Panter:

rae wr

ria:
ee
Kee
oat

 
CORNELL UNIVERSITY LIBRARY
In compliance with current
copyright law, Cornell University
Library produced this
replacement volume on paper
that meets the ANSI Standard
£239.48-1984 to replace the
lrreparably deteriorated original.

1993
ILLUSTRATED TEXT-BOOKS OF ART

EDITED BY EDWARD Ff. POYNTER, R.A.

PUD!

GERMAN, FLEMISH 4nd DUTCH
PAINTING

BY H. J. WILMOT BUXTON, M.A.
AND

EDWARD J. POYNTER, R.A.

Peoek

4
ILLUSTRATED BIOGRAPHIES OF THE
GREAT ARTISTS.

The following volumes, each illustrated with from 14 to 20 E: ngravings, are now
ready, price 3s. 6d. Those marked with an asterisk are 2s. 6d.

SIR JOSHUA REYNOLDS. By F. S. Purine, M.A.

WILLIAM HOGARTH. By Austin Dosson.

GAINSBOROUGH anp CONSTABLE. By G. BrocK-ARNOLD, M.A.
LAWRENCE anp ROMNEY.* By Lord Ronatp Gower, F.S.A.
TURNER. By Cosmo MONKHOUSE

SIR DAVID WILKIE. By J. W. Mottett, B.A.

SIR EDWIN LANDSEER., By F. G. STEPHENS.

GIOTTO. By Harry QuILTER, M.A.

FRA ANGELICO anp BOTTICELLI. By C. M. PHILLIMORE.
FRA BARTOLOMMEO anp ANDREA DEL SARTO. By LEADER SCOTT.
MANTEGNA anv FRANCIA. By JULIA CARTWRIGHT.
GHIBERTI anp DONATELLO.* By LEADER Scott.

LUCA DELLA ROBBIA anp CELLINI.* By LEADER ScoTT,
LEONARDO DA VINCI. By Dr. J. PAuL RICHTER.
MICHELANGELO BUONARROTI. By CHARLES CLEMENT.
RAPHAEL. By N. D’ANVERs.

TITIAN. By R, F. Heatu, M.A.

TINTORETTO. By W. R. Oster.

CORREGGIO.* By M. Compton HEATON.

VELAZQUEZ. By E. Stowe, M.A.
MURILLO.” By ELLen E. Minor.

ALBRECHT DURER. By R. F. Heatu, M.A.

THE LITTLE MASTERS or GERMANY. By W. B. Scotr

HANS HOLBEIN. By JosepH CunDauu,

OVERBECK. ByJ. BEAVINGTON ATKINSON,

REMBRANDT. ByJ. W. Moutett, B.A.

RUBENS. By C. W. Kertt, M.A.

VAN DYCK anv HALS. By P. R. HEAD, B.A.

FIGURE PAINTERS or HOLLAND, By Lord Ronatp Gower, F.S.A.

CLAUDE LORRAIN. By Owen J. DuLiEa.
WATTEAU. By J. W. Mo.tett, B.A.

VERNET anp DELAROCHE. By J. Ruutz REEs,
MEISSONIER.* By J. W. Mottett, B.A.
 

 

ty
"hy

LT hip Mi
Ce

wa Dt Ni

111)
A lift f} H

RY
Nui

 

 

 

biG, JU—SainT BarBara. By JAN VAN LYCK.
In the Antie

 
ILLUSTRATED TEXTBOOKS OF ART, EDITED
BY EDWARD J. POYNTER, &.A.

GERMAN, FLEMISH
DUTCH PAINTING

BY H. J. WILMOT BUXTON, M.Aj, |! /
AND e

EDWARD J. POYNTER, R.A.

 

LONDON
SAMPSON LOW, MARSTON, SEARLE & RIVINGTON
Limited
St. Bunstan’s Bouse
FeTTer LANE, FLEET STREET, E.C.
1890

©
ous oS

A. 324975

(All rights reserved.)

Rickard Clay & Sons, Limited, London & Bungay.

 
PREFACE.

HE painters of Germany and the Netherlands provide for the
English Art-Student a field of study no less interesting than
that furnished by the celebrated Italian Masters,

In Germany—after a school of painters who worked with a deep
and honest purpose but with no immense genius—Art, in the persons
of Diirer and Holbein, made an advance of incomparable import-
ance; and owing to the fact that Holbein spent many of his best
years in England, and here painted a large number of his finest
works, we have an additional reason for a careful study of the great
German Renaissance.

After these masters and their immediate disciples, Art gradually
declined in the hands of such copyists as Mengs who was nothing
better than a feeble imitator of Michelangelo, and of Denner who
smothered Art by his excessive elaboration. The later revival
under Cornelius and Overbeck, if it does not arouse enthusiasm, at
least commands respect and admiration.

The early schools of Holland and Flanders were so closely allied
that it is difficult to: divide their honours. To the Van Eycks of
Bruges is due the discovery of an improved method of using oil as
a vehicle in painting, and they and their followers have never been
surpassed in technical excellence.

Then followed Matsys and the early school of Antwerp, and after
him came the decline, hastened by over-wrought composition and a.
futile straining after the style of the Italians. This decline was,
happily checked by the advent of Rubens, the Titian of the North,
whose Art is manly, although it does not possess the idealism or
religious sentiment of Italy, or even of the early Flemings.

With his greatest pupil, Van Dyck, all Englishmen are familiar.
and indeed this country has an almost equal claim with Flanders
to rank kim among ker painters.
vill PREFACE,

We trace a gradual decline through Snyders, Jordaens, and other
pupils of Rubens—through Teniers, Lely, and others of less note,
and Art had almost died out, when it again awoke to new life under
Henri Leys and his celebrated school.

The very early Dutch painters were almost Flemish in character,
and it was not until the time of Rembrandt that Holland could be
said to possess a school of her own.

Rembrandt formed many artists of the first rank; and his in-
fluence for good was felt in his country longer perhaps than that of
any other individual master. With him and his followers began
the realisation of the ideal of Dutch Art—the representation cf the
people and their doings. The painters of Holland who stayed at
home and depicted what they saw in their own land, produced
works of far greater interest than their fellow countrymen who
went to Italy and strove in vain to rival the artists of the South.

The principal pupils of Rembrandt were Gerard Dou, l’erdinand
Bol, Govaert Flinck, Carel Fabritius, and Nicolaas Maas. In Dou,
Bol and Flinck, we find artists who produced works of most minute
finish without loss of breadth in composition and execution; and in
De Hooch and Ver Meer, masters almost unequalied in their
treatment of light—a legacy which they had received from
Rembrandt.

It is to Holland also that we turn for the greatest masters of land-
scape, architecture, animal and marine painting—Hobbema, Ruis-
dael, Cuyp, Potter, Van de Velde, and Bakhuisen; and even when
they descended to such trivialities as the flowers of Van Huysum,
- the fowls of D’Hondecoeter, or the kitchens of Kalf, the paintings
of Holland are still of absorbing interest.

English noblemen were the first to recognise and appreciate the
merits of several of these artists, and this country possesses (as the
recent exhibitions of Old Masters at Burlington House have shown)
nore of the chefs-d’euvre of Dutch painters than Holland herself.

To every thoughtful English reader the history of Art in Germany
and the Netherlands should be a subject of great interest.

Hi. J. W. B.
April, 1881.
 

CONTENTS.

Introduction . . . .

.

BOOK J.—PAINTING IN GERMANY.

CHAPTER I.

The Origin of the German School hanes the School of
Bohemia: the School of Cologne. . =e a

CHAPTER II.
The Precursors of Albrecht Diirer ee Oe Wol-
gemut: Griinewald. . . .. . 2 # a x eo

CHAPTER III.

Albrecht Diirer and his Followers (1471—1550): Durer: Burckmair
Altdorfer: the Behams: Pencz: the School of Saxony: the
Cranachs . . oe we) a

CHAPTER IV.
Hans Holbein and his Successors (1497—1560)

CHAPTER V.

The Decadence and Revival of German Art (1550-1880) : Rottenham-
mer: Sandrart: Denner: Dietrich: Mengs: Angelica Kauffmann:
Carsteps—Overbeck: Cornelius: Schnorr: Kaulbach: Lessing .

PAGE

11

18

23

50
x CONTENTS.

BOOK II.—PAINTING IN FLANDERS.

CHAPTER I
PAGE
The Schools of the Netherlands: Early Flemish Art: School of
Bruges (1866—1550): the Van Eycks: Van der Goes: Justus of
Ghent: Van der Weyden: Memling: Bouts: Gheerardt David . 71
CHAPTER II.
School of the Netherlands (1466—1600): Quiten spe Mabuse :
Barend van Orley: the Brueghels: Mor . . . Pa ietee oe

CHAPTER III.

The Revival of Flemish Art (1600-1700): Rubens: Janssens:
Snyders. The Pupils of Rubens: Van Dyck: Jordaens: Teniers:
Lely: Fyt. Revival in the nineteenth century: Leys: Wappers . 110

BOOK. III.—PAINTING IN HOLLAND.

CHAPTER I.
The Dutch School (1450—1700): Lucas van es Van Doe
Hals: Rembrandt: Bol: Flink . . . . a de Sh st . 145
CHAPTER II.

Painters of Domestic Life: Brouwer: Ter Borch: Adriaan van Ostade:
Isack van Ostade: Van der Helst: Dou: Mieris: Metsu: Steen:
Wer Meets De Heooth 23. 4 2 4 ew ewe ne me ee a w 18

CHAPTER III.

Painters of Landscapes, Animals and Battle-Scenes: Van Goyen:
Wynants: Cuyp: Both: Wouwerman: Potter: Berchem: Ruis-

dael: Hobbema: Adrian vande Velde . ....... 2. =. 196
CHAPTER IV.
Marine Painters: De Vlieger: Bakhuisen: Van de Velde: Van de
Cspele «2.4.45 8 2 SES we ee we 4 219
CHAPTER V.

Painters of Architecture and Still Life: Van der Heyde: Berck-
Heyde: De Witte: De Heem: Rachel Ruysch: Van Huysum:
D’Hondecoeter: Weenix: Kalf . Se Ankyoke eee at ey ee» 9.
won

DADA SP

10.
Lt,
12.
13.
14.
15.

16.
i.
18.

19.

 

LIST OF ILLUSTRATIONS.

. THE KNIFE-GRINDER.

VASE

Sr. BARBARA . 2... Jan van Eyck .  Frontis.
. MaponnA aND CHILD . About 1214 .... 9
. WALL-PAINTING- arras pe Early 14th century. . 10

Maponna IN THE Rose ARSOUR . Meister Stephan . . 15

Sr. ANTHONY . Schongauer . . . . 20
. St. ANTHONY Griinewald . . . . 20
. Tae BiretH cF CurisT. . . Wolgemut . . . . . 22

Portrait oF ALBRECHT DURER . a De ga ee x we BG
ee ease 2
. Tue Trmsity. . .... Direr « «= SL

Hans BuRcKMAIR AND HIS WIFE . Burckmair’ se “8e

A KNIGHT. . <° 6 « < 5 Burckmair . . . 34

Luxurious Livixe . 5 Hans Sebald Beham  . 36

JOHN OF LEYDEN . wos te ee MA degree sore na OT

CHRIST AND THE WOMAN TAKEN IN ADULTERY Cranach . . . . . 39

Maponna OF THZ CRESCENT Moon Aldegrever . . . . Al

Tue Peasants’ Dance a Holbein . . . . . 42

St. Barpara—St. EvizaBeTu . Holbein, the etter . «© 43

Toe Maponna OF THE MEYER FaMILy . Holbein 2. 2 2 1 «

Portrait oF CHeisTina, DucHess oF Miran Holbein . . . . . 47

Tue Fox CHasE . Halen = 4». % 4

ALEXANDER’S HORSE . Sandrart . « » « «= SI

Distqqehs eco sone ee HOO:
LIST OF ILLUSTRATIONS.

. THe Rat-CatcHer. . .
SOL EETER: Gy ae Gh &4

. Brinp Man’s Borr

24. THe FatEs—NeEMEsIS, NIGHT AND DESTINY.
25. Tae CaLitina oF JAMES AND JOHN .. .
26. Toe Four Rivers oF THE APOCALYPSE. .
27. Cain Kittine ABEL. . . 2...

27a.PORTRAIT OF JAN VAN Eyck.

28.
29,
31.
32.
33.

34,

35.
36.

37.

38.
39.
40.
41.
42.
43.
44.
45.
46.
47.
48.

49.
50.
51.
52.

CHoIR oF ANGELS .

THE ADORATION OF THE LAMB

ADORATION OF THE KINGS. . . . . 1.
Portrait OF MarTIN VAN NEWENHOWEN .
Reriquary oF Sr. Urstra

Tue Last SuPPER. . ....

THE ENTOMBMENT. .

Tue BANKER AND HIS WIFE... . .
St. LUKE PAINTING THE VIRGIN.

Biveh SCENE ¢4- ea a ek SOK ew
THe ALCHEMIST. « « 2. © s © es *

Portrait oF Sir ANTONIS Mor .. .
Dut SHOOTING 4 44 4 we eS a 4S
RvuBENS AND HELENA FouRMENT a aS
DESCENT FROM THE Cross. . .

THE Vision oF St. ILpDEFONSO

THE CHATEAU DE STEEN ..

THe PouULTERFR ..

Synpic MEERsTRATEN . . .

Kine Cwaruss I. ATTENDED BY THE eon
oF Hammon. . . . .

THe KNIFE-GRINDER .
THE PEASANT WITH THE BEER Jva@

PorTRAIT OF THE COUNTESS DE GRAMMONT

Dietrich . .
Meugs . eon
Angelica Kauffman .

Luraer as Cnor-Boy 1x THE STREFTS OF L
' Leys

EIsENACH .

57

Carstens- = «<4 3 59
Querbeck 2 « 4 5 61
Cornelius . . . . 63
Schnorr von Karolsfeld 67
Janvan Eyck . . 70
Huibrecht van Eyck 75
Jan van Eyck . . . TT
Rogier van der Weyden 85
Memling . . . . . 87
Memling .... . 89
BES ee ee
Matsys. 2. 1 95
BIAS we 4% 97
Maluse. om es (99)
Jan Brueghel . . .104
Pieter Brueghel . - 105
Dons oe tes oy ee AOE
Paul Bril. - 109
PODS ae a eg BAB
PUNE eo we ce, ADT
Rubens... . 119
Rubens . - 121
Snyders. . . . « 193
Van Dyckis «3 <1 % AQT
‘I Van Dyck. . . . 129
Teniers . . 2 - 133
Teniers. . - 135
Lely . 2137
141
LIST OF ILLUSTRATIONS.

524. EULENSPIEGEL

53.
54.
55.

56.
57.
58.
59.
60.
61.

65.
66.
67.
68.
69.
70.
71.
72.
73.
74,
75.
76.
TT.
78.
79.
80.
81.
82.
83.

84

VIRGIL IN THE BASKET .

PorTRAIT OF WILLIAM THE SILENT

GuaRD. ....
Saskia VAN ULENBURCH
Tue Nicut Watcu
Ecce Homo .
PoRTRAIT OF Bot..
TuHE IDLE SERVANT
A Breear.

62. ABRAHAM BLESSING JACOB.
63.
64.

THE ToPers .
. THE LETTER

Tue Coast oF SCHEVELING

THE Banquet oF THE Civic GuARD .
Tue Boncu OF GRAPES.

THE TINKER .

A Dutcu LaDy PLAYING THE CLAVECIN
Tue Parrot’s CaGE .

THE SPINNER

Tae VIOLIN PLAYER.

THe Lace Maker.

THE Banks oF THE Maas... .
Tue OLp CasTLE .

LANDSCAPE, WITH CATTLE AND FIGURES.
Tue Fiso SELLER .

Tar Youne Burts « % . « <8 “ «
GarTiB 6) ee te ee
PEASANTS .

PREPARATIONS FOR A PILGRIMAGE.

. Tue Forp ..

GFDP

ADRIAAN VAN OSTADE IN HIS WORKSHOP .

THE SoLpIER AND THE LAUGHING MAIDEN.

Lucas van Leyden .
Lucas van Leyden .
Mierevelt .

BanQuET OF THE OFFICERS OF THE CIVIC } Hals.

Rembrandt . sas
Rembrandt. . . .
Rembrandt

Bol .

Maes

Rembrandt

Bivens 2 ss ss
Brouwer . .

Ter Borch .
Adriaan van Ostade
Isack van Ostade
Van der Helst
Du... ..
Frans van Mieris
Metsu . .

BU ae
Ver Meer. . .
Netscher

Eglon van der Neer’
De Hooch .

Van Goyen .
Wynants . .
Cuyp .
Wouwerman . .
PUMP ss «
Potters one
Berchem . . . .
Van Everdingen. .«
Du Jardin. ,

xii
PAGE

. 147
- 153

. 155

. 157
. 159
. 161
. 163
. 167
. 168
171
. 173

177
- 178
. 179

- 183
- 185
- 187
- 189
- 191
- 192
- 194
- 197
- 199
- 201
- 203
- 205
- 207
- 208
- 210
. 211
XIV LIST OF ILLUSTRATIONS

PAGE
85; RIVER SCENE 4. 6 Bo 4 war a . . Salomon van Ruysdael. 212
86. THE Rustic Bripgke . . . . . . . . . Jacob van Ruisdael. . 213
Six LANDSCAPE 4 ew wk we ee ew ee Mobb 2 2s 4. 2
88. Winter LanpscaPe . . ... . . . . Adriaan van de Velde. 217
BO, A WURTE gf ke ay oe He . Bakhuisenw . . . . 221
90. Toe Catm. . 2... . 1... «Willem van de Velde . 223
91. THE PEDIAR. 2s 6 s 4 2 3 « « » » Rembrandt «. . « 4 295
92. View or Hasrrem . . 2... . . « Gerrit Berck-Heyde . 229
OS: SRRUITS! LE oan an Me ewe ars Se es oe CODE ee oF oS OST
94 “BLOWERS: 05 2 gs eg ot 2 @ ee ine Van Aiysum 5, 4. 22233
95. THE FRIGHTENED Fowrs ... . . . . D’Hondecocter . . . 235
OG. pity Lie. oa Ge we ee eR eR cn we eT
97. A KircHEN .. . pa Re ee RL ee a) ASS

98. View oF A VILLAGE Se ts . Jan Frans van Bredacl 24

 
PAINTING IN GERMANY.
NOTE.

TuHroucHout the book the names of the painters as they
signed their canvases are always given first, but in the text
they are spoken of under the names by which they are
generally known.

When the names have been habitually printed wrong—as
Terburg for Ter Borch, Vandyke for Van Dyck, or Breughel
for Brueghel—it has been thought better to give them in
their correct form only.

The letters 7j in Dutch and Flemish are equivalent to the
letter y pronounced long. Thus Eyck might be written Eijck,
Dyck, Dijck, and Massys similarly in the old text is Massijs ;
and the name of the famous Dutch cattle-painter is written
by himself Cuijp.
 

‘GERMAN, FLEMISH AND
DUTCH PAINTING.

INTRODUCTION.

RT in Germany and the Netherlands owes its origin to

Christianity as interpreted by the Byzantines. At

first Art was repudiated by the Christians as savouring of

idolatry; gradually, however, it became the handmaid of
Religion and the teacher of divine truths.

Beginning with symbols of Our Saviour and His Passion,
the early Christian painters went on to illustrate their faith
by wall-pictures, such as decorate the Catacombs of Rome
and Naples, the earliest-known specimens of Christian paint-
ing. But these artists had been, as a rule, painters first and
Christians afterwards, and the influence of Classic or Pagan
Artremained. This is very observable in the pictures of the
Catacombs, where Christ is frequently depicted as Orpheus
taming the wild animals with the music of his lyre. The
Art of Byzantium, on the other hand, rejected utterly the
6 PAINTING IN GERMANY.

Classic ideal in its treatment of sacred subjects. The ancient
Greek had delighted to paint the beauties of the human
form in pictures of sensuous loveliness. The monks of
Byzantium treated the subjects of their Art with the sternest
asceticism, endeavouring to teach the subjection of the flesh
to the spirit. Shut out from the world, which was in a state
of transition, ‘the old order changing, and giving place
to new,’’ these monks laboured at a form of Art which
never advanced, but in time took the place of the Classical
Christian school, which entirely disappears from the later
paintings in the Catacombs.

It was doubtless from the quiet monasteries of these By-
zantine monks that Art, in the form of illuminated manu-
scripts, was first introduced to the rude inhabitants of
Northern Europe.

