sity of California ithern Regional brary Facility ifm .: A R E fl E OF THE LIVES AND WORKS OF SOME OF most Eminent PAINTERS: FORMER WRITERS. BY C. J. NIEUWENHUYS. LONDON: HENRY HOOPER, 13, PALL-MALL EAST. 1834. LONDON: PRINTED BY WILLIAM CLOWES, 14, CHARING CROSS. THE author hopes that the information which he is about to communicate in the following pages will prove interesting to those persons who are conversant with the Fine Arts. The accounts he has related of the life of the celebrated Rembrandt van Ryn, which have never before been made public, he intended for the press at an earlier period j but having thought that some additional observations on the lives and works of other eminent painters might be accepta- ble to the reader, he delayed his publication for that purpose, as well as to describe several celebrated pictures, some of which formed part of the collection ivhich he brought before the public in May, 1833. London, December 10, 1834. REMBRANDT VAN RYN. REMBRANDT VAN RYN. MANY years ago I was informed in Amsterdam, that among the archives preserved in that city were accounts relative to the life of the celebrated Rem- brandt van Ryn, and had seen fragments which were said to have been taken from those manuscripts ; but finding them too vague to be credited, I deter- mined to see the originals myself, well knowing that nothing is more imprudent than to rely on on dits. I therefore prolonged my last visit to Amster- dam, and through my connexions in that city was introduced to Messrs. C. Hagen and H. Heusken, commissioners of the Desolate Boedelkamer, or Court of Insolvency. These gentlemen had the kindness to shew me all the authentic accounts and regis- ters from which I wished to gain information ; judging that their contents would prove of the great- est interest to the admirers of this great painter, I obtained permission to copy them, which occupied me most agreeably for several days. De Heer F. W. Fabius, a gentleman well acquainted with ancient manuscripts and Dutch law, was of the greatest service in asssisting me to take exact copies of all the documents which I shall have the pleasure of communicating to the reader. Houbraken was the first Dutch writer who pub- lished some anecdotes relative to the life of Rem- B2 REMBRANDT VAN RYN. brandt; but he appears to have been in possession of little information respecting him. Succeeding authors have only repeated what he has said, and if they have multiplied the anecdotes, they have only rendered the truth still more confused, because they have not added any thing on proper authority. For this reason I shall adhere to such facts as are proved in the extracts, which persevering researches upon this subject have enabled me to obtain. With regard to the date of Rembrandt's birth, we have no other authority than that of Houbraken, who mentions that the year 1606, which was particularly fertile, in excellent artists, gave birth also to Rem- brandt van Ryn, on the 15th December, in the neigh- bourhood of Ley den. He was the only child of Her- man* Gerritzen van Ryn and Neeltje Willems van Zuitbroek, who possessed the corn-mill which was situated between Leyerdorp and Koukerk : from this humble habitation rose one of the greatest men which the genius of the art ever nursed. His parents, observing his early inclination for study, did not neglect the cultivation of his mind, and for that pur- pose they resolved to send him to the Latin school at Leyden, in order to bring him up to a learned profession : but his predominating taste for paint- ing caused them to alter their views, and place * According to Houbraken ; but it appears by the extract, marked B, given in page 31, from an original document deposited at the Ad- ministration Office of Insolvent Estates at Amsterdam, dated 1658, that his father's name is spelt Harmens. REMBRANDT VAN RYN. 5 him with Jacop Izakzen van Zwanenborg, who in- structed him in the rudiments of his art during the three years that he remained with him. From this period, Houbraken is in doubt who was his principal master, for he informs us that he passed six months with P. Lastmari at Amsterdam, afterwards a short time with Jak. Pinas, and then refers to Simon van Lee wen's short decription of Ley den, where the latter says that Joris van Schoten and Jan Lievensz were those who taught Rembrandt the art of paint- ing. But there is every reason to believe that his principal master was Peter Lastman, because Rem- brandt's first works resemble those of that artist. His remarkable progress, however, attracted the attention of many amateurs ; for we are assured by Houbraken that, about that period, he sold one of his pictures to a gentleman at the Hague for 100 guldens, which was a tolerably large price at that time. He was so satisfied with the remuneration, that he resolved not to return home on foot the mode of travelling by which he had reached the Hague, but departed in the diligence, elated with joy at being able to announce the good news to his parents. Fearing to lose his money, he would not descend from the vehicle when the passengers stopped on the road to take refreshment, but remained alone in the coach, when the horses, being left free, took fright and ran away to Leyden ; and on his alighting at the inn where the animals were accustomed to stop daily, every one was astonished that the young Rein- REMBRANDT VAN RYN. hrandt, travelling without a coachman, had arrived in safety. Declining to give any explanation of what had happened, he left the coach, and hastened to his father's habitation, which was situated at a short distance from the city. This was the debut of this extraordinary man, who now began to know his own worth ; and whose genius, excited by a laudable ambition, enabled him very soon to perform wonders. Amsterdam was then the centre where talent was received with applause ; and Rembrandt, encouraged by several patrons, decided upon establishing himself there, about the year 1630, taking up his residence on the Bloem- graft. From that time he began to distinguish himself in the great world, for the picture he com- pleted in 1632, and which \vas placed in the Anato- mical Theatre of the College of Surgeons, proved what he was able to produce*. This chef-d'oeuvre * The directors of the " Snei-Kamer" or Anatomical Theatre, resolved to sell this picture by auction, for the purpose of augmenting the funds for supporting the widows of members, and in consequence the sale was announced for Monday, 4th August, 1828. Since the year 1632 until this period it had always remained in that establish- ment, as a gift from Professor N. Tulp, who presented it as a remem- brance of himself and his colleagues. The writer had no sooner learned that the piece in question was to be sold, than he went to Amsterdam, with the intention of purchasing it ; but upon arriving was informed that His Majesty the King of the Netherlands had opposed the sale, and given orders to the Minister for the Home Department to obtain it for the sum of 32,000 guldens, and caused it to be placed in the Museum at the Hague, where it remains. The picture is on canvas ; height 64i inches, width 83^ inches. REMBRANDT VAN RYN. 7 represents Professor Nicolas Tulp giving an anato- mical lecture on a body, which is stretched upon a table before which he is sitting ; the audience is composed of seven other persons, Jacob Block, Hart- man Hartmansz, Adriaan Slalbraan, Jacob de Wit, Matthys Kalkoen, Jacob Koolveld, and Frans van Loenen, who are so admirably represented that it appears as if each countenance was penetrated with the explanations he is giving. The pen cannot de- scribe this wonder of the art ; here the work of man triumphs in rivalling nature ; for the expression of life and the representation of death are s-o strongly depicted that the impression this picture makes, strikes the spectator at first sight with a feeling of aversion ; yet, contemplating the ensemble, one discovers not only the great painter, but also that knowledge of human feelings which speaks so forcibly to the heart, and which corresponds perfectly with what he often said to his pupils, " that he had made it a strict rule never to paint any thing without following nature." The faithfulness with which he represented the subjects he took for models, was the cause of his even following certain deformities which are some- times met with in nature, and which he might have avoided in several of his performances, particularly in his studies of female figures ; nevertheless these seeming defects often form a contrast which shews the peculiar beauty and originality of his works to greater advantage. 8 REMBRANDT VAN RYN. In 1G33 he painted the picture which is at present in the collection formed by His late Majesty George IV. It represents a ship-builder, and his wife, who is in the act of giving him a letter. This painting, coining from the celebrated collection of De Heer Peter de Sineth van Alphen, is nearly in the same style as that we have already mentioned; it is on canvas, height 43^- inches by 67 inches. But the most renowned of all Rembrandt's works is his grand picture, finished in 164*2, known by the name of " La Garde de Nuit, or La Bourgeoisie Armee d' Amsterdam *." Wagenaar, in his History of Amsterdam, says, " On the 14th May (1642) it was ordered that the militia should be ready for muster on the evening of the 19th instant, on penalty of 25 guldens each." This was on the occasion of the expected visit of the Prince of Orange, with Maria, daughter of Charles I. King of England, whom he had lately married. The time chosen by the artist appears to be when Capt. Frans Banning Kok, Heer van Purmerland and Ilpendam, and Lieutenant Willem van Ruy- tenberg van Vlaardingen, Heer van Vlaardingen, with their comrades John Visscher, ensign ; Rom- bout Kempen, and Reinier En gel, Serjeants ; I. van Campoort, drummer; and Barend Harmense,Hendrik Willemsen, John Metesse Bronkhorst, Jacob Dirkse de Boog, John Bringman, John Adriaan Keyser, * Height 12 feet, by 14 feet 6 inches long canvas. REMBRANDT VAN RYN. 9 John Okkersze, Harmen Jacob Veraaken, John Schellinger, privates, and many others, are leaving the guard-house, for the purpose of meeting the illustrious visitors. Wagenaar states also, in vol. ii. page 26, that this painting adorned the small war council chamber of the Town House of Amsterdam (1764). This painting is so remarkable for its excellence, that, even among all the master-pieces of great men, there are few that can rival this astonishing work, which is without exaggeration, as a production of art, one of the wonders of the world, and which the Mu- seum of Amsterdam may well be proud of possessing. We remark in this chef-d'reuvre, that our great master has finished it with the utmost attention, and, inspired with emulation to produce a national picture, has employed all his faculties upon it: the whole is combined with so much judgment, that the vigorous manner in which he has guided his pencil strikes the connoisseur with admiration ! Here Rembrandt shines in all his lustre ; and such an example cannot fail of enlightening those artists who imagine that, in order to produce effect, or what is called eclat, they need only use the most gaudy colour, not under- standing that the effect of a picture should be as harmonious to the practised eye as music to the refined ear. But how many are there who, pro- fessing to be musicians, play out of tune : and it is but too frequently the same with those who occupy 10 REMBRANDT VAN RYN. themselves with painting, for all the arts and sciences have some affinity to each other, and therefore the Muses are represented as inseparable. Rembrandt, as chief of the Dutch school, is per- haps the most perfect colourist that ever existed. He has clearly shewn in all his works, that the grand resources of the art, as we have already observed, consist in subduing gaudy and harsh colours, because they ought not to be used except for bringing out the principal objects. Rembrandt used them with address, either by glazing them over in the manner of the Venetian school, or by blending other tints to lessen that harshness which dazzles the eye ; for by the circulation of air which surrounds all objects, colours receive a reflection from whatever is near them, and consequently all representations of nature ought to participate in those aerial gradations which, in Rembrandt's pictures, appear to raise the figures from the canvas as if they were animated. It is astonishing that, during the intervals of paint- ing the great works on which the fire of his imagi- nation was employed with all its force, he had the patience and perseverance to finish so many precious cabinet pictures, such as " Simeon in the Temple," painted in 1631, on panel, height 29j inches, width 19 inches, now in the Museum at the Hague ; " The Salutation," (formerly in the col- lection of the King of Sardinia,) painted in 1640, on panel, height 22^ inches by 19 inches, which was im- ported into this country about the year 1807, and pur- REMBRANDT VAN RYN Jl chased in 1812 by the Earl of Grosvenor, now the Marquess of Westminster, for his lordship's superb gallery ; " The Woman taken in Adultery," on panel, height 33 inches by 27 inches, painted in 1644, for Joan Six Heer van Vromade, afterwards in the pos- session of Burgomaster Wm. Six, and now one of the ornaments of the National Gallery in London. All the forementioned pictures sufficiently prove that Rem- brandt knew how to appreciate that sentiment and grandeur for which the Italian school is so much ad- mired. Although some have pretended that he ought to have studied the antique, it is not less true that he was by no means deficient on this point, for it is known that he purchased at a high price casts from antique marbles, paintings, drawings, and engravings, by the most excellent Italian masters, to assist him in his studies, and which are mentioned in the inventory of his goods when seized for debt. Before proceeding further, we must not forget a picture by him, dated 1661, in the Museum at Am- sterdam. This remarkable painting, called " Les Syndics de la Halle aux Draps," or the Wardens of the Drapers' Company, is composed of six persons, five of whom, assembled round a table covered with a red turkey carpet, are apparently discussing some matters relative to their affairs, with a servant standing behind them : the whole is pourtrayed in so grand a style, that the force of execution makes the figures appear as if modelled in relief; the picture is on canvas, height 72 inches by 119i inches. 12 REMBRANDT VAN RYN. Rembrandt painted his landscapes with quite an original peculiarity. The one painted on canvas, height 34i inches by 40i inches, where he has represented a windmill situated on the elevated site of a ruined fortification jutting out upon the lake below, is quite illusory. It is towards the approach of evening, when the remaining light of day illumines the horizon, and with the reflection of the water, throws the surrounding scenery into solemn gloom. The mysterious tone of the whole conveys to the mind a poetical effect. It is engraved in the third volume of the Palais Royal, under the name of " Le Moulin," and now adorns the select collection of the Marquess of Lansdowne. The eight paintings already mentioned were made in the zenith of his career, and although there are other chefs-d'oeuvre dispersed in the most renowned collections of Europe, yet these are sufficient to give an idea of the variety of his style. Those which are only sketches are not less worthy of the greatest esteem, for it is interesting and instructive to see what slight touches are made use of by masters, upon certain occasions, to characterize their subjects. With regard to his admirable etchings nothing can be more interesting ; one cannot estimate them too highly, there is discovered in them all the fecundity of an extraordinary and incomparable genius. All that remains is to trace more regularly the latter part of Rembrandt's career. From 1630 to 1656 he was much sought after by persons of high REMBRANDT VAN RYN. 13 consideration in the ancient Dutch Republic, several of whose portraits he has represented in his principal paintings ; such as the Burgomasters Nicolas Tulp and Cornelis Witsen, Captain Frans Banning Cok Heer van Purmerland and Ilpendam, Joan Six Heer van Vromade, and others, whose patronage enabled him to establish himself upon a respectable footing in society. He married Miss Saskia van Uylenburg, by whom he had a son, whom he named Titus van Ryn. He however, notwithstanding the brilliant example of his father, never became more than a painter of mediocre talent. Rembrandt's multiplied success was soon pursued by that envy which has never spared merit, for a number of equivocal stories have been related which report has handed down to our times, by citing jokes which his pupils made about his avarice, but which are without foundation, as he appears to have been quite a different character, the liberality of his dis- position even embarrassing his latter days. To what variety of absurd prejudices is not painting exposed? for notwithstanding the great number of admirers Avhich Rembrandt had, still not all who examined his works placed a proper value on their merit : his style of painting was novel. This, there- fore, was sufficient of itself to draw on him an infinity of criticism ; the authors of Avhich, overlooking his great qualities, saw nothing but his defects. Man- kind in general thoughtlessly let their observations flow from the first impressions, without properly con- 14 REMBRANDT VAN RYN. sidering on what foundation they build their opinions, awarding praise to mediocre merit when they should have done justice to what really deserved it. All things have a beginning, and great men, before attaining rank and celebrity, must in their early career have produced what was inferior ; and it is unjust to pretend to shew the real talent of a master by bringing forward specimens which are well known to be only secondary to his general productions. Criticism, when conducted on just principles, is a spur to ambition ; but when it goes beyond justice, we pity those who fall under the lash, whether inflicted through ignorance or design. How many writers are there who have treated on the subject of painting, and have hazarded reflections and remarks on the greatest artists and their works, evidently Avithout having ever studied the profession sufficiently to be competent judges. Many of them have shewn that the task they have attempted is beyond their comprehension. To the true lover of the arts it must ever be a source of regret to find those works and masters who have justly gained admiration and esteem misrepresented ; such writers do mischief in mis- leading the uninitiated, and there is thus a chance of merit not meeting with its due reward. The accounts now produced have never been pub- lished, and are particularly interesting, as they de- velope many peculiar circumstances in Rembrandt's history ; who, beginning to be prosperous, determined to become proprietor of a house situated in the Bree- REMBRANDT VAN RYN. 15 Straat, near the St. Antonis-Sluys. To assist him in effecting this purpose the burgomaster Cornelis Witsen advanced him 4,180 guldens, on a mortgage on the property ; not being able to meet his engage- ment, when this bond fell due, all his goods were seized, and on the 25th and 26th July, 1656, the commissioner of the Court of Insolvency in Amster- dam made the following inventory, which is trans- lated from the original manuscript : 16 REMBRANDT VAN RYN. (A.) EXTRACT FROM THE REGISTER OF INVENTORIES MARKED R., DEPOSITED AT THE ADMINISTRATION OFFICE OF INSOL- VENT ESTATES AT AMSTERDAM, ANNO lp5G. Who lived in the Inventory of the Paintings, together Breestraat, near with the Household Furniture con- to the St. Antonis tained in the Estate of Rembrandt Sluys. van Ryn. In tf)e jpront Moom. PICTURES. A picture, by Ad. Brouwer, representing a ginger-bread baker. A ditto of players, by the same Brouwer. A ditto of a woman and child, by Rembrandt van Ryn. A painting room, by Ad. Brouwer. A head of plaster. Tiro naked children, of plaster. A steeping child, of plaster. A Poviese shoe. A small landscape, by Rembrandt. Another landscape, by the same. A standing figure, by the same. A Christmas night, by Jan Lievensz. A Jeronimus, by Rembrandt. A small painting of hares, by the same. A small painting of a pig, by the same. A small landscape, by Hercules Segers. A landscape, by Jan Liev(nsz. REMBRANDT VAN RYN. 1 I Another ditto, by the same. A small landscape, by Rembrandt. A fight of lions, by the same. A scene by moonlight, by Jan Lievensz. A head, by Rembrandt. A head, by the same. A still-life, by Rembrandt, retouched. A soldier in armour, by the same. A Vanitas, by Rembrandt, retouched. A ditto of the same with a sceptre, retouched. A sea-piece, finished by Hendrick Antoniss. Four Spanish chairs, covered with Russian leather. Two ditto chairs, with black cushions. A platform of fire-wood. En t^e site Boom. A painting of the Samaritan, by Rembrandt, retouched. A rich man, by Palma Vecchio, the half of which belongs to Peter de la Tombe (in partnership^. The back of a house, by Rembrandt. Two greyhounds, after nature, by the same. A Descent from the Cross, by Rembrandt, large, with a fine gilt frame. The raising of Lazarus, by the same. A courtezan dressing, by the same. A forest, by Hercules Segers. A Tobit, by Lastman. The raising of Lazarus, by Jan Lievensz. A mountainous landscape, by Rembrandt. A small landscape, by Govert Jansz. Two heads, by Rembrandt. An engraving, by Jan Lievensz. Two engravings, by Percellus. C 18 REMBRANDT VAN RYN. A head, by Rembrandt. A ditto, by Brouwer. A view of the Dutch coast, by Percellus. A ditto, smaller, by the same. A hermit, by Jan Lievensz. Two small heads, by Lucas van Valkenburg. A camp on fire, by the old Bassan. A quack doctor, after Brouwer. Tu-o heads, by Jan Pinas. A perspective, by Lucas van Leyden. A priest, after Jan Lievensz. A model, by Rembrandt. A shepherd with his flock, by the same. A drawing, Inj the same. The scourging of Christ, by the same. An engraving, by Percellus. An engraving, by Symon de Vlieger. A small landscape, by Rembrandt. A head, after nature, by Rembrandt. A head, by Rafaelle Urbino. Several houses, after nature, by Rembrandt. A small landscape, after nature, by the same. Several houses, by Hercules Segersz. A Juno, by Pinas. A looking-glass, in an ebony frame. An ebony frame. A marble cooler. A table of walnut-tree wood, with a Tournay carpet. Seven Spanish chairs, with green velvet cushions. In tfi* <&oom Witt tfje site Boom. A painting, by Testa. Mary with the child, by Rembrandt. REMBRANDT VAN RYN. 19 The, crucifying of Christ, modelled by the same. A naked woman, by the same. A copy after Annibal CaraccL Two half figures, by Brouwer. Another copy, after Annibal CaraccL A still-life, by Percellus. J \J . An old head, by Van Dyck. A portrait done after death, by Abraham Vinck. A raising from the dead, by Aertje van Leyden. A sketch, by Rembrandt. A copy, after a sketch by Rembrandt. Two heads, after nature, by Rembrandt. The Consecration of Solomon s Temple, in an engraving by the same. The Circumcision of Christ, copied after Rembrandt. Two small landscapes, by Hercules Segers. A gilt frame. A small oak table. 