Petee, the Elder, was born in 1570, and was a scholar of Steenwyck the Elder. He is reckoned the best of the Flemish painters in representations of the interiors of churches, for the accuracy of his perspective delineation, his delicate pejiciliiig, the sAveetness of his colouring, and the INTEEIORS OF CHTJECHES. 239 wonderful effect produced in a confined space. The figures in his pictures are by some of the most eminent artists of the time. It is supposed that he died about 1650. Neefs, Petee, the Younger, was the son and scholar of the preceding, and was born at Antwerp about 1600. He painted similar subjects to those of his father, but they are not equal in the correctness of the perspective or the neat- ness of the finishing ; they have, however, sufficient merit to entitle them to a place in good collections. He was living in 1660, as that date appears on one of his pictures. Nikkelen, J. (Jak or Isaac) ya^j", painted interiors of churches in the manner of Van Vliet. They are generally of small dimensions, but have a good effect of chiaroscuro. He was born at Haerlem in 1649, and died in 1716. Oeme, or De l’Oeme, A., painted interiors of churches in Holland in a manner peculiar to himself. They are in a very light tone of colour, and the sun.’s rays are introduced in flickering streams from the windows, which has a curious effect ; the penciling is remarkably neat. There is no account of this artist, but as the churches are Dutch, and the figures by eminent Dutch painters, it may be inferred that, if not a native, he was long resident in Holland. Pademaceee, Geeaed, among other architectural designs, painted the interior of Saint Peter’s church, at Eome, with great accuracy. He was the elder brother of Abraham Eademacker, who designed the numerous views in Holland. Gerard was born at Amsterdam in 1672„ and died there in 1711. Euisdael, Jacob. It may seem strange to meet with the name of this great landscape painter among painters of inte- riors of churches ; but the fact that he did execute such sub- jects is established by the picture in the Marquis of Bute’s Collection of the interior of the new church, as it \vas called, at Amsterdam, with figures by Wouwerman ; and it may be conjectured that he painted others, from the number of drawings of architectural subjects by him which occasionally appear, representing interiors of abbeys in ruins, ancient chateaux, chapels, and sepulchral monuments ; and also vieAvs in cities. Saekeedam, Pietee, born about 1597, painted exteriors of public buildings and interiors of churches in a particularly 240 lOTEKIOES OF CHTJECHES. neat manner. His perspective is true without being striking at first view, his penciling remarkably delicate, and his coloiu’ing chaste and unobtrusive. Some of his pictures have numerous figures, w^hich appear to be by his own hand. He was the son of Jan Saenredam, the engraver, and was born in 1597, and died in 1666. Stee>', SusATf:s^A VAN. A picture has been discovered bearing this name, and dated 1648. It represents the inte- rior of a prison, with the circumstances attending the libera- tion of Paul and Silas. It has aU the characteristics of Henry Steemvyck in the style of the architecture and accuracy of ]ierspective. The figures in the front-ground are nearly a foot in height, and are admirable in character and expression. If the name be that of the true painter, there must be other works with the same signature in existence. It is with a view to their discovery that this is noticed. Steenwtck, Henet, the Elder, painted interiors of churches by daylight and torchlight, in both of which he is excellent. He is neat and accurate in his designs, highly laboured in the execution, representing minutely the various marbles in columns, and other ornaments, in churches and palaces. There is a fine effect of chiaroscuro in his torch- light scenes. The figures are generally by his friend, Old Eranck. He w^as born at Steenwyck in 1550 : the date of his death is uncertain. Steenavyck, Henet, the Younger, painted similar sub- jects to those by his father, but on a larger scale. His pic- tures may be also distinguished from his father’s by having the figures by John Breughel, Van Thulden, Gronzales Coques, and others. He w^as born at Antwerp in 1589; it is not said wEen he died, but the latest date, on a knowm pictui*e by him, is 1642. Steeek, Henei van, was a scholar of Emanufel de AVit. His pictures represent interiors of churches and palaces, or- namented with figures by other artists. He w-as master of perspective, and (lesignecl with accuracy and precision. He wns born jit Amsterdam in 1650, and died in 1713. VanvitelLt, Gtaspae, called dagli Occliiali, from his con- stantly wearing spectacles, painted architectural and per- spective views at Home, on a scale larger than w^as usual with Hutch painters. His delineations are correct, and his IKTEEIOES or CHIJECHES. 241 colouring natural and agreeable ; tbe figures are introduced with propriety, and have a good effect. His family name was Witel, but having resided long at Home he Italianized it into Vanvitelli. He was born at Utrecht in 1647, but it is not said by whom he was instructed ; he was the father of the celebrated Luigi Vanvitelli, the architect. He died at Home in 1736. Vliet, Henei yak, born at Delft in 1608, painted inte- riors of churches in the style of Emanuel de Wit ; occasion- ally they are represented by torch-light, but the greater number are by day-light, and are very little inferior to his contemporary De Wit. It is said that he died in 1646, but this, as well as the date of his birth, is uncertain. Veies, Jak Eeedemak de, flourished in the middle of the sixteenth century, as an architectural designer and painter of perspective views. Towards the latter part of his life he was much employed in engraving similar subiects. He died in 1588. Veies, Adeiak de, was probably a relative of the preced- ing, as he painted and engraved architectural subjects;^ which he signed P. A. Ered. Vris. His manner of painting interiors resembles that of B. van Bassen. It is also said that he was a modeller and sculptor of small figures, but there is no authentic account of him. Willikgek, Vakdee, painted interiors of churches, (ac- cording to some of the foreign guides and old catalogues ;) he lived about the same time as Peter Vander Willingen, the painter of still life ; but there is nothing recorded to induce the supposition that they are identical. Wit, or Witte, Emakuel de, ranks next to Steenwyck and JSFeefs as a painter of interiors of churches ; some, how- ever, award him the preference for the boldness and breadth of his style. He generally chose interiors of the massive and sohd kind with grand features in columns and sculp- tured monuments, favourable to the display of light and shadow, and brought the beams of sunshine through the lateral windows striking the principal objects, (among wHich are two, or more, branched brass chandeliers,) and by refrac- tion illumining the more retired; so that his pictures, in regard to chiaroscuro, have much the effect of Hembrandt’s interiors. There is generally a goodly congregation as- R 242 rt^TERIOES OF CHTJECHES. sembled; tlie grouping of the figures and the costume of the parties are picturesque, and increase the spectator’s })leasure : a dog is always an intruder among them. De Wit was horn at Alkmaer in 1607, and died in 1692. INTERIOES AND CONYERSATIONS. Babeue, Theoboee, painted conversations and concerts, card-players and convivial enjoyments ; the figures are ge- nerally half lengths, painted in a free and bold manner. He was a scholar of Peter Neefs. See Interiors of Churches. Babens, Peat^cis, horn at Antwerp in 1571, is spoken of favourably as a painter of conversations and subjects of gallantry. He was an excellent colourist, and his style is more Italian than Flemish. Bektum, Justus van. See Scholars of Schalclcen. Beeoen, [N^tcolas van, born at Breda in 1670, painted interiors and conversations, in which he imitated the man- ner of Bembrandt. He died in 1699. Biset, Chaeles Emanuel, born at Antwerp in 1633, painted gallant assemblies, concerts, and other conversation subjects ; these he designed and composed with taste, and painted with a neat and flowing pencil, but his colouring is frequently too grey, which produces a cold effect. As he resided for a long time at Paris, his pictures have more of the manners of French society than of his native country. Bosch, or Bossche, Balthasae Vanbee, born at Ant- werp in 1675. His subjects are interiors of saloons and galleries richly decorated with statues, pictures, and other works of art, enlivened with figures habited in the costume of the time ; also sculptors’ and painters’ studios, in which the artist is introduced, surrounded by his own and other masters’ works. His pictures are ingeniously composed, painted with a broad free pencil, well coloured, and generally signed with his name. He died in 1715. Beackenbueg-, Beniee, painted interiors and domestic R 2 244 INTEUIOES CO^fYEESATIOTfS. subjects, and others Avitb drunken brawls and merry-makings. Ilis most carefully finished pictures approach the beauty of Ostade in penciling and colour ; in others he appears more negligent. He is frequently defective in drawing the figures, but excellent in the management of the chiaroscuro. His best works are by no means common, and are admissible to the finest collections. He was born at Haerlem in 1650, and died there in 1702. Brauwer, Adrien. See the article, under Principal Painters. Brekelencamp, Qiiirinijs, is said to have been a scholar of Grerard Don, but his pictures partake very little of the manner of that master. He painted interiors of cottages Avith seldom more than two figures, to which he gives a natural expression in the heads ; the chiaroscuro is well managed ; his touch is light and spirited, and in his best 2 )ictures (for he is unequal) the colouring is delicate, and has an approach to that of G-abriel Metsu. He flourished in the middle of the seventeenth century, perhaps as late as 1660. Breydel, Brancis, painted conversations and gallant as- semblies, and also small portraits. His penciling is neat and his colouring agreeable. He was the brother of Charles Breydel, the battle painter, and was born at Antwerp in 1679, and died in 1750. Buytenweg, William, painted conversations and familiar scenes, but is better knoAvn by his engravings. He was born at Itotterdam about 1600, and died in 1640. Bylert, Jan, painted conversation pieces somewhat in the manner of Palamedes. The figures are well drawn, have fine expression, and are very pleasingly coloured. The com- position and chiarosciu’o are both well managed. He is fre- quently mentioned by writers as one Jan Bylert, an obscure or indiflerent painter;” he was neither; he was the in- structor of several artists who are eminently distinguished. He flourished about the middle of the seventeenth century. Codde, Peter, painted assemblies of military, and other conversation ])ieces ; a fine specimen was in the Lormier Collection. See Imitators of Both and Berchem. CoQUES, Gonzales. Por an account of this admirable painter of family groups assembled on terraces or in splen- did apartments of noble mansions, see the article Gonzales Il^TEEIOES CONVEESATIOIS-S. 245 Coques, under the head of Principal Painters. The collec- tions in which fine specimens of the master’s work are to be found in England, are those of her Majesty, the Eridgewater, Blenheim, Sir Eohert Peel, Mr. Hope, and the Marquis of Westminster; in foreign countries, the gallerie’^ at Dresden, the Hague, Hesse Cassel, and the Hermitage at St. Peters- burg. There are others of high quality in the possession of individuals, but the uncertainty of their remaining with the same proprietors for length of time, deters from particular notice of them. Ceaesbecke, Josse. See Adrien Prauwer. Diepeaam, AbeahAm, painted drunken boors and other subjects, in the manner of Brauwer, and sometimes ap- proached to him very closely in colouring and penciling ; this may be seen in his earlier pictures. In his later pro- ductions the effects of intemperance are visible, and his re- putation suffers accordingly. He was born at the Hague in 1655, and died in an asylum, but it is not said when. Don, GtEeaed. The pictures of this inimitable painter consist almmst entirely of interior subjects. An apartment with a sick lady attended by a water doctor, a nursery, a school-room, a philosopher in his study, a grocer’s shop, females employed in domestic affairs, or at arched windows holding birds, dead hares, or cleaning utensils ; a man play- ing on the violin, an old lady at some thrifty occupation, or furtively watching her servant in a cellar ; hermits in caverns at their devotions ; dentists in their surgeries operating on patients, and others that required but few figures in the composition. The greater number are day-light scenes, and some are representations by candle-light : the execution is beautiful in all. The works of Grerard Don that are esti- mated at the highest prices, are those of an unusual size from his pencil, and containing numerous accessories to fill the composition. Such are La Eemme hydropique, and La Mar- chande epiciere, in the Lou\Te ; a School-room by Candle- light, in the Museum at Amsterdam; a Grocer’s Shop in her Majesty’s Collection; a Poulterer’s Shop in Sir Bobert Peel’s ; a Hermit at his Devotions, belonging to Lord Ash- burnham ; and others in the galleries at St. Petersburg, Vi- enna, Munich, Dresden, and elsewhere. But there are many others of equally fine quality, consisting of single figures, 246 INTERIOES AIS^D CONYEESATIOIfS. tliat bear a proportionate value ; sucb as tbe precious bijoii in the Earl of Ellesmere’s Collection, and engraved in the Stafford Gallery, representing a youth seated in a lofty apartment, with various accessories exquisitely painted ; and some in morfe private hands that might be cited. He also painted many portraits, in small, among which he repeated his own playing on the violin, so as to form a subject. It is not much to the credit of England that while the Louvre contains ten fine specimens of the master, the Musee at Amsterdam six, the Hermitage at St. Petersburg eight or ten, the Dresden Gallery six, that at Munich nearly twenty, and other foreign galleries several each, the National Gallery should possess but one, and that merely a portrait. See the article Gerard Dou, under the head of Principal Painters. DtiCK, Jacob le, painted conversations in the manner of Jan Le Ducq, but with less delicacy of touch and finish; they are nevertheless very pleasing pictures. He was re- gent of the Associated Painters of St. Luke at Utrecht, in 1626, but there is no further account of him. - Ducq, Jais" le, is supposed to have been the son of the preceding, though there is a difference in the spelling of their names. He painted corps-de-garde, assemblies of mili- tary officers, card-players, and gallant conversations. His treatment of these subjects has some affinity with Palamedes, but his penciling is fuller and firmer ; his colouring occasion- ally inclines to a yellow tint, at other times it is brown, but generally it is clear and transparent. See Scholars and Imitators of Faul Fotter. Ekels, Jak, the Younger, was an amateur painter of in- teriors and conversations, which are distinguished by light, free penciling and a vigorous tone of colour. His pictures are not numerous, as he died at the early age of thirty-four, in 1793. Eeanck, or Eeancken, Jak Baptiste, born at Antwerp in 1600, first followed the style of his father, Sebastian Eranck ; next, that of liubens in historical composition ; lastly, he distinguished himself by painting interiors decor- ated with Avorks of art, in which he imitated the pictures of many of the most eminent painters of the time, and that so exactly in all their diversities of subject, style, and colour. IKTEBIOES a™ cokyeesatiofs. 247 that it might be imagined each had a hand in the composi- tion. The saloons, or galleries, in which he makes the dis- play, are enlivened with amateurs of both sexes, artists and connoisseurs, either discussing the merits of the collection, or engaged in conversation more congenial, as is the case when fashionables assemble to see and be seen. These pro- ductions of his are remarkably beautiful and interesting; the figures are designed with great spirit, admirably grouped, and coloured in a manner that shows he had studied Eubens to good purpose. He painted many other subjects, and was extensively employed by contemporary artists in embellish- ing their landscapes and interiors with his small figures. It is supposed that he died in 1653. Geaat, Baeent, or Beekaed, exercised his pencil in several departments of the art. He painted historical sub- jects, landscapes and cattle, and conversations, and succeeded in all. His conversation pieces of the cabinet size are of a very pleasing character; the figures are well grouped and selected from the better class of society, whose habits may be considered as favourable specimens of the fashion of the country and the time. The colouring is subdued in tone, but in perfect harmony. See Analogists of Karel dio Jar din. Hate, Eetkiee de l4, painted scenes of private life, in which he attempted to imitate Metsu and Terburg. He was a Dutch painter, and lived about 1670. He is con- founded by some Avriters with Eobert Tournier, who was a native of Caen in Normandy, a portrait painter, and lived much later. Perhaps this has arisen from Tournier having received instruction from a Carmelite friar of the name of Lucas de la Haye. Heckell, Gr VAIS'. See Scholars and Imitators of Gerard Don. Hemskiek, Eubeet, the Elder, and Eubeet the Younger, both painters of interiors with drunken boors, and some- times with incantations and drolleries. Their pictures are painted in a very dark tone of colour, suited to the scenes, and occasionally have some merit, but it is so little that it is hardly worth dividing ; nor is it matter of importance which is allowed the whole, for no connoisseur of taste would care to have a picture by Egbert Hemskirk, old or 248 INTEEIORS AKD CONTEESATIOIS-S. young. Both these painters were born at Haerlem; the younger resided for some time at London, and died there in 1704. Hekp, GtEeaei) yak, who is supposed to have been a scholar of Bubens, and who painted Scriptural subjects, both large and small, in a manner that justifies that supposition, altered his style materially when he painted pictures of the cabinet size, which are frequently on copper ; such as his out-of-door scenes of conventual charity, interiors with com- pany enjoying a concert of music, or at a banquet, and others of a humbler description. His compositions are ge- nerally well studied, his penciling broad and firm, his colour- ing in his smaller pictures rather subdued, though in his larger historical works he sometimes emulates the richness of Eubens. His figures are spirited and well drawn, and frequently have a lively peculiar expression about the eyes. There is no satisfactory account of him in the Dutch or Elemish writers on Painters. See Historical Painters. Hoeeemans, Jan, the Elder, painted conversations ; the parties assembled are generally of the lower classes. He was born at Antwerp in 1685, and died in 1759. Hoeeemans, Jan, the Younger, painted similar subjects to those of his father, but the company is of a higher grade. His figures have a sHght analogy to Hogarth. He was born in 1717, and died in the same year as his father. Hooge, or Hooghe, Petee de. The interiors of this admirable painter are apartments of houses belonging to the higher classes of society, of inns, and of other habitations of lesser pretensions. In the first is seen a party of fashion- ables at cards, or a musical entertainment ; in the second a cavalier, in military equipments, is conspicuous, enjoying his liquor and his pipe, or in conversation with the hostess, and other casual inmates are standing or seated so as to complete the composition. In the humbler dwellings the figures con- sist of a female at some domestic employment, and a child amusing itself with a cat or a bird ; or a woman making sausages or cleaning fish. But the great charm of each of these is in the ordonnance of the composition, and the illu- sion of the perspective and chiaroscuro. In the grander apartments the light is admitted through large windows INTERIOBS AND CONVEBSATIONS. 249 and illumines the party assembled, and the different objects, in a manner truly magical ; the figures are so placed that those most richly habited receive the full effect of the light, and those in plainer costume are partially obscured by their position. At the end of the apartment there is frequently an open door leading to a vestibule, or court yard, and to offices beyond ; in each of these, figures are observed cross- ing a tesselated or tiled pavement, and the appearance is quite dioramic. In some compositions there are two apart- ments opening to each other, with company assembled in both, and the effect of the double lights is curious, but not conflicting. In some of his pictures the appearance is that of full sunshine, partially lessened by a curtain or trel- lissed vine near the window ; others are subdued almost to twilight with only a portion of sunny effect entering as from another chamber ; the latter, though true in the represent- ation, have not the pleasing result produced by the former. Such are the general characteristics of Peter de Hooge’s pictures of interiors ; it is necessary to see many to compre- hend his great excellence in varied compositions. His pen- ciling is broad and fluent, his colouring rich, harmonized by chiaroscuro ; the figures and objects well drawm and finished (not like those of Mieris or Metsu, which would not accord with his bold displays of sunshine and shade, but) with a masterly freedom and breadth that preserves his lights and shadow^s unbroken, and produces an effect that more atten- tion to minute detail would .have destroyed. There are many fine specimens of He Hooge in private collections in England, but liable to change of proprietorship, and therefore not necessary to be referred to in this work ; but such as are located where they are likely to remain, it may be useful to the amateur to be informed of. In the Col- lection at Buckingham Palace are several, also in those of the Marquis of Bute, Lord Ashburton, Sir Eobert Peel, Mr. Hope, and Baron Eothschild : all these are of high quality and great value. Foreign galleries can also boast of some master-pieces ; particularly the Louvre, the Museum at Amsterdam, and the Hermitage at St. Petersburg. See the article Peter de Sooge, under the head of Princi- pal Masters^ and also under Pxteriors. Janssens, Victoe Honobitjs, born at Brussels in 1664, 250 INTERIORS AND CONVERSATIONS. studied for some time in Italy, and gained considerable reputa- tion as a figure painter in pictures of the cabinet size, and also in the landscapes of other artists ; and was considered a good historical painter. He is, however, only known in England by his re])resentations of gay assemblages of the heau monde, in the cumbrous paraphernalia of the time, dancing, or em- ployed in amatory conversation. His cavaliers and damsels act by the card, and sustain the airs of persons of quality ; they are really lively and pleasing compositions, not so polished as those of Watteau, but having more of the ap- pearance of town-life and manners. He died in 1739. Koogen, Leonard Yander, painted interiors with boors regaling, in the manner of Cornelius Bega, and other con- versation pieces, which are well composed. His figures are correctly designed, and his colouring clear. He was born at Haerlem in 1610, and died in 1681. Laenen, Christopher Jan, otherwise Jacob Yander, painted conversations and subjects of gallantry. There is liveliness in his compositions without grossness ; they are sltilfully arranged, and the figures well drawn, the handling free, and the colouring good. He was born at Antwerp in 1570, and died in 1628. Some writers quote him among the scholars of Eubens, but it does not appear by his works that he was so. Leerman, or Leermans, Peter, an artist of whom there are but few particulars known, painted musical and other conversations in the highly-finished style of the Mieris School, and occasionally in the manner of Slingelandt. Erom ap- ])earances it may be supposed that he was contemporary with those artists. His pictures are rare. Lint, Peter van, distinguished himself in historical sub- jects and portraiture ; but he occasionally indulged in paint- ing conversation pieces, such as musical parties, and other enjoyments of the educated classes. He was a fine colourist, and in uiany instances not inferior to Yan Dyck. See His- torical Fainters, Lundens, Gerbit, or Gerard, painted subjects analogous to those of Jan IMolenaer, but with more refinement. His peasantry assembled for rural enjoyment are of the respect- able class, and there is less of grossness in their behaviour. His figures are well drawn, and have a degree of intellectual IlfTEEIOES AND COl^YEESATIONS. 251 expression ; tlie colouring is subdued, but sufficiently power- ful for the scenes represented ; it partakes slightly of that of Metsu. It is uncertain when he flourished, but, judging from appearances, it was about the middle of the seventeenth century. Lts, or Lis, Jak Vatoee. See Imitators of Foelemhurg, Maes, Nicholas. The cabinet pictures of this master are very few, as he devoted his talent chiefly to portraiture. His compositions contain but two or three figures at most, and generally represent interiors of cottages in which is seen a young or an old woman nursing, spinning, or at some house- hold employment. Those of a higher class in subject, as far as regards the habitation, give a vie>v of a winding staircase, leading from the better apartments to the basement, on which a young woman is seen listening to or watching the servants who are indulging themselves in the cellar ; or the mistress of the house is entering the kitchen and finding her servant asleep, and everything in most admired disorder. Humble as these subjects are, the admirable manner in which they are painted makes them of high value in the estimation of connoisseurs. The penciling is broad, the colouring rich and deep in tone, and the chiaroscuro true to the principles of his master, Hembrandt. One of his fine pictures of this class is in her Majesty’s Collection, and another, called The Idle Servant,” in the National Grallery. See the article Nicholas Maes, under the head of I^rincipal Painters, and also under Portrait Painters. Metsij, GtAbeiel, is one of the most refined of the Dutch painters in his choice of subjects as well as in his style. La- dies at the toilet, morning visits, lovers tete a tete, musical parties, letter writers, sick or fainting ladies, refections, gal- lant sportsmen presenting game, a cavalier refreshing, lace- makers, or a servant at domestic employment, constitute many of his interior scenes ; nothing offensive is suffered to intrude. The morning visits and music parties are fine specimens of the fashions and polished manners of the time, in Holland; the dresses of the ladies are remarkably rich in material and colour, and that of the cavaliers no less so, as far as a buff jerkin with sleeves of yellow silk trimmed with silver, a breastplate of polished steel, a scarlet sash embossed with gold, and trunk hose, contribute to adornment. The 252 INTERIORS AND CONVERSATIONS. air and manner of tlie cavaliers towards tlie ladies are debon- air and gallant. Refreshments are seldom omitted ; these are offered by pages on silver salvers. Lovers’ visits are made equally attractive by the costume and deportment of tlie parties ; if the gentleman is of the military profession, he appears in his regimental costume ; if a civilian, he is less showy, but equally polished ; the lady in the one case may be seated and holding a guitar, or a piece of music, and in the other washing her hands in a silver bason, while her servant is pouring water from a ewer of the same metal. A handsome spaniel is usually of the party. His pictures of letter writers, whether male or female, are great favourites. The chambers with sick or fainting ladies are very interesting, not merely from sympathy for the splendidly dressed patient, (for there are indications that the malady will not be of long endurance,) but for the artistic skill in the composition, the expression in the several figures, the beautiful objects of still life, and the rich, but harmonious, colouring. His pictures of single figures, such as a young woman making lace, a cavalier in a cabaret enjoying his glass and pipe, a lady at her toilet, or a female domestic at her employment, are all so naturally re- presented and delicately painted that they are covetable specimens of his skill. The spaniel dog and tabby cat were favourite objects, and introduced whenever it could be done with propriety. In England fine specimens of Metsu may be found at Buckingham Palace, the Earl of Ellesmere’s, Mr. Hope’s, Lord Ashburton’s, Sir Robert Peel’s, Baron Rothschild’s; and from time to time in others of wealthy and taste- ful amateurs : the National Grallery cannot boast of one. The Louvre, the galleries of Dresden, Berlin, and the Her- mitage at St. Petersburg, have some of the most valuable, and others are at the Hague, Amsterdam, Hesse Cassel, and at Eloreiice. See under the heads of Principal Painters^ Pxteriors, &c. Mierts, Francis. The subjects of this master’s pictures are chiefly interiors with parties engaged in music and con- versation, or taking refreshment ; ladies at the toilet, or making lace, writing, or ]daying with a pet dog. A dady fainting and the doctor endeavouring to ascertain the cause ; others, tele a tele with cavaliers, eating oysters and drinking HS-TERIORS AND CONVERSATIO^STS. 253 wine ; receiving l)illets doux openly and clandestinely ; boys at windoAvs blowing bubbles ; declarations of love ; pet puppies, and other small matters, sufficient for the artist to exhibit his exquisite penciling and colouring. His larger compositions, such as musical parties and morning visits, are superb in the dresses and ornaments of the ladies, and in the splendid fur- niture and decorations of the apartments ; robes of various coloured satin trimmed with ermine, and enriched with pearls ; Turkey and Persian carpets ; vases and salvers of silver, of elegant forms, borne by negro servants, show the opulence of the parties. Hor are his smallest pieces deficient of at- tractive embellishments ; a lady at her toilet, at her music, or writing a letter, is surrounded with objects of still life so beautiful in execution as to divide the observer’s admiration. The best pictures of Francis Mieris are located in foreign gal- leries ; those of Munich, Vienna, Dresden, the Hermitage at St. Petersburg, Florence, and the Louvre, are all richly stored with them ; the National Grallery of England contains none. A few are to be met with in the best private collec- tions, such as the Earl of Ellesmere’s, Sir Eobert Peel’s, Mr. Hope’s, and other tasteful connoisseurs. So highly are this artist’s pictures valued that many, of only a few inches in dimensions, have sold for two to three hundred guineas in public sales, and others for sums that, by computation, would cover their surface ten times over with sovereigns. See Francis Mieris^ under the head of Frincipal Masters, Fxteriors, &c. Mieris, Fra^^’cis, the Younger, was the son of William Mieris, and born at Leyden in 1689. He imitated his father’s manner, but was not very successful, though some writers speak highly of several of his performances ; and the prices which they have obtained would seem to justify the praise : one, in the sale of Count Perregaux’s pictures, sold for 22,000 francs. He painted small historical subjects, con- versations, and domestic scenes. A specimen of the last is in the Bridgewater Collection, and engraved in the Stafford Grallery. He died at Leyden in 1763. Mieris, William, in several instances painted interior subjects similar to those of his father, Francis Mieris ; as parties assembled for music or conversation ; a lady and gen- 254 IKTEBIOES COXYEESATIOKS. tlemau tete a tefe ; a musician with his violin ; a trumpeter, or other military officer, enjoying his pipe and liquor ; figures at arched windows, apparently conversing with others below ; interiors of chambers with sick ladies and the usual attend- ants of doctors and female friends. But the interiors peculiar to him are shops of various descriptions, such as those of grocers, fruiterers, fishmongers, druggists, dealers in poultry and game, and other avocations ; these are well stored with the articles of their several callings, and most elaborately detailed. His kitchens are also interesting compositions for the display of fish, game, poultry, vegetables, and objects of still life, enlivened by the activity of the cook, and the furtive depredations of the cat, who invariably shows her propensity for stealing fish. Other of his interiors are of a higher grade ; as a lady and gentleman at refection, the gentleman gallantly presenting a glass of wine to the lady, and at the same time inviting her to partake of a dish of oysters ; or it may be an elderly female consoling a younger one, who seems to have some cause of affliction : in either case the figures are richly habited, and the apartment furnished with Turkey carpets, and ornaments on which the artist has exerted his utmost skill, and it might be supposed patience, in the extra- ordinary elaboration. The under part of many of his shop and other windows are enriched with bas-relief designs, which give them an elegant appearance. Specimens of the master are in her Majesty’s Collection, in the Earl of Ellesmere’s, Sir Kobert Peel’s, Mr. Thomas Hope’s, and several other wealthy gentlemen of England. Like his father’s, his pictures obtain a liigh price in commerce, but they cannot be said to equal them in those qualities that satisfy the taste of the refined connoisseur. See under the heads of Principal Painters, and Landscapes and Fic/ures. IMolenaer, Ja^^, represented interiors with peasantry merry-making, in a rather superior manner to the generality of his class. There is great variety in his characters, much humour in their expressions, and activity in their jollity. The parties are well arranged, and the colouring is rich and clear, and the penciling shows the hand of a master. Some writers have compared liim with Adrian Ostade ; but this cannot be admitted ; the comparison is only to his injury. INTEBIOES AND CONTEESATIONS. 255 The amateur who cannot obtain a picture by Ostade, may, however, console himself with a fine w ork of Jan Molenaer. See Winter Scenes, Mooe, Kaeel de. See Imitators of Francis Mieris, and of Godfrey SchalcJcen. Mtjsschee, Michael van, practised under several emi- nent masters, and imbibed something of the manner of each ; in his polite conversation pieces he blends the styles of Metsu and Jan Steen. His pictures of this class are neatly pen- ciled, finely coloured, and highly finished, without the appear- ance of labour. In some of his compositions he adopted the style of Bamboccio, in which the characters are from the vulgar classes, but are interesting for their truth, and the vigorous manner of the drawing and colouring. He was born at E/otterdam in 1645, and died at Amsterdam in 1705. Mtjys, GriTiLLATJME, bom at Schiedam in 1712, painted cabinet pictures somewhat resembling Mieris and Yander Werf. He died at Eotterdam in 1763. Mtjys, I^icholas, son of Gluillaume, painted interiors and conversations, in which he exhibits a fine genius in composi- tion, correct design and freedom of penciling, with careful finish. He was born in 1740, and died in 1808. Heee, Eolon Hendeick Vandee. The known composi- tions of this artist are very few, and are rarely seen in com- merce. In the subjects and manner of painting they are analogous to those of Terburg, Metsu, and Netscher, particu- larly the last. Specimens are in the Bridgewater, Marquis of Bute’s, and Mr. Hope’s Collections. See under the heads of Frincipal Painters, Landscapes, &c. Netschee, GtASPAE. The interior compositions of this exquisite painter, as regards subject, are similar in many re- spects to those of Terburg and Metsu ; consisting of ladies at the toilet, music parties, love affairs, parental advice, children blowing bubbles, young women at lace-making and other occupations, a lady amusing herself with a parrot, tuning a lute, or playing with a pet dog. Whatever be the subject, it is rendered charming by the delicate penciling and brilliant colouring ; wEite satin being in most of his com- positions (wkere ladies form a part) a very attractive object. The still-life portions of his Ujoux are the ne plus ultra of imitation and finishing ; no painter has ever excelled them. 256 IIs^TEETOllS AND CONYEESATIONS. It is only in first-rate collections that his pictures are to be found; such as the Bridgewater, Sir Bohert Peel’s, Mr. Hope’s, and Lord Ashburton’s, in England. The Louvre, Elorence, Munich, Dresden, Hesse Cassel, and Berlin Gral- leries, and the Hermitage at St. Petersburg, possess many. See the article Gaspar Netscher, under the heads of JE^rin- pal Masters j Exteriors, and Eortraits. Xeveu, or Naiteu, Matthew, is mentioned among the scholars of Gierard Dou, but his style of painting has no resemblance to that master’s; it rather partakes of Erancis Mieris and Metsu. His compositions of fashionable con- versations, and of domestic occupations, are very pleasing, animated, and well coloured, sometimes richly, but in perfect harmony. His pictures are rare in England. He was born at Leyden in 1647, and died about 1721. Nolle KENS, Joseph Eeancis, was born at Antwerp in 1706. He came to England and was a scholar of Peter Tillemans. He painted interiors with domestic subjects, and small family portraits introduced as the figures ; these have a resemblance to Hogarth’s and Horreman’s. His musical and fashionable conversations, alfresco, are beautifully painted and very interesting ; they are supposed to represent re- unions of nobility and gentry in the gardens and pleasure grounds of Wanstead House, then the residence of the Earl Tilney, who patronized him. He died in 1748. He was the father of the celebrated sculptor, Joseph Nollekens. OcHTEEVELDT, or UcHTEEVELDT, Jan. See Imitators of Metsu. Ostade, Adeian van. The interiors by this very eminent master consist chiefly of farm-houses, rustic cottages, ca- barets, tabagies, alchymists’ laboratories, or a country law- yer’s office : cabarets are the most frequent. If a large room of a respectable house is chosen for the scene of village merriment, the company is of the better sort of peasantry ; a fiddler is exciting their saltatory powers, and both young and old are exerting their vigour to the utmost, except those who prefer tlie enjoyment of pipes and ale, and as lookers-on criticise the dancers. In the rustic cottages is seen the economy of a Dutch peasant’s habitation, the man and his wife seated near a large projecting chimney, their children eating or otherwise amusing themselves, a cradle, a spinning INTEEIOES AKD COKVEESATIOKS. 257 wheel, and sundry utensils and articles of humble furniture ; the apartment is generally lighted by a latticed window ; a cat or a dog make up the composition. The cabarets and tabagies contain parties playing at cards or the game of tric- trac, drinking and smoking, sometimes hilarious, sometimes sedate. Much diversity of character iS' shown among the players and lookers-on ; there is frequently one that appears to have superior discernment and to act as a referee. But the tabagies oftener exhibit scenes of mere sottishness; the boors are uproariously boisterous, or stupidly overpow- ered by their potations, and occasionally a battle royal ensues, and all is rage and confusion. The alchymist’s laboratory and the lawyer’s office present more of regularity, each be- ing furnished with its appropriate objects, and the inmates represented with the gravity becoming their respective avoca- tions ; the lawyer’s clients are not omitted, and these seem to know that it is useless to attend without a present, and accordingly they bring poultry or other farm produce. The foregoing are frequent subjects of Ostade’s pencil, but there are many other varieties of composition in his interiors that would require much detail in the description. The charac- ters would generally be the same, and the result be, as in those specified, commendation of the artist’s talent in arrange^ ment, character, colouring, and chiaroscuro. In the manage- ment of the last he is perhaps not inferior to the best that ever paiuted, and superior to most ; indeed many of his pic- tures may be said to owe their great value to the charm spread over them by its skilful application. Though the general subjects of Adrian Ostade’s pictures are scenes of low life, and many of his figures represent persons of degraded intellect indulging brutalized appe- tites, his own -habits were well ordered and domestic, as appears by several compositions in which his family circle form the subjects. In one he has represented the JS"ativity, or Adoration of the Shepherds, in which himself, his wife, and other members of his family personate the holy charac- ters. In another the whole, consisting of himself, his wife, six children, his brother and wife, are assembled in a hand- some apartment, and the utmost affection seems to reign amongst them, and every object of dress or furniture indi- cates propriety and domestic economy. These pictures are 258 rSTTEEIOES ATO CONYEESATIONS. painted in his very best manner, and are almost inappre- ciable. England is rich in this master’s works, though her Na- tional Gallery does not possess a single example ; they must he sought for in the Eoyal Collection, Lord Ellesmere’s, (called the Bridgewater,) Mr. Hope’s, Sir Bobert Peel’s, Lord Ashburton’s, Lord Lonsdale’s, and the Marquis of Bute’s, where they are not liable to change of proprietorship and locality ; and in many other cabinets of wealthy persons where their continuance is less certain. The galleries at Dresden, Vienna, Munich, Amsterdam, the Hague, the Hermitage at St. Petersburg, and the Louvre abound with fine specimens. See the articles, Adrian Ostade, under the heads of Princi- pal Masters, Exteriors, Winter Pieces, &c. Pape, Adeiak de. See Scholars of Gerard Eou. Patjltn', Hoeatius, painted subjects of gallantry, in which he gave way to a culpable breach of decorum and decency ; some of his pictures are in the manner of Bembrandt. His name is recorded to his infamy ; for he was a vile hypocrite, affecting great piety and outward signs of devotion, while he painted subjects so gross as to cause avowed libertines to blush. He was born about 1643, and died in 1686. Peetees, or PiETEEZEK, Geeaei), bom at Amsterdam in 1580, composed conversation pieces and gallant assemblies in a very agreeable manner, and finished them with great delicacy. He died, it is said, in 1626. PoTiiovEis’, Hekei, was a scholar of Philip Vandyck, and painted small family portraits in cabinet pictures as con- versation pieces, in which the style of his master is apparent. He is very successful in imitating silks, satins, velvet, lace, and carpets, and all the accessories that embellish the apart- ments of the opulent. His compositions are ingenious, his figures correctly drawn, and his colouring harmonious. He was born in 1725, and died in 1795. Bavesteyn, Hubeet vak, painted the meanest of sub- jects with a pencil worthy of the best. He delighted in representing interiors of slaughter-houses and butchers’ shops with boys blowing bladders ; kitchens with scullions scouring kettles, and decorated with dried herrings, sausages, and onions ; stables and the filthy habitations of boors : but his IKTEBIORS AND CONYEESATIONS. 259 magic pencil invested them with such a charm that even fastidiousness is reconciled, in some measure, to the disgust- ing objects, in admiration of the truth, the beauty of the colouring, and the effect of the chiaroscuro. He was born at Dort in 1647 (some say in 1640) ; but the time of his death is not mentioned. Eooee, Jacob de, painted interiors and conversations in which he endeavoured to imitate the manner of Teniers. He also painted historical subjects, but his principal employ- ment was decorating the ceilings of public buildings and private saloons. He was born at Antwerp in 1686, and died there in 1747. Etckaeet, David, excelled in painting assemblies of peasants regaling, both in-doors and out, musical parties, chymists’ laboratories, and fantastic scenes of imagination. There is individuality in his figures, and lively character in the heads ; they are grouped with judgment, the penciling is spirited, and the colouring pure and transparent. In some of his early works, which consisted of landscapes with cattle and figures, the colouring is gray and cold, but this rarely occurs in his later productions. He was born in 1615, and died, it is supposed, in 1677. See Imitators of Teniers. ScHACEN, Giles van, painted conversations, domestic scenes, and interiors of kitchens, in which there is an occa- sional imitation of Ostade. He did not confine himself to such subjects ; he was a good portrait painter, and had a par- ticular talent for copying the works of the best Italian and Memish masters. He was born at Alkmaer in 1616, and died there in 1668. ScHALKEN, Godeeet. The pictures of this master have all the technical skill, in the execution, of the school in which he was instructed ; fine penciling, harmonious colouring, (in his day-light subjects,) and exquisite finishing in all of the cabinet size. His name is almost synonymous with scenes by torch or candle-light, and no doubt such pictures when first painted had a fine effect of chiaroscuro ; but time has diminished much of the original beauty, and too many repe- titions have abated curiosity and lessened their estimation. That which at first appeared to be an emanation of genius, is now considered mannerism, and the product of mechanical 260 INTEEIOES AND CONYEESATIONS. skill. Schalcken may be considered as tbe bead of those paint- ers who have adopted the same line of art. His day-light pictures rank him much higher, and there are some that are worthy to he placed amongst the best of his master’s imita- tors. The INIunich, Dresden, Amsterdam, and Louvre Gal- leries contain several, and there is a specimen in the Na- tional Gallery of England; in her Majesty’s Collection there are three of his best. See the article Godfrey Schalclcen, under the head of Principal Fainters. SciiYNDAL, or ScHENDEL, Beenabd, was a scholar of Hendrick Mommers ; he painted peasants regaling, merry- makings, and interiors of kitchens, in the manner of Jan jMolenaer. His subjects are well composed, and have a con- siderable share of low humour. Some writers place his birth in 1634, and his death in 1693 ; others say he was born in 1659, and died in 1716. Slabbaeet, or Slabbaed, Kael. See Imitators of Ge- rard Dou.' Slingelandt, Petee yan. The pictures of this scholar of Gerard Dou are generally small and contain but few figures ; the composition is made interesting by stilL-life ac- cessories Yery elaborately finished. It may be said that they are all interiors ; the subject a young lady seated and hold- ing a musical instrument, or making lace ; a cookmaid preparing the day’s repast, or scouring the kitchen utensils ; a violin player amusing himself and one or two friends; the interior of a cottage with the humble tenant eating soup ; or a group composed entirely of stiU life. Insignifi- cant as these subjects may appear in description, they are made highly interesting in the picture by the elaborate de- tail in the accessories, the delicacy of the penciling, and the beauty of the colouring. There is in her Majesty’s Collection an interior of a Dutch apartment, with a woman seated near the fire suckling a child, a cat enjoying the warm til, a cradle and other humble furniture; and these are of such perfect truth in the representation and high finishing that for a long time it was attributed to Gerard Dou. . The principal knowm work of Slingelandt is the com- position containing the portraits of the Meerman family^ to which he devoted tlie labour of three years, though the lOTEEIOBS AND CONYEKSATIONS. 