We find no trace of painting in Germany or the Nether-
lands before the introduction of Christianity. Charlemagne,
the patron of knowledge, the friend of Alcuin and Eginhard,
would have been also a patron of the Arts had his military
expeditions allowed him sufficient leisure. As it was, he
beautified the Cathedral of Aachen (Aix-la-Chapelle) with
mosaics, and his own palace with wall-pictures. The remains
of a mosaic in the cupola of the Cathedral have been dis-
covered under a coating of whitewash, where Christ is
represented throned in glory, and the four-and-twenty elders
holding their golden crowns. In addition to the Cathedral
of Aachen and the Palace of Charlemagne, the Castle of
Upper Ingelheim, on the Rhine, was adorned with frescoes—
those in the chapel illustrating scenes from the Bible, those
in the banqueting halls dealing with battle-pieces. There the
INTRODUCTION. 7

deeds of Cyrus and Haunibal, Alexander and Romulus, were
contrasted with those of Charles Martel, of Pepin and
Charlemagne himself. No signs of these pictures remain to
us, but we learn from miniatures of them that the sacred
subjects bear traces of Byzantine influence. This influence
is also very remarkable in the manuscripts which are still
extant. For example, in an Evangeliarium at Paris we find
a figure of Christ giving the Benediction in the form used in
the Byzantine Church. In an Evangelistarium preserved in
the Town Library of Tréves we can trace another influence
besides that of Byzantium. The monks who, in the sixth
century, inhabited the Irish monasteries were very skilful in
a special form of illumination. Such men as St. Columbanus,
St. Gallus, St. Kilian, St. Lievin, and St. Willebrord visited
various parts of Europe in their missionary travels, and
took their Art with them. This Irish influence is very
plainly visible in the Manuscript of Tréves. :
Among the specimens of early German Art we may mention
some pen drawings still extant. They may be found in the
miniatures of a manuscript now in the Munich Library
bearing the date 814, and belonging to the Convent of Wesso-
brunn in Bavaria. The illumination of manuscripts was the
favourite style of Art in Germany at this early period, and is
the only form in which it has been preserved tous. By degrees
the German clergy even of the highest rank cultivated this
kind of painting, and during the prosperous epoch extending
from 919 to 1066 we find glimpses of originality, though the
influence of Byzantine teaching is very clear. The middle of
the eleventh century is marked by a stagnation in German
Art, and no progress can be seen till the beginning of the
following century. We find at this period mere outlines
8 PAINTING IN GERMANY.

filled up with illumination of a slender kind, where the
antique is’ but as a shadow of the past, and the robust
originality of the future is yet to come.

From 1150 to 1250 Art in Germany and the Netherlands
became endowed with new and vigorous life. The monas-
teries ceased to be the sole repositories of painting, and Art,
once free from the narrowing influence of the convent,
developed into a wider and healthier condition. Sacred
subjects now took a wider range, and the legends of heroes,
the stories of Charlemagne and Arthur, and the graceful
traditions of the Niebelungen furnished themes for the
painter. We get the figures, dresses, and arms of living
men and women, drawn from the life, in place of the stiff,
uniform, and unlovely shapes which Byzantine art delighted
to perpetuate. Still the influence of this school is very
prominent in the ecclesiastical pictures of this period, espe-
cially in paintings of the Crucifixion. In the nuns’ choir in
the Cathedral of Gurk in Carinthia is a wall-painting (Fig. 1)
said to be of this period, which shows considerable advance-
ment. It represents the Virgin with the Holy Child in her
arms, seated on a throne supported by Solomon’s lions. In
the spandrels beneath are figures of two bishops—one of
whom did not live to wear the mitre, which is, consequently,
placed at his side. :

_ In the miniatures in manuscripts we find a new element
introduced—that of every-day life. A favourite subject is
‘the description of the Months, with the work of the sower,
the reaper, and the vine-dresser. The wall-pictures of
Germany. which remain to us from this age are rare:
they show a decided advance in originality, though coarse
in outline, with faint lights and shadows. In the Netherlands
 

 

 

 

Li»
yD
ee

SSS

x

H VY

Sy
Soobaddeaoooaeaw

Co
o

— Sy S
ee

Niles 6

<7
oo

ZT Lig¢dLlid,
COE
Rr
SS f 3 si fi B
SN ey
ROLE SIR
x
Ee <A

a
hoo als

Ve
y.
nN

an aX
S
\

aS) V

 

 

 

 

 

= CCCEeTRROVMNAG

 

 

Hen 3

 

 

Fie. 1.—Maponna and CHILD. ABour 1214.
From a wall-painting in the Cathedral of Gurk in Carinthia.
10 PAINTING IN GERMANY.

the progress of Art kept pace with that of Germany, but the
Byzantine influence is stronger, probably because the Counts
of Flanders under the Latin Empire held the throne of
Constantinople. Wall-paintings were, from the testimony
of Wolfram von Eschenbach, general at this time, but no

specimens have been preserved.

 

Fria. 2.—Wa.t-Paintino. Eariy 14TH Century.

In the Chapel at Ramersdorf, near Bonn.
 

BOOK IL

THE GERMAN SCHOOLS.

CHAPTER IL.

THE ORIGIN OF THE GERMAN SCHOOL
[1350—1450.]

HE period of Art History which we have to consider in this
volume commences with the latter years of the fourteenth
century. If we fix on the year 1350 as a stand-point, we can take a
rapid glance at the lights and shadows of four centuries. Looking
back from this stand-point, we see Art rising in a glorious resur-
rection under the influence of Christianity, and mainly dedicated
to the decoration of holy things and holy places. Looking for-
ward from the same stand-point, we shall see the world, though
growing old, endowed with a new and vigorous youth. We
shall see the unlovely clouds of ignorance, superstition, and
tyranny, which enveloped the Middle Ages, melting away; and
the light of a clearer and better time, which was to guide men to
12 GERMAN ART.

new worlds and new discoveries, rising into brightness. We
shall see the favourite dream of the Middle Ages, the dream of
a world-wide Church and world-wide dominion, embodied in the
Holy Roman empire, vanishing away. We shall see a revival of
learning, which produces a spirit of inquiry and speculation, and
an originality of idea which will find its exponent in Art. Still
looking forward, we shall see a vast Revolution, religious as well
as political, affecting the greater part of Europe, and exercising a
marked influence upon the history of Art. Unquestioning obedi-
ence henceforth gives place to a spirit of freedom, and Art, ceasing
to be exclusively the handmaid of religion, becomes the delineator
of everyday life. We shall see Art in Germany flourishing in the
most glorious period of German history, and then disappearing
under the blight of that terrible war of thirty years, when men’s
hearts were failing them, and unwarlike hands were forced to
leave the graver or the brush and seize the sword. Still looking
forward, we shall see Art in Holland dawning with the dawn
of liberty, and expressing with a bold, yet simple freedom, the
feelings of a bold, a free, and a simple people.

The German School produced nothing worthy of note fora
century after the Italian Schools of Florence and Siena had
emancipated themselves from Byzantine tradition, and we must
look for its origin in

THE SCHOOL OF BOHEMIA.
[1348—1378.]

This School arose and flonrished under the fostering hand of the
Emperor Charles I'V., although there had been an earlier dawn of
Art in Bohemia. Of the men of this School, and of their work,
we know very little. All that we do know is, that Charles IV.
employed several artists to adorn the walls of the church and
castle of Karlstein, near Prague; and that among them were
three men of note—Tueroporicu, of Prague, Ntconaus WuRMSER,
SCHOOL OF COLOGNE. 13

and Kunz. Their pictures are wall-paintings, now almost obliter-
ated, and no one can even tell us the special work of each of
these obscure masters. To Theodorich of Prague are attributed
one hundred and twenty-five figures of Suints and Holy Men in
the chapel of Karlstein. Nicolaus Wurmser is credited with
several scenes from the Apocalypse, on the walls of the same
chapel, and a Crucifixion, in the Imperial Gallery of Vienna, is
also attributed to him. Kunz is said to have painted scenes
from the life of his patron, Charles IV., in the church of Our
Lady. Another of the Emperor’s clients was Tommaso Da
MopveEna, who beautified the chapel of St. Catherine, and who
belongs, strictly speaking, to the Italian School

The early Art of Germany, like that of Italy, was based upon
the model of the Byzantine, and the chief point of interest in the
School of Bohemia is the gradual upward striving from slavery
towards freedom and originality.

The School of Nuremberg was a school of sculpture, but we
find some paintings; the Imhof altar-piece is famous; it was
painted about the year 1420; its author is unknown, but its
execution proves it to be the work of no mean artist.

THE SCHOOL OF COLOGNE
[1358—1556.]

Foremost among these early Schools of German art stands the
School of Cologne. Whilst the Bohemian School was destined
to die away after a brief existence, that of Cologne became the
parent of two famous branches which stretched out to the east
and west of the Rhine—the Schools of Germany and of the
Netherlands. The city of Cologne was specially fitted by its
situation and character as the birth-place of Art. It was first
among the cities of Germany, even from the days of Charlemagne,
and it was one of the first northern towns to catch the influence
of the wandering painter from Italian or Byzantine Schools. Very
14 GERMAN ART.

shadowy are the figures of the painters of the early School ot
Cologne.

We know of Witueim of Hertz, commonly called MEIsTer
WILHELM, who, according to the ‘Limburg Chronicle,’ “was a
famous painter in Cologne, whose equal was not to be found
in Christendom; and who painted a man as though he lived.”
All we can know of Meister Wilhelm’s life is, that he was
born in the small village of Herle, near Cologne; that from
1358 to 1372 he lived and painted in Cologne; that he died
about 1378, and that his works liveafter him. The chief paint-
ing attributed to him is the Life of Christ, now in the Johannis
Kapelle in Cologne Cathedral. The Scenes from the Life of
Christ and the Virgin, and The Mudonna and Child adored bi
Saints, on an altar-piece, both in the Berlin Museum, were form-
erly ascribed to Meister Wilhelm, but are now classed as of his
school. The National Gallery has a picture of Sancta Veronica
from this master’s hand.

SrepHan Locuwer, or Mrtster StepHan, who was possibly
a pupil of Meister Wilhelm, has achieved greater fame than his
teacher. Probably, however, the idea of Stephan having studied
under the care of Wilhelm is a mistake. This we know of him
for certain, that he was born at Constance, when we know
not; but he was in Cologne in 1442, and had a house there
of his own. In 1448 he represented the Guild of St. Luke in
the town of his adoption, as a member of the Senate; again
in 1451 he occupied the same post of honour, but died poor and
uncared for in the same year. These few fragments of biography
are gathered from some old registers, where Herr Merlo found
the name of Stephan Lochner, or Loethener. There is an“entry
in the journal of Albrecht Diirer, which first made known the
claims of Meister Stephan to the praise of critics; it tells us in
the words of the great master: “Item, I have paid two silver
pennies to have opened the picture which Meister Stephan painted
at Cologne.” And this same picture is the famous altar-piece in
 

By Meister STEPHAN.

Fic. 3.—Maponna IN THB RosE-ARBOUR,

the Cologne Museum.

In

LE Ny
. — J BT FO
ove ays Rac i ed
OOPS TUCO ANSE Sor Soh PONS a ‘

AL

 

 

 

 
16 GERMAN ART.

Cologne Cathedral, known as the “ dom-bild,” always attributed
to Meister Wilhelm before this statement of Diirer’s. The
“dom-bild,” which has been been favourably compared with the
master-pieces of the Van Eycks, is a triptych; on the outside
there is an Annunciation, and within an Adoration of the Magi;
on one wing appear St. Gereon and his knights, on the other St.
Ursula and her virgins. The figures are all painted on a gold
background, and the green foreground with its many flowers
seems to anticipate the rich colours of the oil-painters of Flanders.
Another grand work of this master is The Madonna in the Rose-
Arbour (Madonna in der Rosenlaube) in the Cologne Museum
(Fig. 3).

MEISTER CuRIstopHOoRUs—known also as the “Master of the
Cologne Crucifixion,” and the “‘ Master of the Bartholomaus Altar”
—flourished in Cologne between 1500 and 1510. His chief works,
which, like all those of his school, are devotional, represent the In-
credulity of St. Thomas (1501) ; the Crucifixion, formerly in the
Rathhaus of Cologne; and seven saints from an altar-piece, five
of which are in the Munich and two in the National Gallery.

In connection with this school we must mention the Master
OF THE DEATH OF THE ViRGIN; the picture from which he derives
his name, bearing the date 1515, is in the Museum of Cologne.
He found a pupil in BartHoLtomius Bruyn, who having shown
vigour and originality in his youth, fell into the prevailing error
of copying the Italians. He died at Cologne in 1556.

From the School of Cologne sprang, as we have said,
two vigorous branches on the two banks of the Rhine, which
developed into the Schools of Germany and Flanders; and before
the end of the fifteenth century the School of Flanders was the
teacher of the Germans. Rogier vAN DER WEYDEN, a Fleming,
was the favourite master in the German School of this time,
and had supplanted Meister Stephan.

In the School of Westphalia we find two nameless Masters,
one the Master or THE LyversBerG Passion (about 1463—
SCHOOL UF WESTPHALIA. 17

1480), and the Master or Lresporn. ‘The former clearly shows
the Flemish influence in his style. His name is unknown,
though he was formerly confounded by mistake with the en-
graver, Israel von Meckenen. The masterpiece which gives him
his title is called the Lyversberg Passion, which belonged at one
time to Herr Lyversberg. Itis ineight compartments, represent-
ing the Passion of our Lord, and though not so noble and lofty
in idea as some of the works of the Masters of Cologne, it dis-
plays greater knowledge of form and the art of colour.

The Masrer or Ligsporn painted in the Benedictine Abbey
of Liesborn sometime about 1465; and two parts of his great
altar-piece are in our National Gallery. The chief part of this
work was cut to pieces by Vandal hands when the convent was
suppressed in 1807.

 

Gror b
 

CHAPTER IL

THE GERMAN SCHOOL
THE PRECURSORS OF ALBRECHT DURER,
(1420—1520.)

ASSING from the shadowy names and half-obliterated works

of these early schools, we stay for a moment on the very
brink of that Reformation which was to do so much both of good
and evil for Religion and for Art, to recall some Masters who,
though living before Luther, and still under the discipline of the
Roman Church, yet began to think for themselves, and to give
signs of that new era of art of which Albrecht Diirer and
Holbein are the exponents.

Martin ScHONGAUER, more generally known as Martin Scuéy,
or “der hiibsche Martin ”—the “Bel Martino” of the Italians,
and the “Beau Martin” of France—so named from the beauty
of his works, was born probably at Colmar about 1450. He was
the greatest painter Germany produced in the fifteenth century,
and has been claimed as a native by both Augsburg and Ulm.
Whilst going to the Flemish School for his colour, Schongauer
preserved his originality and is thoroughly German in his works.
PRECURSORS OF ALBRECHT DURER. 19

He commenced life asa goldsmith and an engraver—the favourite
crafts of his age—and afterwards became a painter. We can
trace the hard, delicate hand of the engraver amidst the brilliant
colouring of his pictures, which are very rare. His chief works,
or at least the chief works attributed to him, are a Virgin and
Child, forming an altar-piece, at St. Martin’s Church in Colmar,
where the Virgin is surrounded by a bower of blooming roses ;
St. Anthony, in the Museum at Colmar (Fig. 4); and the Death
of the Virgin, now in the National Gallery, the authenticity
of which is, however, very doubtful. Schongauer is more
famous as an engraver than a painter; there is a valuable
collection of his prints in the British Museum, where the mar-
vellously beautiful rendering of his female figures proves his
right to the title of “Beau Martin.” But apart from the beauty
of his figures, we find a weird, unearthly, almost grotesque, spirit
in some of his works which was quite unknown to the strict
painters of religious art before the Reformation. The Church of
Rome, as it allowed no deviation from its faith, seems to have
forced its painters into a stereotyped treatment of sacred sub-
jects, and it is only with the new thoughts and new life of the
Reformation period, that we find a deviation from this rule.
The weird, wild fancies of the German legends began to appear
embodied in art, and of this revolution Schongauer was the
pioneer. The print of St. Anthony tormented by Demons fully
expresses the fantastic sile of Schongauer’s genius. This master
died at Colmar, in 1488.

To the same school of Swabia belongs BartHotomaévus ZEIT-
BLOM, a disciple of Schongauer. Neither the date of his birth
nor that of his death is known. He flourished in Ulm and the
neighbourhood, from about 1484 to 1516. Many of his pictures
adorn churches in Swabia, but the best collection of his works is
in the gallery of Stutigardt. We cannot find in his pictures any
trace of the new ideas which are to be seen in his Master’s works.

To the same school belongs Martin ScuarrNer, who flourished
B2
 

Mi

LL

PHL

Hs

PT Ld
ba

 

 

 

 

 

 

LE
ote:

CECT,

WAS

 

 

 

 

 

 

Dy Scrrona@aunr

In the Museum at Colmar,

ANTNONY.

Vie. 4.—ST.
SCHOOL OF FRANCONIA. 21

from about 1499 to 1535 in Ulm, and who, like so many others,
forsook the paths of original German thought for slavish imita-
tion of the Italians.

The early School of Franconia was represented by MicHarL
‘WotgeEmut,* a native of Nuremberg (born 1434, died 1519), who
devoted himself chiefly to the carving and manufacture of huge
altar-chests and other specimens of church furniture. All his
pictures show clearness in colouring, and are not wanting in
power; but they are very unequal. In his earlier years he
produced four pictures representing scenes from the Passion, now
in the Munich Gallery. A later work, painted in 1479, is a
large altar-piece at Zwickau, which shows a marked improvement
upon his earlier productions (Fig. 6). Some single figures of
saints, now in the chapel of St. Maurice at Nuremberg, are still
more favourable specimens of Wolgemut’s style.

Martruivs GRUNEWALD, born probably at Frankfort about
1460, was one of the best German painters of his time, and was
clearly a pupil of both the Schools of Swabia and Franconia.
He was favoured by the patronage of Albrecht, Archbishop of
Mayence. His chief work is an altar-piece of six panels, now
in the Gallery of Munich; it depicts the Conversion of St.
Maurice by St. Erasmus: on the side-pieces are St. Lazarus,
the Magdalen, St. Martha, and St. Chrysostom. In the Museum
of Colmar there is a picture of St. Anthony by him (Fig. 5).
Grinewald worked principally at Mayence and Aschaffenburg,
and died after 1529 at Frankfort.

And now we find ourselves in the midst of the life which the
storm of the Reformation created—a new life in Art no less than
in Religion. Men no longer looked back, and dwelt with dreamy
eyes on the forms and fancies-of the past; now their eyes were
strained eagerly forward to see the light of a new knowledge.
The invention of printing, the discovery of America, the revival

« Sometimes written Wohlgemuth.
22 GERMAN ART.

of learning, all combined to call men’s thoughts from the dead
past to the living present. Art in Italy went back to Pagan
Greece and Rome, but Art in Germany went forward under these
influences, and became the expression of the National character,
under its greatest Master, Albrecht Diirer.

iS
ANS | M4 t

EL

 

Fig.6.—THe Birth oF Curist. By WoLGEMCttT
Part of an altar-piece in the Marienkirche at Zwickan.
 

CHAPTER JIL

ALBRECHT DURER AND HIS FOLLOWERS.
(1471—1550).

HE School of Franconia, and the studio or workshop of
Michael Wolgemut, possess the honour of having given
to the world the greatest Master of German Art.

ALBRECHT Ditrrr was born in Nuremberg, on the 21st of
May, 1471. As we look upon the portrait of the Master, painted
oy himself (Fig. 7), we seem to see the grey old town of Nurem-
berg, which from many causes has been made famous, and which
has gained an undying lustre reflected from Albrecht Diirer.
Gazing on the portrait of the great Master, and thinking of the old
town, we are tempted to quote the lines of the American poct
who sings to us so sweetly how,— ‘

“Tn the valley of the Pegnitz, where across broad meadow-lands
Rise the blue Franconian Mountains, Nuremberg, the ancient, stands.
* * * * * * *
Here, when Art was still religion, with a simple, reverent heart,
Lived and laboured Albrecht Diirer, the Evangelist of Art ;
Hence in silence and in sorrow, toiling still with busy hand,
Like an emigrant he wandered, seeking for the Better Land.
Emigravit is the inscription on the tomb-stone where he lies ;
Dead he is not—but departed—for the artist never dies.”
24 GERMAN ART.