4 fire screens. A. cloth press. 4 old chairs. 4 green chair cushions. A copper kettle. Pegs to hang clothes on. 3En tfc fcatfc 3&oom, or Saloon. A forest, by an unknown master. An old mans head, by Rembrandt. A large landscape, by Hercules Segers. The head of a woman, by Rembrandt. The union of the country, by the same. A village, by Govert Jansz. A ijourtg bull, from nature, by Rembrandt. C 2 20 REMBRANDT VAN RYN. A large picture of the Samaritan woman, by Giorgione, the half of which belongs to Pieter de la Tombe (injjart- nership). Three antique statues. A sketch of the burial of Christ, by Rembrandt. The boat of St. Peter, by Aertje van Leyden. The disappearing of Christ, by Rembrandt. The Virgin Mary, by Rafaelle Urbino. The head of Christ, by Rembrandt. A winter, by Grimmaar. The Crucifixion of Christ, by Lely de Nord Harnd. The head of Christ, by Rembrandt. A young bull, by Lastman. A vanitas, by Rembrandt, retouched. An Ecce Homo, in an engraving by Rembrandt. Abraham's Offering, by Jan Lievensz. A vanitas, retouched by Rembrandt. A landscape. An evening, by Rembrandt. A large looking-glass. 6 chairs, with blue cushions. An oak table. An embroidered table-cloth. A (Sachereu daene Pars*.) A box for swathing-clothes. A bed and bolster. 2 pillows. 2 blankets. A blue hanging. A matted chair. Afire-iron. * I have quoted the words of the original Dutch, not fully under- standing their meaning. REMBRANDT VAN RYN. In tfje Boom of Two globes. A box with minerals. A small column. A. small tin pot. Ap ..... g child. Two East Indian boxes. A ditto cup, with a Chinese figure. A bust of an empress. An East Indian powder-box. The bust of the Emperor Augustus. An Indian cup. The bust of Tiberius. An East Indian work-box. A bust of Cayus. A Caligula. Two China cassowaries. A Heraclitus. Two China figures. A Nero. Two iron helmets. A Japanese helmet. A Carbetse helmet. A Roman emperor. A Moor, modelled from nature. A Socrates. A Homer. An Aristotle. A brown antique head. A Faustina. An iron armour, with an helmet. The Emperor Galba. A ditto Otho. 22 REMBRANDT VAN RYN. The Emperor A ditto Vespasian. A Titus Vespasian. A ditto Domitian. A ditto Silius Brutus. 47 pieces of sea and land plants, and such like. 23 sea and land animals. A hammock, with two calabashes. Eight pieces of plaster, cast from nature, large. On tfje bacfe &&elt A great quantity of horns and sea plants, moulds cast from nature, and many others, curiosities. A figure, representing the antique Cupid. A small musket and a pistol. A rough figured iron shield, by Quintyn the Smith (called Quinten Matsys). An old-fashioned powder-horn. A Turkish powder-horn. A box with medals. A matted shield. Two perfect naked figures. The likeness of Prince Maurice, cast from his face after his death. A lion and a bull, modelled after nature. Some walking-sticks. A long-bow. ffitn follofo tf)t 23oofcs of &rt. A book, full of sketches, by Rembrandt. A book, with wood-cuts, by Lucas van Leyden. A ditto, with wood-cuts, by Was. REMBRANDT VAN RYN. 23 A ditto, with copper engravings, by Vanni, Baroccio, and others. A ditto, with copper engravings, after Rafaelle Urbino. A gilt bedstead, carved by Verhulst. A book, full of copper engravings, by Lucas van Ley den, with single and double impressions. A ditto, with drawings, by the principal mastei-s of the whole world. The valuable book of Andrea Mantegna. A great ditto, full of drawings and prints, by many masters. Another great ditto of drawings and prints, by several masters. A ditto, full of curious miniature drawings, besides several wood-cuts and copper engravings of all sorts. A ditto, full of prints, by the old Breughel. A ditto, with prints, from Rafaelle Urbino. A ditto, with very valuable prints, from the same. A ditto, full of prints, by Tempesta. A ditto, with wood-cuts and copper engravings, by Lucas Cranach. A ditto, by Annibal, Agostino, and Ludovico Caracci, Guido of Bologna, and Spagnoletto. A ditto, with engraved and etched figures, by Antony Tem- pesta. A ditto great book, by the same. A ditto book, ut supra. A ditto, with engraved copper prints, by Goltzius and Mul- ler, consisting of representations. A ditto, from Rafaelle Urbino, very fine impression. A. ditto, with drawings by Ad. Brouwer. A ditto, very large, with almost all the printed impressions from Titian. Some curious jars and Venetian glasses. J \ REMBRANDT VAN RYN. An old book, with a number of sketches by Rembrandt. An antique book. A large book, full of sketches, by Rembrandt. Another antique book, empty. A backgammon board. A very antique chair. A Chinese drawer with minerals. A great white coral mountain. A book with several engravings of costumes. A ditto, by Heemskerck, being his own work. A book, full of sketches, by Van Dyck, Rubens, and several other old masters. A ditto, full of landscapes, by different masters. A ditto, full of the works of Michel Angela Buonaroti. Two small matted baskets. A book, with the models ofRafaelle, Roest, Annibal Caracci, and Giulio Bonasoni. A ditto, full of landscapes, by different celebrated masters. A ditto, full of Turkish buildings, by Melchior Lovich, Henderick van Aelst, and others, representing also the Turkish habits. An East Indian basket, containing different engravings by Rembrandt, Hollaert, Cocq, and othei-s. A book, bound in black leather, with Rembrandt's best sketches. A band-box, full of engravings, by Hnpe Marten, Holbein, Hans Broesmer and Israel Mentz. Another book, with all Rembrandt's etchings. A book, full of drawings, done by Rembrandt, representing academical studies of men and women. A ditto, full with drawings of all the Roman edifices and views, by the most celebrated masters. A Chinese casket, full of cast ornaments. REMBRANDT VAN RYN. 25 An empty album. A ditto, as above. A ditto, full of landscapes, drawn after nature, by Rem- brandt. A ditto, with proof engravings of Rubens and Jaques Jordans. A ditto, full of drawings, by Mierevelt, Titian, and others. A Chinese basket. A ditto, full of architectural prints. A ditto, full of drawings, by Rembrandt, representing animals taken from nature. A ditto, fall of engravings, by Frans Floris, Buytenoech, Goltzius, and Abraham Bloemart. A parcel of drawings from the antique, by Rembrandt. 5 books in quarto, full of drawings, by Rembrandt. A ditto, full of architectural engravings. Tlie Medea, by Jan Six, a tragedy. Engravings of Jerusalem, by Jacob Callot. A parchment book, full of landscapes, drawn after nature, by Rembrandt. A ditto, full of sketches, by Rembrandt. A ditto, ut supra. A wooden box, with slides. A small book, full of views, drawn by Rembrandt. A ditto, with fine writings. A ditto, full of drawings from statues, by Rembrandt. A ditto, ut supra. A ditto, full of sketches, by Peter Lastman, drawn with the pen. A ditto, by Lastman, drawn with red chalk. A ditto, full of sketches, by Rembrandt, drawn with the pen. A. ditto, ut supra. A ditto, as above. 26 REMBRANDT VAN RYN. Another small book, by Rembrandt. A ditto, with large drawings, taken from nature in Tirol, by Roeland Savery. A ditto, full of drawings, by several renowned masters. A ditto, in quarto, full of sketches, by Rembrandt. Albert Durer's book of proportions, with wood-cuts. Another unbound book, with engravings, being the work of Jan Lievensz and Ferdinandus Bol. Some parcels, with writing, by Rembrandt and others. A parcel of paper of a large size. A box, with engravings by Van Vliet, after paintings by Rembrandt. A screen, covered with cloth. An iron gorget. A drawer, in which is a bird of Paradise and six fans. 15 books of different sizes. A German book, with martial figures. A ditto, with wood-cuts. A German Flavius Josephus, ornamented with engravings, by Tobias. An old Bible. A small marble inkstand. The plaster cast of Prince Maurice. front Boom, before tfje Boom of St. Joseph, by Aertje van Leyden. 3 engravings in frames. Mary's Salutation. A landscape from nature, by Rembrandt. A landscape, by Hercules .Segers. The Descent from the Cross, by Rembrandt. . A head, after nature. REMBRANDT VAN RYN. 27 A skull, by Rembrandt, repainted. A plaster bath of Diana, by Adam van Viane. A model from nature, by Rembrandt. Three puppies, from nature, by Titus van Ryn. A painting of a book, by the same. The head of Mary, by the same. Moonlight, by Rembrandt, repainted. A copy of the scourging of Christ, after Rembrandt. A naked woman, modelled after nature, by Rembrandt. A landscape, not finished, after nature, by the same. A horse, taken from nature, by the same. A small picture, by the young Hals. A fish, drawn from nature. A vase, adorned with plaster figures, by Adam van Viane. An old chest. 4 chairs, with Mack leather seats. A fire icooden table. Jn tf)t small fainting 3Uoom. IN THE FIRST PARTITION. 33 pieces of antique arms, and a wind instrument. IN THE SECOND PARTITION. 60 pieces Indian arms, arrows, darts. IN THE THIRD PARTITION. 13 pieces of bamboo and fifes, in sorts. IN THE SAME PARTITION. \4pieces of arrows, bows, shields, fyc. IN THE FOURTH PARTITION. A great number of hands and heads moulded from nature; with a harp and a Turkish bow. I 28 REMBRANDT VAN RYN. IN THE FIFTH PARTITION. 17 hands and arms moulded from nature. A number of stags' horns. 4 long-bows and cross-bows. 5 ancient helmets and shields. 9 gourds and bottles. 2 busts modelled, representing Bart Holtbeen and his Wife. A plaster cast of a Grecian antique. The bust of the Emperor Agrippa. Ditto of the Emperor Aurelius. A head of a Christ, done after nature (?). A Satyr's head with horns. A Sibyl, antique. An antique Laocoon. A large sea-plant. Vitellius. Seneca. 3 or 4 women s heads, antique. 4 other heads. A metal cannon. A parcel of ancient rags of different colours. 7 musical instruments with strings. 2 small paintings, by Rembrandt. In tfje large fainting 3&oom. 20 pieces of halberds, double-edged swords, and Indian fans. An Indian man's and woman's dress. A giant's casque. 5 cuirasses. > A wooden trumpet. Two Moors represented in one picture, by Rembrandt. A child, by Michel Angela Buonaroti. REMBRANDT VAN RYN. In tfje ^aiming Sb&efc (or fainting ^d&ool). A lion's and lioness's skin, with two coloured coats. A large painting representing Diana. A bittern, after nature, by Rembrandt. In $ small (Suffice. Ten paintings, both small and large, by Rembrandt. A bedstead. In t&* small Bitcfjen. A tin water-pot. Some pots and pans. A small table. A cupboard. Some old chairs. 2 chair cushions. In tfy passage. 9 white dishes. 2 earthenware dishes. foin'ti) foas safo to fa at 3 man's shirts. 6 pocket handkerchiefs. 12 napkins. 3 table-cloths. Some bands and ruffles. Thus done thig Inventory, the 25th and 26/A July, 1656. -SO REMBRANDT VAN RYN. Continual foreign wars and internal factions plunged Holland into the greatest misery about the year 1656, and no period could ever have been more adverse for the sale of works of art ; but as it was a matter of necessity, there was no waiting a more favourable opportunity; for at that time the celebrated Rembrandt was abandoned to his fate and could not find a single friend to assist him ! Thus all his valuable collection, upon which he must have ex- pended a considerable sum, was sold under execution, at different times, to the highest bidders, at Mr. Bernt Jansen Scheurman's auction-room (called the Keizer's Kroon) ; and the result was, that all the articles contained in the above-mentioned catalogue o produced only 4,964 guldens 4 stuivers ; this was hardly enough to pay his creditors. But one must not be surprised at the bad success of these sales, for about that time commerce in Holland \vas so de- pressed, that historians* relate that between 1,500 and 3,000 houses were uninhabited at Amsterdam : this was doubtless the cause that Rembrandt's house was not sold until the year 1660, which occasioned the liquidation of his debts to be deferred so long ; the burgomaster, C. Witsen, having a mortgage upon the house, was reimbursed first, as can be seen from the following extract : * Wagenaars Vaderl. Hist. &c. REMBRANDT VAN RYN. 31 (B.) The security for the sum, mentioned in the underwritten Act of Authorisation, was this day laid before the Magistrates, as appears by the Register of the Household Furniture and Goods, fo. 50. Actum in Amsterdam this 21 February, 1658. |^. F. 23ronc]f)orst. Extract from the 14th Register of the Minutes deposited in the Chamber of Insolvent Estates in the City of Amsterdam. The Commissaries authorize the Secretaries of this City, to pay to the Honourable Mr. Cornelis Witsen, Burgo- master of the same City, the sum of four thousand one hundred and eighty guldens out of the money arising from the Distrained Goods of Rembrandt van Ryn. In payment of a mortgage for the same amount, by the said Rembrandt van Ryn, on behalf of the said Burgomaster. Passed the 24 January, 1653, and standing in the name of Rembrandt Harmens Son, Painter. Actum den 30 January, 1658. Presentie ut Registro jprans 2 55 Jr. July. To the Secretary and Clerks for Citations .262 716 Anno 1658. 31 January. For the Tax of the Chamber paid to the Secretary and Clerks for Citations . . . 334 6 4 22 February. To cash for the claim of the Burgomaster, Cornelis Witsen ......... 354 4180 26 July. To the Secretary and Clerks for Citations . 239 3 4 1 8 December. To cash paid to Jacob de la Tombe . . . 385 32 5 Anno 1659. 28 January. To cash paid to Mr. Dirich Spiegel for Mr. Isaac Francen .......... 385 95 15 Ditto. To cash paid to the Secretary and Clerks for Citations .......... 385 1 August Clerks for Citations ........ 406 6 Anno 1660. 23 January. To cash paid to the Secretary and Clerks for Citations .......... 415 12 3 March. To cash paid to Aelbrecht Schuirmans . .415 130 2 Anno 1661. 29 January. To cash paid to Hendrick van Borculoo for monies received ......... 450 20 3-8 1 May. For Tax of this Room, on Gls. 67133 . .356 1345-8 Anno 1662. 25 January. To cash paid to Jan Vos and Jan Dirch for posting up bills ......... 148 1 4 21 July. To cash paid to Clerks for posting up bills . 149 4 12 9 July. To cash paid to Jan Crimez, Notary ... 339 5 2 Anno 1665. 24 July. To cash paid to the Secretary and Clerks for Citations ..... " ..... 343 9 5 November. To cash paid his son Titus van Ryn . . .365 6952 9 Anno 1667. Primo March. For closing this Account the Balance on fol. 422 / 5 REMBRANDT VAN RYN. 39 (G.) MARKED C AND D, DEPOSITED AT THE ADMINISTRATION OFFICE OF AT AMSTERDAM. Fan 3&gn, punter, twe to fm Anno 1656. Primo X 1 *- By Thomas Jacobz Staringh . . . 291 Anno 1658. 21 March. By Thomas Jacobz Staringh, for some Paintings sold 299 26 July. By Thomas Jacobz Staringh, for Goods sold 299 26 Ditto. By Thomas Jacobz Staringh, for Goods sold 299 14 February. By Thomas Jacobz Staringh 299 , 299 ,, ,, ,, . . . . 290 Ditto. Ditto. Anno 1660. Primo X 1 *- By Cash received from Samuel Heringh, Corn 5 . Coysius and Henderick van Bor- culoo* , . . 4.43 Old. St. 1322 15 2516 10 432 95 15 126 10 80 390 9 6713 11677 7 * On another roll of Anno 1660, is certified that the above sum of /6713 3 was in payment for the house of Rembrandt. Mr. E. 40 REMBRANDT VAN RYN. What a painful reflection does the preceding recapitulation offer upon the vicissitudes of human existence ! If there be an artist who has reason to suppose that reward is withheld, which his merit Maaskamp, printseller at Amsterdam, who has given a most imper- fect sketch of Rembrandt and his works, published 1828, has made out a story which he tries to stamp with an appearance of truth, by referring to a certain old document, which I have given at large in the course of this work, and which it appears he has never seen. This is in respect to Rembrandt's house, which he says he found out by an old record distinguishing it by the sign of " D. Botienter," and of which he gave also an engraving. This appears all very well without sifting the matter ; but the truth is, that the document to which he alludes mentions no name of "Z). Botienter" at all : see extract A, page 1 6. The year in which that house was built barely corresponds with the date of the mortgage, which was January 25, 1653; and again, it was impossible for all the apartments (mentioned in the inventory) to be contained in the space of 12 J feet wide by 51 feet deep, which is the entire measurement of the ground on which the house stands, without at all mentioning the space necessary for the painting-shed. Being aware that there are many writers we can place no dependence on, and doubting the statement, I went to Mr. Maas- kamp for an explanation, who then confessed to me he had only employed his clerk to take what information he required. This was quite sufficient for my purpose; thus, finding his statement resting on very slight grounds, I determined to trace, if possible, a point that had become interesting to me. In this research I dis- covered that there was no document relating to Rembrandt's affairs making mention of the word " D. Botienter;" I therefore do not believe that any such document ever existed ; and I have no doubt, from the authentic sources I have produced, that Rembrandt's house must have been nearer to the St. Antony's Sluis (the one in question is in the middle of the street); and the sum it was sold for, of 6,713 guldens 3 stuivers, a large sum in those times, makes me also believe that it was of far greater importance than the one described by Mr. Maaskamp, which is but a paltry dwelling. REMBRANDT VAN RYN. 41 may deserve, let him recollect how many have gone before him, whose efforts while living could scarcely raise them above indigence and want, but whose works now perhaps command the envy of the world ! Such men felt galled at the little value placed by an uncharitable age, on productions that deserved a dif- ferent fate : but such was their enthusiastic love for the art, and confidence in their own powers, that, in spite of disdain and neglect, they continued to toil in the hope of being appreciated by futurity, and to live when the greater number of their contemporaries should have passed away in silence, unregretted and forgotten. In all ages man has been the dupe of Fortune : the ancients well represented her with a bandage on her eyes ; those who depend solely on her support lead an anxious life ; merit and industry may strive to conciliate her, but numerous abuses, errors, or frivolities may throw a preponderating weight in the scale of their worldly career : we may all find it necessary for a time to succumb, still perseverance in the end will generally succeed. Let this convic- tion accompany all those who profess the study of the fine arts, for they are the most amenable to the ordeal of public caprice and opinion, and thus we sometimes see the greatest diversity of fortune chequering their lives, and impeding their just claims. Pliny relates an anecdote of Apelles, who, always acting nobly towards his rivals, drew the celebrated painter Protogenes from the poverty in Avhich he lingered, by first purchasing at a liberal 42 REMBRANDT VAN RYN. price the works which would otherwise have been disregarded, and afterwards making known the large sums that were obtained for them, he drew the attention of the public to his protege, and thus suc- ceeded in finally establishing his reputation. How different was the fate of Domenichino, whose life, spent in the production of his immortal works, was pursued by the envy of his contemporaries, who did their utmost to injure him in the opinion of the world, and he was never, during his lifetime, duly appreciated, being obliged to sell his celebrated picture of the Communion of St. Jerom for fifty crowns, which is now beyond price. These are single instances, but how many other talented men have been victims to similar vicissitudes ! To return to the illustrious Rembrandt : it is indeed painful to see him deprived of his fortune in his old age. His talent however remained unim- paired, and was a lasting treasure to him ; he did not forsake his palette, but continued to produce other chefs-d'oeuvre until a short time before his death. Whatever might at this period have been his difficulties, he had at all events a consolation in knowing that no claim against him would be left unsatisfied, as it appears, after all accounts were settled, there was a surplus left of 6,952 guldens 9 stuivers. It seems however that during his lifetime he never would settle his accounts, either because he was of opinion that the Commissioners of the Court of Insolvency had improperly managed his REMBRANDT VAN RYN. 43 interest, or from other motives which must remain unknown. It ought to be added, to the fame of Rembrandt, that there never was in Holland a school more pro- ductive of men of talent than his ; among them the following were the most celebrated, and will ever form a prominent feature in the Republic of the Fine Arts : Gerhard Dou, Ferdinand Bol, Gerbrant vanden Eeckhout, Govert Flink, Nicolas Maes, Philip de Koning, Arent de Gelder, Roelant Rogman, Jakob Lavecq, Adriaan Verdoel, Samuel van Hoogstraten, F. Victor, and Drost. It was after his decease, which took place in 1665, (and not, as is said by Houbraken and other writers, in 1674), that his only son, Titus van Ryn, then a minor, obtained an act of majority to inherit the property left by his father, as will have been observed by the foregoing account and discharge, marked F. page 37. ANTONIO ALLEGRI, SURNAMED CORREGGIO. ANTONIO ALLEGRI, SURNAMED CORREGGIO THE genuine paintings of Correggio are extremely rare, and are seldom seen except in the galleries of sovereigns or a few noble families. To the con- vulsions and distraction attendant on the victories of Napoleon may be assigned the dispersion of several of his invaluable works. Spain was ouce a mine rich in objects of art, which she had been accumulating for ages ; but she became at last a victim to the reverses of fortune, and thus her treasures fell during the contest of war into the hands of the strongest party. Between the years 1808 and 1814 history retraces too well the injustice committed by Napo- leon towards this unfortunate countiy ; not only a continual warfare of six years deluged her in blood, but during all this time the Peninsula was a prey to the rapine and plunder of her relentless aggressors, and many French generals, without regard to the right of property, enriched themselves by the pillage of every thing precious which fell in their way. It was during this period that the picture of Cor- 48 CORREGGIO. reggio, known by the name of " La Vicrge au Pastier" was taken from the royal collection at Madrid. It came into the possession of a Mr. Wallis, who followed the armies in the Peninsula, and who, in spite of every danger, embraced the opportunities offered of obtaining many magnificent pictures, several of which lie brought to England in 1813. Political events had however then become so inimical to the arts, that I have been assured that he could not obtain 1,200 for this picture ; he was there- fore obliged to take it back with him to the Continent, and it was not till after the restoration of peace in Europe that he sold it. In 1820 it adorned the cele- brated collection of Mr. Laperiere, receiver-general of taxes in the department of the Seine. Paris never possessed an amateur more zealous in the cause of the arts than this gentleman ; but events, which pru- dence cannot always foresee, obliged him to part with his treasures : the sale of these took place on the 19th of April, 1825, when this picture was adjudged to my father at the sum of 80,005 francs. I do not believe that the history of the art 'offers another example in which the public have carried their bid- dings for a picture at an auction to such a height. The size of this painting is 13i inches high by lOi wide ; it is painted on panel, and represents the Virgin seated near a tree holding in her lap the infant Jesus, who, by his attitude appears desirous of escaping from her, in order to seize with his right hand the branches of the tree, or some other object, which CORREGGIO. 