261 dimensions are but small. The dresses of the figures, the Turkey carpet covering the table, and other furniture, with the spaniel lying asleep, are marvellous imitations ; the pic- ture is now in the Louvre, where there are also others of in- ferior note. There are several in the Museum at Amsterdam ; some in the Grallery at Dresden ; and one of great excellence in the Earl of Ellesmere’s Collection, which may be found engraved in the Stafibrd Gallery. There are pictures of his latter time less laboriously wrought, but artistic in the execution. See under the head of Frincijpal Fainters, and Scholars and Imitators of Gerard Don, Sltjys, Jacob Vandee. See Scholars and Imitators of Sling elandt. Stalbemt, Adeian van. This very excellent artist has been hitherto defrauded of much of the reputation due to him, from the misspelling of his name. Eelibien, who mangles in the strangest manner the names of all the Dutch and Elemish painters that he has occasion to quote, com- menced the injury by calling him Stalen, and others adopted it on his authority. Walpole did not much mend the matter by naming him Stalhand, Stalbent was an improvement, but the writers omitted stating the subjects and manner of painting in which he particularly excelled ; they speak of him only as a painter of landscapes with small figures in the man- ner of Breughel, and do not even allude to his interiors of galleries and royal apartments, ornamented with numerous pictures in imitation of the works of the most eminent Dutch and Elemish painters, with cabinets of ebony and ivory, smaU statues, splendid vessels of silver and gold, and aU the other articles, such as are only to be found in the mansions of the tasteful and opulent. They were not aware, perhaps, that he was the scholar, imitator, and successful rival of Jan Baptiste Eranck, which may be excused, seeing the great similarity there is in their works ; but Stalbemt was the older master, though contemporary, for he was born, by all accounts, in 1580, and died, as is generally supposed, in 1660. Balkema, however, adds twenty-two years to the date of his death, which would make him one hundred and two years old when he died. See the articles Stolen and 262 INTEEIOES AND CONYEESATIONS. Stalhent in the enlarged edition of Bryan’s “ Dictionary of Painters and Engravers.” Steen, Jan. The subjects are so numerous, and the com- positions so varied, of the interiors by this master, that it is hardly possible, in a work like the present, to give more than a general description of them. They represent merry- makings, sick chambers, scenes of debauchery, schools, al- cliymists’ laboratories, card parties, tabagies, riotous prodi- gality, and the result in abject poverty and wretchedness. Ilis scenes of merry-makings, such as twelfth night, wed- dings, and others where intemperance is indulged, exhibit unbounded jollity; but in most, if not in all, there are satirical warnings of the consequences that will ensue from tlie unrestricted enjoyment of gluttony and drunkenness. His sick chambers are not intended to awaken sympathy for the patient ; the sly inuendos point out the cause of the malady. The schools, which are not of the higher class of students, abound with the same variety of juvenile character as those of our Mulready and Webster. His card parties and other games of amusement are sometimes in respectable apartments, sometimes in cabarets ; in either case there is generally a dupe under female influence. The alchymist’s laboratory, while it shows the artist’s skill in depicting the objects of still life, conveys a lesson on the absurdity and fu- tility of the operator’s pursuit ; while he is endeavouring to transmute baser metal to gold, himself, his wife, and chil- dren appear to be starving. Most of Jan Steen’s pictures, if rightly considered, contain a moral lesson, but unfortun- ately the depravity must be represented to the eye and is easily comprehended, while the conclusion is left to be drawn in the spectator’s mind by after reflections. His pictures are rather numerous in England, and remarkably fine speci- mens are in the Collections of the Duke of Wellington, Sir Eobert Peel, Lord Ashburton, her Majesty, the Earl of Ellesmere, Mr. Hope, Lord Lonsdale, the Earl of Carlisle, and other noblemen and persons of wealth. The galleries at tlie Hague, Amsterdam, and the Hermitage at St. Petersburg abound with them ; the last with some of his best. See the article Jan Steen, under the head of Principal Painters, and also Exteriors and Merry-makings. lOTEEIORS AKD COI^TEESATIOFS. 268 Steyees, or Staeyaeets, Anthokt Palamedes, generally known as 'Palamedes^ painted corps- de-garde, gallant assem- blies, musical parties, or persons engaged at cards. Bryan has passed an indiscriminate censure on this painter’s works ; but they are not all amenable to it ; for there are pictures, undoubtedly by him, that haYe great merit in the composi- tion, elegance in the figures, and richness in the colouring, with careful attention to the finishing. He was born at Delft in 1604, and died in 1680. Stet, Abeaham YA^r, in addition to landscapes with cattle, and portraits, painted grocers’ and other general dealers’ shops, in a liYely and spirited manner. The colour- ing is gay and unctuous, and the efiect of the light and shadow striking. His pictures are carefully painted in the details, but not in the highly-finished mannefi of William Mieris and the other old Dutch masters, who exercised their pencils on similar subjects. He was born at Dort the last day of De- cember, 1753, and died, according to Balkema, in 1824 ; ac- cording to Immerzeel, in 1826 ; and according to Nagler, in 1830. So here are three writers giYing an account of an artist who died within twenty years of the dates of their seYeral publications, differing from each other in one particu- lar, at the rate of two, four, and six years. Immerzeel ought to be the best authority. Teniees, Dayii). Cabarets with peasants drinking, smok- ing, playing at cards, tric-trac, and similar amusements ; corps-de-garde with soldiers gambling ; chymists’ labora- tories ; kitchens well stocked with Yiands and utensils ; wedding and music parties ; caYerns with St. Anthony tor- mented by mischieYOus figures scarcely worthy of the name of daemons ; mtches performing incantations, or gipsies prognosticating, and similar subjects, form the majority of the interior compositions of this Yersatile and admirable painter. Of these the most numerous are boors indulging their animal propensities ; in general, the characters are of the lowest class both in circumstances and intellect, but there is so much apparent truth in the representation, and so much skilful art in the penciling and colouring, that the mind becomes reconciled to the objects, which in the realities would only occasion disgust. Many, howcYer, are of a more decent order, and may be contemplated with 264 INTEETOES ATO CONVEESATIOIS’S. the greatest pleasure as unilawed gems of art. The interiors of guard-rooms and of chy mists’ laboratories are worthy of un- qualified praise ; and the meetings of respectable parties at a festivity are conducted with a studied decorum without detracting from the hilarity. The kitchens are remarkable for the elaborate details ; no painter of mere still life was ever more exact in representing the utensils, nor painter of dead game more correct in birds, venison, fish, and other pro- visions for a feast. A masterly efiect of light and shade may be observed in these scenes. The temptations of St. Anthony (as they are called) and the incantations, owe all their value to the mechanical execution and the rich colour- ing so often bestowed on them; indeed, so beautiful are some in the last respect, that it may be supposed they were particularly favourite subjects with the artist. They who are desirous of seeing the finest works of Teniers must seek for them in Buckingham Palace, in Lord Ellesmere’s Collec- tion, and those of Sir Bobert Peel, Lord Ashburton, the Dukes of Wellington and Butland, Mr. Hope, the Marquis of Bute, Lord Eadnor, and others that (as heir-looms) are liltely to remain undisturbed by change of proprietorship. If the amateur seek them abroad he will find the Hermitage at St. Petersburg stored with numbers of the most valuable, and also the galleries of the Louvre, Munich, Dresden, and Berlin supplied with specimens well worthy of his inspection. See the article David Teniers, under the head of Drincvpal Tainters ; also, JExteriors, and other divisions. Teeeueg, Heeaed. See the article under the head of 'Frincij)al Painters. The finest specimens of this artist in England are in the Eoyal Collection, and in the Earl of Ellesmere’s, Sir Eobert Peel’s, Mr. Hope’s, and Lord Ash- burton’s ; others there are in less known cabinets, more liable to change the proprietorship, so it might be misdi- recting the amateur to name them. The Louvre, the Her- mitage at St. Petersburg, the galleries at Dresden, Munich, and Amsterdam, possess some of very high value ; the Eng- lish National G-allery none. Tittelens, Jan, nourished at Antwerp about 3694; he imitated Teniers in the representation of sculptors’ and painters’ studios, chymists’ laboratories, &c. Toeeentius, Jouannes, painted conversations, domestic lOTEEIOES AND CONYEESATIONS. 265 subjects, and still life, and his pictures were greatly admired for the beauty of the finishing and the truth and delicacy of the colouring. Such were his earlier productions ; but as he grew older he became depraved, and painted subjects that brought on him punishment from the magistrates and ge- neral contempt. He was born, either at Amsterdam or Haerlem, in 1589, and died in obscurity in 1610. VANDEEBUEan, Adeian, born at Dort in 1693, was a scholar of Houbraben, and an imitator of Mieris and Metsu. His conversations, domestic subjects, and small portraits are agreeably coloured, and painted in a neat, polished manner. He died in 1733. Vandtck, Philip, painted gallant assemblies, ladies at the toilet, practising music, or at other employments of females of the higher ranks. In these he imitated the styles of Mieris, Metsu, Vander Werf, and others remark- able for high finishing. He was skilful in adapting the style to the subject, and there is a remarkable air of gentility in all his figures, a liveliness in their actions, rich colouring in the draperies, and facility, united with care, in the execution. His pictures are to be found only in first-rate collections. He was born at Amsterdam in 1680, and died in 1752. See also Imitators of Metsu and Vander Werf. Yeehelst, Petee, or Pahl. See Imitators of Geromd Don. Yeekolie, Nicolas. See Imitators of Metsu. Yeemeee, Jan, generally called Vander Meer of Delft. See Imitators of Metsu and De Mooge. Yeeschheino, William, was a scholar of Yerkolie, and painted interiors with domestic subjects and conversations, and also small portraits, in the manner of his master. His pictures were held in estimation, and no doubt, from what he produced, he would have obtained celebrity in the art if he had not abandoned it for commercial pursuits. He was bom at Grorcum in 1657. Yots, Aet de. The pictures of this master are generally of single figures, very highly finished, though freely executed, richly coloured, and harmonious in tone. He frequently painted a jolly toper, without disguise, holding a large globular Dutch glass in his hand filled with exhilarating hquor, or seated at a table on which is an ale pitcher, enjoy- 266 INTEETOES CONYEESATIOKS. ing his pipe with great apparent satisfaction ; but there is nothing oftensive. A sportsman holding game, or the keeper of a fish stall, also served him for a subject, and they are re- presented with great glee. His compositions of several figures are very few, and in these he blends the styles of Erancis INIieris and Slingelandt; in others, imitations of various Elemish and Dutch masters, remarkable for their fine colouring and high finishing, may be detected. See Imitator's of F, Mieris. Waleaven, Isaac, painted interiors with children sport- ing and small historical subjects. He was a good colourist, and understood chiaroscuro. His pictures would be more esteemed were they not defective in drawing. Several pic- tures in the Dusseldorf Grallery were copied by him. He was born at Amsterdam in 1686, and died there in 1765. We EE, AnEiA^f Vakdee. The cabinet pictures of inte- riors, of what are called fancy subjects, by this eminent painter are very few ; the greater number of his being taken from history, sacred and profane, or from ancient mythology and poetical inventions, and represented mostly in land- scapes ; or they are portraits of Glerman princes, and other persons of rank. See the article, under the heads of Frinci- in the latter. If the amateur seek them abroad, he will find the galleries at Antwerp, Brussels, Munich, the Louvre, the Escurial, and almost every city and place of note in Europe, stored with them. Saktyooet, Diek yaiv,‘ a Dutch painter, of whom very little is known ; there is a picture by him in the Louvre representing Christ and the two disciples at Emmaus, and others have been engraved after him by Suyderhoef and Matham. He imitated the manner, of Rembrandt. ScHOOTEisr, JoEis YAis", hom at Leyden in 1587, was in his time considered a painter of talent ; a picture by him of Christ and the Woman of Samaria was engraved by J. Gr. Van Vliet, and is one of his best prints. It has been sup- posed that he was one of Rembrandt’s early masters. He died in 1658. ScHOUMAJiT, Aaet, hom at Dort in 1710, among other sub- jects, painted some of a poetical kind, in small, taken from Ovid’s Metamorphoses. He died at the Hague in 1792. ScHUT, CoEi^ELiES, hom at Antwerp in 1600, ranks with 312 HISTOEICAL . PAINTEES. the best of the scholars of Bubens, as an historical painter. He had an inventive genius, vrhich being cultivated by a liberal education, and directed by so able a master, soon dis- tinguished him among his numerous fellow- students. His ambition was equal to his genius, and his self-estimation su- perior to both. It is said that he challenged his master to a trial of skill, and met with a suitable rebuke. As the same act of presumption is attributed to two other painters, it may be suspected that there is not much truth in the story. Schut painted the frescoes in the cupola of the cathedral at Antwerp, and the Martyrdom of St. George in the same edifice ; also the Nativity of Christ, and the Assumption of the A'irgin, in the church of the Jesuits ; and a Dead Christ, attended by the Virgin and St. John, in the church of St. Jacques. He was much employed by private individuals on smaller historical and poetical subjects, and on pictures of a religious character, such as the Virgin with the Infant Sa- viour; several of which were richly ornamented with gar- lands of flowers, exquisitely painted by Daniel Seghers. SciiuuE, Theodoee Vakdee, was born at the Hague in 1628. He went to Paris and studied under Sebastian Bour- don, with whom he remained about three years. On leaving the school of Bourdon he spent fourteen years at Borne, where he painted several historical pictures, by which he gained celebrity and the patronage of Christina of Sweden, who after her abdication had taken her residence in that city. He returned to Holland and was employed on several public works, in decorations chiefly emblematical, which he composed ingeniously, and executed more in the Boman style than that of his own country. Several pictures which he painted for religious communities have disappeared, and left a blank in his history. He died at the Hague in 1705. Segees, or Segiiees, Geeaed, was born at Antwerp in 1589. He was first a scholar of Henri van Balen, next of Abraham Janssens, and lastly of Bartolomeo Manfredi, who had studied under Michael Angelo Caravaggio. He adopted the style of tlie last, and painted several pictures, which by their violent contrasts eclipsed all others that were placed near them. Tliis unnatural manner recommended him to Cardinal Zapara, who induced Seghers to accompany him to Spain. He was employed by the king, and painted several HlSTOmCAL PAINTEES. 313 historical pictures, and musical conversations, which were greatly admired. After remaining some years in Spain, he returned to his own country, and painted some pictures in the style he had adopted, which were not favourably re- ceived. The clear and splendid colouring of Eubens and Van Dyck had obtained possession of the public estimation, and Seghers was compelled to change his system. The facil- ity with which he did so showed the flexibility of his powers, ■and the improvement was such as to place him among the most estimable painters of the Meinish school. At this time he painted his celebrated picture of the Elevation of the Cross, for the church of the J esuits, at Antwerp ; the Ador- ation of the Magi, for the cathedral ; Peter denying Christ ; and the Marriage of the Virgin, as an altar-piece for the church of the Carmelites. His compositions are judiciously arranged, his drawing more correct than the generality of his countrymen, his colouring more vigorous than chaste, and the chiaroscuro frequently too abrupt. He died in 1651. Snatees, Petee, the celebrated painter of battles and skirmishes, also painted pictures for the churches at Brussels, and for the Archduke Albert, which are of a different cha- racter, and rank as historical. He is particularly commended for his rich colouring and free penciling. He was a great favourite with Eubens and Van Dyck, the latter of whom painted his portrait. His historical pictures are seldom met with out of Belgium. SouTMAN, Petee, born either at Haerlem or Antwerp in 1590, is said to have studied in the school of Eubens. He painted historical subjects and portraits, and was chiefly employed at the courts of Berlin and Warsaw. His works from history are not so generally known as his portraits. He was a good engraver. He died about 1653. Spiees, Albeet van, born at Amsterdam in 1666, studied chiefly in Italy, and on his return to Holland was employed in painting the ceilings, and decorating the walls, of public edifices and magnificent apartments, with historical and poetical compositions. The character of his design was, of course, more Eoman than Dutch, as he had spent ten years in Italy studying the works of Eaphael, Griulio Eomano, and Domenichino ; his colouring, excellent, as A^enice aflbrded him examples in the works of Titian, Paul Veronese, and 814 HTSTOEICAL PAIKTEES. Tintoretto. It is to be regretted that tbe knowledge thus acquired was exercised only on walls and ceilings in Holland. He died in 1718. Sprangher, Bartholomew, was born at Antwerp in 1546. He travelled through France, Germany, and Italy. He painted a picture of the Last Judgment, comprising about - five hundred figures, on a sheet of copper six feet higli, for Pope Pius Y. He was patronized by the emperors Maximilian II. and Bodolphus his successor, and ennobled by tlie last. His design is mannered and constrained, his attitudes affected and unnatural ; but he had an inventive imagination, was copious in composition, and exhibits great facility in execution. His colouring is florid and rich, but the chiaroscuro, if observed at all, is not well managed ; so his cabinet pictures are attractive only by their gaudiness. It is said that he died at Prague in 1628, but this is not certain. Stoccahe, ISTicholas he Helt, was born at Nimeguen in 1614. He was a scholar of Martin Byckaert, wBose daughter he married. His first pursuit was landscape painting, in which he followed the style of Byckaert. He went to Italy to improve his style by studying the works of the great masters ; he remained in Italy for about eight years, and painted several pictures for Christina of Sweden, and other private collections. He afterwards went to Paris, and re- ceived great encouragement ; it is not said what he painted there. He must at intervals have visited Plolland, as figures by him are found in the landscapes of some of the most emi- nent painters of his time. The historical pictures by which he gained a high reputation are, Andromeda chained to a Bock, treated by him in a more delicate and interesting man- ner than by most other artists who have painted the same subject; Cielia passing the Tiber ; and Joseph distributing Corn to his 13rethren. Some of his cabinet pictures, from Scripture lustory, are in the style of Niccolo Poussin. Those that he painted in Italy are held in the highest estimation. The figures and cattle painted by him in the landscapes of others add considerably to their value, and show hoW readily he could adapt his style to the manner of the painter, and the adjuncts to the requirement of the scene. He died in 1669. HISTOEICAL PAINTERS. 315 SusTERMANS, JusTUS, was bom at Antwerp in 1597, and was a scholar of William de Vos. He travelled through Germany and Italy, and at Florence was patronized by the grand duke Cosmo the Second. He painted history and portraits ; in the latter he is considered little inferior to Van Dyck. His historical pictures are grandly composed, and the design elegant and correct, the colouring in general is clear and brilliant, and the chiaroscuro effective ; some of his pictures, however, are said to want variety in the tones. Van Dyck, when at Florence, expressed the highest admiration of his works, and painted his portrait, of which he afterwards made an etching. He is sometimes called Subtermans, but there is no good authority for so doing. His ivorks are mostly confined to Italy. He died in 1681. Thomas, John, was born at Ypres, in Flanders, in 1610 ; he is mentioned among the scholars of Fubens. He went to Italy with his friend Abraham Diepenbeck, and after some stay there passed into Germany, where he distinguished him- self by several considerable works. In the church of the barefooted Carmelites, at Antwerp, is an altar-piece by him, representing St. Francis kneeling before the Virgin and In- fant Christ. He died about 1673. Tierendoree, Jeremie tan, a Flemish painter, lived about 1626. There is a picture by him in the church of St. Peter, at Ypres, representing Christ delivering the Keys to St. Peter, and another of the Nativity in the church of St. James. Toorntliet, Jacob, was born at Leyden in 1641. He was instructed by an obscure artist, and commenced as a portrait painter, in which branch he acquired some reputa- tion. In 1670 he went to Italy, and on seeing the works of Faphael and the other great masters at Pome, became ambitious of distinguishing himself as a painter of history. After perfecting himself in design by assiduously studying the examples of these masters, he went to Venice to improve in colouring, and studied the works of Titian, Tintoretto, and Paul Veronese. He returned to Holland after an absence of six years, with the fond expectation of being patronized and employed. He was disappointed in his expectation ; his style of design, founded on the taste of the Foman school, was not appreciated by his countrymen, and notwithstanding 316 HISTOEICAL PAINTEES. the respectability of his talents he was neither admired nor employed. His aspirations being thus damped, he adopted the style of Jan Steen, and succeeded in painting familiar subjects more congenial to Dutch taste, both of the cabinet size and on a grand scale. His compositions of this kind are ingenious, his design correct, and his colouring clear and natural. He died at Leyden in 1719. Tysse^s^s, Petee, was born at Antwerp in 1625. It is not said under whom he studied, but his works show that he made Van Dyck his principal model. He painted history and por- traits, and in both approaches frequently so near to his type that it is not easy to discriminate between their performances. He was made Director of the Academy at Antwerp, in 1661. Among many excellent historical pictures by him may be named, the Martyrdom of St. Benedick in the church of the Capuchins at Brussels ; the Assumption of the Virgin in the church of St. James, at Antwerp ; the Holy Trinity and the Virgin, at Malines ; and the Martyrdom of St. Catharine, in the collegiate church of St. Martin, at Alost. His composi- tions are well arranged, his design correct, and his colouring clear, chaste, and harmonious. It is supposed that he died about 1692. Valck, Peter, born at Leewarde in 1584, painted history in the manner of Abraham Bloemart ; he was also a landscape and portrait painter. He is best known by his engravings, which are copies and imitations of Philip Gralle. Valkert, Warn are van, a Dutch painter, born in the early part of the last quarter of the sixteenth century, was a scholar of Henri Groltzius, and painted historical pictures in his manner. There are some by him in the cWrches at Utrecht. He was also an engraver. He was living in 1623, Van Dyck, Anthony. See F^nncipal Masters. Vanloo, Jacques, was born at Sluys, in Holland, in 1614. After receiving some instruction in his own country, he went to Prance and established himself at Paris, where he was principally employed as a portrait painter. He, however, painted several pictures of poetical subjects that are men- tioned with approbation. Pie was a correct designer, and an agreeable colourist. He died in 1670. Vanloo, Jan Baptiste, the grandson of Jacques Vanloo, was born at Aix, in Provence, in 1684. His father taught HISTOEICAL PAIJfTEES. 317 him the elements of design, and such was his decided genius for the art that he made an extraordinary advance in it with- out further assistance. After painting several pictures for the churches at Toulon, before he had completed his twenty- third year, he went to Kome, under the patronage of Prince Carignan, and took lessons from Benedetto Luti. At Borne he was employed both in churches and palaces, and gained such reputation that he was invited to the court of Turin, where he painted the portraits of the duke of Savoy and several of the nobility. Prom Turin he went to Paris, and was admitted a member of the Academy ; he painted, for his reception picture, the subject of Diana and Endymion. For the church of St. Martin des Champs he painted the Entry of Christ into Jerusalem ; and in the church of St. Germain des Pres, St. Peter delivered from Prison. He visited England, and was the most favoured portrait painter of the day. His likenesses are striking and coloured with force, and it was said that he did not flatter ; this, however, may he suspected as being flattery to the sitter ; for it is not likely that he would have been so much employed if he had omitted that necessary ingredient in a portrait : indeed many of his appear to have a large share of it. He died in 1746. Vai^makdee, Kaeel, was born at Meulbeke, near Courtrai, in 1548. He was of a noble family, and received an education suited to his rank. At an early age he showed a decided disposition for painting, and having finished his literary pursuits, he was placed with Lucas de Heere, of Ghent, who was both a painter and a poet. With him he studied for some time, and then became a scholar of Peter Ylerick, who was an historical painter of some note at Courtrai. After gaining considerable reputation for pictures painted for churches in Flanders, he determined to visit Italy to study the remains of antiquity and the work of the best masters at Borne. He there formed an intimacy with Bartholomew Sprangher, and in conjunction with him was employed in some of the public places, and for private collections. After a residence of three years in Italy, he had thoughts of returning to Flanders, but was prevailed on by his friend Sprangher to visit Vienna. There he received a pressing invitation to enter the service of the emperor, but his attachment to his native country prevented him accepting so honourable a mark 318 mSTOEICAL PAINTEES. of distinction. He was received by bis countrymen with great kindness and favour, and immediately employed on several important works. One of bis earliest was Adam and Eve in Paradise; this was followed by a picture of tbe Deluge; in both of these be e\inced bow much bis style bad improved by bis visit to Home. War breaking out, be was compelled to take refuge in Holland : after encountering many difficulties and dangers be arrived safe at Haerlem, where, in conjunction with Henri Goltzius, be opened an academy to instruct tbe younger artists in tbe style he bad acquired in Italy. Among the principal works painted by him in Holland were, St. John preaching in tbe Wilderness ; tbe Adoration of tbe Magi ; and Christ bearing his Cross. During this time be was also em- ployed in writing his Lives of tbe Painters, and several other literary works. He removed from Haerlem to Amsterdam, and died there in 1606. Yenius, or Yak Yeek, Otho, was born at Leyden in 15^6, and was a scholar of Jodocus van Wingben. He received a classical education, and possessed great literary acquire- ments. Tbe civil wars obliged him to retire to Liege, when lie was about fifteen, to prosecute bis studies both in liter- ature and tbe arts. His talents recommended him to the notice of Cardinal Grosbeck, then prince bishop of Liege, who advised him to visit Italy for improvement, and furnished him witli letters of introduction to influential persons at Rome. Arrived at tbe capital of tbe arts, he became a disciple of Eederigo Zuccaro, and by attentive study, under that master’s direction, acquired correctness of design, and a more elevated taste than was possessed by any of bis Elemisb competitors. After seven years’ residence in Italy he visited Germany, and passing through Munich and Cologne, painted some pictures for tbe duke of Bavaria. He arrived at Brussels, and W'as taken into tbe service of Alessandro Earnese, prince of Parma, who was then governor of tbe Netherlands. At the death of that prince be established himself at Antwerp, where he painted several of his celebrated pictures’for the churches, and other public edifices : it was at this time that Rubens became his scholar. Among his principal works in tlie Low Countries are, the Marriage of St. Catha- rine, in the church of the Capuchins at Brussels ; the Last Supper, in the cathedral at Antwerp ; the Resurrection of mSTOEICAL PAIT^TERS. 319 Lazarus, in St. Bavon’s, at Grhent ; and the Adoration of the Magi, in the cathedral at Bruges. Otho Yenius had a fruitful invention, and by his studies at Borne had acquired a more graceful style than the generality of the artists of his country ; but the praise bestowed on many of his productions must be limited to the time at which they were painted : the glory of Bubens has eclipsed that of his master, and given much cele- brity to his name. Otho Yenius died in 1634. Yeebrtjggeiv, properly TEEBEuaaEK, Hekei, was born at IJtrecht in 1588. He was a scholar of Abraham Bloemart. Like many others of his country, he went to Italy for im- provement, and distinguished himself at Naples by a picture for one of the principal churches there representing a De- position from the Cross. On his return to Holland he set- tled at Middleburg, where he continued to exercise his talents with great respectability. It is said that Bubens, in his tour through Holland, was particularly struck with the works of Terbruggen, and pronounced him to be one of the ablest painters of the country. He died in 1640. Yeekolje, Nicholas, was born at Delft in 1673. He distinguished himself in several departments of the art ; in portraits, conversations, and historical subjects. In the last he painted St. Peter denying Christ ; Moses saved by the Daughter of Pharaoh ; and David and Bathsheba. His com- positions are simple and judicious, his design graceful and correct, his colouring tender and harmonious, and his pencil- ing firm and delicate. In England he is best known by his cabinet pictures, and by the subjects painted by him in the landscapes of some of the best Dutch artists. Pie died at Amsterdam in 1746. Yeemeteh, Jak CoEiSTELisz, bom at Beverwyck, near Haerlem, in 1500, was a favourite of the emperor, Charles Y., and attended that monarch in many of his expeditions. He was with him at the siege of Tunis, and made designs of remarkable occurrences, for the purpose of being wrought in tapestry to ornament the Escurial. Towards the latter part of his life he resided principally at Brussels, and painted pictures for the churches there. Of these there is only the record left by Yan Mander. Yermeyen was remarkable for his long beard, which, though he was a tall man, reached to the ground. It is said that the emperor would sometimes 320 HISTORICAL PAINTERS. tread upon it for amusement : less merit than a long beard A\dll make a favourite at court. He died at Brussels in 1559. Yermeyen is also called Barbato, Barbudo, Barbalonga, and Hans with tlie Beard ; and sometimes Jan de Mayo. The pictures which he painted of the royal progresses are supposed to have perished in the fire at the Pardo in 1608. A^eryeer, Ary Hubertsz, born at Dort in 1646, painted history, and was considered a good designer. He endeavoured to imitate the style of Bembrandt, but instead of that mas- ter’s magical chiaroscuro, he produced blackness and gloomi- ness, and for freedom of penciling the effects of negligence and despatch. Ylerick, Peter, born at Courtrai in 1539, is mentioned by his scholar, Yan Mander, as an historical painter of con- siderable ability; and Descamps says that he was held in such estimation by Tintoretto that he offered him his daugh- ter in marriage. Confirmation is needed of Yan Mander’ s opinion, and the report of Descamps is probably as authentic as many other of his anecdotes. Peter Ylerick died in 1581. Yoorhout, Jan, was born at Amsterdam in 1657, and was a scholar of Jan van Noort. When the French army entered Holland in 1672, he retired to Hamburg, where he painted portraits and historical subjects, by which he obtained con- siderable reputation. After an absence of three years he returned to Holland, and among other subjects painted the Death of Sophonisba, which has been praised in poetry and prose. The pictures of Yoorhout were formerly found in the choicest collection in Holland. As there were two painters of the name, distinguished only as the Elder and Younger, and wlio are said to have painted alike, it is difdcult to ap- portion their Avorks. The one spoken of above was the Elder, and died in 1723 ; of the other, who Avas probably his son, there is no particular account, it is only said that he died in 1749. A^os, Martin de, aa^rs born at Antwerp in 1531. After studying some time in the school of Francis Floris, he visited Italy, and improved lus style by attention to the works of the great painters of the Boman school. He next passed to Ye- nice, and liad the good fortune to conciliate the esteem of Tintoretto, Avho not only instructed him in the best princi- ples of colouring, but employed him as a coadjutor to paint HISTOEICAL PAIKTEES. 321 the landscapes to his pictures. With the aid of Tintoretto, De Vos became an excellent colourist, and gained such reput- ation that he was' employed to paint the portraits of several of the family of the Medici. On his return to Antwerp, after an absence of eight years, he was commissioned to paint se- veral altar-pieces for the churches there, and for others in the Netherlands. He was received into the Academy in 1559, and continued the exercise of his talents, as a painter of portraits and history, until 1603, when he died. His works in both branches were numerous, and had consider- able influence on the art ; but many of his pictures were destroyed by the Iconoclasts. Whatever he may have gained in Italy, his surviving pictures show that on his return to Flanders he reverted to the characters and manners of his country. In historical compositions he must be judged by Flemish canons. See Portrait Painters. Vos, SiMCJS" DE, was born at Antwerp in 1603, and is supposed to have received some instruction in the school of Fubens ; however that might be, he proved an eminent painter of portraits and history. His picture of the Fesur- rection, in the cathedral ; of the Descent from the Cross, in the church of St. Andrew ; and of St. JSTorbet receiving the Sacrament, in the abbey of St. Michael, possess so much merit that they have been often mistaken for works of Fubens. He was living in 1662. See Portrait Painters. There were several other artists of the name De Vos who painted history and portraits, but writers have so con- founded them and their works, that it would aflbrd but little satisfaction to the amateur to introduce them here. The difficulty of distinguishing them is increased by their being contemporaries, and probably of the same family. The painters of the period were not always sufficiently careful to put their baptismal name on the picture, and writers have been content with giving that of the family only. It may, ^however, be added, that the omission is as often from ignor- ance as negligence, on the part of the latter. Wassembeeo, lAJf Abel. See Scholars and Imitators of Adrian Yander IVerf. WiELiNO, Nicholas, is supposed to have been a native of 322 HISTOEICAL PAIIS-TEES. Holland. He painted historical pictures and portraits. His manner of painting is more in accordance with the Flemish than the Dutch schools ; his portraits have a resemblance to Van Dyck’s. He was much employed by Frederic AVilliam, Elector of Brandenburg, who appointed him painter to the court in 1671. He died at Berlin in 1689. WiGMANA, GtEeaki), bom at Workum, in Friesland, in 167»3, went to Italy when young to study the works of Ea- phael and Griulio Eomano. On his return to Holland he acquired some reputation as a painter of historical pictures of the cabinet size, remarkable for laborious finishing and gaudiness of colouring, and not less so for vulgarity of man- ners and incorrectness of design. He selected for his sub- jects some of the most interesting events in sacred and profane history, and burlesqued them by perversion of cha- racteristic expression, and a total inattention to propriety of costume. He intended to be sublime, but so far overstepped the modesty of nature as to become ridiculous. He added to his folly by calling himself the “ Eaphael of Friesland,” and accordingly demanding exorbitant prices for his pictures ; and he was surprised that the ])ublic was not disposed to pur- chase them at his estimate. He tried his fortune in England, but, even there, met with no better success. He returned to Holland disappointed, — not cured of his vanity, — and still adhering to his own estimate of his works, died in strait- ened circumstances at Amsterdam in 1741. After his death, however, some of his pictures sold for high prices, and were admitted into very celebrated collections. AViNGHEisr, JoDOCUS, or JossE, YAK, was born at Brussels in 1544. He went to Italy while young, and after four years’ stay at Borne returned to Brussels, and was appointed painter to the Prince of Parma. Plis love of change induced him to quit the service of that prince and establish himself at F rankfort, where, it is said, he painted an allegorical picture of Germany alarmed, under the form of a naked woman chained to a rock, and a figure of Time flying above, coming to relieve her. This seems very like a misapprehension of the writer, from whom the description is taken, of the story of Perseus and Andromeda. Two other pictures by him are mentioned ; Apelles and Camj^aspe, and the Last Supper. It is said he was a distinguished painter in his day, yet very HISTOEICAL PAINTEES. 323 few of his works are known. He ha^ a son, Jeremiah^ who also painted historical subjects, some of which were in the Dusseldorf gallery. He used the same marks on his pictures as his father, and this has caused some confusion in the ac- counts of both. Jeremiah was born in 1578, and died in 1648. Jodocus died in 1613. Wit, Jacob be, was born at Amsterdam in 1695. He was a scholar of Albert van Spiers, under whom he studied for three years. On leaving his school he went to Antwerp, attracted by the fame of Eubens and the other great masters flourishing at that time. Immediately on his arrival at An- twerp he made designs of the paintings by Eubens in the four ceilings of the Jesuits’ church, in thirty-six compart- ments, which were destroyed about five years afterwards by lightning. He Wit painted several altar-pieces for Eoman Catholic churches in Holland, but his principal occupation was painting ceilings and decorating large apartments with emblematical subjects. He was particularly successful in his designs of children, and was fond of introducing them in his pictures, painted in chiaroscuro as bas-reliefs. These sub- jects are frequently met with as isolated pictures for panels, and are held in great estimation for the infantine beauty of the figures, and the close resemblance of the work to sculp- ture. It is said that he died in 1754, PORTRAIT PAINTERS. Baain, Jak de, born at Haerlem in 1633, was a scholar of J acob de Backer. He was invited to England by Charles the Second, and painted his portrait, and those of many distin- guished persons of the time. He was a great admirer of the style of Van Dyck, and in several instances imitated it to perfection. It is related that Louis the Eourteenth, after conquering part of Holland, was desirous of having his. por- trait painted by De Baan, but the painter excused himself by saying that in the midst of his mourning country he did not think it proper for him to trace the features of her conqueror. The landscape back-grounds of many of De Baan’s portraits were painted by Bernard Appelman. Jan de Baan died in 1702. Baat^, Jacob be, was born at the Hague in 1673. He was the son and scholar of Jan de Baan. He came to Eng- land about five years after the accession of William the Third to the throne, and painted the portraits of the Duke of Gloucester and several of the nobility. He painted in the style of his father, and it was expected that he would even surpass him, but he died at the early age of twenty- seven. Backeb, Jacob be, born at Harlingen in 1608, or there- about, painted both history and portraits ; in the latter he showed great facility of execution. It is said by Houbraken that he painted a half-length portrait of a lady, dressed in a troublesome drapery and loaded with jewels, in one day. It is said that he painted the portrait of Brauwer. Jacob de Backer died, according to some writers, in 1641, and accord- ing to others, in 1651. POETEAIT PAII^TEES. 325 Baeentsek, Dieck, and Baeent ee Dowe, Beefaee, called also II Sordo. These appellations probably belong to an individual artist who studied under Titian. He was born at Amsterdam in 1534, and went to Italy when young ; he was placed in the school of Titian, and became a great fa- vourite with his master on account of his talents, and also on account of his infirmity. He painted the portrait of Titian, at whose death he returned to Holland, where he pro- duced several admirable works, both in history and portrait- ure ; in the latter he imitated the colouring of Titian to de- ception. He died at Amsterdam in 1592. Beeck, or Beck, Davie, born in 1641, was for a short time a scholar of Van Dyck, and was employed by Charles the Birst in copying his portraits. He was a favourite with Charles, and after his death visited many of the European courts, and painted the portraits of the kings and nobles much in the style of his early master. He was, however, somewhat too rapid in his execution, which on one occasion drew the remark from Charles, that he believed Beeck could paint riding post. See Scholars and Imitators of Van Dych. Beeleemakee, Eeafcis, was the son of Jan Beeldemaker, the painter of boar and bear hunts, and was born at the Hague in 1669. After studying some time under William Doudyns, he went to Italy, and improved his style by assidu- ous attention to the works of art in the several cities that he visited. On his return to Holland he distinguished him- self both in history and portraiture ; and in the latter was particularly admired. He died at the Hague in 1717. Belkamp, Jat^ yak, a Dutch artist, who passed a great portion of his life in England, and was employed in copying the pictures in the Boyal Collection. He copied the por- traits of Henry the Seventh and Henry the Eighth, from large pictures painted by Hans Holbein, which were destroy- ed by fire at Whitehall. He died in 1653. Beeckmaks, Hekei, was born at Clunder, near William- ^tadt, in 1629. He studied under several masters, among whom Bosschaert, Wouwerman, and Jacob Jordaens are named, and occasionally showed something of the manner of each, according to the subject on which his pencil was employed. He finally attached himself entirely to portrait- ure, and became such a favourite, that it was with dijBhculty 326 PORTEAIT PAINTEES. he could fulfil his engagements. Admiral de Euyter and many other of his distinguished countrymen were painted by him. He died in 1690. Bockhoest, Jan yan, called Langen Jan, was a scholar of Jacob Jordaens. He distinguished himself in several branches of the art, and was particularly excellent as a por- trait painter, in which he is sometimes not inferior to Yan Dyck. This artist must not be confounded with another of the same name, who was a scholar of Sir Grodfrey KneUer, and much employed in London. See Historical Jainters. Bodeckee, Jan Beanz, a scholar of Jan de Baan, prac- tised portrait painting at Amsterdam and the Hague. He was born at Cleeves in 1660. Boeteemans, Theodoee, a native of Antwerp, was a scholar of Eubens, but in his portraits imitated the manner of Van Dyck. Bokshoven, Josse, born at the Hague, came to London in 1670, and was employed chiefly in copying the portraits by Yan Dyck and Peter Lely. He died at the age of thirty- five. Bol, Feedinand. See Scholars of Memhrandt. Boonen, Aenold, born at Dort in 1669, was a scholar of Arnold Yerbius and of Godfrey Schalcken. His chief prac- tice was portrait painting. He was well qualified for that department, as he was a faithful designer, an excellent co- lourist, and had an uncommon facility in penciling. He painted the portraits of many distinguished persons of his time, among which were Peter the Great, John Duke of Marlborough, the Prince and Princess of Orange, and som6 of the petty sovereigns of Germany. He died in 1729. CoQUES, Gonzales. See under the head of Frincipal Jainters. Cute, Aleeet. This admirable painter excelled in every department of the art in which he employed his pencil. In some of liis portraits he rivals Eembrandt, combining that master’s vigour with the clearness and suavity of Philip de Koningh. He painted a great number of small portraits ; those of life-size are frequently in the oval form. See Prin- cipal Painters, Landscapes and Cattle, and other divisions of this work. CuYP, Jacob Geeeitsz, was born at Dort between 1575 PORTE ATT PAIOTEES. 327 and 1580, (for writers are not agreed on tlie exact date,) and was a scholar of Abraham Bloemart. He painted various subjects, but the best that have survived are his portraits, some of which are excellent. He was the father of Albert Cuyp, and one of the founders of the Academy at Dort in 1642. He is generally called Old Ouyp, to distinguish him from Albert and Benjamin, a distinction now not necessary. Dtjivei^', Jan, born at Grouda in 1600, was a scholar of Wautier Crabeth, and had a great reputation as a portrait painter ; his works are very little known at present. It is said that he made much'money by repetitions of the portrait of a Branciscan Briar, of the name of Simpernel. He died in 1640. Eeckhotjt, Geebeandt Vanden. See Scholars of Bern- hrandt. Blink, Goyaeet. See Scholars of Rembrandt. Gaspaes, John Baptist, was a native of Antwerp. He visited England during the civil war, and was employed by General Lambert. After the Bestoration he became an as- sistant to Sir Peter Lely, and subsequently to Sir Godfrey KmeUer. He drew well, and excelled in making designs for tapestry. He painted two portraits of Charles the Second, one for Painters’ Hall, and the other for St. Bartholomew’s Hospital. He died in 1691. Gelbee, Arnold de. See Scholars of Rembrandt^ and Sistorical Rainters. Gentile, Louis Peimo. The family name of this artist was Rrimo, but he was called Gentile by the Italians on ac- count of his polished manners and elegant dress, and by that name his works are recognised. He was born at Brussels in 1606 ; he went to Borne when young, and resided there for thirty years. He painted history and portraits, and was considered very eminent in the latter department. His por- traits are of the Boman nobility, and are confined to Italy. They are highly finished, without the appearance of labour, and well coloured. He returned to his own country, and painted a Crucifixion for the church of St. Michael at Ghent. He died at Brussels in 1670. Gualdorp, properly Geldoep Goetzius, was a scholar first of Branz Branch, and afterwards of Branz Pourbus ; he painted portraits in the manner of the latter, and had a high 328 POETEAIT PAI^^TEES. reputation iu his day. Some of his pictures have been com- pared with Gruido’s for suavity of colouring and style. See Historical Painters. Haa^speege^s^, tan, the scholar and successful imi- tator of Poelemhurg, adopted portrait painting as more lu- crative than that of fabulous subjects, and obtained much employment. Portraits by him are numerous, some very fine, and others very tawdry, from the conflicting and predominant colours, white and red. Those of a small size are frequently attributed to Poelemburg. See Scholars of Poelemhurg . Haeskel, , a Dutch portrait painter who visited England about the middle of the seventeenth century ; his manner of painting much resembles that of Dobson. He has not been noticed by any of the Dutch writers on the art. Hals, Eeais'Cis, was born at Malines in 1584, and was a scholar of Karl Yanmander, but his practice was confined to Holland, and therefore he is considered entirely as a Dutch painter. In his best portraits there are but few superior to him. They are natural in character, vigorous in execution, and rich in colouring. Prank Hals, like Kembrandt, seems to have embodied first impressions, and his portraits have therefore the impress of truth ; there is no attempt to attitudinize.^ nor affectation of sentimental expression ; the real character and person of the man or woman may be known by the picture. He has received but a small portion of the praise due to his merits, because he is known to many by his inferior works only. These being executed in haste, and frequently, perhaps, under an influence which Pranlc Avas too prone to indulge, have, with all their masterly handling, the appearance of carelessness and de- spatch. Sometimes his subjects are vulgar, and almost dis- gusting, but in all there is truth and artistic skill. The por- traits to Avliich he devoted his sober attention, are worthy to stand Avith those of Kembrandt, Yander Heist, and Yan Dyck. lYank Hals died in 1666. IlAXNEArAN, Adeiak, borii at the Hague in 1611, was a scholar of Jan llavesteyn. He distinguished himself as a portrait painter at the Hague, but the encouragement given to tlie arts by Charles the Pirst, and the great success of Yan Dyck, induced him to visit England. He resided in this country for about sixteen years, and during that time POETEATT PAINTEES. 