What do we know of his life? His father was a Hungarian,
who settled in Nuremberg as a goldsmith. Albrecht Diirer was
taught his father’s trade, but fortunately his talent for art was
observed, and he was sent, in 1484, a boy of thirteen years, to
Schongauer. This has been disputed, but there seems little
doubt of its truth. In 1486 he was apprenticed to Michael
Wolgemut for three years. From the studio of his master,
Albrecht Diirer passed, in the year 1490, to a new world—he
travelled ; and in those “ wander-years,” which lasted till 1494,
he was doubtless laying in stores of learning for the after-time ;
but unfortunately we know nothing of those years, except that
he had a glimpse of Venice, the first sight of the Italian paradise
which, in his case, though seen again, never made him unfaithful
to the art of his fatherland. In 1494, Albrecht Diirer returned
to Nuremberg, and married Agnes Frey, the daughter of a singer.
He received two hundred florins with his wife for her dowry, and
it has been said that with her he found more than two thousand
unhappy days. Diirer’s intimate friend, Willibald Pirkheimer, to
whom he seems to have confided most of his joys and sorrows, |
has described Agnes Frey as a shrew, with a bitter tongue, and a
iniserly spirit, who worried her husband to a premature death.
Apologists have been found for Agnes Frey in late years, but it
is now the fashion to whiten characters hitherto considered black,
and Agnes Frey may as well find an advocate as Richard III.
or Henry VIII.

In 1506, Diirer again travelled to Italy, and found a warm:
welcome from the painters of Venice, a city which he now be-
held for the second time. Doubtless he learned much from the:
works which he saw, and the criticism which he heard, but,
fortunately for his country, he could go to Italy without becoming
acopyist. Giovanni Bellini paid him especial honour, and Direr
tells us that he considered Bellini ‘the best painter of them
all.” The great Master must have felt thus early that he was
almost “without honour” in his own city. Nuremberg did not
 

 

 

 

SELF.

By Hm

ECHT Diner.

Fic. 7.—PonrTKAIT OF ALBL

ie at Munich.

é

koth

In the Pina
26 GERMAN ART.

appreciate its greatest son. We find Direr writing to his dear
friend and gossip, Pirkheimer, to whom he often, doubtless,
confided the miseries of his home-life, his feelings and experiences
in Venice. He tells him that in Venice he meets with ‘‘many
pleasant companions, so that it does one’s heart good to be with
them; learned men, and lute-players, pipers, connoisseurs in art—
all very noble-minded, upright, virtuous people, who bestow on
me much honour and friendship.” Here, he says, he is a
gentleman, but at home a parasite. ‘ How I shall freeze after
this sunshine!” Still in a year he was again in Nuremberg,
and was patiently doing his work in spite of the coldness ot his
townsfolk, and the tongue of his wife; having refused an offer
of two hundred ducats a year, which the Venetian government
had made to induce him to remain among them. Between the
years 1507 and 1520, Diirer produced many of his most famous
works. In 1509, he bought a house for himself in the Zisselgasse
at Nuremberg. In 1515, Raphael sent a sketch from his own
pencil to his great brother, who has been well styled the “ Raphael
of Germany.” The sketch isin red chalk, and is preserved in the
collection of the Archduke Charles at Vienna; it bears this
inscription written by Direr himself: “1515, Raphael of Urbino,
who has been so highly esteemed by the Pope, drew these naked
figures, and sent them to Albrecht Diirer in Nuremberg, to show
him his hand.” In 1520, we find Direr appointed court-painter
to the emperor Charles V., a position which he had already held
under Maximilian. His own countrymen seemed to have been
niggardly in their reward of genius, for the court-painter had
only a salary of one hundred florins a-year, and painted portraits
for a florin (about twenty English pence). In the same year
Diirer, accompanied by his wife, visited the Netherlands; and at
Antwerp, then the most important town of the Lew Countries,
both he and his wife were entertained at a grand supper; the
master has recorded in his journal his pleasure at the honour
bestowed upon him, At Ghent and Bruges all were delighted
ALBRECHT DGRER. 27

to show their respect for his genius. At Brussels, Direr was
summoned to the court of Margaret of Austria, Regent of the
Netherlands, to whom he presented several engravings. Either
through jealous intrigues, or from some other cause, his court
favour was of short duration. In Brussels he painted several
portraits which were never paid for, and for a time he was in
straitened circumstances. Just at this time, however, Christian
II., king of Denmark, became acquainted with him, and having
shown every mark of honour to the painter, sat to him for his
portrait. Soon afterwards he returned to Germany.

Once more at home in his beloved Nuremberg, Direr wrote to
remind the Town Council that whilst the people of Venice and
Antwerp had offered him liberal sums to dwell among them, his
own city had not given him five hundred florins for thirty years
of work. But we must pass to the end. Whether the health
of Albrecht Diirer had been injured by home cares and the
tongue of Agnes Frey, we know not, though many passages in
his letters and journal seem to point to this fact. He died on
the 6th of April, 1528, and was buried in the cemetery of St.
John at Nuremberg. The scene of his last resting-place is
described as being excessively gloomy, unbrightened by grass or
flowers. “The tombs, ranged in long rows, like the beds of
patients ina hospital, are merely flat stones laid over the graves.”
In this unlovely spot Albrecht Direr was laid to sleep beneath
the simple epitaph :

‘Me. AL. Du.
Quidquid Alberti Dureri mortale fuit
Sub hoe conditur tumulo.
Emigravit vit. Idus Aprilis, spxxvut.”

His faithful friend and comforter, Pirkheimer, pronounced his
funeral oration, and said of him, that “he united every virtue in
his soul—genius, uprightness, purity, energy and prudence, gentle-
ness and piety.” The friend who spoke so lovingly was after-
wards buried by Diirer’s side.
28 GERMAN ART.

Albrecht Direr, the versatile genius, who was, like Leonardo
da Vinci, sculptor, engraver, and architect, as well as a painter,
was emphatically the Master of his age. It was, as we have seen,
the age of new life. The age of Columbus and Sebastian Cabot,
the discoverers. The age when Luther and Melancthon were
hurling defiance at the old world religion. The age when Lauren-
tius in Haarlem, and Caxton in Westminster, were setting up
their presses to teach the world. The age when the learning
which the Moors had cultivated amid the beauties of Granada
was becoming known. It was the age of Raphael in Italy, of
Sir Thomas More in England; the age of Germany’s brightest
glory. It was an age instinct with life, thought, and beauty,
and it found its fit representative in the great master, with the
handsome features, and the magic hand, of which it may be said
truly, as it was of another, he touched nothing which he did not
adorn.

Albrecht Diirer represents all the various lights and shades of
German character. The thought, the inquiring mind, the solid
sense, the weird superstition of the old northern forests, all find
expression in the master’s work. Although it is not certain that
he ever left the Communion of Rome, yet he stands as the artist
of the dawning Reformation. Melancthon was his friend, and
said of him after his death, “I grieve for Germany, deprived of
such a man, and such an artist. His least merit was his art.”

Most of Direr’s works are to be found in Germany. In the
Louvre there are only three or four drawings. The Museum of
Madrid possesses several of his paintings—a Crucifixion (1513),
; showing the maturity of his genius, two Allegories of the same
type as the Dance of Death, so favourite a subject at this period,
and a Portrait of Himself, bearing the date 1496. At Munich
we may trace, in a series of seventeen pictures, the dawn, the
noonday, and the evening of Albrecht Diirer’s art. The Portrait
of his Father, 1497, is one of his earliest works. His father was
then seventy years old. The colour is warm and harmonious.
iy

 

 

 

 

 

Fic. 8.—St. JoHN AND Sr. PETER. Sr. Pau, anp St. Mark.
Ry Albrecht Direr. Inthe Pnakothek at Munich.
30 GERMAN ART.

A Portrait of Himself (1500), placed him, before he was thirty,
in the first rank of artists. A Portrait of Michael Wolgemut,
his old master, comes next in order. Turning from portraits to
historical pictures, we find at Munich a Descent from the Cross,
in which special prominence is given to Joseph of Arimathea,
and where the aspect of the dead Christ is terrible from its
reality ; and a Nativity, forming the centre of a triptych, ot
which the wings have been taken off. The masterpiece of
Diirer’s art, however, is the painting of the four apostles—St.
John, St. Peter, St. Paul, and St. Mark (Fig. 8). This
wonderful work is clearly the production of his later years; it
bears no date, but the absence of the hardness, which Michael
Wolgemut’s work-shop had imparted to his early style, is gone,
and the whole work shows the influence of his travels and unflag-
ging study. It is usually assigned to the year 1526. The picture
has been supposed to represent the Four Temperaments, but there
is no satisfactory proof that Diirer intended this.

Vienna possesses some of the finest specimens of his art. In

.the legend of The Ten Thousand Martyrs, who were slain by the

Persian king Shahpour II., Diirer has described on a panel of
about a foot square every conceivable kind of torture; these
horrors are witnessed by two figures which represent the painter
himself, and his friend Pirkheimer. The difficulty of treating
such a subject is immense; the execution, finish, and colouring
of the picture are marvellous. The date is 1508.

The Adoration of the Trinity is one of the most famous of
Diirer’s works (Fig. 9). It is a vast allegorical picture represent-
ing the Christian Religion. The other part of the work depicts
the Three Persons of the Blessed Trinity attended by angels; a
little lower appear the holy women of all time on one side; the
saints, patriarchs, prophets, apostles, and martyrs on the other.
Lower still appear the pope, bishops, priests, monks, and nuns
—in a word, the Church. Opposite appear the Emperor, and tlie
various ranks which represent the State. Below is a peaceful
 

 

 

@é Noe eee te Te Risse Me
ZA . RAY AWW See
AW SG i ieee -E

  
     

TSS ES
SS Pa

      

x .
NGS

ee

ee
ECW,

        

 

Fic. 9.—Tue Trinity. By Durer.

Vienna.

In the Belvedere,
a GERMAN ART.

view of earth and sea, and the Master himself is represented
gazing on the scene, with his hand resting on a tablet which
bears the date 1511. In this vast work appear the many-sided
forms of Diirer’s genius. The real and the ideal, the sublime
and the grotesque, are all represented.

No painter has had more pictures attributed to him falsely
than Albrecht Direr; but his fame rests not so much upon the
paintings which he really executed as upon his engravings ; to
those who are acquainted with him only through the latter his
pictures are frequently at first sight disappointing. Of his
wood-cuts the best known are the Apocalypse, 1498; the Life
of the Virgin, 1511; and the History of Christ’s Passion.
Of his copper-plate engravings, St. Hubert; St. Jerome; and
The Knight, Death, and the Devil, bearing the date 1513, in
which we see what Kugler calls “the most important work
which the fantastic spirit of German Art has ever produced.”
The weird, the terrible, and the grotesque look forth from this
picture like the forms of some horrible nightmare. Another
famous engraving, called Melancholy, is full of mystic poetry : it
bears the date 1514. To these may be added a series of 16 draw-
ings in pen and ink on grey paper, heightened with white, repre-
senting Christ’s Passion, which he never engraved. They are in
his best style, and among the finest of his works.

Among the principal pupils and followers of Albrecht Diirer,
was Hans Burcratair,* born at Augsburg, in 1473, who was in
early life a pupil of Schongauer. He painted in two styles;
the one purely German in character, and somewhat hard in
execution, is represented favourably in a picture of Christ on
the Mount of Olives. A picture of himself and his wife in the
Belvedere Galery, at Vienna, is of the same character (Fig. 10).
His second style is more harmonious, and more Italian, and is
shown in the Adoration of the Kings, in the Augsburg Gallery.
Burckmair, who died at Augsburg in 1531, was also celebrated

“ Or Burgkmair.
 

URCKMAIR,

By B

Fic. 10.—Hans BuRCKMAIR AND HIS WIFE.

ienna.

ip

In the Belvedere. T
34 GERMAN ART.

as an engraver ; he is, indeed, best known by the splendid series
of wood-cuts of the Zriumph of the Emperor Maximilian ; a
continuous procession in more than 100 plates, remarkable, even

 

| ace ae ze Fe

t
\
|

  

 

 

 

 

Fig. 11.—A Knigut. By Burcesmarr,

among the numerous fine works of that period, for prolific in-
vention, and boldness and freedom of execution.

Fans Fuss,* called from his birth-place Hans von KuumpBacu,
is styled by Kugler ‘one of the most pleasing of Albrecht
Diirer’s scholars.” He was working in that painter’s studio as

* Not Wagner, the name usually given to him.
THE LITTLE MASTERS. 35

late as 1518. He died at Nuremberg about 1522. His master-
piece is a Madonna and Child adored by Saints, in the church
of St. Sebald, at Nuremberg.

Hans Leonwarpt ScHAuFELin (1490—1540) was Albrecht
Direr’s favourite pupil, and many of his works have been attri-
buted to his master. A St. Bridget in the chapel of St. Maurice,

at Nuremberg, is one of the most remarkable of his very unequal
works.

Seven artists, who were both painters and engravars, but
especially engravers, and who followed in the steps of Albrecht
Diirer, are known from the smallness of their works as

THE LITTLE MASTERS.

ALBRECHT ALTDORFER, who was born before 1480, was the
creator of landscape painting in Germany. Leaving Bavaria, his
birth-place, he settled in Ratisbon, and received the citizenship in
1505. Hewasan architect of great skill, as well as an engraver on
wood and copper. His masterpiece is the Victory of Alexander
over Durius, painted in 1529 for Duke Wilhelm IV. of Bavaria,
and is said to contain more figures than any other picture.
Schlegel calls it “a little world on a few feet of canvas.” It
is in the Munich Gallery. Altdorfer died at Ratisbon in 1538.

BartHeL Bewam, who was born at Nuremberg in 1502, also
painted under the patronage of Duke Wilhelm IV. He was a
close follower of Albrecht Diirer in his earlier works, but his
style is coarsely realistic. He was sent to Italy by his patron,
and died in that country suddenly about 1540. His earlier style,
copied from Diirer, is represented in a Christ on the Mount of
Olives, in the Berlin Galery. A Woman raised from the Dead
by the True Cross, in the Munich Gallery, displays his later or
Italianized style.

Hans Separp Besam, who was born at Nuremberg in 1500,
was the elder brother of Barthel. He left Nuremberg under a
cloud of disgrace in 1530, and settled in Frankfort. Only one of

C2
36 GERMAN ART.

his oil paintings is known ; it represents, on the top of a table,
four Scenes in the Life of David, and was painted for Albrecht,
Archbishop of Mayence; it is now in the Louvre. Hans Beham
possessed great powers of invention, and sometimes used them
without much care for delicacy or decency. We give as an illus-
tration a copy of one of his engravings (Fig. 12), which are very
numerous, and are marvels of minuteness and brilliant effect.

 

 

 

Fig. 12.—Luxvugzious Livine. By Hans SEBALD BEHAM.

GrorG Penoz, who was born about 1500, was famous as an
engraver as well as a painter; his pictures are very rare. In Italy
he studied the works of Raphael, and leamed engraving under
Marcantonio, and is supposed to have executed many works that
pass under the name of this master; among others the famous
Massacre of the Innocents. His portraits are remarkable. His
German style is shown in a St. Jerome, in the Chapel of St.
Maurice, at Nuremberg. The Gallery of Munich hasan excellent
specimen of his Italian style ina Venus and Cupid. Among his
engravings are an admirable series illustrating the History of
Tobit. Pencz died in his native Nuremberg, in 1550.
 

Fic. 13.—Jov1n oF LEvvEN.
Prom the Engraving by Aldegrever.
38 GERMAN ART.

HetyricH ALDEGREVER was born in 1502, in Westphalia,
probably at Paderborn, and is said to have left his home to
study under Albrecht Diirer,* whose works he had seen. He
imitated this master so successfully that he acquired the name
of “Albrecht von Westphalen.” He died in 1558, it is sup-
posed, at Soest, where he had spent the greater part of his life.
Of his works, the Portrait of a young Man, dated 1544, in the
Liechtenstein Gallery at Vienna, and a Mesurrection, in the
Museum of Prague, are most noteworthy. He engraved portraits
of Luther, Melancthon, and John of Leyden (Fig. 13). ,

Jakos Bring, who was born at Cologne between 1490 and
1504, was mote famous as an engraver than a painter. He was
appointed painter to Christian III., king of Denmark, and pro-
duced portraits of the king, and of his queen, Dorothea, whic
are said to be at Copenhagen. Prince Albrecht of Brandenburg
employed Bink to erect a monument, and he was still in that
prince’s service when he died at Konigsberg in 1568, or 1569.
No other pictures of this artist, except portraits, are known.

Hans Brosamer (born at Fulda in 1506) was an excellent
engraver on wood and copper.

Among the little masters who -were engravers only we may
mention the names of Virettivs Sous (1154—1562), Jost
Amman (1539—1591), and Tuzopor pe Bry (1528—1598) ;
they were chiefly celebrated for their decorative art.

THE SCHOOL OF SAXONY.

Ir will be convenient here to speak of a master who was con-
temporary with’ Albrecht Diirer—Lucas Cranacu, who was
born in 1472, was so named from his birthplace, Kronach, in
Franconia: with him and his son, Lucas “ the younger,” begins
and ends the School of Saxony. Cranach has been called
Lucas Sunder; but this name, it is now said, is a mistaken one.

 

* Rosenberg thinks that he was never a pupil of Direr, and, moreover,
never even visited Nuremberg.
 

 

 

By Cranach.

Fig. 14.—Curist AND TUE WOMAN TAKEN IN ADULTERY.

In the Pinakothek, Munich.
40 GERMAN ART,

Lucas Cranach had a prosperous and honoured hfe. At
twenty-one years old he accompanied Frederick the Wise, Elector
of Saxony, to the Holy Land. In 1495, on their return, the
painter had apartments in the Elector’s palace at Wittenberg,
and was subsequently elected Burgomaster. He held that office
again from 1540 to 1544, and was successively Court-painter to
three Electors—Frederick the Wise, John the Constant, and John
Frederick the Magnanimous. When the last-named prince was
taken prisoner by Charles V. at the battle of Miihlberg, the painter,
it is said, chose to share his patron’s five years’ captivity rather
than enjoy the favours of the conqueror.* He died at Weimar in
1553. He was early a convert to Protestantism, and was a friend
of Luther. His works have none of the dark, weird mystery
which belongs to his great rival Albrecht Diirer. All Cranach’s
paintings are, with a few exceptions, to be found in Germany.
At Munich is a large picture, the Woman taken in Adultery
(Fig. 14), the face of the principal personage being thoroughly
German in type, whilst some of the faces of the spectators display
that grotesqueness which is one mark of Lucas Cranach’s style.
Among his smaller works, which are indeed his best, are Adam
and Eve in Paradise, and Lot and his Daughters in a grotto,
both at Munich. He was fond of painting nude figures, and
often with a ludicrous result; for, from his primitive style of
drawing, combined with his German naiveté and want of percep-
tion of the beautiful, his Eves and Venuses sometimes present a
most comic appearance ; especially when, as is occasionally to be
seen, he crowns these otherwise unadorned beauties with a large
crimson velvet hat. Berlin possesses the best collection of works
by this master; Herculesand Omphale,and the Fountain of Youth,
are typical specimens of his style, which is thoroughly realistic.
A Portratt of a Young Girl, in the National Gallery, displays the
sweet, simple female face which Cranach delighted to paint. He
excelled also in hunting scenes: he is even better known as an
“ Modern writers doubt the truth of this statement.
SCHOOL OF SAXONY. 41

engraver than a painter. His tombstone bears the epitaph,
‘‘Celerrimus Pictor,” in compliment to his rapid hand.

Lucas Cranach “the Younger” (born at Wittenberg in
1515), the son of the last-named master, was a student of his
father, and of Albrecht Diirer. He preserved his originality,
and avoided the seductions of the Italian School so fatal to
many of his countrymen. Many works attributed to the elder
Cranach were doubtless painted by the son; notably a Virgin
and Child in the Munich Gallery. <A Crucifixion of Christ with
the Thieves, and a Nativity.in the Church of Wittenberg, are
certainly from his hand. He died in that city in 1586.

 

 

 

Fia. 15.—Maponna of THE CrescuNT Moon. By ALDEGREVFha.
 

 

 

THE Peasants’ Dance. Br HOLBEIN.

CHAPTER IV.

WANS HOLBEIN AND HIS SUCCESSORS.
(1497—1560.)