49 appears to engage his attention : the Holy Mother, who is about to pass a slight clothing round him, presses with fondness the extended arm of the child to her bosom, and detains the other with her left hand. The maternal love and heavenly expression which are depicted in her countenance as she con- templates her infant are given with a feeling beyond description, and it was well observed that the pencil seems here to have been guided by the hand of an angel. On the ground near the Virgin lies a plaited straw basket, in which are a pair of shears ; in the back-ground are some buildings, near which St. Joseph is seen planing a board on the bench before him. This exquisite painting has always been considered as a miracle of art. My father had no sooner ob- tained it than he immediately forwarded it to me in London, where it excited no less admiration than it had done in Paris. It did not remain more than six weeks in my possession; when, having refused two very advantageous offers, I sold it to the British National Gallery (in June 1825) for 3,800, where it now remains. As I have already stated, this jewel came from the collection of the King of Spain, and was seen at the time of Mengs in the cabinet of the Princess of Asturias. This writer speaks of it in several parts of his works, but more particularly in his letter to Don Antonio Pontz. " There are," says he, " but few paintings which we can enumerate of Correggio, but every piece by that great man possesses all the enchantment of the E 50 CORREGGIO. art. Although there fire only two of them (in this palace) they are sufficient to give an idea of the great talent of this artist. * * * * He has given to the motions of the two figures the Virgin and Child (whom she is dressing in swaddling clothes) an astonishing variety. It is surprising that a figure of two palms should produce at a considerable dis- tance the effect as if it exceeded its real measure ; this, however, does not arise so much from the power of the clare-obscure as from the imperceptible half- tints, the gradations of which, passing from light to shade, produce, from the singular artifice of manage- ment, such powerful relief in the forms that it gives almost a contradiction to its being a plain surface. ***** In the distance St. Joseph is planing a board, a figure whose outline shews us plainly how great a master Correggio was in what is styled aerial perspective." The other painting (on panel, height 14 inches by 16,) of which Mengs speaks, is Christ in the Garden of Olives. " It represents Jesus Christ praying in the garden, with an Angel above, who with the left hand points to the cross and the crown of thorns, which are in the shade upon the ground, scarcely dis- cernible, and with the right hand raised to Heaven, as if he said, ' It is the will of the Father ; ' and one sees that our Lord with open arms is ready to receive the passion. The most singular part of this piece, besides the excellent execution of the painting, is the management of the effect. The figure of Christ CORREGGIO. 51 receives the light from heaven, and that of the Angel from Christ. At a distance are three Disciples lying down in the most easy attitudes, and further on is the crowd advancing to take Jesus. " They relate that Correggio gave this painting to his apothecary for four crowns, which he was in- debted for medicine; and that some time after it was sold for five hundred ; and, finally, Count Pyr- rus Visconti sold it to the Marquess of Camarena, Governor of Milan, for 750 gold doubloons, who bought it on commission for Philip IV." This painting* is now in the possession of His Grace the Duke of Wellington, into whose hands it came in the following manner : The campaign of 1813, which brought liberty to Spain, commenced towards the end of May. Napo- leon, after the disaster at Moscow, drew from the Peninsula Marshal Soult with 30,000 chosen men. The Duke of Wellington, judging that the French would be unable to offer an effectual resistance, prepared to attack them, and on the 26th occupied Salamanca. On the morrow the foreign government again hastened to evacuate Madrid, and Joseph Buonaparte and Jourdan fell back with their army, first on Burgos and then on Vittoria, where they were encountered by the English and completely routed. The French, thus defeated, effected their * The same subject, at present in the National Gallery, of Christ praying in the Garden, is a copy of this picture. E 2 52 CORREGGIO. retreat to Bayonne, pursued by Graham and Hill, who captured their baggage ; Joseph only escaped by abandoning his most valuable effects, his crown, his treasure, and all the paraphernalia of his ephe- meral monarchy. It was among these valuables that the last-mentioned painting was found ; and the Duke of Wellington, great in the cause which will hand his glorious name down to posterity, was equally noble in the feeling which prompted him to place these spoils of war in the hands of Ferdinand, Spain's legitimate king, who however in return, as a mark of his gratitude and esteem, presented His Grace with this chef-d'oeuvre, which now forms a principal ornament in Apsley House. Two other pictures of importance by Correggio, which have been brought to this country within a few years, are those lately purchased by the Govern- ment for 11,000 guineas, from the Marquess of Lon- donderry. The one representing Mercury teaching Cupid in the presence of Venus, in height 61 inches by 36 wide, was formerly in the collection of the Duke of Mantua, and was purchased by King Charles the First, of England, who placed it in his third private room, called the square room, at Whitehall, and is described in the catalogue of his collection, published by Vertue, page 106, No. 13, as follows : " Item. In a gilded frame, upon cloth, painted by Corrigio, a standing naked Venus, Mercury sitting teaching Cupid his lesson, entire Jigures, almost so big as the life, in a gilded carved frame." CORREGGIO. 53 After the rebellion, to which this unfortunate Monarch fell a victim, all his goods were sold by order of the Council under the Commonwealth of 1649, and the picture was purchased for Spain, where Mengs saw it in the possession of the Duke of Alva, and speaks very highly of it in his Memoirs of the Life and Works of Correggio. The other picture is known by the name of the Ecce Homo. It is painted on panel, in height 38i inches by 31 2 ; formerly in the possession of Count Prati of Parma. In the time of Mengs it adorned the gallery of the Colonna Palace at Rome. It represents the moment when Pilate gave sentence that Christ should be crucified : he is delivering him to a soldier who is in the act of receiving the divine sufferer, on whose countenance is depicted all that noble and heavenly sentiment which can be admired but not described ! He is shewn behind the balustrade, his hands tied before him, and the Virgin Mary, in the attitude of fainting, is supported by a woman. This representation is of a most elevated and striking character, and is admirably managed in a group composed of only five figures, half-length. The air of command in Pilate, the attitude of the soldier, the sufferings and resignation of Christ, the extreme grief of the Virgin, and the action of the woman who supports her every part is delineated with such extraordinary power as to infuse a deep impression on the spectator. This wonderful ex- ample sufficiently proves that size is not absolutely 54 CORREGGIO. necessary to produce a striking effect : it is know- ledge of art, and sentiment depicted with truth, which addresses itself to our feelings ; and in this respect this is one of the most remarkable paintings I have ever seen, and must be considered as an invaluable acquisition to the nation. After what has been related of these important pictures, I can readily conceive that many would wish to inquire further into the life of this illus- trious painter, and the more so as we ever feel anxious to glean every circumstance connected with one whose works inspire such extraordinary interest. It appears from what the most authentic authors have said respecting him, that his real name was Antonio Allegri ; Da Correggio was merely a bye- name attached to the former, from a custom then prevalent in Italy and elsewhere, of giving an extra appellation to an individual, drawn from some pecu- liarity in his person or history. In this instance it was taken from the place in which he was born, Correggio, a small town in the Modenese. Without stating the precise date, the best authorities agree that the year of his birth was 1494 ; who his tutor was is uncertain, but it is said he received his first instructions from Francesco Bianchi, called II fra di Modena, and afterwards from Andrea Mantegna. The peculiar manner of his painting shews, however, that he followed the style of no particular master, and therefore the perfection at which he arrived in the art must have been obtained by his drawing the objects of CORREGGIO. 55 his study principally from nature a book always open to those who wish to dip into her beauties, offering a varied and inexhaustible store to the reflecting and profound observer. A prejudice existed with many in the sixteenth and seventeenth centuries against artists who had never been at Rome, as if it were impossible for talent to arrive at perfection without having been first well schooled in its celebrated works of anti- quity. Correggio, never having been there, fell under this ban, and a doubt was raised whether he could therefore be ranked among painters of the first class ; we can however say, that few who preceded this artist could rival him in his best productions, and certainly none since his time have been able to surpass him. We know that this prejudice has been inherited by some persons of the present day ; but let us bear in mind, that those miracles of art which we so much admire among the works of the ancients, such as the Apollo of the Belvedere, the Venus di Medicis, the Statues of Laocoon, the Gladiator, and others, are the works of artists who had no Rome to visit, and no antique to copy, other than that nature, whose divine creation offered an ample choice of the most beautiful models for their inspection and study. Is it then in the exquisite images here represented, that we think them less sublime ; or do we offer a smaller meed of praise to the artist because he had no antique to go by ? How was it that they produced 56 CORREGGIO. such works of art? Was it not in the study and contemplation of nature that they gained this ne plus ultra of perfection ? Why should we then find fault with Correggio for having followed the same ex- ample ? If it is true that he never enjoyed the benefit which the sight of Rome's wonders might have been to him, how much more ought we to admire the man who has left such transcendent proofs of his talent, untutored and unguided by aught save the spirit of his incomparable genius. There is little doubt that, had he lived at the time of Alexander, posterity would have known him as one of antiquity's greatest painters ! We will now continue by observing, that this idea of antiquity has been carried into another extreme by artists who could never do any thing without casts or models near them, so that their compositions, being pervaded by this passion, offer nothing of the naivete of nature, but all the petridity of their models. As we go farther from an original, by copying imitations, so does nature become perverted when her representations only are studied, instead of herself: statues are thus transferred to canvas, in- stead of animated objects ; and, in place of life and soul, stony figures occupy the picture. Many of the school of David have fallen into this error; and although we must admire the profound science dis- played by them, yet we feel that they would have made better sculptors than painters. If an undue partiality to the antique, as exemplified CORREGGIO. 57 in the above remarks, has met with disapprobation, let it not be considered without its important utility : on the contrary, as its perfections develope all the conception of the beau ideal, so there cannot be a better study for enlightening the mind, refining the taste, or maturing the judgment. By comparing the inanimate object with animate nature, and consider- ing the peculiar views which intelligent minds have taken in their representations of them, and the per- fection at which they have arrived, the artist must afterwards look on the antique with a more expe- rienced and reflecting eye ; but we would not have him so absorbed in it, that it should become an obstacle to himself, by throwing a cold tone over his efforts, or a prejudice against others, excluding all merit, except such as shall have been obtained through the same source as his own. The art of painting had never risen to that pitch of perfection before the time of Correggio ; 'but this artist seemed unconscious of the full force of his own powers, and to value it the less, from the continual praise he heard bestowed on the sublime Rafaelle. His curiosity being excited, he became ardently de- sirous of visiting Rome, where that painter resided, to view the store of art there treasured up, with which he was as yet unacquainted. Circumstances, variously related, seem to have prevented the ful- filment of this wish ; and it was reserved for chance alone to throw in his way the opportunity of beholding some of Rafaelle's noble works, when he became 58 CORREGGIO. aware of his own strength, and breaking the silence which the reverence they inspired had imposed upon him, he exclaimed " Anch' io sono pittore." In contradiction to the statement of former writers that Correggio never saw Rome, Mengs (who has related many interesting particulars of his life, and still more so of his works) is of a different opinion, and believes he studied the productions of Rafaelle and Michel Angelo Buonaroti ; and he forms this conjecture, from tracing, in several of Correggio's paintings, passages bearing a similitude to the works of those masters, and some to the antique statues which were then in Rome. To a certain point, this argument may be good; but it has not sufficient proof to depart from received anterior reports ; for casts from the antique, the engravings of Marc An- tonio Raimondi, besides other sketches, generally communicated from one painter to another, might have given him insight and information to enable him to introduce into his works those marks observed by Mengs ; at all events, he could by these means have formed his ideas of the principal chefs-d'oeuvre in Italy. Mengs also discredits the indigent state in which Correggio is said to have lived, but does not bring fqrward testimony entirely to invalidate what has been written on the subject, as he acknowledges that all the memoirs of the life of Correggio are very confused and uncertain. After making his observa- tions thus, he proceeds to relate the report (see page CORREGGIO. 59 51), that " Correggio parted with his picture of Christ in the Garden for four crowns :" surely this is an argument proving necessity, or he would never have disposed of such a picture for so small a sum. When we contemplate the career of great men, how frequently have we cause to regret that the recompense of their deserts has been withheld, and more particularly when misfortune has imbittered their fate. The first account of Correggio's indi- gence may have been exaggerated by his biographers, who sometimes are led into extremes ; and it would be folly to imagine him reduced to a state little short of beggary ! But as all is relative in the orders of society, the artist, although employed, may be very inadequately rewarded for the time devoted to his works ; and the money received barely sufficient to supply necessaries to his family. Surely this may be called living in poverty ! And, it maybe well ob- served that painters have seldom accumulated a for- tune by the produce of their art : if there are some instances to the contrary, they are by no means numerous. Correggio's method of painting must have taken considerable time, as every picture is composed with the most matured judgment, and executed with refined taste, which could only have been the result of long study and application, without which such perfection could never have been ac- quired. Let the servile imitator try to copy them, he will soon discover the immense time it will require to produce only a feeble image of these incomparable 60 CORREGGIO. originals. Perhaps Correggio took nearly as much time as Lionardo da Vinci in the accomplishment of his works, although in appearance they possess a broader method of pencilling. Within these few years Pungileoni* has brought forward documents to shew that Correggio received liberal sums for several of his chefs-d'oeuvre ; but this is no proof that such amounts were adequate to pay him suffi- ciently for his time and expenses. It is not my intention to discuss the riches or poverty of Cor- reggio ; that question has been so often the subject of conversation, that it will only be for the curious to refer to several works that have been published within these sixty years relative to him, and which are totally contradictory to former statements. Pun- gileoni, one of the last Avriters, has produced no less than three volumes in octavo on Correggio, published at Parma in 1817, 1818, and 1821, and has given much valuable information on the subject : noAv, supposing that the old authors have exaggerated the state of indigence in which Correggio passed his life, many may consider the contrary quite as much in the extreme. Under such discrepancies I will not presume to decide. Charles de Brosses, in his Lettres Historiques et Critiques sur 1'Italie, published at Paris, An. VII. of the French Republic, now nearly thirty-five years ago, gives the following anecdote in speaking of the * See Memorie istoriche Di Antonio Allegri detto il Correggio. CORREGGIO. 61 Notte, in his third volume, page 355. " Le Due de Modene ma dit quil conservoit le mar die par ecrit qui fut fait avec le Correge pour cet ouvrage : (il revient a environ 600 livres de notre monnoie, au- tant que je puts men souvenir); et il conservoit cet ecrit d'autant plus quil serviroit a detruire cette fable ridicule racontee par quelques historiens ; savoir, quon lui donna 200 livres en liards pour le price de son ouvrage, dont il fut si charme, nay ant jamais re$u de si grosse somme, quil revient courant chez lui avec cette lourde charge ; ce qui lui fit prendre une pluresie dont il mourut." The two hundred livres, French money, alluded to by De Brosses, refers to the payment Correggio received from the canons for the painting on the cupola at the cathedral at Parma. This anecdote is variously reported, as well as the sum given for this work ; but it appears pretty certain that the canons, who (generally speaking) have been always more disposed to receive than to pay, did not bestow on him the esteem his merit deserved. It must be confessed that superiority of wealth too often takes an ungenerous advantage of necessity ; and I fear Correggio himself experienced the truth of this un- charitable feeling. An enfeebled constitution sunk beneath an attack of pleurisy, and terminated his existence, at the age of forty, on the 6th March, 1534. He was buried in the Franciscan convent of Minor Friars at Correggio. DESCRIPTION OF A PART COLLECTION OF PICTURES WHICH WAS EXHIBITED AND SOLD BY AUCTION, BY MESSRS. CHRISTIE AND MANSON, KING STREET, ST. JAMES'S SQUARE, IN MAY, 1833. 