329 painted the portraits of many persons of distinction. He studied and copied the works of Van Hyck, and so suc- cessfully that most of his portraits have analogy to that mas- ter’s in style and colouring. At the commencement of the -troubles in England he returned to the Hague, and was made Eector of the Academy there in 1665. It is supposed that he died in 1680. Haeijs^u, or Haelinu, Dai^iel, horn at the Hague about the year 1636, painted portraits in the manner of Netscher. He became Director of the Academy at the Hague, and died there in 1706. Hates, Johi?', an English portrait painter who lived in the reign of Charles the Second. He is noticed for his ex- traordinary skiU in copying the works of Yan Dyck. He died in 1679. Heeee, Lucas ue, born at Ghent in 1534, was a scholar of Erancis Eloris. He made designs for workers in tapestry and painters on glass, for which Eloris claimed the credit. He went to Erance, and was employed in a similar manner. He acquired great reputation as a portrait painter, in small and very elaborately executed pictures, and if all that are attributed to him be by his pencil he had sufficient occupa- tion. He came to England during the life of Henry VIII., and painted the portrait of the Princess Mary; some years after he again visited the country, and captivated her sister Elizabeth, then queen, no less by his gorgeous picture of her, surrounded by emblems of divinity paying homage to her personal and mental charms, than by a flattering explication of the subject in Latin verse. He died at Ghent in 1584. See Historical Painters. Heie, Jak Baptist vaiv, born at Brussels in 1609, painted history and portraits. His chief merit is in the latter, painted in a firm, free style, and finely coloured. There is no account of his death ; he was living in 1661. Heie, Dai^iee yak, born at Brussels in 1604, for some time painted portraits with reputation, but he abandoned portraiture for conflagrations and winter scenes. There is a portrait of Peter Snayers, the battle painter, engraved by Caukerken after Daniel van Heil. See Conflagrations. Heest, Baethoeomew Yakdee. See under the head of Principal Painters, 330 POETRAIT PAINTERS. Honthoest, GtERAee. Portraits by this artist are readily discriminated by tbeir colouring. They are bold and striking, and if in harmony, it is a harmony peculiar to himself. The colouring is fall and showy, but wants tenderness and transparency, and the chiaroscuro is more mechanical than . scientific. There is an air of truth in the representation of the countenances, but the flesh wants flexibility. He was a favourite with Charles I., and painted several of his family, and also some of the nobility of the time. He died in 1660. See Historiml Painters. Honthoest, AVilltam, a younger brother of Grerard, born at Utrecht in 1601. He was a scholar of Abraham Bloemart, and occasionally painted history, but is best known by his portraits. He died in 1683. Hooosteaeten, Samuel van, was a scholar of Hembrandt, and commenced portrait painting in the dark manner of his master ; but flnding that such pictures from his pencil were not approved, he had recourse to a clearer style and was suc- cessful. Some of his portraits are of a superior order, and are found in collections of the highest class. Hoogstraeten visited England, but produced nothing here worthy of notice. See Scholars of Pemhrandt and Imitators of l)e Hooge. Hoeeebout, GtEeaei) Lucas, born at Grhent in 1498, painted portraits in the manner of Hans Holbein. He came to England, and was for some time in the service of Henry Vlll. He died in London in 1588. Hoeion, Alexander de, flourished at Liege about the middle of the seventeenth century. His likenesses were good and well- drawn, but wanting in expression ; he made amends for this defect by ornamenting them with beautiful accessories. This, it is said, was the cause of his standing high in the esteem of ladies of fashion. He died in 1659. Isaacs, Peter, was a scholar of Cornelius Ketel, and also of Jan van Achen, with whom he travelled through Grermany and Italy. He afterwards resided at Amsterdam, where he was fully employed in painting portraits. The heads are full of life and character, and the hands are drawn with the jrreatest correctness. He was born in 1569 ; the time of his o ^ ' death is not mentioned. Jacobs, Simon, born at Gouda in 1520, painted portraits POETKAIT PAIITTEES. 331 with a free pencil and a decided touch ; he drew correctly, and his colouring was pure and brilliant. He was killed at the siege of Haerlem in 1572. Jai^ssen, Cornelius, was born at Amsterdam about 1590. He came to England in 1618, and was taken into the service of James I., whose portrait he painted several times. He was also very generally employed in his profession, as may be judged by the numerous English portraits by him. His pictures, though somewhat formal, have an air of truth, are in a clear style of colour, and neatly finished. They are ge- nerally what is called three-quarter size, (that is to say, the head and a portion of the body,) often little more than the bust, and always on panel. His portraits of eminent persons ought to be prized for their evident individual truth. Janssen remained in England until 1648, when he returned to Am- sterdam. He died in 1665. JoNO, Ledolph de, was born near Rotterdam in 1616. He studied under Herman Zachtleven, Palamedes, and By- lert. He painted various subjects, but chiefiy excelled in portraiture. He died in 1697. Kessel, Jan yan, born at Amsterdam in 1644, accom- panied his father (the celebrated painter of small landscapes with birds, fruit, flowers, &c.) to Spain, where he was patron- ized by Philip V. and his queen. He was chiefly employed in painting portraits, which are said to be in the manner of Van Dyck, and not much inferior to his. His portraits are mostly in Spain. He died at Madrid in 1708. Keelen, or Ceelen, Jansons yan, was a portrait painter of considerable eminence in England, previous to the arrival of Van Dyck, and though he suffered in his practice at court by having so formidable a rival, he maintained his reputation as a portrait painter for several years after, as he did not quit the country till 1647, when he retired to the Hague. He died there in 1665, according to some, but according to others, in 1656. One of the dates may be a misprint. See Imitators of Van Dyclc. Key, 'William:, born at Breda in 1520, was a scholar of Lambert Lombard. He was eminent as a portrait painter, and remarkable for the sweetness of his colouring and the softness of his penciling. He painted many of the distin- guished persons of the day, among which were Cardinal 332 POKTRAIT PAIISTTEES. Grranvelle and the Duke of Alva. While engaged in paint- ing the portrait of the latter, he overheard a conference be- tween the duke and the judges appointed to try the Counts Egmont and Hoorn, in which it was predetermined that those illustrious patriots should be declared guilty and suffer death. This villany had such an effect on the mind of the painter, that he Avent home and sickened, and died on the very day on Avhich this tyrannical and judicial murder was perpetrated, in the year 1568. Ketsee, Theodoee de, painted portraits in a bold and effective manner, and with remarkable naivete of expression. There is a picture by him in the gallery of the Hague repre- senting four of the burgomasters of Amsterdam in consult- ation respecting the reception of Marie de Medicis. It was thought worthy of being removed to the Louvre and of being claimed back again. The heads are admirably painted, and with a richness of colouring equal to Hembrandt. He painted many family portraits in groups, as compositions with the advantage of accessories. There is a small specimen in the National Grallery, representing a gentleman and his son as a Dutch Merchant and his Clerk. According to dates on his pictures, Theodore de Keyser flourished from 1620 to 1660. Kt^ellee, Godeeet, Avas born at Lubeck in 1648, and was sent Avhen young to Amsterdam, and, it is said, was placed in the school of Hembrandt for a short time, and afterwards took lessons from Eerdinand Bol. At seventeen he went to Eome and became a scholar of Carlo Maratti, and after some stay Avith him Avent to Venice ; and then to England in 1674. He became the rival of Peter Lely, and they divided the fashionables of tlie day betAveen them. Lely had secured to himself the beauties of the court of Charles II., and Kneller commenced his career in England with the daughters of those celebrated ladies and others their contemporaries. Kneller being a much younger man than Lely, and an expeditious painter, obtained tlie greater number of juveniles, who were afterAvards destined to figure as the beauties of William III., at Hampton Court. The practice of Kneller was not con- fined to the portraits of ladies ; he obtained an ample share of the other sex, and some of them among the most illustri- ous of that or any otlier age ; namely, Sir Isaac NeAvton, Jolm Dry den, and the great Duke of Marlborough. The POETEAIT PAINTEES. 333 portraits on which he bestowed pains are excellent in draw- ing and colouring, and suffer only from the absurdity of the fashion in the female attire, and the gentlemen’s wigs. Eut his carelessly-painted pictures are numerous, and in these it is only the faces that are painted by him ; the wigs and head- dresses being previously prepared by other hands, and the draperies added by his regular assistants in that department. He died in 1723. Koets, Eoeloee, was born in 1655. He was a scholar of Terburg, but never painted anything but portraits. He was employed by William III., and several of the English no- bility who attended the king at Loo. It is said that he painted five thousand portraits without assistance from any other hand ; many were probably miniatures, and have dis- appeared with the originals. He died in 1725. Konti^gh, Philip .he, the great rival of Kembrandt and Euisdael in bird’s-eye views of landscapes, ranks almost with the first in portraiture. There is an uncommon appearance of truth and nature in his heads, and the attitudes and drape- ries are free from affectation ; the colouring rich and harmo- nious, partaking of the manner of Eembrandt blended with the tender tints of Van Dyck. See Scholars and Imitators of Jacoh Muisdael and Mem- brandt. Laeooh, Maecellhs, was born at the Hague in 1653. He came to England, and was employed by Sir Godfrey Kneller to paint the draperies of his portraits, in which branch he was eminent, as he could imitate different styles with facility. He painted a few portraits himself, and also some historical pieces and conversations ; but nothing of im- portance. He is noticed here, that the amateur may know the name of the painter of the draperies of many of Sir Godfrey’s portraits. Laroon died about 1705. Layesqtje, Jacob, born at Hort in 1624, was for some time in the school of Eembrandt, but adopted the manner of Jan de Baan ; he confined himself to portrait painting, and is very respectable. Lely, Petee, was born at Soest, in Westphalia, in 1617. The family name of this artist was Vander Faes, but was changed to Lely by a circumstance that does not seem very probable. His father was a captain of infantry, and, being in garrison, was 334 POETEAIT PAT^TTEES. lodged in a house, the front of which was ornamented with a lily, and this, says the biographer, was the cause of his being so named. He was placed with Peter G-rehher at Haerlem, and when he was little more than twenty had ac- quired considerable reputation as a landscape and portrait painter. He came to England after the death of Yan Dyck, and AA'as introduced to the notice of Charles I. by William, Prince of Orange, who came to England about the same time, to be united to the Princess Mary. He painted the portraits of Charles, his daughter Mary, and William. The Eevolution did not induce Lely to quit the country ; he re- mained, and, it is said, painted Oliver Cromwell also. This, however, may be doubted, as the admonition bestowed by Oliver on the painter to represent every wart, furrow, and roughness on his countenance, on pain of losing payment if he did not do so, has been applied also to Eobert Walker, who may be considered as Cromwell’s favourite portrait painter, and more likely to be so familiarly addressed on the subject. On the return of Charles II., Lely stood high in favour, painted the king and his mistresses, and most of the other dissolute ladies that figured as beauties at his court. He died in 1680, and was buried in St. Paul’s, Covent Oar- den. Lely was really a fine portrait painter, and he had the good fortune to have handsome women to paint. He has handed their likenesses down in colours pure and permanent. The peculiarities in his ladies are, that most of them have sleepy eyes, and all of them beautiful hands. The love- locks and draperies are conventional : as the ladies preferred looking like courtesans, they are fitted with loose dresses suitable to the character. A handsome female modestly dressed would hardly be thought a portrait by Lely. His portraits of men show in many instances the effeminacy of the age ; in some, however, the manly character is preserved. Lievexs, Jax, was born at Leyden in 1607, and was a precocious scholar of Peter Lastman. He distinguished himself when only twelve years of age by his aptitude for copying. He is praised by some for his portraits and land- scapes, and is supposed to have imitated Eembrandt ; it is only in his etchings that there is appearance of his having done so. It is also said that he visited England in 1630, and painted the portraits of Charles I. and his queen, POETEAIT PATKTEBS. 335 and some of the nobility, but nothing has been discovered to justify the assertion. Lint, Petee tan, a native of Antwerp, who was an emi- nent historical painter, had also a high reputation for por- traiture ; in both departments his colouring approaches that of Yan Dyck. See Historical Painters. Lucas yan Leyden. See JEarhj Dutch and Flemish Dainters. M a A N, or Man, Coenelius de, who had studied several years in Italy, and particularly devoted his attention to the Avorks of Titian, at Venice, on his return to Holland distin- guished himself as a portrait painter. A large picture by him in the Surgeons’ Hall at Delft, being the portraits of the most eminent medical men of the time, has more the ap- pearance of Venetian than Dutch painting. See Historical Painters. Maes, IN’icholas. See the article Nicholas Maes., under the head of Princi'pal Painters^ and also under Interiors and Conversations. Mahue, GtUIllaume, born at Brussels in 1517, was a portrait painter of great reputation in his time ; he died in 1569. Meeet, Petee, born at Brussels, had considerable reput- ation as a portrait painter ; he imitated the style of Van Dyck. In the Museum at Brussels there are portraits of some of the ancient magistrates of the city by him. Des- camps, and those who have followed him, must be in error in saying that Meert was born in 1618, as there are prints after him dated 1621. Metssens, Jan, born at Brussels in 1612, was a por- trait painter and engraver. He was much employed in por- traiture, and painted Henry of Nassau, and the principal persons of his court. He settled at Amsterdam, where he carried on an extensive commerce in prints. He was a bet- ter painter than engraver. Some writers have created con- fusion by calling him Jan My tens, against which mistake the amateur should be guarded. Mieevelt, Michael Janson, born at Delft in 1568, was a scholar of Anthony de Montfort, called Blocklandt. His first productions on quitting the school were altar-pieces for some of the churches at Delft ; but having painted the por- 336 POETEAIT PATNTEES. traits of some of the princes of the house of Nassau, thej were so universally admired that he had constant employ- ment in tliat branch, and abandoned historical painting. The portraits by Mirevelt are well drawn, full of expression, solidly coloured, and with a proper degree of finishing with- out the appearance of labour. Portraits by him are very numerous, many of which are of princes of the houses of Nassau and Duke Albert, and of persons of importance about them. They are seldom longer than the half-length, (to the knees,) more frequently three-quarter, (to the waist,) and often only the bust ; the two last are mostly on panel. It is supposed that he visited England ; the supposition arises from many portraits of English persons, living in tlie first quarter of the seventeenth century, being evidently by him. Descamps says that Mirevelt painted nearly ten thousand portraits ; if the number be reduced to one-fourth, he must have been indefatigable, for they are all too good to have been thrown ofi* in a hurry. He died in 1641. He is called by some writers Michiel Janszen Miereveldt. Mire- velt had a son named Feter^ born in 1596, who painted por- traits in the manner of his father. It is probable that he assisted in painting many of the repetitions that exist of great personages, of which the originals were by the elder Mirevelt. One of Peter’s most esteemed works is a large picture in the Surgeons’ Hall, at Delft, containing the por- traits of the principal members of the Society at that time. Peter Mirevelt died in 1632. Moelaet, Jacob, born at Dort in 1649, was a scholar of Nicholas Maes. He distinguished himself as a portrait painter, in the style of his master, and was employed by the principal persons of his country. He died in 1727. jMooe, Kaeel de, who had studied under Oerard Don, Francis Mieris, Schalcken, and Yanden Tempel, distinguished liiinself on the grander scale required by historic and por- trait painting. For the emperor of G-ermany he painted the portraits of the Duke of Marlborough and Prince Eugene ; and his own for the duke of Tuscany, to be placed in the Gallery at Florence ; and for tlie Magistrates’ Hall at the Hague the portraits of the Burgomasters and Echevins in the year 1719 ; and otliers of his masters, G-erard Don and Francis Mieris, and of Jan van Goyen, of which there are POETRAIT PAI^iTTEES. 337 etchings by him. In his larger portraits he blends the chaste colouring of Van Dyck with the vigour of Dembrandt, and though highly finished, there is no appearance of labour in any of his productions. Moee, Anthony, was born at Dtrecht in 1519, according to some writers, or in 1512, according to others. At an early part of his life, he studied under Schoreel ; next went to Italy to profit by the works of Michael Angelo and Eaphael ; and returned to Holland to imitate the style of Hans Hol- bein, in which he was more successful than with the grand and the graceful at Home. He became eminent as a portrait painter. He went to Spain, and was patronized by Charles the Difth and his son Philip, and came to England to paint the portrait of the Princess Mary, previous to her marriage with the latter. His style so much resembles that of Hol- bein, as to frequently create a doubt to which of them a portrait is to be attributed ; but he is not so clear and deli- cate in his colouring (perhaps from having painted so much in Spain) as that master, though he approaches him closely in his other qualities. There are several portraits by Anthony More in England, but none of men for whom Englishmen are likely to have personal regard. More went to reside at Antwerp, where it is supposed he died, after 1575. Moeeelze, Paul, born at Utrecht in 1571, practised at first with Mirevelt, but afterwards went to Home to study. On his return to Holland he painted a few historical sub- jects and architectural views, but his ability was in portrait- ure. His style inclines much towards that of Mirevelt, slightly Italianized. He was also an engraver, and there are some excellent wood cuts by him in chiaroscuro. It is sup- posed that he died about 1638. Mostaeet, Jan, born at Haerlem in 1499, was a painter of history and portraits. His talents recommended him to Margaret, sister of Philip the First of Spain. He painted her portrait and the principal personages of her court, and remained in her service till his death, which occurred in 1555. Mats, GtUILLAUme, born at Schiedam in 1712, painted portraits and other subjects of large dimensions. He also painted cabinet pictures after the style of Yander Werf and Mieris. He resided at Eotterdam, where he died in 1763. Mats, Nicholas, the son of Guillaume, was born at Kot- z 338 PORTRAIT PATKTERS. terdam in 1740, and was instructed by his father and Aart Schouman at the Hague. He painted portraits and cabinet pictiu'es, chiefly interiors. His pictures show a fine genius in composition, correct design, and freedom of handling, with careful finishing. He died in 1808. My>", GtEOROE Yakder, born in 1725, resided at Amster- dam, and painted portraits and other subjects in the manner of Watteau, which are very cleverly handled. He died in 1763. Mttens, Dai^iel, was born at the Hague. He came to England during the reign of James the Eirst, and painted the portraits of several of the nobility. In 1625 he was ap- pointed principal painter to Charles the Eirst, and continued to liold that position till the arrival of Yan Dyck. Whether from displeasure at being supplanted by a younger artist, or that he foresaw a diminution of his practice in the favour bestowed on the new comer, Mytens shortly after returned to his own country. He lived there* many years, and was employed in painting the ceiling of the Town Hall at the Hague in 1656. There is no account of Mytens having studied in the school of Hubens previous to his coming to England, but in his portraits, particularly in the back-grounds and animals introduced, there is evidence that he followed that master’s principles. This may be seen in his portrait of Hudson the dwarf holding a dog with a string, in a land- scape, which is warmly and freely painted like Eubens and Snyders. The picture w^as formerly in St. James’s palace. Other portraits by him are frequently attributed to Yan Dyck, but this is more owing to coincidence of manner than to imitation, as they were painted before Yan Dyck’s arrival in England. At Hampton Court there are whole-length portraits of princes and princesses of the House of Bruns- wick Lunenburg, and of Charles Howard, Earl of Notting- ham, painted by Mytens ; and at Kensington a head of him- self. There were several painters of the name Mytens, whose history lias been confounded by the Dutch writers ; so, with regard to Daniel Mytens the Elder, as a portrait painter, attention must be confined to those only which he painted in England, as there is no assurance of the authen- ticity of others which pass under his name elsewhere. Im- inerzeel, in his Dictionary of the Dutch Painters, felt the POETEAIT PAINTEES. 339 difficulty of giving a satisfactory account of the several painters of the name, and has therefore placed them under one head. There is no account of his death that can he re- lied on. Nason, Petee, a clever portrait painter, said to he a na- tive of Holland, painted the portrait of the Duke of Bran- 'denburg, and several other illustrious personages in Germany. It is also said that he painted Charles II. of England. There is a manly style in his portraits, and apparent individuality ; the colouring is fresh, and the penciling fluent. There are no particulars of him ; hut he must have been an artist who had much practice. Neck, Jan tan, born at Naarden in 1636, was a scholar of Jacob de Backer. He distinguished himself by several historical pictures painted in the churches at Amsterdam, and was particularly eminent as a portrait painter. He died at Amsterdam in I7II. Nedek, Pietee, born at Amsterdam in 1616, was a scholar of Peter Eastman. He is mentioned, incidentally, as a painter of history, landscapes, and portraits : his works, however, are but little known. He died in 1678. Nes, or Nees, Jan yan, born at Dort about 1600, was a scholar of Michael Mirevelt. He travelled to Borne and Venice, where he studied for some time. On his return to Holland he painted historical pictures, and would have been eminent in that branch, if there had not been such a general demand for his portraits ; this being the more profitable em- ployment, he devoted his talents entirely to it. He painted in the fine style of Mirevelt, and to a perfect resemblance he added dignity of deportment ; and in his colouring was chaste and vigorous. He died in 1650. Balkema, with his usual inattention to dates, says he was born in 1635, and was a scholar of Michael Mirevelt, (who died in 1641,) and that he died in 1692 ; Eiissli says he flourished in 1670 ; but Immerzeel, who is the better authority, says he died in 1650. Ovens, Jueian. His portraits are esteemed for imcom- mon truth and expression of character, and for the harmony of the colouring. See Scholars of Rembrandt. Palinu, or Paultn, Isaac, a native of Holland, was a scholar of Vanden Tempel, and painted portraits in the ex- z 2 340 PORTRAIT PATIiTTERS. cellent style of that master. He visited England in the time of Charles II., and remained several years in the exercise of his profession. He returned to his own country in 1682, and established himself at the Hague, wdiere he met with great encouragement. The time of his death is not men- tioned. Plaas, David Yakder, was born at Amsterdam in 1647. He travelled through Italy, and resided a considerable time at Venice, studying the works of Titian, particularly his por- traits. On his return to Holland he was extensively em- j)loyed, and painted many of the distinguished persons of the time ; among them a very fine portrait of Admiral Van Tromp. His heads and hands are admirably drawn, full of truth and nature, and his colouring combines the excellences of Eembrandt and Titian. He died at Amsterdam in 1704. Pot, Henri, properly Hendrik Gterritz Pot, horn at Haerlem about 1600, is supposed to have been a scholar of Prank Hals. He painted several historical pictures, but was more distinguished as a portrait painter, of which he has left proof in a large picture in the Archers’ Hall at Haerlem, representing the principal ofiicers of that Society. It is said that he painted portraits of Charles I. and his queen in 1632 ; if so, he must have been in England, of which there is no account ; but the portrait of Charles is in existence, at the Hague, with the name of the painter and the date. It is also said that he painted several of the English nobility and gentry, who had taken refuge in Holland during the troubles in their own country. He died in 1656. PouRBUS, Prancis, the Elder, horn at Bruges in 1540, was instructed by his father, Peter Pourbus, and afterwards by Prancis Ploris. He painted history, landscapes, and ani- mals, but his portraits are now held in the highest estimation. His picture of Aloisius preaching, which is in the Academy at Antwerp, consists chiefly of portraits ; there are several by him in England, one in particular at Castle How'ard, repre- senting a knight of St. Michael, is considered as of his finest time, lie died in 1580. Pourbus, Prancis, the Younger, was born at Antwerp in 1570. After receiving instruction from his father, he went to Prance witli the intention of passing to Italy, but meet- ing with great encouragement at Paris, as a portrait painter. POrtTEAIT PATNTEES. 341 he took his residence in that city for the remainder of his life. He painted the portraits of the royal family, and the most eminent persons of the time. All his portraits are elaborately finished, and have the appearance of great truth in the countenances, and are rich in costume. There are several portraits in the Louvre that are undoubtedly by the younger Pourbus ; some that are elsewhere cannot be at- tributed to him with the same certainty, as there is great similarity in his mode of painting to that of his father. He died at Paris in 1622. Numerous tolerably exact copies, in small, have been made, within these few years, of portraits by the father and son, and more particularly of the latter ; they are painted on old panels to aid the deception, and have sundry other marks of time impressed to lull suspicion. Qijinkhaed, Maueitz, who was a scholar of Arnold Boonen and Nicholas Verkolie, painted allegorical and myth- ological subjects, but was particularly eminent as a portrait painter. His works in that department are numerous. His productions are chiefiy to be found in Holland. He died at Amsterdam in 1772, at the age of eighty-five years. Bavesteyi^, Jaist van, stands among the most eminent of the Dutch portrait painters. He was born at the Hague in 1572 (according to Immerzeel) ; but it is not said in what school of painting he received instruction. With the ex- ception of Bembrandt and Vander Heist, it is acknowledged that he has not been surpassed by any of his countrymen in the department of portraiture. Independent of individual portraits to be found in private collections, there are two large pictures by him in the hall of the Company of Archers at the Hague. In one he has represented the portraits of the oflS.cers and principal members of the society, the size of life ; in the other, an assembly of the magistrates seated at a table ; there are about twenty-six figures in the latter, ad- mirably grouped, and the accessories painted with great spirit and effect. The heads in both pictures are very digni- fied and expressive, and exhibit an appearance of truth and nature that have never been surpassed. These pictures were painted in 1616 and 1618 ; about twenty years afterwards he painted for the Town-house another large picture of the burgomasters in office, of equal excellence with the former. He died in 1657. 342 POETEAIT PATNTEES. Ratesteyk, Ae^^old YAis", the son of Jan van E;avesteyn, was born at the Hague in 1615, and was instructed in the art by his father. He became an excellent painter of por- traits, and though not equal to his father, superior to most others of the time. He was chosen chief of tt^ Society of the Artists at the Hague in 1661, and died in 1676. Kavestetn, Niciiolas yai^-, was born at Bommel in 1661. He was the son of Henry Havesteyn, a painter of little note, and was a scholar of Willem Doudyns and of Jan de Baan. On quitting the latter he settled in his native town, and had extensive practice. He was invited, in 1694, to the court of Kuilenberg to paint the portrait of the Princess of Waldock, after death, and succeeded in doing that satisfactorily which no painter could accomplish during her life. He died in 1750. BEMEEAisrDT YAN A general account of this great master will be found under the head of JBrincipal Fainters, with a few remarks on his style and manner of painting. The amateur will, no doubt, be desirous of knowing where fine examples of his works, especially in portraiture, are to be found. In foreign countries the English traveller, who is desirous of seeing works of art, is readily permitted to view even private collections. In England the case is different ; the treasures of art are guarded by many with scrupulous jealousy from all but the special friends or acquaintance of the possessor. If permission be granted to a stranger to enter the gallery or cabinet, it is accom- panied by such humiliating conditions, that a mind capa- ble of appreciating the merits of the works it contains, re- volts while accepting it ; nay, is frequently deterred from making tlie application by a foreknowledge of the process. But there are more enlightened and generous spirits among our nobility and gentry, who do not collect works of art solely for tlieir own gratification, and to whose mansions access may be obtained by compliance with necessary regu- lations, to wliich no real lover of art, or person acquainted with the courtesies of society, can object. With regard to the inspection of fine portraits by Bembrandt, the ama- teur will meet with very little difficulty ; almost every col- lection of note in England contains one or more specimens. A few names of the possessors of collections which are POETRAIT PAINTEKS. 343 likely to be permanent, are subjoined, to facilitate the ama- teur’s research. In the IN'ational Gallery are four ; a Jew Eabbi, a Jew Merchant, an elderly Man with a Book before him, and a Lady seated ; the two last bequeathed by the late Lord Col- borne. In her Majesty’s Collection, a portrait of the artist ; the Burgomaster Pancras and his Wife ; a Babbi wearing a velvet Cap ; the Lady with a Fan in her hand ; and the Ship-builder and his Wife. In the Earl of Ellesmere’s, a portrait of the artist ; a Grentleman wearing a Cap and Cloak ; a Burgomaster seated ; and a Lady attired in black silk adorned with pearls. The Marquis of Lansdowne possesses a portrait of the artist holding his palette and pencils. The Marquis of Westminster has the portrait of a Gentleman Falconer ; portraits of Nicholas Berchem and his Wife ; and of a young Lady holding a Fan. Lord Ashburton has a portrait of the artist ; a Gentleman wearing a large Hat ; a portrait of the celebrated Jansenius, founder of the Jansen- ists, whose tenets are so largely discussed in the Provincial Letters of Blaise Pascal ; Coppenol the Writing-master, so well known by the etching; a Gentleman leaning on the back of a Chair ; and a Lady standing with her hands cross- ed on her waist. The Duke of Devonshire possesses a Jew- ish Priest wearing a Turban and a rich Mantle ; a Philosopher in a thoughtful position ; and an Old Man seated. In Sir Bobert Peel’s Collection is a portrait of a Gentleman wear- ing a gold Chain, painted in an oval. Mr. Hope has two whole-length portraits of a young Lady and a Gentleman in one picture. At Pansanger, the seat of Earl Cowper, is the equestrian portrait of Marshal Turenne ; and the portrait of a young Gentleman standing near a table, on which is a Turkey carpet. Choice examples are also to be found at the seats of the Duke of Bedford, the Duke of Buccleuch, the Earl of Carlisle, Earl Spencer, and other noblemen and gen- tlemen, whose collections are not likely to suffer dispersion. Betist, Jak de. See Scholars and Imitators of Van DycJc. Boee, Jacob Vandee, was born at Dort in 1648. He studied under J an de Baan, and practised for some time in England during the reign of Charles the Second. It is not known how long he remained in this country, but he died at his native place in 1699. 344 POETEAIT PAII^TEES. EoESTEAETEisr, Petee, bom at Haerlem in 1627, was a scholar of Prank Plals, whose daughter he married, and whose style of portrait painting he followed for some time in Holland. He came to England in the time of Charles the Second, and was received vdth great kindness by Sir Peter Lely ; but it does not appear that he had much suc- cess in portraiture, as he practised more in subjects of still life. In this department, if not in portrait painting, it is probable that he had sufficient employment, as he did not return to his own country. He died at London in 1698. He is named Nicolas by some writers. See Painters of Still Life, Eoodtseus, Ja^t, a native of Hoorn, bom in 1615, was a scholar of Peter Lastman. He was an excellent portrait painter ; some writers have compared him with Yander Heist. His pictures in the Archers’ Hall of his native town, prove him to have been an artist of great ability. He died in 1674. Immerzeel names him Jan Albert; and Balkema confounds him with his father, who died in 1648. Eubens, Petee Paul, in portraiture, as in every other department of the art of painting, holds rank with the most distinguished of his countrymen. His numerous magnificent works in history, mythology, allegory, church legends, and other attractive subjects, to be seen at all times in public places, have withdrawn general attention from his grand and striking portraits, which, being painted for particular persons, and now in many instances secluded in palaces and private mansions, are less open to general inspection. The high re- putation acquired by his eminent scholar, Anthony Yan Dyck, has also had a tendency to diminish curiosity with re- gard to his master’s performances in portraiture ; as the im- pression with many is, that Yan Dyck excels Eubens as mucli in portrait painting as Eubens excels every other Elernish artist in history and poetical invention. Thffi'e is, however, a majesty and grandeur of expression in many of Eubens’ s portraits, and a vigour of execution, which, in those respects, give tliem superiority over all portraits by Flemish or any other painters of his time. Portraits by Eubens are numerous, and all of them of persons eminent in rank or reputation ; those of himself, his two beautiful wives, Elizabeth Brant and Helena Forman, POETEAIT PAINTEES. 345 and other members of his family, he repeated frequently, and they are not the least esteemed of his works in this branch. It may he gratifying to the amateur to know where fine examples may be seen, without the trouble and expense of visiting foreign palaces and galleries ; a few names of the English possessors, in whose collections they are likely to be permanent, are therefore added. In the Eoyal Collection are, a portrait of the artist ; of his second wife, Helena Eorman ; equestrian portraits of the Archdukes Eerdinand and Albert ; the portrait of a gentleman as a Ealconer ; Philip IV. of Spain on horseback ; and one or two more. At Blenheim, in the Duke of Marlborough’s Collection, are full length portraits of Eubens, his wife He- lena Eorman and child, represented as walking; a second whole length of Helena Eorman, of which there is an en- graving by Earlom ; Catherine de Medicis seated ; and a portrait called Paracelsus. Sir Eobert Peel possesses the Chapeau de paille. The Earl of Warwick has a portrait of Thomas Howard, Earl of Arundel and Surrey, clad in ar- mour ; the Earl of Carlisle has one of the same nobleman in a peaceable dress, which has been engraven by Houbraken. The Earl Spencer has a portrait of the Archduke Albert ; the prince Don Eerdinand dressed as a cardinal; and a young lady said to be a daughter of Eubens. The Earl of Eadnor’s Collection contains an equestrian portrait of the Duke of Alva; and a portrait of Eubens’ s son Albert when about eight years of age. The Marquis of Westminster has portraits of Eubens and his first wife, Elisabeth Brant, seated on a bank. The Marquis of Bute has Eubens’ s Son and Nurse in a Larder, of which there is an engraving by Earlom. ScHELTEMA, Taco, was bom at Harlingen, 1760. He copied the works of the best masters, particularly those of Van Dyck, and by this practice and study \)f nature, be- came an excellent portrait painter. After visiting Dussel- dorf he went to Saxony, and painted the portraits of several persons of rank in the manner of the great Elemish painter. He returned to his own country, and practised with equal success. He resided alternately at Amsterdam and Eotter- dam. He died in 1837. SoEST, or ZoEST, GtEbabi), was born in Westphalia about the year 1637. It is not said by whom he was instructed, 346 POETSAIT PAINTEES. but he came to England some time before the restoration of Charles II., with the reputation of a good portrait painter. His heads are animated and highly finished, and have the appearance of truth. In his earlier pictures he imitated Terburg in the draperies, which were generally silk, but on seeing the works of Van Dyck he altered his style. He was more successful in portraits of men than women ; his taste was not sufficiently refined to please the ladies, especially as Peter Lely was getting into full practice ; but he had a full share of business with the other sex. He died in 1681. 8unmak, or SouMA^fs, William, a Dutch portrait painter, came to England in the time of Charles II., and after the death of Sir Peter Lely obtained considerable practice. Being thought less successful in a portrait of the king than Eiley, he retired to Oxford in disgust. He was employed there to paint the portraits of the founders of the colleges ; and in term time constantly visited that city. He died in London about the year 1707. SusTEEMANS, Jestus, generally misnamed Sebteemai^s, was born at Antwerp in 1597, and was a scholar of William de Vos. After leaving the school of de Vos, he travelled through Grermany and Italy for improvement. He was pa- tronized by Cosmo II., grand duke of Tuscany, and also by his successor. It was at Elorence that Van Dyck painted the portrait of Sustermans, of which he afterwards made an etching. His design is refined and elegant, his colouring clear and brilliant, and his management of the light and shadow judicious. Some have not hesitated to place him on a par with Van Dyck. He died in 1681. See Historical Painters. Tempel, Abeaham Vaistdeit, was born at Leyden in 1618, and was a scholar of Joris Van Schooten. He was an excel- lent portrait painter both in _,large and small. His pictures have an air of truth in the expression of the figures and the ease of their deportment. There is a delicate tone in the carnations, and tlie draperies are very neatly penciled and well cast. Erancis Mieris, Van Musscher, Ary de Voys, and Karel de Moor received instructions from him. He died at Amsterdam in 1672. Thys, Gtysbeecht, was a native of Antwerp, and a scholar of Adrian Hanneman. He was an excellent portrait painter ; POETEAIT PAINTEES. 347 many of his pictures are preserved both in Flanders and Holland. Two half-length portraits of Jan Yan Kessel and his wife are mentioned as among his best. Some of his pic- tures are dated 1660 ; it is said that he died in 1684. In small landscapes with figures he imitated Poelemburg. Teoost, Coekelius, was born at Amsterdam in 1697. He was a scholar of Arnold Boonen, and painted conversation pieces, and humorous subjects somewhat in the manner of Hogarth. He was also an eminent portrait painter, and was much employed in painting large pictures for difierent halls in Amsterdam. Among them is that at the College of Physicians, containing portraits of the most eminent prac- titioners of the time ; and another at the Surgeons’ Hall, re- presenting the principal members of the corporation. His works are greatly esteemed in Holland, especially his draw- ings of humorous subjects. He died in 1750. Teoost, William, born at Amsterdam in 1684, w^as a scholar of Grlauber. He went to Dusseldorf, where he mar- ried the daughter of Jan van Nikkelen, the painter to the court, and was employed there in painting the portraits of many persons of distinction. He returned to his own coun- try and occasionally painted portraits, but chiefiy devoted his time to landscapes ; in these his style resembles that of Grlauber. Teotek, Eombout yak, occasionally painted portraits, but he is better known by his small views of scenes in Italy with figures in the manner of Cuylenburg. Ttsseks, Petee, imitated the style of Vandyck both in historical compositions and in portraiture. After the death of Yan Dyck he was considered one of the ablest painters of his time, and was made Director of the Academy of Antwerp. His design is correct and his colouring clear, chaste, and harmonious. He died in 1692. See Historical Painters, Yalck, or Yalks, Petee, born at Lewarde, in Friesland, in 1584, after studying the works of Abraham Bloemart, visited Italy, and passed some years at Borne. On his return to Holland he distinguished himself as a portrait painter, and also by some historical subjects and landscapes. It is said that he died in 1641. Yalkekbtjeo, Theodoee, or Dieck, who had studied 3i8 POETEAIT PAIKTERS. under Jan AYeenix, and arrived at unusual ability in painting dead game, was also eminent as a portrait painter. He was em])loyed on works of botli kinds in Grermany and in Hol- land. His subjects of dead game are frequently attributed to bis master, Jan Yfeenix. He died of apoplexy in 1721. A^alkaeet, or A^alkert, WARis^AifD VATirnEi^, was born about 1572, and was a scholar of Henri Groltzius, whose style and manner he imitated in historical compositions ; he was also considered a good portrait painter in his day. There is some uncertainty in the dates both of his birth and death ; he was living in 1623, and it is supposed died in 1625. A^anloo, Jacques, born at Sluys, in Holland, in 1614, after receiving some instruction from his father, who was an art- ist of not much consideration, and also from an unknown painter at Amsterdam, went to Paris and distinguished him- self in historical and portrait painting. He became a member of the Academy of Painting in that city, and continued to re- side there till the time of his death, which occurred in 167 0. There were three other painters of the name Vanloo, of later dates than the preceding, and who all painted portraits ; but being natives of Prance and practising chiefly in that country, they are omitted in the present work. A^ AN Dyck, Anthony. The name of Yan Dyck is so familiar to Englishmen that he is almost considered as belonging to the country. Owing to the number of portraits of illustri- ous persons that he has transmitted to posterity, his name is brought frequently into discussion along with the character of the person represented ; and that the picture is painted by A^an Dyck is sufficient warranty for the truth of the like- ness. Nay, confidence in that particular is so firmly settled that several eminent writers of historical romance, (Sir AYalter Scott, for instance,) have made reference to the por- traits of A"aii Dyck to fortify their descriptions of the personal appearance and mental qualities of their hero or heroine. They who sat to him were fortunate in their choice of a painter, and the artist was no less fortunate in being the in- strument to convey to posterity images of those who from their station were likely to become prominent characters in the history of the period. Alany of these portraits are found in the mansions of our nobility, who regard with veneration PORTRAIT PAINTERS. 349 sucli heir-looms ; they are among the most authentic works of the master to which the attention of the amateur can he directed : having been transmitted through several gener- ations of the same family, and in many instances without much change of locality. The following are a few of the names of the nobility whose collections contain portraits by Van Dyck of eminent persons, naturally, or by alliance, connected with their families ; or as being distinguished as statesmen, scholars, or warriors. Also, of ladies remarkable for beauty, or for the active part they took in the stirring events which followed so closely the time when their likenesses were made permanent on the canvass. In the Doyal Collections, at "Windsor and elsewhere, there are many of Van Dyck’s finest English portraits ; among which are several of Charles I., his queen Henrietta Ma- ria, and their children : these are all of first-rate quality and high value. The celebrated equestrian portrait of Charles, attended by the Duke d’Epernon, is at Windsor. The royal collections also contain portraits of Greorge and Erancis Vil- liers, sons of the Duke of Buckingham ; Sir Kenelm Digby and his wife ; Inigo Jones ; the Duchess of Bichmond in the character of St. Agnes ; Catherine Howard, Duchess of Len- nox ; Sir Endymion Porter with his wife and three sons ; Laniere, master of the band to Charles I. ; and others. The Earl of Clarendon possesses several ; among which are por- traits of James Stanley, seventh Earl of Derby, with his countess and child ; Lady D’Aubigny ; Erancis, Lord Cot- tington ; William, Earl of Pembroke ; Henrietta Maria ; Greorge Hay, Earl of Kinnoul ; and six or seven more. The Duke of Buccleuch has the small studies in black and white of the artists whose portraits are engraved as a series of contemporary painters ; and Philip de Huzman, Marquis of Legomes, done in the same manner. The Duke of ISTor- folk has, Thomas, first Lord Arundel of Wardour; and also Thomas Howard, Earl of Arundel and Surrey, and his lady, seated in the library, with the portrait of Erancis Junius standing behind his Lordship’s chair, and pointing to the books. Several other family portraits are at Arundel Castle. The Earl of Warwick has. Lady Brook and her son ; Bobert Bich, Earl of W arwick ; Henrietta Maria, w hole length ; and the portrait of the wife of Snyders. At Woburn, the 350 POETEAIT PAIIsTEES. seat of the Duke of Bedford, are portraits of several illustri- ous members of the family ; Ann Carr, Countess of Bedford, with a greyhound at her feet ; Francis Bussell, fourth Earl of Bedford ; the Duchess of Ormond, full length ; portraits of Daniel Mytens, the painter, and his wife, in one picture, which shows that the artists were on good terms ; and several more of interest. The Earl of Egremont possesses many, among which are, Lucy, Countess of Carlisle ; Elisabeth Cecil, Countess of Devonshire ; Lord Percy of Alnwick ; the Earl of Strafford ; Mrs. Porter ; and the beautiful Ann Carr. At Wilton are several of great interest, among which are the large group of the Pembroke family ; and several isolated full lengths of male and female members, of which there are duplicates elsewhere ; and also the three portraits of Charles’s children in a landscape. The Duke of Devonshire possesses several of the Cavendish family ; also of Thomas Killigrew, with his hand on the head of a large dog ; Lady Wharton ; and Lucius Cary, Lord Falkland. The Duke of Montrose has the portrait of James Grraham, Marquis of Montrose. At Blenheim, are portraits of two Duchesses of Bichmond; a large equestrian portrait of Charles I. ; a three-quarter portrait of same king; the same of Henrietta Maria; Lord Strafford and his Secretary; the Countess of Chesterfield; and the Duchess of Buckingham. The Earl of Derby has the por- trait of Charlotte de la Tremouille, Countess of Derby, and of James Stanley, seventh Earl of Derby. The Earl of Hard- wicke has the portrait of Endymion Porter, and one or two others. Sir Bobert Peel’s Collection contains two very noble Genoese portraits, whole lengths, which were purchased of the Balbi family at Genoa for the late Sir Bobert by David Wilkie. Lord Lyttelton has the portrait of Frances Stuart, Countess of Portland, and that of the Duchess of Bucking- ham. The portraits of Archbishop Laud and Bishop Juxon are at Lambetli Palace. Many other noblemen and gentle- men might be named as possessors of fine portraits by Van Dyck ; among which are the Earls of Badnor, Carlisle, S})encer, Cowpcr, and Aberdeen ; and others of more private rank, distinguished by their fine taste and love of art. Yansomeji, Paul, was born at Antwerp; he resided at Amsterdam about tlie year 1604, and soon afterwards visited England. He painted portraits of James I., his queen, Anne . PORTEAIT PAIJfTEES. 