EXT to the town of Nuremberg, the home of Albrecht
N Diirer, Augsburg claims our notice as the birth-place of
Hans Holbein, a master of the German School, second only to

-him of Nuremberg, and one perhaps even more typical of the
Protestant artists of the Reformation. Though a German in
thought and work, he belongs chiefly to England, where he
laboured, and where he died obscurely. He was far more Pro-
testant in his art than Albrecht Diirer; the traditions of the
Middle Ages which clung around Diirer are totally wanting in
Holbein, who painted the portraits of his patrons under the guise
of the holiest persons of Gospel history. There has been much
confusion about the dates of the life and work of this master,
which, thanks to the exertions of Dr. Alfred Woltmann, has
of late years been made clear. .

Holbein was born and nurtured in an atmosphere of art. His
father, Hans Houpern “the elder,” laboured under the disadvan-
tage of having a famous son. Himself a painter, many of his
works have been attributed to his child ; ard it is only under the
 

 

 

 

 

 

 

 

 

 

ecm
ANIA SHANN LY

 

 

 

Vic. 16.—Satnt BARBARA. Saint ELIzaneru.
From the St. Sebastian altar-piece by Hans Holbein the elder at Munich.
44 GERMAN AKT.

microscope of recent criticism and careful investigation, that the
elder Holbein has found justice. The altar-piece of St. Sebastian
in the Munich Gallery, for example, was always believed to be
the work of the son, till an inscription upon it was proved to be
a forgery. On one of the wings of this altar-piece is an Annun-
ciation, on the other St. Barbara and St. Elizabeth (Fig. 16).
His brother, Sigmund Holbein, was also a member of the craft.

Hans Howpein “the younger ” was born in Augsburg, in 1497.
Comparing him with Albrecht Diirer, Kugler says that “as
respects grandeur and depth of feeling, and richness of his inven-
tion and conception in the field of ecclesiastical art, he stands
below the great Nuremberg painter. Though not unaffected by
the fantastic element which prevailed in the Middle Ages,
Holbein shows it in his own way.” What we know of Holbein’s
life must be told briefly. He was painting independently, and
for profit, when only fifteen. He was only twenty when he left
Augsburg, and went to Bale. There he painted his earliest known
works, which still remain there. They are The Lust Supper; a
Flagellation ; the Portraits:of Jacob Meyer and his Wife ; and
others, less important. In 1519, after a visit to Lucerne, we
find him a member of the Guild of Painters at Bale, and years
later he was painting frescoes for the walls of the Rathaus—tres-
oes which have yielded to damp and decay, and of which frag-
ments only remain. These are in the Museum of Bale, as well
as eight scenes from The Passion, which belong to the same date,
In 1522, Holbein painted the Virgin and Child beticeen St.
Martin and St. Ursus—a picture discovered by Mr. Zetter, of
Solothurn, in 1865. It was once an altar-piece in the Church of
Grenchen in the Canton of Solothurn, and is one of the most
favourable specimens of Holbein’s art. Doubtless, Holbein had
gone to Bale poor, and in search of any remunerative work. It
is said that he and his brother Ambrose visited that city with
the hope of finding employment in illustrating books, an art for
which Bale was famous. Hans Holbein was destined, however,
SEK

LOSS SSE

See —s
= EC
, yl

 

Fic. 17.—Surt Maponna or THE Mryer Famity. By Hornet.
In the Dresden Gallery,
46 GERMAN ART.

to find a new home and new patrons. The last work of import-
ance executed at this time was the Meyer Mudonna, one of the
most famous of his works. ‘This picture is in the possession of
Prince Hesse of Darmstadt, and the Meyer Madonna at Dresden
(Fig. 17) is now acknowledged by the best authorities to be a
replica of the Darmstadt picture. The latter was painted for
the Burgomaster, Jacob Meyer of Bale. The Protestant Virgin
and the form of the Holy Child amid the Burgomaster’s family,
are typical proofs that Holbein was the painter of the new faith
of the Reformation.

Shortly we find him in the land where that faith was being
enforced with no gentle hand, and where the best and noblest
men kept their heads on their shoulders with difficulty. In 1526,
Holbein went to England. The house of Sir Thomas More
in Chelsea received him, and there he worked as an honoured
guest—painting portraits of the ul-fated Chancellor and his
family. Of other portraits painted at this time that of Sir Bryan
Juke, treasurer of the king’s chamber, now in the collection of
the Duke of Westminster, and that of Archbishop Warham,
in the Louvre, are famous specimens. There is a replica
of Archbishop Warham’s portrait in Lambeth Palace. Having
returned to Baile for a season, hard times forced Holbein to seek
work once more in England. This was in 1532, when he was
taken into the service of Henry VIIL, a position not without
its dangers. He was appointed court-painter at a salary of £34
a-year, with rooms in the palace. The amount of this not very
magnificent stipend is proved from an entry in a book at the
Chamberlain’s Office, which under the date 1538 contains these
words:—“‘Payd to Hans Holbein, Payuter, a quarter due at
Lady Day last, £8 10s. 9d.”

Helbein was employed to celebrate the marriage of Anne
Boleyn by painting two pictures in tempera in the Banqueting
Hall of the Easterlings at the Steelyard. He chose the favourite
subjects for such works, The Triumph of Riches, and The Triumph
 

 

PSRs
SSS

See

LSS

Ss

Sy

SS eee}
Se

 

ELN.

By Hous

MILAN.

Ducuerss or

NA,

TRAIT OF CHRISTL

Pox

Fic. 18.

At Arundel Castle.

yth portrait.)

full-len

rytual is a

(The Ori
48 GERMAN ART.

of Poverty. The pictures probably perished in the Great Fire of
London. In 1538, Holbein was engaged on a very delicate
mission, considering the matrimonial peculiarities of his royal
master. He was sent to Brussels to paint the Portrait of Christina,
widow of Francesco Sforza, Duke of Milan, whom Henry would
have made his queen, had she been willing. This portrait
(Fig. 18), now in the possession of the Duke of Norfolk,* was
the theme of much praise at the Winter Exhibition of the Old
Masters at Burlington House, 1879-80. Soon after, having
refused an earnest invitation from Bale to return there, Holbein
painted an aspirant to the royal hand, Anne of Cleves. Perhaps
the painter flattered the lady; at all events the original was so
distasteful to the king that he burst into a fit of rage which cost
Thomas Cromwell his head. Holbein continued his work as a
portrait painter, and has left us many memorials of the Tudor
Court. He died in 1543 of the plague, but nothing is known of
his burial-place. Some time before his death we hear of him as a
resident in the parish of St. Andrew Undershaft, in the city.
The fame of this great master rests almost entirely upon his
power as a portrait painter. In the collection of drawings at
Windsor, mostly executed in red chalk and Indian ink, we are
introduced to the chief personages who lived in and around the
splendid court in the troublous times of the second Tudor. There
are several good specimens of Holbein’s art among the drawings
in the British Museum, but he was unrepresented in the
National Gallery until 1880, when the Trustees acquired a por-
trait of Martin Luthertwhich is attributed to him. Famous
among his works are his designs for the Dance of Death, which
were engraved on wood by Hans Liitzelburger ; some authorities
however maintain that Holbein actually cut the designs with
his own hand. The weird and grotesque side of German art is

* Replicas at Windsor Castle and at Castle Howard are also claimed
to be the original painting. The Duke of Norfolk's picture is at present
(1881) on loan in the National Gallery.

t Not yet exhibited (April, 1881).
FOLLOWERS OF HOLLEIN. 49

shown. at its best in these pictures, where Death summons all
classes alike —kings and peasants, priests and paladins, fair
women and tender children—to join his ghastly revelry.

Holbein has had a vast number of pictures falsely assigned to
him. It was formerly believed that he died in 1554 instead of
in 1543, and numerous works executed between these dates are
now proved to have been from another hand.

Probably from the fact that he early left his native land tc
live in England, Holbein founded no school of painting
Among his imitators we may mention CHRISTOPHER AMBERGER,
who was born about 1490, and was a native of Augsburg: he
studied under the elder Holbein, but learnt more from the works of
the younger. He painted the portrait of the Emperor Charles V.,
in 1532, and that monarch declared the work was as good as that
of Titian. The original is in the Institute of Fine Arts at Siena,
and is there ascribed to Holbein. The one at Berlin is a replica
by Amberger. This artist also painted historical works, but his
power lay chiefly in portraiture. He died at Augsburg in 1563.

Nicotaus Manvet, known also as DeutscH, was born about
1484, at Berne, and was famous not only as a painter but as a
reformer, a soldier, a poet, and a statesman. He studied under
Titian in Italy, and shows the influence of the great master in
the richness of colour in his backgrounds. Manuel painteu
forty-six large frescoes on the walls of a Dominican convent
at Berne, choosing the ever popular Dance of Death as his
subject. But Death here appears in a pleasant, even humorous
form, adapting himself to the tastes of his victims, and making
the inevitable journey as agreeable as may be. These frescoes
have perished, but copies have been published at Berne The
museum at Bale contains many fine specimens of this painter’s
art. He died at Berne in 1530.

GFDP D
 

 

 

THE Fox-Cuask. By HOUBEIN.

CHAPTER V.

THE DECADENCE AND REVIVAL OF GERMAN ART.
(1550—1880.)

HE glory of German art died out with Albrecht Diirer.
The very versatility of that master’s genius prevented him
from forming a school. His imitators copied, with more or less
success, his various styles, and thus diverged widely in different
directions. After the death of Diirer, of Holbein, and of
Cranach, the national art which had flourished at Nuremberg, at
Augsburg, at Ulm, and Cologne, fell into a sleep from which the
awakening was long delayed. The various painters of Germany
became mere copyists of the Italian Schools. Thus of Hzrnricu
Gotrzius (1558—1617), it has been said, that “he struggled
after Michelangelo in distorted dreams.”

JOHANN RorrennAMMER* (1564—1623) was a copyist of
Tintoretto. He was patronised by the Emperor Rudolph II.,
but died at Augsburg in poverty. A Death of Adonis (in the
Louvre), and a Pan and Syrinx (National Gallery), with the
background painted by Jan Brueghel, are favourable specimens
of his art.

* Sometimes written Rothenhammer.
DECADENCE OF ART. 51

AvamM Exsnamer * (1574—1620) excelled as a landscape
painter. It is said that his memory was so powerful, that,
after once seeing a landscape, he could reproduce it on canvas
perfect in every detail. His works were appreciated after his
death, but in life he had only two patrons, of whom Rubens was
one ; he died a pauper,in Rome. The masterpiece of Elshaimer
is a Flight into Egypt in the Louvre; many of his best pictures
are in private collections in England.

 

Fig. 19.—ALEXaNDER’s Horsz. By SANDRABT.
From a design in his “ Academia nobilissime Artis pictoria.””

JOACHIM VON SaNDRART was born at Frankfort in 1606,
and commenced life as an engraver. Having abandoned the
graver for the brush, he studied first at Utrecht, and then at Venice
and Rome. On his return to Germany after many years’ absence
he executed several altar-pieces for churches in Bavaria and Austria.
In the Belvedere at Vienna there is a famous picture by Sandrart,

“ Often written Elzheimer.
D2
52 GERMAN ART.

entitled the A/lequry : it represents Pallas and Saturn defending
the Genii of Fine Arts against the Furies of Envy. Another of
his great pictures is in the town-hall of Amsterdam, and shows
us a company of the Amsterdam Archers at the Entry of Marie
de Medicis, Sandrart, however, is more famous for his history of
Teutonic art, the Tentsche Academie (published at Nuremberg,
1675), than for his pictures. He died at Nuremberg in 1688.

BattHasar Denner was born at Altona in 1685. Little
is known of his life. He studied under obscure masters at
Altona and Dantzic; and wandered from one German court to
another with varying success. He visited England, but was
not appreciated. Denner was a painter of microscopic exactness.
He could spend days of loving labour over a wrinkle, and hang
fondly over the delineation of a hair. His portraits are those of
heads simply, cut off below the chin, and to these he gave by his
minute labour an accuracy which is /perfectly frightful “A
thing of beauty” was by no means ‘‘a joy for ever” to Denner.
He preferred the wrinkled skin of some toothless patriarch to
the velvet cheek of the loveliest maiden. As a portrait painter
he was much prized, and among his works are the portraits of
Peter ITI. of Russia, Augustus II. of Poland, and Frederick
IV. of Denmark. In the Vienna Gallery are a Portrait of Him-
self, and.a Head of an Old Woman, for which latter work the
Emperor Charles VI. gave Denner four thousand seven hundred
florins. He died at Rostock in 1747.

Curistian WILHELM Ernst Dierricn,* who was born at
Weimar in 1712, became court painter to Augustus ITI. of
Poland, and to his successor Augustus III. He studied in Rome,
and on his return was made keeper of the Dresden Gallery, and
Professor in the Academy of Arts in the same city. He was a
popular and successful man throughout his life, and yet he never
painted an original picture. He was a universal copyist. The

* Or Dietvicij, as he is said to have written it himself about 1733
after his visit to Italy.
 

 

 

Fic. 20.—Tng Kxirk Gris per,

From an Engraving by Dictrich.
54 DECADENCE OF ART.

verdict of Michelangelo on Baccio Bandinelli applies equally
to Dietrich : “ Who walks behind another, will never pass him
by.” He walked behind numberless masters. In the illus-
tration we have given from an engraving by himself, The Knife-
Grinder (Fig. 20), the influence of Van Ostade is plainly dis
cemible. If we look at his fifty-one works in the Dresden

Seis ~

Ms
i

   
   

-"Duleicar eee 17a 7
Fig. 21.—I'mu Rat-CatcHer. By Drerrice.
Gallery, we shall see Gerard Dou in The Young Woman and
her Children, and recognize Van der Werff in the Golden Age.
The shadow of Salvator Rosa falls upon the Cuirassiers on a
March, and a memory of Raphael haunts an Italian landscape
with a Holy Family. Adriaan van Ostade, Jan Both, Watteau,
Dujardin, and many another look at us from the canvases of
ae

& ti a i
= nl ii WaT a H i
tt en A Ch ne I HA

HT AH
ie

pnd yannnane aa
nt Hi Hn oe th ui
Inn

HIN
Hi nA na ua Hy

TE 1 ily

i Hi Ta it i

 

Fic. 22.Sr. Petrr. By MENGs.
In the Gallery of the Belvedere, Vienna,
56 GERMAN ART.

Dietrich. His best picture in England is Uke Itinerant Musicians,
in the National Gallery. He died at Dresden in 1774.

Anton RapHarL Menges (1728—1779) was boru at Aussig, in
Bohemia. If it could not be said of him that “he lisped in
numbers,” it was true that his earliest plaything was a pencil.
His father, who was a miniature painter, had determined that
his son should be an artist, and named him after Correggio and
Sanzio. Asa little child Raphael Mengs was sent to study the
masters in the gallery of Dresden, whither his father had removed.
Thence, when only thirteen, the boy was taken to Rome, and
was shut up in the Vatican all day long with a crust of bread
and a can of water. Thus the path of art was not strewn with
roses for Raphael Mengs. When quite a youth be became court
painter to Augustus IIL, King of Poland and Elector of Saxony,
who allowed him'to continue his studies in Rome. There he
painted a Holy Family, taking as his model for the Virgin a peasant
girl whom he married, changing his creed to accommodate the
feelings of his wife. In 1761 Mengs visited Madrid at the in-
vitation of Charles ITI., and executed many of his greatest works
among them the Apotheosis of Trajan, on the ceiling of the
dining-hall of the palace at Madrid. Once more in Rome for’ a
space of three years, we find Mengs painting his famous Allegory
on the ceiling of the Camera de’ Papini. He was in Spain till
1775, when he again visited Rome, and then having lost his
wife in 1778, Mengs died within a year, of grief and unskilful
medical treatment. With all the advantages of his early training
and laborious youth, with all the care and study of the antique
which he lavished upon his work, Mengs lacked the two qualities
which make a great painter—originality and warmth. Although
he shows signs of the art of better days, in a period of degrada-
tion, he is always cold and lifeless even in his greatest works.
It is strange that Winckelmann, the distinguished critic of
ancient art, should have had no more insight into this fact
than to affirm that Mengs was the greatest painter of that “or
 

By ANGELICA KAUFFMAN.

Fio, 28.—Buinp Man's Burr.
58 GERMAN ART.

perhaps of any age.” His pictures are rare in France, there are
some in Saxony and Italy, and the greatest number in Spain.
His masterpiece is an Adoration of the Shepherds in the Museo
del Rey at Madrid. Two Portraits of Himself in the Munich
Gallery, another in the Uffizi, and a Portrait of his Father at
Berlin, and his picture of S¢. Peter in the Belvedere Gallery at
Vienna (Fig. 22), show his power in this department of art. He
was also the author of ‘Thoughts on Painting, and Reflections
on Painters.’

AnceicA KavrrMan was born at Schwartzenberg, in the
Bregenzer Wald, Austria,* in 1741. At the age of 15 she
was taken by her father to Milan, to improve in the arts of
music and painting, and in 1763-4 she visited Naples and
Rome, and became known as a portrait painter. The Abbé
Winckelmann, who sat to her, mentions Angelica Kauffman with
the highest praise. After visiting Venice she came to England
in 1765 with Lady Wentworth, wife of the British Ambas-
sador. Here she was soon the centre of a brilliant society, and
was equally famous for her wit, her amiability, and her power as
a portrait painter. She also painted fanciful subjects, of which
Blind Man's Buff is a characteristic example (Fig. 23). In 1768
she achieved the honour of being elected one of the original
members of the Royal Academy. Her unfortunate marriage
with an impostor, calling himself Count Horn, and her subse-
quent union to her first love, Antonio Zucchi, which also proved
unfortunate, have cast a glamour of romance over this artist’s
life. She returned to Rome, and devoted herself very success-
fully to historical painting till her death in 1807. The works
of Angelica Kauffman are rather pleasing than powerful. Fifteen
of her pictures are in the collection of Lord Exeter.

Asus Jaxkop Carstens (1754—1798) was one of the best
German painters of the period immediately preceding the revival

* Chur (Coire), in the Grisons, has until recently been supposed to be
the place of her birth. See Atheneum, No. 2733.
 

 

Vo
@ adi

\\
Yj

\\
WY

NAN
I OM

iy (
’ MI Op I
S| 6

(;

1

 

 

 

By CansTens.

Fic, 24.—Tur Fates—NeEMEsIs, NIGHT, AND Destiny.

In the Weimar Museum.
60 GERMAN ART.

of German Art. The son of a miller, he was apprenticed to a
wine merchant, and throughout his life had a hard struggle with
fortune. He travelled to Copenhagen, and there procured a
precarious livelihood by drawing portraits in red chalk. Two
pictures painted at this time, however, attracted favourable notice,
The Death of Balder, and Ulysses and Jtolus; but the good
fortune which seemed to await him was darkened byanunfortunate
quarrel with the artists of the place. At Berlin, Carstens painted
his Fall of the Angels, and was made a member of the Academy,
and in 1792 received a travelling pension from the Court.
After studying the works of Diirer at Dresden and Nuremberg,
he visited Rome, and as the result of his studies there painted
his Visit of the Argonauts to the Centaur Chiron. Carstens
chiefly dealt with mythology in his pictures, and was a careful
student of Raphael and Michelangelo. His Mates—Nemesis,
Night, and Destiny, in the Weimar Museum (Fig. 24), is an
excellent example of his style.

REVIVAL OF ART IN GERMANY.

“THE Germans—who joined in the European work of a fresh
Revival of Art twenty years later than the French under Louis
David—undertook their mission in an entirely different spirit.
Instead of carrying Art forward, they turned back, and rather
than go on resolutely to the discovery of an unknown future,
thought it more prudent to return to the past, and to take refuge
inarchaism. At the death of Albrecht Diirer, artistic Germany
fell asleep as if in the cavern of Epimenides. Aroused at last
by the rumour of the revival of the arts in France, she resumed
her task where it had been left at the close of the fifteenth
century. It was to Rome that she once more turned in order to
rekindle the extinguished flame. The history of the little Ger-
man colony is well known which, in 1810, crossed the moun-
tains under the direction of Friedrich Overbeck, and established
at Rome a convent of artists, where all the subsequent heads of
 

Se,

 

 

By OVvERRBECK.