65 DESCRIPTION, JOHN ASSELYN (CALLED KRABBETJE), Born at Antwerp in 1610, died at Amsterdam 1660, aged fifty. 1. THE BRIDGE OF AUGUSTUS. Canvas; height 17 inches, width 19. A mountainous landscape, with a river flowing towards the foreground, which is traversed in part by the ruins of this superb bridge. Beyond, on the summit of very elevated ground, is seen the town of Narni. In front, on the declivity of a bank, is a group of figures, one of whom is riding a grey horse ; another has three asses, at which a peasant is setting on a dog. This brilliant specimen was formerly in the collection of M. Reynders, of Brussels. Now in the possession of Colonel Eire. ASSELYN passed many years at Rome, where he obtained from his companions the nickname of F 66 ASSELYN. Krabbetje, in allusion to a deformity in his lingers, which were crooked, and gave him much incon- venience in holding his palette. The paintings of Claude le Lorrain appear to have had great influence in the improvement of his taste. The most re- markable views near Rome have been represented by him. On his way back to the Netherlands he remained some time at Lyons, where he married the youngest daughter of M. Houwaart Koorman, and went from thence into Holland. The novelty of his bright and clear manner of painting was much admired there, and is now called by the amateurs the " Karel du Jardin style ;" but as Asselyn was thirty years the senior of the latter, I should be inclined to believe that Karel du Jardin was his disciple, which may account for a similitude in some of their works ; but supposing it were so, the master was much surpassed by the scholar. However, the generality of Asselyn's productions have been always highly esteemed, and deserve a place in the choicest collections, particularly such as the picture which comes from the collection of M. Le Noir Dubreuil, described in the catalogue of the second sale of M. Laperiere, which took place the 19th April, 1825, as follows : " Une riviere coule paisiblement dans un vallon etroit horde de coteaux, la plupart eleves, tallies a pic et surmontes de bois. Sur le premier plan, un homme vu par le dos, un manteau brun sur les epaules, et la tete cou- ASSELYN. 67 verte d'un chapeau a grand lords, est monte sur un dne, et semble par son geste demander le chemin a une villageoise ; celle-ci tient une quenouille, et garde un petit troupeau de vaches et de brebis rassem- blees sur le bord du chemin. A quelques pas, un jeune gargon, accompagne d'un chien, suit de loin plusieurs chevres qui traversent la riviere a gue. Le soleil, cache derriere des montagnes, forme au- dessus de leurs cimes un foyer de lumiere qui se reflete sur les bords de quelques nuages amonceles a T Occident" Painted on canvas ; height 24 inches by 25^. It was sold for 4,100 francs ; and is now in the possession of Prince Beauveau, at Paris. Another excellent specimen was exhibited in the British Institution in 1834, under No. 92, in the collection of the Right Hon. Sir Charles Bagot, G.C.B., representing an Italian landscape, with the ruins of an ancient building ; on the left is a river gliding towards the distance, where there are an arched bridge and mountains. Some picturesque figures and animals are seen on the road; and a beautiful silvery sky embellishes this agreeable pic- ture. Height 26 inches by 32^, on canvas. F 2 68 LUDOLPH BACKHUYZEN, Born at Embden in 163J, died at Amsterdam in 1709, aged seventy-eight. 2. A VIOLENT STORM AT SEA. Canvas; height 5 feet 8 inches, width 11 feet 2 inches. An author may relate the dangers encountered by the intrepid navigator; but from description alone we can form no just idea of the hazards that surround him. It required the transcendent genius of Backhuyzen to pour- tray a tempest in all its horrors. On examining this painting we are struck with wonder; every thing is in motion; the winds lash the waves with furious violence, and cover the sea with foam. Several Dutch East- India- men appear in the utmost danger; and the sailors are using every exertion to keep clear of the mountainous coast, on which they are driving with impetuosity. But unfortunately the pilot cannot always weather the storm ; and we perceive its truth in this instance exemplified in the three vessels that form the principal action in the picture. The first, a large merchant-ship, has only one sail set, and with its assistance the crew are striving by every manoeuvre to gain the open sea. The vessel bear- ing the Dutch arms on the stern is also in imminent peril, two of her masts are snapt, one of them overboard ; all her safety depends on the one still standing. The third appears in frightful distress ; whirlpools of water sur- BACKHUYZEN. 69 round her on all sides, and threaten instantly to plunge her into the raging abyss. Other vessels are seen at a distance, whose safety may be considered precarious. The horizon, gilded by the setting sun, is discovered beneath the dark clouds, and the surface of the water is enlightened by its reflected rays, producing a magnificent but awful effect. This picture, the most important that is known of the master, was, in 1803, in the possession of Mr. F. A. C. Bouer, of Leewaarde ; from whom the late Mr. Cornelis Sebille Roos bought it, and by him it was sold, in 1805, to the Dutch government, when it was placed in the Stadhouse of Amsterdam *, where it remained with the other paintings until they were transferred, in 1814, to the Royal Museum of that city. The directors of the fine arts put it into a public sale in 1827, when I obtained it. Now in the possession of Mr. Emmerson. 3. THE PORT OF AMSTERDAM. Canvas ; height 20^ inches, width 24. Towards the city, which is seen at a distance, are two men- of-war, one firing a signal. The sky, with a great mass * At the back of this picture was written the name of William III., which made me suppose that Prince placed it in the Stadhouse, where I saw it twenty-one years ago ; but, according to the information I obtained on my last journey to Amsterdam, it appears to have been placed there by the Dutch government during the reign of Louis Bonaparte. 70 BACKHUYZEN. of clouds, indicates the approach of bad weather ; the water is agitated by a squall ; the sun, hidden by some clouds, throws a light on the left side, where is a view of the Y. The vessels, which are there assembled near the shore, are so finely pencilled that they denote this to be one of the most precious paintings of this master. Still in the possession of the author. 4. ENTRANCE TO A HARBOUR. Canvas ; height 22^ inches, width 27. To the right is the jetty or entrance to the harbour ; some persons are standing looking towards the left, where a beautiful vessel of war is seen with all her sails set, scud- ding before the wind, and firing a gun. A boat, carrying the admiral's flag, and full of sailors, reaches her to put them on board. Another vessel of war is already in the offing, and several smaller vessels are sailing in different directions. From the collection of Count Pourtales. 136. 10*. Now in the possession of James Morrison, Esq., M.P. 5. THE APPROACH OF A STORM. Canvas ; height 25f inches, width 30. A part of the picture is illumined by bright day-light ; an ap- proaching storm from the horizon on the left, darkens the BACKHUYZEN. 71 sky, and throws a tone of demi-tint on two beautiful ves- sels of war in full sail. Two fishing-boats are coming towards the shore ; the nearest is lowering her sails and entering the harbour to avoid the approaching storm. Several sailors wait the arrival of their comrades. This painting comes from the Backer family of Amsterdam. BACKHUYZEN, at the age of eighteen, left his pa- ternal roof with the intention of becoming a mer- chant ; and for that purpose he went as clerk, in 1650, into the counting-house of Mr. Bartelot, at Amsterdam ; but very soon abandoned that pursuit as uncongenial to his inclination, which prompted him to study the art of painting: and so successful was he in his new career that many of his patrons purchased his drawings at from 10 to 100 guldens each. This so encouraged him, that he took up the palette and pencil, and began to paint under Albert Van Ever- dingen ; but afterwards becoming acquainted with several others of his profession, he took a particular fancy to the mode of painting of Hendrick Dubbels ; and, in order to make himself efficient, he went to re- side in that part of Amsterdam which is opposite the Y, that he might observe at his leisure those wonder- ful scenes in nature which are there perpetually changing, and which led him to contemplate the varying appearances of the ebbing and flowing of the tide, the rolling of the waves, and driving of the 72 BACKHUYZEN. \ clouds, which he has on many occasions developed with all the grandeur that marine views present. His talents soon attracted the particular attention of the Burgomaster and other high functionaries of Amster- dam, who, in 1665, ordered a picture from him, for which he received 1,300 guldens, and an additional gift as a mark of their satisfaction. This picture was afterwards presented to Louis XIV., who, de- lighted at receiving the gift, placed it in the Louvre. Backhuyzen thus became more and more re- nowned, and several sovereigns and princes honoured him with their presence. The Czar, Peter the Great, who was visiting the most civilized parts of Europe, was so struck with the wonderful results produced by the arts and sciences in Holland and England, that he forgot for the moment his crown, his court, and courtiers, and became an artisan at Zaandam, to learn the art of ship-building ; and often consulted Backhuyzen on the science of drawing, that he might attain a general knowledge of his pursuit : by these means he became the ornament of his empire and the benefactor of his people. This extraordinary monarch saw perfectly well that knowledge and in- dustry are the distinguishing marks of the superiority of a people ; and, no doubt, wherever the arts and sciences are cultivated, that country will become an enlightened and flourishing state. It is the noble faculties of the mind of man which raise him above the ignorant, and the expansion of which bring him nearer to those of the Divinity. BACKHUYZEN. 73 If we could bring together all the works of Back- huyzen, we should be surprised to see the number and variety of paintings this industrious genius has pro- duced ; but we should discover among them many of an inferior quality, for this artist having lived to an advanced age, his latter works are too much over- powered by a reddish tone of colour, which, in some of them, is very displeasing, and consequently they differ considerably from the fine works that he painted in the prime of his life. GIOVANNI BELLINI, Born at Venice in 1422, died in the same city 1512, aged ninety. 6. THE HOLY FAMILY. Panel ; height 33^ inches, width 24. This picture represents the Virgin, with her Child standing before her ; on her right is St. Peter, and on the left St. John ; three cherubim are seen in the clouds. The high finish of this ancient painting is executed with the most scrupulous attention to nature, and partakes of the early character of his time. The paintings of this master are become scarce. This one formed part of the Brentano collection, and also of that of the Prince of Orange. Now in the collection of Mr. L. J. Nieuvvenhuys, at Brussels. PREVIOUS to submitting any remark on Gentile and Giovanni Bellini, it may not be irrelevant to bestow some observations on Hubert and John Van Eyck, who were associated with the most important epoch in the annals of the arts. Their school (called the School of Bruges), which began to flourish about 1395, was BELLINI. 70 infinitely superior to any other at that time founded in Italy ; for a picture presented by John Van Eyck to Alphonso I., King of Naples, attracted much ad- miration, not only as a production of the highest merit, but still more by the invention (at that period unknown in Italy) of his newly-discovered secret of painting in oil. Antonello da Messina was so much charmed with it that he determined to travel into Flanders to study in the school of J. Van JZyek ; and it was not until his return that the Bellini became acquainted with the new process, and began to ex- ercise the method of oil painting, and of reforming the Gothic style. In these improvements they ren- dered themselves celebrated in the fifteenth century (particularly Giovanni). Their works still retained a certain stiffness in the disposal of the figures; but their taste became more refined, the drawing more correct, and their colouring blended with greater har- mony than any of their predecessors in Italy. During this era the progress of the art spread with astonish- ing rapidity ; and the painters of Tuscany, daily advancing, omitted no means of exciting their pupils by instruction and emulation to attain that degree of excellence which produced the famous colourists of the Venetian school, viz., Giorgione, Titian, &c. &c., of whom we shall have opportunities to speak here- after. 76 NICHOLAS BERCHEM, Born at Haarlem in 1624, died in the same town 1683, aged fifty-nine. 7. THE ROCKS. Panel ; height 15^ inches, width 18. Berchem is one of the beaux genies of his age. His pic- tures are always composed with taste ; his imagination is extended in his landscapes; his animals are designed with elegance, and touched with a pencil flashing with spirit. His colouring is admirable ; all his paintings are for the most part of a gold or silvery tone, as will be seen by the specimens which are in this collection. Under a large arch, formed by rocks, a shepherd is mounted on a mule, and driving before him an ass with a pack- saddle on its back, three oxen, and two sheep. Towards the left is a traveller carrying his bundle, and followed by his dog; further on a woman is walking towards the distant rocks. Different reflections of light, produced by the rays of the setting sun, are managed with a striking effect. It conies from the collection of M. Laperiere, and was sold at Paris, the 14th of April, 1817, for 3,500 francs. Now in the possession of Colonel Eire'. BERCHEM. 77 8. VIEW OF A PORT IN THE LEVANT. Panel; height 17 inches, width 21. Not far distant from the harbour, a lady elegantly dressed is walking, followed by a servant carrying a parasol ; a pretty spaniel is barking before her : another dog has seized a poor cripple who is asking alms. To the left are sitting in the shade a cavalier and a Turk conversing to- gether ; farther off is a fountain adorned with the statue of Diana, by which stands a peasant and a woman, with an ass loaded with several lambs. Sailors are occupied in loading and unloading merchandize : several boats and a large vessel are seen in the Port ; and the distance is terminated by a range of mountains. Nothing can be more charming than this delightful picture: it is of a clear and brilliant tone : the time chosen is morning. This picture was sold at the sale of the collection made by Sir Simon Clarke and George Hibbert, Esq., iu 1802, for 310 guineas. 289. 16*. Now in the cabinet of Henry Bevan, Esq. HOUBRAKEN (of all the Dutch writers) gives the most enlarged account of the life of Nicholas Ber- chem I may indeed assert, the only one ; for I con- sider Campo Weyerman only a plagiarist : as to D'Argenville and Descamps, they have translated largely from Houbraken, but not always correctly ; and from them, Pilkington, Bryan, and others of more modern date, have taken their principal remarks on the esteemed Berchem. 78 BEKCHEM. The first-mentioned author says this painter was the son of Peter Klaasze, of Haarlem, an indifferent artist. By this it appears his father's name was Klaasze, and not Van Haarlem, as stated by Des- camps, as well as by all who have followed him. Van Haarlem, placed after the signature Peter Klaasze, means, " of the city of Haarlem," where this painter was born, which is situated two leagues from Amsterdam. Houbraken gives several reasons respecting the origin of Berchem's name ; among others, the following : " On reference to the burial certificate of Nicholas Berchem, he died in 1683, full sixty years old, shew- ing that his birth took place in 1624*. Many sup- pose the surname of Berchem arose from a circum- stance thus related : He had already cultivated the art of painting sufficiently to display considerable profi- ciency, when he suddenly took a fancy to go to sea, and engaged himself on board a vessel for that pur- pose. When the muster-roll of the crew was about to be called, the steersman, who knew Berchem, was much surprised at seeing him among the company, and addressed him as follows : * Is it not a pity that so promising a young man should forsake a pursuit in which he has given such evident proof of talent, and be found here?' This appeal to the young artist prevailed ; and he was conveyed on shore again by * This must be an error, for if Berchem was sixty years old, he must have been born in 1 623. BERCHEM. 79 the direction of the steersman, who, in order that the muster-master might not see him, called out to the sailors ' Berg-hem,' which signifies ' hide him.' This is the first anecdote I heard accounting for the patro- nymic adopted in future by the painter. " Others state he derived the nickname from a fire that happened when he was a child, and, in order to save him, ' berg-hem' was called out. Which of the two reports (continues Houbraken) is the true one, I cannot assert : they have, however, given me an opportunity of describing the origin of his name *. After all, we might conclude from either that he lost his parents when very young, and that his early years were left without any proper control. Still the Chevalier Karel de Moor has assured me that he acquired the name in question from having on one occasion offended his father, who was of irascible disposition, and who followed him to the residence of his master (J. Van Goyen), in order to chastise him; the latter, to save him from the father's anger, cried out to the other pupils, * Berg-hem,' which, as before stated, means ' hide him.' ' : All these particulars, as given by Houbraken, are at best very contradictory ; and I do not consider the origin of his supposed sobriquet at all clearly defined. Indeed, on looking at the signature of the artist him- self, our faith in the above anecdotes is somewhat * If Houbraken is not certain whence the derivation comes, the origin of the sobriquet, " Berg-hem," must surely be doubtful. 80 BERCHEM. shaken, as he invariably spelt his name " Berchem," and not " Berg-hem." Our ancestors in Holland had the habit, on certain occasions, of accompanying their family names with the Christian names of their fathers; for instance, Ber- chem may have signed " Bercheni Pieter Klaasz." The z after Klaas is the abbreviation of " zoon (son) ; so that, if Houbraken founded his authority on the burial certificate before alluded to, in which, by some inaccuracy, an E had been added, all the previous uncertainty would be much heightened at the present moment. With so many conflicting opinions, I will not attempt to argue as to the correct family name of the painter. Some of these reports have misled more than one writer, where a G has been substituted for a c, but the signature of his genuine pictures has always been found thus, as already stated, " Ber- chem." This artist appears to have had some difficulty in satisfying his ardent desire of being properly in- structed, as he studied under five different masters, viz., John Van Goyen, Nicholas Mojaart, Peter Francis Grebber, John Wils, and finally under his cousin, John Baptist Weenix. Bercheni was very industrious ; and his pencilling is as delightful as it is remarkable, and perfectly appropriate to the pastoral subjects of his paintings. Houbraken speaks of a fine picture by him, the sub- ject being a mountainous landscape, enriched with figures, cattle, and sheep, which he painted for De BERCHEM. 