351 of Denmark, tke Earl of Pembroke, the Lord Chamberlain, and several of the nobility. Paul Yansomer died in 1621, and was buried in St. Martin’s in the Eields. Yinne, Yikcent Laueoksz Yandee, born at Haerlem in 1629, was a scholar of Prank Hals. He visited Grermany, Switzerland, and Prance, and in each country his talents in- sured him employment, and sometimes high patronage. He excelled in several branches of the art ; in marine subjects, interiors, drolleries, and portraits, particularly in the last. Before he left Haerlem he had been much employed in sign painting, a business which many eminent artists of the time did not disdain ; and it is probable that his skill in em- blematic representations was useful to him in his several journeys. His earlier portraits, after his return to Haer- lem in 1657, are his best, as for several years he was care- ful in the execution, but as business increased he used despatch without improvement in masterly handling. Se- veral collections in Holland and Belgium have portraits by him. He died in 1702. YoLLEVE^fs, jATf, borii at Grertruydenberg in 1649, was first a scholar of Nicholas Maes, and afterwards of Jan de Baan, with whom he remained about eight years, and after that master’s death succeeded to his practice. He was one of the most popular portrait painters of his time. His portraits have the merit of a perfect resemblance ; the touch is bold and free, and the colouring clear and chaste. He died at the Hague in 1728. Yolleyefs, Jan, the Younger, was born at the Hague in 1685 ; he was instructed by his father, and became a very re- putable portrait painter. He came to England for a short time, but he resided the greater part of his life at the Hague, where he had a large practice and was much esteemed in his private character. He died in his native city in 1748, the year in which he was elected Principal of the Society of Painters there. Yooet, or Yoeest, Coenelius Yanbee, was born at Am- sterdam in 1580. He painted portraits, which are spoken of with great commendation for the skill in the arrangement, and the freshness of the colouring. He died about 1632. Yos, Maetin be, who is among the most eminent Elemish historical painters of his time, also excelled in portraiture. 352 POETEAIT PAIT^TERS. His heads have a natural appearance unequalled by any other painter of the period in which he lived. He died at Antwerp in 1604, at the age of 84. Vos, Simon de, was a scholar of Huhens, and was alike eminent as a painter of history and portraits. With regard to the latter, Sir Joshua Reynolds speaks of him in the high- est terms of commendation, comparing him even with Cor- reggio. He was living in 1662. Wandelaae, Jan, born at Amsterdam in 1692, was both painter and engraver. Some portraits by him were engraved by Houbraken. He died at Leyden in 1759. Wassembeeu, Jan Abel, born at G-roeninguen in 16^9, after studying under Jan van Dieren till he was twenty-three years old, went to Rotterdam and formed an intimacy with Adrian Yander Werf, by whose assistance and advice he be- came an excellent painter both in fancy subjects and por- traiture. He was patronized by the Prince of Orange, whose portrait he painted, as also that of the Princess, and the prin- cipal personages of the court. His manner approaches so closely to that of Chevalier Yander Werf, that his pictures are sometimes mistaken for the work of that master. He died in 1750. Westeebaen, J , who was living at the Hague in 1659, painted the portraits of Geestranus, and other learned men who flourished about that time, of which there are en- gravings by H. Parry. Though there are but few particulars of the painter recorded, he must have been of some eminence in his art, as he was elected Dean of the Society of Painters at the Hague, in the year mentioned. WissiNG, William, w^as born at Amsterdam in 1656, and was a scholar of William Doudyns, at the Hague. He came to England in 1680. It is said that he was for some time em])loyed by Sir Peter Lely in his numerous works ; but as Sir Peter died in the same year that Wissing arrived in Eng- Lind, they could not have painted much in conjunction. It is probable that several pictures in a forward state by Lely were flnished after his death by Wissing ; this may account for the great practice he immediately had. He became a great favourite with Charles II., and the ladies of his court, several of whose portraits he painted in a manner that would not discredit Sir Peter Lely ; he was also patronized by PORTEAIT PAINTEES. 353 James II., wlio sent him to Holland to paint the portraits of William and Mary. He did not long survive his return to England ; he died at Eurleigh, the seat of the Earl of Essex, in 1687. Some attribute his death to poison, administered through envy or jealousy ; whether of his success in the art, or with the ladies, is not clearly stated. There are portraits of the period, on which the name is Huissing ; no doubt they are by the same artist. Zeyl, or Zyl, Geeaed Peteesz Vak, was horn at Amster- dam in 1606, and was distinguished as a . portrait painter. He came to England in 1635, and formed an acquaintance with Yan Dyck, who employed him in painting the back- grounds, and probably other parts of his pictures, he being at this period almost overwhelmed with business. Zeyl thus became a successful imitator of the manner of Yan Dyck, and on his return to his own country, met with extensive practice. His colouring is chaste and clear ; and like his model, he excelled in the drawing and painting of the hands. He died in 1667. He is sometimes called Gherard Yan Leyden. EAELY PAINTERS OF THE OERMAK, FLEMISH, AND DUTCH SCHOOLS. Altdoefee, Albeet, a scholar of Albert Durer, flourished during the first quarter of the sixteenth century. He is said to have been the most original, and the most important, of Albert Durer’ s pupils. There were several pictures by him in the gallery at Schleissheim, which are probably re- moved now to Munich. A battle piece, the victory of Alex- ander the Grreat over Darius, is a marvellous production for tlie time, both in composition and execution. The warriors are armed in the fashion of the middle ages, cased in burnish- ed steel and plaited mtail, and wearing rich surcoats of gold and embroidery ; the chaufrons on the heads of the horses, the glittering helmets, stirrups, lances, and other weapons of the riders, form a scene of indescribable splendour. All the details are represented with the most accurate minuteness. The figures are numerous, but character and expression are preserved, not only in the principal warriors, but in the general host, the smallest being most elaborately finished. But it is not only a battle that is represented ; in the distance is the ocean with a fleet of vessels ; on the one side is the moon de- clining, and on the other the sun rising, in allusion to the fortunes of the vanquished and the victor. The landscape part surpasses in truth and grandeur the works of all his contemporary countrymen ; in the centre is a rocky moun- tain witli hanging Avoods, and a castle with a path leading to it, and at tlie foot a ruin, which is painted with so true a feel- ing as shows tliat the artist was qualified for the most master- ly productions. Another picture in the same collection re- presents the A^irgin and Child ; the Virgin is a graceful figure with a lovely expression of countenance ; the Child stands aEEMAI^, TLEMISH, AND DUTCH SCHOOLS. 355 on her lap and holds a rosary in his hand ; around them is a great choir of angels melting by degrees into a mist of glory. The whole group hovers in the clouds over a rich mountain landscape. A third picture represents the story of Susanna, and has the date 1526. — The garden with a bath and a mass of varied architecture make up a fanciful composition. Other pictures by Altdorfer are at Nuremberg, !Ratisbon, and Vienna; all of them remarkable for beauty in the figures, and cheerfulness in the landscapes. This artist has been confounded with Henri Aldegrever, who is by some writers called Albert ; they w^ere both en- gravers, and there is great similarity in their monograms. They were contemporaries, but Aldegrever was the younger by nearly twenty years, and lived about forty years after the supposed time of Altdorfer’s death. Ambeegee, Cheistophee, was born at Nuremberg about 1485, and was a scholar of Hans Holbein, the elder ; he painted in the style of his master. The only historical pictures by him that have been deemed worthy of notice are twelve subjects from the scriptural account of Joseph and his brethren ; these were much commended during his life. It was in portraiture, however, that he was most successful. He painted the portrait of Charles Y., and was honoured by him with a gold chain and medal ; he was employed by other eminent personages in the same way, some of which have been brought to England, having his name and the date ; two are in the possession of the Duke of Buccleuch. It is said that he copied many of the portraits by the younger Hans Holbein, and that so accurately that they pass for originals. His own pictures, however, have not the force of colouring, nor vigour of execution, of that master. He died in 1550. Beham, Baetholomew, born at Nuremberg about 1496, though an excellent engraver, is not much commended for his paintings, which are said to be wild, mannered, grotesque imitations of Albert Durer. This, however, is qualified with regard to some of his heads in a picture now in the Pina- cothek at Munich, of a woman restored to life by the Holy Cross. Sandrart mentions several of his pictures that, in his time, were in the gallery of the Elector of Bavaria, and in the Collection of the Prince of Newbourg. He was one 2 A 2 856 EAELY PAINTEES OP THE of the most successful imitators of the fine style of Marc Antouio in his engravings, and in his drawing vras masterly and correct, and there is fine expression in his heads. As he frequently omitted to mark his prints, he may have been equally negligent with regard to his paintings ; an artist so skillul, and accustomed to the works of Eaphael and Giulio Eomano, would not confine his pencil to grotesque imitations of Albert Durer. Beham, Ha?^s Sebali), brother of Bartholomew Beham, was boriL in 1498. He is ranked with the little Masters^ as an engraver ; but he was also a painter as an illuminating Miniaturist and in oil. Of tlie first there are six by him in a book of prayers existing at Aschafienburg, described by •Waagen, in which the compositions are simple and full of meaning. In the Louvre there is a picture by him of four subjects from the life of David. Eecently there was a por- trait in London with his initials, dated 1518, Hkatis suse 20, Bles, Henei be, generally called Herri de Bles, or Sen- rijk met de Bles; and by the Italians nicknamed Givetta^ because he used the figure of an owl for his mark. He painted landscapes in which he introduced historical sub- jects, and occasionally drolleries. Of the latter there was a picture at Amsterdam, representing a pedlar asleep under a tree, and a colony of monkeys busily employed in unpacking his goods, and hanging the articles on the branches. His subjects from Scripture generally consist of numerous small figures, neatly drawn, and not inefiective in colouring. There was a picture attributed to this artist in Mr. Baring Wairs collection ; it was exhibited a few years ago at the British Institution, and is believed to be now in the possession of Sir Thomas Baring. Henri de Bles and Joachim Patenier are among the earliest Flemish painters who combined land- scape and history ; connoisseurs are much divided in their opinions respecting several pictures attributed to the former. He was born at Bovines in 1480, and died in 1550. Bos, or Bosciie, Jeeome, who is mentioned among the painters of incantations and devilries, also painted landscapes with liistorical subjects, in which he still showed his predilec- tion for infernal actors. Sometimes he treated them Avith less licentiousness, as in his picture of the Flight to Egypt, where the holy family are seen in a rocky landscape ap- GEEMAN, FLEMISH, A^D DUTCH SCHOOLS. 357 proaching a house of entertainment, and a party are amusing themselves with dancing bears. In his representation of Christ’s descent to Hades to deliver the souls of the patri- archs, he* introduces devils performing the part of execu- tioners on the traitor Judas. Many subjects of a similar kind were painted by him in Spain, being suited to the gloomy and superstitious notions of the religious people of that country. It is said that one of these infernal scenes was placed in the cell in which Philip II. died, and received the last looks of the tyrant. Jerome Bos was born in 1470, and it is supposed died in the first quarter of the sixteenth century. Bos, Louis Jahsseh, sometimes called Hans Bos, painted flowers exquisitely ; they are rare, and require the aid of a magnifying glass to perceive the immense labour and truth of the execution. He was born in 1450, and died in 1507. Beuth, Baetholomew de, flourished from the first quarter to the middle of the sixteenth century. He ranks among the painters of Cologne, though it is probable he was of a Blemish family then residing at Antwerp. He is spoken of as an excellent master, and his works are said to be numerous. One, of the date 1536, forming the double wings of a reliquary painted on both sides, represents figures of saints, the size of life, events from the legend of the empress Helena, and the martyrdom of the Theban legion, on the exterior ; on the interior are several scenes from the passion of Christ. There is a picture at Althorp, formerly considered as the work of Albert Hurer, which "Waagen ascribes to Bartholomew de Bruyn, at the same time com- paring it to the death of the Virgin by Schoreel. Buegkmaie, Hahs, was born at Augsbourg in 1472. If has been supposed that he was a scholar of Albert Durer, but that is now disproved ; there is no doubt, however, that they were intimately acquainted. There are pictures by him in the galleries at Munich and Schleissheim, and many at Nuremberg, in which may be observed a great difference in style and execution from that of Albert Durer. In some of his works there is a resemblance to Jan van Eyck, in others to Wohlgemuth. The picture by him in the Pina- cothek, at Munich, represents St. John in the Island of Patmos, writing the Bevelations, and looking upwards at a 358 EAELT PATXTEES OE THE vision of the Virgin. He is surrounded by animals of various kinds, and the whole has the appearance of a fanci- ful woodland scene. One in the chapel of St. Maurice, at Nuremberg, is spoken of both by Waagen and Kiigier, in terms of high commendation. The subject is the Virgin seated under a tree giving a bunch of grapes to the child : the figures are graceful and well grouped, and AVaagen says that the whole feeling of the picture, especially the move- ment of the A^irgin’s left hand, is not unworthy of Haphael. He adds, “ tlie tender brownish hue of the flesh, the warm and juicy colouring of the drapery, and the flue execution of the landscape, reminded him strongly of the wings of the Ghent altar-piece by the brothers A^an Eyck.” His numerous designs, as seen in the wood-cuts bearing his name, or monogram, show the fertility of his imagina- tion, and his skill in composition ; and it is by these only that he is known in England by those who have not visited Germany, and he has scarcely been noticed hitherto but as an engraver. He died in 1559. CHETSTOPHSETf, Petee, flourished from an early part to the middle of the fifteenth century. There are no particu- * lars of his life recorded ; but his works were known to A^asari, who calls him Fietro Crista. On a picture, formerly in the collection of Mr. Aders, at London, was inscribed Petrus XPR me fecit ^ 1417. It represented the Virgin and Infant, attended by St. Jerome and St. Erancis. In the gallery of the Berlin Museum is a portrait of a young girl, distinguished by simple and beautiful execution ; it is signed with his name. Another picture, Avith the date 1449, is in ])ossession of a gentleman at Cologne ; the subject is St. Eligiiis, who was a goldsmith, selling a ring to an affianced couple. From these examples it is conjectured that Chris- tophsen belongs to the school of Van Eyck. It would also seem that he was conscious of his ability as a painter, and not Avilling, that others should appropriate his works : it is to be regretted that several others of that early time did not follow* his example ; it would have saved much labour to critics, and guess-work by pretended connoisseurs. Claessens, Antony, flourished tow*ards the end of the fifteenth century. He resided at Bruges, and was an imi- tator of the A"an Eyck school, though it is said that he re- GERMAlJf, TLEMISH, AND DUTCH SCHOOLS. 359 ceived some instruction from Quintin Matsys. Two of his pictures, formerly in the Town-house, are preserved in the Academy at Bruges ; they represent the Judgment of Cam- bvses. In the one he causes an unjust judge to be seized, and in the other orders him to be flayed ; both are composi- tions of numerous flgures. There is also in the Town-house a capital picture by him of the Beast of Ahasuerus. Claessoon, Aenold, was born at Leyden in 1498. He was a scholar of Cornelius Engelbrechtsen, and afterwards adopted the manner of Schoreel. He painted history, and composed his subjects with great facility. Several of his pictures are mentioned by early writers with great com- mendation, particularly one of Christ bearing his Cross, and another of the Crucifixion. That he was considered an emi- nent artist in his day may be concluded from Brands Bloris endeavouring to obtain his assistance at Antwerp, where he would have been more employed and better remunerated than at Leyden, but he refused to leave his native place. He died in 1564. Cleee, or Cleeve, Joas or Joost yan, was born at Ant- werp in 1500, according to most writers. He was an ex- cellent colourist, and painted some pictures for churches of his native city, one of wdiich, St. Cosmos and St. Damien, is in the cathedral. He obtained so much applause for these productions that, intoxicated with the praise, he almost lost his senses with conceit of his merits. Under this infatuation he committed many strange vagaries ; but, with all his ab- surdities, it must be allowed that he possessed great talent. There are portraits attributed to him in England that par- take of the manners of Hans Holbein and Antonio More. The anecdote of his coming to England at the invitation of Antonio More, and his disappointment in not receiving the patronage of Philip II., in consequence of the arrival of some pictures by Titian at the same time, must be incorrect, unless there be a serious error in the date of his death. Neither Philip nor More was in England till 1553, the year when Mary ascended the throne. There is a general agree- ment among writers that Van Cleef died about 1536 ; but twenty years must be added to give verisimilitude to the anecdote alluded to. It would, however, be too great a liberty to ascribe the error to a misprint, and to read 1556 instead of 1536. 360 EAllLT PAIOTEES OE THE Cleef, HE]srRT YAH, was a native of Antwerp, and born in 1510. He went to Italy when young, and returned to his o^vn country an excellent landscape painter. Trancis Moris employed him to paint the back-grounds of several of his historical compositions. He was received into the academy at Antwerp, in 1535. His pictures are distinguished by a peculiar lightness of touch and an excellent tone of colour. There is considerable talent in his engravings of views^in the vicinity of Home, from designs made by him wdien residing in that city. He died about 1589. Cleef, Maetih yah, was a scholar of Mancis Eloris. He painted history on a large scale for churches, and of the easel size for private collections ; the landscape backgrounds of both were introduced by his brother Henry. He is called the master of the Ape, for having adopted the figure of that animal as his sign, and in allusion to his name. He died about 1570. Cock, or Kock, Matthew, was born at Antwerp about 1500. He painted landscapes, and was one of the first of his countrymen who reformed the art from the stiff and Grothic style. A series of fifteen of his landscapes w'ere en- graved by his brother Jerome. His death is placed by some writers in 1554, but several of greater authority say that he died in 1565. CoxciE, or Coxcis, Michael, was born at Malines in 1497. He was at first a scholar of Bernard van Orley, but went to Italy wEile young, to study the works of Haphael. He remained several years at Home, and painted some pic- tures for churches there. On his return to Elanders he w^as much employed at Brussels and Antwerp, and his Italian style had great influence on the younger painters of the time. Coxcie had a surprising talent for copying the works and imitating the manner of other masters. He copied for Philip II. of Spain the very celebrated altar-piece painted by Hu- bert and Jan van Eyck for the church of St. John at Gihent, the execution of wdiich occupied him for two years. He re- ceived four tliousand florins for the* work, and the ultra- marine for the Virgin’s mantle alone cost thirty-two ducats. There is reason to believe that Michael the Fleming, men- tioned by Cean Bermudez among the Spanish painters, is no other than Michael Coxcis. It is also said that the picture of La helle Jardiniere in the Louvre, attributed to Haphael, GEKMAK, PLEMISH, AKE EXJTCH SCHOOLS. 361 is a successful imitation by Coxcis. There are several pic- tures in the churches at Brussels, and elsewhere, that will countenance this supposition, so much have they of the great master’s manner. He died at Antwerp in 1592. Crabeth, Erahz, was born at Malines in 1500. His style of painting resembles that of Lucas van Leyden and Quintin Matsys. The picture by him that has been particu- larly noticed, is the altar-piece in the church of the Eecco- lets at Malines, representing the Crucifixion ; on the folding doors are subjects of Christ’s Passion. He died at Malines in 1548. Crabeth, Dirk and Woijlter, brothers, and natives of Gouda, flourished about the middle of the sixteenth century, and distinguished themselves as the most eminent painters on glass of the time. The windows of the great church at Gouda, painted by them, have been considered the most ex- traordinary performances in that branch of the art. These represent Cast’s JSTativity, the Driving the Buyers and Sellers out of the Temple, the Death of Holofernes, and the Desecration of the Temple by Heliodorus. Crakaoh, Lucas, was born in 1470, and his family name was SuHDER ; that of Cranach he took from the place of his birth. He entered early into the service of the electoral house of Saxony, and was court painter to the three princes, Prederick the Wise, John the Persevering, and Prederick the Magnanimous. With the first he made a pilgrimage to the Holy Land in 1493 ; with the last he shared his five years’ imprisonment, after the fatal battle of Miihlberg in 1547. He was Burgomaster of Wittenberg, and lived on intimate terms with Luther and Melancthon. His works are extensively dispersed, particularly in the Saxon states. He painted many altar-pieces in symbolical representations and from Sacred History. As a portrait painter he takes a high place, and is distinguished by his simple and faithful adherence to the forms of nature. Some of his best portraits are to be found in the altar-pieces ; others, as independent pictures, in various galleries and collections. The most im- portant collection is in the Berlin Museum. He was very skilful in the delineation of beasts and birds ; a portrait by him of the Elector of Mayence, Albert duke of Branden- burg, as St. Jerome, represents that prince in the splendid dress of a cardinal studying in a forest, surrounded by all 362 EAULY PAIKTERS OE THE kinds of fine and noble animals ; and there are fine examples in the borders of the Prayer Book in the court library at Munich, the first part of which was ornamented by Albert Durer, and the latter by Cranach. He also painted hunting subjects with considerable spirit. One of these represents the dulve of Saxony with several other princely personages, male and female, with their courtiers and attendants, at what may be termed a haftue. The party, armed with cross-bows, is assembled in boats and on aits, to attack deer, which are driven in herds by huntsmen and dogs into a river. The scene is tumultuously joyous. On his pictures is generally found a flying dragon with a ring in its mouth ; this has been supposed to intimate that he was painter to the court of Saxony. It was not so ; it was his own crest by patent of nobility granted to him by the Elector Prederick. He died in 1553. Duree, Albert, was born at Nuremberg in 1471. He studied under Michael Wohlgemuth, both as a painter and an engraver, and in each department he ranks with the best of the Grerman artists of the sixteenth century. Asa painter, however, his earlier works gave no great promise of the future excellence at which he arrived. He continued to imitate the dry and meagre forms of his predecessors and contemporaries, and their fantastic displays in composition. If credit is to be given to many pictures attributed to him, he did not emancipate himself from this manner for a considerable time, if he ever did so entirely. The journey which he made to Italy in 1506, had considerable effect in the improvement of his forms, composition, and colouring, though some of his countrymen are not willing to allow that he derived much benefit from wEat he had seen at Venice and elsewhere ; but the proof is to be found in his productions two or three years afterwards. In 1520 he visited the Netherlands. This journey, says Kligler, exercised an important influence on his tendency in art, and opened his eyes to the peculiarity of liis manner. It is said that he confessed that the beauty of nature had not unfolded itself to him until a late period ; that he had tlien only learned that simplicity is the greatest charm of art ; and lie sighed over the motley pictures of his early days, and mourned that he could no longer hope to emulate the great prototype — Nature. An alteration, how- ever, in his manner of painting immediately took place, as GEKMAN, ELEMISH, AKD EETCH SCHOOLS. 3G3 is evident in a picture painted by him about that time, which bears a resemblance to the works of artists of the Low Countries, particularly to those of Schoreel. The picture is in the gallery of the Belvidere, at Vienna, and represents the Virgin and Child. A few years later he produced his grand work of the apostles, John and Peter, Mark and Paul, of the size of life, in two pictures, which are now in the Pina- cothek at Munich. These effigies are said, by an old tradi- tion, to be intended by the artist to convey something more than figures of the apostles ; they are meant to represent the four temperaments, and show how every quality of the human mind may be made subservient to the Divine w^ord. St. John represents the Melancholic temperament ; his high forehead and whole countenance bear the impress of deep thought ; he stands foremost in the picture with an open book in his hand. St. Peter, a hoary head full of meditative repose, bends over the book, gazing earnestly at the contents ; he represents the Phlegmatic, In the second picture, St. Mark, the man of Sanguine temperament, looks boldly round, and seems to be appealing with animation 'to supposed hearers : and St. Paul, in the front, holds the book and a sword in his hands, as ready to defend his doctrine derived from the word of Grod, even to the death. He looks angrily and severely over his shoulder, as if suddenly retorting on some captious blasphemer ; his whole demeanour exhibits the Choleric tem- perament. Admitting this explanation to be the true mean- ing of the artist, the execution is no less worthy of admira- tion than the sublime and poetic conception. The heads, varied in character, are dignified in expression ; the figures have a statue-like repose ; the draperies are cast with ma- jestic simplicity; there are no angular breaks in the folds. The colouring is true to nature in its power and warmth, with scarcely a trace of glazing, but everywhere a free, pure impasto. Puseli, who denied him genius, allowed his superi- ority in the last particular. He says, “ his colour went be- yond his age, and as far excelled in truth and breadth of handling the oil colour of Paphael, as Paphael excels him in every other quality.” His power of invention is best seen in his engravings, and the numerous designs made by him for wood-cuts executed by others. Dissertations on these, and other issues of his fruitful imagination, may be found in 364 EAELY PAi:>fTERS OE THE almost every writer concerning him : the consideration of his prints does not come within the scope of this work. There is a portrait in the National Gallery ignorantly at- tributed to Albert Durer. It is a libel on the master’s cha- racter as a painter ; an insult to the visitor’s understanding ; and an impeachment of the person’s knowledge who placed it there. It is an old Swiss head, with a recently-painted back-ground ; the monogram and date are forgeries. Engelbrechtsejs-, Cornelius, born at Leyden in 1468, is said to have been the first of the Dutch artists who painted in oil. It is not said by whom he was instructed, but it ap- pears that he applied himself to the study of the works of Jan van Eyck. Several pictures attributed to him are still in existence ; among them is an altar-piece in three compart- ments, in the Town-house at Leyden ; the centre represents the Crucifixion, and the side wings, Abraham’s Sacrifice and the Israelites worshipping the Brazen Serpent. The picture of the Adoration of the Lamb, over the tomb of the Lock- horst family, in the church of St. Peter, at Leyden, is con- sidered as his finest performance. Others are mentioned, on which there is difference of opinion respecting their authen- ticity, among writers on the works of the early masters. He must have been eminent in his day, as his pictures had much influence in altering the style of painting by his contempor- aries. Erom his school proceeded some that became very distinguished ; Lucas van Leyden was one. He died in 1533. Eyck, Hubert and Jan yan, the two brothers who are reputed to have been the first discoverers of the method of ])ainting pictures in oil, were born at a small town called jNIaeseyk, on the Maes. Hubert, it is said, was born in 1366, and Jan in 1370. These dates, however, have been contro- verted, and an interval of thirty-four years has been placed between the birth of Hubert and that of Jan, and it is al- leged that the latter was born in the year 1400. This date is inconsistent with the supposition that he made the dis- covery of painting in oil in 1410, and that he was privy- counsellor to Philip the Good, duke of Burgundy, in 1419. The first date, therefore, may be considered as nearest to the probable time of Jan’s birth, though it does not strictly tally witli several circumstances related of him and his brother Hubert. INIuch that is said of both must be re- GEEMAK, ELEMISH, AlfE DUTCH SCHOOLS. 365 ceived on tlie credit of the earlier writers on G-erman and Plemish painters, and on the probable conjectures of recent investigators of traditional accounts of them aud their works : of the latter, the Grerman critics of the present time have exhibited the greatest perseverance and acuteness. Whether the brothers Van Eyck were the first discoverers of the me- thod of painting in oil or not, it must be allowed that they carried it to the highest state of excellence in their own country, and that their works caused the great revolution that immediately succeeded in painting, on their appearance. What now remains of their authentic works, is described at large and critically analyzed by Kugier, Waagen, Passavant, and others, who have devoted their time and talents to the investigation ; and but little more can be added, in the way of elucidation, except it be from written records that may clear up some points in regard to dates. Many pictures, painted in oil in the early part of the fifteenth century, are attributed to Jan van Eyck, apparently on good authority, and the same denied by critics who have an equal claim to confidence in their opinion : the amateur must weigh their judgments in his own balance. In England there are but few specimens to serve as test pictures ; so they who are curious in the matter, and have leisure to gratify their curi- osity, must resort to Ghent and Berlin, and other foreign countries where there are pictures, and portions of pictures, generally allowed to be authentic. In the English National G-allery there are two small pictures by Jan van Eyck, which there is no reason to doubt. One represents a man and a woman standing in an apartment, and it is said plighting their troth to each other, but the lady’s appearance indicates that that ceremony had taken place some time before ; the other is a portrait, supposed to be of the painter, and it has a lively intelligent look, belonging to a man of genius. A charming little picture of St. Jerome, formerly attributed to Albert Durer, was in the collection of the late Sir Thomas Baring ; but Waagen is of opinion that it more properly belongs to Jan van Eyck. — Jan outlived Hubert, and died in 1441. See note to the account of Van Eyck, in the enlarged edition of Bryan’s Dictionary of Painters and En- gravers.” 366 EARLY PAIjS^TERS OF THE Eyck, Margaret ya^vt, sister to Hubert and Jan, is men- tioned by several writers as a miniaturist wbo assisted in illuminating some of the renowned Breviaries, and other books of devotion, still existing in public libraries, and among the treasures of curious collectors ; and also as exercising lier pencil on sacred subjects in oil pictures, after the style and manner of her brothers. In proof of the first, some of the beautiful drawings illustrating the manuscript Epitome of the Bible, in the Paris Library, are adduced as her work ; and in the Bedford Missal, of which the chief part of the ornaments are supposed to have been executed by the bro- thers, Hubert and Jan, a third hand is discovered, which is considered to be that of Margaret. A beautiful painting in three compartments, formerly in the collection of Mr. Aders of London, has, with great probability, been attributed to Margaret van Eyck. The subject, the manner of treating it, and the delicate execution, bear evidence of those quali- ties that characterize a woman’s mind and hand. Though divided in three compartments, the subject may be considered as one, namely, the legend of the Marriage of St. Katharine, which occupies the centre, where none but angels and female saints are seen ; the former playing on instruments of music, the latter gathering roses, and presenting fruits for refection ; in the back-ground is a church, lighted up within, while trees with thick foliage throw a deep shadow around the outside. The lateral representations are, on one side St. Agnes wan- dering through a green meadow, under beautiful orange trees ; on the other, St. John kneeling, behind him an angel gathering roses, and still further removed, under orange trees, a youtli plucking fruit, which a maiden receives in her lap. The whole has a pastoral character, and is most carefully executed. ]\Ir. Henry Earrer (so well known as a dealer in high-class pictures of every school) has a composition in five compart- ments, representing events during the early infancy of Christ, ill the execution of which there are all the characteristic marlvs to establish it as the authentic work of Margaret van Eyck. The divisions exhibit the Annunciation, the Nativity, tho Adoration of the Kings, the Presentation in the Temple, and the Plight into Egypt. Each division of the work is composed with taste and judgment, and has its peculiar GEEMAIf, ELEAIISH, AOT DTJTOH SCHOOLS. 367 beauties, and the details in all are exquisitely elaborate, but the larger one, representing tbe Adoration, which occupies the centre, is a wonderful performance, and sufficient of itself to give celebrity to the name of the artist. It has in a high degree all the essentials of a fine and perfect picture ; namely, accurate drawing, skilful arrangement, harmonious colouring, and the most refined and delicate execution. The splendour of the costume of the kings is truly marvellous ; the golden embroidery and other rich ornaments are wrought up with a fidelity that challenges microscopic inspection ; the elegant vases and coffers containing the oriental treasures intended as oblations, and other accessoriesj are all finished with the same elaborate care and attention to detail. But dhe part that attracts and fixes the attention and admiration of every spectator, is the landscape back- ground where the story of the Wise Men’s journey is continued. Through an opening in the building where the Holy Bamily and the Magi are assembled, horsemen, and footmen, and camels are seen near a lake or river, and a magnificent castle towering above, partly encircled by umbrageous woods, that by their depth of tone increase the brilliancy of an oriental sky, and give force and animation to the objects in the loAver part. The perfect state of preservation of this gem-like performance renders it a most covetable specimen of the Van Eyck school, embodying as it does in every portion those qualities of mind, and operations of art, for which the names of the two celebrated brothers are venerated. GtEeard oe Haeelem, was born about the year 1460. He was a native of Haerlem and a scholar of Albert van Ouwaler, the first who practised oil painting in HoUand after the Van Eycks. At an early age he had finished many pictures for the churches, which were admired for the beauty of the colouring, better expression, and more correct- ness in design, than was usual at that period. His principal work was an altar-piece in the church of St. John, at Haer- lem. The centre represented the Crucifixion, and on the folding doors weve the Descent from the Cross and the Ee- surrection. The expression of grief in the Marys and the apostles was superior to any production of the time. As G-erard, though not a monk, resided at the convent of St. John, he is frequently called by early writers, Grerard of St. 368 EAELY PAIIS’TERS OE THE John ; and there is reason to believe that he is identical with Gerard of Ghent. He was one of the great miniaturists of the time, and assisted Hans Hemling in the execution of the illustrations and the ornamental borders of the cele- brated Breviary in the Library of St. Mark, at Venice. He died in 1488. Ghent, Justus van, was a scholar of the Van Eycks, and it is supposed assisted them in some of their principal works. The Last Judgment in the church of St. Mary at Hantzig is attributed to him by some writers, though con- noisseurs have long held it to be the work of Jan van Eyck ; Kiigler speaks of it as one of the great master-works of art of the period, but does not say that it is by Justus of Ghent. Justus painted a picture of the Communion, for the brother- hood of the Corpo di Cristo at Hrbino, which was placed in the church of St. Agatha, and for which he received three hundred florins in the year 1475. Several pictures that formerly passed as the productions of Hubert or Jan van Eyck, are now considered to be by Justus of Ghent, or other known artists of the period. The truth is, there is much un- certainty about the painters of this era, and many able artists are defrauded of their just reputation by the desire of pos- sessors of pictures of merit to ascribe them to the brothers Van Eyck. Geimmer, Hans, is mentioned as a scholar of Mathias Grlinewald, and as a portrait painter, and several by him are said to be at Nuremberg and Eatisbon. There are no particulars recorded of him, but he was probably related to Jacob Grimmer, the landscape painter, who lived nearly about the same time, namely, the early part of the sixteenth century. Grunewalh, Mathias, was born at Aschaflenburg about the year 1450. He was an imitator of Albert Hurer ; it is also said tliat he was the master of Lucas Cranach. There are several pictures by him in the Pinacothek, at Munich ; one in particular, a Holy Eamily, is considered equal to Albert Durer; but there are dissentients from this opinion. In the Vienna gallery there is a picture containing portraits of the emperor Maximilian and his family, by him; it is simple and good. Hans, the brother of Mathias, w^as an engraver, and copied the prints of Albert Durer both on copper and GEEMAN, ELEMISH, AIS^D DUTCH SCHOOLS. 369 wood ; they are but indifferent imitations of Albert’s style. Mathias (irlinewald died in 1510. Goes, Hugo Yais^dee, is mentioned among the scholars of Jan van Eyck. It is supposed that he was born about the year 1405. The older writers mention many pictures by this master, existing at Bruges, Brussels, and Ghent; and those of modern date have given elaborate descriptions of several others supposed to be by him, but on which there is great difference of opinion. Waagen describes one in Lord Shrewsbury’s collection at Alton Tower, that bears the date 1472 ; and Lord Lindsay an altar-piece in the church of St. Egidio, painted for the Portinari family. The four pictures in the late king of Holland’s private collection, supposed by Kugler to be by Yander Goes, are attributed by Mr. Nieuwenhuys to Plans Hemling. Kugler, speaking of the pictures by Yander Goes in the Berlin collection, says, “ neatness of execution in the accessories, a rather limited feeling for beauty, and a cold tone of colouring, are their characteristics.” Haeelem, Hieck Yak, is supposed to have been born at Haerlem in 1410 ; his family name was Stuerbout. He was a scholar of Jan van Eyck, according to some writers, and his works bear a strong resemblance to those of Boger of Bruges and Hans Hemling, to whom they have sometimes been attributed. There were two pictures by him in the late king of Holland’s private collection, which came origin- ally from Louvain ; in the one is represented the Emperor Otho the Third, on the false accusation of the empress, ordering one of his courtiers to be beheaded ; in the other, the wife of the victim proves, by the fiery ordeal, the inno- cence of her husband. Mr. Kieuwenhuys affirms these pictures to be the work of Dirck van Haerlem. Another able critic observes, that in spite of their speaking expression, they are distinguished from the works of Hemling (to whom they had been formerly attributed) by less fineness of con- ception and by less depth of character. In the outline and lights there is a peculiar sharpness, and the proportions of the figures are strikingly long. Yanmander describes a picture by him%in one of the churches at Leyden, bearing the date 1462; and on his engraved portrait is inscribed, 370 EAELT PAINTEES OE THE Theodori Harlemio pictori. Floruit Harlemi et Lovanii, An. 1462. It is supposed that he died about 1470. Heemskeeck, Maetizs-, properly Maetik yah Yeeh, was born in 1498, at the village of Heemskerck, near to Haerlein. Having received some early instruction in the art from an obscure painter, he was sent to Utrecht and placed with Jan Schoreel, under whose instruction he made great progress ; so much, it is said, as to excite the jealousy of Schoreel, who accordingly dismissed him from his academy. This anecdote is related by Van Mander, yet it may he doubted whether there is a word of truth in it. Dates and circumstances in the career of both artists militate against the probability. Heemskerck practised in Holland till he was thirty-four, and then went to E-ome, where he remained about three years. On his return to his native country he painted pictures for several of the public edifices, in which he attempted the style of Michael Angelo, but so over-charged, that what was grand in the Italian became clumsy and pre- posterous in the Dutchman. It is not, however, to painting that Martin Heemskerck owes his reputation, but to the numerous compositions and designs made for illustrations of history, sacred and profane, mythology and allegory, and for emblematic devices. These compositions are very numerous, and many of them remarkably ingenious, well deserving a student’s attention. They were engraved by the ablest artists of the time, and made his name universally knowm. A very copious descriptive Catalogue of Prints, after Designs by Martin Heemskerck, has been written and published by Thomas Kerrich, M. A. Hemlinq, Hahs. Much attention has been devoted during the last twenty years, by Grerman and Flemish writ- ers on art, to the lives and works of the early masters of their schools, and great light has been thrown on both by industrious investigation and learned discussion. Circum- stances overlooked, or incorrectly related by authors who lived nearer the time of the artists, have been noticed, and rectified with apparent probability. Still there is consider- able diversity of opinion existing among the most acute connoisseurs respecting the attribution of the works of the more eminent of the early masters, such as Jan van Eyck, GEEMAN, FLEMISH, AHD HUTCH SCHOOLS. 371 Eoger de Bruges, or Yander lYeyde, and Hans Hemling. When the authorities are pretty equally balanced, the in- quirer must take the matter into his own consideration, and with the helps afforded by the disputants, draw his own conclusions : he may probably find that the difference of opinion relates more to names than to the merits of the works. Dr. Branz Kugler, in his Hand Book of the History of Painting, (Part II.,) on the German, Blemish, and Dutch Schools, notices Hans Hemling as “ the scholar of Eoger of Bruges, and as one of the best artists of the school of Van Eyck, and the one by whom its principles, so far as we may judge from existing works, have been carried out, at once with the greatest freedom and originality. Of the per- sonal career of this artist,” he says, little is known. This only is certain, that from the year 1479 he worked a great deal in the hospital of St. John, at Bruges ; according to tradition, out of gratitude for having been received and at- tended there, when a sick and indigent soldier. At an ear- lier period he is said to have lived for some' time in Italy; and in the last years of the fifteenth century, to have worked in Spain. This last supposition rests on his identity with Juan Blamenco, (John the Bleming,) who gained a consider- able reputation in Spain.” (See Cean Bermudez, Historico de los mas illustres Professores de las hellas Aries en Espana, tom. ii. page 118 ; and the articles JuAi^ Bla- ME^fco and Juah he Blaisthes, in the enlarged edition of Bryan’s Dictionary.) “ Hemling adopted the mode of con- ception peculiar to the school of Van Eyck, tinged, however, with greater severity. The features are less lovely, but more earnest ; the figures less elegant ; the movements less soft ; the handling sharper, with greater finish of the detail. His grouping is strictly symmetrical, and he confines himself in general to the characters absolutely necessary ; whilst, on the other hand, he endeavours to exhaust the history, and often introduces the events which preceded or followed the princi- pal action, in a smaller size in the background. We trace his more serious feeling particularly in the conception and colouring of his landscapes. If in John van Eyck these shone in the light of spring, in Hemling they glow with the richness of summer; the greens are darker, the meadows 2 B 2 372 EARLY PAINTERS OE THE more equally tinted, the foliage of the trees more dense, the shadows stronger, the masses of light broader and more tranquil. In other cases, the tone of his landscapes is a clear, uniform, autumnal tint. He is always successful in scenes which require the highest brilliancy of strong lights, as tlie rising sun ; or forcible and singular combinations of colour, as in visions and such-like subjects.” After this elo- quent discriminating character of the master’s style. Dr. Kugler proceeds to give an account of his pictures, of which, he says, ‘‘ the best collection is in Bruges, and particularly in the hospital of St. John. Two of them are inscribed with his name and the date of the year 1479. Both are altar- pieces with wings, and are preserved in the common or chap- ter hall.” Of these he gives a minute description ; and men- tions a third picture of a Sibyl, in the same hall, ascribed to Hemling, but the genuineness of which is doubted. In the chapel of St. John’s hospital is also the celebrated Beliquary of St. Ursula, a shrine about four feet in length ; its style and form are those of rich Grothic church architecture, such as we often find adopted for the larger depositories of relics. On this precious gem of art is represented, in different compartments, the several events recorded in the legend of St. Ursula, and other subjects of a religious cha- racter ; all of which are eloquently described by Kugler. These little pictures,” he says, “ are among the very best productions of the Blemish school. The drawing is much more beautiful than in the larger ones by the same mas- ter ; there is nothing in them meagre, stiff, or angular ; the movements are free ; the execution and tone of colour, with all its softness, very powerful ; the expression in the single heads, of the highest excellence.” He next mentions the series of small pictures in the private collection of the Icing of Holland, formerly in Brussels, as equally excellent. They contain, in two long panels, ten scenes from the life of St. iBertin, and once served as a covering to the splendid re- liquary of this saint, preserved in the Abbey-church of St. Martin, at St. Omer. Also, a similar picture, of a long form, now at IMunich, and formerly in the Boisseree collection, which, he sa}^s, deserves especial notice. “ It represents the principal events of the life of Christ and the Virgin (the Seven Joys and the Seven Sorrows of the Virgin) ; not in GEEMAI^, PLEMISH, Al^B DUTCH SCHOOLS. 