1G. 25.—THE CALLING or JAMES AND JOHN.

wr
62 GERMAN ART.

schools were formed, Peter von Cornelius, Wilhelm Schadow,
Philipp Veit, Julius Schnorr, Karl Vogel, Heinrich Hess, and
others less worthy of mention. They followed to the letter the
paradoxical advice of Lanzi, that ‘modern artists should study
the painters of the time preceding Raphael; for Raphael, spring-
ing from these painters, is superior to them, whilst those who
followed him have not equalled him.’ Their enthusiasm for
what they called the ‘ Christian ideal,’ for Art anterior to the
religious reformation, led them even to renounce the religion of
their fathers. The Protestants became Catholics, and Overbeck,
who set the example of abjuration as well as exile, was not satis-
fied with returning to the age of Leo X., but endeavoured to
adapt, to the mystic style of Fra Angelico, the types of Raphael,
in which Grecian beauty is visible.

“This influence imprinted on German painting an irremediable
defect ; to avoid the fault with which they reproached the Dutch
—that of not knowing how to ¢dealise the real—the Germans
feil into the opposite extreme, of being unable to realise the
ideal. WHappily, they have not persisted in this blind alley,
where progress was impossible. The schools of Disseldorf and
Munich have produced noble painters who, by turning to pic-
turesque truth, have returned to their own times and their own
country.”—Viardot.

JOHANN FRIEDRICH OvERBECK, the chief of the Revivalists of
German art, was born at Liibeck in 1789. When about eighteen
years of age he went to Vienna, to study painting in the Academy
of that city. The ideas on art which he had carried with him
were so entirely new and s0 little agreeable to the professors of
the Academy, that they met with but small approval. On the
other hand, there were several among his fellow-pupils who gladly
followed his lead; and in 1810, Overbeck, accompanied by a
small band of youthful artists, went to Rome, where he estab-
lished the school which was afterwards to become so famous.

Overbeck, who was professor of painting in the Academy of
\

y

‘
\

 
 

Fic. 26.—THE Four Rivers or tHe APOCALYPSE.

 

 

 

By Cornetius.

of the Cathedral at Berlin,

_ Designed for the Campo Santo o
c4 GERMAN ART.

St. Luke, a foreign member of the French Institute, and a mem-
ber of all the German Academies, died at Rome in 1869, at the
advanced age of eighty years. He painted both in fresco and in
oil. Of his productions in fresco, the most noteworthy are, a
Vision of St. Francis in Santa Maria degli Angeli, at Assisi, and
five scenes from Tasso’s Jerusalem Delivered, in the villa of the
Marchese Massimo, in Rome. Of his oil-paintings the best are
the Triumph of Religion in the Arts in the Stadel Institute at
Frankfort; Christ on the Mount of Olives at Hamburg; the
Entrance of Christ into Jerusalem, painted in 1816 for the Marien
Kirche at Liibeck; and a Descent from the Cross, at Liibeck.
Overbeck also executed a number of small drawings. Of these
we may mention forty designs of the Life of Christ (Fig. 25),
and many other Biblical subjects.

PETER VON CoRNELIUS, one of the greatest of modern German
painters, was born at Diisseldorf in 1783, and first studied art in
the gallery of his native city, of which his father was inspector.
In 1811 he went to Rome and joined the school which Overbeck
had previously established there. After several years of study
in the Papal capital, Cornelius was commissioned by the then’
Crown Prince of Bavaria to paint various frescoes for the Glypto-
thek of Munich. Accompanied by a few pupils, he repaired to
Munich where, in 1824 or 1825, he was made Director of the
sicademy. He died in 1867 at Rome. His pictures mostly
represent scenes from the Old and New Testament, the Nibelun-
genlied, and the works of great writers—Homer, Dante, Githe,
and others. We may especially notice some frescoes, representing
the History of Man from the Creation to the Last Judgment, in the
Ludwigs Kirche at Munich. The Four Riders of the Apocalypse,
designed for the Campo Santo at Berlin, is one of his best-known
‘compositions (Fig. 26). Cornelius is not a great colourist, but
he excels in grandeur of design. His figures, though they some-
times have a statue-like appearance, are perfect ; and his drawing
as worthy of the utmost praise.
REVIVAL OF ART. 65

Frieprich WILHELM von ScHapow, the son of Godefroid
Schadow the sculptor, was born at Berlin in 1789. He first
studied under a painter named Weitsch, but abandoned that
master in favour of Cornelius, whose pupil he must be considered.
Schadow was a member of the Academy of Berlin, and also for
some time Director of the Diisseldorf Academy. He died at
Diisseldorf in 1862. Among his best pictures are, the Four
Evangelists ; a Deposition; and also a Holy Family at Munich.
Schadow was also a portrait painter.

Perer Hess, the “ Horace Vernet of Central Germany,” was
born at Diisseldorf in 1792. He was the son of Karl Hess, the
professor of engraving in the Diisseldorf Academy, and the
brother of two other artists—Heinrich von Hess, an historical
painter, and Karl Hess, a painter of battle-pieces of less note.
Peter Hess was, at various times, much patronized by the
Bavarian Government. He died at Munich, in 1871. Of his
pictures, we may mention the Extrance of King Otho into
Nauplia in 1833 ; the Battle of Arcis-sur-Aube ; and the Crossing
of the Berezina—painted for the late Emperor of Russia.

Paturer Veit was born at Berlin in 1793. His mother, after
the death of her first husband, married the painter Friedrich
Schlegel, who thus became Veit’s instructor. The young artist
studied for some time in Dresden, and then went to Rome,
where he became one of the most severe in style of those
artists of the revival. Of the works which Veit executed in
Rome, the most important is the Seven years of Plenty, painted
in fresco in the Villa Bartholdy, as companion picture to
Overbeck’s Seven years of Dearth. The works which Veit
executed in Rome procured him so much fame in Germany,

’ that he was summoned to Frankfort-on-the-Main to take the

Directorship of the Art Institute. Owing to differences in
religious opinions, he was obliged to resign this office in 1843.
He then removed to Sachsenhausen in Hesse-Cassel, where he

afterwards chiefly resided. He died in 1877, at Mayence. Of
GFDP E
66 GERMAN ART.

his later works we may mention an Ascension of the Virgin,
painted for the Frankfort Cathedral, and a Good Samaritan,
painted for the king of Prussia.

Juuius ScHNoRR von Karo.sFELp, the third son of Johann
Veit Schnorr, the Director of the Academy at Leipsic, was born
in 1794, in that city. He was sent in 1810 to the Academy of
Vienna, where his two elder brothers were already studying.
Schnorr did not, however, find the professors of the Academy at
all sympathetic with his desire for the improvement of Art. He
accordingly left Vienna and went to Rome in 1815, where his
chief works were the Marriage at Cana and scenes from Orlando
Furioso in the Villa Massimo. Just as he had completed this
last work he was called by King Ludwig of Bavaria to Munich,
where he executed his most celebrated works—Scenes from the
Nibelungenlied painted in fresco; and the histories of Charle-
magne, Frederic Barbarossa, and Rudolf of Hapsburg, in en-
caustic. His well-known Bible Illustrations (Fig. 27) have made
his name very popular in England. Schnorr died in 1872, at
Dresden.

Heinrich Maria von Hess was born at Diisseldorf in 1798.
He first studied under his father Karl von Hess, who was pro-
fessor of engraving in the Diisseldorf Academy. In 1806, young
Hess went to Munich, and entered as a student in the Academy
of that city. Seven years later appeared his first great works,
the Sepulchre of Christ, and a Holy Family, which attracted the
notice of Queen Caroline, who thenceforth became his liberal
patroness. In 1821 he received a royal travelling-grant. He
went to Italy, where he stayed until 1826, in which year he
returned to Munich, and was soon after made Professor of the
Academy. In the following year he commenced a series of car-
toons for the Allerheiligen Kirche, which he completed in 1837.
In 1849, Hess was made Director of the Royal Collection, which
post he held until his death, which occurred at Munich, 1863.
Among the best known of his works we may mention a Christ-
i

‘tl

Ww

\

 

:

v
\

be
\ 4

\

if

fn i €
1A

 

 

By Scuxrorr von Kanonsretp.

(From the Bible Cuts.)

Fig. 27,—CaIn KILLING ABEL.
68 GERMAN ART.

mas, painted for Queen Caroline ; and Faith, Hope, and Charity,
painted for the Leuchtenberg Gallery, at St. Petersburg.

WILHELM von Kaupacu, the great historical painter, was
born at Arolsen, a small town in Waldeck, in 1805. He studied
Art at Diisseldorf under Cornelius, and acquired from that
master a thorough knowledge of design and drawing, more
especially of the human figure. He was Cornelius’s best and
favourite pupil, and when that master removed to Munich,
Kaulbach was among those who followed him. Kaulbach painted
chiefly large pictures of an historical character. Thanks to pho-
tography, these are well-known to the world. Among his most
popular works are, The Battle of the Huus in the Berlin Museum ;
Apollo and the Muses, in the Odeon at Munich ; and the wall-
painting at Berlin, representing Homer in Griechenland ; his
drawings for the illustration of Goethe’s Faust and Werner, and
the designs for Reynard the Fox. His style is bombastic, with-
out feeling for nature, and has the worst faults of the modern
German School. . Kaulbach died at Munich in 1874.

Car Frieprica Lessine, who was born in 1808 at Breslau,*
was originally intended for an architect, but evincing a strong
sove of painting, he studied under Résel and Dihling at Berlin
In 1827 he went with Schadow to Diisseldorf. There he speedily
became famous both for his masterly landscapes and his historic
paintings. The latter show a strong Protestant feeling—three
of his masterpieces being scenes inspired by the history of Huss,
the reformer. In 1858 Lessing was appointed Director of the
Gallery of Art at Carlsruhe, a post which he held until his
death in that town in 1880. His works are frequently to be
met with in German galleries. At Berlin are Huss at the
Funeral Pyre ; a Hussite Preaching ; and several good landscapes ;
and at Frankfort, in the Stadel Gallery, are Huss before the
Council, and his famous Oaks of a thousand years.

* Some writers say at Wartenberg, in Silesia.
PAINTING IN FLANDERS.
 

Fic. 27a4.—Portrair or JAN VAN Lyck.
One of the * Justi Judices? in the “ Adoration of the Lamb?
 

BOOK II.
FLEMISH PAINTING.

CHAPTER L

THE SCHOOLS OF THE NETHERLANDS. EARLY FLEMISH ART.

HE records of early Flemish art are few and untrustworthy.
Many works perished in the troublous times when Liége

and other cities were sacked by plunderers. Still we know
that penmanship and miniature painting were practised in the
convents of the Netherlands at a very early period. A Benedic-
tine chronicle of the ninth century describes the transcripts from
the Gospels or Psalms made by the Abbesses Harlinde and Ren-
hilde. Wolfram von Eschenbach mentions painters of Maestricht
and Cologne, and there are traces of art in Liége in the tenth and
eleventh centuries. ‘Lately, wall-paintings have been discovered
at Maestricht, Liege, Huy, Namur, Ghent, Gorcum, and Haarlem,
which are ascribed to the thirteenth and fourteenth centuries.
The thirteenth century produced in Flanders many degraded
specimens of art, chiefly coarse and revolting martyrdoms. We
know also of certain artists who were described as ‘‘ painters and
varlets” to the Counts of Flanders and Dukes of Burgundy.
These craftsmen seem to have been employed by these princely
72 FLEMISH ART.

patrons in many different ways, which ranged from the painting
of a weathercock or a pennon, to the construction of mechanical
toys and traps, the conduct of a secret commission, or the
production of a veritable picture. Among these obscure crafts-
men we find Jean van DER ASSELT, painter to Louis de Male, at
Ghent, from 1364 to 1380, and afterwards employed by Philip
the Hardy ; to Van der Asselt probably belong the wall-paintings
in the chapel of Louis de Male, at Nétre Dame of Courtrai. JEAN
pe BraumeEz was “ painter and varlet” to Philip the Hardy from
1377 to 1395. Jgan- Matwet occupied the same position in
the courts cf Philip, and Jean the Fearless from 1397 to 1415.
Mexcuior BroEpEerLaM of Ypres was also in the service of the
same Philip, from 1382 to 1400. He displays some glimmering
of the brighter day which was to dawn for Flemish art under the
auspices of the brothers Van Eyck. The wings for an altar-
chest, the principal parts of which are preserved in the Museum
of Dijon, contain paintings by Broederlam of the Annunciation,
the Visitation, the Presentation, and the Flight into Egupt,
which are remarkable for simplicity, purity, and beauty of colour.

scHOOL OF BRUGES (1366—1550).

The glory of early Flemish art culminated in the School of
Bruges, and in the works of the brothers Huibrecht and Jan van
Eyck. Bruges was at this period the most wealthy and splendid
city in Flanders. Possessing in Sluys an excellent port, the
trade of England, Spain, Italy, Asia, and Africa, and later that
of America, poured its wares into Bruges, in exchange for woollen
stuffs, and the heavy grain and fat cattle, of which the Flemish
town was the mart. Its citizens were wealthy, it was the
favourite residence of the free-handed ‘despotic prince and art-
patron, Duke Philippe Je Bon, and it was thus in every way
suited as a home for the Fine Arts.
SCHOOL OF BRUGES. 73

We know little of the life of Hurnrecut van Eycx. He
was born at Maaseyck, in the valley of the Maes, about 1366.
Maaseyck, the birthplace of the two brothers Van Eyck, lies
to the north of Maestricht, touching on one side the barren
Kempenland, and bounded on the other by the pleasant orchards
and gardens of the country of Liége. Huibrecht lived partly at
Bruges and partly at Ghent, and was a member of the guild of
painters in the latter city in 1421. At Ghent he died in 1426,
and was buried with great pomp by Judocus Vydt, his patron,
in a vault of the chapel of St. Bavon. One of the painter’s arms
was preserved at St. Bavon as a valuable relic till the middle of
the sixteenth century, when it disappeared.* It has been stated
that Jan van Eyck invented the art of painting in oils. This,
however, is a mistake, as linseed oil was used in painting as early
as the eleventh century. Doubtless, however, one great reason
for the marvellous success of the brothers Van Eyck is to be
attributed to the discovery of a new process of mixing colours
with oil, a discovery which probably originated not with Jan van
Eyck, but with his elder brother. This new discovery, which
was eagerly sought for by the Italian painters, has given us the
distinctive colouring known as “the purple of Van Eyck,”
which ranks with the “gold of Titian,” and ‘the silver of
Veronese.”

Jan vaN Eyck, or E1sck—who was born at Maaseyck about

* The following is a translation of the quaint epitaph of Huibrecht van
Eyck :—“‘ Take warning from me, ye who walk over me: I was as you are,
but am now buried dead beneath you. Thus it appears that neither art
nor medicine availed me. Art, honour, wisdom, power, riches, are not
spared when death comes. Huibrecht van Eyck I was once named, now I
am food for worms. Formerly highly-honoured in painting, this all was
shortly afterwards turned to nought.

“Tt was in the year of the Lord one thousand four hundred and twenty-
six, on the eighteenth day of September, that I rendered up my soul to
God, in suffering. Pray to God for me, ye who love art, that I may attain
to His sight. Flee sin, turn to the best, for you must follow me at last.”
74 FLEMISH ART.

1390—entered the service of Jean sans Pitié, the famous John
of Bavaria, Bishop of Liége. Dying, the bishop sent the
painter with a recommendation to Philippe le Bon, Duke of
Burgundy, and we find Jan van Eyck installed as “ varlet and
painter,” and acting as confidential friend and companion to
that imperious but liberal prince. Whether Jan van Eyck was
among the few hundred courtiers who shaved their heads at the
duke’s command, so that he might not be singular we know not.
We do know, however, that the painter received an annual
salary of one hundred livres parisis, and that he had two horses
for his use, and “a varlet in livery” to attend him. Besides
this regular salary, the painter received other monies for secret
service performed during various mysterious missions, about
which the chroniclers are very reticent.

In 1428, Jan van Eyck was sent to Portugal, with an
embassy consisting of Hue de Lannoy, and the Sire de Roubaix,
to paint the portrait of Isabel of Portugal, whilst his companions
were to negotiate a marriage between the Princess and the Duke
of Burgundy. The embassy met with foul weather, and had to
put into Sandwich, Plymouth, and Falmouth. Arrived in
Portugal, Jan van Eyck painted the portrait of the Princess
Isabel, and having sent it to his master, started for a tour
through Portugal and Spain, and saw for the first time the rich
vegetation of a brighter clime than his own. We can trace the
influence of the scenery of Spain and Portugal in some of his
later pictures. In 1429, Jan van Eyck was again in Bruges, to
be present at the rejoicings at the ducal marriage, when Philippe
instituted the order of the Golden Fleece, and to receive from his
patron one hundred and fifty livres for his portrait of the
princess, and for his “secret service.” He now settled in Bruges
in a house of his own, and married. In 1434, we find Duke
Philippe le Bon standing as sponsor to Van Eyck’s daughter, and
giving his godchild no fewer than six silver cups. The painter
retained the friendship of this liberal patron throughout his life ;
 

 

 

 

 

 

Fic. 28.—Cuoir oF ANGELS. By Hurnrecut van Eycr.
(Upper wing of the polyptych in St. Bavon, at Ghent.)
In the Berlin Gallery.
76 FLEMISH ART.

the duke frequently visited his studio, and emptied his
pockets among the apprentices. Jan van Eyck died at Bruges
in 1440.

The greatest work of the School of Bruges, which combines all
the characteristics of early Flemish art,—devotion, religions
symbolism of a realistic type, power of colour, and mastery of
execution, is the famous Agnus Dei, or Adoration of the Mystic
Lamb. This work is a polyptych * of twelve panels, which, with
their shutters, form twenty-four pictures divided into two rows,
having five panels in the one, and seven in the other. On the
frames of the shutters is this inscription -—

“ Hvbertvs e eyck maior qvo nemo repertvs
Incepit pondvs ge Iohannes arte secvndvs
(Frater perfecit) [vdeci Vyd prece freti.
VersV SeXta MaI Vos CoLLoCat aCta tVerl.”

The last line isa chronogram, which tells us that the great work
was finished May 6th, 1432. It was commenced by Huibrecht
van Eyck for Judocus Vydt as an altar-piece for his chapel at
St. Bavon at Ghent. He lived to complete the whole of the top
portion of the interior of the altar-piece, which contains pictures
ot God Almighty: on His right hand are The Virgin, a choir
of Angels (Fig. 28), and Adam ; on His left are St. John the
Baptist, St. Cecilia, and Eve. The whole work was not com-
pleted by Jan van Eyck till 1432. Doubtless he was frequently
interrupted in his labour by the exigencies of his services, secret
and otherwise, to Duke Philippe le Bon.

This great altar-piece was placed in the chapel of the Vydt family
in St. Bavon, at Ghent, in the year in which it was finished.
In the central compartment we see the Mystic Lamb standing on
the ark of the covenant, blood flowing from its wounded side.
The Holy Spirit hovers as a dove overhead. Angels kneel
around, bearing the instruments of the Passion. In front is the
fountain of living water, which pours forth a stream to purify

* rodtc mroé, many fold.
 

- Toypy fu ww ny me yee ge ia ‘ —

‘HOLY NVA NVG AQ ‘ANVT AHL JO NOIWLVYOCY AH J,—'6Z ‘PTY

PLE i POPES IE eI
Ri ¥ OH Re

¥y

 

 

 

 
DH

7 FLEMISH ART.

the world. In the foreground are placed the great army of
the redeemed, and farther back are crowds of saints and
martyrs. In the distance we see a city, meant doubtless to
represent the heavenly Jerusalem, its towers and domes stand-
ing out against a sky of pale grey, which gradually diverges into
a deeper tint (Fig. 29). On the wings on either side of the
central picture we see crowds of persons all journeying towards
the Lamb, all fired with the same spirit of devotion. Hermits.
crusaders, righteous judges, among whom on horseback are
Huibrecht, and Jan van Eyck (Fig. 274). Amid the Christian
warriors are Charlemagne, St. George, and Godefroy de Bouillon.
There was originally a picture underneath, representing hell; this
has been lost. On the external panels of the shutters are the Anqgec
of the Annunciation and the Holy Virgin, and beneath St. John
the Baptist and St. John the Evangelist, with the portraits of
Judocus Vydt and his wife Isabel Burluut on either side. ‘“ Of
the technical qualities of this work, no praise can be too
great. The inventors of the new method of oil-painting seem
at once to have carried it to perfection, and no after-work of
their school exhibits a more thorough mastery over the mechan-
ical medium, or a more complete understanding of the harmony
of colour than this. The landscape, both in the centre and
the wings, is delicately and faithfully painted ; every soft blade
of grass, every flower is depicted with loving care, but we
have not the exaggeration of minute accuracy such as we find
in some of the Van Eyck landscapes” (Mrs. C. Heaton). The
great altar-piece has passed through many vicissitudes. It
narrowly escaped the sacrilegious hands of Protestant Vandals in
1556. It was nearly destroyed by fire in 1641. Joseph of
Austria’s sense of propriety being shocked at the sight of the
figures of Adam and Eve, the altar-piece was closed to the eyes
of spectators for some time. In the wars of Napoleon it was
carried off as booty, and was sent to the Louvre. In 1814,
when peace was declared, it was once more restored to St. Bavon
SCHOOL OF BRUGES. TS

at Ghent, but the wings, instead of being joined to the centre,
were hid away ina cellar. A priest found them there, and sold’
them ; in time they passed from the purchaser M. Nieuwenhuys
to Mr. Solly, from whom they passed to the late King of Prussia ;
they are now in the Gallery of Berlin. The panels of Adam
and Hve, after a still longer sojourn in the cellar, at last saw
the light in 1860 in the Gallery at Brussels. There are many en-
gravings of the centre and side wings of the famous altar-piece.