81 Heer Vander Hulk, Burgomaster of Dortrecht, in competition with John Both ; and Houbraken states it was in his time still in the possession of the heirs of the Burgomaster. The well-known anecdote of that gentleman's liberal commission to the two painters is highly laudatory of his encouragement of the arts : and one is scarcely able to decide which is the more to be admired, his generous desire of rewarding the extraordinary merit of each work, or the delicate manner of allaying the rivalry of the artists, by pre- senting to each the sum promised only to the suc- cessful candidate. Houbraken very properly extols this noble example of judgment and justice ; nor can it be too frequently borne in the remembrance of the protectors of the arts, who, having the power, may equally have the inclination of imitating so munificent a trait, by liberality and encouragement towards modern artists, several of whose produc- tions maybe said to rival those of the old masters. Among the pictures I have possessed of Berchem was one which I purchased prior to the Reynders sale in 1821. I sold it afterwards to M. Laperiere, in July 1822, for 20,000 francs : it is described in the catalogue of his second sale (1825) under No. 88, as follows : Vue dun milage de Hollands. Ce village est situe au-dela et sur le bord d'un large canal ; a main gauche s'elevent, environnees d'arbres, une tour cre- nelee et plusieurs maisons, dont quelques parties sont encore vivement eclairees par les derniers rayons du 6 M2 BERCHEM. soleil couchant. Plus loin, vers la droite, la tour d'une eglise domine avec une espece de majeste beaucoup d'autres edifices qui composent la masse principale du village. Quelques barques sont at- tachees sur les bords du canal ; au milieu flotte un long radeau de planches, conduit par plusieurs mari- niers. Sur le devant, parmi des bestiaux qui pais- sent en pleine herbe, une femme tire le lait d'une vache dont un paysan tient les comes. " Une chose bien remarquable ici, c'est que la deli- catesse du pinceau, le fini, 1'exacte imitation de chaque chose, y sont portes beaucoup plus loin que dans aucun autre tableau de ce maitre, sans que la touche y ait rien perdu de son esprit. Ce beau paysage, il n'est pas inutile de le dire, apres etre sorti du cabinet de M. de Tolozan, passa a Bruxelles dans celui de M. Reynders, dont il a long-temps fait le plus bel ornement." This picture is painted on canvas ; height 32^ inches by 40 ; now in the collection of the Baron Frederick De Mecklenbourg. Another effort of this excellent painter's genius I bought in 1824, at the sale of De Heer van der Pals, at Rotterdam, for 8,295 guldens : it is painted on panel, height 22^ inches by 26^, and represents the ruins of an ancient Italian edifice. To the left a horse and dog are drinking at a fountain, round which is grouped a variety of cattle, conducted by a female peasant dressed in a red corsage, mounted on a mule, and accompanied by three men. At a distance is an BERCHEM. 83 ancient triumphal arch, and near it a woman in con- versation with a pilgrim. Through the opening a road and distant country are seen. This exquisite picture is now in the possession of Lord Charles Townshend, to whom I sold it in June 1825. Among my acquisitions on my journey to Holland, in 1833, is the known picture of " Le Passage du Rhin," engraved by Avril. This scene brings to our recollection one of the events of June 16, 1672, when Louis XIV. was about to invade Holland. Berchem has chosen the moment when the Dutch cavalry is charging the French guard to oppose their crossing the Rhine. Near the ruins of an ancient bridge, and in the foreground, is delineated with great spirit the principal action of the combatants. Behind them is a range of rocks leading insensibly towards the distance, where an old castle is discernible, at the base of which a regiment of cavalry is attacking infantry. On the left is a squadron of horse passing the river, as if about to join the conflict. Painted on canvas ; height 21 inches by 31. G 2 84 JOHN BREUGHEL, Born at Brussels in 1568, died at Antwerp 1625, aged fifty-seven. 9. LES ENVIRONS DE BRUGES. Panel; height 15| inches, width 22 J. In the middle of the picture is the great road leading towards the town of Bruges, hardly perceptible at a dis- tance ; a part of the landscape is illumined by a ray of the sun. Two windmills situated on the height of the hill, a miller loading a cart drawn by a white horse, and a peasant girl seated and talking with a villager, with some other persons pursuing their way towards the town, complete this composition. Le Bas has made a charm- ing engraving of it under the title of " ll e Vue des Envi- rons de Bruges." This picture then belonged to his Royal Highness Louis Joseph de Bourbon, Prince de Conde ; to whom this engraving is dedicated. 14. 14s. Bought by Mr. Redfern. THE works of this artist are not so much sought after as formerly, nor do they obtain so high a price. This may perhaps be owing to a greater truth of BREUGHEL. 85 colouring being required than they possess, their proper tone being overpowered by a blue tint of the ultra-marine. This is to be the more regretted, as the finish of his pencilling is exquisite. Breughel was employed on several works of Ru- bens, who was so sincerely attached to him that, after his death, he made himself guardian to his children, which shews his feeling the more as he could not have been compelled to accept this office, being a privy councillor. He educated them as his own ; and raised to the memory of their parent a sepulchral monument inscribed with the following Latin epitaph, which he composed himself, and above it he placed a portrait of his deceased friend, traced by his own hand. D. O. M. JOANNES BREUGHELIUS PETRI FILIUS HIC SITUS EST : QUI ARTIS GLORIAM, A PATRE ET AVO PATERNO, PETRO COUCKIO ALOSTANO, PlCTORIBUS SUI SECULI PR1MARIIS VELUT HERIDITARIO JURE ACCEPTAM INGENIO AC INDUSTRIA AD^EQUAVIT. IMP. CMS. RUDOLPHO II. AUGUSTO ACRI OMNIUM BONARUM ARTIUM ESTIMATOR! AC PATRONO, GRATUS, & ACCEPTUS. A SERENISSIMIS ARCHIDUCIBUS 86 BREUGHEL. ALBERTO & ISABELLA BELGII PRINCIPIBUS IN FAMILIAM ADSCITUS MODESTIA & MORUM COMITATE OMNIUM ANIMOS ETIAM INVITOS DEVINXIT. LlBERI ISABELLA DE JODE, & CATHERINA A MARIENBOURG, CONJUGIBUS LECTISSIMIS SUPERSTATES, PARENTI CHARISSIMO P. C. DECESSIT PRID. IDUS JAN. MDCXXV. VIXIT ANNIS. LVII. We see by this that Breughel was born in 1568, and died in 1625 (which shews that former authors have been wrongly informed). He was buried with great solemnity in the church of St. George at Antwerp. 87 JOHN VANDER CAPPELLE, Born in Holland about 1635. 10. SEA-VIEW. Canvas ; height 22^ inches, width 27. The sea is slightly agitated : several barges are seen in the centre of the picture, carrying passengers ; at a distance are two men-of-war. This beautiful picture is of an ad- mirable tone of colour, and, in every respect worthy of the pencil of A. Cuyp. It comes from the Brentano col- lection, and its companion now forms part of the choice collection of Lord Charles Townshend, M.P. ALTHOUGH Vander Cappelle is of the number of those of whom the Dutch historians furnish no record > if one may judge from his first manner of painting, he must either have been a pupil, or have studied the works, of the celebrated William vande Velde ; for many of his pictures recal to mind that master, for whom he has been sometimes mistaken, not being generally known. Many of his pictures having come into my pos- session, I have had the opportunity of observing 88 CAPPELLE. that he adopted various styles of painting quite op- posed to each other, which require particular atten- tion not to confound them. I have seen some which appear to have been painted with all the genius of Rembrandt, so surprising is their effect, and others that might be classed with the works of Albert Cuyp, as already mentioned. He was a great colourist, and, without doubt, is one of the most celebrated painters of marine subjects of the Dutch school. One of his best paintings is that recently bought by Lord Charles Townshend, M.P., representing a river- scene, the entrance of the Brill: a Dutch dogger with passengers is approaching, while a boat con- taining seven persons passes before it the officer in a red coat is saluting. On the left is the jetty of the harbour ; in the distance, the sea, with a man-of-war and other vessels sailing in various directions. On a piece of timber is written /. V. Cappelle. The effect of daylight presents that singular appearance sometimes seen after a shower at sun-set, the driving clouds producing strong shadows over the water ; and the effect altogether is strikingly im- posing. On canvas ; height 29 inches by 37}. 89 CLAUDE LE LORRAIN, OR GELEE, Born at the Castle ofChamagne in Lorraine, in 1600; died at Rome 1682, aged eighty-two. 11. A SEA-PORT OF THE MEDITERRANEAN. Canvas ; height 30 inches, width The waves are rippled at the entrance of a harbour ; on the left a fountain partly hides a vessel with three masts, carrying guns, and the flag of France ; part of the crew of the vessel are employed in furling the sails. A boat, almost alongside, is bringing bales of merchandize; a second boat, which has just reached the beach, is also laden with goods, which the sailors are employed in dis- embarking. On the right is a triumphal arch, orna- mented with pillars ; further on are two towers, and also an embattled wall and other edifices. Not far off two frigates are riding at anchor ; the sun, a little above the horizon, spreads upon the objects the most brilliant lustre. This rich composition formerly adorned the palace of the Duke Cardinal of Richelieu ; and an engraved copy of the original drawing of this painting is found in the Liber Veritatis, tome i. No. 6. 409. 10s. In the possession of Wynne Ellis, Esq. M.P. 90 CLAUDE LE LORRAIN. WHEN we view the various circumstances occurring in life we are astonished how strangely the caprices of fortune change our destinies, and among the nu- merous instances of this is that of Claude le Lorrain, who was thus drawn out of singular obscurity. Not being disposed to learn at school, he became the ap- prentice of a pastry-cook ; after remaining some years in that situation, he was still unsettled, and left his country with some young men of the same trade, to go to Rome. Ignorant of the language, chance at last brought him to Agostino Tassi, who engaged him as a domestic, to grind his colours, and clean his palette and pencils. It was here that the wonderful powers of his mind developed themselves ; that the sight of painting inspired him with the desire of becoming a painter and he did become one of the most illustrious that it devolves on history to record. It is but rendering justice to his memory to assert, that there never existed a more extraordinary man; his classical imagination threw a charm so elevated over his subjects, that all his scenes are combinations of a grand and enchanting description. His pictures appear like so many beautiful prospects seen through an open window ; and we may fancy every variety of landscape, sea-port, or Roman edifice, brought in reality before us. Words are inadequate to describe the effect with sufficient energy ; and, consequently, the reader who wishes to obtain the utmost accuracy of information, should refer to the " Liber Veritatis," one of the most beautiful works relative to the art, and CLAUDE LE LORRAIN. 91 in which are to be found not only the subjects which have been engraved from the original drawings he made for his principal pictures, but also remarks upon some of them, with the names of those persons for whom they were painted, and interesting anec- dotes of his life. One of the most precious pictures I ever possessed of this master came from the Danoot collection at Brussels ; it is 13f inches in height by 17 inches wide, and represents a sea-port, enriched with many vessels and figures, with buildings adorned with porticos and columns : the day is lighted up by the most brilliant sunshine, which is reflected on the surface of the water. The effect of the sun is here so beautifully pourtrayed, so true to nature, that the art of painting conceals itself in skill so perfected. It was sold under No. 27 of the catalogue ; and I fully reckoned upon obtaining it at about 10,000 guldens, but so great was the competition for this bijou, that, to become the possessor, I was obliged to carry my biddings as high as 14,850 guldens, including the auction charges of 10 per cent. ; at which price it was adjudged to me, on the 30th of January, 1829. It now forms part of the collection of the Marquess of Lansdowne. GONZALES COQUES, Born at Antwerp in 1618, died in the same city 1684, aged , sixty-six. 12. FAMILY PORTRAITS. Panel; height 24 J inches, width 29. This picture is described in the catalogue of the collec- tion of the late Mr. Danoot, of Brussels, under No. 11. In the middle of the picture, a cavalier, standing, dressed in a black costume, is holding the hand of his lady, sitting in a chair ; two children are amusing them- selves with birds : on a table, covered with a blue cloth, are seen books, drawings, and a group in sculpture, repre- senting the Rape of Dejanira. The hall is adorned with columns, and a red drapery, which form a very agree- able contrast, and throw back to advantage the land- scape seen in the distance. The accessories would imply that the cavalier is the portrait of a sculptor of the ancient school of Antwerp. GONZALES was placed under the tuition of David Ryckaert the elder*: after studying the works of * I see by some verses in Corn, de Bie, p. 1 00, that this Ryckaert GONZALES COQUES. 93 Anthony Van Dyck, he adopted his style, but upon a smaller scale, as is sufficiently proved in his pic- tures, which retain the same manner of pencilling as that artist adopted in his portraits. He appears to have been inspired with the same genius ; and his contemporaries, to signify that such was their opinion, gave him the nickname of the " Little Van Dyck." Gonzales' works were much esteemed by the most illustrious patrons of his day ; namely, King Charles I. of England, the Archduke Leopold, and the Prince of Orange, for whom he painted several pictures, and received from the latter personage a double gold chain. These liberal marks of favour (as d'Argenville observes), when dispensed by princes to men of talent, serve to embellish their memory, while they confer additional grandeur on monarchical fame. The truth of this is authenticated by all historical records handed down to us. If mo- narchs do not encourage the arts, they soon decline and decay ; but when they set the example, their patronage influences the public taste, as in the in- stance before us, when wealthy imitators soon sought the productions of this artist. Mr. Van Eyck, a magistrate of the city of Antwerp, employed his pencil ; so did that admirer of the arts, Mr. Bax, of painted mountainous landscapes, with running water; and I must confess I do not recollect ever to have seen a picture by that painter, who must not be confounded with his son (also named David), and who is known generally by representations of conversations of peasants, corps-de-garde, and subjects of witchcraft. 94 GONZALES COQUES. Brussels, who possessed, it is said, several of his choice paintings. It is stated by Corn, de Bie, that Gonzales became the son-in-law of old David Ryckaert ; but his wife does not appear to have lived long after their mar- riage. According to Descamps (who obtained the following information from Gonzales' epitaph), he married the daughter of Mr. Lonegraeve, and by this alliance considerably increased his wealth. But his good fortune was disturbed by the following melan- choly events : first, the death of his daughter, Gonzaline Coques, which happened llth October, 1667. Three years afterwards (1670) he lost a son; and, to complete his misfortunes, his wife died the 2d July, 1674. These domestic calamities made him disconsolate. To rouse him from his state of melan- choly, his friends at last prevailed upon him to enter upon a third marriage with Catherine Ryshenvels, with whom he lived ten years, and died 18th April, 1684. His remains were deposited in the tomb he had chosen for the sepulture of his family, in the chapel of the Virgin, in the church of St. George at Antwerp. Several of the finest pictures known of this master having been in my possession at various periods, I have had many opportunities of becoming acquainted with his different styles, as well of his portraits as of his manner of painting animals and landscapes, which he executed most skilfully. One of these excellent specimens is a picture on copper, representing a land- GONZALES COQUES. 95 scape at sun-set, with a lady and cavalier on horseback, followed by a black servant and a dog. The figures, animals, &c. are beautifully painted ; and every part deserves encomium. I sold it to Her Majesty the Queen of the Netherlands, who presented it to His Royal Highness the Prince of Orange, in whose col- lection it is to be seen at Brussels. Another picture, now in the possession of the Right Hon. Sir Robert Peel, I bought at Antwerp, from Mr. Mettepenning, in 1826. The subject is a family group of eight figures walking in a garden ; painted on canvas ; height 27 inches by 35. But the most celebrated work I have seen of his is the one engraved in Le Brun's gallery, by Moitte ; it afterwards passed into that of Lucien Bonaparte, in whose collec- tion it is etched by Leonetti, under the title of " Reposo Campestre," and represents a lady and gentleman seated in a garden, surrounded by their family and five dogs ; a splendid fountain of Neptune, symbolical of navigation and commerce ; other ac- cessories are introduced with great taste. All the excellences of the painter's abilities are combined in this picture: he has admirably managed all the de- tails of the landscape*, which, for its harmony, grada- * Mr. I. Smith is wrong in stating in his fourth volume, page 256, No. 10, that " The landscape portion of this excellent picture is by the hand of Artois." It is a sad mistake to attribute Gonzales' works to the inferior talents of Artois, whose manner of painting is entirely different. 96 GONZALES COQUES. tion of tints, and beautiful execution, will bear com- parison with the works of any other great master. I bought this picture at Paris, in 1823, from M. Gasson (related, I believe, to Lucien Bonaparte), and sold it afterwards to His Royal Highness the Prince of Orange (whose collection is one of the most choice ever brought together). Another picture that I admire very much, was sold in the second day's sale of the collection of Ad- miral the Right Hon. Lord Radstock (which took place 13th May, 1826) for 465 guineas, and is de- scribed as follows : " The Verbiest family, assembled in the paved vestibule of their country seat, in the corner of which a fountain is playing. The mother, seated, is surrounded by four children ; their father, accompanied by a favourite dog, has just entered at a portico supported by caryatid figures, and roofed with vines, which opens to a landscape, in the manner of Rubens. Upon a yellow curtain, behind the chair of the mother, the arms of the family are impressed." This charming bijou is painted on copper; height 21^ inches by 28. It now adorns the collection formed by His late Majesty, George IV. 97 GERHARD DOU, Bom at Leyden in 1613, died in the same town 1674, aged sixty-one. 13. THE ASTRONOMER. Panel; height 12 \ inches, width 8. An effect of candle-light, rendered with a truth and delicacy perfectly wonderful. It discovers the philosopher at night, in the attitude of profound study, before a window ; with one hand he holds a candle, which throws its light on the volume before him ; the other, resting with a pair of compasses on a celestial globe, appears about to aid some calculation. A bottle, half full of liquor, and an hour-glass are placed on the sill of the window, which is arched above, and supported by two columns ; one of them is surrounded by a curtain, a Cupid is cut in bas-relief on the other. It is the same model of Cupid represented on a column found in the famous picture, known by the name of " La Jeune Menagere," dated 1658, in the museum at the Hague. From this we may presume it was painted about the same period. This precious gem is worthy of the highest estimation, jus- tifying the great reputation of this master. It comes from the gallery of Hesse Cassel, from whence it was H 98 GERHARD DOU. taken by the French during the late war in Germany. Tt was sold at M. Laperiere's sale in 1817, and in that of Joseph Barchard, Esq., in 1826, for 300 guineas. 224. 14*. Bought by Charles Robert Ayres, Esq. 14. THE DOCTOR. Panel; Jieight llf inches, width 8. A doctor, dressed in a robe with open sleeves, is standing near a window, holding a bottle in his hand. A woman has just entered his study to consult him on the illness of a child she holds in her arms. A striped belt, negli- gently thrown on the window-sill, is grouped with an open book, a copper basin, an hour-glass, and a sealed parchment. These accessories are varied with taste. A curtain, which is of remarkable execution, brings to the mind his celebrated picture of the Dropsical Woman, in the Louvre ; and where he appears to have represented the same doctor described in this picture. From the collection of the late M. le Chev. Sebastian Erard. Now in the possession of Colonel Bire. No school has exercised more patience and perse- verance in the pursuit and accomplishment of its studies than the Dutch; and its attainments are proved in those exquisitely finished cabinet pictures which GERHARD DOU. 99 have at all times excited admiration. Gerhard Don was one whose works were most highly appreciated ; and Holland, with great reason, placed him among the most celebrated painters whose talents did honour to that nation. He had the advantage of studying under the renowned Rembrandt, who bestowed upon him his best advice, of which he profited so well that he attained that high perfection characterized in all his works. He possessed excellent taste ; and al- though all his pictures are of small dimensions, his drawing is elegant and correct, and the effect of his colouring is most admirably managed. There is no doubt that he was far superior to all who followed his steps : there are writers, however, who vaunt the works of his pupil, F. Van Mieris, as comparable to his. I have never seen any of his paintings that could be placed in competition with the picture of " La Jeune Menagere," in the museum at the Hague, or " La Femme Hydropique," in the Louvre, both of them by G. Dou. In the annals of the Louvre it is stated that the latter picture was bought by the Elector Palatine for 30,000 florins : he presented it to Prince Eugene ; at the death of whom it passed, by inheritance, to the house of Savoy, and was added to the gallery at Turin. The King of Sardinia, it is said, made a present of it to General Clausel, who sent it to the Directory, by whom it was placed in the Louvre, where it still remains one of the finest orna- ments of the kind in France. We know that, during the time of the French Republic and that of the H 2 100 GERHARD DOU. of Napoleon, all the chef-d'oeuvres that were found in the countries conquered by their armies were carried off; and Napoleon, knowing well that the arts are the best attributes of a monarch's great- ness, turned it to the best advantage by dazzling the French people with these splendid ornaments of his triumphs. Many writers of the life of this painter have fallen into the error of calling him Gerhard Douw, or Dow ; but this is incorrect, for the pictures signed by him are marked G. DOV. At that epoch the V was used indiscriminately with U, so that his real name was Don. 101 ANTHONY VAN DYCK, Born at Antwerp in 1599, died in London 1641, aged forty- two. 15. THE PORTRAIT OF FRANCIS DE QUESNOY. Canvas : height 30^ inches, width 32f . For portrait one cannot sufficiently admire the sublime pen- cil of Van Dyck. He has represented with such success the characters of his age, that they seem the very image of life itself; for not only has he represented the person, but also the very thoughts are expressed in the coun- tenance. In this respect this talented painter has risen to the greatest degree of excellence that it is in the power of art to produce. The face of the celebrated sculptor is interesting ; his look is full of expression, and denotes a character tinged with melancholy. His brown hair is softly executed ; a ruff falls flat on his black mantle, which is very full, and covers the greater part of his person In his hand he holds an antique head of a faun sculptured in marble. Van Dyck, in representing his friend, the celebrated De Quesnoy, has paid particular attention to the execution of this work, which may rank amongst the finest productions of this wonderful master. 