373 separate compartments, but in one great whole, united in a landscape, with an endless number of subordinate events : a whole world of life, and joj, and sorrow, all executed with wonderful grace and beauty.” In the Academy of Bruges are preserved two altar-pieces by Hemling. The one which contains the Baptism of Christ, and other scenes of sacred history, is an excellent and beautiful work ; the other, with the date 1481, and the Story of St. Christopher, is less im- portant. Besides these, there are in Bruges other works bearing the name of Hemling ; one is a small altar-piece, in a closed chapel, on the right, in St. Salvator, representing the Martyrdom of St. Hippolytus. In the hall of St. Julian’s hospital, is also a dyptych, of the year 1487 ; on one of the panels is painted the Holy Yirgin and Child, and on the other, the donor. In a chapel at Louvain there is an altar- piece by Hemling, which consists of several panels ; it re- presents the martyrdom of St. Erasmus ; on the wings are saints, and above, the Last Supper, a simple, symmetrical composition, of extremely delicate execution. Of the pic- tures “ marked with the name of Hemling, in the Berlin Museum,” Kugler speaks with some hesitation ; and the editor of the English translation of his work (the intelligent Sir Edmund Head) cannot reconcile his description of an altar-piece there with the account of the picture in the Ber- lin Catalogue. There are also some excellent portraits by Hemling. Two are in the private collection of the king of Holland ; one represents a young lady ; the other, a man of middle age, which is supposed to be Hemling’ s own likeness. A third was in the collection of Mr. Aders, in London, with the date 1462, also taken to be a portrait of the artist. Among the numerous excellent miniatures in the style of Van Eyck, which occur in different places, the hand of Hem- ling is said to be often recognised ; but of these only one is historically authenticated. It is a large Breviary, in the library of St. Mark, at Venice: the text is enclosed in orna- mented borders of the most varied kind, and is broken by larger illuminations, chiefly of sacred subjects. The richness of these illustrations, their grand style, and fine execution, give to this work the flrst place among similar manuscripts. These were executed by Hemling, with the assistance of two scholars, Livin of Antwerp, and Gerard of Ghent. 374 EARLY PAINTERS OE THE Mr. C. J. Nieuwenhiiys’ excellent and very valuable cata- logue of the pictures in the private gallery of the king of Hol- land, contains an account of no less than nine authentic works of John Hemling, and of four others, under the head “ Attri- Buf:.” As this catalogue is privately printed, and not to be readily obtained, the reader will, perhaps, not be displeased to have copious extracts from it, especially regarding the artist under consideration. The reputation which Mr. ISTieuwenhuys lias acquired as a profound connoisseur, in all that relates to the German, Tlemish, and Dutch painters, and the exten- sive commerce he has had for many years in the best vrorks of the best masters, are guarantees for a right judgment. He commences his account of the works of the master, in the king’s collection, by stating that John Hemling was born at Bruges about the year 1440, and that he was living in the year 1499. He then gives a detailed and critical description of the two pictures (Nos. 6 and 7) containing the ten sub- jects of the Life of St. Bertin. St. John the Baptist, Mary Magdalene, St. Stephen, and St. Christopher, (Nos. 8, 9, 10, and 11,) are next described. The Bepose in Egypt, (No. 12,) formerly in Mr. Aders’s collection in London ; the portrait of a Young Lady, (No. 13,) taken from a sepulchral monu- ment in the church of St. Donat, at Bruges, in 1818, and on which is inscribed obyt an® dni 1479 ; and lastly, St. Luke painting the Virgin (No. 14). The Birth of St. John ; the Baptism of Christ ; the Portrait of a Man, supposed by Kugler to be that of the artist, (Nos. 16, 17, 18,) also range under the head Attribue.” Lastly, St. Christopher (No. 19) is said to be “ of the school of Hemling.” This ar- rangement shows a desire not to mislead by following in the track of those who had, with less knowledge, affirmed them all to be by Hemling. No doubt several of them are worthy of his pencil. AV^ith regard to the birth-place and name of the artist, which have been subjects of dispute, (and which dispute is not yet terminated,) Mr. Nieuwenhuys adduces proofs in support of Bruges and Hemling, that will strongly fortify the partisans in their favour. He observes, Descamps, qui a ecrit avec beaucoup de legerete, affirme que Caret van Mander se trompe lorsqu’il dit que Hemling est ne k Bruges, mais il ne donne aucune preuve a I’appui de sa refutation ; GEEMA^f, FLEMISH, AHD HUTCH SCHOOLS. 375 il pretend que ce peintre naquit dans la petite ville de Damme ; or, il me semble que, quand on nie des faits, il faut an moins pouvoir presenter quelqne bonne raison pour justi- fier son assertion, et c’est ce que Descamps n’a pas fait ; en outre, il se trompe encore lorsqu’il pretend avoir lu sur la bordure d’un de ses tableaux que se trouve a Thopital de Bruges, opus johahhis hemmeliivck. m.cccc.lxxix. Sa description du tableau est aussi incorrecte que celle de I’in- scription, puisqu’il dit que le tableau auquel il se reporte est la naissance de JSTotre Seigneur, et les Bergers en adoration. Il n’y a point de tableau a rhbpital Saint Jean que repre- sente I’adoration des Bergers; mais nous voyons, par ce qu’il dit de volets, qu’il veut parler du tableau de I’Adora- tion des Mages, peint par Hemling, dans lequel il a introduit le portrait du donateur Jean Eloreins, age de 36 ans. On dit que le peintre s’y est peint lui-m^me dans la personne qui regarde par la fen^tre a droite ; mais il ne porte pas la robe des malades, ainsi que le dit M. Descajnps, dont I’ou- vrage fourmille d’erreurs.” Of this picture Mr. Nieuwen- huys gives a full description, which he closes with an exact copy of the inscription thereon ; with the date and authentic signature of the master: axxo • mcccclxxix. OPUS • JO- HANIS * J}EMLTN G. In the same year he finished, for the same establishment, one of the most important of his works. It is 65 inches high and 64 wide. The principal subject is’ a Holy Pamily, or the Marriage of Saint Cathe- rine ; on the right wing is St. John writing the Apocalypse in the Isle of Patinos ; on the left, St. John the Baptist. It is remarkable for the execution and finish. On the exteriors of the wings are the portraits of the donors of the picture, accompanied by their patrons and patronesses ; in the inte- rior of the picture, at the lower border, Hemling has dis- tinctly traced, OPUS • JOHANHIS • HEMLING * anno • M.CCCC.LXXIX. 1479. the II in Johannis and in Hem- « ling being exactly of the same form, thus, H. Mr. Nieu- wenhuys remarks, “ Ces inscriptions etant lisiblement ecrites, il est certain qu’on ne pent prendre la premiere lettre du nom d’ Hemling pour un M au lieu d’un H ; d’autant mieux 376 EAELT PAIKTEES OE THE que r artiste s’est servi de la meme lettre H dans le mot JoHANNis, siir lequel on ne pent se tromper. Independain- ment de cette preuve evidente, tons les M sent tellement distinct qu’ils n’ont rien de commun avec les He adds, “ J’ai consciencieusement copie ces inscriptions sans en alterer la moindre lettre ; car ce n’est que par la parfaite ex- actitude que Ton peut eclairer le lecteur.” This is bring- ing the question in the fairest and clearest manner before the reader. That there are instances of the letter H being substituted for M is well known ; but whether it was owing to caprice, ignorance, or a dialect, it is not easy to deter- mine. Instances may be found on a medal of the Emperor Maximilian ; and an inscription on the nimbus surrounding the head of the Virgin by Grentile da Eabriano, given by Eosini in the third volume of his Storia della Fittura Italiana, That Hemling resided at the hospital of St. John at Bruges is quite certain ; and it is an immemorial tradition, with the religious tenants of that establishment, that he was a soldier when he first presented himself there ; that he was received, carefully attended, and remained long enough there to paint the pictures which are still preserved; but that he was a dissolute character is not in proof. Mr. Nieuwenhuys very justly observes, D’apres la noblesse et I’elevation de pen- sees qu’ Hemling a deployees dans ses oeuvres, on pent, on doit meme attribuer ses infortunes a des causes plus honor- ables. Le quinzieme siecle ofirait un vaste champ aux imaginations chevaleresques ; la gloire des armes enflammait alors tons les esprits. On pourrait conjecturer avec vraisem- blance qu’ Hemling s’enrola sous le drapeau de Charles le Temeraire, soit dans la guerre de 1474, enterprise pour re- placer I’Eveque de Cologne sur son siege, soit dans la fatale campagne centre les Suisses, campagne si funeste aux Ela- mands et oh Cliarles le Temeraire resta sur la champ de bat- taille, pres de Nanci, le 5 Fevrier 1477. On sait qu’apres cette defaite, les debris de I’amiee rentrerent en Flandre dans Tetat le plus deplorable. Cet evenement ofire plus de rapport avec ranecdote qui concerne Hemling; et ce qui viendrait encore confirmer cette opinion, ce sont les dates des ouvrages que nous venous de decrire,” Works of such GEEMAK, ELEMISH, AIS^D DUTCH SCHOOLS. 377 exquisite beauty, and holiness of character, are not the pro- ductions of a dissolute mind. Descamps must, therefore, have been in error, when he reported that ‘‘ Hemling s’en- r61a par libertinage en qualite de simple soldat, et que le dereglement de sa conduite I’avait mene dans la plus grande misere.” Mr. NieuAvenhuys observes, If the life of Hem- ling is not so well known to us as we could desire, we have at least the satisfaction of knowing a great number of his authentic works, which are the guides to a just appreciation of his fine talents. His pictures are the most beautiful pages of his history. It is to be regretted that many other artists of great ability, contemporaries with Hemling, have not ' signed their works ; such as the celebrated Hoger de Bruges, Hugo Vander Goes, Dirck Van Haerlem, Vander Meire de Gand, and others, whose pictures are so rarely known, that when they are discovered they are attributed, for the most part, to Van Eyck, or to Hemling; and it is because their works bear a resemblance to those two better known great masters that the mistake arises,” and it con- tinues because the possessors are content to rest in the belief that they are the productions of artists of such re- nown. Mr. Meuwenhuys concludes his remarks on the works of Hemling with the following observations : “ Dans mes refutations, je n’ai cherche qu’a constater des faits qui, pour moi, sont averes. L’experience m’a appris a me defier des opinions hasard&s, et de toutes ces theories imaginaires que les ecrivains repetent les uns apres les autres, et qui tombent devant la realite, des qu’on a sous les yeux les monuments euxmemes, dont tant de critiques par lent sans les avoir vus, ou sai^s les avoir compris.” The reader may feel obliged by these extracts, taken, by permission, from a book that is not in commerce, and, therefore, not easily ob- tained. It is due, also, to the inquirer, and no less so to the author of “THistoire de la Peinture Elamande et Hol- landaise,” M. Alfred Michiels, to direct attention to the numerous particulars that are given in that valuable and in- teresting work. It is true thakM. Michiels is an enthusi- ast in art, and writes in a very poetical style on the beauties and excellencies of the ancient Elemish and Dutch painters ; but his enthusiasm is tempered with judgment, and his poetical language harmonizes with the subjects he describes. 378 EABLT PAIT^TEES OE THE With regard to John Hemling and his works, his opinions agree in the main with those of Mr. Nieuwenhujs ; some of his descriptions are more diffuse, and he enriches his ac- counts of the pictures with a relation of the legends from which they are taken, and with anecdotes and reflections that show his whole heart is interested in the matter. His relation of the tastes and temper of Charles le Temeraire, and of Hemling’ s connexion with that despotic potentate, disprove the aspersion on the character of the latter, that he was of dissolute habits. His account of Hemling’ s intro- duction to the hospital of St. John, divested of some of its poetical embellishments, has an air of probability ; and that of his labours there, is supported by facts. He describes about one hundred pictures, to be found in various places, attributed to John Hemling, and gives a minute account of the miniatures in the famous manuscript in the library of St. Mark at Venice, pointing out those that he conceives to be- long indubitably to that master; also of others in the libraries at Oxford, the Hague, and Munich. He is not willing to allow that John Hemling ever worked at the Carthusian Monastery at Miraflores in Spain, though he ad- mits the genuineness of his pictures there. As he mentions Juan Flamenco, and conjectures that under that name John Hemling is intended, if he had referred to Cean Bermudez, he would have found that he resided in the said Carthusian IMonastery at Miraflores for three years, and that he re- ceived, in addition to his maintenance, the sum of 53,545 maravedis for his labours there. (See the articles Juan Fla- menco and Juan de Flcindes in the enlarged edition of “ Bry- an’s Dictionary.”) The following extract from M. Michiels is interesting, both as regards the spelling of the name, and the year of John Hemling’ s birth ; though he will not admit the inference that the Hermans would draw from it. “En 1822, M. Yon Lassberg, demeurant a Eppishausen, pres de Constance, acheta dans la derniere Yille un manu- scrit du quatorzieme siecle. II renfermait la chronique alsacienne de Konigshoven, redigee en 1386. La genealogie d' un Hans Hemling occupe la fin du livre, et les caracteres annoncent une epoque assez rapprochee de la date qu’on vient de lire. On avait alors 1’ habitude de consigner des notices de ce genre dans les Bibles et autres ouvrages pre- GEEMAl^, FLEMISH, AKD DUTCH SCHOOLS. 879 cieux, que se leguaient comme un bien patrimonial. La liste ne remonte pas plus baut que le grand-pere, Eadin Hemling, ne en 1342, mort en 1414 ; yiennent en suite le pere, Con- rad, ne en 1394, mort en 1448 ; la mere. Marguerite Bru- scbin, decedee en 1447, et leurs six enfants, dont Tavant- dernier, Hans Hemling, avait vu le jour en 1439. Quelques details sur I’histoire de la famille sont joints a cette nomen- clature ; ils vont jusqu’a I’annee 1490, ou une des sceurs fut mise au tombeau.” If tbe manuscript be correctly tran- scribed, the name is unequivocally, Hemlino ; and the date of bis birtb coincides with tbe events and labours of bis life. Zani, in bis Index, writes tbe name Hemmelinch, with tbe date 1479, probably from Descamps, and be adds, “non Memeglino, ne Memelin, ne Memilino, ne Memmelinck.” Under tbe bead of tbe Hamminghi be places Maestro Gio- vanni, detto Giovanni de Fldndes, Operava 1496 and 1509. These dates correspond with those given in Cean Bermudez to Juan Flamenco and Juan de Fldndes, as before mentioned, and there is little doubt tbe three names indicate one artist, namely, Johi^ Hemlii^g. Thus, as far as tbe limits of this work will allow, an endeavour has been made to bring under tbe notice of the inquirer tbe best information respecting this admirable artist, by quoting from those authorities that appear to write from facts. The orthographical dispute will not soon terminate ; it is a fine subject for tourists who are anxious to display their knowledge, in acquainting tbe pub- lic with the discoveries they have made in their travels ; and there are plenty of materials to keep up the contest. But tbe discriminating Dr. Kugler, the enthusiastic and earnest Micbiels, and the thoroughly learned and practical connoisseur in Blemish and Dutch paintings, Mr. J. C. Nieuwenhuys, form a compact body of champions on the one side, strong enough to maintain the battle with the numerous light in- fantry that fight on the other. Heelik, Beedeeic, a painter of Nordlingen, who fiourish- ed from the middle to the latter part of the fifteenth century, and who forms a link between the schools of Southern Ger- many and Blander s. He was a close imitator of the manner of the Van Eycks. There are pictures by him in the church of St. George, at JSTordlingen, representing the Crucifixion, and the Virgin and Infant, attended by Saints, with the 380 EAKLT PAIIS^TEES OE THE dates 1462 and 1488. There is also a grand Trijptique, at- tributed to him, in the choir of the cathedral at Meissen ; it was very beautiful, but unfortunately it has been sadly in- jured by some ignorant pretender to the art of restoration. This picture has a striking relation to the works of the Van Eycks in the conception of the subject, the Adoration of the Magi, and in the execution of the naked figure ; the character of the materials in the clothing is not so accurately defined as in the works of Jan, but the cast of the drapery is grander, and more in the manner of Hubert. Another altar-piece by Herlin exists in the principal church at Eothenburg, not far from Anspach ; it is made up of carving and painting. The treatment resembles the Elemish style, and in it may be observed imitations both of Jan van Eyck and Jan Hemling. There is, however, it is said, less of beauty as well as less of expression in the heads, and the drawing is weaker ; the outer corners of the eyes appear to be drawn down. This picture is dated 1466. Several other pictures by this artist are described by Grerman writers, among which is one of the painter and his family being pre- sented to the Virgin and Child ; the date of this picture is 1488, and it may be presumed that the painter had passed his grand climacteric, as there are four sons and five daugh- ters in the presentation. It is said that the scholar of Van Eyck is clearly visible in this production, but that it is coarser and more mechanical in the execution, with a stronger taint of the Grerman element than appears in his earlier works. There is also a picture by him, of the same date, representing Christ exposed to the people by Pilate. Holbeih, Hans, the Elder, father of the distinguished artist with whose name the English amateur is so familiar, was an eminent painter in the fifteenth century. He was a native of Augsburg, and, in a certain degree, a follower of the style and manner of Martin Schoen, or Schongauer, on which, however, he improved. The able critic and historian of the art, l)r. Kugler, remarks that in his early pictures the forms are sharp and angular, yet have much life, and show the efforts of a powerful mind. Sometimes there is an expression of peculiar dignity, and, in his female heads par- ticularly, a pleasing grace, united with surprising softness and finish in the execution. The fantastic element ob- GEEMAIS-, ELEMISH, DUTCH SCHOOLS. 381 servable in the works of Martin Sckoen, is visible in a still higher degree in those of Holbein, in his numerous pictures of the sufferings of saints. In these there is an inclination to violent and exaggerated character in the figures of the adversaries of the Christian faith. The evil principle (Satan) is not, however, represented in an odious, disgusting form, but symbolically by shapes indicative of devilish passions, and their influence on those whose natural dispositions are prepared for their reception. Among these appears a pale figure with a sharp, pinched physiognomy, in a green hunt- ing suit and a cock’s feather in his hat. He is, perhaps, in- tended for the grand Piqueur, whose business it is to seek objects whose minds are fitted for diabolical passions, and to direct the vice, whether it be lust, covetousness, cruelty, or revenge, to its suitable recipient. In subjects where no such figures could be introduced, the tendency to softness and grace prevails with the greatest freedom. Examples of this are seen in two pictures, painted in chiaroscuro, in the gallery at Prague, which bear the name of the artist. They are wing pictures painted within and without, representing holy figures and circumstances from some legend ; the heads are very good. This is also the case in two pictures in the Munich Hallery, St. Elizabeth and St. Barbara, both executed with great beauty, naivete, and softness. Many others are described as by the Elder Hans Holbein, and some as the conjoined work of him and his son. A series by the two, painted for the convent of St. Catharine, at Augsburg, are still preserved in the gallery of that city ; of these, Waagen selects the one representing events in the life of St. Paul, at- tributed to the father, as his chef d’ oeuvre. Some uncertainty respecting the authenticity of pictures generally ascribed to the elder Hans Holbein, arises from his having had a brother named Sigismond, and a son called Ambrose, who were both painters. A small picture of Madonna, on a Grothic throne, with the date 1499, in the chapel of St. Maurice at Nuremburg, is considered by Dr. Waagen to be the work of Sigismond, and one in the library at Basle, he assigns to Amfoose. The Holbein family, as is observed by Sir Edmund Head, are the principal representatives of the Augsburg branch of the Swabian school. Jaeehus, , flourished at Soest, in Westphalia 382 EAELT PAINTEES OE THE about the latter part of the fifteenth centurj. His pic- tures partake of the manner of Van Eyck. There are three in the Museum at Berlin, forming one large altar- piece, painted on a gold ground. The middle picture repre- sents scenes from the passion ; one wing contains, in four compartments, the Annunciation, the Nativity, the Adoration of the IMagi, and the Presentation in the Temple. The other wing has also four compartments, in which are the Besurrection, the Ascension, the Descent of the Holy Spirit, and the Last Judgment. The figures of the Virgin are simple, and gracefully drawn, — beautiful Glerman heads with light hair hanging down. A small picture, marked with the painter’s name, representing the dead body of Christ mourned by his disciples, is in the possession of the Earl of Pembroke, at AVilton. The execution is remarkably good. Pictures by the early masters of the different German schools, bear- ing the names of the painters, are particularly valuable at the present time, not only as regards the reputation of the artist, if good, but as a check to the guess-work application of those names that are recorded, to every work that the real author has not secured by his signature. Leydejs^, Lucas yak. The family name of this artist was Jacobs , but he is called after the city where he was born, in 1494, and where he chiefly resided and practised. He is re- garded as the patriarch of the Dutch school. He was per- haps the most precocious genius, as a painter and engraver, that has ever appeared. At a very tender age he was ])laced with Cornelius Engelbrechtsen, and when he was about twelve years old, astonished the artists of the time by his picture of St. Hubert. Two years afterwards he produced his celebrated print of Mahomet drunk, having killed the monk, Sergius. He was on the most intimate terms with Albert Durer, whom he surpassed in composition, though inferior to him in design., He painted in oil, distemper, and on glass ; and treated with equal success history, landscapes, and portraits. His colouring is fresh and clear, and his penciling light and decided. His drawing of the figure i^ stiffly taken from the model in the Gothic style, then uni- versally prevalent with the artists of Germany and Elanders, divested of grace and elegance ; and though the expression of the heads is not without truth, it is often marked with GERMAN, ELEMISH, AND DUTCH SCHOOLS. 383 a vulgarity bordering on grimace. He was one of the first of the Dutch painters that had an incipient acquaintance with the principles of perspective. His deficiencies may fairly be attributed to the then predominant taste of his country, which he had not an opportunity of improving by the advantage of travel. Paintings really by him are very rare, though there are many attributed to his pencil ; and great diversity of opinion prevails even respecting those that seem to have a reasonable claim to authenticity. One of his most important works, of which there seems to be no doubt, is the Last Judgment, in the Town-house at Leyden ; but this, has been so disfigured by repainting, that little except the composition nan be considered as the work of the master. In the Pinacothek, at Munich, there is a finely-painted com- position of the Virgin and Child, with Mary Magdalene and a man praying at their side. Another, which was formerly in the collection at Schleisshem, and perhaps now at Mu- nich, is on three panels ; in the centre is the Adoration of the Magi ; on the wings, the Birth of Christ, and the Plight into Egypt. The Birth of Christ is particularly pleasing on account of the beautiful light which emanates from the child. A small picture of a party of men and women at a card- table, in the possession of the Earl of Pembroke, at Wilton House, is allowed by competent judges to be a genuine work. Two remarkably fine specimens, figures of saints, are at Ken- sington Palace, the property of Prince Albert. The ama- teur will find copious lists of the engravings of Lucas van Leyden, and also of the pictures attributed to him, in the enlarged edition of Bryan’s “ Dictionary of Painters and Engravers,” and the names of the places where the latter are said to be located. He died in 1533. Liesborn, The Master oe. Attention has been drawn to this appellation, by nine pictures which are now exposed to the public in the National Gallery. Nothing is known of the painter’s personal history ; but his works, and those of his scholars, are compared with the productions of Wilhelm and Stephan of Cologne, and their establishment in West- phalia is considered as a branch of that school. Kugler ob- serves a relation between them in several pictures existing at Soest, Munster, Liesborn, and other places. It appears that this offset of the school of Cologne established itself in 384 EARLY PALN^TERS OE THE Westphalia about the middle of the fifteenth century, and produced works of peculiar excellence, and an example quoted is an altar-piece, formerly in a convent at Liesborn, but of which there are now only fragments. The fragments that exist are heads of saints, said to be of peculiar beauty, par- ticularly that of St. Bernard, which has an expression of gentle inspiration actually unearthly. Of eight subjects that formed the wings, there remain the Annunciation, the Pre- sentation in the Temple, and a portion of the Adoration of the Kings. These pictures are executed with great care, and the imitation of nature is often very successful. The cast of the drapery is simple and great, the colour clear and tender ; the tone has the character of distemper, though the pictures are finished in oil. It is also said that in them there is a feeling of the ideal, and a peculiar depth of piety that remind the spectator of Giovanni da Fiesole,^ combined with some of the ingenuous sweetness of Gentile da Fahriano.'^ ♦ Giovanni da Fiesole was bom at Florence ; his family name was Tosini, and he was baptized Guido, but took the surname of Giovanni when he became a monk of the order of St. Dominico, at Fiesole. He was also called 11 heato Angelico, for the holiness of his life, and the sa- credness of the subjects on which he employed his pencil. He would paint only such as were of a sanctified character, nor would he commence until he had prepared himself by prayer. Whenever he painted a Cruci- fixion, his face was bathed in tears, and he always knelt devoutly when employed on the head of the Redeemer, or of the Holy Virgin. Michael Angelo, on seeing an Annunciation by him, said he must have been in heaven to be able to represent the objects so beautifully. All his pictures are marked with piety and devotion. He was never known to be angry ; his mind was of the purest humility. The Pope offered him the Arch- bishopric of Florence, which he declined, alleging his insufficiency for the office, and recommended to his Holiness a brother of his order. On one occasion, when he was painting in the palace, the Pope desired him to take some meat ; he observed that he had not his Prior’s licence to do so, forgetting that the pontiff’s permission was paramount. The Pope smiled at his simplicity, and sent for the licence. This holy man, and divine painter, died at Rome in 1455, in the sixty-eighth year of his age. His epitaph concludes thus : La Citta, Fior di tutta la Toscana, Mi dono vita, e Roma hora il sepolcro. Istoria de gli Iluomini lllustri, cosi nelle Prelature come nelle Dottrine, del sacro ordine de gli Predicate?! ; da Fra Serafino Razzi. Serafi?io Razzi belonged to the same order as II beato Angelico. His bro- ther, Silvano, wrote many of the Lives of the Painters attributed to Vasari. t Gentile da Fabriano was contemporary with II beato Angelico, and GEEMAIS', FLEMISH, AIS^D DUTCH SCHOOLS. 385 At the same time it is admitted that the artist is wholly Grerman, and in the treatment of the carnations nearly re- lated to Wilhelm of Cologne. Other pictures of a similar character are described as being by this master of Liesborn, or his scholars, and the same comparisons instituted between them and the works of Wilhelm of Cologne, and the two great painters of Italy. The comparison with Wilhelm of Cologne may be admitted, but that with Griovanni da Tiesole, and Q-entile da Eabriano, will not hold, if the pictures now exhibited are to be considered favourable specimens of the Master of Liesborn ; and this may be said without detract- ing from their merits. The exalted character, divine beauty, profound piety, fervent expression, all partaking of the an- gelic nature, unmingled with mundane affections ; these characteristics, so apparent in the works of Griovanni da Tiesole, and which excite corresponding sublimity of thought in the spectator, reject comparison with any but the noblest painters of his own country. In these pictures, attributed to the Master of Liesborn, there is very little to be dis- covered that will be of utility to our artists ; the subjects they represent may be found in many of the illuminated books of devotion of an early date, and with more appear- ance of originality, and perhaps more truth of colouring. The deficiency in the latter respect must not, however, be laid to the charge of the painter, the pictures having under- gone so much of the process of doctoring to prepare them for the English market, that the original colours are in a great measure destroyed, or, at least, falsified. It is to be regretted that those who select pictures for the National Grallery should have so mean an opinion of English taste and knowledge as to suppose such specimens necessary to improve our artists in their professional pursuit, and the public in its j udgment of works of art. However meritori- ous these pictures may have been considered at the early period at which they were painted, it would be a retrograde movement on the part of an English artist to imitate them ; there are hundreds that can paint better. The public taste there is great resemblance in many of his pictures to the works of that divine painter, particularly in the characters of angels and the Virgin. There is a fine Venetian tone in his colouring, and frequently a rich impasto, 2 c 386 EAELT PAIJfTEBS OE THE would be more benefited by examples of masters universally allowed to have arrived at perfection in their several depart- ments, than in contemplating antiquarian curiosities in an injured condition. Mabuse, Jah he. The family name of this painter was Grossaert, or Grossard, and he was born at Mabeuge, a small town in Hainault. By the general concurrence of all writers of authority, his birth took place between the years 1496 and 1500. It is no where mentioned by whom he was in- structed, but he had the advantage of studying in Italy, and was one of the first artists of his country who attempted to reform the dry stiff style that prevailed before him. His works were of sufficient merit to excite the curiosity, and to obtain the applause, of Albert Durer and Lucas van Leyden, both of whom visited him, and he became the intimate asso- ciate of the latter. To appreciate the extraordinary merit of Jan de Mabuse, it is necessary to have seen his genuine pictures, instead of the wretched remnants of Grothicity so frequently attributed to him. His design is as correct as that of Albert Durer, and much in the style of that master ; his colouring is fresh and clear, and the finishing so pre- cious and polished, that his pictures, in that particular, are not surpassed by those of Glerard Dou, or Mieris. One of the finest pictures known by him is at Castle Howard ; it repre- sents the Adoration of the Magi. It is said that the artist was employed seven years on the work, and received tw’o thousand golden pistoles for his labour. The picture was painted originally for the Abbey at Grrammont ; was purchased by Albert and Isabella of the monks ; passed into the collection of Prince Charles of Lorraine ; then into that of the Duke of Orleans ; and was brought with the rest of his gallery to England, and became the property of the Earl of Carlisle. It may be looked upon as the test picture, in this country, by whicli the amateur may judge the genuineness of others attributed to the master. As to the portraits of Henry the Seventh’s children, at Hampton Court, so often quoted, it is quite impossible that they were painted by Mabuse from tlie life, as Prince Arthur (one of them) died in 1502, when the artist, at most, was only six years old ; and Eiorillo even denies tliat he was ever in England. Notwithstanding the sanctity of his subjects, it is recorded that he led a life of GEEMAN-, FLEMISH, AND DUTCH SCHOOLS. 387 • debauchery and dissipation, in which Lucas van Leyden was his chief companion. Some of his best pictures are dated about 1521 and 1527 ; and his name is affixed to one with the date 1516, the earliest that is known with his signature. On his portrait, published by Q-alle, is inscribed T'uit Hanno j)atrid Malbodensis ; Ohiit AntwerpicB anno 1532. A list of many pictures attributed to Jan de Mabuse, and of the places where they are to be found, is given in the en- larged edition of Bryan’s Dictionary of Painters and En- gravers.” Mr. Labouchere has a fine specimen, the Mass of St. Gregory, not mentioned in the list referred to. Paul van Aelst, a natural son of Peter Koeck, copied several pic- tures by Mabuse, in which he was assisted by Jan Mostaert; it is probable that some of these pass now for originals. Matsts, Metsts, or Messis, Quintin, frequently called the Blacksmith of Antwerp. Vanmander says he was born at Antwerp in 1450, and Guicciardini says he was of Louvain ; other circumstances in the artist’s life support the latter. There is no mention of the master under whom he studied painting ; the cause of his doing so is generally believed to have been love, not for the art, but for a lady, whose father had determined that she should marry none but a painter. Be that as it may, he became one of the most eminent of the time, in the dry minute style then prevalent. His most considerable work is an altar-piece with folding doors, form- erly in the cathedral at Antwerp, but now in the Academy, of which Sir Joshua Beynolds has taken notice in his Tour through Belgium and Holland. He remarks, “ In the Pieta, the Christ appears starved to death, in which manner it was the custom of the painters of that age always to represent a dead Christ ; but there are heads in this picture not ex- ceeded by Baphael, and indeed not unlike his manner of painting portraits ; hard and minutely finished. The head of Herod, and that of a fat man near the Christ, are excel- lent. The painter’s own portrait is introduced. In the banquet, the daughter is rather beautiful, but too skinny and lean.” Other writers have compared it with the w'orks of Lionardo da Vinci. The picture by Quintin Matsys most frequently quoted in England, is that at Windsor Castle generally called The Two Misers f and by some The Col- lectors of the Gahelle 'f* of this there are several repetitions 2 c 2 388 EAELT PAIIS^TEKS OE THE ^Yith variations, equal in quality, and having as great a claim to originalit}^ Others of a later age betray themselves to be copies by the coarseness of the execution. His son, Jan, in some instances imitated his manner rather closely ; the dates on pictures by the latter, when found in their genuine state, are about 1563, and 1565. Quintin Matsys died at Antwerp in 1529. A List of Pictures by and attributed to him, may be found in the enlarged edition of Bryan’s “ Dictionary of Painters and Engravers.” Mechelh, or Mecheheh, Iseael yoh. There were two artists of this name, father and son. The elder was born at ]\Iecheln, a village near Bocholt, a small town in the bishop- ric of Munster, in Westphalia, about the year 1420. He was a goldsmith by profession, and one of the earliest engravers. It is probable that the father instructed the son in the art of engraving, and that they worked conjointly on many of the plates bearing the name. Their productions in this depart- ment are well known to the learned collectors of ancient prints. But the consideration of them now is, whether they were painters as well as engravers. It is therefore necessary to say something respecting the paintings supposed to be by one of them, at Cologne, Berlin, and elsewhere, of which lithographs are to be found in ‘‘The Grallery of the early Grerman masters, formerly at Stuttgard, in the possession of the brothers Boisseree, now at Munich.” Dr. Kugler is unexceptionable evidence in the matter, and therefore it will be better to quote his opinion than to enter into speculation on the subject. He says, “Eirst in the school of Cologne, about the latter half of the fifteenth century, we meet with an excellent artist, who, with many traces of the elder Cologne school, unites a conscious familiarity with the models afibrded by that of Van Eyck. The name of this master is unknown; formerly, though without sufficient ground, that of a contemporary goldsmith and engraver, Israel von Mecheln, or Mechenen^ was given to him. His chief worl^, a re])resentation of the Passion, on eight panels, is in the possession of Herr Lyversberg, at Cologne, and it is now usual to designate him as the ‘ Master of the Passion.’ His pictures have still, indeed, a gold ground, and resemble the older school in this circumstance, as well as in the style GEEMAIf, FLEMISH, AND DHTCH SCHOOLS. 389 of colonring, which is lively, powerful, and clear ; hut they are painted in oil, and moreover the manner, the attitudes, and the arrangement, are generally borrowed from the school of Van Eyck. He appears to have been an able, intelligent, and highly gifted artist, earnest in seeking an insight into life, zealous and careful, but for the most part, it must be confessed, devoid of original inspiration. The general cha- racter of his drawing is precise and hard ; his efforts to mark character in the lower class of persons, such as the perse- cutors of Christ, degenerates into exaggeration. Besides this excellent work of the Passion, there are several paint- ings evidently by the same hand. The most important of those in Cologne are, a Descent from the Cross, of the year 1488, in the city Museum, less powerful than the Passion, and probably of the latest time of the artist; the wings, added later, seem to be the work of a scholar or imitator. Two good pictures in the possession of Herr Zanolli ; the paintings in the windows and on the walls of Hardenrath chapel in Sta. Maria, in Capitolio, of the year 1466 ; the first of which, however, are injured, and the last considerably retouched. The Crucifixion on the walls of the same place belongs to a later period. There are, besides, excellent altar-pieces by him in the churches of Linz and Seinzig ; and a considerable number at Munich, in the formerly Boisseree collection, particularly an altar-piece with very dignified figures of the Apostles, John the Baptist being substituted for Judas. Several are in the chapel of St. Maurice, at Nuremberg ; and a beautiful picture, with female saints, in the Berlin Museum. The influence of this artist on his con- temporaries was very important, as is proved hj the various works of his scholars, or imitators, extant at Cologne, and in the neighbourhood, or in the Boisseree collection and Berlin Museum. Of those in the Berlin Museum, two panels with male and female saints are particularly remarkable, being distinguished as much by the dignity of the flgures and their noble drapery, as by the powerful painting and expres- sion of the heads.” So it appears that, in the opinion of this impartial judge and real connoisseur, the application of the name of Israel von MecTieln to these paintings is merely conjectural, founded 390 EAELT PAIKTEES OE THE probably on tbeir analogy to bis engraved subjects, and being painted at the period in v^bicli be lived. MEEEEjjf, GtEehaed YAiSTDEE, Sometimes written Meere, or ]\Iiere, was a native of Ghent, and a scholar of Hubert Yan Eyck. He flourished about 1450, and was one of the earliest painters in oil. His principal known work is an altar-piece in the church of St. Bavon, at Ghent, representing the Cruci- flxion in the centre part, and Moses striking the Bock and the Elevation of the Brazen Serpent on the wings ; both in symbolical relation to Christ. The figures are tall and the draperies angular ; the colour pale and clear, and the expres- sions unimpassioned. Yanmander describes a picture by him of the death of Lucretia, w^hich he says was well drawn and coloured, and very highly finished. A picture attributed to Yander Meeren is now in the National Gallery, whether by Gerhard or Jan is not said. It represents two Bishops in splendid pontificals, most profusely decorated with pearls and other ornaments ; nothing can exceed the elaborate exe- cution of the workmanship ; it is perfect deception. It is probably part of a large composition, and fortunately is in perfect preservation. Meeeeh, or Mieee, Jah yahdee, said to be brother of Gerhard vander Meeren, and also a scholar of the Yan Eycks, painted a picture of the Institution of the order of the Golden Fleece for Charles the Bold, Duke of Burgundy, whom he followed in all his campaigns. If this be correct, Jan vander Meeren and Hans Hemling were fellow-soldiers. He died at Nevers in 1471. Oelet, Beehaed yah, or Bernard of Brussels, was born about the year 1490. He was sent to Borne when young, and studied for some time in the school of Baphael. It is said that he was employed by his great master to superin- tend the execution of the tapestries manufactured at Arras from cartoons designed by him, which work was completed in 1519. In 1521, he v^as in the service of Marguerite of Austria, sister of the Emperor Charles Y., appointed by her brother regent of the Low Countries. On his return to Brussels he painted cartoons for tapestries, representing li unting subjects of Charles and his nobles in the forest of Soignes ; these w^ere designed and composed in a grand style. He painted several pictures for the cliurches, in GEEMAlSr, ELEMISH, AND DUTCH SCHOOLS. 391 whicli lie introduced portraits, according to the Italian practice and rich architecture'. In the church of St. Jacques, at Antwerp, is the picture of the Last Judgment, with saints and portraits of the family of the donor on the wings ; the nude figures in the centre display a great variety of beautiful forms. In the same cathedral are others by him ; and also at Brussels, and in various public collections in Grermany, Though not divested entirely of Flemish feeling, there is much of Italian taste in most of his productions ; one by him at Frankfort is attributed to Gian Bellini. His design and the expressions of his heads have resem- blance to the early works of Baphael, and a portrait, formerly in the private collection of the late king of Holland, is in the manner of Andrea del Sarto. He frequently painted on a gold ground, and his pictures are highly finished. He died in 1560. It must be observed that there are great dis- crepancies in the dates of his birth and death, among the writers concerning Bernard van Orley. . Some place his birth in 1471, and his death in 1551 ; others his birth in 1500, and his death in 1550 : the last seems least entitled to credit. As many of his pictures have been attributed to Italian masters, it may be of service to the inquirer to refer to a list of what are considered by connoisseurs to be undoubted pictures by him, w*hich is appended to the article in the enlarged edition of the Dictionary of Painters and En- gravers;” therein he will find the names of places where they are preserved, and of their possessors. There were two other painters of the name Van Orley, Bi chard and Jan, both natives of Brussels, but they flourished a century later than Bernard. OuDWATER, or OuwATEE, Albeet yan. There is great uncertainty respecting the time when this artist lived. The account wFich Vanmander gives is, that he was born in 1444, at Haerlem, and that he was one of the first painters in oil after the Van Eycks. He particularly commends a picture painted by him, in the great church at Haerlem, representing St. Peter and St. Paul, in which the figures are said to be carefully and correctly designed, and richly coloured, though stiff and laboured in the finishing. He also describes another of a more extensive composition, representing the revivifying of Lazarus, with the Apostles, 392 EAELT PAi:S^TirRS OE THE and other figures, designed in a style superior to what was usual at that early period, and with considerable expression in the heads, particularly of the women. The draperies were well cast, and the hack-ground embellished with archi- tecture, in the taste of the time. Other writers place his birth in 1366 or 1370, and his death in 1424. It is now perhaps impossible to arrive at the truth. Pictures of the early Dutch school are attributed to liiin by conjecture, when they do not accord with Van Eyck, Plugo vander Goes, or other painters of the period. Kugler mentions a Descent from the Cross, in the Museum at Cologne, which he says is ascribed with probability to this painter ; the colouring is very bright, and the drawing stiff and meagre. It is said that Albert Durer expressed a high opinion of the landscape part of Ouwater’s pictures, and considered that he was highly favoured by nature to have arrived at such a degree of perfection ; if this be true, a fine landscape should be part of an out-of-door scene at- tributed to the master. Pateis^iee, Joachim, is among the earliest Elemish painters who combined landscapes mth historical compositions. It may be concluded that there was something extraordinary, as well as novel, in his works to induce Albert Durer to form an intimacy with one Avhose tastes, in a moral point of view, were so uncongenial with his own. The works of Patenier are frequently adverted to by writers on the progress of the art during the sixteenth century, as contributing much to its advancement in composition, colouring, and execution ; and, as far as the history of Painting in the Low Countries is concerned, he is fully entitled to the notice that has been bestowed on him and his productions. There are some authentic pictures by him in England, which have been described by AEaagen, and other competent judges of the genuineness of works attributed to early Elemish painters ; in the collection of the late William Beckford, a connoisseur of the most refined taste, and an accurate judge of every- thing connected with art, were several ; others are in the possession of individuals, Avith whose names the curious in such matters are not so familiar. But it is in Germany that they are principally to be found. Doctor Kugler describes one in the Berlin Museum, as an interesting example, combining GEEMAK, ELEMISH, AKD DUTCH SCHOOLS. 