Next in order of importance to the Agnus Dei of St. Bavon is
another altar-piece in the Santa Trinita Museum, Madrid, called
the Triumph of the Catholic Church. “ For power of conception.
and distribution, no picture of the Flemish School,” say Messrs.
Crowe and Cavalcaselle, in their ‘Lives of Flemish Painters,’
“approaches this, except the Agnus Det of St. Bavon. It is the
creation of a single hand, and the figures are all of similar
stature, but of proportions less than those in the central panel of
the Agnus Dei.” The same writers, as well as Passavant,
consider the two figures which watch the overthrow of the
Jewish Church, and the triumph of the Christian, to represent the
brothers Van Eyck. Otto Mindler considered this work to-
belong to a later master, but Birger and the latest critics decide
in attributing it to Jan van Eyck.

The Pala Madonna, so called from the name of the patron
for whom it was painted, the Canon van der Pala, is another
famous picture of this master. It is’ at Bruges, and there is
a copy of itin the Antwerp Museum. It bears the date 1436,
and represents the Virgin seated on a throne, with St. George-
standing in complete armour on her right, and St. Donatus in
the dress of an archbishop on her left hand. The donor of the
picture, Canon van der Pala, kneels a little behind St. George.
In the Antwerp Museum is the celebrated picture—or rather-
drawing in monochrome, though the material is oil-paint—of St.
Burbara (Fig. 30; frontispiece), with her emblem, a beautiful.
Gothic tower, in the background.
80 FLEMISH ART.

Of the other works of Jan van Eyck we must mention a
picture in the Louvre, known as the Virgin and the Donor. The
Chancellor Rollin is depicted kneeling, missal in hand, before
the Virgin and Child. An angel is crowning the Virgin, and a
city resembling Lyons, but probably typical of Jerusalem, is seen
in the distance. “This picture,” says Viardot, “is rather pale
in its general tint, without much relief or depth, and does not
show any of the brilliant colour which is known as the purple
of Van Eyck. In any case it is not one of those which deserve
his short and modest motto, aLS IXH xan * (as well as I can),
for he could do better.” There are two heads of Christ painted
by Jan van Eyck, one at Bruges bearing the date 1420, and
displaying the earliest specimen perhaps of the new method of
oil painting, and the other at Berlin, dated 1438. In England
we have in the National Gallery Portraits of Jean Arnolfini and
his Wife, a picture which is a masterpiece of colour, and light, and
shade, combining these qualities with an inconceivable minute-
ness and finish of execution ; it bears the inscription, as though
written on the walls of the room, JoHaNNESs DE Eyck FUIT HIC,
1434. Two other pictures by this master are in the National
Gallery. A portrait of a man in a turban, believed to be a
likeness of the painter himself, and a portrait of a man in a
dark red dress and a green hood. There are also some good
specimens of Jan van Eyck’s pictures in the possession of
private collectors in England.

We owe to the brothers Van Eyck the substitution of the
picture, in the place of wall-painting and illumination. Hence-
forth pictures were to be carried about, and their beauties
extended to many lands, instead of remaining fixed upon a
particular spot, just as the illuminated manuscript, securely kept
in one position, was to give place to the printed book, copies of
which were scattered far and wide. Of the works of Lambert

* Als ich kan—the first words of an old Flemish proverb, ‘ As I can,
but not as I will.”
PETRUS CRISTUS. 81

and Margaretha van Eyck, brother and sister of the famous
master, no authentic records remain.

Although the School of Bruges began, grew, and reached its
highest point during the lives of its founders, the brothers Van
Eyck, and although none of the scholars of those masters ever
excelled their teachers, yet we find several painters of note who
adopted the newly-discovered process of painting in oils. The
secret of that process, though jealously guarded by the Flemish
Guilds, was carried as far as Italy, and was very popular in
Venice. One great result of this discovery was, that Art ceased
to be exclusively the handmaid of Religion; and in the future,
instead of decorating the walls of churches with scenes from
Holy Writ, or ecclesiastical tradition, artists painted pictures of
everyday life, often, as in the case of the Dutch artists, selecting
subjects of the most coarse and vulgar character.

Of the followers of the Van Eycks we must briefly mention
the following painters : 5

‘Perrus Cristus, who was born at Baerle, near Deynze,
studied under Jan van Eyck. Possibly he was a student of
the works of both brothers, as his pictures resemble Huibrecht
rather than Jan. His chief works area Virgin and Saints (1447),
in the Stadel Institute, Frankfort; a Last Judgment (1452), in the
Berlin Museum ; a Crucifixion, in the Hermitage, St. Petersburg ;
and the St. Hitsius in the Oppenheim collection at Cologne. A
Portrait of Marco Barbarigo, in the National Gallery, usually
attributed to Gerard van der Meire, is assigned by Mr. J. A.
Crowe to Petrus Cristus, whom he declares to be the only direct
disciple of the great master of Bruges. Petrus Cristus pur
chased the freedom of Bruges in 1444, was free of the guild in
1450, and was still living in that city in 1471.

Huco van DER Goss is known by only one authentic picture,
though he must have executed many works in the course of a
long and laborious life. Of that life little is known with cer-

tainty. He lived in Ghent, his native city, for a long period,
GFDP F
82 FLEMISH ART.

but Van Mander describes him as a painter of Bruges. The same
writer calls hima pupil of Jan van Eyck, but the one picture by
which he is known, The Nativity, in Santa Maria Nuova at
Florence, owes little or nothing to the teaching of Van Eyck. We
know that in 1468 Van der Goes was employed to prepare devices
and ornaments for the pageants which adorned the marriage of
Charles the Bold and Margaret of York; but he could do far
better work than the production of whales which spouted up
mermaids, and mysterious pasties full of musicians. We find
him presiding as Elder of the Guild of Ghent in 1472, but in
1476 he had entered the monastery of Rooden Cloestere, near
Brussels. Van der Goes, however, brought great scandal on the
monastery by his drunken revels, and was expelled. His end
was sad enough; he went mad, and died in 1482, his insanity
having partially disappeared. He is described by Mr. J. A.
Crowe as “the earliest master of this school who painted blue
draperies, broken with green, combining further with this mixture
an orange colour, which is far from enhancing the general har-
mony. In other respects he possesses the highest qualities of the
Flemish school. His portraits are true to nature and animated,
his drawing is good and conscientiously carried out in every
part, and his execution is solid.” The Nutivity still remains
in excellent preservation in the Church of Santa Maria Nuova
at Florence, but is removed from its original place on the
altar.

GERARD VAN DER Metre lived at Ghent in the second half of
the fifteenth century, and was free of the Painters’ Guild in 1452.
Many pictures at Berlin and other galleries are attributed to him,
but only one work can be assigned to him with certainty ; this
isa triptych in a chapel at St. Bavon at Ghent, representing The
Crucifixion ; The Lifting up of the Brazen Serpent ; and Moses
Striking the Rock. If the pictures attributed to Van der Meire
are really his, he was more a follower of Van der Weyden than
of Van Eyck.
ROGIER VAN DER WEYDEN. “83

Justus, or Jopocus, van GHENT, transported the lessons
which he had learned from the Van Eycks to Italy. He was
formerly confounded with another painter called Justus d’Ale-
manno, the author of an Awnunciation in Santa Maria di
Castello, date 1451, but later critics have discovered the mis-
take. Justus van Ghent painted, in 1468-70, The Last
Supper, an altar-piece for Sant’ Agatha at Urbino. It was exe-
cuted for the brotherhood of Corpus Christi, and paid for by
the liberality of Federigo di Montefeltro, Duke of Urbino, and
others. The portraits of the Duke and of Caterino Zeno, Envoy
of Venice, appear in the picture. It is probable that Justus
van Ghent also painted the series of Poets, Philosophers, and
Doctors of the Church to adorn the library of Duke Federigo at
Urbino. In this work the painter shows the influence of Italian
Masters, acting upon his own native style. His great fault is
an his perspective.

LOGIER VAN DER WEYDEN was formerly considered as a pupil
of Jan van Eyck. It is now, however, satisfactorily proved that
he was the rival, not the scholar, of that master, and that the
school which originated in the valley of the Schelde, exercised
a greater influence over the later art of Germany and the
Netherlands than that of the Van Eycks in the valley of the
Maes. Van der Weyden was born at Tournai, in 1399 (or
1400), an ancient and important city, and famous for its tinted
sculpture. It is believed that this master himself practised the
art of tinting statues, and the influence of coloured sculpture is
clearly traceable in his pictures. Instead of being appreuticed to
Jan van Eyck, as was formerly supposed, Van der Weyden became
the pupil of an unknown master, one Robert Campin, in 1426
and ten years later had attained the dignity of town painter of
Brussels. In 1449 he went to Italy, and probably taught the
Flemish method of oil painting to the Italians. He was in
Rome at the year of Jubilee, 1450, and returned to his home in

the same year. Wan der Weyden was one of the first of his
F2
84 FLEMISH ART.

brethren to visit Italy, but, unlike so many of his successors,
he retained his originality. He died in 1464, and was buried
at Brussels “ under a blue stone, before St. Catharine’s altar ” in
the Church of St. Gudule. Van der Weyden chose to describe
the darker and more sombre side of religious art; the Church
militant, with its martyrs in their agony, was more pleasing to
his eyes than the glories of the Church triumphant; and the
story of Jesus, the Man of Sorrows, interested him more than
the smiling Virgin and happy faces of the infant Christ, which
others delighted to portray. The earlier pictures of this master
are entirely lost. His master-piece is the Last Judgment, painted
in 1443 for the hospital of Chancellor Rollin at Beaune. It is
an altar-piece representing Christ in the centre seated on a rain-
bow, His fect resting on the earth. Beneath Him is the Arch-
angel Michael weighing the souls of men in a balance. The
side panels depict the resurrection of the Just and the Lost, the
fate of the latter being described with the realistic force which is
the great characteristic of this master. The outer panels of the
picture contain figures of St. Sebastian and St. Anthony, and the
figures of the Chancellor Rollin and His wife. St. Anthony is
said to be “ one of the noblest creations of the Flemish School ”
(Crowe and Cavalcaselle).

Another famous picture by Van der Weyden is an Adoration
of the Kings, in the Munich Gallery, containing, under the guise
of the foremost of the kings, a portrait of Philippe le Bon of
Burgundy (Fig. 31). The picture of St. Luke painting the
Virgin, also in the Munich Gallery, was long attributed to Jan
van Eyck—the distant landscape indeed recalls the work of the
master of Bruges, especially the Afadonna in the Louvre. The
picture is, however, undoubtedly by Van der Weyden. In the
Berlin Museum there is amongst others an altar-piece by this
master, representing three scenes from the Life of St. John the
Baptist. England possesses in the National Gallery an Entomb-
ment of Christ, by Van der Weyden, full of pathos, and with an
young ‘yayzoyouig ay) uy
‘NECATAL UIC NVA UAIOOY AG ‘SONI) AHL JO NOILVUoay—"T¢ ‘Ory

 
86 FLEMISH ART.

exquisitely painted landscape background of a stream running
through wooded hills and fields. It is painted in tempera upon
linen. The pictures of Rogier van der Weyden, like those of the
Van Eycks and of the Flemish School of this period generally,
are frequently characterized by the profuse introduction of archi-
tecture of a fanciful Gothic type, which by its detail gives great
richness to the general effect ; while the long straight lines of the
slender columns and mouldings, and the delicate greys of the
stone-work, are of the greatest value as a setting to the colour of
the flesh and the brilliant richness of the draperies. A picture
of the Seven Sacraments at Antwerp, attributed to Van der
Weyden, is a remarkable and elaborate instance of this manner
of treatment. He is said to nave been the first artist who
painted on fixed canvas instead of on panels. It is to him
that we owe the spread of the realistic tendencies of the Van
Eycks throughout Germany. Martin Schongauer was, as we
have seen, his pupil.

The greatest of Van der Weyden’s scholars was I1ans MEMLING,
formerly called Memlinc, or Memlinghe, and from a mistake in
the first letter, Hemling. Divested of romance, the record of
Memling’s life is very meagre. The romance, however, is inter-
esting, though untrustworthy. It tells us how, after the fatal
fight at Nancy, where Charles the Bold fought his last battle, a.
man of middle age, evidently a soldier, arrived wounded and
fainting at the Hospital of St. John at Bruges. - After being
kindly cared for, he recovered and told his deliverers that he
had been a painter before becoming a soldier. Calling for
painting materials, he painted the Sibyl Zambeth on the walls
of the Hospital, and executed other works in token of his erati-
tude. Stern fact and cold criticism have dissipated this pleasing
romance of Hans Memling’slife. Memling was a quiet citizen of
Bruges, where he died in 1495; and though some of his most
famous pictures are in the Hospital of St. John, there is no reason
to suppose that he was ever a soldier, or shared the misfortunes.
 

EMLING.

y M

B

EWENHOWEN.
1 of'a Diptych, in the Hospital of St. John, Bruges,

ARTIN VAN N

M

ORTRKAIT OF
88 FLEMISH ART.

of Charles the Bold at Nancy. One of his finest works
is a large altar-piece of the Lust Judgment, commissioned for
Italy, and painted about the year 1470. This picture was
taken at sea by a pirate of Dantzic, and is now in the cathedral
there. In the Hospital of St. John is the beautiful triptych
of the Marriage of St. Catharine, probably finished in 1479.
The Virgin is seated under a porch, with tapestry at the back.
Two angels are holding a crown above her head; and the
head of the kneeling St. Catharine is one of the finest of
Memling’s creations. The whole work may be considered as
his masterpiece. Another triptych, painted in the same year,
depicts the Adoration of the Mugi in the centre, the Nativity
on the left hand, and the Presentation in the Temple on the
right hand. From the inscription written on it in Flemish, we
learn that Memling painted the picture for Jan Floreins (alias
Van der Riist), brother of St. John’s Hospital, in 1479. In the
same building is a diptych, containing a beautifully-painted
Virgin and Holy Child, with a portrait of the donor, Martin
van Newenhowen (Fig. 32), on the other side.

But the most famous work by this master in the Hospital of St.
John is the Reliquary of St. Ursula (Fig. 33). The Reliquary is a
small ark, formed like a Gothic chapel, and intended of course to
contain relics: Memling’s pictures form, so to speak, frescoes for
this miniature temple. At one end is painted the Madonna, at
the other St. Ursula holding an arrow, the instrument of her
martyrdom. Under her robes are the ten virgins, St. Ursula
forming the eleventh. The common legend of the eleven thou-
sand virgins originated in the mistake of a chronicler of the
Middle Ages. There are three medallions on each of the
sloping parts of the roof of this reliquary, representing St.
Ursula leading her companions to martyrdom, and crowned
with glory in the presence of the Blessed Trinity. The
sides of the reliquary contain miniature paintings, describing
the whole story of St. Ursula and her virgins, from their
‘ONIING]Y AQ ‘VIASUQ ‘LG dO AUVADITAY AHL—'Ee ‘OMT

 

 

 

 
90 FLEMISH ART.

departure from Cologne to their retum to that city, and
their martyrdom at the hands of the Huns. The beauty
of the virgin martyrs suggests that Memling was not un-
observant of the fair faces of Bruges, which was famed for its
lovely women,—“ formosis Bruga puellis.” The pictures in
the Religuary of Sf. Ursula are overcrowded with figures and
incidents, a fault common to all the works of Memling ; this
is especially noticeable in the picture of The Seven Joys of the
Virgin in the Munich Gallery. The faults of Memling, how-
ever, are very few; his faces are characterized by some of the
asceticism of his master, but tempered with sweetness, and his
pictures are full of a devout and reverential feeling. As a
colourist he is perhaps even more remarkable than Van Eyck
or Van der Weyden; there is in the colours of his draperies
a purity and brilliant depth of tint which makes them glow
like the heart of a gem; and he was also well aware of the
value of architecture in his compositions. His landscape
backgrounds are crowded with minute detail, executed with
exquisite finish and atmospheric transparency. The execution
is no less complete than with either of these masters, thouch
never perhaps carried to the marvellous minuteness of Jan van
Eyck. There is one of his paintings in the National Gallery,
the Virgin and Child enthroned in a Garden. Besides these
pictures, Memling is well known by the miniatures in the cele-
brated Grimani Breviary at Venice. After Memling’s death the
School of Bruges ceased to be representative, and the influence
of that of Antwerp asserted itself. Before we pass, however,
to Antwerp, we must notice very briefly three other painters.
Dreric Bours, formerly called erroneously SruERBouT, was
born at Haarlem, probably in 1391. Though a Dutchman by
birth, he is entirely a painter of the Flemish School of Van
Eyck. He was town-painter at Louvain in 1461, and held that
office till his death in 1475. His two greatest works are
pictures painted for the council-chamber of the town-hall at
 

 

 

BIS QQ ILL EE

SSSKQXI XA \\ ee

SSO VAY

      

     

 

 

 

 

 

 

 

 

 

 

Fic. 34.—1lue Last Surrer. By Drenic Bours.
In &t. Peters, at Louvain.

 

 
92 FLEMISH ART.

Louvain in 1468. They represent the Triumph of Justice, as
exhibited in the legend of Gtho I{I., who having executed a
guiltless courtier on the testimony of a false woman, discovers
the truth, and commits the accuser, his own wife, to the flames.
In St. Peter’s, at Louvain, there is a Last Supper by him
(Fig. 34), showing a very unusual treatment of the subject.
There is in the National Gallery The Echumation of St. Hubert,
attributed to Dierick Bouts, but its authorship is uncertain. On
the other hand, the Portrait of a Man, there “ascribed to
Memiling,” is given by some critics to Bouts.

Rogier vaN DER WeybEN “the younger” was born about
1450. He was a son and pupil of the elder painter of the same
name. We know nothing of his life except that he made con-
siderable sums of money by his pictures, and was very liberal in
his gifts. He was made Master of the Guild of Painters at
Antwerp in 1528, and died in that town in the following year.
Many pictures attributed to this master are to be found in Madrid,
Berlin, Naples, London, and elsewhere, but they are all of doubt-
ful authorship. In the National Gallery are four very pleasing
pictures which may have been painted by Van der Weyden
the younger—they are Portraits of Himself and his Wife, a
Mugdalen, a Mater Dolorosa, and an Ecce Homo.

Besides the painters here mentioned, are numerous followers of
these masters, known and unknown, and frequently producing
works of very high excellence. Their pictures abound in the
galleries of Belgium and elsewhere, notably at Madrid, and so
closely resemble each other that it is most difficult to assign
even the best of them to the right authors.