102 VAN DYCK. At the bottom of the engraving which was taken from this picture in 1751, by P. Van Bleeck*, there is found writ- ten, IC Francesco Di Quesnoy, called il Fiammingo, a sculptor; born at Brussels in the year 1594, and died at Leghorn the 12th July, 1643, by a slow poison given him by his brother, who confessed the fact before he suffered. Bellari." 16. SlLENUS. Canvas ; height 52^ inches, width 43. The old Silenus, tottering in his intoxication, holds a vase negligently in his hand, spilling his liquor ; a satyr, who is supporting him by the arm, has his head adorned with achaplet of vine leaves, and embraces a Bacchante, who holds a tambourine. This piece, which, for its bold exe- cution, we may consider as a study, comes from the collection of M. de Vink Wessel, of Antwerp, where it was sold in 1814, for 1,200 guldens. * Mr. John Smith knows very well that there is but one print of Francis de Quesnoy, surnaraed Fiammingo, and which was engraved in mezzotinto by P. Van Bleeck, in 1751, after the painting which formed part of this collection. This is indeed observed by Mr. Smith, in the 3d volume of his Catalogue Raisonee, page 98, No. 339. But in another part of his work, at page 37, No. 3'2, he attributes the same engraving to a painting in the gallery of Potsdam: he there says: " Portrait of a sculptor, holding the model of a head in his hand. Probably the portrait of Fiammingo ;" thus leaving a doubt about his assertion/ though he affirms that it was " engraved in mezzotinto by VAN DYCK. 103 FROM all the information handed down by various writers we are enabled to collect that, from his youth, Van Dyck gave promise of remarkable talent ; and, as this became developed with his advancing years, he soon surpassed all his fellow students. The fol- lowing anecdote will prove the fact : Rubens, being constantly occupied throughout the day, sought the recreation of a walk almost every evening ; during this absence his scholars never omitted the oppor- tunity of viewing the progress he had made in the course of the day, which the old servant of Rubens, named Valveken, enabled them to do, with the under- standing of his receiving some emolument from the young men for the permission : this was annually given. By these means they had the advantage of studying the way in which their master prepared his works, and his manner of finishing them. On one occasion the young artists were so eager to view the progress of a picture, that, in pressing forward for closer examination, they pushed Diepenbeeck VanBleekin 1751." As Mr. Smith has never seen the second en- graving which he mentions, he ought not to lead others astray with observations founded on his own imagination ; for these two pictures have nothing to do with each other, as will be seen by the catalogue of Matthias Oesterreich, of the gallery of Sans-Souci at Potsdam, printed in 1771, page 75, No. 81, where it says: " Portrait d'un homme. Cet homme a dans la main une tete de platre, qui paroit representer celle d'Homere. On ne sauroit dire avec certitude si Van Dyck a voulu representer par ce buste un sculpteurou quelque savant. Je ne sache point que ce portrait ait etc gravd. On voit bien que ce morceau n'est pas acheve : d'ailleurs il est peint avec aisance." 104 VAN DYCK. against the painting, when part of the arm and the face, which Rubens had just finished, were unfor- tunately much injured. The greatest consternation seized them, and, dreading the displeasure of their master, John Van Hoeck, with admirable presence of mind, said, " My dear comrades, there is not a mo- ment to be lost ; by some means we must endeavour to repair this unlucky accident ; we have still three hours left ; the most able among us must take the palette and strive to do his best. For my part, I vote that Van Dyck undertake it ; for he is the only one likely to succeed. This was instantly and unani- mously approved of. Van Dyck, the only one diffi- dent of his own success, took the pencil with fear and hesitation, but restored the injured parts so inimitably, that several writers state, even Rubens, on seeing his picture the following day, observed, in the presence of some of his pupils, " This arm and face (alluding to those repainted by Van Dyck) are not the worst part of my performance yesterday. The anecdote may be true ; but that Rubens should have taken Van Dyck's work for his own appears to me a matter of doubt. I am more inclined to believe that, having received information of the circumstance, and admiring the talent displayed by Van Dyck, he took this delicate method of complimenting his gifted scholar. It is certain Van Dyck so clearly understood his master's art, that, in several of his works, he ap- pears to have snatched the genius of Rubens' self; and so perfectly has he identified himself with that. VAN DYCK. 105 great man, that many of his own paintings remain still confounded with those of his master. I have not the slightest doubt, that the portraits of the President Richardot and his son, placed in the Louvre as the works of Rubens, were executed by Van Dyck, about the same time as his celebrated portrait of Govartius, now in the National Gallery. Van Dyck's handling, when in the school of Ru- bens, had great similitude to the latter ; still, if we observe the works of the two painters with attention, their pencilling has a different turn Rubens' texture of colouring is not so highly modelled as that of Van Dyck, and is distinguished by a flourishing mode of execution : Van Dyck's, on the contrary, is more highly wrought ; but he did not possess the fire of Rubens, and consequently studied the generality of his works more completely. In the History and Antiquities of the Castle and Town of Arundel, by the Rev. M. A. Tierney, F.S.A., vol. ii. p. 490, is a letter, written from Antwerp, July 17, 1620, to the Earl of Arundel, by an agent, of which the following is an extract : " Van Dyck lives with Rubens, and his works are beginning to be scarcely less esteemed than those of his master. He is a young man of one-and-twenty. His parents are persons of considerable property in this city ; and it will be difficult, therefore, to induce him to remove, especially as he must perceive the rapid fortune which Rubens is amassing." This account is the more interesting, as by it the 106 VAN DYCK. parents of Van Dyck appear to have been persons in a better situation in life than other writers have stated ; and also, that the Earl of Arundel, who was then making his collection of the works of art, had invited him to England at that period. However, Van Dyck's pencil was afterwards engaged for the noble Earl, whose portrait he painted. This well-known picture, which Van Dyck exe- cuted after his return from Italy, was once in the Orleans Gallery ; it now adorns the Stafford collec- tion* (which has descended to Lord Francis Eger- ton), and is engraved in that work, where it is thus described : " The portrait of Thomas Howard, Earl of Arundel. This portrait, in common with Van Dyck's finer productions, merits the admiration of every lover of paintings, as a fine picture. It pos- sesses other and stronger claims to his veneration, as * Mr. Smith speaks of a study that, according to his own opinion, Van Dyck made for this portrait. See his Catalogue Raisonne, Part iii. page 184, No. 630 : "Portrait of Lord Arundel, painted with full impasto of colour, exceedingly fresh and brilliant in tone ; 21| in. by 18 in. Value 140 guineas. A finished study, done on cartoon, for the superb portrait described in page 93, No. 322." It is an injury to the memory of Van Dyck that such a trumpery painting should be attributed to that celebrated man, and misleading those who have no better information than Mr. Smith's writings. He must know that this picture, said to be a Van Dyck, is only a poor modern copy, and I told him as much while it was in his possession, and before he published his multifarious volumes I convinced him of the fact, by pressing my thumb-nail on the frill ; and that mark, if not since obliterated, will still give ample proof of the truth of what I state. How then can he presume to call it a study of Van Dyck ? VAN DYCK. 107 the resemblance of a nobleman to whom the common- wealth of arts, science, and literature, are in an espe- cial manner indebted. During a long residence on the continent, Lord Arundel formed one of the most magnificent collection of pictures, marbles, and drawings ever known, and was, at the same time, the encourager of living merit wherever he dis- covered it. Whilst in Germany, he met with Hollar, whom he patronized and brought with him to Eng- land ; and that ingenious artist executed many beau- tiful etchings from pictures and drawings in the Earl's cabinet." Van Dyck's journey to Italy considerably changed his manner, which became entirely his own. By losing sight of the Antwerp school, and studying the Venetian painters, he adopted a style totally distinct from that of Rubens. This alteration was particu- larly observed and admired on his return to his native place. The paintings he executed for several churches were very remarkable ; and it is much to be regretted his historical subjects are so few in number. This may be attributed to his departure for England, where he was constantly employed on portraits, this country not affording those opportu- nities to painters, like the low countries, of embellish- ing churches and convents. He had nevertheless the satisfaction, when settled in London, of partici- pating in one of the most elevated epochs that the annals of art have transmitted to us. This was under the reign of King Charles I. So great a 108 VAN DYCK. patron was this monarch, that he invited to his court the most eminent painters ; and if Van Dyck did not receive at his first visit here (as stated) the due reward of his talent, the King, a prince of refined taste, be- came so captivated with his works, that his principal palaces were adorned with them, and, at the same time, lavished upon him favours and honours. By this generous example, the nobility and gentry be- came admirers of the illustrious Van Dyck, who soon arrived at the height of his glory and fortune. His accumulating occupations betray neglect in many of his works : this was more perceptible in the latter part of his life, when, becoming enfeebled, his pencil lost its pristine vigour, so that many of his last pic- tures might be doubted by those not thoroughly acquainted with these facts. ->*- 109 GERBRANT VANDEN EECKHOUT, Born at Amsterdam in 1621, died 1674, aged fifty three. 17. THE MEETING WITH REBECCA AT THE WELL, Canvas; height 30 inches, width 42. The sun, about to set behind the mountains, indicates the approach of evening ; at the same instant the servant of Abraham, arriving near the city of Nakor, meets Rebecca at the well, where the maidens from the city come to draw water. Here Rebecca, dressed in a simple habit, is bearing a pitcher of polished brass ; and a man in an Asiatic costume is conversing with her. Behind him are seen several camels, and the persons of the suite who form the caravan ; lower down, on the left, are some other women drawing water; and near them are scattered a flock of sheep, guarded by a shepherdess. Every part is pleasingly varied, according to the history of the subject. It is signed G. V. Eeckhout, fecit A 1661. MOST of the scholars of Rembrandt have been excel- lent colourists : Gerbrant Vanden Eeckhout was of this number, and had the honour of ranking among 1 10 EECKHOUT. the best for representing historical compositions and portraits the size of life. It appears, however, that he found his cabinet pictures turn to a better account : they are consequently more in number. He took pleasure sometimes in painting conversations and similar subjects to those of Gerard Terborch ; not that he attempted to imitate him, but probably to please the fancy of the amateurs of his time. One of the finest pictures I have ever seen of that kind was brought to this country by my father, in 1810 : it re- presents an apartment where three cavaliers are seen at a table, playing at backgammon. The officer wearing a cuirass, and who is seated, is attentively considering what his opponent, standing at the other side of the table, is just going to do, as he is in the act of moving one of the men ; the third gentle- man, who is leaning with his arm on the back of his chair, with a pipe in his hand, appears not less interested in what is going on. The subject is composed with simplicity ; and the expression of each countenance is depicted with great truth. This picture, which shews what Vanden Eeckhout was able to produce in that line of painting, is on canvas, in height 16 J inches by 14 inches, and is now in the possession of the Duke of Suther- land. It is engraved by W. Finden, in the Stafford Collection, under No. 111. Ill BENVENUTO GAROFALO, Born at Ferrara in 1481, died 1559, aged seventy-eight. 18. THE HOLY FAMILY. Panel ; height 16^ inches, width 22. In a ruined building the infant Jesus is sitting upon the knees of the Virgin ; the little St. John, who holds a lamb in his arms, is standing near St. Anne ; another saint is sitting behind her. Joseph, who is leaning upon a pillar, is in conversation with St. Thomas, whose head is covered with a red cap. Every part of the distant landscape is executed with a lively touch and brilliant colour. This picture was painted at the best period of the master's life, after he had studied and well considered the works of Michael Angelo and Raphael. It was one of the choicest ornaments of the collection of the late George James Cholmondeley, Esq., and was exhibited in the British Gallery in 1828. 116. 11*. Bought by Mr. P. Norton. BENVENUTO TISI, called GAROFALO, had several masters; he studied first under Domenico Laneto, and on leaving him he went to Cremona, where he remained two years under the tuition of Boccacino 11 '2 GAROFALO. Boccaci ; when, having in 1500 then accomplished his nineteenth year, he went to Rome, and was so enraptured on viewing the works of Michael Angelo Buonaroti and Rafaelle, and studied them so atten- tively, that he reformed the dry and stiff manner he had contracted from his former masters. His ardent perseverance overcame all impediments that stood in the way of his success, and in due time he reaped its fruits. For change he travelled to Mantua, and was occu- pied there nearly two years; he then returned to Rome, and became intimate with Rafaelle, from whom he received the best instruction : he was also employed by him in the Vatican, and may be con- sidered among those who did the greatest honour to his school. Garofalo had now been absent several years from his native place, when some family affairs demanded his presence at Ferrara. His fellow citizens were delighted at seeing him again, and his noble per- formances excited their wonder and admiration. The Duke received him in the most gracious manner, and instantly encouraged him by several commissions. His pencil was further engaged for several religious establishments. At the age of forty-eight Garofalo lost the sight of one eye ; but continued the execution of his works with the same care and finish as before, until his sixty-ninth year, when he became totally blind, and lived nine years in that state of privation. He was religious and beneficent : as a proof of GAROFALO. 1 13 which, he had been in the habit, for twenty years, of working gratuitously every festival for the convents : and among his best friends he reckoned the names of Giorgione, Tiziano, and Giulio-Romano. One of the finest works of Garofalo, within my recollection, is the vision of St. Augustine, described as follows in the British Gallery, in which it is en- graved by P. W. Tomkins : " St. Augustine had been long engaged in an un- profitable attempt to illustrate the doctrine of the Trinity. At length he desisted ; being warned in a vision by a little child, who appeared to him seated with a ladle in his hand by the sea-side, that it would be more easy for him to transfer the entire contents of the ocean into a small hole which he had made in the ground, than for any exertion of the human intellect to reach the heights of that sublime mystery." This picture is ingeniously composed with all the elegance and characteristic execution of this exquisite painter. After adorning the Corsini Palace at Rome, it was imported into this country by Mr. Ottley, in 1801 ; was afterwards bought by Admiral Lord Radstock, and passed into the possession of the Rev. William Holwell Carr, who so generously be- queathed his valuable collection to the nation. His name will thus be handed down to posterity, and com- mand our gratitude as a benefactor, in contributing such treasures to the new Temple of the Arts the National Gallery. 114 PETER GHEYSELS, Born at Antwerp. Lived in the seventeenth century. 19. DEAD GAME. Copper ; height 15 inches, width 16J. This picture, which he has signed at length (Peeter Ghey- sels), represents a dead swan, a hind, two wild rabbits, partridges, and numerous birds of different kinds scat- tered about. A column, a vase, and hunting accessories, form an ensemble as varied as it is elegant. At a distance is a country view, and the whole is finished with admira- ble similitude to nature. From the collection of the Hon. George John Vernon. 34. 13s. Now in the collection of James Morrison, Esq., M.P. FORMER writers have given no date to this painter's birth or decease. He is said to have been a pupil of John Breughel, whom he so closely imitated in several of his small landscapes, that they sometimes pass for the productions of the latter. But Gheysels knew too well that an imitator seldom surpasses the master he takes for his model, and therefore adopted quite a new style, that of representing dead game, &c. GHEYSELS. 115 The time which he took to finish his pictures ren- ders the beautiful works of his latter period few and little known. The celebrated collection of Henry P. Hope, Esq.* (which was formed with great judg- ment by his ancestor, De Heer Hope, of Amsterdam, in 1771,) contains the finest specimen of this painter I am acquainted with, representing a peacock, some accessories of the chase, and a gun suspended from the branch of a tree : in front, a dead swan, a variety of birds and game, with plants, foliage, and insects ; all admirably finished. It is on copper ; height 19 inches by 16|. The name of the painter is signed on a pedestal, on which a vase is placed. In the same collection is a second picture by him, painted also on copper ; height 24f inches by 33 ; the subject of which is a Dutch fair, with numerous figures engaged in various amusements : in the centre is seen the town-hall, and a carriage with a pair of horses is driving towards the road leading along the river to the right. This picture is signed PEETR. GHEYSELS, INVENTOR ET PINXIT, 1687. Another fine specimen is in the possession of the Baron I. Steengracht van Ooscapelle, the subject of which is similar to that described under No. 19, above. * Now added to that of Henry Thomas Hope, Esq., in Mansfield Street. I 2 116 GIULIO-ROMANO, Born at Rome in 1492, died at Mantua 1546, aged fifty-four. 20. THE HOLY FAMILY. Panel ; height 32 inches, width 24. It would be difficult to name a second picture by this painter to compare with the present. It bears more resemblance to the beautiful works of Rafaelle than to any other of Giulio- Romano, and no doubt the hand of Rafaelle took a considerable part in the execution of this excellent work ; for the head of the virgin is after the same model which the latter has introduced in his most important works. The Virgin is seated a veil thrown over her head falls on her shoulders, and the drapery over her knees is of a beautiful blue. She supports her Child, standing on a cushion, having in his little hands the end of a scroll, on which the words " Ecce agnus Dei" are easily deciphered. St. John is holding the other end of the paper, about which they are disputing, and the Virgin, with a sweet expression, seems to invite him to yield to the infant Jesus. At a distance, under an obscure por- tico, is seen St. Joseph with a lighted lantern in one hand ; with the other he is leading the ass which is to aid their flight into Egypt. It is impossible justly .to describe the beauties of this pic- ture, which must be considered one of the finest of its GIULIO-ROMANO. 