393 landscape and history. “ In the centre of the picture is the Virgin with the Child, resting during the Might into Egypt ; around her is an extensive view ; in the back-ground an immense rock, its summit reaching to the clouds, and a monastery in a hollow, to which a flight of steps forms the approach. On the sides of the rock are villages ; on the left are distant mountains, on the right a broad river in a valley .with a city on its banks ; the sea forms the horizon, and the distance is of a sharp bluish-green colour.” The same intel- ligent writer on the art of painting at this early period gives a very just account of the manner of Patenier, and some of his contemporaries, in their different landscapes. “ The colours are generally rich and brilliant ; the trees of the liveliest green ; the foliage is treated conventionally, and has a scene-like look, sometimes resembling tapestry. This appears more prominent where the artist intended a poetical composition ; whilst in the representation of homely scenes, or confined localities, a more simple and natural treatment is already apparent.” See the article Patenier^ under the head of Landscape Lainters. Peiks, or Pei^s, G-EEaoET, or Geoeue, is well known in England by his engravings ; he ranks among the “ Little Masters,” so called on account of the small size of their prints ; his talent, as a painter, is better known in Germany. He was born at Nuremberg, in 1500, and was a scholar of Albert Durer. On leaving the school of that master he went to Italy, where he acquired a correct and tasteful style of design, which distinguishes him from the contemporary artists of his country. It is said that he was admitted among the scholars of Eaphael. There are historical pic- tures by him in the Munich Gallery, in that of Vienna, the Museum at Berlin, and at Nuremberg. He was also an ex- cellent portrait painter ; that of Erasmus in Windsor Castle is said to be a copy by him from the original by Holbein. His pictures are sometimes in the German, sometimes in the Italian manner; in the colouring, that of the Italian mostly prevails. The time of his death is not recorded, but is supposed to be about 1550. Eiku, Ludgee zum, who flourished about the middle of the sixteenth century, painted history, portraits, and familiar sub- 394 EAELY PAIliTTEES OE THE jects. He ranks among the "Westphalian painters, but his manner partakes largely of the Flemish artists of the time. Kiigler says that his most important work, of the date 1538, is in the possession of the AYestphalian Art Union at Mun- ster ; it is one of those impious and foolish attempts, com- mon among the early painters, to represent the Grodhead, surrounded by the heavenly host, as the avenger of sin, with Christ and the Virgin as intercessors : by their side is the donor. It is grand and earnest, but wants grace, and is much injured. Another picture by him is described as the interior of a kitchen, and has the inscription, Lhdgeetjs. Eingius. Mohast. Eeiihsis. Pictoe. Anno 1562. A pic- ture of a female and child, attributed to him, has been re- cently placed in the English National Gallery ; it is a very poor affair, scarcely worth regarding, except as condemnatory of the taste of those who selected it for an example. Eikg, Heemahh zum, is said to have been the son of Ludger zum Eing, and a superior artist. His principal knovT .1 picture, the Eaising of Lazarus, in the cathedral at Munster, is a rich composition, with great expression of character and masterly execution, it is considered nearly equal to works attributed to Schoreel. With such a cha- racter it is surprising that so little is known of him, or his works. SciiAEEHEE, Maetih, a painter of Ulm, who flourished in that city from 1502 to 1539. He painted historical pictures and portraits, and ranks among the best German masters of the period. There were pictures by him at Schleissheim, (which are perhaps now removed to Munich,) representing the Annunciation, the Presentation in the Temple, the De- scent of the Holy Spirit, and the Death of the Virgin. The figures are noble yet delicate, full of feeling and expression in the lieads. The colouring of the flesh has a peculiar clear grayish tone, without being cold. Another important work by Schaflher, of the date 1521, is the altar-piece in the Min- ster at Ulm ; on the inside of the wings are family groups of the kindred of the Virgin, and on the outside different saints. There is an Italian air in the somewhat rounded figures, and the heads are soft and expressive ; the cast of the draperies is occasionally angular, but grand in form, and in long masses. A picture with the date 1490, in the Bel- GEKMAK, ELEMISH, AOT DUTCH SCHOOLS. 395 videre at Vienna, is attributed to bim ; bis works were formerly ascribed to Martin Scbongauer, perhaps on ac- count of tbe signature MS. ScHAUEELEiN, or ScHEUEELiK, Ha^^s, two early masters, father and son, of whom much has been written, and very little said that is satisfactory. In England they have been considered rather as engravers than painters. Dates respect- ing them have been strangely confused; their works, how- ever, conjointly or singly, are found to be of the first quarter of the sixteenth century. The father is supposed to have studied under Martin Schoen, or Scbongauer; the son, under his father and Albert Durer : this, perhaps, relates to them as engravers only. Whether they were natives of Nordlingen or Nuremberg is not clear; their chief residence was at Nordlingen, and pictures by them are in both places. Lord Lindsay in his Sketches of the History of Christian Art,” describes a fresco painting by Schaufflein at Nurem- berg, representing the siege of Bethulia recorded in the apocryphal book of Judith, in which the artist has introduced the military costume and artillery of the sixteenth century : it was painted in 1515. Another is described by the same noble writer, found in the collection of the Duke of Litta, at Milan, representing the whole history of Troy and the Trojan war, commencing with the expedition of Jason in search of the Golden Eleece. This is said to exhibit great invention, powerful expression, vigour, and correct design, clearness of colouring, though somewhat diminished by time, and is exquisitely finished ; the supposed date is 1540 : the elder Hans it is said died in 1539. Other pictures by Schaufflein are mentioned by Kugler and Waagen ; among which is one in the castle at Nuremberg representing the mocking of Christ, of large size, in distemper, having the date 1517. Waagen observes that Schaufflein’ s pictures at Nordlingen give a far higher idea of his powers than those preserved elsewhere. The largest work of his extant is over an altar in the old Monastery of Anhausen, near Oettin- gen, consisting of sixteen pictures, the centre one of which represents the Coronation of the Virgin.” Waagen men- tions also an Adoration of the Lamb,” in possession of a gentleman at Stuttgart, and a “ Crucifixion” in the church at Tubingen. The younger Hans Schaufflein was living in 396 EAELT PAII^TEES OE THE 1551, as there is a free etching of a landscape by him bearing that date. The dates of the birth and death of both artists are not ascertained ; the decease of the father may be suppos- ed to have occurred in the year above stated, as his widow married Hans Schwartz, the painter, in 1540, The inquirer will find a note appended to the article Hahs Schatjeeleih, the younger^ in the enlarged edition of Bryan’s “Dictionary of Painters and Engravers,” containing several particulars regarding their artistic operations as painters and engravers, Avith references to Avriters who have gone extensively into their history in both departments. SciioNGAUEE, Maetih, generally called Maetih Sohoh, was born about the middle of the fifteenth century, but whether at Culmbach, Colmar, or Augsburg is not certain. He was one of the earliest of the Grerman engravers. There are pictures attributed to him in the galleries at Nuremberg, Munich, Schleissheim, and Vienna, but connoisseurs are divided as to the authenticity of several : those at Colmar have the greater number of suffrages. One in particular, “ the Virgin in the Eose Bush,” behind the altar in the cathe- dral, is celebrated for its size, composition, and excellent state of preservation. The Virgin is represented with the Infant in her lap, seated among roses, and two Angels are holding a crown above her. It is carefully executed, and the colours so blended that the touch of the pencil is imperceptible. The figures are of the size of life, and painted on a gold ground, as are all, it is asserted, that are authentic pictures by the master. The general character of his figures is mildness and pious serenity ; his colouring is subdued ; the drapery with- out much distinction of material, but nobly cast. The chief excellence is in the heads, Avhich have more of mature beauty than is found in the older Gierman artists ; the limbs, in the nude, being still meagre and stiff. In his prints there is peculiar beauty in the features and expressions of the female heads, particularly in representations of the Virgin; the feminine delicacy of form, and saint-like purity of mind, are scarcely excelled by the most eminent Italian masters. It is related that there Avas a friendly correspondence, and an exchange of their drawings, betwen Schongauer and Pietro Perugino ; and that Michael Angelo, in his youth, studied and coloured the print of St Anthony tormented by demons, GERMAN, FLEMISH, AND DUTCH SCHOOLS. 397 being particularly struck with the variety of the composition. This print, and several others by Martin Schongauer, show the fertility of his invention, and that there was a tendency to the fantastic occasionally, according to the practice of the artists of that early period. He died in 1499. ScHOREEL, Jan, was born in 1495, at Schoreel, a small town near to Alkmaer. At the age of seventeen he went to Amsterdam and entered the school of J acques Cornelisz, an historical painter of some eminence, and under that master he became one of the most promising young artists of the time. Attracted by the reputation of Jan de Mabuse, he went to Utrecht to make himself acquainted with that artist’s works, and after a short stay left for Germany, and visited Albert Durer at I^uremberg. It is said by some of his biographers that he studied under both masters, for which there seems to be no other foundation than these visits of curiosity. His strong disposition for travel led him from Nuremberg to Venice, from Venice to Jerusalem, thence to Hhodes, and afterwards to Home, where he re- mained for three years ; the first under the patronage of his countr}Tuan, Adrian VI., who then filled the Papal chair. During his stay at Home he imbibed much of the beauties of the Italian painters, though he did not divest himself entirely of the style he had acquired in his earlier studies. Pictures attributed to him are described as pos- sessing the grace of Haphael in expression, and in the com- position as being superior to every Plemish artist who had preceded him. His refinement of manner must have been great to prompt a sigh from Albert Durer, on seeing one of Schoreel’ s productions, and to induce so gTeat an artist to imitate the work of one who was still young enough to be his scholar. That Schoreel was a painter possessed of supe- rior ability must be allowed, as so much is related of him by contemporary writers, and so many references made to his works in describing those of other artists who are said to have imitated him ; but where are the proofs ? — The pic- tures supposed to have been painted by him when in Home, are now attributed to Italian masters ; those that have found their way into Germany are disputed, or stoutly denied. A connoisseur of the present day, of considerable celebrity, says that “ no authentic picture by him has hitherto been 398 EARLY PAI^TTERS OE THE discovered.” It is said that many of his principal works were destroyed during the troubles in the Low Countries. After such statements, very little satisfaction can be derived from references to places where pictures by Schoreel are said to be found, whether at Naples, in the Pinacothek at Munich, or religious houses in Planders or Holland. Alfred IMichiels, in his work, “ Histoire de la Peinture Plamande et Hollandaise,” has cited fifty-one pictures, real and apocry- phal, from accounts by various writers, and from his own observations. There was one at Corsham House, in Wilt- shire, which Waagen believed to be authentic. The Methuen collection is now dispersed, and its destiny at present un- known; but the following description may bring it again into notice. It represents lovers passing the time with music and feasting, probably part of the parable of the pro- digal son, and measures two feet six inches in height, and is four feet wide. Such a subject, however, is not likely to go far in confirmation of the high character given to Schoreel’ s larger subjects from sacred history. He died at Utrecht in 1562. Eoger Vakder Wetheh, Eoger he Bruges, and Eoger HE Bruxelles. Eecent researches show that these names appertain to one painter. The naming of artists after the place of their birth, the school in which they studied, or the city Avhere they chiefly resided, has caused much ambiguity, and unfortunately the earlier writers on painters have too often used the names indiscriminately. It now appears that Eoger Yander Weyden was born at Brussels about the year 1401, and that he was sent early to Bruges to study paint- ing under the celebrated brothers, Hubert and Jan van Eyck ; that he remained there till the death of Jan, and his long residence obtained for him, as a painter, the cognomen of Roger de Bruges. It w^as not, however, forgotten by the citizens of Brussels that he was a native of their increasing city, when his talent and reputation marked him as one worthy of their attention. He was employed by them to decorate their newly erected Town-hall, and afterwards ap- ])ointed painter to the city. This appears in the archives of the city of Brussels, wliere there is an entry of a resolution, with the date 1436, that after the death of Master Eoger, salaried painter to the city, there shall be no other artist GEEMAK, ELEMISH, AM DUTCH SCHOOLS. 399 officially appointed.” This resolution it seems was in con- sequence of the great expenditure in the erection of the Hotel de Yille, and the necessity felt of being more economi- cal in future. In 1449 he is mentioned again in the ar- chives as Roger Vander Weyden^ painter to the city of Brussels. Meestee Eooieeen Ya^^dee 'Wetdeis' 'portra- tev/r der Stad van Brussel . In 1450, the year of the Jubilee, he went to Borne, to contemplate the works of the painters there, and was delighted with the productions of Grentile da Babriano. But his own works had preceded him ; for, pre- vious to 1431, he had painted for Pope Martin Y. the famous chapel which passed into the hands of the Emperor Charles Y. This portable chapel, as it is called, consists of three pictures ; the Nativity of Jesus, the Descent from the Cross, and Christ’s appearance to Mary after his Besurrec- tion. It w^as presented by Pope Martin to John II., and was used by him at his private devotions. In 1445 it was given by J ohn to a Monastery called Certosa di Mirajiores, situated a short distance from Burgos. How it came into the possession of the Emperor Charles Y. is not mentioned, but it accompanied him in all his warlike expeditions. Al- bert Durer, among other memorandums of his visit to the Low Countries in 1520, mentions it as the work of Boger. He says, during my stay at Bruges I was conducted to the residence of the Emperor, which is of great magnificence, and there I saw the chapel by Boger.” After the death of Charles, it was restored to the Monastery to which it form- erly belonged: subsequent events put it in possession of the late king of Holland. This however, was not the only work he executed for Italy, previous to his visiting that country ; for in 1449, Cyriac of Ancona saw in the palace of Lionel d’Este a picture of the Descent from the Cross, painted by Boger. Some of the Italian painters had also imitated his manner and that of his master Jan van Eyck ; among them was Angelo Parrasio, a Sienese, who painted the nine Muses in the palazzo Belfiore, and in the colouring adopted the Blemish style. It is pro- bable that he remained some years in Italy, and painted many pictures there ; those attributed to Boger de Bruges are also attributed to Boger Yander Weyden. History is silent with regard to both names for about twelve years from 400 EAELT PAINTEES OE THE the year of the Jubilee, and it is only by the discovery of pictures executed during that period that it is made apparent that Koger de Bruges, or Boger Yander Weyden, continued for a considerable time painting in Italy. A portrait of Eoger, painted by himself, was in the possession of a Spanish gentleman of the name of Zuanne (Juan) Earn, at Yenice, in 1531, and is said to have borne the inscription Rogerio da Bruxelles, and the date 1462. From writing his name in Italian it is inferred he was at that time in Italy, and used the language best understood by those with whom the picture was to remain. Whether he paid an intermediate visit to his own country is not quite clear ; it is recorded that he painted an altar-piece for the cathedral church of Middelburg, a city founded by the chevalier Peter Bladelin in 1444, and completed, as to essentials, in 1464. This picture represents the Adoration of the Shepherds, and the wise Men returning thanks for having arrived at the termination of their journey. It also contains the portrait of Peter Bladelin, and a view of the Castle and Cathedral of Middelburg: it is now at Berlin. Eoger Yander Weyden died at Brussels the 16th of June, 1464, and was buried in the church of St. Grudule. The follow- ing is the entry in the Burial Eegistry; Magister Eoueeus Yandee Weyden excellens pictor, cum uxore liggen voor Ste Catelynen autaer onder eenen hlauwen steen. This entry must have been made at a later date, as his wife, Elizabeth Groffaerts, survived to the year 1477. The date of Eoger’ s death is confirmed by a document in the archives at Brussels, by which it appears, that on the 5th day of October, 1464, his ■widow paid to the Prevot of the Cloisters of Coudenburg at Brussels the sum of twenty golden Peeters, to purchase an income, on condition that he and his successors should celebrate the anniversary of the late Roger Vander Weyden, painter, and of his widow, Elizabeth Groffaerts, when she deceased. Eoger Yander Weyden had a son named Groswin, who was dean of the confraternity of St. Luke in the years 1514 and 1530, and painted so late as 1535 ; the Museum at Brussels contains eleven pictures by him. The handling is ruder and the execution less finished than that of Eoger, but viewed at a distance tliey have a resemblance to the manner of tliose attributed to him. Little, however, is known of Goswin or his works. — Yan Mander is accused of having GEEMAI^, FLEMISH, AND HUTCH SCHOOLS. 401 caused tlie confusion of names by calling tbe father Roger de Bruges, and the son Roger Vander Weyden, and not knowing the true date of the death of either, he places that of his supposed Roger in 1529, and says that he died of the English malady, the sweating sickness, in that year. Now, it happened that Quintin Matsys died of the malady that same year, and it is possible that Van Mander, who wrote hastily, applied the circumstance to Vander Weyden. The error however has continued, and writer after writer has copied the statement, and hence we have a Roger de Bruges, and a Roger Vander Weyden. That Roger Vander Weyden was recognised as the principal scholar of the Van Eycks long before Van Mander wrote is clear, from his name being quoted by Vasari, Gruicciardini, and others, and always in conjunction with, or in allusion to, the Van Eycks. Lamp- sonius, who praises so highly Roger of Brussels, says nothing of Roger of Bruges. Roger, by whichever name he is dis- tinguished, is the link between the Van Eycks and Hans Hemling ; but with regard to his authentic works it is feared that there is no certainty, except the celebrated portable Oratory of Charles V., lately in the possession of the king of Holland, the authenticity of which is supported by the testi- mony of Albert Durer. There is no picture known with the painter’s family name ; how then is the question to be decided ? — One party affirms that a picture is by Roger de Bruges ; another, that it is by Roger of Brussels, or Roger Vander Weyden, neither disputing the excellence of the work. Some distinguish between the finer or coarser execu- tion, apportioning the first to Roger de Bruges, the second to Roger Vander Weyden, on the presumption that the latter lived at a later period, and painted the pictures now ascertain- ed to be by his son Groswin. The accounts of Roger de Bruges and Roger de Bruxelles are parallel in dates and circumstances, except that no mention is made of the place where, or the time when, Roger de Bruges died ; the last notice of him is the portrait of 1462, which equally applies to Roger de Bruxelles. The place and time of Vander Wey- den’s death are certain, and in his epitaph Brussels is made to mourn for him as an artist never to be equalled, and whose loss can never be supplied. Weebdeh, Meisteb yok, is the title applied to a painter 2 D 402 EAKLT PAIIS’TEES OE THE belonging to tbe Westphalian School, and to whom are attributed four pictures of Bishops and Saints and the legend of St. Hubert, recently brought into the .English National Gallery. There is nothing recorded of the master, so it is probable that he was of as little importance in his own time as at the present, that is to say, in respect to his skill as an artist ; the specimens of his ability to which it has been deemed advisable to draw public attention, will be more gratifying to an antiquary than useful to a painter. The antiquary, however, will have reason to complain of the removal of the jpatina, that test of age and preserver of colours, and the substitution of crude colouring and falsified gilding, in the attempt at restoration ; or perhaps for the ])urpose of making them more attractive to the public eye. They are rehgious subjects, but impart no religious feeling. AYilhelm YOiS^ CoELH, or Meistee Wilhelm, a painter of Cologne, of whose works nothing certain is known. It is supposed that he was born at the little village of Herle, and it is ascertained that he was settled at Cologne in 1370. He is noticed in the Annals of the Dominican Monks of Erankfort, wherein it is said, ‘‘ In that time, 1380, there was at Cologne a most excellent painter, to whom there was not the like in his art ; his name was Wilhelm, and he made pictures of men, which almost appeared to be alive.” This seems to be the extent of our knowledge of him ; all besides is conjectural. To him are attributed several pictures, still preserved, painted at the latter part of the fourteenth, and early part of the fifteenth, centuries. Among them, one in St. Castors Kirche, at Cologne, painted in 1388; a large altar-piece for the Church of St. Clara, in the same city, now in a chapel of the Cathedral ; the Sancta Veronica in the collection at Munich ; a Madonna and Infant, and a Cruci- fixion, in the AVallraf Museum at Cologne. The most im- portant work, liowever, which has been ascribed to him, is the “Dom-l)ild,” the altar-piece in the Cathedral at Cologne, painted in 1410. This is disputed by others, and attributed to INIeistee Stephan, who, it is said, was a pupil of Meister Wilhelm. After much research by several competent persons, tliere has been little or nothing discovered to put the question of tlie authorship of this, or the others, beyond a doubt. There had been before the time allotted to Meister Wilhelm GEEMA^f, ELEMISH, AND EIJTCH SCHOOLS. 403 and Meister Stephan, several good artists, for the period, at Cologne, and certainly others contemporary v^ith them, whose names are not recorded. It is not surprising, after a lapse of more than four centuries, that all pictures of merit discovered in that city should be attributed to the two painters whose names alone are preserved as connected with the place. An investigation of their just claims belongs to the history of the art, and till they are decided by further dis- coveries it is useless to hazard conjectures. The inquirer who is desirous of knowing more on the subject may advan- tageously consult the Grerman writers on the ancient schools of Cologne, Bruges, Nuremberg, and many other places into which their researches have penetrated. The lithographic prints by Strixner and his coadjutors, after the pictures by these old masters of the school of Cologne and its offsets, are the best expositors of their style, and will be found more satis- factory than the most laboured critical or poetical descriptions. Wohlgemuth, Michael. This artist, as a painter and engraver, has occupied much of the attention of writers on both subjects : it is to be regretted that more certainty with regard to his works has not been elicited. Wohlgemuth was the instructor of Albert Durer, and the respect and reverence in which he was held by his celebrated scholar in- duces the belief that he possessed talents superior to those of the contemporary artists of his country. Many pictures are attributed to him by writers entitled to credit, and gainsaid by others of equal celebrity for connoisseurship in the works of the early painters of Germany. Bive pictures by him are in the Pinacothek, at Munich, representing the Nativity, the Agony in the garden of Olives, the Crucifixion, the Deposition, and the Besurrection. Lord Lindsay, in his work on Christian Art, commenting on these pictures, re- marks, that though inferior and uncouth as regards expres- sion, attitude, design, drapery, and landscape, the powerful and deeply seated piety of the artist has imprinted itself on his work, and animated the Saviour’s head, especially, al- though common-featured, with a divine expression attained by few of his compeers. His Lordship adds, simplicity and sincerity are the guides to truth, and Wohlgemuth’s career was one of improvement to the last. This observation is veri- fied by the altar-piece, dated 1511, in the Imperial Gallery 2 D 2 404 GEKMAN, FLEMISH, AHH HUTCH PAIHTEBS. of the Belviclere, at Yieima. In the centre is St. Jerome on a throne, with the donors, a man and woman, kneeling at his side ; on the wings are figures of other saints. The sharp, cutting style, which appears in his early works, is here muck softened ; the colouring is warm and povuerful ; in the ex- pression of gentleness and simplicity in the heads of some of the female saints he even surpasses his great scholar Albert Durer. Wohlgemuth was born at Nuremberg in 1434, and died in 1519. Eespecting his works, both as a painter and an engraver, see a condensed account in a note to the article Michael Wohlgemuth,'^ in the enlarged edition of Bryan’s “ Diction- ary of Painters and Engravers.” Zagel, Mabtih, or Matthias, a painter and engraver of Nuremberg, flourished about the latter part of the fifteenth century. As an engraver he has caused much discussion ; as a painter, very little is recorded of him beyond a picture, supposed to be his work, in the gallery at Vienna. It is a . Crucifixion with several saints, commended for its simplicity and excellence, and classed with the works of Wohlgemuth. Zeitbloom, Babtholomew, is supposed to have been a scholar of Erederick Herlin, the Elder, of Nordlingen, and flourished in the fifteenth century. Many pictures in private collections, and in some old chapels in Grermany, are at- tributed to him. Nothing authentic is recorded of his life, but the pictures supposed to be by him are spoken of in terms that imply a greater share of artistic talent than is to be found in many of his contemporaries. Kugler says “ his works are distinguished by a conscious, and in some cases a successful, effort to conceive his subject with dignity, and to express it with force ; whilst he adheres faithfully to nature in the imitation of his model. His forms are certainly awk- ward ; the arms and legs meagre and stiff, but so much the more striking is the beauty of the heads, with their ex- pression of mild serenity and repose. His colouring too is brilliant and powerful ; the carnations, with all his softness of expression, are firm and vigorous in tone.” His works seem to have exercised considerable infiuence on the artists of his time, and also on others that immediately followed. Two pictures attributed to Zeitbloom are in the Pinacothek at Munich. INDEX Names commencing with Van, Van de, or Vander, are in most cases placed independently of such prefix. Abshoven, or Apshoven, 52. Achtschelling, Lucas, 124. Admiraal, B., 285. Adriansen, Alexander, 206, 212. Aelst, Evert, or Everard van, 199, 206, 212. Aelst, William van, 199, 206, 212. Aelst, Paul van, 212. Aertsen, Peter, 206. Akerboom, 280. Akin, Francis van, 206, 212. Alen, or Olen, Jan van, 203, 206. Altdorfer, Albert, 354. Amberger, Christopher, 355. Anchillus, N., 199, 268. Andriessen, Hendricks, 206. Anraat, Peter van, 285. Antonissen, Henry, 140. Antonisz, Cornelius, 280. Appelinan, Barent, or Bernard, 124. Artevelt, Andrew van, 227. Artois, Jaques, 124. Asch, Peter van, 124. Assche, Henry van, 140. Asselyn, Jan, 27, 227. Ast, Bartholomew vander, 212. Avercamp, Henry van, 140. Averman, Wolff, 237. Avont, Peter vaii, 140. Baan, Jacob de, 324. Baan, Jan de, 324. Baak, Hattigh Jan, 157. Babeur, Theodore, 237, 243. Backer, Jacob de, 285, 324. Backereel, Giles, 48, 121. Backhuysen, Ludolph, 102. Badens, Francis, 243. Baesten, Maria, 157. Balen, Henri van, 157, 286. Balen, Jan van, 157, 286. Balten, Peter, 268. Bamboccio : see Laer, Peter van. Baptiste : see Monnoyer. Barentsen, Dirck, and ) qor Barent de Dowe, j Bassen, B. van, 237. Battem, Gerard van. 111. Baur, Nicolas, 170, 174, 227. Baut, Peter, 174 : see also Bout and Bodewjms. Beeck, Peter van, 227, 325. Beeck, or Beck, David, 117. Beeldemaker, Francis, 325. Beeldemaker, Jan, 186, 197. Beerstraeten, Jan, 174, 227. Bega, , 12. Bega, Cornelius, 57. Begue, 206. Begyn, Abraham, 11. Beham, Bartholomew, 355. Beham, Hans Sebald, 356. Belcamp, Jan van, 325. Bellevois, 227. Bemmell, William, 125, 157. Bent, Jan vander, 12. Ben turn, Justus van, 83. Berchem, or Berghem, Nicholas. 10, 140, 174, 178, 186, 227. Berckmans, Henri, 325. 406 INDEX. Berg, Matthias vander, 49. Bergen, Theodore or Dirck van, 25. Bergen, Nicholas van, 243. Berkhevde, or Berkheyden, Gerard, 37, 237, 280. Berkhevde, or Berkheyden, Job, 158, 268. Bernaerts, Nicaise, 199. Berre, Jean Baptiste, 199. Besschey, or Bischey, J. F., 49, 286. Benckelaer, Joachim, 206, 268. Biltius, Francis, 207. Biset, Charles Emanuel, 243. Blankhof, Jan Teimisz, 228. Bles, Henri de, 356. Blicke, Daniel, 237. Blinkvliet, M., 141. Block, Ja'cob Roger, 158. Blocklandt, Anthony de Montfort, 286. Bloemart, Abraham, 286. Bloemen, Jan Francis van, (called OHzzonte^) 125. Bloemen, Peter van, (called Stand- ard^) 178. Blondeel, Lansloot, 158, 170. Bloot, Peter, 268. Blyhooft, J., 79. Bockhorst, Jan van, (called Langen Jan,) 200, 287, 320. Bodecker, Jan Franz, 326. Boekel, Van, 199. Boel, Peter, 199, 212. Boeyrmans, Theodore, 48, 122, 287, 326. Bokshoven, Josse, 326. Bol, Ferdinand, 107. Bol, Hans, 158. Boon, Daniel, 269. Boonen, Arnold, 82, 326. Borcht, Henri vanden, 212. Borsum, Adam van, 22, 31, 141. Bos, Gaspar vander, 228. Bos, Louis Janssen, 213, 357. Bos, or Bosche, Jerome, 278, 356. Bosch, or Bosschc, Balthazar, 243. Bosch, Jacques vander, 213. Boschaert, Nicholas, 213. Bosschaert,ThomasWilleborts, 122. Both, Jan and Andrew, 15, 141. Bouman, P., 158. Bout and Bodewyns, 142 : see also Baut. Brackenburgh, Renier, 61, 243. Bramer, Leonard, 110, 170, 207, 287. Brandt, Albert Jonas, 213. Brauwer, or Brouwer, Adrian, 58. Breda, Jan van, 34. Breda, Alexander or Peter, 269. Bredael, Peter van, 158. Breenberg, Bartholomew, 125, 158. Brekelencamp, Quirinus, 244. Breughel, Abraham, 213. Breughel, Jan, 142, 159, 170, 213. Breughel, Jan Baptiste, (called Meleager,) 214. Breughel, Peter, (the elder.) 278. Breughel, Peter, (the younger,) 278. Breydel, Charles, 159, 179. Breydel, Francis, 244. Bril, Paul, 125. Brize, Cornelius, 207. Broeck, Elias vander,. 214, 224. Broers, N., 269. Bronkhorst, Jan van, 93. Bronkhorst, Peter van, 237. Brooking, 101. Bruges, Roger de, 398. Bruggen, J. Ter, 214. Brussel, Paul Theodore, or Her- mann, 96, 214. Bruxelles, Roger de, 398. Bruyn, Bartholomew, 357. Bunnick, Jan van, 159. Burgkmair, Hans, 357. Buytenweg, William de, 159, 244. Bylert, Jan, 244. Cabel, or Kabel, Adrian vander, 143. Call, Jan van, 126. Camphuysen, Theodore Raphael, 22, 143. Capelle, Jan vander, 100, 175. Carpentero, Jean Carol, 143. Carre, Francis, 269. Carre, Michael, 13, 143. Cassembroodt, Abraham, 228. Casteels, Peter, 203. Chalon, Louis, 159. Chatel, Francis du, 54. Christophsen, Peter, 358. INDEX. 407 Claessens, Antony, 358. Claessoon, Arnold, 359. Cleef, Henry van, 359. Cleef, Jan van, 288. Cleef, Joost van, 288, 359. Cleef, Martin van, 360. Cock, or Kock, Matthew, 360. Codde, Peter or Charles, 143, 244. Coeln, Wilhelm von, or Meister Wilhelm, 402. Compe, Jan Ten, 38. Coningh, or Koning, Jacob, 25. Coopse, Peter, 104. Coosemans, Alexis, 214. Coques, Gonzales, 90, 244. Cort, Henri de, 144. Course, T., 88. Cowenberg: see Thielen, J. P. Coxcie, or Coxcis, Michael, 360. Crabeth, Dirck and Wouter, 288, 361. Crabeth, Franz, 361. Craesbecke, J osse, 60. Cranach, Lucas, 361. Crayer, Gaspar de, 288. Crepu, Nicholas, 214. Croos, A. van, 126. Cuylenburg, Abraham, 92, 159. Cuyp, Albert, 29, 144, 170, 175, 179, 187, 228, 326. Cuyp, Benjamin, 145. Cuyp, Jacob Gerritz, 145, 326. Dael, Jan Franz van, 214. Daele, Jan van, 126. Dalens, Thierry or Dirck van, 19, 203, 238. Dam, Anthony van, 229. Dam, Gautier van, 229. Dekker, or Decker, 4, 7, 126. Delmont, Deodato, 289. Denys, Jacques, 289. Deyster, Louis, 289. Dicht, T., 207. Diepenbeck, Abraham van, 46, 120, 289. Diepraam, Abraham, 245. Diest, Adrian van, 126. Dietricy, Christian William Ernest, 18, 57, 111. Dobson, William, 117. Does, Jacob vander, (the elder,) 23, 146. Does, Jacob vander, (the younger,) 25, 146. Does, Simon vander, 79, 146. Domer, or Doomer, J., 111. Dongen, Dionysius van, 31, 146. Dou, Gerard, 62, 107, 245. Doudyns, William, 290. Douffliest, Gerard, 290. Douven, Van, 85. Drever, Adrian van, 127. Droogsloot, Joost Cornelius, 27. Droogsloot, Nicholas, 270. Drossaert, , 127. Drost, N., 109. Dubbels, , 103. Dubbels, Jan, 103. Dubois, EdAvard, 7. Duck, Jacob Le, 246. Ducq, Jan Le, 22, 246. Dui^en, Jan, .327. Dullaert, Hey man, 110. Durer, Albert, 362. Durren, or D’Euren, Olivier van, 82. Dusart, Cornelius, 56. Duynen, Isaac van, 207. Dyck, Anthony van, 45, 112, 348. Dyk, Florus, 214. Dyxhoorn, Peter Avont, 229. Edema, Gerard, 127. Eeckhout, Gerard vanden, 77, 107. Egmont, Justus van, 45. Ekels, Jan, (the younger,) 246, 280. Elliger, Ottomar, 215. Elsheimer, Adam, 160, 171. Elst, Peter vander : ^eeVerhelst. Elzevier, Arnold, 171. Emenraet : see Immenraet. Engel, or Angelo, Sam, 74, 86. Engelbrechtsen, Cornelius, 364. Ervest, Jacob, 230. Es, Jacques van, 207. Esselens, Jacob, 29, 127, 187, 230. Everdingen, Albert van, 2. Everdingen, Caesar van, 290. Eyck, Gaspar van, 179. Eyck, Hubert and Jan A^an, 364. Eyck, Margaret van, 366. 408 INDEX. Eyck, Nicholas van, 179. Eyckens, Jan and Franz van, 215. Eyckens, Peter, 291. Eyk, Abraham vander, 71. Fabritius, Charles, 88. Faes, P., 95, 215. Falens, Charles van, 35, 187. Fargue, Paul Constantine, 39, 280. Filicus, or Fielius, Jan, 57. Flamen, Albert, 207. Flemael, Bartholet, 291. Flink, Govaert, 207, 291. Floris, Francis, 292. Fontaine, Pierre La, 238. Foiiquieres, Jacques, 127. Franck, or Francken, Franz, (the elder,) 292. Franck, or Francken, Franz, (the younger,) 292. Franck, or Francken, Jan Baptiste, 246, 293. Franck, or Francken, Jerome, 292. Franck, or Vrancx, Sebastian, 180. Franck, Constantine, 179. Frits, or Fritz, Peter, 278. Fyt, Jan, 197, 200. Gaal, or Gael, Barent, 36, 180, 188. Gaast, Michel de, 1 60. Gabron, William, 207, 215. Gaden, Alexander van, 180. Gallis, Peter, 215. Gandy, James, 120. Gaspars, Jolm Baptist, 327. Geel, Jost van, 73, 88, 230. Gelder, Arnold de, 109, 203. Genoels, Abraham, 128. Gentile da Fabriano, (note,) 384. Gentile, Louis Primo, 327. Gerard of Ilaerlem, 367. Ghent, Justus van, 368. Ghering, Jan, 238. Gheysels, Peter, 161, 200. Gillemans, Jan Peter, 215. Gillig, Jacob, 208. Giovanni da Fiesolc, called, II beato Angelico^ (note,) . 384. Glauber, Jan, 128. Goes, Hugo vander, 369. Goebouw, or Gobau, Anthony, 230 270. Gool, Jan van, 147. Govaerts, Jean Baptiste, 215. Goyen, Jan van, 128, 230. Graaf, or Grave, Joshua de, 281. Graat, Bernard or Barent, 28, 147 247. Grauw, Henri, 293. Grebber, Franz Pietersz de, 129 161, 294. Griffier, John, 161. Griffier, Robert, 161. Grimmer, Hans, 368. Grimmer, Jacob, 129. Grunewald, Matthias, 368. GryefF, Anthony, 200, 203. Gualdorp, or Geldorp, Gortius, 294 327. Gyzen, Peter : see Gheysels. Haan, David de, 180. Haansbergen, Jan van, 92, 328. Haccou, Jan Cornelius, 171, 176. Hackaert, or Hakkert, Jan, 9,147 Haerlem, Cornelius van, 294. Haerlem, Dirck van, 369. Haeskel, , 328. Hagelstein : see Thomann. Hagen, Jan van, 5, 147. Halen, Peter van, 161. Hals, Francis, 328. Hals, Theodore or Dirck, 270. Hals, Nicolas, 270. Hangeest, Robert Marinus Frede- rick D’, 161. Hanneman, Adrian, 119, 328. Hardime, Peter, 216. Haring, Daniel, 79, 329. Harp, Gerard van : see Herp. Haverman, Margaret, 216. Haye, Reynier de la, 247. Hayls, John, 329. Heck, Jan van, 161, 208, 216. Heck, Martin Hemskirk vander, 129. Heckell, G. van, 65. Heda, Guillaume Klaasz, 208. Heem, Cornelius de, 208. Heem, David de, 208. Heem, Jan David de, 208. INDEX. 409 Heem, Jan de, 208. Heems, N. van, 85. Heemskerck, Martin, 370. Heere, Lucas de, 294, 329. Heil, Daniel van, 171, 176, 329. Heil, Jan Baptist van, 320. Heil, Leo van, (Leonard or Leone,) 224. Helmbrecker, Theodore, 270. Helmont, Matthew van, 53, 271. Heist, Bartholomew vander, 122. Heniling, Hans, 370. Hemmessen, Jan van, 295. Hemskirk, Egbert, 247. Hendricks, Wybrand, 96, 200, 215. Herck, Jacob Melchior van, 216. Herlin, Frederic, 379. Herp, Gerard van, 48, 248, 296. Herregouts, Henri, 296. Herregouts, Jan Baptiste, 296. Heusch, Abraham de, 224. Heusch, William de, 16. Heusch, Jacob de, 17, 161. Heuvele, Anthony van, 296. Heyde, or Heyden, Jan vander, 36, 171, 281, Hobbema, Minderhout, 6, 129. Hoeck, Jan van, 41, 121. Hoeck, Robert van, 180. Hoefnagel, George, 224. Hoeckgeest, or Hogeest, Joachim or Giovachimo, 238. Hoet, Gerard, 92. Holbein, Hans, (the elder,) 380. Hondecoeter, Giles, 204. Hondecoeter, Gysbrecht, 204. Hondecoeter, Melchior, 204. Hondius, Abraham, 171, 188, 197. Hondt, J. D., 53. Honthorst, Gerard, 171, 296, 330. Honthorst, William, 330. Hooge, or Hoogh, Peter de, 86, 248. Hoogstraeten, Samuel van, 87, 109, 208, 330. Horion, Alexander, 330. Horrebout, Gerard Lucas, 330. Horremans, Jan, (the elder,) 248. Horremans, Jan, (the younger,) 248. Horst, Nicholas vander, 297. Hove, B. J. van, 38. Hugtenburg, or Huchtenberg, Jan van, 35, 180. Hulst, Peter vander, 224. Huysman, Cornelius, called of Ma- lines, 130. Huysum, Jan van, 94, 162. Huysum, Jacob van, 95. Huvsum, Justus van, (the elder,) 95, 180. Huysum, Justus van, (the younger,) 181. Immenraet, P. A., 130. Isaacs, Peter, 330. Jacobs, Simon, 330. Jacobsz, Juriaen, 188, 197. Jager, Gerard de, 230. Jamesone, George, 120. Janson, Jacob, 23. Jansons van Ceulen, 119, 331 . Janssens, Abraham, 297. Janssens, Cornelius, 331. Janssens, Victor Honorius, 249, 297. Jardin, or Jardyn, Karel du, 13, 21,26, 148, 188,271. Jarenus, , 381. Jelgersma, Tako Hajo, 230. Jong, Ludolph de, 181, 331. Jordaans, Hans, 162, 172, 271, 300. . Jordaens, Jacob, 46, 298. Juvenel, Paul, 238. Juweel, Nicholas, 86. Kaalf, William, 209. Kalraat, Abraham van, 216. Kalraat, Bernard van, 31, 148, 1-62. Kamper, G. 172. Kamphuysen, or Camphuysen, The- odore Raphael, 22, 143. Kelderman, Jan, 217. Kerkhoff, Daniel, 130, 282. Kerkhove, Joseph vander, 300. Kessel, Jan van, 3, 7, 162, 209, 225, 331. ' Kessel, Nicholafj van, 272. Keulen, or Ceulen: see Jansons van. 410 INDEX. Keiine, Henri, 282. Key, William, 331. Keyser, Theodore de, 332. Kick, Cornelius, 209, 217. Kierings, or Cierinck, Jacques, 131, 162. Klomp, Albert, 21. Kneller, Godfrey, 111, 132. Knip, Nicholas Frederick, 217. Knipbergen, N., 131, 163. Kobell, Hendrik, 230. K obeli, Jan, 22. Koeberger, Wenceslaus, 301. Koedyk, Nicholas, 88. Koekkoek, Jan Herman, 231. Koene, Isaac, 3. Koonraat, , 217. Koets, RielofF, 76, 333. Koninck, David, 200. Koninck, Salomon, 108, 300. Koningh, de? 108. Koningh, Philip de, 4, 108, 333. Koogen, Leonard vander, 250. Kouwenhoven, Jacob, 148. Kunst, Cornelius, 282. Kuyp : see Cuyp. Laar, or Laer, Peter van, or de, (called Bamboceio,) 188, 272. Laenen, Christopher Jan vander, 250. Lairesse, Gerard, 300. Lairesse, Jacques, 217. Langendyk, Theodore, 181. Langen Jan : see Bockhorst. Lap, Jan, 131. Laroon, Marcellus, 333. Lastman, Peter, 301. Leepe, Jan Anthony vander, 131, 163, 231. Leerman, Peter, 250. Leeuw, fJabriel vander, 149. Leeuw, Peter vander, 25. Lelienbcrg, Christian, 201. Lely, Peter, 333. Lenzen, J. F., 149. Levesque, James, 333. I.«cyden, Lucas van, 382. Licmacker, Nicholas, 301. Licndcr, Peter van, 163, 282. Liesbom, the Master of, 383. Lievens, Jan, 302, 334. Limborgh, or Limborch, Henri van, 85, 302. Lin, Hans van, 181, 189. Lingelbach, Jan, 29, 34, 188, 231, 272. Linschooten, Adrian van, 302. Lint, Peter van, 250, 302, 335. Lint, Henry van, called Studio , 131, 231. Linthorst, J., 96, 217. Lives, J. C., 209. Lofvers, Henry, 231. Lofvers, Peter, 231. Lombart, Lambert, 302. Loo, Peter van, 217. Loon, van, 217. Loon, Peter van, 163. Loon, Theodore van, 303. Loten, John, 132. Lotyn, Jean, 217. Lucasz, Pierre Francais, 163. Lundens, Gerrit, 250. Lys, or Lis, Jan vander, 92, 163, 303. Maan, Cornelius de, 335. Maas, or Maes, Arnold, 54. Maas, or Maes, Godfrey, 304. Maas, or Maes, Theodore or Dirck, 181. Mabuse, Jan de, 386. Maddersteg, Michael, 104. Maes, Nicholas, 88, 251. Mahue, Guillaume, 335. Mair, La, 225. Mandyn, Jan, 278. Mans, or Maans, F. H. (Fransz Herman?), 163, 176. Marcellis, or Masseus, Otho, 225. Marienhof, A., 304. Marne, Jean Louis de, 164, 172. Maton, B., 65, 71, 83. Matsys, Quintin, 387. Mecheln, Israel von, 388. Meer, Jan vander, (the younger,) 12 . Meer, Jan vander, (the elder,) 181, 231. Meeren, Gerhard vander, 388. Meeren, Jan vander^ 388. INDEX. 411 Meert, Peter, 335. Menheere, Cornelius Laurensz, 232. Metsu, Gabriel, 71, 251. Meulen, Anthony Francis vander, 181. Meulen, Peter vander, 182. Meyer, Hendrick, 149. Meyssens, Jan, 335. Michau, Theobald, 149, 164, 273. Miel, Jan, 189, 273, 304. Mierhop, Francis van, called Cuyck de, 209. Mieris, Francis, 65, 68, 252. Mieris, Francis, (the younger,) 69, 253. Mieris, William, 69, 70, 164, 253. Mignon, Abraham, 218. Mile, or Millet, Francis, called Francisque, 132. Minderhout, Hendrick, 232. Minnebroer, Franz, 305. Mirevelt, Michael Janson, 335. Mirevelt, Peter, 326. Mol, Peter van, 46, 305. Molaert, Jacob, 336. Molenaer, , 62, 176, 254. Molyn, Peter, (the elder,) 132, 164. Molyn, Peter, (the younger,) called also Tempest a and Mulier, 132, 189, 232. Mommers, Henri, or Hendrik, 27, 232, 273. Mompers, Jodicus, 44. Moni, Louis de, 65. Monnicks, or Monnix, N., 273. Monnoyer, Anthony, 218. Monnoyer, Jean Baptiste, 218. Moor, Karel de, 69, 82, 336. Moortel, Jan, 218. More, Anthony, 337. Moreelze, Paul, 337. Morel, Jan Evert, 218. Morell, Nicholas, 209, 218. Mostaert, Jan, 305, 337. Moucheron, Frederic, 17, 133. Moucheron, Isaac, 17, 133. Moya, Pedro de, 122. Moyaert, Nicholas, 149. Mulier, Peter : see Peter Molyn the younger. Murant, Emanuel, 21,35, 37, 282. Musscher, Michael van, 62, 69, 73, 255. Muys, Guillaume, 255, 337. Muys, Nicholas, 255, 337. My, Jerome vander, 71. Myin, Henri Arnauld, 150. Myn, George vander, 219. Myn, Herman vander, 219. My tens, Daniel, 118, 338. Naiwynck, or Naiwyncx, Henri, or Herman, 133. Nason, Peter, 339. Neck, Jan van, 305, 339. Nedek, Pieter, 339. Neefs, Peter, (the elder,) 238. Neefs, Peter, (the younger,) 239. Neer, Arnould, or Aart, vander, 172, 176. Neer, Eglon Hendrick vander, 76, 79, 164, 255. Nes, or Nees, Jan van, 339. Netscher, Constantine, 78. Netscher, Gaspar, 77, 255. Netscher, Theodore, 78. Neve, Francis de, 133, 164. Neveu, or Naiveu, Mathys, 65, 256. Nicasius, Bernard, 189. Nieulant, Adrian van, 165. Nieulant, Jan van, 165. Nieulant, William van, 165. Nikkelin, Jan van, 29, 150, 239. Nimeguen, Gerard van, 5, 8, 19. Nollekens, Joseph Francis, 256. Nollet, Dominick, 182. Nooms : see Zeeman. Ochterveldt, Jan, 73. Oderkerken, W., 74. Olen : see Alen. ' Ommeganck, Balthasar Paul, 150. Oorst, Adam van, 305. Oost, Jacob van, 306. Oost, Jacob van, (the younger,) 306. Oosten, J. van, 165. Oosterwyck, Maria van, 219. Opstal, Gaspar Jaques van, 307. Orizzonte ; see Van Bloemen. Orley, Bernard van, 390. Orley, Jan van, 307. 412 INDEX. Orley, Richard van, 307. Orme, or De V Orme, 239. Os, George Jacob Jan van, 96. Os, Jan van, 96. Os, Peter Gerard van, 22, 29. Ossenbeck, Josse or Jan van, 150, 189, 274. Ostade, Adrian van, 54, 256. Ostade, Isaac van, 56, 176. Ovens, Jurian, 110, 173, 339. Oudendyk, Adrien, 26. Oinvater, Jacob, 219. Ou water, Isaac, 39. Ouwater, Albert van, 391. Palamedes : see Stavaerts. Paling, or Paulyn, Isaac, 339. Palthe, Gerard Jan, 83. Pape, Adrien de, 65. Parcelles, Jan and Julius, 100. Patenier, Joachim, 134, 302. Pauditz, Christopher, 109. Paulyn, tioratius, 258. Peeters, or Pieterzen, Gerard, 258. Peins, or Pens, Gregory, 393. Peters, Bonaveiitura, 232. Peters, Jan, 233. Pepin, or Pepyn, Martin, 307. Peuteman, Peter, 210. Pinas, Jan, 307. Plaas, David vander, 340. Poel, Egbert vander, 173. Poelemburg, Cornelius, 91. Pol, Chretien van, 219. Porbus, or Pourbus, Francis, (the elder,) 308, 340. Porbus, or Pourbus, Francis, (the- younger,) 308, 340. Porbus, or Pourbus, Peter, 308. Post, Francis, 134. Pot, Henri, 340. Pothoven, llenri, 258. Potter, Paul, 19, 150, 189. Prins, J. H.,38. Pynaker, Adam, 18, 151. Quast, Peter, 279. Qucllinus, Erasmus, 47, 121, 309. Quellinus, Johannes Erasmus, 309. Querfurt, Augustus, 35. Quinkliard, Jail Mauritz, 341. Rademaker, Abraham, 135, 282. Rademaker, Gerard, 239. Ravesteyn, Arnold van, 342. Ravesteyn, Hubert van, 258. Ravesteyn, Jan van, 341. Ravesteyn, Nicholas van, 342. Reinagle, Philip, 8. Rembrandt van Ryn, 104, 342. Reuven, Peter, 309. Reyn, John de, 117, 310. Ricke, Bernard de, 310. Rietschoof, Henry, 103. Rietschoof, JanKlaas, 103. Ring, Ludger zum, 393. Ring, Hermann zum, 394. Ring, Pieter de, 210. Robart, , 219. Roepel, Conrade, 219. Roer, Jacob vander, 343. Roestraeten, Peter or Nicolas, 210, 344. Roger vander Weyden, \ Roger de Bruges, and > 398. Roger de Bruxelles, ) Roghman, Roland, 111. Rokes, Henry Martin, called Sorg, or Zorg, 54, 57, 266, 277. Romain de la Rue, 151. Rombouts, Theodore, 310. Romeyn, William van, 28. Rontbout, J., 5, 7, 135. Roodtseus, Jacob, 210. Roodtseus, Jan, 344. Roore, Jacob de, 259. Roos, Jan Hendrick, 152. Roos, Jan Melchior, 153. Roos, Joseph, 153. Roos, Philip, (called Rosa da Ti- voli,) 152. Roos, Theodore, 152. Rottenhamer, Hans, 165. Roy, Jean Baptiste de, 153. Rubens, Peter Paul, 40, 135, 194, 311, 344. Ruisch, or Ruysch, Rachel, 97. Ruisdael, or Ruysdael, Jacob, 1, 7, 136, 165, 176, 233, 239. Ruisdael, or Ruysdael, Solomon, 2. Ryckaert, David, 53, 259, 274, 279. Ryckaert, Martyn, 137. Rysbrack, G. R., 210. INDEX. 413 Eysbraeck, Peter, 137. Eysen, Warnard van, 156. Eyx, or Eyckx, Nicholas, 153. Saenredam, Pieter, 239. Salm, A. van, 233. Santvoort, Dirk van, 311. Savery, Jan, 166. Savery, Eoland, 153. Schaffner, Martin, 394. Schagen, Giles van, 259. Schalcke, , 166. Schalcken, Godfrey, 65, 80, 259. Schaufflein, Hans, 395. Schellinks, or Schellings, William, 28, 153, 233. Scheltema, Taco, 345. Schoenmacker, JanPietersz, 283. Schongauer, or Schoen, Martin, 396. Schooten, Joris van, 311. Schoreel, Jan, 397. Schotel, Jan Christian, 234. Schotel, Peter Jan, 234. Schonman, Artus, 204, 311. Schovaerts,_M., 274. Schut, Cornelius, 47, 311. Schutz, or Schultz, Christian George, 166. Schuur, Theodore vander, 312. Schyndal, or Schendel, Bernard, 260, 274. Segers, or Seghers, Gerard, 312. Segers, or Zeghers, Hercules, 111. Seghers, Daniel, 220. Seydelmann, Jacob Crescentius, 85. Shaw, Joshua, 13. Slabbaert, or Slabbard, Karl, 65. Slingelandt, Peter van, 65, 66, 260. Sluys, Jacob vander, 67. Smees, Jan, 154. Smit, or Smidt, A., 234. Snayers, Peter, 182, 313. Snellincks, Hans, 182. Snyders, Francis, 42, 189, 194, 201. Soens, Hans, 166. Soest, or Zoest, Gerard, 345. Solemacker, J. F., 13. Soumans : see Sunman. Soutman, Peter, 313. Spaendonck, Cornelius van, 97. Spaendonck, Gerard van, 97. Spalthof, N., 274. Spelt, Adrian vander, 220. Sperling, John Christian, 86. Spierings, N., 137. Spiers, Albert, 313. Spoor, W. J. L., 23. Sprangher, Bartholomew, 314. Stalbemt, Adrian van, 166, 261. Stavaerts, called Palamedes, 182, 263. Staveren, Jan Adrian van, 64. Staveren, Jacob van, 220. Steen, Jan, 60, 262. Steen, Susanna van, 240. Steenwyck, Henri, (the elder,) 240. Steenwyck, Henri, (the younger,) 240. Steenwyck, Nicholas, 210. Stenree, or Steenree, William, or George, 93. Stoccade, Nicholas de Helt, 314. Stoffe, J. V.D., 183. Stomme, , 210. Stone, Henry, called Old Stone, W^. Storck, Abraham, 101, 234. Storck, Jan, or Jakob, 235. Straaten, Jan Thomas Ignatius van, 201 . Strada, or Stradanus, Jan, or Gio- vanni, 183. Straeten, Henry vander, 137. Streek, Jurianvan, 210. Streek, Henri van, 240. Stry, Abraham van, 263. Stry, Jacob van, 8, 29, 30. Stuven, Ernest, 221. Sunman, or Soumans, William, 346. Sustermans, Justus, 315, .346. Swagers, Francis, 235. Swaneveldt, Herman, 154. Sybrecht, Jan, 154. Tempel, Abraham vanden, 346. Tempesta : see Peter Molyn the younger. Teniers, Abraham, 54. Teniers, David, 49, 263, 275, 279. Terburg, Cornelius, 76. Terburg, Gerard, 75, 264. Terwesten, Elias, 221. 