Of those in the National Gallery may be mentioned a picture
by Gheerardt David, representing a Canon of St. Donatian with
his Patron Saints, remarkable for the elaborate rendering of the
magnificent brocaded copes and other rich vestments, no less
than for the fine character of the heads ; also an Entombment by
an unknown artist of the School of Van der Weyden, beautiful
in sentiment and in colour.
GHEERARDT DAVID. 93

GueEerarvt Davin (son of Jan, son of David) was born at
Oudewater about the middle of the fifteenth century ; he pro-
bably learnt his art in Holland, and settled in Bruges towards
the close of 1483, and acquired the right of citizenship, taking
“David” for his surname. In 1484 he was made free of the
Painters’ Guild, and in 1501-2 he served as Dean. He was well
employed in Bruges, and on his death in 1523, was buried in
Notre Dame, in that city. His hest works, in the Muscum of
Bruges, are the Judgment of Cambyses, and the Flaying of
Sisamnes, completed for the Hall of Justice, in 1498; the Bup-
tism of Christ, of the year 1507; and the picture, mentioned
above, in the National Gallery. :

The works of the Flemish painters of this period, though not
less devout in feeling than those of the early Italian School, differ
from them completely in the elaborate realism of the treatment.
The simple, broadly-painted figures on gold grounds of the
Florentines and Sienese are unknown to the Flemish painters,
who crowded their back-grounds with minute details of archi-
tecture and landscape, and other rich accessories, painted with
an exquisite purity of tint and a perfection of finish which
has never been equalled in any other school or at any other
time On these points the Flemish painters as far excel the
Italians as the latter are superior to them in the grandeur
and simplicity of style wlich they gained from their practice
in wall-decoration. Mantegna or Antonello da Messina may
be said, perhaps, to have rivalled them on the point of finished
execution, and the early Venetians excel them, if not in the
harmonious combinations of their colours, yet certainly in the
luminous glow in which their pictures seem to be steeped ; but
the extraordinary clearness and brilliancy of colour in the works
of Flemish artists, due to the care and patience with which they
prepared and used their pigments, and the marvellous perfection
of the workmanship, added to their other high artistic qualities,
gives a special and exceptional interest to the study of this
school.
 

CHAPTER IL

SCHOOX OF THE NETHERLANDS.
(1466—1600. )

NIWERP at the beginning of the sixteenth century
eae oceupied the first place as a School of Art in the
Netherlands. The founder of this School was QuinteN Massis
(1466—1531*), usually called Matsys, and sometimes Metsys :
he is popularly known as “the Blacksmith of Antwerp.”
Born at Louvain, the son of a locksmith, Quinten Matsys
probably worked at first at his father’s trade; but the iron
tracery representing vine leaves, which is preserved in Antwerp
and Louvain as the early work of Quinten, was probably executed
by his elder brother, who followed the calling of his father.
Every one knows the story of Quinten Matsys’s love which led
him to leave the anvil for the paint-brush. The father of his
lady-love had declared that she should marry a painter, and
Quinten Matsys accordingly studied art, probably with Dieric
Bouts. There scems to be no reason for disbelieving this pretty
romance; in the Latin inscription in honour of Matsys in
Antwerp Cathedral occurs the line—“ Connubialis amor de

« The dates 1529 and 1530 are also given.
ag Di i Ih

We

el
TR
ee
ne : |

is

 

Ha
Erase 7
oH}

i

By Marsys,

Fic. 36.— Tux Enromnmenr.
96 FLEMISH ART.

Mulecbre fecit Apellem,” and the master himself wrote on his
own portrait the words, “ Pictorem me fecit Amor.” In 1497
Quinten Matsys settled at Antwerp, and joined the Painters’
Guild. He rapidly became famous. In 1508, he painted his
masterpiece, 7’e Hntomlment, executed as an altar-piece for the
chapel of the Joiners’ Company in Antwerp Cathedral, and now
in the Museum at Antwerp (Fig. 35). Itis a triptych, representing
in the centre the dead body of Christ after the descent from the
cross, the holy women and others mourning over it. The right
wing depicts the head of St. John the Baptist placed on the table
cf Herod; on the left wing is St. John the Evangelist in the
cauldron of boiling oil. Sir Joshua Reynolds says of this work :
“There are heads in this picture not exceeded by Raphael, and
indeed not unlike his manner of painting portraits, hard and
minutely finished. The head of Herod, and of a fat man near
the Christ, are excellent.” For this wonderful picture, which
unites the vigorous colouring of the Van Eycks with the noble
simplicity of Memling, the elaborate finish of Denner, and the
grandeur of Rubens, Matsys received only 300 florins (about
£25), and we find that even that paltry amount was not paid at
once. Philip II. of Spain, and Elizabeth of England, offered
large sums for the Entombment, in vain. It was sold, however,
in 1580 to the magistrates of Antwerp for 1500 florins. Matsys
forms the connecting link between the old and the new styles of
art, and unites both in his pictures. The religious fervour of
the Middle Ages, and the realism, often coarse and grotesque, of
later schools, find expression in the style of the Antwerp painter.
The realistic side is shown in the various Money-pieces which
Matsys has given us. Many of those attributed to him are
probably the work of his son, and other copyists; the famous
picture of the Afisers, at Windsor Castle, is said by Dr. Waagen
to be a copy ; another picture of the same subject in the National
Gallery, formerly given to Matsys, is now more properly attributed
to Marinus DE SeEuw, or Zeeuw, who painted between 1521 and
 

0

 

 

Fic. 36.—THs BANKER AND HIS Wire. By Marsys.
In the Louvre, Paris
GFDP G
98 FLEMISH ART.

1541); but he is represented there by a diptych containing
heads of the Saviour and the Viryin. In the Louvre we have
a genuine work in Zhe Banker and his Wife, signed by Quinten
Matsys, and bearing the date 1518 (Fig. 36). Matsys was twice
married, and died at Antwerp in 1531, leaving a large family :
two of his sons were painters. Portraits of Matsys and his second
wife are in the Uffizi Gallery.

We have traced the decadence of German Art from the death
of Albrecht Diirer. From the death of his contemporary
Quinten Matsys we may trace the gradual decline of art in the
Netherlands. The manly, robust, and realistic style of the
Flemish painters, which had helped to form the art of Martin
Schongauer and others of the German School, was now to be
abandoned for the dreams and idealism of Italy. Flemish art
ceased to be national, and its painters forsook the delineation of
their own homely people, their quaint old-world cities, and their
flat landscapes, to struggle after the azure skies and unveiled
beauties of the Florentine and Venetian Schools. The realistic
character of the Fleming was as out of place in ideal Italy as a
Byzantine palace on a Yorkshire moor, and so we find a gradual
and marked decadence in the art of the Low Countries, happily
arrested by the revival under Rubens.

One of the first to feel the effect of the Italian Renaissance,
although he mst not be classed with Flemish “ Italianisers,”
was JAN Gossart,* commonly called Masuss (about 1470—
1532). His more generally-known name of Mabuse is derived
from his birthplace, Maubeuge: and hence he frequently signed
himself “ Malbodius.” We do not know much of the incidents
of his life. He entered ‘the Guild of Antwerp in 1503. He
probably studied in the School of Quinten Matsys, and as
long as he painted in the Flemish style he equalled that
master in power of colour and execution. Mabuse, however,
went to Italy in 1513 with his patron Philippe of Bur.

* Often written Gossaert.
 

aa sl! ya ;

 

     

 

LLL

Fic. 37.—Sr. LUKE PAINTING THE VirGin. By MABUSE.
In the Cathedral at Prague.
109 FLEMISH ART.

gundy, Bishop and Admiral, and soon forsook his national
art to copy Michelangelo and Leonardo da Vinci. After the
death of Philippe of Burgundy, the Marquis Van Veeren became
the patron of Mabuse. Tradition tells us that the painter was
fonder of the wine-cup than of his work, and a story is related
of him which, if doubtful, is at least amusing. The Emperor
Charles V. was on one occasion coming on a visit to the Marquis
Van Veeren, and in honour of the guest all the members of the
household were to be dressed in white damask. Mabuse got
possession of his costly garment and sold it, spending the pro-
ceeds in a tavern. On the arrival of the emperor, however, the
painter appeared in a white dress which outshone in splendour
those of his companions, and Charles V. was not a little amused
when, on examining the gorgeous robe, he discovered that it
consisted of paper, painted by Mabuse to imitate damask. Van
Mander believes that Mabuse visited England, but no record of
his stay there remains. We know, however, that he painted
pictures for Christian II., King of Denmark, and for Margaret of
Austria. He died at Antwerp in 1532, but not in prison, as some
of his biographers have stated.

Mabuse was the first painter of his country to introduce
the composite style of Italianized Flemish art which marks this
epoch of painting in the Netherlands. His works are numerous,
and may be found in Antwerp, Brussels, Munich, Berlin,
St. Petersburg, Paris, and at Hampton Court. In the Antwerp
Museum we see Mabuse in his Flemish style illustrated in the
Four Maries returning from the Tomb of Christ, and in the
Upright Judges. In the Berlin Gallery two diptychs dis-
play the composite art—half Flemish, half Italian—of Mabuse.
They represent Adam and Eve, and Neptune and Amphitrite,
the latter is signed by the painter—“ Joannes Malbodius pinge-
bat, 1516.” This date shows that the pictures were painted
after Mabuse had visited Italy. In England there are two
good specimens of his earlier and better style, the Adoration
BAREND VAN ORLEY. 101

of the Kings, at Castle Howard ; and the Children of Christian
IT., at Hampton Court. He also was fond of introducing a pro-
fusion of architectural details into his pictures, as in his St. Luke
painting the Virgin, at Prague (Fig. 37), but with him the elegant
Gothic of the Van Eycks and Van der Weyden has become a
clumsy form of the Classic Renaissance.

Barend * van ORLEY was born at Brussels between 1488 and
1490. In 1518 he was appointed painter to Margaret of
Austria. Nine years later he was convicted of heresy and
deprived of his post, but in 1532 he was re-instated by Mary of
Hungary. He died at Brussels in 1542. That he visited Italy
is apparent ; but the statement that he there studied under
Raphael and subsequently assisted Van Coxcien to superintend
at Arras the manufacture of the tapestry designed by Raphael
is open to question. Van Orley seems to have been a pros-
perous man. Diirer met him at Brussels, and mentions that,
“Meister Bernhart gave him so costly a meal that it could not
be paid for with ten florins.” Van Orley entirely forsook the
art of his country, and strove after Raphael, but with feeble
success. His colouring is cold, though gaudy, and his religious
pictures have little or no religion in them. At the Church
of Our Lady at Liibeck is a polyptych by Van Orley — the
centre depicts the Trinity adored by Saints; onthe wings we
find the Annunciation, the Sibyl and Augustus, St. John the
Evangelist, and the Four Latin Fathers. In the National Gallery
is a Magdalen reading, by this painter.

Micuiet van Coxcien,t who was born at Mechlin in 1499,
was a pupil first of his father, an unimportant painter, and
then of Van Orley. He has been styled “the Flemish

* Or Bernaerd : but more frequently written Bernhard.

+ His name is found written in a variety of ways: e.g. Coxie, Coxcie,
Cocxie, Coxis, and Coxcyen. A Martyrdom of St. Sebastian in the
metropolitan church at Mechlin bears his signature Mrcnasu D.
Coxcten ; and another Martyrdom of St. Sebastian in the Antwerp
aallery is signed Micuret D. Coxcyen.
102 FLEMISH ART.

Raphael,” but his pistures are remarkable chiefly as exhibiting
the decline of national art in the Low Countries. In the Ant-
werp Museum there is a Martyrdom of St. Sebastian by his
hand, but his best work is a copy of Van Eyck’s Adoration of
the Mystic Lamb, painted for his patron, Philip II. Part
of this picture is in the Berlin Museum, part in the Munich
Gallery. Van Coxcien died at Mechlin in 1592.

JaN vAN ScHOREEL *—or more correctly Schoorl, his birthplace,
near Alkmaar—(1495—1562), studied under Mabuse, and also,
it is said, under Albrecht Diirer. Although a painter of a
higher order than Van Orley or Coxcien, there is little which is
original or pleasing in his composite Germanized-Italian-Flemish
style. Had he not gone to Rome, and lost all love of natural
art, he might have been a great painter. In the National Gallery
there is a picture, The Repose in Egypt, with St. Joseph offering
a plate of fruit to the Saviour, which is attributed to Schoreel.
His earlier works, in which the German style predominates, are
often attributed to Diirer. Schoreel, who died a Prebendary of
the Church of St. Mary at Utrecht, is said to have been an
accomplished linguist, poet, and musician.

Lampert Lomparp (wrongly called Suavius or SusTERMAN),T
who was born at Liege in 1506, formed his style under the influ-
ence of Mabuse at Middelburg, and visited Italy in the train of
Cardinal Pole. Later he established a school in his native city,
which was numerously attended by students, and thus the number
of the Italianizers was greatly multiplied. He died at Liege in
1566. Lombard’s best works are the Pestilence, and Shipwreck,
in the King of Holland’s gallery. There isa picture by Lombard,
The taking down from the Cross, in the National Gallery.

Another of these degenerate Flemings is Frans pE VRIENDT,
called commonly Frans Frorts, a pupil of Lombard at Liege.

* The cf in Dutch and Flemish is always punumaiese hard, like the
English 4, or the Greek y.

+ See Catalogue of the Berlin Gallery, by Dr. Julius Meyer and Dr.
Wilhelm Bode, 1878.
THE BRUEGHELS. 103

He was born at Antwerp, about 1520; the son of a stonemason,
he at first turned his attention to sculpture, which he after-
wards forsook for painting. After going to Italy, like the rest
of his brethren, he founded a school at Antwerp which was said
to have been attended by one hundred and twenty scholars,
of which no less than twenty-six are mentioned, by name, by
Van Mander; but curiously enough not one of these was ever
registered in the Guild of St. Luke at Antwerp as a pupil of De
Vriendt. He was a painter of considerable genius, but unfor-
tunately he diverted that genius into the wrong channel. He
seems to have made much money by his painting, and built
himself a splendid house in Antwerp, where he died, some say,
from excessive drinking, in 1570. His three best works are in
the Antwerp Gallery—they are The Fall of the Angels, The
Adoration of the Shepherds, and St. Luke Painting the Virgin.

There is little profit in tracing the Italianizers step by step in
their downward course. Somewhat better than the crowd of
copyists are the three Brueghels,* known from the subjects of
their pictures as “ Peasant tT Brueghel,” “ Hell ¢{ Brueghel,” and
“Velvet § Brueghel.” Prerer BruEGHEL, or “the Peasant,” was,
born at the village of Brueghel, near Breda, about 1520. He
went to Italy as a matter of course. His favourite scenes are
taken from peasant life, and he is said to have joined in many a
rustic revel disguised in a peasant’s clothes. ‘here is a coarse
humour about his pictures, which, if vulgar, is better than the
insipid productions of his contemporaries. His best works are
in the Vienna Gallery. He died at Brussels in 1569.

* The name of this family of painters is derived from the village of
Brueghel (or Bruegel), near Breda—the birthplace of the eldest member.
It was adopted by him, and became to all intents and purposes a surname.

The modern form of writing the name of this village is Breughel, or
Breugel ; hence the fact that the name of the painters is often so written.
But the way they themselves write it, and consequently the right way, is
Brueghel, or sometimes Bruegel.

t Bauern. ~ Hollen. § Fluweelen.
104 FLEMISH ART.

Pieter Broecuet, the younger, or “Hell” Brueghel, born
at Brussels in 1564, is inferior to his father. The Alchemist,
now in private possession at Antwerp (Fig. 39), is very character-
istic of his very peculiar style. His best work is Christ bearing
the Cross, in the Antwerp Museum. He died in 1637, at
Antwerp.

Jan BrvecuHet, or “ Velvet” Brueghel (born about 1589, died
about 1642), is, on the other hand, decidedly superior to his

 

Fig. 38.—RIvER SCENE. By Jan BRuEGHEL.

father. Ue painted landscapes as backgrounds for many artists,
including Rubens. In pictures of peasant life, and scenes of
fantastic demonology, he is excellent. Good specimens of his
works are in the galleries of Dresden, Berlin, and Madrid, and
in the Louvre. In the Hague Gallery is one of the best of his
landscapes, the figures of Adam and Eve being by Rubens.

The portrait painters of his time occupy deservedly a higher
place than the Italian copyists.
‘IAHOANNG UALAIG AT ‘ASINAHOTY AHL—'6E ‘OT

 

 

 
106 FLEMISH ART.

Sir Antonis Mor (usually written Moro, occasionally Moor),
was born at Utrecht in 1512, but though a Dutchman by birth
_ he studied art in Flanders. He visited Italy, but escaped the
prevailing epidemic of plagiarism, and on his return studied the
works of Hans Holbein. Charles V. employed Mor to paint
the portrait of Queen Mary of England, to whom Philip II. was
betrothed. That unhappy Princess retained the painter at her
court at a salary of £100 a year. Mor was highly esteemed in
England as a portrait painter, and was well paid for his work.
He returned to Madrid on the death of Queen Mary and painted
for Philip II. In 1560 he left the court in disgrace; perhaps, as
one story has it, because he returned, with his maulstick, a blow
given him by the king. In this year (1560) he took the freedom
of the Guild at Antwerp. Later we find Philip vainly trying to
induce Mor to return. In the Netherlands he found a patron
in the Duke of Alva, who made him Receiver-General of the
Revenues of West Flanders. Mor died between 1576 and 1578
at Antwerp, whither he had gone in 1572. It is not known
where or by whom he was knighted. _ In England we have by his
hand a Portrait of Queen Mary, belonging to Lord Yarborough,
and a Portrait of Jeanne d’Archel in the National Gallery. The
Madrid Museum contains many of his portraits, but in none
does he equal Holbein.

It was at this period that landscape painting flourished, for
its own sake, and not merely for the sake of background. The
earliest master of any school to devote himself to landscape in its
true character was JOACHIM DE Patinir,* born at Dinant at the
end of the fifteenth century. The dates of his birth and death
are uncertain. He was admitted as a master in the Guild of St.
Luke at Antwerp in 1515; and was dead in 1524. Patinir
was twice married, and at his second wedding Albrecht Diirer
was present and drew his portrait. It was in the later years of
his life that Patinir devoted himself to landscape painting ; in

* Or Patenier.
      

    

   

  

  
      
   
       

  

       

  
  

 

hi “
Pr
TERN

MRT
Aa

tHE
a HNN ,

       

 

     

 
  
   

      

   

ih
WM CH
Tee a RT
; eR Z Ye
RRM pe Vp
M Re WHE ip
f " ey
ee SZ,
B

Fic. 40.—Portnrait oy Sik ANTONIS Mor. By Htmsexr.
108 FLEMISH ART.

his earlier days he showed himself a fair historical painter.
There are six of his pictures at Madrid, the Temptation of
St. Anthony being a really fine work, with a highly poetical
landscape and much character in the heads; and four in the
National Gallery, of which St. Christopher is the best example
of his style. He had a faithful follower in Herri Buzs,* who
was called by the Italians Crverra, from his monogram of an
owl. At Munich there is an Adoration of the Kings t by his
hand, and in the National Gallery we find a Christ on the Cross,
and a Magdalen. Biles was born at Bouvignes, near Namur, in
1480 ; and died after 1521, probably at Liege.

The best of the Flemish landscape painters was PauwEL
generally known as Paty) Brit. He was born at Antwerp
in 1556, and studied in Rome under his elder brother
Matthaus, whose early death deprived the world of many good
pictures. On the death of his brother, Paul Bril received
from the Pope the same pension which Matthaus had enjoyed.
For his patron, Pope Sixtus V., Bril painted several works
in the Sistine Chapel, in Santa Maria Maggiore, and in
San Giovanni in Laterano. He painted in oil and fresco.
Kugler says of him: “He viewed nature with a fresh eye—
selecting her natural and poetic rather than her arbitrary and
fantastic features. He was the first to introduce a certain unity
of light in his pictures, attaining thereby a far finer genera]
effect than those who had preceded him. His deficiencies lie
in the overforce, and. also in the monotonous green, of bis fore-
grounds, and in the exaggerated blueness of his distances.” {
There are good specimens of Paul Bril’s pictures in the Louvre
and the Berlin Museum. Annibale Carracci not infrequently
assisted him by adding the groups of figures to his landscapes.

+ He is usually called Herri met de Bles (Henry with the forelock) ;
but this is now thought to be an error.

+ This werk is signed Henricus Briestus F.; but Mr. J. A. Crowe
considers that the signature is “ probably a forgery.”

+ ‘Handbook of Painting. The German, Flemish, and Dutch Schools.

Based on the Handbook of Kuglen By JA. Crowe, _1S74.
ool

 

By Paup Brin.

Fie. 41,—Dvuck-Siootina.
 

CHAPTER III.

THE SCHOOL OF THE NETHERLANDS. THE REVIVAS,
OF FLEMISH ART.

(1609—1700.)