117 kind, not only as regards the pure and elevated character of the design, but also from the beauty of the pencilling, qualities that have always been so much admired in this great school. Formerly in the possession of Lord Gwydir, 546. Now in the possession of H. A. J. Munro, Esq. 21 AND 22. Two FRESCOES. Height 59 inches, width 32. These paintings, which in 1812 were in the collection of Lucien Bonaparte, are found among the engravings of his gallery, where it is said that " These frescoes, repre- senting angels, each holding a flambeau, were taken from the walls of the church of the Trinity at Rome, where, before their removal, the colours had much faded ; but being by a peculiar process secured upon canvas, they have, with the assistance of varnish, resumed their original freshness*." They are painted in a very grand style, and bring to mind the great and flourishing epoch of the sublime Roman school. THE family name of this artist was Pippi ; but he is commonly known by the name of Giulio-Romano. His rare talent and his amiable and affable demeanour so entirely gained the friendship of Rafaelle, that he * Palmaroli first discovered this new process. 118 GIULIO-ROMANO. was not only treated by him as a brother, but made, at his death, one of his principal heirs. Rafaelle and Giulio-Romano, as painters, were two of the most learned in the art who ever existed : none under- stood better than they the sublime style of antiquity, having studied and entered into it thoroughly ; their conceptions harmonized so well, when they worked together, that it requires an experienced eye to dis- tinguish the pencil of Giulio-Romano from that of Rafaelle, who received great assistance from his il- lustrious scholar. He was not only employed upon those grand works in the Vatican, but we have spe- cimens of his execution in the seven marvellous car- toons now at Hampton Court Palace. On viewing them it may be seen where Giulio has been occupied on several of them, but principally on two, one representing the apostles Peter and John at the beautiful gate, and the other Paul and Barnabas at Lystra. These are very remarkable, as he appears to have worked more upon them than on the others ; this may be detected by the delineation of several parts, which are of an exaggerated character, termed by some, with good reason, boldness. Rafaelle's designs are exemplary for a purer style, which may be traced throughout all his works. From these prin- ciples he never departed, as may be proved from his earliest to his latest productions. It is well known that when Michael Angelo Buo- naroti was painting the Sistine Chapel, and occu- pied on those works which have surprised the world, several great men were excited by curiosity to watch GIULIO-ROMANO. 119 the result. Rafaelle, well aware of what he was capable of producing, became very desirous of view- ing their progressive appearance, as more interest- ing to him than when in their finished state. He obtained this favor through the intervention of his friend Bramante, to whom the keys were intrusted while Michael Angelo was absent. On its coming to the knowledge of the latter that his works had been shewn without his consent, he was highly incensed ; which has given rise to the report that from that time Rafaelle's paintings partook of a grander style. I cannot doubt that the works of so wonderful a master contributed to the advancement of the art in general, and that the elevated mind of the divine Rafaelle could discriminate their beauties : still let it be borne in mind that he knew Michael Angelo's excellencies previous to this period, and I should be rather inclined to attribute his improvement to that general discern- ment consequent upon his assiduous study and con- stant application. Had his life been spared, the grandeur of his pencil would have acquired fresh powers of execution. Michael Angelo, more than any of his predeces- sors, had shewn the magnitude of his conceptions, both as an extraordinary painter and sculptor. The advantage he gained by the study of the ancients was developed in his capacity for delineating the most diffi- cult attitudes of the human figure; and he represented them with that characteristic force which was the offspring of his vigorous mind, and which perhaps, in some of his works, even bordered upon exaggeration. 1:20 GIULIOROMANO. This peculiarity Giulio-Roinano so far imitated, that his handling may be discovered when he worked in concert with Rafaelle ; for the genius of the latter never led him to adopt any extreme or unsuitable ap- pendage: like the industrious bee, he soared only to select what was necessary for his purpose, and dis- tributed the parts in such correct proportions, that nothing appeared misplaced or wanting to perfect the whole design. This leads us to reflect on the time when the Roman school was at its zenith: but, as all things are transitory, so the unexpected death of Rafaelle appears to have thrown a damp on all around him. Giulio-Romano and Giov. Francesco Penni, Avho inherited the greater part of his wealth, continued to work together, and Perino del Vaga (who had espoused the sister of the latter) became associated with his former companions, who were already en- gaged for Clement VII.; but, separating soon after, the far-famed Roman school fell, for want of that exciting emulation of which the immortal Rafaelle was the supporter and the leader. Giulio afterwards went to Mantua, where he exe- cuted those renowned works for the palace of the T, of which so many authors make mention ; but, from that period, it may be discerned he had lost his Mentor. The inferiority of several pictures of his latter time to those produced at Rome, is very per- ceptible. . 1-21 Born at Tournus in 1726, djed at Paris 1805, aged seventy-nine. 23. LA CONFIDENCE. Panel ; height 40^ inches, width 32. Two beautiful girls, in a bower, are accompanied by a little dog, which the artist no doubt introduces as the symbol of fidelity. This subject presents a sentimental allegory : it is that of a lovely and innocent girl, who receives with surprise a communication which she was before ignorant of. Her astonishment and joy are expressed with extra- ordinary talent ; her emotions and looks, when her friend reposes in her bosom a secret of which she had borne all the weight, are pourtrayed with great truth. The pencil of the celebrated Greuze was always guided by the senti- ments of love, and no one knew how to represent amiable or graceful subjects of this kind better than he did. That he knew how to touch the heart is proved by the realities which his pencil brought forth. A painter should always be guided by nature ; and it is impossible to be more so than Greuze has been in this painting. In the possession of the author. \'2'2 GREUZE. GREUZE'S talent developed itself at an early age, which is generally a promising mark of genius. His father, disliking the profession of a painter, in vain endeavoured to persuade him against it. The artist, Grandon, happening to pass through Tournus, was so pleased with the young Greuze's disposition for the art, that, having obtained his father's consent, he undertook his instruction, and took him with him, first to Lyons, and afterwards to Paris. Here Greuze began by painting portraits ; and, in order to improve himself in drawing, he attended the academies to study after the model ; but he would never compete with his companions for the prizes which were yearly distributed. Still his ardent but retired occupa- tions did not pass unobserved : his progress was remarkable, and his natural talent for that lovely sentiment of expression with which he animated his female heads was soon discovered and appreciated, and is still highly valued in his works. His moral subjects are told with inconceivable interest and truth. This was particularly noticed by M. Pigalle, a sculp- tor of eminence, who, thinking him deserving of the honour, presented him to the Royal Academy; on which occasion he was greeted by the unanimous applause of its members, on viewing his picture of " L'Aveugle Trompe," which was bought by that admirer of the arts, M. A. L. de Lalive de Jully, for whom he also painted " Le Pere de Famille* qui ex- * Now in the collection of the Banker, M. Delessert, at Paris. GREUZE. 1*23 plique la Bible a sa Famille," " Le Petit Boudeur," " La Devideuse," and many others, receiving liberal prices for the whole. The year 1763 was the most successful period of Greuze's life ; his picture known as " La Piete Filiale," which he exhibited in the month of December, obtained the universal applause of the Parisians ; and the Mercure de France ad- dressed the following verses in its praise : Maitre et rival de la Nature, Greuze, ou sont tes princeaux ? daigne me les preter Mais tu peins la volupte pure, Et je ne sais que la chanter. ******** Dans cet age folatre, ou pour une ame tendre Tout est 1'image de plaisirs, Ou le philtre de nos desirs Est un Phenix qui renait de sa cendre ; Les contours e'le'gans d'un bras fait pour 1'Amour, Une taille Itjgere, une gorge naissante, Tout nourrit dans mon coeur cette flamme vivante D'ou nait Venus, qu'elle enfante a son tour Aurais-je pense que mon ame Put s'enivrer d'un plaisir plus flatteur ! Est-il volupte* que celle dont la flame Brule des memes feux, et les sens, et le coeur? II en est une, oui ; tendre, moins agitee, Douce, durable, ame du sentiment ; Greuze 1'a peinte, et mon coeur 1'a goutee. Qu'avec transport, dans ce moment, Je me suis dit, je serai pere ! Mes enfans, en pleurant, me fermeront les yeux. Sur mes petits-enfans ma mourante paupiere Fixera ses derniers adieux ; 1 '-2 I GREIJZE. Etmon dernier regard, t?lanct vers les Cieux, Les btfoira dans les bras de leur mere. One of the most amiable subjects I have seen of this master is the charming picture now in the Louvre, representing " L'Accordee de Village," painted for the Marquis de Marigny, and engraved in 1770 by J. J. Flipart. The mind of Greuze was always occupied ; and much as his society was courted, he never neglected his studies : this accounts for the numerous valuable works he has left behind him. His great repute, and the praises bestowed upon him, did not escape the envy of some, who endeavoured to obscure his fame, under the pretext that he did not understand the grandeur of the art. Greuze, anxious to subvert such malevolence, went to Italy with the Abbe Gougenot : but his sojourn at Rome did not improve his style ; on the contrary, the perfection at which he strove to arrive, in some of his paintings, destroyed the charm of that delightful naivete so entirely peculiar, and so much admired in his best works. However, on his return to Paris, his good sense soon discovered that he was misled in the attempt to imitate others, and, proceeding as before, he became more and more admired. About the year 1770 the three following pictures were exhibited in the Louvre, "La Priere a 1'Amour," " La petite Fille et le Chien," and " Le Baiser envoye." The public was extremely gratified with them ; they were bought by the Duke de Choi- seul, in whose cabinet they were engraved under GREUZE. 125 Nos. 119, 1*20, and 121, and have since been brought to this country. The picture of " La petite Fille et le Chien" was first sold at the Duke's sale (in 1772), for 7,500 francs, or 300 ; again in the sale of George Watson Taylor, Esq., at Erlestoke Park, on the 24th of July, 1832, for 703. 10*. ; and is now in the possession of Richard Foster, Esq. Two other fine specimens are " La Priere du Matin," in the choice collection of M. Waldot, 1 and " La Laitiere," in that of the Baron Rothschild, at Paris. It has already been stated that Greuze had been presented as an academician ; but he had still to fulfil the general and indispensable rule, that every member, at a fixed period, should present a picture to secure his admission. This Greuze still refused to do ; the time having expired, the Academy, taking into consideration his eminent talent, and unwilling to exclude him entirely, interdicted him only the right of exhibiting his works in the Louvre so long as he continued refractory to the required forma- lity. This determination made him concede ; but he would only be received as a painter of the first order, and not merely as a portrait or conversational painter ; because he considered his capability far superior to many academicians, who had been re- ceived as historical painters, while he was rejected as such. With this view he presented, for his admis- sion, a picture of the Emperor Severus reproaching his son Caracalla for his intention to assasinate his 1*26 GREUZE. lather. I can easily conceive this was not a subject suited to the pencil of this master, and that it would even be a difficult one for any historical painter. But it was just that epoch when the French began to ad- mire the heroic, and Greuze was probably led away by this feeling. But had he well reflected, he would have selected, as much more congenial to his taste, a subject for the introduction of nymphs. Every great master has his peculiar forte in which he is transcen- dant ; the result in this case was that the academi- cians were not satisfied, and refused to receive him as an historical painter. Whether there might have been any spirit of envy in this determination, it is not for me to decide ; it certainly occasioned great mortification to Greuze, who broke off all communication with them, and sent no more pictures to the exhibitions. At the revolu- tion (1789) the Royal Academy was broken up, after \vhich he again began to exhibit. At that period age had greatly enfeebled his powers of execution, but he still received the approbation of the public, and continued painting until he was nearly eighty years of age. He died on the 21st of March, 1805, leaving two daughters, who both follow the art, and, with many others, imitate the style of their father. JOHN HAKKERT, Said to have been born at Amsterdam about 1636. 24. VIEW IN A FOREST. Panel; height 18 inches, width 13f. The works of this master are very scarce. He had some- times the peculiar fancy to paint forests or vistas of trees, where the sun's rays are piercing through their foliage. Such is this specimen, which represents the entrance of a wood, varied by large groups of trees, drawn with great elegance. In the centre is a piece of water, into which a stag, pursued by huntsmen, has thrown himself. This pleasing composition is touched with spirit, and its colouring is illusive. The figures are painted by Lingelbach. HAKKERT, who was an excellent landscape painter, is not so well known in England as he is in France and Holland; some of his works are composed in a style similar to those of Both, where rocks, rivers, and mountains present the most agreeable scenery under the effect of sun-set, and which bring to mind the elevated and various appearances of nature in Ger- many and Switzerland, where he delighted to study, HAKKERT. It so happened that his attention was attracted to an unfrequented part of the country, of the most pic- turesque description, where he had taken many views, when the peasants, having frequently observed him strolling from one place to another, and not compre- hending the meaning of his drawings, concluded he must be a sorcerer, and took him by force before the nearest magistrate, who, having heard their s spi- cions against Hakkert, whom he knew perfectly well, instantly discharged him, not without laughing at the strange adventure that had befallen him. One of his finest pictures I remember to have seen is that in the collection of Hendrik Muilman, sold at Amsterdam on the 12th of April, 1813, for 1,400 guldens : it is described in the catalogue of that sale under No. 56, and is still, I believe, in the pos- session of De Heer W. F. Mogge Muilman, of the same city. It is adorned with exquisite figures and cattle, by A. vande Velde, who was a friend of Hak- kert, and often enriched his works. There is also a fine picture of his at M. Lafitte's, at Paris, of large dimensions. Another beautiful specimen, represent- ing a view of the wood at the Hague, in which A. vande Velde has introduced some sportsmen and the Stadholder's carriage, drawn by six grey horses, was sold for 8,500 francs, under No. 110 of the second sale of M. Laperiere's collection. I bought this pic- ture, with most of the choice cabinet of the late M. Cornelius Reynders, of Brussels, in 1821. In 18*26 it was in the collection of the King of Bavaria. 1-29 FRANCIS HALS, Born at Mecklin in 1584, died at Haarlem in 1666, aged eighty-two. 25. PORTRAIT OF A LADY. Height 46 inches, width 35. Van Dyck used to say that Hals was one of the greatest of portrait painters, for he knew not one who was so per- fectly master of his pencil. This and the following portrait merit particular praise. The smile of this lady is represented with much expres- sion. Her head is inclined to the right, and she appears addressing herself to some person, presenting, at the same time, a rose which she holds in her hand. Her dress, which is very picturesque, is a costume of the seventeenth century. 22. Bought by Mr. Pennel. 26. PORTRAIT OF A GENTLEMAN. Canvas ; height 46 inches, width 35. This portrait, which is that of a Dutch gentleman, is in every respect as skilfully painted as the preceding ; he is sitting turned towards the left, and at the same time pre- senting his right hand, probably to receive the rose which K 130 FRANCIS HALS. the lady, described in No. 25, seems to offer him. The arms of the family in these portraits are painted on the bottom of the pictures. Bought by Mr. Yates. AN anecdote deserving notice proves with what facility this painter managed his pencil, which was put to the test by Van Dyck in the following manner: Van Dyck, having determined on visiting England, resolved to take Haarlem in his way, that he might introduce himself to Hals, and prevail upon him, if possible, to accompany him on his voyage. Having arrived at Haarlem, and found the dwelling of the painter, he learnt he was at the tavern, and despatched a message there, to inform him that a person was waiting to have his portrait taken. On this Hals immediately returned home, when Van Dyck observed that he was a stranger remaining but a short time in the city, and could not spare more than a couple of hours to sit for his picture. "That will be quite enough," answered Hals, and, taking the first canvas that came in his way, began his task with such spirit, that before the time agreed on had elapsed, he requested the stranger to see how he had proceeded with his work. The sitter expressed great satisfac- tion, and was astonished in how short a period he had produced so exact a likeness. "In truth," continued he, " painting appears to me a very easy matter I have a strong desire to try if I can take your portrait; do me the favour of taking my place." Hals, sur- FRANCIS HALS. 131 prised, sat down without well comprehending his meaning : he soon discovered, however, that the stranger was not a novice in the use of the palette, and in anxious expectation awaited the completion of the performance. On viewing it, he was over- come with joy; "You are Van Dyck," cried he, embracing him, "for he alone is capable of painting thus;" and the two artists formed a friendship under the singular circumstances above related:, but Van Dyck was unable to prevail on the painter to follow him to England, F. Hals declaring he was too happy among his friends at Haarlem to quit them; that ambition had no charms to repay him for their loss; and that he desired no other lot than what it had been his fortune to enjoy there. The great facility of painting for which this artist was distinguished, was, however, sometimes carried to mannerism ; and indeed we may regret that several of his works were so negligently executed with regard to the finish ; for that reason it may easily be conceived that many amateurs do not esteem them, and thus they are to be obtained at very low prices : still I must confess, that they are not at the present time duly appreciated, for Hals, notwithstanding his de- fects, was an excellent painter, and, on examining his productions with attention, we shall discern in them the mind of a genius, and the handling of a master, whose choice paintings deserve a better fate, and are worthy a place in the finest collections. K2 132 JOHN VANDER HEYDE, Born at Gorcum in 1637, died at Amsterdam 1712, aged seventy-five. 27. VIEW OF THE STADHUIS OF AMSTERDAM. Panel; height 26 inches, width 2 If. The paintings of this artist are looked upon as prodigies of art. He was so close an imitator, that he not only copied the number of bricks in a building, but shewed the defects occasioned by the hand of time. This picture is in every respect a remarkable specimen, and is one of the most capital pieces he ever executed. It represents the Stad- huis of Amsterdam, with part of the square and surround- ing buildings, such as the Nieuwe Kerk and the Waag. On close examination of this work, one can scarcely con- ceive how he could produce such wonders with the pencil. More than thirty figures, in the finest manner of Adrian Vande Velde, serve to adorn it. It was formerly the principal ornament in the collection of De Heer de Haas at Amsterdam. Now in the possession of De Heer P. Van Lennep at Amsterdam. WE have no trace, in any author to be relied on, of the parents of J. Vancler Heyde: Houbraken says, VANDER HEYDE. 