414 INDEX. Tenvesten, Mattlle^v, 86. Thielen, Jan Pliilip van, (or Cowen- berg,) 221. Thielen, Maria Teresa, Anna Maria, and Frances Catharina van, 221. Thielens, Jan, 264. Thomann, , 167. Thomas, John, 48, 315. Thulden, or Tulden, Theodore van, 45, 276. Thys, Gysbrecht, 94, 346. Tierendorff, Jerome van, 315. Tilborgh, Egidius (Giles) the elder, 276. Tilborgh, Egidius (Giles) the younger, 276. Tillemans, Peter, 183, 190. Tol, Dominick van, 64. Tombe, Nicolas La, 93. Tomkins, William, 8. Toornvliet, Jacob, 62, 315. Torenberg, Gerard, 283. Torrentius, Johannes, 264. Troost, Cornelius, 276, 347. Troost, Maria vanNikkelen, 221. Troost, William, 167, 347. Troostwyck, Wouter Jan, 154. Troven, Rombout van, 93, 167, 347. Tyn, Lambert, 173. Tyssens, Augustine, 13, 155. Tyssens, Nicholas, 210. Tyssens, Peter, 316, 347. Uchterveldt : see Ochterveldt. Uden, Lucas van, 43. Ulft, Jacob vander, 167, 283. Utenbroeck: see Vytenbrouck. Utenwael, Joachim, 168. Utrecht, Adrian van, 201, 204, 211, 221 . Vaart, Jan vander, 201. Vadder, Louis de, 138. Valck, Peter, 316, 347. Valkenburg, Theodore, 190, 201, 347. Valkert, Warn ard van, 316, 348. Vandaal, Jan Franz, 221. Vanderburgh, Adrian, 74, 265. Vander Heist: see ilelst. Vandermeer, Delft: see Vermeer, Jan. Vanderneer: see Neer, vander. Vandyck, Anthony ; see Dyck. Vandyck, Philip, 74, 82, 85, 265. Van Eyck : see Eyck. Van Gool ; see Gool. Vanloo, Jacques, 316, 348. Vanloo, Jan Baptist, 316. Vanmander, Karel, 317. Vansomer, Paul, 350. Vanvitelli, , 225. Vanvitelli, Gaspar, 240. Varege, , 93. Veen, Martin van : see Heemskerck, Martin. Veen, Rochus van, 204. Velde, Adrian van de, 23, 155, 177, 190, 235. Velde, Esaias vander, 183. Velde, William van de, 98. Venius, Otho van, 318. V enne, J an vander, 1 68 . Venne, Hubert van, 211. Verbeeck, Peter, 191. Verboom, A., 4. Verbruggen, Gaspar Peter, 222. Verbruggen, Henri, 319. Verdoel, Adrian, 112. Verdussen, Jan Peter, 191. Verelst, Simon, 222. Verendael, Nicholas, 222. Vergazon, Henry, 138. Verhaect, Tobias, 138. Verheyden, Francis Peter, 191, 204. Verheyden, Matthew, 79. Verheyen, Jan Hendricks, 38, 283. Verhoeck, Gysbert, 183. Verhoeck, Peter Cornelius, 183, 191. Verhulst, Peter, 225. Verkolie, Nicholas, 74, 319. Vermeer, Jan, 73, 88, 283. Vermeulen, Andrew, 168, 176. Vermeyen, Jan Cornelius, 319. Verschuur, Lieven, 235. Verschuring, Henry, 17, 184, 191. Verschuring, William, 265. Versteeg, orVersteigh, Michael, 83, 155. INDEX, 415 Vertangen, Daniel, 91. Verveer, Ary Hubertsz, 320. Verwilt, Francis, 93. Victor, or Fictoor, 110, 211. Vidal, L., 222. Vierly, , 168. Vinck, J., 138. Vinckenbooms, David, 168. Vinne, Jacob vander, 191. Vinne, Lanrenz vander, 12. Vinne, Vincent Laurensz, 351. Visscher, Theodore, 13, 156. Vitringa, Wigerus, 101. Vlerick, Peter, 320. Vlieger, Simon de, 5, 235. Vliet, Henri van, 173, 241. Voet, Charles Boschaert, 211, 222. Vollerdt, Jan Christopher (or Chris- tian), 169. Vollevens, Jan, 351. Volleyens, Jan, (the younger,) 351. Vonck, or Vonk, C., *201, 205. Voogd, Hendrik, 138. Voorhout, Jan, 320. Voort, or Voerst, Cornelius vander, 351. Vorsterman, Jan, 169. Vos, Martin de, 320, 352. Vos, Paul de, 191, 197, 202. Vos, Simon de, 198, 321, 352. V osm eer : see W outer s , J acob . Voys, Ary de, 69, 265. Vree, or Vreem, Nicholas de, 222. Vries, Adrian de,241. Vries, Jan Fredemande, 241. Vries, Jan Renier de, 4. Vroomans, Nicolas, 225. Vytenbrouck, orUtenbroeck, Moses van, 93. Waal, or Wael, Lucas de, 138. Waal, or Wael, Cornelius de, 184. Wall, William Rutgaart vander, 156. Walraven, Isaac, 266. Walscapelle, Jacob, 223. Wandelaar, Jan, 352. Wassemberg, Jan Abel, 86. Waterloo, Anthony, 139. Weeling, Anselm, 82, 86. Weeling, Nicholas, 321. Weenix, or Weeninx, Jan Baptist, 191, 236. Weenix, or Weeninx, Jan, 191, 202, 205. Weerden, Meistervon, 401. Weesop, M. 120. Well, Arnold van, 173, 177. Werf, Adrian vander, 83, 266. Werf, Peter vander, 85. Westerbaen, J., 352. Wet, Gerard de, 112. • Wet, or Weth, Jan, or Jacob, 112. Weyden, Roger vander, 398. Weyerman, Jan, 223. Weyerman, James Campo, 223. Wierengen, Cornelius Nicholas van, 236. Wigmana, Gerard, 322. Wildens, Jan, 43. Willaerts, Adam, 236. Willeborts : see Bosschaert. Willingen, Peter vander, 211, 241. Wils, or Wilts, Jan, 17. Wilt, Thomas vander, 79. Winghen, Jodocus, or Josse van, 322. Winter, Giles de, 266. Wissing, William, 352. Wit, or Witte, Emanuel de, 88, 241. Wit, or Witte, Gaspar de, 169. Wit, Jacob de, 211, 323. Withoos, Matthew, 226. Withoos, Peter, 223. Wohlgemuth, Michael, 403. Wouters, Francis, 47, 121. Wouters, Jacob, called VosmeeVi 223. Wouwerman, Jan, 34, 177. Wouwerman, Philip, 32, 184, 192. Wouwerman, Peter, 33. Wiilfraat, or Wulfraet, Matthew, 266. Wyck, John, 184. Wyck,sThomas, 236, 266, 276. Wynants, Jan, 8, 139. Wyn track, or \Vyntranck, A. D., 205. Xavery, Jacob, or Gerard Joseph, 156,211. 4 1 6 INDEX. Zachtlevcn, or Saftleven, Cornelius, 266, 276. Zachtleven, or Saftleven, Herman, 21, 169. Zagel, Matthias. 404. Zeeman, Remigius, or Reinier, 101. Zeitbloom, Bartholomew, 404. Zoest : see Soest. Zoolemacker : see Solemacker. Zoon, or Son, Jan van, 211. Zorg, (properly Rokes,) Henri Mar- tin, 54, 57, 267, 277. Zyl, or Zeyle, Gerard Pietersz van, 267, 353. JOHN CHILDS AND SON, BUNGAY. ^ Stitrt CtJtiitopt Df NEW BOOKS AT EEDUCED PEICES, PUBLISHED OR SOLD BY HENRY G. BOHN, YORK STREET, COVENT GARDEN, LONDON. THE COMPLETE CATALOGUE OF NEW BOOKS AND REMAINDERS, IN 100 PAGES, MAY BE HAD GRATIS. All the BooJcs advertised in the present Catalogue are neatly hoarded in clothe or bound. FINE ARTS, ARCHITECTURE, SCULPTURE, PAINTING, HERALDRY, ANTIQUITIES, TOPOGRAPHY, SPORTING, PICTORIAL AND HIGHLY ILLUSTRATED WORKS, ETC., BTC. ANGLER’S SOU VEN !R. Reap 8vo, embellished •with -upwards of 60 beautiful Engravings on steel by Beckwith and 1'opham, and hundreds of engraved Borders, every page being surrounded (pub. at I8«.j, cloth, gilt, 95. ARTIST’S BOOK OF FABLES, comprising a Series of Original Fables, illustrated by 280 exquisitely beautiful Engravings on Wood, by Harvey and other eminent Artists, after De- signs by the laie James Norihcote, R.A. Post Svo., Portrait (pub. at IG Is.), cloth, gilt, 9s. BARBER’S ISLE OF WIGHT. 42 fine Steel Plates, and Dr. Mantkll’s Geological Map. Svo, gilt, cloth, 10s. 6 d. BEWICK’S SELECT FABLES, with a Memoir. Svo, with several Portraits of Bewiclc, and upwards of 350 Engravings on Wood. Original impressions (pub. at 1/. Is.), boards lOs. Newcastle^ 1820 BILLINGTON'S ARCIHTECTURAL DIRECTOR, being an improved Guide to Archi- tects, Draughtsmen, Students, Builders, and ^Vorhmen, to which is added a History of the Art. &c., and a Glossary of Architecture. NenvEdition, enlarged, Svo, 100 plates, clothlettered (pub. at 1^. 8s), 10s. 6d. 1848 BOOK OF BRITISH BALLADS, edited hy S. C. Hall; every page richly emhellished with very highly-finished Wood Engravings", after Designs by Creswick, Gilbert, Frank- lin, CouBOULD, &c.. Imperial Svo, cloth gilt edges (pub. at 21. 2s), 1/. 5s. BOOK OF COSTUME, from the earliest period to the present time. Upwards of 200 beautiful Engravings on Wood, by Linton. 8\o (pub. at.l^. is.), gilt cloth, gilt edges, 10s. Gd. im BOOK OF GEMS, OR THE POETS AND ARTISTS OF GREAT BRITAIN. 3vols.8vo. 150 exquisite Line Engiavings after Turner, Bonington, Landseer, Roberts, Mulready, etc. etc,; also numerous Autographs (pub. at U. 14s. Cd.) Cloth elegantly gilt, 2L 5s., or in morocco ‘6L. 3s. BOOK OF GEMS, OR THE MODERN POETS AND ARTISTS OF GREAT BRITAIN. Svo. 50 exquisitely beautiful Line Engravings after Turner, Bonington, etc.» etc. (pub. at IL 11s. 6d. ), cloth elegantly gilt, 15s., or morocco, \l. Is. BOOK OF RAPHAEL'S CARTOONS. BY CATTERMOLE. 8vo, with an exquisite Portrait of Raphael, a View of Hampton Court, and seven very highly finished Steel Engrav - ings of the celebrated Cartoons at Hampton Court (pub. at 15s.), cloth, gilt, 7s. Gd. 1845 BOOK OF SHAKSPEARE GEMS- A Series of Landscape Illustrations of the most inte- resting localities of Shakspeare’s Dramas; with Historical and Descriptive Accounts, by "Washington Irving, Jesse, W. Howitt, Wop,dsworth, Inglis, and others. Svo, with 45 highly-finished Steel Engravings (pub. at ll. 11s. Cd.), gilt cloth, 14s. B 2 CATALOGUE OF NEW BOOKSj BOOK OF WAVER LEY GEMS. A Series of 64 highly-finished Line Engravings of the most interesting Incidents and Scenes in Walter Scott’s Novels, by Heath, Finden, Roees, and others, after Pictures by Leseie, Stothard, Cooper, Howard, &c., with illustrative letter press, 8vo. (pub. at li. lls. 6d.), cloth, elegantly gilt, 15s. BROCKEDON’S PASSES OF THE ALPS. 2 vols. medium 4to. Containing 109 beautiful Engravings (pub. at 10^ lOs. in boards), half-bound morocco, gilt-edges, 3^. 13s. 6d. BRITTON’S CATHEDRAL CHUTCH OF LINCOLN, 4to, 16 fine plates, by Le Keux, (pub. at 31. 3s.), cloth, U. 5s. Royal 4to, Large Paper, cloth, 1^. 11s. Oof. 1837 This volume was published to complete Mr. Britton’s Cathedrals, and is wanting in most of the sets. BRYAN’S DICTIONARY OF PAINTERS AND ENGRAVERS, Edition, cor- rected, greatly enlarged, and continued to the present lime, by George Staneey, Esq., com- plete in one large volume, impl. 8vo, numerous plates of monograms, 21. 2s. BUNYAN’S PILGRIM’S PROGRESS, Stothard’s Illustrated Edition. 8vo, with 17 exquisitely beautiful illustrations after this delightful Artist, executed on Steel by Goodael and others, also numerous woodcuts, cloth gilt (pub. at 1/. Is.), 12s. — ' ■ the same, India Proofs, cloth gilt (pub. at 21. 2s.), 11. Is. BURNETTS ILLUSTRATED EDITION OF SIR JOSHUA REYNOLDS ON Painting, 4to, 12 Sne plates, cloth (pub at 21. 2s.), 11. Is. 1842 — the same, large paper, royal 4to, proof impressions of Plates, cloth (pub. at 4Z. 4s.), 2f. 2s. BYRON’S TALES AND POEMS, Einden’s Illustrated Edition, with 46 Engravings on steel, 8vo, cloth extra, gilt edges (pub. at If. is.), 10s. Ctf. CANO V A’S WOR KS, engraved in outline by Moses, with Descriptions and a Biographical Memoir by Cicognari. 3 vols., imp. 8vo, 155 plates, and fine portrait by Worthington, half- bound morocco (pub. at 6f. 12s.), 2f. 5s. CARTER’S ANCIENT ARCHITECTURE OF ENGLAND. Illustrated by 103 Copper- plate Engravings, comprising upwards of Two thousand specimens. Edited by John Brit- ton, Esq. Royal folio (pub. at I2f. 12s.), half-bound morocco, 4f. 4s. 1837 CARTER’S ANCIENT S'^ULPTURE AND PAINTING NOW REMAINING IN ENGLAND, from the Earliest Period to the Reign of Henry VIII. With Historical and Critical Illustraiidns, by Douce, Gough, Meyrick, Dawson, Turner, and Britton. Royal folio, with 120 large Engravings, many of which are beautifully coloured and several illuminated with gold (pub. at 15f. 15s.), half-bound morocco, 8f. 8s. 1838 CARTER’S GOTHIC ARCHITECTURE, and Ancient Buildings in England, with 120 Views, etched by himself. 4 vols, square 12mo ( pub. at 2f. 2s.), half morocco, 18s 1824 CATLIN’S NORTH-AMERICAN INDIANS. 2 vols. impl. 8vo. 360 Engravings (pub. at 2f. 12s 6d.), cloth emblematically gilt. If. lOs. CATTERMOLE’S EVENINGS AT HADDON HALL. 24 exquisite Engravings on Steel, from designs by liimself. Post 8vo (originally pub. at If. 11s. 6d.), gilt cloth, gilt edges, 7s. 6cf. CATTERMOLE’S ILLUSTRATED HISTORY OF THE GREAT CIVIL WAR OF THE TIMES OF CHARLES I. AND CROMWELL, with 30 highly- finished Engravings on Steel, after Cattermole, by Rolls, Willmore, and other first rate Artists, imperial 8v,o, cloth extra, gilt edges, If. Is. < CHAMBERLAINE’S IMITATIONS OF DRAWINGS from the Great Masters in the Royal Collection, engraved by Barxolozzi and others, impl. fol., 70 Plates (pub. atl2f. 12s.), half bound morocco, gilt edges, 51. 5s. CLAUDE’S LIBER VERITATIS. A Collection of 300 Engravings in imitation of the original Drawings of Claude, by Earlom. 3 vols. folio (pub. at 31f. lOs.), half-bound morocco, gilt edges, lOf. lOs. CLAUDE, BEAUTIES OF, 24 FINE ENGRAVINGS, containing some of his choicest Landscapes, beautifully Engraved on Steel, folio, with descriptive letter-press, and Portrait, in a portfolio (pub, at 3f. 12s.), If. 5s. CONSTABLE’S GRAPHIC WORKS, many of them now first published, comprising forty large and highly-finished Mezzntinto Engravings on Steel, by David Lucas, with short de- scriptive letter-press, extracted from Leslie’s Life of Constable, folio, hall-bound morocco, gilt edges, 3f. I3s. Gcf. CONSTABLE, THE ARTIST, (Leslie’s Memoirs oO including his Lectures, 2nd Edition with 2 beautiful Portraits, and the plate of “ Spring,” demy 4to, cloth (pub. at If. Is.), 15s. COESVELTS PICTURE GALLERY. With an introduction by Mrs. Jame.son. Boyal 4lo, 90 Plates beautifully engraved in outline. India Proofs (pub. at 51. 6s.), half-bound morocco, extra, 3f. 3s. COOKE'S SHIPPING AND CRAFT. A series of 65 brilliant Etchings, comprising picturesque, but at the same time extremely accurate Representations. Royal 4to (pub. at 3f.l8s Ccf.) gilt cloth, If. Hs. 6(f. PUBLISHED OR SOLD BY H. G. BOHN. s COOKE’S PICTURESQUE SCENERY OF LONDON AND ITS VICINITY. 50 beau- tiful Etchings, after drawings by Calcott, Stanfiei,!), Prout, Eorerts, Harding, Stark, and COTMAN. Royal 4to. Proofs (pub. at bi.), gilt cloth, 2i. 2s. CONEY’S FOREICN CATHEDRALS, HOTELS DE VILLE, TOWN HALLS, AND OTHER REMARKABLE BUILDINGS IN FRANCE, HOLLAND, GERMANY, AND ITALY. 32 fine large Plates. Imperial folio (pub. at lOL 10s.), half-morocco, giltedge^, 31. 13s. 6d. 1842 CORONATION OF GEORGE THE FOURTH, by Sir George Naylor, in a Series of above 40 magnificent Paintings of the Procession, Ceremonial, and Banquet, comprehending faithful portraits of many of the distinguished Individuals wlio were present; wdth historical and descriptive letter-press, atlas folio (pub. at 521. 10s.), half-bound morocco, gilt edges, 121. 12s. COSTUIVIE AND HISTORY OF THE CLANS, by John Sobteskt Stolberg Stuart, and Charles Edward Stuart, imperial folio, comprising 240 pages of letter-press and 36 finely executed Lithographs, crimson cloth boards (pub. at 6L 6s.), 3i. 3s. ’ Edin. 1845 — the same, with the Plates most beautifully Coloured, half-bound morocco extra, gilt edges, 8i. 8s. COTMAN’S SEPULCHRAL BRASSES IN NORFOLK AND SUFFOLK, tending to illustrate the Ecclesiastical, Military, and Civil Costume of former ages, with letter -press descriptions, etc., by Dawson Turner, Sir S. Meyrick, etc. 173 Plates. The enahtielled Brasses are splendidly illuminated, 2vols. impl. 4to, half-bound morocco, gilt edges, 61. 6s. 1836 the same, large paper, imperial folio, half morocco, gilt edges, SI. 8s. COTMAN’S ETCHINGS OF ARCHITECTURAL REMAINS in various counties iu England, with Letter-press Descriptions by Rickman. 2 vols. imperial folio, containing 247 highly spirited Etchings (pub. at 24L), half morocco. Si. Ss. 1838 DANIELL’S ORIENTAL SCENERY AND ANTIQUITIES. The original magnificent edition, 150 splendid coloured Views, on the largest scale, of the Architecture, Antiquities, and Landscape Scenery of Hindoostan, 6 vols. in 3, elephant folio (pub. at 210L), elegantly half- , bound morocco, 521. 10s. DANIELL'S ORIENTAL SCENERY, 6 vols. in 3, small folio, 150 Plates (pub. at . 18Z 18s.), half-bound morocco, -6L 6s. This is reduced from the preceding large work, and is uncoloured. ..DANIELL'S ANIMATED NATURE, being Picturesque Delineations of the most inte- resting Subjects from all Branches of Natural History, 125 Engravings, with Letter press Descriptions, 2 vols. small folio (pub. at 151. 15s.), half morocco (unilormwith the Oriental Scenery) 31. 3s. DON QUIXOTE, PICTORIAL EDITION. Translated by Jarvis, carefully revised. With a copious original Memoir of Cervantes. Illustrated by upwards of 820 beautiful Wood Enirravings after the celebrated Designs of Tony Johannot, including 16 new and beautiful large Cuts, by Armstrong, now first added. 2 vols. royal 8vo (pub. at 2L 10s.), clath gilt, 11. Ss. DULWICH GALLERY, a Series of 50 beautifully Coloured Plates, from the most cele- brated Pictures in this Remarkable Collection, executed by R, Cockburn (Custodian.) All mounted on Tinted Card-board in the manner of Drawings, imperial folio, including 4 very large addiiioual Plates, published separately at from 3 to 4 guineas each and not before included in the Series. In a handsome portfolio, with morocco hack (pub at 40L), IGL 16s. “This is one of the most splendid and interesting of the British Picture Galleries, and has for some years been quite unattainable, even at the full price.” EGGLESTON’S INTRODUCTION TO ENGLISH ANTIQUITIES, thick 8vo, with numerous woodcuts, cloth (pub. at IL Is.), 9s. EGYPT— PER RING’S FIFTY-EIGHT LARGE VIEWS AND ILLUSTRATIONS OF THE PYRAMIDS OF GIZEH, ABOU ROASH, &c. Drawn from actual Survey and Admeasurement. With Notes and References ro Col. Vj^se’s great Work, also to Denon, the great French Work on Egypt, Rosellini, Belzoni, Burckhardt. Sir Gardner Wilkinson, Lane, and others. 3 Parts, elephant folio, the size of the great French “ Egypte ” (pub. at 151. 15s.) in printed wrappers, 31. 3s. ; half bound morocco, 4L 14s. 6d. 1842 ENGLEFIELD’S ANCIENT VASES, drawn and engraved hy H. Moses, imperial 8 vo, 51 fine plates, 12 of which are now first published, cloth lettered (pub. at ll. 16s.), 12s. ENGLEFIELD’S ISLE OF WIGHT. 4to. 50 large Plates, engraved by Cooke, and a Geo- logical Map (pub.7L7s.), cloth, 21. 5s. 1816 FLAXMAN'S HOMER. Seventy -five beautiful Compositions to the Iliad and Odyssey, engraved under i laxman’s inspection, by Piroli, Moses, and Blake. 2 vols. oblong folio (pub. at 5t. 5s.), boards 2L 2s. 1805 FLAXMAN’S /ESCHYLUS, Thirty-sL\ beautiful Compositions from. Oblong folio (pub, at 21. 12s. 6d.), boards U, Is. 1831 B 2 4 CATALOGUE OE NEW BOOKS. FLAXMAN S HESIOD, Thirty-seven beautiful Compositions from. Oblong folio (pub* at 21. 12a. 6f/.). boaids If. la. 1817 “ Flaxman’s unequalled Compositions from Homer, JEschylns, and Hesiod, have long been the admiration of Europe; of their simplicity and beauty the pen is quite incapable of conveying an adequate impression.” — Sir Thomux Lawrence. FLAXIVIAN’S ACTS OF MERCY. A Series of Fight Compositions, in the manner of Ancient Sculpture, engraved in imitation of the original Drawings, by F. C. Lewis. Oblong folio (pub. at 21. 2a.), half-bound morocco, 16a. 1831 FROISSART. ILLUMINATED ILLUSTRATIONS OF. Seventy-four Plates, printed in Gold and Colours. 2 vols super-royal 8vo. half bound, uncut (pub. at4/. 10a.), .3f. 10a. .... I ' the same, large paper, 2 vols. royal 4to, half-bound, uncut (pub. at 10/. 10s.), 6/. 6s. GALERIE DU PALAIS PITTI, in 100 livraisons, forming 4 thick vols. super-royal folio* coi.taiiiing 500 fine Engravings, executed by the first Italian Artists, with descriptive letter- press in Fiencli (pub. at 50/.), 21/. Florence, 1837—45 .. .. - the same, bound in 4 vols. half-morocco extra, gilt edges, 25/. ibe same, earge paper, proof before the letters, 100 livraisons, imperial folio (pub. at 100/.), 30/. the same, bound in 4 vols. half-morocco extra, gilt edges, 35/. CELL AND GANDY’S POMPEIANA, or the Topography, Edifices, and Ornameuts of Pompeii. Original Series, containing the Result of all the Excavations previous to 1819, new and elegant edition, in one vol. roval 8vo, with upwards of 100 beautiful Line Engravings by Goodall, Cooke, Heath, Pye, &c. cloth extra, 1/. lls 6d. GEMS OF ART. 36 FINE ENGRAVINGS, after Pembrandt, Cuyp, Reynolds, Poussin. M urrilo, Teniers, Correggio, Vandervelde, folio, proof impressions, in port- folio (pub. at 8/. 8s.), 1/. lls. 6t/. GiLLRAY'S CARICATURES, printed from the Original Plates, all engraved by himself between 1779 and 1810, comprising the best Political and Humorous satires of tl;e Reign of George the Third, in upw'ards of 600 highly- spirited Engravings. In 1 large vol. atlas folio (exactiy uniform w ith the original Hogarth, as sold by the advertiser), half-bound red morocco extra, gilt edges, 8/. 8s. GILPIN’S PRACTICAL HINTS UPON LANDSCAPE GARDENING, with some Remarks on Domestic Architecture. Royal 8vo, Plates, cloth (pub. at 1/.), 7s. GOETHE’S FAUST, ILLUSTRATED BYRETZSCH in 26 beautiful Outlines, royal 4to (pub. at 1/. Is.), gilt cloth, 10s. 6rf. This edition contains a translation of the original poem, with historical and descriptive notes, GOODWIN’S DOMESTIC ARCHITECTURE. A Series of Kew Designs for Mansions, Villas, Rectory-Houses, Parsonage-Houses; Bailiff’s, Gardener’s, Gamekeeper’s, and Park- Gate Lodges; Cottages and other Residences, in the Grecian, Italian, and Oid English Style of Architecture; with Estimates. 2 vols. royal 4to, 96 Plates (pub. at 51. 5s.), cloth, 2i. 12a, 6d. GRINDLAY’S (CAPT.) VIEWS IN INDIA, SCENERY, COSTUME, AND ARCHI- a’ECTURE; chiefly on the Western Side of India. Atlas 4to. Consisting of 36 most beauti- fully coloured Plates, highly finished in imitation of Drawings; with descriptive Letter-press, (Pilb. at 12/. l,2t.), half-bound morocco, gilt edges, 8/. 8s. 1830 This is perhaps the most exquisitely-coloured volume of landscapes ever produced. HAMILTON’S (LADY) ATTITUDES. 26 hold Outline Engravings, royal 4to, limp cloth, lettered (pub. at 1/. lls. 6t/.), 10s. 6t/. HANSARDS ILLUSTRATED BOOK OF ARCHERY. Being the complete History and Practice of the Art; interspersed with numerous Anecdotes; forming a complete Manual for tlie Bowman 8vo. Illustrated by 38 beautiful Line Engravings, exquisitely finished, by Engleheart, Portbury, etc. after Designs by Stephanoff (pub. at 1/. lls. 6d ), gilt cloth, lOs. 6c/. HARRIS’S GAME AND WILD ANIMALS OF SOUTHERN AFRICA, Large imperial folio. 30 beautifully coloured Engravings, with 30 Vignettes of Heads, Skins, &c. (pub. at 10/. 10s.), half-morocco, 6/. 6s. 1814 HARRIS’S WILD SPORTS OF SOUTHERN AFRICA. Imperial 8vo. 26 beautifully coloured Engravings, and a Map (pub. at 21. 2s.), gilt cloth, gilt edges, 1/. Is. 1844 HEATH’S CARICATURE SCRAP BOOK, on 60 sheets, containins: upwards of 1000 Comic Subjects, after Seymour, Cruikshank, Phiz, and other eminent Caricaturists, oblong folio (pub. at 21, 2s.), cloth gilt, 15s. Tliis clever and entertainin'^ volume is now enlarged by ten additional sheets, each com- tainiiiif numerous subjects. It includes the whole of Heath’s Omnium Gatherum, both Series; Illustrations of Demonology and Witchcraft; Old Ways and New Ways; Nautical Dictionary; Scenes in London ; Sayings and Doings, etc. ; a series of humorous illustrations of Proverbs, etc. As a large and almost infinite storehouse of humour it stands alone. To the young; artist it would be found a most valuable collection of studies; and to the family circle a constant source of unexceptionable amusement. PUBLISHED OR SOLD BY H. G. BOHN’. 6 HOGARTH’S WORKS ENGRAVED BY HIMSELF. 153 fine Plates, (includins: the two well-known “suppressed Plates,”) with elaborate Letter-press Descriptions, by J. Nichols. Allas folio (pub. at 50L), half-bound morocco, gilt back and edges, with a secret pocket fojr suppressed plates, 7L 7s. HOLBEIN'S COURT OF HENRY THE EIGHTH. A Series of 80 exquisitely beautiful Portraits, engraved by Bartolozzi, Cooper, and others, in imitation of the oriarinal Drawings preserved in the Royal Collection at Windsor ; with Historical and Biographical Letter-press by Edmund Lodge, Esq. Published by John Chamberlaine. Imperial 4to, (pub. at 15L 155.), half -bound morocco, full gilt back and edges, 5L 15s. 6d. 1812 HOFLAND'S BRITISH ANGLER’S MANUAL; Edited by Edward Jessk, Esq.; or the Art of Angling in England, Scotland, Wales, and Ireland; including a Piscatorial Account of the principal Rivers, Lakes, and 'I rout Streams; with Instructions in Fly Fishing, Trolling, and Angling of every Description. With upwards ot 80 exquisite Plates, many of which are highly-finished Landscapes engraved on Steel, the remainder beautifully engraved on Wood. 8vo, elegant in gilt cloth, 12». HOPE’S COSTUME OF THE ANCIENTS. Illustrated in upwards of 820 beautifully- engraved Plates, containing Representations of Egyptian, Greek, and Roman Habits and Dresses. 2 vols. royal 8vo, New Edition, with nearly 20 additional Plates, boards, reduced to 21. 5s. 1841 HOWARD (FRANK) ON COLOUR, as a Means op Art, being an Adaptation of the Experience of Professors to the practice of Amateurs, illustrated by 18 coloured Plates, post 8vo, cloth gilt, 8s. In this able volume are shown the ground colours in w'hich the most celebrated painters worked. It is very valuable to the connoisseur, as well as the student, in painting and water-colour drawing. HOWARD’S (HENRY, R. A.) LECTURES ON PAINTING. Delivered at the Royal Academy, with a Memoir, by his bon, Frank Howard, large post 8vo, cloth, 7s. 6d. 1848 HOWARD’S (FRANK) SPIRIT OF SHAKSPEARE. 483 fine Outline Plates, iUustrative of all the principal Incidents in the Dramas of our national Bard, 5 vols, "Syo, (pub. at 14L 8«.) cloth, 21. 2s. 1827 — 33 *** The 483 Plates may be had without the letter-press, for illustrating all 8vo. editions of Shakspeare, for U. II 5 . 6d. HOWITTS (MARY) LIVES OF THE BRITISH QUEENS; or, ROYAL BOOK OF BEAUTY. Illustrated with 28 splendid Portraits of the Q-ueens of England, by the first Artists, engraved on Steel under tlie direction of Charles Heath. Imperial 8vo, very richly hound in crimson cloth, gilt edges, 11. 11s. 6d. HUMPHREYS’. (H. NOEL) ART OF ILLUMINATION AND MISSAL PAINTING. Illustrated with 12 splendid Examples from the Great Masters of the Art, selected from Missals, all beautifully illuminated. Square l2mo, decorated binding, ll. Is. HUNT’S EXAMPLES OF TUDOR ARCHITECTURE ADAPTED TO MODERN HABITATIONS. Boyal 4to, 37 Plates (pub. at 2L 2s.), half morocco, U. 4s. HUNT’S DESIGNS FOR PARSONAGE-HOUSES, ALMS-HOUSES, ETC. Royal 4to, 21 Plates (pub. at 1/. is.), half morocco, 14s. 1841 HUNT’S DESIGNS FOR GATE LODGES, GAMEKEEPERS’ COTTAGES, ETC. Royal 4to., 13 Plates, (pub. at 11. Is.), half morocco, 14s. 1841 HUNT'S ARCHITETTURA ‘CAMPESTRE ; or, DESIGNS FOR LODGES, GAR- DENERS’ HOUSES. ETC., IN THE ITALIAN STYLE. 12 Plates, royal 4to. (pub. at 11. Is.), half morocco, 14s. 1827 ILLUMINATED BOOK OF CHRISTMAS CAROLS. Square 8vo. 24 Borders illumi- nated in Gold and Colours, and 4 beautiful Miniatures, richly Ornamented Binding (pub. at If. 5s.), 15s. 184& ILLUMINATED BOOK OF NEEDLEWORK. By Mrs. Owen, with a History of Needle- work, by the Countess of Wilton, Coloured Plates, post 8vo. (pub. at 18s.), gilt cloth, 9s. 1847 ILLUMINATED CALENDAR FOR 1850. Copied from a celebrated Missal known as the “ Hours” of the Duke of Anjou, imperial 8vo., 36 exquisite Miniatures and Borders, in gold and colours. Ornamented Binding (pub. at 21. 2s.), 15s. ITALIAN SCHOOL OF DESIGN. Consisting of 100 Plates, chiefly engraved by Barto- Lozzi, after the original Pictures and Drawings of Guercino, Michael Angelo, Domeni- CHiNO, Annibale, Ludovico, and Agostino Caracci, Pietro da Cortona, Carlo Maratti, and others, in the Collection of Her Majesty. Imperial 4to. (pub. at lOf. 10s.), half morocco, gilt edges, 31. 3s. 1812 JAMES’ (G PR.) BOOK OF THE PASSIONS, royal 8vo, illustrated with 16 splendid. Line Engravings, after Drawings by Edward Courbould, Stefhanoff, Chalon, Kenny Meadows, and Jenkins ; engraved under the superintendence of Charles Heath. New and improved edition (just published), elegant in gilt cloth, gilt edges (pub, at XL 11«, fid. 6 CATALOGUE OE NEW BOOKS. JAMESON'S (MRS.) BEAUTIES CF THE COURT OF CHARLES THE SECOND, with their Portraits aiter Sir Peter Lely and other eminent Painters; illustrating the Diaries of Perys, Evelyx, Clarendon, &c A new edition, considerably enlarged, with an Intro-, ductory Essay and additional Anecdotes. Imperial 8vo, illustrated by 21 beautiful Portraits comprising the whole of the celebrated suite of Paintings by Lely, preserved in the Windsor Gallery, and several from the Devonshire, Grosvenor, and Althorp Galleries, extra gilt cloth, IZ. 55. the same, imperial 8vo, with India proof impressions, extra gilt cloth, gilt edges, 21. 10s. JONES’S (OWEN) ILLUMINATED BOOKS OF THE MIDDLE AGES, with Histo- rical and Descriptive letterpress by Noel Humphreys, Illustrated by 39 large Plates, splen- didly printed in gold and colours, comprising some of the finest Examples of Illuminated Manuscripts of the Middle Ages, particularly Italian and French. Atlas folio, handsomely half-bound morocco, gilt edges (pub. at 16/. 16s.), 81. 8s. KINGSBOROUGH’S (LORD) ANTIQUITIES OF MEXICO, comprising Tac-similes of Ancient Mexican Paintings and Hieroglyphics, preserved in the Royal Libraries of Paris, Berlin, Dresden, Vienna; the Vatican and the Borgian Museum, at Rome ; the Institute at Bologna; the Bodleian Library at Oxford; and various others; the greater part inediteJ. Also, the Monuments of New Spain, by M. Dupaix, illustrated by upwards of 1000 elaborate and higdily interesting Plates, accurately copied from the originals, by A. Aglh), 9 vols. impe- rial folio, very neatly half bound morocco, gilt edges (pub. at 140/.), 35/. — i the same, 9 vols. ■with the Plates deautipully coloured, half hound moroccp, gilt edges, (pub. at 210/.), 63/. —————the two Additional Volumes, now first published, and forming the 8th and 9th of the whole work, may be had separately, to complete the former seven, in red boards, as formerly done up, 12/. 125. KNIGHT'S (HENRY GALLY) ECCLESIASTICAL ARCHITECTURE OF ITALY, FROM THE TIME OF CONSTANTIiVE TO THE FIFTEENTH CENTURY. With an Introduction and Text. Imperial folio. First Series, containing 40 beautiful and highly inte- resting Views of Ecclesiastical Buildings in Italy, several of which are expensively illuminated in gold and colours, half-bound morocco, 51. 5s. 1843 Second and Concluding Series, containing 41 beautiful and highly interesting Views of Eccle- siastical Buildings in Italy, arranged in Chronological Order; with Descriptive Letter-press. Imperial folio, half-bound morocco, 51. 5s. 1844 KNIGHT'S PICTORIAL LONDON. 6 vols. bound in 3 thick handsome vols., imperial Svo, illustrated by 650 Wood Engravings (pub. at 3/. 3s.), cloth gilt), 1/. 18s. 1841-44 LANDSEER'S (SIR EDWIN) ETCHINGS OF CARNIVOROUS ANIMALS, Com- prising 38 subjects, chiefly early works o this talented Artist, etched by his brother Thomas or his Father, (some hitherto unpublished), with letter-press Descriptions, royal 4to., cloth, 1/. Is. 1853 LONDON. —WILKINSON’S LONDINA ILLUSTRATA; on, GRAPHIC AND HISTORICAL ILLUSTRATIONS of the most Interesting and Curious Architectural Monu- ments of the City and Suburbs of London and Westminster, e. g , Monasteries, Churches, Charitable Foundations, Palaces, Halls, Courts, Processions, Places of early Amusements, Theatres, and Old Houses. 2 vols. imperial 4to, containing 207 Copperplate Engravings, with Historical and Descriptive Letter-press (pub. at 26/. 5s.), half-bound morocco, 51. 5s. 1819-25 LOUDON’S EDITION OF REPTON ON LANDSCAPE GARDENING AND LANDSCAPE ARCHITECTURE. New Edition, 250 Wood Cuts, Portrait, thick Svo, cloth lettered (pub. at 1/. 10«.), 15s. MARCENY DE GHUY, CEUVRES DE, enntenant differens Morceauxd’Histoires, Por- traits, Paysages, Batailles, etc., with above 50 remarkably fine Engravings, after Paintings by Poussin, Vandyck, Rembrandt, and others, including Portraits of Charles I., the Maid of Orleans, &c. fine impressions. Imp. 4to, half bound morocco (pub. at 51. 5s.), 1/. 16s. Paris, 1^55 MARTIN'S CIVIL COSTUME OF ENGLAND, from the Conquest to the Present Period, from Tapestry, MbS., &c. Royal 4to, 61 Plates, beautifully Illuminated in Gold and Colours, cloth, gilt, 21. 12s. 6d. 1842 MEYRICK’S PAINTED ILLUSTRATIONS OF ANCIENT ARMS AND ARMOUR, a Critical Inquiry into Ancient Armour as it existed in Europe, but particularly in England, from tlie Norman Conquest to tlie Reign of Charles II., with a Glossary, etc. by Sir Samuel Rush Meyrick, LL.D., F.S.A., etc., new and greatly improved Edition, corrected and en- larged throughout bv the Author himself, witli the assistance of Literary and Antiquarian Friends (Albert \Vay, etc.) 3 vols. imperial 4to, illustrated by more than 100 Plates, splendidly illuminated, mostly in gold and silver, exhihiiing some of the finest Specimens existing in England; also a new Plate of the Tournament of Locks and Keys (pub. at 2i/.) half-bound morocco, gilt edges, 10/. lOs. 1844 Sir Walter Scott justly describes this Collection as “ the incomparable armoury.” Edinburgh Review. MEYRICK’S ENGRAVED ILLUSTRATIONS OF ANCIENT ARMS & ARMOUR, In the Collection of Goodrich Court, 150 Engravings by Jos. SKELTON, 2 vols. folio (pub. at 11/. 11s.), half morocco, top edges gilt, 4/. 14s. 6d. PUBLISHED OB SOLD BY H. G. BOHN, 7 MILLINGEN’S ANCIENT UNEDITED MONUMENTS; comprising Painted Greek Vases, Statues, Busts, Bas-Reliefs, and other Remains of Grecian Art. 62 large and beautiful Engravings, mostly coloured, with Letter-press Descriptions, imperial 4to. (pub. at 9L 9s.) halfmorocco, 4L 14s. 6d. 1822 MOSES’S ANTIQUE VASES, CANDELABRA, LAMPS, TRIPODS, PATER/E, Tazzas, Tombs, Mausoleums, Sepulchral Chambers, Cinerary Urns, Sarcophagi, Cippi, and other Ornaments, 170 Plates, several of which are coloured, with Letter-press, by Hope, small 8vo. (pub. at 3^. 3s.), cloth, U, 5s. 1814 MULLERS' ANCIENT ART AND ITS REMAINS, or a Manual of the Archaeology of Art. By C. O. Muller, author of “History and Antiquities of the Doric Race.” New edition by Welcicer, translated by John Leitch. Thick 8vo, cloth lettered (pub. at 18s.), 12s. MURPHY’S ARABIAN ANTIQUITIES OF SPAIN; representing, in 100 very highly finished line Engravings, by Le Keux, Finden, Landseeh, G. Cooke, &c., the most remarkable Remains of the Architecture, Sculpture, Paintings, and Mosaics of the Spanish Arabs now existing in the Peninsula, including the magnificent Palace of the Alhambra; the celebrated iv^osque and Bridge at Cordova; tlie Royal Villa of Generaliffe; and the Casa de Carbon ; accompanied by Letter-press Descriptions, in 1 vol. atlas folio, original and brilliant impressions of the Plates (pub. at420» half morocco, 12L 12s. 1813 MURPHY’S ANCIENT CHURCH OF BATALHA, IN PORTUGAL, Plans, Eleva- tions. Sections, and View's of the; with its History and Description, and an Introductory Discourse on GOTHIC ARCHITECTURE, imperial folio, 27 fine Copper Plates, engraved by Lowry (pub. at 61. 6s.), half morocco, 21. 8s. 1795 NAPOLEON GALLERY ; or. Illustrations of the Life and Times of the Emperor, with 99 Etchings on steel b Revell, and other eminent Artists, in one thick volume, post 8v0. (pub. at 11. Is.), gilt c! rh, gilt edges, 10s. 6d« NICOLAS’S (SIR HA l\S) HISTORY OF THE ORDERS OF KNIGHTHOOD OF THE BRITISH 1 '4PIRE; with an Account of the Medals, Crosses, and Clasps which have been conferred for Naval and Military Services; together with a History of the Order of the Guelphs of Hanover. 4 vols. imperial 4to, splendidly printed and illustrated by numerous fine Woodcuts of Badges, Crosses, Collars, Stars, Medals, Ribbands, Clasps, &c., and many large Plates, illuminated in gold and colours, including full-lene-th Portraits ofOueen Victoria, Prince Albert, the King of Hanover, and the Dukes of Cambridge and Sussex. (Pub. at Ml. 14s.), cloth, with morocco backs, 5l. 15s. 6d. Complete fo 1847 — the same, with the Plates richly coloured, but not illuminated, and without the extra portraits, 4 vols. royal 4to, Cioth, 3/. 13s. 6d. “ Sir Harris Nicolas has produced the first comprehensve History of the British Orders of Knighthood; and it is one of the most elaborately prepared. and splendidly printed works that ever issued from the press. The Author appears to us to have neglected no sources of information, and to have exhausted them, as far as regards the general scope and purpose of the inquiry. The Graphical Illustrations are such as become a work of t, is character upon such a subject; at, of course, a lavish cost. The resources of the recently revived art of wood-engraving have been combined with the new art of printing in colours, so as to produce a rich etfect, almost rivalling that of the monastic illuminations. Such a book is sure of a place in every yreat library. It contains matter calculated to interest extensive classes of readers, and we hope by our specimen to excite their curiosity.” — Quarterly Review. NICHOLSON'S ARCHITECTURE; ITS PRINCIPLES AND PRACTICE. 218 Plaies by Lowry, new edition, revised by Jos. Gwilt, Esq., one volume, royal 8vo, ll. 11s. 6d. 1848 For classical Architecture, the text book of the Profession, the most useful Guide to the Student, and the best Compendium for the Amateur. An eminent Architect has declared it to be “ not only the most useful book of the kind ever published, but absolutely indispensable to the Student.” PICTORIAL HISTORY OF GERMANY DURING THE REIGN OF FREDERICK THE GREAT; including a complete History of the Seven Years’ War. By Frances Kugler. Illustrated by Adolph Menzel. Royal 8vo, with above 500 Woodcuts (pub. ^t 11. 8s. ), cloth gilt, 12s. 1845 PICTORIAL GALLERY OF RACE-HORSES. Containing Portraits of all the Winning Horses of the Derby, Oaks, and St. Leger Stakes, during ihe last. Thirteen Years, and a History of the principal Operations of the Turf. By Wildrake ( Geo ge l attersall. Esq.),. Royal 8vo, containing 95 beautiful Engravings of Horses, after Pictures by Cooper, Herring, Hancock, Alken, &c. Also full-length characteristic Portraits of celebrated living Sports- men (“ Cracks of the Day”), by Seymour (pub. at 21. 2s), scar et cloth, gilt. It. Is. PICTORIAL HISTORY OF FRANCE AND ITS REVOLUTIONS, (comprising the period 1789 to 1818), by George Long, with fine Portraits, and numerous large woodcuts, after Designs by Harvey. Large imperial 8vo, cloth (pub. at l/,) 12s. PICTURESQUE TOUR OF THE RIVER THAMES, in its Western Course, including particular Descriptions of Richmond, Windsor, and Hamp on Court. By John Fisher Murray. Illustrated by upwards of 100 very highly-finished Wood Engravings by Orrin Smith, Bransxon, Landells, I.inton, and other eminent Artists , to which are added several beautiful Copper and Steel Plate Engravings by Cooke and others. One large hand- some volume, royal 8vo. (pub. at U. 5s.), gilt cioth, los. 6d. 184'5 The most beautiful volume of Topographical Lignographs ever produced. 8 CATALOGUE OE, KEW BOOKS. PINELLI’S ETCHINGS OF ITALIAN IVIANNERS AND COSTUME, including his Carnival, Banditti, &c., 'll Plates, imperial 4to, half-bound morocco, 15s. Rome^ 1840 PUGINS GLOSSARY OF ECCLESIASTICAL ORNAMENT AND COSTUME; setting fortli the Origin, Ilhslory, and Signification of the various Emblems, Devices, and Symbolical Colours, peculiar to Christian Designs of the Middle Ages. Illustrated by nearly 8o Plates, splendidly primed in gold and colours. Boyal 4to, half morocco extra, top edges gilt, 7f. 7a. PUGIN'S ORNAMENTAL TIMBER GABLES, selected from Ancient Examples in England and Normandy. Royal 4to, 80 Plates, cloth. If. Is. , 1830 PUGIN’S EXAMPLES OF GOTHIC ARCHITECTURE, selected from Ancient Edifices in England; consisting of Plans, Elevations, Sections, and Parts at large, with Historical and Descriptive letter-press, illustrated by 225 Engravings by Le Keux, 3 vols.tto, (pub. at 12/. 12s.) cloth, 7/. 17s. Gd. 1839 PUGIN'S GOTHIC ORNAMENTS. 90 fine Plates, drawn on Stone by J.D. Harding and others. Iloyal 4to, half morocco, 3/. 3s. 1844 PUGIN'S NEW WORK ON FLORIATED ORNAMENT, M'ith 30 Plates, splendidly printed in Gold and Colours, royal 4to, elegantly bound in cloth, with rich gold ornaments, 3/. 3s. RADCLIFFE'S NOBLE SCIENCE OF FOX-HUNTING, for the use of Sportsmen, royal 8vo, nearly 40 beautiful "Wood Cuts of Hunting, Hounds, &c. {pub. at 1/. 8s.), cloth gilt, 10s. 6d. 1839 RICAUTI'S SKETCHES FOR RUSTIC WORK, including Bridges, Park and Garden Buildings, Seats and Furniture, with Descrii)tions and Estimates of the Buildings. New Edition, royal 4to, 18 Plates, cloth lettered (pub. at IGs.), 12s. RETZSCHS OUTLINES TO SCHILLER’S "FIGHT WITH THE DRAGON." Iloyal 4to, containing IG Plates, engraved by Moses, stiff covers, 7s. Cd. RETZSCH S ILLUSTRATIONS TO SCHILLER’S “ FRIDOLIN,” Boyal 4to, contain- ing 8 Plates, engraved by Moses, stiff' covers, 4s. Gd. REYNOLDS’ (SIR JOSHUA) GRAPHIC WORKS. 300 beautiful Engravings (compris- ing nearly 400 subjects,) after tliis delightful painter, engraved on Steel by S. W. Reynolds. 3 vols, folio (pub. at 36/.), half bound morocco, gilt edges, 12/. 12s. ^ ORBINSON’S RURAL ARCHITECTURE; being a Series of Designs for Ornamental Cottages, ■ in 96 Plates, with Estimates. Fourth, greatly improved. Edition. Royal 4to (pub. at 4/. 4s.), half morocco, 2/. 5s. ROBINSON’S NEW SERIES OF ORNAMENTAL COTTAGES AND VILLAS. 5G Plates by Hakding and Allom. Royal 4to, half morocco, 21. 2s. ROBINSON'S ORNAMENTAL VILLAS. 96 Plates (pub. at 4s.) half morocco, 5s. ROBINSON’S FARM BUILDINGS. 56 Plates (pub. at 2^. 2s.) half morocco, IZ. 11s. 6c?. ROBINSON’S LODGES AND PARK ENTRANCES. 48 Plates (pub at 2?. 2s.), half morocco, 1/ 11s. Gd. ROBINSON’S VILLAGE ARCHITECTURE. Eourth Editiou, with additional Plate. 41 Plates (pub. at 1/. IGs), half hound uniform, 1/. 4s. ROBINSON’S NEW VITRUVIUS BRITANNICUS; or, Views, Plans and Elevations of English Mansions, viz., Woburn Abbey, Hatfield House, and Hardw'icke Hall; also Cassio))ury House, by John Britton, imperial folio, 50 fine Engravings, by Le Keux (pub. at 16/. 16s.), half morocco, gilt edges, 3/. 13s. Cd. 1847 ROYAL VICTORIA GALLERY, comprising 33 beautiful Engravings, after Pictures at BUCKINGHAM PALACE, particularly Rembrandt, the Ostades, Teniers, Gerard Douw, Both, Cuyf, Reykolds, Titian, and Rubens; engraved by Greatbach, S. W. Reynolds, Presbury, Burnet, &c. ; with letter- press by Linnell, royal 4to. (pub. at 4/. 4s.), half morocco, 1/. 11s. Gd. RUDING’S A^'NALS OF THE COINAGE OF GREAT BRITAIN AND ITS DEPENDENCIES. Three vols, 4to, 159 Plates (pub. at 6/. Gs.), cloth, 4/. 4s. 1840 SCHOLA ITALICA ARTIS PiCTORI/E, or Engravings of the finest Pictures in the Gal- leries at Rome, imperial folio, consisting of 40 beautiful Engravings after Michael Angelo, R.AriiAEL, 'J’iti.an, Caracci, Guido, Parmigiano, etc. by 'Folpaxo and others, fine im- pressions, half-bound morocco (pub. at 10/. lOs.), 21. 12s. Gd. Romae, 1806 SHAW S SPECIMENS OF ANCIENT FURNITURE. 75 Plates, drawn from existing authorities, with descriptions by Sir Samuel R. Meyrick, K.H., medium 4to, plain (pub. at2/. 2s.), ]/. 11s. Gd. the same, with a portion of the plates coloured, medium 4to (pub. at 4/. 4s.), 3/. 3s. the same, imperial 4to, large paper, with the Plates on India paper, many of them finely coloured (pub. at 8/. 8s.), 5/. 5s. the .same, impeiial 4 to, large paper, with the whole of the Plates beautifully coloured (pub. at 10. lOs.), C/. 6s. PUBLISHED Oil SOLD BY H. G. BOHN, 9 SHAW’S ILLUMINATED ORNAMENTS OF THE MIDDLE AGES, from the Gth tothe 17th Century, selected from manuscripts and early jirinted hooks, .=,9 Plates, cavelully coloured from the originals, with descriptioi;s by Siii Fiiedjekicic Madden, K.H., in one vol. 4to (pub. at bl. 5s.), U. 4s. the same, large paper, highly-finished with opaque colours, and heightened with gold, imperial 4to (pub. at lOi. lOs. ), 8^. 8s. SHAW’S ALPHABETS, NUMERALS, AND DEVICES OF THE P/IIDDLE AGES, selected from the finest existing Specimens, 48 Plates (20 of them coloured) imperial 8vo. (pub. at 27. 2s.), 17. 11s. 6t7. • the same, large paper, imperial 4to, with the coloured plates highly-finished, and heightened with gold (pub. at 47. 4s.), 37. 10s. SHAW'S HAND-BOOK OF MEDIEVAL ALPHABETS AND DEVICES, being a selection of 20 Plates of Alphabets, and 17 Plates of original specimens of Labels, Monograms, Heraldic Devices, &c. not hereiofore figured, in ail 37 Plates, printed in colours, imperial 8vo. in cloth boards (pub. at 17. 16s.), I5s. SHAW’S SPECIMENS OF THE DETAILS OF ELIZABETHAN ARCHITECTURE, with descriptions by T. Mouee, Esq., 60 Plates, 4to, boards (pub. at 37. 3s.), 27.2s. — — ■ ' the same, large paper, imperial 4to, proof plates on India paper, some coloured (pub. at 67. 6s.), 47. 4s. SHAW'S ENCYCLOP/EDIA OF ORNAMENT, select examples from tlicpiirest and best specimens of all kinds and of all ages, 59 Plates, 4to, boards (pub. at 17. lOs.), 17 5s. ■ — " ■ ■ the same, large paper, im.perial 4to, all the Plates coloured, boards (pub. at 37.), 27. 12s. 6d. SHAW’SSPECIMENSOFORNAME NT A L M ETA L WO R K, with 50 plates, 4to, boards (pub. at 27. 2s.), 17. Is. SHAW'S DECORATIVE ARTS OF THE MIDDLE AGES, exhibiting on 41 Plates, with numerous Woodcuts, beautiful specimens of the various kinds of Ancient Enamel, Metal Work, Wood Carvings, Paintings on Stained Glass, Initial Illuminations, Embroidery, Book- binding, and other Ornamental Textures, also fine and elegant Initial letters to the various descriptions, imperial 8vo, boards (puh. at 27. 2s.), 17. 16s. ■ the same, large paper, imperial 4to, 41 Plates, some coloured, boards (pub. at 47. 4s.) 37. 10s. ■ - the same, large paper, imperial 4to, with the whole of the plates coloured in the highest style, forming a very beautiful and interesting volume, boards (pub. at 87. 8s.), 67. 6s. SHAW’S DRESSES AND DECORATIONS OF THE MIDDLE AGES, from the 7ib to the 17th centuries, with an Historical Introduction and Descriptive Text to every Illustration, consisting of 85 Copper Plates of elaborate Woodcuts, a profusion of beautiful Initial Letters, and examples of curious and singular ornament enriching nearly every page of this highly decorated v/ork, 2 vols., imperial 8vo, the plates carefully coloured, boards (puh. at 77. 7s.), 67. 6s. — the same, 2 vols. large paper, imperial 4to, the plates highly coloured and picked-in with gold, hoards (pub. at 187.), 157. • the same, large paper, imperial 4to, with the plates highly coloured and the whole of the Initial Letters and Illustrations picked in with gold (only 12 copies got up in this manner) (pub. at 307.), 247. SHAW’S GLAZIER’S BOOK, or Draughts serving for Glaziers, but not impertinent for Plasterers, Gardener.s, and others, consisting of elaborate designs for Casement Windows, Plasterer’s work, garden walks> etc., 117 Plates, mostly taken from a work published in 1615, by Walter Gidde, with others from existing authorities added, demy 8vo, boards (pub. at 16s.), 10s. 6c7. SHAW AND BRIDGEN’S DESIGNS FOR FURNITURE, with Candelabra and intefior Decoration, 60 Plates, royal 4to (pub. at 37. 3s.), half-bound, uncut, 17. 11s. 6c7. 1838 • the same, large paper, impl. 4to, the Plates coloured (pub. at 67. 6s.), half-bd., uncut, 37.3s. SHAW’S LUTON CHAPEL, its Architecture and Ornaments, illustrated in a series of 23 highly-finished Line Engravings, imperial folio (pub, at 37. 3s.), half-morocco, uncut, 17. 16s. " 1830 SILVESTRE’S UNIVERSAL PALEOGRAPHY, or Dac-similes of the writings of every age, taken from the most authentic Missals and other interesting Manuscripts existing in the Libraries of France, Italy, Germany, and England. By M. Silvestre, containing upwards of 300 large and most beautifully executed fac-siniiles, on Copper and Stone, most richly Illumi- nated in the finest style of art, 2 vols. atlas folio, half-morocco extra, giit edges, 317. lOs. the Historical and Descriptive Letter-press by Champollion, Figeac, and Cham- pollion, jun. With additions and corrections by Sir Frederick Madden. 2 vols. royal 8vo, cloth, 17. 16s. " 1850 the same, 2 vols. royal 8vo., hf. mor. gilt edges (uniform with the folio work), 27.8s. SMITH'S (C. J.) HISTORICAL AND LITERARY CURIOSITIES. Consisting of Fac-similes of interesting Autographs, Scenes , of remarkable Historical Events and interestin Localities, Engravings of Old Houses, Illuminated and Missal Ornaments, Antiquities, & &c., containing 100 Plates, some illuminated, with occasional Letter-press, In 1 volume 4 to half morocco, uncut, reduced to 37. 10 CATALOGUE OF NEW BOOKS, SMITH’S ANCIENT COSTUME OF GREAT BRITAIN AND IRELAND. From the 7tli to tlie ICth Century, with Historical Illustrations, folio, with 62 coloured plates illu- minated witli Gold and Silver, and highly finished (pub. at 101. 10«.), half bound morocco extra, gilt edges, 31. 13s. Od. SPORTSMAN'S REPOSITORY : comprising a series of highly-finished Line Engravings, representins the Horse and the Dog, in all tlieir varieties, by the celebrated engraver John Scott, from original paintings by Keinagle, Gilpin, Stubbs, Cooper, and Landseer, accom- panied by a comprehensive Description by the Autlior of the “British Field Sports,” 4to, with 37 large Copper Plates, and numerous Woodcuts by Burnett and others (pub. at 21. 12s. 6d.), cloth gilt. H. Is. STORER’S CATHEDRAL ANTIQUITIES OF ENGLAND AND WALES. 4 vols. 8vo, with 256 engravings (pub. at 7L 10s.), half morocco, 21. 12s. 6d. STOTHARD'S MONUMENTAL EFFIGIES OF GREAT BRITAIN. 147 beautifully finished Etchings, all of which are more or less tinted, and some of them highly illuminated in gold and colours, with Historical Descriptions and Introduction, by Kempe. Folio (pub. at 19L), half morocco, 81. 8s. ■ - " ■ or on large paper. Plates illuminated (pub. at28L), 121. 12s. STRUTT’S SYLVA BRITANNICA ET SCOTICA; or Portraits of Forest Trees, distin- guished for their Antiquity, Magnitude, or Beauty, comprising 50 very large and highly finished painters’ Etchings, imperial folio (pub. at 9/. 9s.), half morocco extra, gilt edges, U. 10s. 1826 STRUTT’S DRESSES AND HABITS OF THE PEOPLE OF ENGLAND, from the Establishment of the Saxons in Britain to the present time; with an historical and Critical Inquiry into every branch of Costume. New and greatly improved Edition, with Cri- tical and Explanatory Notes, by J. R. Planche', Esq., F.S.A. 2 vols, royal 4to, 153 Plates, cloth, U. 4s. The Plates coloured, 11. 7s. The Plates splendidly illuminated in gold, silver, and opaque colours, in the Missal style, 201. 1842 STRUTTS REGAL AND ECCLESIASTICAL ANTIQUITIES OF ENGLAND. Containing the most authentic PLepresentations of all the English Monarchs from Edward the Confessor to Henry the Eighth; together with many of the Great Personages that were emi- nent under their several Reigns. New and greatly improved Edition, by J. R. Planche', Esq., F.S.A. Royal 4to, 72 Plates, cloth, 21. 2s. *The Plates coloured, 4L 4s. Splendidly illuminated, uniform with the Dresses, 12Z. 12s. 1842 STUBBS’ ANATOMY OF THE HORSE. 24 fine large Copper-plate Engravings, Impe- rial folio (pub. at 4L 4s.), boards, leather back, IZ. 11s. Od. The original edition of this tine old work, which is indispensable to artists. It has long been considered rare. TATTERSALL’S SPORTING ARCHITECTURE, comprising the Stud Farm, the Stall, the Stable, the Kennel, Race Studs, &c., with 43 beautiful Steel and Wood illustrations, several after Hancock, cloth gilt (pub. at IZ. lls. 6cZ.), IZ. Is. 1850 TRENDALL'S DESIGNS FOR ROOFS OF IRON, STONE, AND WOOD, with Measurements, &c., for the use of Carpenters and Builders (an excellent practical work), 4to, limp cloth (pub. at 15s.), 7s. 6tZ. 1851 TURNER AND GIRTIN’S RIVER SCENERY ; folio, 20 beautiful Engravings on Steel’ after the drawings of J. M. W. Turner, brilliant impressions, in a portfolio, with morocco back (pub. at 5Z. 5s.), reduced to IZ. lls. 6cZ. the same, with thick glazed paper between the plates, half-bound morocco, gilt edges (pub. at 6z. 6s.), reduced to 2Z. 2s. TURNER’S LIBER FLUVIORUM, or River Scenery of France, 62 highly-finished Line Emrravings on Steel by Wieemore. Goodall, Mileer, Cousens, and other distinguished Artists, with flescriptive Letter-press by Leitch Ritchie, and a Memoir of J. W. M. Turner, R.A, by Alaric A. Watts, imperial 8vo, gilt cloth, IZ. lls. 6d., or India Proofs, 3Z. 3s. WALKER’S ANALYSIS OF BEAUTY IN WOMAN. Preceded by a critical View of the general Ilvpothesis respecting Beauty, by Leonardo da Vinci, Mengs, Winckeemann, Hume, Hog artii. Burke, Knkjht, Aeison, and others. New edition, royal 8vo, illustrated by 22 beautiful Plates, after drawings from life, by H. Howard, by Gauci and Lane (pub. at 2Z. 2s.), gilt cloth, IZ. Is. WALPOLE’S (HORACE) ANECDOTES OF PAINTING IN ENGLAND, uithsome Acc ount ol the Principal Artists, and Catalogue of Engravers, who have been born or resided in England, witli Notes by Dallaway; New Edition, Revised and Enlarged, by Ralph WoRNU.M, Esq., complete in 3 vols. 8vo, w ith numerous beautiful portraits and plates, 2Z. 2s. WARRINGTON’S HISTORY OF STAINED GLASS, from the earliest period of the Art to the present time, illustrated by Coloured examples of Entire Windows, in the various styles, imperial lolio, with 2.) very large and beautifully coloured Plates (one of them nearly four feet in length) half bound morocco, gilt edges (pul/ at 8Z. 8s.), 5Z. 15s. 6tZ. WATTS’S PSALMS AND H MNS, Im-ustrated Edition, complete, with indexes of “Subjects,” “ First Lines,” and a 'I'ahle of Scriptures. 8vo, printed in a very large and beauti- ful type, emhelli.'y Da. Edwin La-NKESTEii, 8vo, with nearly 400 Illustrations on wood and steel, cloth (pub. at 1^ Is.), 10s. 6d. 1849 SELBY’S COMPLETE BRITISH ORNITHOLOGY. A most magnificent work of the Figures of British Birds, containing exact and faithful representations in their full natural size of all the known species found in Great Britain, 383 Figures in 228 beautifully coloured Plates. 2 vols. elephant folio, elegantly half-bound morocco (pub. at 105/!.), gilt back and gilt edges, 31/. 10s. 1834 “ The grandest work on Ornithology published in this country, the same for British Birds that Audubon’s is for the Birds of America. Every figure, excepting in a very few instances > of extremely large birds, is of the full natural size, beautifully and accurately drawn, with all the spirit of life.” — Ornithologist' s Text Book, ” What a treasure, during a rainy forenoon in the country, is such a gloriously illuminated work as this of Mr Selby ! It is, without doubt, the most splendid of the kind ever published in Britain, and will stand a comparison, without any eclipse of its lustre, with the most magni- ficent ornithological illustrations of the French school. Mr. Selby has long and deservedly ranked high as a scientific naturalist.” — Blackwood's Magazine. SELBY’S ILLUSTRATIONS OF BRITISH ORNITHOLOGY. 3 vols. 8vo. Second Edition (pub. at is. Is.), 12s. 1833 SIBTHORPE’S FLORA GR/ECA, The most costly and magnificent Botanical work ever published. 10 vols, folio, with 1000 beautifully coloured Plates, half-bound, morocco, publishing by subscription, and the number strictly limited to those subscribed for (pub. at 252/.), 63/. Separate Prospectuses of this work are now ready for delivery. Only 40 copies of the original stock exist. No greater number of subscribers’ names can therefore be received. SIBTHORPE’S FLOR/E GR/EC/E PRODROMUS; sive Plantarum omnium Enume- ratio, quas in Provinciis aut Insulis Gracise invenit Joh. SiBTHbRPE : Cliaracteres et Synonyma omnium cum Annotationibus Jac. Edy. Smith. Four parts, in 2 thick vols.8vo, (pub. at 2/. 2s.) Us. Londini, 1816 SMITH’S (COLONEL HAMILTON) HISTORY OF THE HUMAN SPECIES, its Typical Forms, Primeval Distribution, Filiations and Migrations, with 34 coloured Plates (each containing two or more subjects). Portrait, and Vignette title-page, thick leap. 8vo, full gilt cloth (pub. at 7s. 6d.), 5s. This volume ranges with Jardine’s Naturalist’s Library. SOWERBY’S MANUAL OF CONCHOLOGY. Containing a complete Introduction to the Science, illustrated by upwards of 650 Figures of Shells, etched on copper -plates, in which the most characteristic examples are given of all the Genera established up to the present time, arranged in Lamarckian Order, accompanied by co))ious Explanations; Observations respecting the Geographical or Geological distribution of each ; Tabular Views of the Sys- tems of Lamarck and De Blainvilie ; a Glossary of Technical Terms, &c. New Edition, considerably enlarged and improved, with numerous Woodcuts in the text, now first added, 8vo, cloth, 18s. ; or with the Plates coloured, cloth, 1/. 16s. SOWERBY’S CONCHOLOGICAL ILLUSTRATIONS; OB, COLOURED ETGURES OF ALL THE HITHERTO UNFIGUREU SHELLS, complete in 200 Parts, 8vo, com- prising several thousand Figures, all beautifully coloured (pub. at 15/.) 71. 10s. 1815 SPRY’S BRITISH COLEOPTERA DELINEATED; containing Eigures and Descrip- tions of all the Genera of British Beetles, edited by Shuckard, 8vo, with 94 plates, comprising 688 figures of Beetles, beautifully and most accurately drawn (pub. at 21. 2s.), cloth, 1/. Is. 1840 ‘‘The most perfect work yet published in this department of British Entomology.” STEPHENS’ BRITISH ENTOMOLOGY. 12 vols. 8vo, 100 coloured Plates (pub. at 21/.), half bound, 8/. 8s. 1828-46 Or separately, Lepidopiera, 4 vols. 41. 4s. Coleoptera, 5 vols. 41. 4s. Dermaptera, Orthoptera, Neuroptera, &c., 1 vol. 1/. Is. HYmenoctera, 2 vols. 2/. 2s. SWAINSON’S EXOTIC CONCHOLOGY; or, FIGURES AND DESCRIPTIONS OF RARE, BEAUTIFUL, OR UNDESCRIBED SHELLS. Royal 4to, containing 94 large and beautifully coloured figures of Shells, half bound mor., gilt edges (pub. at 3/. 5s.), 21. 12s. 6d SWAINSON'S ZOOLOGICAL ILLUSTRATIONS: or, ORIGINAL FIGURES AND DESCRIPTIONS OF NEW, RARE, OR INTERESTING ANIMALS, selected chiefly from the Classes of Ornithology, Entomology, and Conchology, 6 vols. ro\al 8vo, containing 318 finely coloured Plates (pub, at 16/. 16s.), half bound morocco, gilt edges, 9/. 9s. SWEET’S FLORA AUSTRALASICA : or, A SELECTION OF HANDSOME OR CURIOUS PLANTS, Natives of New Holland and the South Sea Islands. 15 Nos., forming 1vol. royal 8vo, complete, with 56 beautifully coloured Plates (pub. at 3/. 15s.), cloth, 1/. 16s. 1827-28 SWEETS CISTINE/E: or, NATURAL ORDER OF CISTUS, or ROCK ROSE. 30 Nos., forming 1 vol. royal 8vo, complete, with 112 beautifully coloured Plates (pub. at 51. 5s ), cloth, 21. 12s. 6d. 1828 “ One of the most interesting, and hitherto the scarcest, of Mr. Sweet’s beautiful publication?.' 16 CATALOGUE OF KEW BOOKS, iiitiscdlaiuous €Bngl{s§ Htteraturt, INCLUDING HISTORY, BIOGRAPHY, VOYAGES AND TRAVELS, POETRY AND THE DRAMA, MORALS, AND MISCELLANIES. BACON’S WORKS, Loth English and Latin. With an Introductory Essay and coxhous Indexes. Complete in 2 large vols. imperial Svo, (pub. at 21. 2s.), clothj^ \l. I6s. BOSWELL’S LIFE OF DR. JOHNSON; BY THE RIGHT HON. J. C. CROKER. Incorporating his Tour to the Hebrides, and accompanied by the Commentaries of all pre- ceding Editors, with numerous Additional Notes and Illustrative Anecdotes; to which are added Two Supplementary Volumes of Anecdotes by Hawkins, Piozzi, Mtjjeiphy, Tyeks, Hevnolds, Stevens, and others. 10 vols. 12mo, illustrated by upwards of 50 Views, Por- traits. and Slieets of Autographs, finely engraved on Steel, from Drawings by Staneield, Harding, &c., cloth, reduced to \L lOs. This new, improved, and greatly enlarged edition, beautifnlly printed in the popular form of Sir Walter Scott and Byron’s Works, is just such an edition as Dr. Johnson himself loved and recommended. In one of the Ana recorded in the supplementary volumes of the present edition, he says : “ Books that you may carry to the fire, and hold readily in your hand, are the most useful after all. Such books form the mass of general and easy reading.” BRITISH ESSAYISTS, viz., Spectator, Tatler, Guardian, Rambler, Adventurer, Idler, and Connoisseur. 3 thick vols. Svo, Portraits (pub. at 2/. 5s.), cloth, IZ. 7s. Either volume may he had separate. BRITISH POETS, CABINET EDITION, containing the complete Works of the prin- cipal English Poets from Milton to Kirke White. 4 vols. post Svo. (size of Standard Library), printed in a very small but beautiful type. 22 Medallion Portraits (pub. at 2t. 2s.), cloth, 15s. BROUGHAM’S (LORD) POLITICAL PHILOSOPHY, and Essay on the British Con- stUution, 3 vols. Svo. (pub. at H. lls. 6c/.), cloth, IZ. Is, 1844-46 British Constitution (a portion of the preceding work), Svo, cloth, 3s. BROUGHAM’S (LORD) LIVES OF MEN OF LETTERS AND SCIENCE, who flourisheu in the time of George III. Svo, with 10 fine Portraits (pub. at \l. Is.), cloth, 10s. 6cf, 1845 BURKE’S (EDMUND) WORKS With a Biographical and Critical Introduction by Rogers. 2 vols. imperial 8vo, closely but handsomely printed (pub. at 21. 2s.), cloth, 1/. 10s. BURKE’S ENCYCLOP/EDIA OF HERALDRY; OR, GENERAL ARMOURY OF ENGLAND, SCOTLAND, AND IRELAND. Comprising a Registry of all Armorial Bearings, Crests, and Mottoes, from the Earliest Period to the Present Time, including the late Grants by the College of Arms. With an Introduction to Heraldry, and a Dictionary of Terms. Third Edition, with a Supplement. One very large vol. imperial Svo, beautifully printed in small type, in double columns, by Whittingham, embellished with an elaborate Frontispiece, richly illuminated in gold and colours; also Woodcuts (pub. at 2/. 2s.), cloth gilt, 1/. Is. 1844r The most elaborate and useful Work of the kind ever published. It contains upwards of 30,000 Arntorial Bearings, and incorporates all that have hitherto been given by Guillim, Ed- mondson, Collins, Nisbet, Berry, Hobson, and otliers ; besides many thousand names which have never appeared in any previous Work. This volume, in fact, in a small compass, but without abridgment, contains more than four ordinary quartos. BURNETT’S HISTORY OF HIS OWN TIMES, AND OF THE REFORMATION, with Historical and Biographical Notices. 3 vols. super royal Svo. cloth, iZ. lls. 6d. BURNS’ WORKS, WITH LIFE BY ALLAN CUNNINGHAM, AND NOTES BY SIR WALTER SCOTT, CAMPBELL, WORDSWORTH, LOCKHART, &c. Royal Svo, fine Portrait and Plates (pub. at 18s.), cloth, uniform with Byron, 10s. 6tZ. This is positively the only complete edition of Burns, in a single volume, Svo. It contains not only every scra() wliich Burns ever wrote, wlietlier prose or verse, but also a considerable number of Scotch national airs, collected and illustrated by him (not given elsewhere) and full and iiiterestiiiir accounts of tlie occasions and circumstances of his various writings. The very complete and interesting Lile by Allan Cunningham alone occupies 164 pages, and the Indices ami Glossary are very copious. 'I'he whole forms a thick elegantly printed volume, extending in all to 818 page.s. 'I’he oflier editions, including one published in similar shape, with an. abridgment of the Life by Allan Cuiininglia.ni, comprised in only 47 pages, and the whole volume in only 50 l pages, do not contain above two-thirds of the above. CAMPBELL’S LIFE AND TIMES OF PETRARCH. With Notices of Boccaccio and ills Illustrious Contemporaries. Second Edition. 2 vols. Svo, fine Portraits and Plates (pub. at \l. 11*. 6t/.), cloth, 12*. 184a CARY’S EARLY FRENCH POETS. A Scries of Notices and Translations, with an Introductory Sketch of tlie History of French Poetry; Edited by his Son, the Rev. Henky Cahy, Foolscap Svo, cloth, 5*. 1845 PUBLISHED OR SOLD BY H. G. BOHH. 17 CARY’S LIVES OF ENGLISH POETS, supplementary to Bit. Johnson’s “Lives.” Edited by his Son. Foolscap 8vo, cloth, 7s. 1846 CHURTON'S RAILROAD BOOK OF ENGLAND; Historical, Topograpliical, and Picturesque; descriptive of all tlie Cities, 'J'owns, Country Seats, and Subjects of local inte- X rest on the various Lines, imperial 8vo, cloth, with map and numerous cuts, (pub. at ll. If.), \ reduced to 10s. Cd. 1851 CLASSIC TALES. Cabinet Edition, comprising the Vicar of Wakefield, Elizabeth, \ Paul and Virginia, Gulliver’s Travels, Sterne’s Sentimental Journey, Sorrows of Werter, 1 Theodosius and Constantia, Castle of Otranto, and Easseias, complete in 1 volume, 12mo j 7 medallion Portraits (pub. at lOs. 6d.), cloth, os. 6d. COPLEY’S (FORMERLY MRS. HEWLETT) HISTORY OF SLAVERY AND ITS ABOLITION. S^econd Edition, with an Appendix, thick small Svo, fine Portrait of Clarkson (pub. at 6s.), cloth, 4s. 6d. 1839 COWPER’S POETICAL WORKS, including his Homer, edited by Caky. Illustrated edition, royal Svo, with 18 beautiful Engravings on Steel, after Designs by Hakvey, cloth, gilt edges, 15s. CRAIK’S ROMANCE OF THE PEERAGE; or, CURIOSITIES OE FAMILY HIS- TOHY. 4 vols. post Svo, with fine Portraits on Steel of Walter Devereux Earl of Essex, Anne Duchess of Monmouth and Buccleuch, Mary Tudor, and Sir Bobert Dudley, cloth (pub. at 2Z. 2s.), 18s. DAVIS'S SKETCHES OF CHIN.A, During an Inland Journey of Four Months ; with an Account of the War. 2 vols. post Svo, with a new Map of China (pub. at 16s.), cloth 9s. 1841 DIBDIN’S BIBLIOMANIA: OR BOOK MADNESS- A Bibliographical Romance. Hew Edition, with considerable Additions, including a Key to the assumed Characters in the Drama, and a Supplement. 2 vols, royal Svo, handsomely printed, embellished by numerous Wood- cuts, many of which are now first added (pub. at 31. 3s.) cloth, U. 11s. Gd. Large Paper, impe- rial Svo, of which only very few copies were printed (pub. at 51. 5s.), cloth, 31. 13s. Gd. 1842- This celebrated Work, which unites the entertainment of a romance with the most valuable information on all bibliographical subjects, has long been very scarce and sold for considerable sums— the small paper for 8^. 8s., and the large paper for upwards of 50 guineas ! ! ! DIBDIN’S (CHARLES) SONGS. Adnuralty edition, complete, with a Memoir by T. Dibdin. Illustrated with 12 Characteristic Sketches, engraved on Steel by Georgh Cruikshank. l2mo, cloth lettered, 5s. 1848 DOMESTIC COOKERY, by a Lady (Mrs. Rundell). New Edition, with numerous additional Receipts, by Mrs. Birch, 12mo, with 9 Plates (pub. at 6s.), cloth, 3s. ENGLISH CAUSES CELEBRES, OR REMARKABLE TRLVLS. Square I2mo (pub- lished at 4s.), ornamental wrapper, 2s. 1844 FENN’S PASTON LETTERS, Original Letters of the Paston Eamily, written during the Reigns of Henry VI, Edward IV, and Richard III, by various persons of Rank and Conse' querice, chiefly on Historical Subjects. New' Edition, with Notes and Corrections, complete. 2 vols. bound in 1, square 12mo (pub. at 10s.), cloth gilt, 5s. Gluaintly bound in maroon morocco, carved boards, in the early style, gilt edges, 15s. The original edition oithis very curious and interesting series of historical Letters is a rare hook, and sells for upwards of ten guineas. The present is not an abridgement, as might be supposed from its form, but gives the whole matter by omitting the duplicate version of the letters written in an obsolete language, and adopting only the more modern, readable version, published by Fenn. “ The Paston Letters are an important testimony to the progressive condition of society, and come in as a precious link in the chain of the moral history of England, which they alone iu this period supply. They stand indeed singly in Europe — UaUam. FIELDING’S WORKS, EDITED BY ROSCOE, COMPLETE IN ONE VOLUME (Tom Jones, Amelia, Jonathan Wild, Joseph Andrews, Plays, Essays, and Miscellanies.) medium Svo, with 20 capital plates by Cruiicshanx (pub. at.lZ. 4s.), cloth gilt, 14s. “Of all the works of imagination to which English genius has given origin, the writings of Henry Fielding are perhaps most decidedly and exclusively her own.”— i’ir Scott. “ The prose. Homer of human nature.”— iord Byron. FOSTER’S ESSAYS ON DECISION OF CHARACTER ; on a M an’s Writing Memoirs of Him.self; on the epithet Romantic; on the Aversion of Men of Taste to Evangelical Religion, &c. Fcap. Svo, Eighteenth Edition (pub. at 6s.), cloth, 5s. “ T have read with the greatest admiration the Essays of Mr. Foster. lie is one of the most profound and eloquent writers that England has produced.”— Sir James 31ac/dntosh. FOSTER’S ESSAY ON THE EVILS OF POPULAR IGNORANCE. New Edition elegantly printed, in fcap. Svo, now first uniform with his Essays on Decision of Character cloth, 5s. “ Mr. Foster always considered this his best work, and the one by which he wished his literary clnims to he estimated.” “A work which, popular and admired, as it confessedly is, has never met with the thousandth part of the attention which it deserves.”— Z)r. Pye Smith. FROISSART’S CHRONICLES OF ENGLAND, FRANCE, AND SPAIN, &c. New Edition, by Colonel Johnes, with 120 beautiful Woodcuts^ 2 vols, super-royal Svo, cloth lettered (pub. at 1^. 16s.}, H. 1849 18 CATALOGUE OE NEW BOOKS. FROISSART, ILLUMINATED ILLUSTRATIONS OF, 74 Plates, printed in gold and colours, 2 vols. super-royal 8vo, half bound, uncut (pub. at 4^. 10s.), ‘M. 10s. the same, large paper, 2 vols. roj'aUto, half bound, uncut (pub. at lO^.lOs.), U. 6s. FROISSART’S CHRONICLES, WITH THE 74 ILLUMINATED ILLUSTRATIONS, IN'SER'l’ED, 2 vols. super- royal 8vo, elegantly half-bound red morocco, gilt edge.s, emble- matically tooled (pub. at 6/. (is.), U. 10s. 184f GAZETTEER.- NEW EDINBURGH UNIVERSAL GAZETTEER, AND GEOGRA PHICAL DICTIONARY, more complete than any hitherto published. New Edition, revised and completed to the present time, by John Thomson (Editor of the Universal Atlas, &c.), very thick 8vo (1040 pages) Maps (pub. at 18s.), cloth, 12s. This comprehensive volume is the latest, and by far the best Universal Gazetteer of its size. It includes a full account of Affghanistan, New Zealand, Sic. Sic. GELL’S (SIR WILLIAM) TOPOGRAPHY OF ROME AND ITS VICINITY. An improved Edition, complete in one vol. 8vo, with several Plates, cloth, 12s. With a very large Map of Romeand its Environs (from a most careful trigonometrical survey), mounted on cloth and folded in a case so as to form a volume. Together 2 vols. 8vo, cloth, 1/. Is. 1846 “These volumes aro so replete with what is valuable, that were we to employ our entire journal, we could after all afford but a meagre indication of their interest an(l worth. It is, indeed, a lasting memorial of eminent literary exertion, devoted to a subject of great import- ance, and one dear, not only to every scholar, but to every reader of intelligence to whom the truth of history is an object of consideration.” GILLIES' (DR.) HISTORICAL COLLECTIONS, relating to Remarkable Periods of the Success of the Gospel, includingtlie Appendix and Supplement, with Prefaces'and Continuation, by the Rev. H. Bonar, royal 8vo (pub. at 15s. 6d.), cloth, 7«. Od. 1845 GLEIG’S MEVOIRS OF WARREN HASTINGS, first Governor- General of Bengal. 3 vols. 8vo, tine Portrait (pub. at 21. 5s.), cloth, 11. Is. 1841 GOETHE’S FAUST, PART THE SECOND, as completed in 1831, translated into English Verse by John Macdonald Bell, Esq., Second Edition, fcap. 8vo (pub. at 6s.), cloth, 3s. 1842 GOLDSMITH'S WORKS, with a Life and Notes, 4 vols. fcap. 8vo, with engraved Titles and Plates by Stothard and Crxjikshank. New and elegant Edition (pub. at 1^.), extra cloth, 12s. “ Can any author — can even Sir Walter Scott, be compared with Goldsmith for the variety, beauty, and pow er of his compositions? You may take him and ‘cut him out in little stars,’ so many lights does he present to the imagination.” — Athenaeum. “The volumes of Goldsmith will ever constitute one of the most precious “ wells of English nndciilcdi.”— Quarterly Review. GORDON’S HISTORY OF THE GREEK REVOLUTION, and of the Wars and Cam- paigns arising from the Struggles of the Greek Patriots in emancipating their country from the Turkish yoke. By the late Thomas Gordon, General of a Division of the Greek Army. Second Edition, 2 vols. 8vo, Maps and Plans (pub. at 11, 10s.), cloth, lOs. 6d. 1842 GORTON’S BIOGRAPHICAL DICTIONARY. A new and enlarged Edition, with a Supplement, completing the Work to the present time, 4 vols. 8vo, cloth lettered, 11. 11s. 6d. GRANVILLE’S (DR.) SPAS OF ENGLAND and Principal Sea Bathing Places. 3 vols. post 8vo, with large Map, and upwards of 50 beautiful Wood;uts (pub. at ll, 13s.), cloth, 15s. 1841 GRANVILLE’S (DR.) SPAS OFGERMANY, 8vo, with 39 Woodcuts and Maps (pub. at 18S,), cloth, 9s. 1843 HEEREN’S (PROFESSOR) HISTORICAL WORKS, translated, from the German viz. —Asia, New Edition, complete in 2 vo1s._Africa, 1 vol.- Euhope and its Colonies, 1 vol.— Ancient Greece, and Historical Treatises, 1 vol Manual of Ancient His- tory, 1 vol.— together C vols. 8vo (formerly pub. at 7^. ), cloth lettered, uniform, 37. 3s. New and Complete Rditions, with General Indexes. “ Professor Heeren’s Historical Ilesearcbes stand in the very highest rank among those with which modern Germany has enriched the Literature of Europe.” Quarterly Review. HEEREN S HISTORICAL RESEARCHES INTO THE POLITICS, INTERCOURSE, AND TRADES OF THE ANCIENT NATIONS OF AhllICA; including the Carthaginians, Ethiopians, and Egyptians. New edition, corrected throughout, with an Index, Life of the Author, new Appendixes, and other Additions. Complete in 1 voL 8vo, cloth, 16s. HEEREN S HISTORICAL RESEARCHES INTO THE POLITICS, INTERCOURSE, AND 'I'RADES OF THE ANCIENT NA'IIONS OF ASIA: including the Persians, Phoe- nicians, Babylonians, Scythians, and Indians. New and improved Edition, complete in 2 vols. 8vo, elegantly printed ( pub. originally at 21. 5s.), cloth, 11. 4s. “ One of the most valuable acquisitions made to our historical stories since the days of Gibbon.” — Athenaeum. HEERENS ANCIENT GREECE, translated by Banceoft; and HISTORICAL TREA'ITSES; viz. — 1. The Political consequences of the Reformation. II. The Rise, Pro- gress, and Practical Influence oi Political Theories. III. The Rise and Growth of the Conti- nental Interests of Great Britain. In 1 vol. 8vo, with Index, cloth, 15s. PUBLISHED OK SOLD BY H. G. BOHN. HEEI^EN’S MANUAL OF THE HISTORY OF THE POLITICAL SYSTEM OF EUROPE AND ITS COLONIES, from its formation at the close of the Fifteenth Century, to its re estal'lishment upon the Fall ot Napoleon ; translated from the Fifth German Edition, New Edition, complete in 1 vol. 8vo, cloth. 14s. “ The best History of Modern Europe that has yet appeared, and it is likely long to retaain without a rival. — Alhenaenm. “A work of sterling value, which will diffuse useful knowledge for generations, after all the shallow pretenders to that distinction are fortunately forgotten.”— Literary Gazette. HEEREN'S manual of ancient history, particularly with regard totlieConsti- tutions, the Commerce, and the Colonies of the States of Antiquity. Third Edition, corrected and improved. 8vo (pub. at 15s.), clotl> 12s. *** New Edition, with Index. 1847 “We never remember to have seen a Work in which so much useful knowledge was con- densed into so small a compass. A careful examination convinces us that this hook will be useful for our English higher schools or colleges, and will contribute to direct attention to the better and more instructive parts of history. The translation is executed with great fidelity.” — Quarterly Journal oj Education. HEEREN’S MANUAL OF ANCIENT GEOGRAPHY. For the use of Schools and Private Tuition. Compiled from the Works of A. H. L. Heeren, 12mo (pub. at 2s. 6d.), cloth, 2s. Oxford, Tulboys, 1830 “An excellent and most useful little volume, and admirably adapted for the use of schools and private instruction.” — Literary Gazette. “ A valuable addition to our list of school books.” — Athenaeum, HUME AND SMOLLETS HISTORY OF ENGLAND, complete in 1 large vol., with a Memoir of Hume, impl. 8vo, fine portraits of the authors, extra cloth (pub. at IL 5s.), U. Is. JAMES’S WILLIAM THE THIRD, comprising the History of his Keign, illustrated in a series of unnublished letters, addressed to the Duke of Shrewsbury, by James Vernon-, Secretary of Slate; with Introduction and Notes, by G. P. R. James, Esq., 3 vols. 8vo, Por- traits (pub. at 21, 2s.), cloth, 18s. 1841 JAENISCH’S CHESS PRECEPTOR ; anew Analysis of the openings of Games; trans- lated, with Notes, by Walker, 8vo, cloth, lettered (pub. at 15s.), 6s. M. 1847 JOHNSON’S (DR.) ENGLISH DICTIONARY, printed verbatim from the Author’s last Folio Edition. With all the Examples in full. To which are prefixed a History of the Lan- guage, and an English Grammar. 1 large vol. imperial 8vo (pub. at 21. 2s.), cloth, 18s. i JOHNSON S (DR.) LIFE AND WORKS, by Murphy. New and improved Edition, complete in 2 thick vols. 8vo, Portrait, cloth lettered (pub. at 1/. 11s. Gd.), 15s. 1830 JOHNSONIANA ; a Collection of Miscellaneous Anecdotes and Sayings, gathered from nearly a hundred different Publications, and not contained in Boswell’s Life of Johnson. Edited by J. W. Croker, M.P. thick leap. 8vo, portrait and frontispiece (pub. at 10s.), cloth, 4s. 6d. JOHNSTON’S TRAVELS IN SOUTHERN ABYSSINIA, through the Country of Adel, to the Kingdom of Shoa. 2 vols. 8vo, Map and Plates (pub. at U. 8s.) cloth, lOs. 6d. 1844 KNIGHT’S JOURNEY-BOOKS OF ENGLAND. BERKSHIRE, including a full Description of Windsor. With 23 Engravings on Wood, and a large illuminated Map, Reduced to Is. 6d. HAMPSHIRE, including the Isle of Wight. With 32 Engravings on Wood, and a large illu- minated Map. Reduced to 2s. DERBYSHIRE, including the Peak, &c. With 23 Engravings on Wood, and a large illumi- nated Map. Reduced to Is. 6d. KENT, with 58 Engravings on Wood, and a large illuminated Map. Reduced to 2s. fid. KNIGHT’S OLD ENGLAND'S WORTHIES: a Portrait Gai-lery of the most eminent Statesmen, Lawyers, Warriors, Artists, Men of Letters and Science, &c., of Great Britain, accompanied by full and original Biographies (written by Lord Brougham, Craik, De Morgan, and others), imperial 4to, with 74 fine Portraits on steel, 121arsre coloured Plates of remarkable buildings, and upwards of 250 historical and decorative Vignettes on wood, cloth gilt (pub. at Is. 2s. fid.), 15s. KNOWLES’S IMPROVED WALKER’S PRONOUNCING DICTIONARY, containing above 50,000 additional Words; to which is added an Accentuated Vocabulary of Classical and Scripture Proper Names, new edition, in 1 thick handsome volume, large 8vo, with Portrait, cloth lettered (pub. at IL 4s.), 7s. fid. LACONICS; OR, THE BEST WORDS OF THE BEST AUTHORS. Seventh Edition. 3 vols, 18mo, with elegant Frontispieces, containing 30 Portraits (pub. at 15s.). cloth gilt. 7s. fid. r . . This pleasant collection of pithy and sententious readings, from the best English authors o. all ages, has long enjoyed great and deserved popularity. LAMARTINE’S HISTORY OF THE RESTORATION 4vols. post 8vo, new Edition, with a General Index, and five additional Portraits, viz., Lamartine, Talleyrand, LAp EAYETiE, Ney, and Louis XVII., cloth (uniform with Standard Library), 14s. , 20 CATALOGUE OF Is"EW LOOKS LAMB’S (CHARLES) WORKS, complete; containing liis Letters, Essays of Elia, Poems, Plays, &c., with Life of the Author, includiu" the additional Memorials, hy Sik T. N. TALFOURoj in 1 stout volume royal Svo, handsomely printed, with Portrait and Vignette Title, (pub. at 16s. ) I cloth, 12s. LANE'S KORAN, SELECTIONS FROM THE, with an interwoven Commentary, trans- lated from the Arabic, methodically arranged, and illustrated by Notes, 8vo. (pub. at lOs. 6d.), cloth, os. 1843 LEAKE S (COL.) TRAVELS IN THE MOREA. 3 vols. 8vo. With a very large Map of the Morea, and upwards of 30 various Maps, Plans, Plates of ancient Greek Inscriptions, &c. (pub. at 2L. 5s.), cloth, \l. 8s. 1830 LEWIS’S (MONK) LIFE AND CORRESPONDENCE, with many Pieces in Prose and Verse, never before published. 2 vols. 8vo, Portrait (pub. at 1/. 8s.), cloth, 12s. 1839 LISTER’S LIFE OF EDWARD, FIRST EARL OF CLARENDON. With Original Correspondence and Authentic Papers, never before published. 3 vols. 8vo, Portrait (pub. at 2Z. 8s.). cloth, iSs. 183S “ A Work of laborious research, written with masterly ability.’'— /IZZas. LODGE’S (EDMUND) ILLUSTRATIONS OF BRITISH HISTORY, BIOGRAPHY, AND MANNERS, in the Reigns of Henry VIII., Edward VI., Mary, Elizabeth, and James I. Second Edition, with above 80 Autographs o* the principal Characters of the period. Three vols. 8vo. (pub. at \l. 16s.), cloth, U. 1838 MACGREGOR’S PROGRESS OF AMERICA FROM THE DISCOVERY BY COLUMBUS, to the year 1816, comprising its History and Statistics; 2 remarkably thick, volumes, imperial 8vo, cloth lettered (pub. at U. 14s. 6d.), \L lls. M. 1847 MALCOLM’S MEMOIR OF CENTRAL INDIA. Two vols. 8vo, third edition, with large Map (pub. at IZ. 8s.), cloth, 18s. 1832 MALTE-BRUN AND BALBI’S UNIVERSAL GEOGRAPHY; comprising, 1. The HLstory of Geogra])hical Discovery ; 2. Principles of Physical Geography; 3. Complete De- scription, from the most recent sources, of all the Countries of the World. ' New and enlarged Edition, revised and corrected throughout, with an Alphabetical Index of 13,500 Names. Thick 8vo, cloth (pub. at IZ. 10s.), reduced to 15s. 1851 MARRYAT'S BORNEO AND THE INDIAN ARCHIPELAGO. Imperial 8vo, richly illustrated with numerous beautiful Lithographs, tinted like Drawings, and Engravings on wood (pub. at IZ. lls. GJ.), cloth gilt, 12s. 1848 MARTIN’S (MONTGOMERY) BRITISH COLONIAL LIBRARY; forming a popular and Autlientic Description of all the Colonies of the British Empire, and embracing the His- tory-Physical Geography— Geology— Climate— Animal, Vegetable, and Mineral Kingdoms — Government— Finance — Military Defence — Commerce— Shipping— Monetary System— Religion — Population, White and Coloured— Education and the Press— Emigration— Social State, &c., of each Settlement. Founded on Official and Public Documents, furnished by Government, the Hon. East India Company, &c. Illustrated by Original Maps and Plates. Ten volumes, foolscap 8vo (pub. at 3Z. ), cloth, IZ. 15s. These 10 vols. contain the 5 vols. 8vo, veibatim, with a few additions. Each volume of the above series is complete in itself, and sold separately, as follows, at 3s. 6cZ. ; — Vol. I.— The Canada.s, Upper ahd Lower. Vol. II.— New South Wales, Van Diemen’s Land, Swan River, and South Aus- tralia. ' Vol. III.— The Cape op Good Hope, Mauritius, and Seychelles. Vol. IV.— The West Indies. Vol. I.— Jamaica, Honduras, Trinidad, Tobago, Granada, the Bahamas, and the Virgin Isles. Vol. V The West Indies. Vol. II.— British Guiana, Barhadoes, St. Lucia, St. Vincent, Demerara, Essequibo, Berbice, Anguilla, Tortola, St. Kitt’s, Barbuda, Antigua, Montserrat, Dominica, and Nevis. Vol. VI.— Nova Scotia, New Brunswick, Cape Breton, Prince Edward’s Isle, The Bermudas, Newfoundland, and Hudson’s Bay. Vol. VII.— Gibraltar, Malta, The Ionian Islands, &c. Vol. VIII.— The East Indies. Vol. I. containing Bengal, Madras, Bombay, Agra, &c. Vol. IX.— The East Indies. Vol. II. Vol. X.— British Possessions in the Indian and Atlantic Oceans, viz.— Ceylon. Penang, Malacca, Singapore, Sierra Leone, the Gambia, Cape Coast Castle, Accra, the Falkland Islands, St. Helena, and Ascension. MARTIN’S (MONTGOMERY) CHINA, Political, Commercial, and Social. Two vols- 8vo, 6 Maps, Statistical Tables, &c, (pub. at IZ. 4s.), cloth, 14s. 1847 MAXWELL’S LIFE OF THE DUKE OF WELLINGTON. Three liaudsome vols. 8vo. Embellished witii numerous highly- finished Line-Engravings by Cooper and other eminent Artists, consisting of Battle-Pieces, Portraits, Military Plans and Maps; besides a great number of line Wood Engraviims ; (pub. at 3Z. 7s.), elegant in gilt cloth, IZ. 16s. Large paper, India proofs (pub. at 5Z.), gilt cloth, 21. 12s. 6cZ. “ Mr. Maxwell’s ‘ Life of the Duke of Wellington, in our opinion, has no rival among similar publications of the day We pronounce it free from flattery and bombast, succinct and masterly The type and mechanical execution are admirable; the plans of battles ami sieges numerous, amjjle, and use.ul; the portraits of the Duke and his warrior Contemporaries many and faithlul; the battle pictures animated and brilliant; and the vignettes of costumes and manners worthy of the military genius of Horace Vernet himself.” ~1 nut'll. MILL’S ELEMENTS OF POLITICAL ECONOMY, new edition, revised and corrected, 8vo, (pub. at bs.), cloth, 3s. CtZ. 1844 PUBLISHED OB SOLD BY H. G. BOHN. 21 \INIATURE LIBRARY (BOHN’S.) All foolscap 12mo., printed on the finest paper, and very elegantly boarded in the new style of morocco cloth. BARBAULD AND A!K!N’S EVENINGS AT HOME ; comprising: a great variety of amusin? Instruction for Young Persons, complete, elegantly printed, frontispieces, cloth gilt (pub. at 6«.), 3s.; or with gilt edges, 3s. Od. BOURRIENNE’S MEMOIRS OF NAPOLEON. One stout, closely but elegantly printed volume, fcap. 12mo. with fine equestrian portrait of Napoleon, and frontispiece, cloth gilt, (pub. at 5s.), 3s. 6d.; or with gilt edges, 4s. BUNYAN’S PILGRIM’S PROGRESS. Quite complete, including the Third Part with a Life and numerous explanatory Notes by the Rev. T. Scott. Elegantly printed on fine wove paper, and embellishedwith 25 fine lull-sized Woodcuts by Harvey, containing all in Southey’s edition, also a tine frontispiece and vignette, cloth gilt, 3s. 6d. ; or with gilt edges, 45. BYRON’S POETICAL WORKS, including several Suppressed Poems not published in other editions, in 1 thick vol., with a beautiful Frontispiece, cloth gilt, 3s. 6d. ; or with gilt edges, 4s. BYRON’S DON JUAN, complete, elegantly printed, frontispieces, cloth gilt, (pub. at i s.), 2s. 6d.; or with gilt edges, 3s. CHEEVER’S LECTURES ON BUNYAN’S PILGRIM’S PROGRESS, and the Life and Times of Runyan, frontispieces, cloth gilt, 2s. 6d. COLERIDGE’S SELECT POETICAL WORKS, cloth gdt, 2s. ; or gilt edges, 2^. Gd. COWPER’S POETICAL WORKS, with a short Life by Southey, including (for the first time in a small size), all the Copyright Poems, complete in one handsome volume, fcap. 21mo, (700 pages), very elegantly printed, with two extremely beautiful Frontispieces after Harvey, engraved on Steel by Goodall, cloth gilt, 3s. 6c/.; or with gilt edges, 4». DRYDEN’S POETICAL WORKS, complete in 1 vol. with a Portrait, Frontispiece and Vignette Title, cloth gilt, 3s. 6d . ; or witli gilt edges, 4s. ENCYCLOP/EDIA OF MANNERS AND ETIQUETTE; comprising an improved edition of Chesterfield’s Advice to his Son on Men and Manners; and The Young Man’s Own Book ; a Manual of Politeness, Intellectual Improvement, and Moral Deportment, calculated to form the Cliaracter on a solid Basis, and to insure Respectability and Success in Life, one elegantly printed volume, frontispiece, cloth gilt, 2s.; or with gilt edges, 2s. 6d. HEBER'S (BISHOP) AND MRS. NEMAN’S POETICAL WORKS. Three vols. in one, cloth gilt, 2s. 6d. ; or with gilt edges, 3s. HERRICK’S POETICAL WORKS, complete in one thick volume, elegantly printed, fine frontispiece by Cattermole, cloth gilt, 3s.; or with gilt edges, 3s. 6d. JOE MILLER’S JEST BOOK; being a Collection of the most excellent Bon Mots, Brilliant Jests, and Striking Anecdotes in the English Language, complete in one thick and closely but elegantly printed volume, frontispiece, cloth gilt (pub. at 4s.), 3s.; or with gilt edges, 3s. 6d. NEW JOE MILLER.. A Selection of Modern Jesis, Witticisms, Droll Tales, &c. cloth gilt, 2s. 6d. ; or with gilt edges, 3s. LONGFELLOW’S POETICAL WORKS, viz., Voices of the Night— Evangeline— Seaside and Fireside— Spanish Students— Poetical Translations, 2 vols. in 1, portrait and frontispieces, cloth gilt, 2s. 6d. ; or with gilt edges, 3s. LONGFELLOW’S PROSE WORKS, viz., Outre-Mer- Hyperion— Kavanagh, 3 vols. in 1, cloth gilt 2s. 6c/.; or with gilt edge.s, 3s. MILTON’S POETICAL WORKS, with Life and Notes by De. Stebeing; to which is prefixed Dr. Channing’s Essay on Milton. Frontispiece, cloth gilt. (pub. at 6s.), 3s. 6c/. ; or with gilt edges, 4s. ' , OSSIAN’S POEMS, translated by Machbeeson ; with Dissertations concerning the Era and Poems of Ossian ; and Dr. Blair’s Critical Dissertation. Complete in 1 neatly printed volume, frontispiece, new Edition, cloth gilt (pub. at 4s.), 3s.; or with gilt edges, 3s. 6d. POPE’S HOMER’S ILIAD, complete, with Explanatory Notes and Index, and an Essay on the Lite, Writings, and Genius of Homer, elegantly printed, frontispieces, cloth gilt (pub. at 6s.), 3s. ; or with gilt edges, 3s 6d. This is the only pocket edition with notes. SCOTT’S (SIR WALTER) POETICAL WORKS; containing Lay of the Last Min- strel, Marmion, Lady of tlie Lake, Don Roderick, Rokeby, Ballads, Lyrics, and Songs; •with Notes, and a Life of the Author,- complete in 1 elegantly printed volume, portrait and frontispiece, cloth giit (pub. at 5s.), 3s. 6d.; or with gilt edges, 4s. STURM’S REFLECTIONS ON THE WORKS OF GOD, and of his Providence throuiihout all Nature, translated from the German, complete in 1 elegantly printed vol., frontispiece, cloth gilt (pub. at 5s- ), 3s. ; or with gilt edges, 3s. 6d. THOMSON'S SEASONS, with his Castle of Indolence; 4 beautiful woodcuts, cloth gilt, 2s. ; or with gilt edges, 2s 6d. VATHEK AND THE AMBER WITCH. Two vols. in one, cloth gilt, 2^. 6d. : or with gilt edges, 3s. 22 CATALOGUE OF NEW BOOKS, Wl ON ST RE LET'S CHRONICLES OF ENGLAND AND FRANCE, liy Colons, JoHNES, with Notes, and upwards of 100 Woodcuts (uniform with Froissart), 2 vols. supe^r^ royal 8vo, cloth lettered (pub. at U. 10s. )j 4s. MOORE’S (THOMAS) EPICUREAN, A TALE; AND ALCIPHRON, A POEM Turner’s Illustrated Edition, fcap. 8vo, 4 beautiful Engravings (pub. at 10s. 6d.), cloth 3s. or elegantly bound in morocco, 7s. 6d. 1839 NELSON'S LETTERS AND DISPATCHES, by SiK Harkis Nicolas, 7 vols, 8vo. (pub. at bl. 10s.), cloth, 3L 10s. 1845—46 OXFORD ENGLISH PRIZE ESSAYS, new Edition, brought down to 1836,5 vols. crown 8vo, cloth lettered (pub. at 2L 6s.), 1/. 5s. PERCY’S RELIQUES OF ANCIENT ENGLISH POETRY, consisting of Old Heroic Ballads, Songs, and other Pieces ot our Earlier Poets, tosrether with some few of later date, and a copious Glossary, complete in 1 vol. medium 8vo. New and elegant Edition, with beau- tifully engraved Title and Frontispiece, by Stephanoff (pub. at 15s.), cloth gilt, 7s. Cc/.. “But above all, I then first became acquainted with Bishop Percy’s ‘ Reliques of Ancient Poetry.’ The first time, too, I could scrape a few shillings together, I bought unto myself a copy of these beloved volumes; nor do I believe I ever read a book half so frequently, or with half the enthusiasm.’’— Sir Walter Scott. “ Percy’s Reliques are the most agreeable selection, perhaps, which exists in any language.” — Ellis. RAFFLES' HISTORY OF JAVA, with an Account of Bencooleii, and Details of the Commerce and Resources of the Indian Archipelago. Edited by Lady Raffles. Together 2 vols. 8vo, and a splendid quarto Atlas, containing upwards of 100 Plates by Daniell, many finely coloured (pub. at 3L 10s.), cloth, U. 7s. ROBINSON CRUSOE. Cabinet Pictorial Edition, including his further Adventures, with Life of Defoe, &c , upwards: of 60 fine Woodcuts, from Designs by Harvev, post 8vo. New and improved Edition, with additional cuts, cloth gilt, 5s. > The only small edition which is quite complete. “ Perhaps there exists no work, either of instruction or entertainment, in the English lan- guage, which has been more generally read or more deservedly admired, than the Li^ and Adventures of Robinson Crusoe.” — Sir Walter Scott. ROBIN HOOD ; a Collection of all the Poems, Songs, and Ballads relating to this cele- brated Yeoman ; to which is prefixed, his History from inedited Documents, and a Memoir of Ritson, by J. M. Gutch, F.S.A. Two vols. elegantly printed in crown 8vo, with Portrait of Ritson, and upwards of 120 tasteful wood engravings by Fairholt, extra cloth (pub. at ]/. 10s.), reduced to 15s. ROLLIN’S ANCIENT HISTORY. A New and complete Edition, with engraved Frontispieces and 7 Maps. 2 vols. bound in 1 stout handsome vol. royal 8vo, (pub. at IL 4s.), cloth, 12s. The only complete edition in a compact form; it is uniform in size and appearance with Moxon’s Series of Dramatists, &c. Tlie previous editions of Rollin in a single volume are greatly abridged, and contain scarcely half the work. ROSCOE’S LIFE AND PONTIFICATE OF LEO THE TENTH. New and much improved Edition, edited by his Son, Thomas Roscoe. Complete in 1 stout vol. 8vo, closely but very handsomely printed, illustrated by 3 fine Portraits, and numerous illustrative En- gravings, as head and tail- pieces, cloth, \l. 4s. 1845 ROSCOE'S LIFE OF LORENZO DE MEDICI, CALLED “ THE MAGNIFICENT.” New and much improved Edition, edited by his Son, Thomas Roscoe. Complete in 1 stout vol. 8vo, closely but very handsome ly printed, illustrated by numerous Engravings, introduced as head and tail-pieces, cloth, 12s. 1845 “ I have not terms sufficient to express my admiration of Mr. Roscoe’s genius and erudition, or my gratitude for the amusement and information I have received. I recommend his labours to our country as works of unquestionable genius and uncommon merit. '1 hey add tlie name of Roscoe to the very first rank of English Classical Historians.” — Matthias., PursuUsof TAierature. “ Roscoe is, I think, by far the best of our Historians, both for beauty of style and for deep reflections; and his translations of poetry are equal to the originals.” — Walpote, Earl cfOrford ROSCOE’S ILLUSTRATIONS, HISTORICAL AND CRITICAL, of the Life of Lorenzo de Medici, with an Appendix of Original Documents. 8vo, Portrait of Lorenzo, and Plates (pul), at 14s.), boards, 7s., or in 4to, printed to match the original edition. Portrait and Plates (pub. at IL ll.s. Gd.), boards, Ks. *** This volume i.s supplementary to all editions of the work. ROXBURGHE BALLADS, edited by John Payne Collier, post 4to, beautifully printed by Whittingham, and embellished with 50 curious Woodcuts, half bound morocco, in the Roxhurghe style (pub. at U. 4s.), 12s. 1847 SHAKESPEARE’S PLAYS AND POEMS. Valpy’s Cabinet Pictorial Edition, with Lite, Glossarial Notes, and lli.slorical Digests of each Play, &c. 15 vols. fcap. 8vo, with 171 Plates engraved on steel after Designs of 4hp most distinguished British Artists ; alsp Fac- similes of all tlie known Autographs of Shakespeare (pub. at 3/. 15s.), cloth, rich gilt, 21. 5s. 1843 SHAKSPEARE’S PLAYS AND POEMS. 1 vol. 8vo, with Explanatory Notes, and a Memoir by Dr. Johnson, Portrait (pub. at 15s.), cloth, 7s. 6c/. PUBLISHED OR SOLD BY H. G. BOHN, 23 SHAKSPEARE’S PLAYS AND POEMS. Pocket Edition, with a Life by Alexander Chalmers, complete in 1 thick vol. 12mo. printed in a Diamond type, with 40 steel Engravings (pub. at 10«. 6d.), cloth, 5s. 1848 SHAKSPERE’S PLAYS AND POEMS, with Explanatory Notes, and a Sketch of his Life and Writings, edited by Charles Knight. Illustrated by 40 large Designs on wood by W. Harvev. Sixth Edition, thick 8vo. cloth, 10s. 6d. SHERIDAN'S (THE RIGHT HON. R. BRINSLEY) SPEECHES, with a Sketch of his Life, edited by a Constitutional Friend. New and handsome library Edition, with Portrait, complete in 3 vols. 8vo. (pub. at 21. 5s.), cloth, 18s. 1842 “ Whatever Sheridan has done has been, par excellence^ always the best of its kind. He has written the best comedy (School for Scandal), the best drama (The Duenna ), the best farce (The Critic), and the 6e5^ address (Monologue on Garrick); and to crown all, delivered the very best oration (the famous Begum Speech) ever conceived or heard in this country.” — Byron. SHIPWRECKS AND DISASTERS AT SEA. Narratives of the most remarkable Wrecks, Conflagrations, Mutinies, &c. comprising the “ Loss of the Wager,” ‘‘Mutiny of the Bounty,” &c. 12mo, Frontispiece and Vignette (pub. at 6s.), cloth, 3s. SMOLLETT’S WORKS, Edited by Roscoe. Complete in 1 vol. (Roderick Random, Humphrey Clinker, Peregrine Pickfe, Launcelot Greaves, Count Fathom, Adventures of an Atom, Travels, Plays, &c.) Medium 8vo, with 21 capital Plates, by Cruikshank (pub. at \l. 4s ), cloth gilt, 14s. “ Perhaps no book ever written excited such peals of inextinguishable laughter as Smol lett’s. — Sir Walter Scott. SOUTHEY’S LIVES OF UNEDUCATED POETS- To which are added, “Attempts in Verse,” by John Jones, an Old Servant. Crown 8vo, (pub. at 10s. 6d. ), cloth, 4s. 6d. Murray, 1836 SPENSER’S POETICAL WORKS. Complete, with Introductory Observations on the Faerie Queen, and Glossarial Notes, handsomely printed in 3 vols. post 8vo, fine Portrait, (pub. at 2s. 12s. 6d.), cloth, ]/. Is. 1845 STERNE’S WORKS. Complete in 1 vol. 8vo, Portrait and Vignette (pub. at 18^.) cloth, 10s. 6d. ST. PIERRE’S WORKS, including the “Studies of Nature,” “Paul and Virginia,” and the “ Indian Cottage,” with a Memoir of the Author, and Notes, by the Rev. E. Clarke complete in 2 thick vols. fcap. 8vo, Portrait and Frontispieces (pub. at 16s.), cloth, 7s. 1846 SWIFT’S WORKS. Edited by Roscoe. Complete in 2 vols, medium 8vo, Portrait, (pub. at M. 12s.), clotb gilt. IL 4s. “ Whoever in the three kingdoms has any books at all has Swift.”— Lord Chesterfield. TAYLOR’S (W. B. S.) HISTORY OF THE UNIVERSITY OF DUBLIN. Numerous Wood Engravings of its Buildings and Academic Costumes (pub. at 17. ), cloth, 7s. 6d. 1845 THIERS’ HISTORY OF THE FRENCH REVOLUTION, the 10 parts in 1 thick vol- royal 8vo, handsomely printed, cloth lettered (pub. at ll. 5s.), 10s. THIERS’ HISTORY OF THE CONSULATE AND EMPIRE OF NAPOLEON, the 10 parts in 1 thick vol., royal 8vo, handsomely printed, cloth lettered (pub. at 11. 5s.), lOs. TUCKER’S LIGHT OF NATURE PURSUED. Complete in 2 vols. 8vo. (pub. atl/. IO 5 .), cloth, 15s. “The ‘ Light of Nature’ is a work which, after much consideration, I think myself autho-* rizgd to call the most original and profound that has ever appeared on moral philosophy.— Sh- James Mackintosh. TYTLER’S ELEMENTS OF GENERAL HISTORY. New Edition, thick 12mo, (526 closely printed pages), steel Frontispiece (pub. at 5s.), cloth, 3s. 6d. WADE’S BRITISH HISTORY, CHRONOLOGICALLY ARRANGED. Comprehending a classified Analysis of Events and Occurrences in Church and State, and of the Constitutional, Political, Commercial, Intellectual, and Social Progress of the United Kingdom, from the first Invasion by the Romans to the Accession of Queen Victoria, with very copious Index and Supplement. New Edition. 1 large remarkably thick vol. royal 8vo, (1200 pages), cloth, 18s. WALTON AND COTTON’S COMPLETE ANGLER, edited by John Major; the second improved Edition, with new Plates, elegantly printed in fcap. 8vo, with 12 exquisite Engravings on steel, by Wilmore, Absolov, and others, and 74 fine wood Engravings after Creswick, Kenny Meadows, Cooper, Lance, &c, (pub . at 18s.), cloth gilt, 9s. 1844 This is by far the most elegant and compact edition e\ er published of this universal favourite. WATERSTON’S CYCLOP/EDIA OF COMMERCE, MERCANTILE LAW, FINANCE, ■ COMMERCIAL GEOGRAPHY AND NAVIGATION. New Edition, including the New Tariff (complete to the present time) ; the French Tariff, as far as it concerns this Country; and a Treatise on the Principles, Practice and History of Commerce, by'J. R. M‘Cull6ch. 1 very thick closely printed vol. 8vo, (900 pages), with 4 Maps (pub. at 11. 4s.), extra cloth, 10s. Qd. “ This capital work will be found a most valuable manual to every commercial man, and a aseful book to the general reader.” 24 CATALOGUE OF NEW BOOKS WESSTER’3 AND WORCESTER'S NEW CRITICAL AND PRONOUNCING DICT1()NARY OF THE ENGLISH LANGUAGE, including Scientific Terms; to wliich are added Walker’s Key to the Pronunciation of Classical and Scriptural Proper Names, much enlarged : and a Pronouncing Vocabulary of Modern Geographical Names. New Edi- tion, enlarged and entirely revised by Worcester. In 1 thick vol. royal 8vo (pub. at U. 5s.), cloth, 15s. 1851 WHITE'S FARRIERY, improved by Rosser, 8vo, with Plates engraved on steel (pub. at 14s.), cloth, 7s. , 184/ WHYTE S HISTORY OF THE BRITISH TURF, PROM THE EARLIEST PERIOD TO THE PRESENT DAY. 2 vols. 8vo, Plates (pub. at U. 8s.), cloth, 12s. 1840 WILLIS’S PENCILLINGS BY THE WAY. 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