133 " He commenced his first instructions under a " glass chryver," which, literally translated, is a " glass wri- ter," the word not being clearly defined even in the Dutch language ; other authors have called it a painter on glass ; but I believe indeed I have little doubt, that Houbraken intended to convey the mean- ing of an " engraver on glass," this art being at that period in great esteem. Among collectors, these specimens of glass-work are now considered rare and curious. However, whether as a painter or an engraver on glass, Vander Heyde could not have obtained any great assistance in his pursuits of becoming a painter ; and therefore we may conclude he received instructions from some other master. We are acquainted with few anecdotes of his life ; but his talents are sufficiently appreciated throughout Europe, principally by his paintings, which are re- markable for the perseverance and accuracy with which he depicted natural objects. But Vander Heyde was not only celebrated as a painter ; he was also an excellent mechanic, and invented (in 1668*) the lanterns with which the city of Amsterdam was first lighted, for which he was recompensed by the magistrates, and appointed Inspector-General of the establishment for lighting that city. He had also the merit of inventing a new method of throwing water from fire-engines to a considerable distance, * See '' Jan Wagenaar, Geschiedenissen, van Amsterdam." 134 VANDER HEYDE. and of adding leather pipes or hose to them*. Before his time these machines were almost useless, in case of fire, from their imperfect construction. This in- vention, which is now so universally adopted, and has become most valuable to society, by its preserva- tion of life and property from the destructive ele- ment of fire, added greatly to his renown and that of his brother Nicholas, who was associated with him. John, however, appears to have been the principal, being made, in October, 1672, by the Burgomaster of Amsterdam, "Brandmeester," or Director of the Fire-Engines. Taking into consideration the various and impor- tant occupations of this celebrated man, it is surpris- ing he was able to produce so many valuable pictures, which at present adorn the most important galleries and collections. His principal views are those of the public places and buildings of Amsterdam ; where he resided the greater part of his life. He occupied, for a long time, a house in the Koestraat, and afterwards, in 1677, another, at the Reguliers graft t. Vander Heyde undertook several journies ; travel- ling into Germany, Belgium, and England. At Cologne, Brussels, London, and other places, he took * For explanation see Vander Heyde's book, printed at Amsterdam in 1677, entitled "Bericht, wegens de niew-gemventeerde en geoctroy- eerde Slar.g-brandspuiten: uitgevonden door Jan en Nicolaes Vander Heyde." t Now called gracht. VANDER HEYDE. 135 interesting views of their remarkable monuments and country seats. Most of his works are ingeniously adorned with figures by the exquisite pencil of Adrian Vande Velde ; after whose decease (1672) he had recourse to Eglon Vander Neer and others ; but on a comparison of their talents he had to lament the irreparable loss of his friend Vande Velde, whose works were esteemed the most. Vander Heyde had also a secret of printing pictures in oil colours, which he afterwards retouched with the pencil : some of these are occasionally met with, but are greatly inferior, both in merit and value, to his other productions. Several of them, done on parchment, were afterwards fixed on panel so inge- niously as to deceive the unpractised eye. One of his last works was in my father's possession in 1816 ; it is painted on canvas, height 20 inches by 25. It represents the interior of a library, adorned with some accessories, among which is a table with an open book upon it, in which the printing of the letters is imitated with the greatest precision. This is the only picture of this description I have seen by him ; and, being finished when he was at an advanced age, is remarkable, as shewing the steadiness of the master's hand, and the power of his sight. He has signed it in full, " J. V. Heyde*, oud 74;" and in the following year (1712) he died. * And not Heyden, as former writers have stated. 136 VANDER HEYDE. This picture was bought at Amsterdam from De Heer Brands for 50 guldens ; as well as another of the same master, for 1750 guldens. The first was sold to Mr. Vranken of Lokeren ; and the last was afterwards purchased at the sale of M. Le Rouge, in 1818, for his Grace the Duke of Welling- ton, and now forms part of the collection of Apsley House. The most important works of this master are, the picture of the Stadhuis of Amsterdam, men- tioned above, No. 27; the one in the Louvre, of a similar subject, engraved by Reville, in the Filhol Gallery du Musee Napoleon, vol. vi., pianette No. 365 ; and the picture (also engraved in the same work, by De la Porte, vol. viii., planche No. 545*) which adorns the collection of Alexander Baring, Esq., M. P. Another specimen, I may say a bijou, of this esteemed artist is the little picture, painted on panel, (height 13 inches by 17,) representing a view in the city of Cologne. It formed part of De Heer Monte's collection, and was bought by Messrs. Nieuwenhuys in 1825. At the sale of that cabinet, nearly 4,000 * Filhol says, " on doit ce tableau aux conquetes de 1806." At the second entry of the allies into Paris, the several nations who had been deprived of their chefs-d'oeuvre regained possession of their monuments of art. In the confusion that took place at that time in the Louvre this picture was missed ; after which it passed through several hands before it was imported into this country. VANDER HEYDE. 137 guldens were offered for it; at that time it was withdrawn. It afterwards passed into the possession of Joseph Barchard, Esq., at whose sale, in 1826, I again bought it at the advanced price of 415 guineas. It now forms part of Sir Robert Peel's gallery. 138 MEINDERT HOBBEMA, Said to be born at Coeverden, and lived in the seventeenth century. 28. A LANDSCAPE IN THE DRENTHE COUNTRY. Canvas ; height 32 inches, width 26. This landscape proves how well the Dutch painter under- stood the contrasts of nature : the point of view is happily chosen, and produces a striking effect. The beautiful groups of trees, the forms and the foliage of which are designed with so much taste, are admirably detached from the clouded sky. A road which crosses the second site is every where richly wooded, and adorned with several habitations ; the village steeple is perceived in the dis- tance : this part is vividly illumined by an autumnal sun towards the decline of day, which throws the shadows broadly through a mass of beech-trees in the foreground, under which is a cottage. A countryman is bringing in his harvest of wheat. Several travellers, having ap- proached by a second route nearer to the rivulet (which forms the front of the picture), are reposing from the fatigues of their journey. A poor child crying is ap- parently scolded by the mother, while another woman endeavours to frighten it by the barking of a dog. This and the following beautiful production were bought by M. Reynders at Amsterdam in 1788, in whose possession HOBBEMA. 139 they remained till 1817. They were afterwards pur- chased by G. W. Taylor, Esq. Still in the possession of the author. 29. THE WATER-MILLS. Canvas ; height 32 inches, width 26. At the first glance this landscape captivates the eye by the beautiful effect of light and by the harmony of colour which pervades the whole. The rays of the sun, par- tially concealed by clouds, and these again reflected in the water, forcibly strike the centre of the picture, and thus give a tone of reality which produces a perfect illusion. The painter has, in this production, surpassed every ex- pectation ; and he must have taken this view in the open air and in the face of nature. The great road which runs along the river is adorned with a tuft of beautiful trees, and turns to the left behind some branches ; it then leads gradually towards the three millers' cottages, which are situated in a most picturesque spot, on which the principal light is thrown. The water-mills, the wooden bridges, and the walks bordered by trees and shrubs, present a most rural and smiling aspect. There are several figures walking or fishing, which are by the hand of Storck. At the first sale of the collection of G. Watson Taylor, Esq., which took place on the 14th of June, 1823, one bidding under the sum of 1837. 10s. was offered for this pair of remarkable pictures, and they were bought in at that sum ; the proprietor being at that time unwilling to part with his finest specimens of the Dutch school. 140 HOBBEMA. 30. VIEW OF THE HERRING PACKER'S TOWER OF AMSTERDAM. Canvas ; height 30 J, inches, width 39. In the front is a canal, on which are seen two boats, one of them approaching a sluice, at which two men are occu- pied in opening the gates. Further on is a second sluice, crossed by a drawbridge, behind which the masts of nu- merous vessels are seen in the harbour. To the right, the houses surrounded by trees, and the neighbourhood of the tower, are illumined by the sun ; whilst the op- posite part is shadowed by some beautiful trees and buildings. o A pleasing warmth is diffused through every part of the picture. In point of artistical treatment, this piece is a magical production of the master. For depth, richness of colour, and high finish, it is not to be surpassed. From the collection of M. Peter de Smeth van Alphen, which was sold at Amsterdam in 1811. Now in the collection of his Excellency the Baron Verstolk van Soelen at the Hague. 31. A LANDSCAPE IN THE SPRING. Canvas; height 14 inches, width 13-|. A mill at rest : the water is rushing from above. The paths which intersect each other are every where HOBBEMA. 141 overspread with trees, indicating spring. A rivulet run- ning in the foreground is bordered on the left by a little hillock, and shaded on the right by many beautiful trees. Hobbema has painted many views of this water-mill ; and the same subject has, with variations, been painted by Ruisdael. Formerly in the possession of Joseph Barchard, Esq. 158. 11*. In the cabinet of Henry Bevan, Esq. HOUBRAKEN makes no mention of Hobbema ; neither is anything positively known of his private life; we must therefore avail ourselves of the information his works have enabled us to collect. Erroneous reports have been given of him by the Rev. Mr. Pilkington, who is generally correct in his translations from the best authors ; but he states, in his Dictionary of Painters, that Hobbema is supposed to have been born about the year 1611, at Antwerp, and that most of his pictures were supplied with figures by Ostade and Teniers. I may, without hesitation, contradict this assertion, being convinced there are no such joint productions. On what ground he supposed him to have been born at Antwerp I cannot conjecture : after every consideration, I conceive that this must be a mistake, for there does not exist the slightest doubt that he was a Dutchman, and not a Fleming. I have known many well-informed Dutch amateurs and painters, many of them advanced in age, who HOBBEMA. have assured me that in their youth they were told by old people, that Hobbema was born at Coeverden ; and such is the general belief in Holland. Still nothing positive can be asserted, for some have said he was a native of Vriesland, others that he was a Noord Hollander. These remarks were suggested by many of his productions having been found in those provinces ; but this is not conclusive, as for- merly there were many collectors among the nobility who adorned their country seats with objects of art ; besides whom there were many amateurs living at Groningen, Leeuwarden,Harlingen, Alkmaar,Hoorn, and more particularly at Enkhuizen ; this latter place, a century ago, being one of the most important in Holland for its trade and wealth. My father, who travelled in those parts six and thirty years ago, has assured me that not only pictures by Hobbema were to be met with in that portion of the United Provinces, but even many more by other painters; and long before that time the greater part had been bought up by previous speculators, such as David Jets- waart, Peter Fouquet, the late Mr. Coders, and others. Many persons have thought Hobbema to be a pupil of Jacob Ruisdael : it is certain that these two great men were upon friendly terms, and there is not the slightest doubt they travelled together over pic- turesque countries, in order to sketch and paint the scenery most adapted to their studies. In conse- quence of this circumstance, the same subjects are HOBBEMA. 143 often repeated by these two great painters, and they even frequently delighted in imitating each other's style. We have seen productions of Ruisdael that remind us forcibly of Hobbema ; but, notwithstand- ing, there is always a perceptible difference : the pencil of Ruisdael and the touch of his foliage are more defined by his triangular handling : Hobbema is richer in colour, and his style of execution more magically harmonious. It appears evident from the subjects of all the pictures I have seen by Hobbema, that he did not proceed farther than the borders of Westphalia to study scenes for his landscapes ; but he particularly selected the interior of Holland, where nature seemed sufficiently adapted to his views for giving those representations which are so truly and beautifully depicted by him. He has also painted ruins of ancient buildings, such as the fine picture of the Castle of Bred erode, formerly in the possession of De Heer W. Kops, at Haarlem, for which I gave, in 1825, the sum of 22,300 francs. It is now in the gallery of the Right Hon. Sir Robert Peel, Bart, who also possesses another fine specimen of this master's efforts, which was formerly in the cabinet of M. Vander Pot, at Rotterdam, and represents a straight road bordered by tall trees, leading to a village seen in the distance. I particularly mention this picture to prove that the subject, however insignificant, be- comes of importance when treated by a great master. It is to be traced in Hobbema's works, as already 144- HOBBEMA. observed, that he was on friendly terms with Jacob Ruisdael ; and it appears certain that the two painters were already finished artists when they made each other's acquaintance ; which probably took place at Amsterdam, where Hobbema resided. He reckoned also as his friends several other eminent painters of his time : among whom were Nicholas Berchem, Adrian Vande Velde, John Lingelbach, Wyntrank, and others, who have adorned his beautiful land- scapes with figures and animals. This proves that his talents were appreciated by his contemporaries, although it is true that the paintings of Ruisdael were preferred to his ; and this continued for a con- siderable time, until the English amateurs shewed a decided preference for the works of Hobbema ; and, by becoming buyers, considerably increased their value. This accounts for the number of his pic- tures being imported into England. In consequence of which, the Dutch, becoming more alive to their merits, began to consider this master as the most perfect landscape painter of their school ; and carried their enthusiasm so far as, on several occasions, to pay any price to preserve those master-pieces which still remained in their country. The follow- ing circumstance will confirm the fact : about sixty years ago a painting of his was purchased by the late Jacob De Vos for five or six hundred guldens (about fifty pounds). The subject is a landscape of Gelder- land : in the foreground is a pool of water, which separates the road ; situated to the left is the entrance HOBBEMA. 145 of a wood with beautiful trees; on the right is a dyke leading towards the distance, where a cottage with palisades is discernible, surrounded with plan- tations : a few figures are also introduced. It is painted on canvas, in height 30 inches by Coming, as was often the case at that period, from some unfrequented place in the country, it was not duly appreciated. The subject in itself may be said to be simple enough ; but it is a beautiful specimen of its class, and was painted in the master's best time. It remained in the possession of M. De Vos, who had refused many liberal offers, being unwilling to part with it during his lifetime ; and it was only at his death that it came to public auction at Amsterdam, on the2d of July, 1833, when it was bought by the Baron Van Brienen, for 12,255 guldens, including the expenses of the sale. It had gained great repute in Holland in consequence of the few fine pictures of the master now remaining there. This is certainly an admirable picture, but is not of that character to be put in competition with that in the possession of E. J. Littleton, Esq., M. P., or that belonging to the Hon. Colonel Henry Winsor, or many others of this master, which on the whole are far superior. But this single instance of M. De Vos's picture gives an idea of the increasing value of Hobbema's works during half a century ; arid I could quote many others on reference to old catalogues. I have observed how seldom the pictures of Hobbema have been brought to the ham- mer : it is strange, also, that neither the Museum at L 1 Hi HOBBEMA. Amsterdam, or those of the Hague or of Paris possess a single specimen of this delightful painter's works. Gerard Hoet, who has published so many cata- logues of old sales, speaks, in his two volumes, of only three pictures as having been painted by Hob- bema, which were sold about a century ago; but they are described in so vague a manner, that they are as likely to be copies as originals. I shall therefore content myself with speaking only of those pictures that are properly authenticated. The last picture I bought of this master is " The Landscape with the Fallen Tree." Near the middle of a pond, whose waters reach the foot of this pic- turesque landscape, an old oak is spreading forth its branches and grouping with those behind it, which are situated on the bank, thus throwing the left of the picture into shadow; to the right, on the opposite side, is seen a road leading into a forest, the variety and beauty of which is shewn with great effect by the sun's rays over the trees, thus distinguishing the dif- ferent tints of the foliage. A birch, bending from the bank towards the centre of the pond, dips its branches in the water. Every object recals to mind those images of solitude which are delightful. Fine masses of clouds are floating in the sky ; a horseman and his dog are entering a road in the wood, in the distance of which are seen two villagers. It is on canvas ; height 39| inches by 56; and has the signature of M.Hobbema, 166*2. In the collection of T. G. Campbell, Esq., which HOBBEMA. 147 was sold at Messrs. Christie and Manson's on the 25th of June, 1831, under No. 95 of the catalogue, I saw a picture by Hobbema, representing another point of view of this landscape, which shews that it has more than once engaged the attention of this painter: it sold for 288. 15s. Jacob Ruisdael also studied the same view, and has etched it. We often feel a desire, on seeing a picture, to be informed from what collection it comes, as there are anecdotes connected with some of them which are very interesting. This picture was singularly dis- covered in the northern province of Groningen, where it was preserved in the chateau of one of its most ancient families. In 1829, the city of Groningen offered a prize in painting to whoever should make the best landscape. Amongst the many artists who disputed the prize, Peter Aikens of Eenrum was one of the best ; but his painting was discovered to be only a copy, and was consequently not admitted. M. P. van Arnhem, President of the Society of the Fine Arts, was, however, so struck with his perform- ance, that he immediately sent for the young artist, from whom he learnt that he had taken his copy from a painting which was to be found in the Chateau d'Alberda van Dyksterhuis. As M. van Arnhem was collecting works of ancient masters, the name of Hobbema sufficed to excite his curiosity ; he did not therefore forget this circumstance, but resolved imme- diately to go in search of what had become an object of interest to him. The chateau was situated in a L 2 148 HOBBEMA. most picturesque spot, and the appearance of its an- cient structure impressed him with the idea that his visit would not be unrequited : of this he was soon satisfied, for, on announcing himself, M. Alberda van Dyksterhuis, who was advanced in years, received him very kindly, and shewed him the paintings which adorned the apartments. Having examined several family portraits, which had little or no interest for him, his eye fell on two pictures by Hobbema, which immediately fixed his attention. During their con- versation, the old gentleman informed liim that his great-grandfather was a passionate lover of pictures, and had, about the end of the seventeenth century, collected the pieces which he had sheAvn him. He owned that although he had inherited the property of his ancestor he did not possess the taste to appreciate the charms of painting. M. van Arnhem, who per- ceived this by the indifference he shewed about them, replied jestingly, " You would do well then, sir, to make me a present of these two paintings." M. Al- berda van Dyksterhuis, little aware of what these two were worth, observed, that if he would make an offer, he would let him have them. " I will with pleasure give 400 florins for them," said M. van Arnhem. " Very well," said the gentleman, " you shall have them ; but on condition that you give me two pictures to replace them." This was agreed to, and M. van Arnhem returned to Groningen. The latter, however, stood a good chance of losing them, for before the agreement could be completed M. van HOBBEMA. 149 Dyksterhuis died : yet, faithful to his promise, he had before his death spoken about it to his successor, who immediately informed M. van Arnhem, that, if he still had a wish to have these paintings, he should have the preference ; but that there was another amateur in competition, M. Gockinga, who had offered a much larger sum for them. In conse- quence of this, M. van Arnhem went to see that gentleman ; and they then agreed to buy the pictures between them. They were then sent to Amsterdam, where I obtained one of them at a public sale on the 5th of July, 1833, for 3,225 guldens ; the other was bought by M. Gockinga. Another capital picture which was recently sold (April 19, 1834,) was that in the collection of Viscountess Hampden; it is described in the cata- logue of that sale as follows :