HE commencement of the seventeenth century witnessed the

return of art in the Netherlands to the honest realism of
the North, after its long banishment amid the idealism of the
South. Probably the Venetian School of Painting at this period
exercised as great an influence for good on Flemish art as the
Schools of Rome and Florence had done for evil. It required,
however, a potent magician to recall the Art of the Netherlands
to life, and that magician appeared in the person of PETER
Paut Rupens. Few men have led more stirring and success-
ful lives. No painter except Titian was ever so courted by
the great and wealthy. Handsome, well-born, fascinating in
manner, Rubens succeeded in all which he undertook, and was
equally praised as a diplomatist, a courtier, a patron, and a
painter. He was essentially a man of the world, and born under
a lucky star. His very pictures may be described as worldly,
since though by no means irreligious as a man, there is no re-
ligion, no spirituality, in his works. Ruskin has described him
“as a healthy, worthy, kind-hearted, courtly-phrased animal,
without any clearly percept ble traces of a soul.” The last
RUBENS. lll

phrase, if applied to his works, is not unfairly descriptive ;
but it seems rather hard to accuse the poor man himself of
having no soul, because his nature led him to an impetuous
display of his great technical powers. A more correct description
of him would be that his exuberant facility was not corrected
by refinement nor exalted by imagination, so that his works fre-
quently are coarse and tainted with vulgarity, especially when
he treats religious subjects. But this is not the case with his
portraits, which are often full of dignity and even grandeur.
Rubens was born on the day of the festival of St. Peter and
St. Paul—the 29th of June, 1577, at Siegen* in Westphalia. His
father was a physician, who being suspected of Protestant pro-
clivities had been forced to flee from his native tow of Ant-
werp, and was subsequently imprisoned, not without cause, by
William of Orange, whose side he had joined. When Peter
Paul was a year old, his parents removed to Cologne, where
they remained for nine years, and then on the death of her
husband, the mother of Rubens returned with her child to
Antwerp. Young Rubens was sent to a Jesuit school, doubtless
in proof of his mother’s soundness in the faith of Rome, and
studied art under Tobias Verhaeght, Adam van Noort, and Othon
van Veen, generally called Otto Venius. Fortunately for the
world,‘ Rubens possessed too original a genius to be much in-
fluenced by these masters. He visited Italy in 1600, where
the colouring of the Venetians exercised a great influence upon
the young painter, and we may consider Paolo Veronese as the
source of inspiration from which Rubens derived the richness of
his tints. In 1601 we find Rubens in the service of Duke
Vincenzo Gonzaga of Mantua, an enthusiastic patron of art,

* The birthplace of this great painter has been the subject of endless
controversy. Cologne, Siegen, and Antwerp have all striven for the honour.
Cologne is now dismissed from the argument. The greatest weight of
evidence seems in favour of Siegen, yet the claims of Antwerp are still
supported by some writers.
112 FLEMISi ART.

and two years later he was sent to Philip IIT. of Spain on an
“artistic commission,” some secret mission perhaps, but certainly
as the bearer of costly presents. On his return from Spain
he passed some time in Mantua, Rome, and Genoa; the dramatic
power of his pictures he derived probably from Michelangelo, as
he had learned richness of colouring from Veronese, and we can
trace the influence of Giulio Romano, whose works he must have
studied at Mantua. Numberless sketches from statues and pic-
tures in Italy are a proof of the eagerness with which he studied
all forms of fine art which came under his notice on his travels.
In the National Gallery, for instance, is a large oil-sketch from a
portion of the Triumph of Cesar, by Mantegna, now at Hampton
Court, with a back-ground of his own composition; and his
drawing in the Louvre, from the celebrated cartoon by Leonardo
da Vinci, is well known, and is the only remaining record of

 

that work.*

In 1608, Rubens hastily returned to Antwerp, summoned by
the illness of his mother, whom he never saw again in life.
Intending to return to Mantua, he yielded to the persuasion of
the Archduke Albert, and remained in the Netherlands ; and in
1609 he was appointed court-painter to the Archduke and his
Duchess Isabella. Rubens settled in Antwerp, and married in
1609 his first wife, Isabella Brandt. Always popular, and always
successful, Rubens founded a School of painting in Antwerp,
which was soon crowded with pupils. His life, however, was
destined to be full of action and movement. In 1620 he went
to Paris at the invitation of Marie de Medicis, then living in the-
Luxembourg Palace. The work which the widowed Queen
proposed to Rubens was to decorate two galleries, the one with
scenes from her own history, the other with pictures from the
life of Henri IV. In 1621 Rubens was painting the sketches
for the first series of pictures under the eyes of Marie de
Medicis ; these sketches were elaborated in the studio at Antwerp:

* See the Tert-book of Classic and Italian Painters.
RUBENS. 113

by the master and his pupils, and were finished in 1625. The
story of Henri IV.’s life was cut short by the exile of the
Queen.

In 1626, Rubens visited Holland, saw the principal painters
of that country, and lost his wife in the same year. The picture
of the two sons of this marriage is in the Lichtenstein Gallery in
Vienna. In 1627, Rubens was employed in diplomatic service
at the Hague, and in the next year he was ambassador to Philip
IV. of Spain from the Infanta Isabella, widow of the Arch-
duke Albert. In 1629, we find the painter still acting as a
diplomatist, and this time to the Court of England. The courtly
manner, handsome person, and versatile genius of Rubens made
him a favourite at Whitehall. The object of his mission was to
arrange a treaty of peace with Spain, and he has been blamed
for acting on behalf of the government which so cruelly oppressed
his native land. Charles L of England showed Rubens every
mark of favour; he conferred on him the honour of knighthood,
and gave him his own sword, and a gold chain which the
painter wore ever afterwards. At this period Rubens painted,
among many other works, his allegory of Peace and War, now
in the National Gallery. He also made designs for the great
eeiling-piece for Whitehall, a work completed in his Antwerp
studio.

On his return to Antwerp, in 1630, he married his second wife,
Helena Fourment, a girl of sixteen, belonging to one of the
richest families in the city. She served him many times as a
raodel for his pictures. In the collection of pictures at Blenheim
are two portraits of the fair Helena; one picture represents
Rubens and his wife in a flower garden with a child in leading
strings, a work described by Dr. Waagen as one of the most
perfect family pictures in the world (Fig. 42). The great master
died in 1640, wealthy, honoured, and famous, not only in his
own city, but in many another. He was buried in the Church

of St. Jacques at Antwerp.
GFDP
114 FLEMISH ART.

Rubens was an almost universal genius in his art, and has
left a vast number of pictures dealing with nearly every kind
of subject. He painted pictures sacred and secular, studies
of animals, portraits of men and women, grand historical and
mythological works, and charming landscapes. The great
number of works attributed to him would seem almost fabulous,
if we did not believe that many of them were really executed
under the eye of the master by the pupils who worked from
his designs.

We shall only attempt to indicate a few of the most celebrated
works of Rubens. As we have said already, what we miss most
in his pictures is soul, There is a healthy animalism pervading
his works, which however much in keeping with the picture of a
grand old lion, ora naked, cvarse-limbed Flemish woman, is out
of place in tragic or domestic scenes,—scenes which Rubens
delighted to paint. The heart of the painter does not seem to
have beaten one whit faster, nor his hand to have trembled with
the slightest emotion, when he undertook the most sublime and
most stirring of subjects. The mechanical work is executed to
perfection, but itis like Pygmalion’s statue, beautiful but soul-
less. Sir Joshua Reynolds says of Rubens, “ He is the best
workman with his tools that ever managed a pencil ;” and
Coleridge remarks of him, that ‘“ So long as he confines himself
to space, and outward figure—to the mere animal man with
animal passions—he is, J may say, a god among _ painters.
His Satyrs, Silenuses, lions, tigers, and dogs are godlike; but
the moment he attempts anything involving or presuming the
spiritual, his gods or goddesses, his nymphs and heroes, become
beasts, absolute unmitigated beasts.”

It is interesting to notice the contrast afforded by Rubens to
the masters of the Dutch School with whom he was cotemporary.
Although having some superficial resemblance, the sources from
which the Flemish master drew his subjects, and the aims which
he had in view, are totally different from those of the Dutchmen.

 
 

Fig. 42.—RuBens aND HELENA FourmMENT. By RuBENs.
At Blenheim.

: H 2
116 FLEMISH ART.

Rubens, living in the Spanish Netherlands, where the Roman
Catholic faith remained the religion of the country, represents
in his pictures the historic school of the old faith; whilst the
art of Holland, springing into life with the birth of national
freedom, depicts scenes of every-day life ; and their religion, when
there is any, is the religion of the Reformation.

In speaking briefly of the chief works of Rubens, we come
first to the Descent from the Cross,in Antwerp Cathedral (Fig. 43).
We find in this wonderful work perfect unity, and a nobler con-
ception and more finished execution than usual. Of the colour-
ing it is needless to speak. But even here in this masterpiece
we notice the absence of spirituality. The dead Christ is an
unidealized study, magnificently painted and drawn, but unre-
deemed by any divinity of form, or pathos of expression in the
head, so that we discover no foregleam of the resurrection :
it is a dead body, no more. This picture was painted originally
for the company of Archers at Antwerp, upon whose land Rubens
had encroached in building his magnificent house. The Archers
requested a picture of St. Christopher in compensation, and the
painter liberally gave more than was asked, and painted all who
had ever earned the name of Christ-bearer. The Archers not
understanding this treatment of the subject, Rubens added a
picture of St. Christopher on one of the wings of the vast triptych,
of which the Descent from the Cross forms the central panel.
Another picture in the cathedral, almost equally famous, the
Raising of the Cross, afforded him an opportunity for the display
of his extraordinary powers of drawing and painting in the render-
ing of vigorous action, which in this picture hardly fall short of
Tintoretto. Among the eighteen pictures by Rubens in the Ant-
werp Museum, is a Last Communion of St. Francis, which has a
great reputation, but sutfers from the ignoble type of St. Francis’s
head. It was painted in 1619. At the Church of St. Jacques
1s a so-called Holy Family, containing wonderful portraits of
the painter and his own family. St. George is a portrait of
 

Fic. 43.—DEScENT FROM THE Cross, By RUBENS.
In the Cathedral of Antwerp
118 FLEMISH ART.

Rubens, St. Jerome his father, an angel his youngest son; Martha
and Mary are respectively Isabella and Helena, the dead and
the living wife of Rubens.

In the Gallery at Munich we find ninety-five paintings by
this master, illustrating all his styles. The masterpiece is the
Last Judgment. Of mythological subjects we must notice the
Battle of the Amazons, and Castor and Pollux carrying off the
Daughters of Leucippus. Seven children carrying a festoon
of fruit and flowers illustrates one of the pleasantest sides of
Rubens’s art—the painting of children: and several landscapes
show us the remarkable power of this universal genius.

Passing to Vienna, we find in the Lichtenstein Gallery the
portraits of Rubens’s Zwo Sons, and a long series of pictures illus-
trating the History of Decius. In the Belvedere is a magnificent
portrait of bis second wife, Helena Fourment ; also the Festival
of Venus in the Isle of Cythera. An Assumption has two pendents
to the right and left, representing St. Ignatius Loyola curing a
Demoniac, and St. Francis Xavier preaching to the Indians.
The Appearance of the Virgin to St. Ildefonso (Fig. 44) is a
vast triptych in which Rubens has shown a union of nobleness,
truth, and brilliancy never surpassed by him in any other work.

In the Louvre we find forty-two paintings by Rubens. The
greater number of these belong to the series illustrating The Life
of Marve de Medicis. The Flight of Lot is one of the few pictures
signed by Rubens, so that he doubtless valued it highly.

At Madrid in the Museo del Rey is a Glorified Virgin, a truly
wonderful work. Turning to Russia, we find in the Hermitage
at St. Petersburg some fine works by this master; especially
deserving of notice is the Feast in the House of Simon.

Coming home to England we find this great master again
largely represented. The History of Izxion on the Cloud is
in the gallery of the Duke of Westminster; and Diana and her
Nymphs surprised by Satyrs, painted for Charles I. in 1629.

Blenheim contains many great works by Rubens. The Rape of
 

NS,

By Rune

or St. ILDEFONSO.

VISION
Th

Fic. 44.—THe

)

-picture of a triptych

In the Belvedere

e centre

(

Vienna.

’
120 FLEMISH ART.

Proserpine, a Portrait of Helena Fourment, and Portraits of him-
self, wife and child (Fig. 42). In the National Gallery among the
best specimens are Peace and War, the Rape of the Sabine
Women, the Horrors of War, the fine landscape called Rubens’s
Chateau, and the specially beautiful Chapeau de Poil (miscalled
the Chapeau de Paille).

Before we speak of the pupils of Rubens, we must notice
some painters who were his cotemporaries, and worked inde-
pendently of the great master.

Martin Peprn (1575—1642), a native of Antwerp, occupies a
position mid-way between the first decline of Flemish art and its
revival under Rubens. There are a few of his pictures in the
Antwerp Gallery. <A Portrait of a Lady, in the Aremburg
Gallery at Brussels, is a good specimen of his work.

‘ABRAHAM JANSSENS, VAN Nuyssen * (1567—1632), a native
of Antwerp, was the scholar of an unimportant master named
Snellinck. There is a legend, now disproved, that Janssens was
an enemy of Rubens, and fell into great misery. As a fact
he lived and died in prosperity. He was sometimes a better
draughtsman than Rubens, though far inferior to him in other
respects. Many of his pictures have been erroneously attributed
to the great Antwerp master. His greatest success was made in
representing torch-light scenes, and contrasting bright lights with
dark shadows. He is well represented in the galleries of Antwerp
and Vienna, and in many of the churches of Flanders.

Niconas ve Liemaker, called Roosr (1575—1646), was born,
‘ lived and died in Ghent. His Biblical pictures lack spirituality.
One of his chief works is a Virgin Glorified, adored by
Saints, an altar-piece in one of the chapels of the Cathedral at
Ghent.

* Janssens frequently added “ van Nuijssen”’ to his name, in order to
distinguish himself from another family of the same name. It is thought
that it was either the name of his mother or that of the viliage from which
his family came.
 

 

 

 

 

By RosBens.

Fic. 45.—THr Cuatreau pr STEEN.
122 FLEMISH ART.

Frans Snypers was celebrated as an animal painter, and ranks
second to Rubens. He was born at Antwerp in 1579, and was
apprenticed to “‘ Hell” Brueghel, and possibly studied also under
Van Balen. He entered. the Guild of St. Luke in 1592, was
free of it 1602; married in 1611; became « member of the
“ Romanists” in 1619, and dean of that society in 1628; and
died in 1657, and was buried in the church of the Récollets,
Antwerp, by the side of his wife, who had been laid there ten
years before. As an intimate friend of Rubens, Jordaens, and
Var Dyck, Snyders frequently painted animals as well as flowers,
fruit, and vegetables for the pictures of his brethren. Doubtless
the works of Rubens inspired Snyders, but he was in no sense his
pupil. The special power of this master lies in his delineation of
wild animals in a state of rage and excitement. He loved to paint
a grisly boar rending the hounds with his tusks, or a hunted stag
wild with fear and exhaustion. Strongly contrasting with these
subjects are the pictures of fruit and flowers, or dead game, in
which Snyders also excelled. In England his works are to be
found only in private collections. Four large pictures,* two of
fish, one of fruit, and one of dead game (Fig. 46), are in the
possession of the Duke of Newcastle, at Clumber. In the
Louvre we find a Stag-hunt, and a Buar-hunt. At Dresden is a
Kitchen Scene, in which the figures are by Rubens. At Munich
there are Two Lionesses pursuing a Roebuck. His pictures are
also to be seen at Berlin and Vienna.

Kasper DE CraYert was born at Antwerp in 1582, and
was one of the greatest of the cotemporarics of Rubens. He
studied at Brussels under Raphael van Coxcien, and was made
court-painter by Cardinal Ferdinand, Governor of the Nether-
lands. Growing weary of this position, De Crayer retired to
Ghent, and there painted some of his most important works,

~ Shown at the tenth Exhibition of the works by the Old Masters at

Burlington House.
+ Frequently written Craeyer.
vs
il

i

‘
|

 

Fra. 46.—Tuz PountrerRer. By SnypeErs.
124 FLEMISH ART.

among them the Centurion before Christ, executed for the Abbey
of Affleghem. It is said that Rubens on seeing this work said :
“‘Crayer, Crayer, no one will ever surpass you!” De Crayer
died at Ghent in 1669. Sacred subjects were most congenial to
De Crayer, but he also painted pictures in the departments of alle-
gory and history, but without the grasp of thought, the grandeur,
or the fire of Rubens. In the Ghent Museum he is represented
by the Coronution of St. Rosalia, and the Martyrdom of St.
Blaise. In the Vienna Gallery we find a Madonna and Child
adored by Saints, and there are many of De Crayer’s pictures in
Spain.

Lucas van UpEN, a native of Antwerp (1595—1672-73),
was another painter who worked in friendly partnership with
Rubens. He painted some very pleasing landscapes as back-
grounds for the great master’s works. Both Rubens and David
Teniers returned his kindness by painting figures in the pictures
of Van Uden. His works may be studied in the Dresden Gallery,
which contains seven specimens. In the British Museum are
examples of Van Uden’s art as an engraver. He delighted to
paint landscapes with a waterfall, and hills in the distance.

Joost Surrermans* claims a place among Flemish painters
only from having been born in Antwerp—in 1597. He went
early in life to Florence, and lived and died there, finding
powerful patrons in the Grand Duke Cosmo IL. of Tuscany and
his two successors. He died in Florence in 1681. Suttermans
painted historical pictures and portraits, and was as a portrait
painter little inferior to his friend, Van Dyck. In the Uffizi
at Florence is a notable picture from his hand, The Florentine
Nobility swearing allegiance to Duke Ferdinand II. “He was
of decided realistic tendency, an able draughtsman, a powerful
and clean colourist, and possessed much freedom of brush. In
his nistorical pictures the influences both of the schools of the
Carracci and of Michael Angelo Caravaggio are strongly seen.

* Usually written Sustermans.
THE PUPILS OF RUBENS. 125.

From the first-named he imitated the style of composition,
drapery, and elevated forms; from the latter his commoner truth
and powerful effects ” (Kugler’s ‘ Handbook’).

Txeopoor Rompouts (1597—1637), after executing several
works in Italy, returned to Antwerp, and having been, in 1625,
admitted a master of the guild of painters remained there till
his death. His chief work is a Deposition from the Cross, in
Ghent Cathedral.

THE PUPILS OF RUBENS.

AwnToon van Discx,* the greatest of the pupils of Rubens, the
son of a merchant of good standing, was born at Antwerp in
1599. At ten years of age he was studying art under Van
Balen, and was registered in the Guild as his pupil; from him he
proceeded to the studio of Rubens. His wonderful precocity
enabled Van Dyck to become a master in the Guild of Antwerp
painters when only nineteen. In 1620 he was engaged as
an assistant by Rubens, and in the following year he was in
England employed by James L This royal service soon ended,
and in 1623 Van Dyck went to Italy ; in Venice he copied many
of Titian’s works, and spent some time in Rome, and a much
longer time at Genoa. Wherever he went he was busy with
brush and canvas, and in Genoa he painted many of his best:
Pictures. From 1626 to 1632 Van Dyck was in Antwerp,
diligently working at some of his greatest pictures, historical
subjects and portraits. In the Cassel Gallery there are fourteen
of his portraits, among which that of the Syndic Meerstraten
(Fig. 47) is one of the most characteristic of his art at this
period. At the close of these six years of Antwerp work a
new world opened to him. His first visit to England seems
to have been unfruitful, but in 1632 he became one of tle
court painters of Charles L Success and honour now

* Or Van Dyck : commonly written Vandyck, and incorrectly, Vandyke.
126 FLEMISH ART.

erowned the new works of Van Dyck. He received a salary of
£200 a year as principal painter to the Stuart court, and was
knighted by the king. Nothing succeeds like success, and we
find Van Dyck sought after by the nobility and gentry of Eng-
land, and at once installed as a fashionable portrait painter.

He has been called the “ Velazquez of Flanders,” and indeed the
choice of subjects of the two masters are very similar. Van Dyck
did not use his powers in depicting village maidens, or rustics
carousing ; silk and satin, courtly dresses, and long love-locks
adorn his portraits. Still Van Dyck had a soul above the par-
ticular forms of art by which he made money and fame. He
desired to be a great historical artist, and perhaps he might have
been so, had he not become a court painter. He tried in vain to
obtain the task of decorating the Banqueting-Hall in the royal
palace of Whitehall. Later, after his return to Flanders in 1640
with his wife, a lady of the Scottish house of Ruthven, he went
to Paris, hoping to obtain from Louis XIII. the commission to
adorn with paintings the largest saloon in the Louvre, but here
he was doomed to disappointment, as the work had been given
to Poussin. Wan Dyck returned to England, and found that he
had fallen, like his patron, Charles L, ‘on evil tongues and evil
-days.” The Civil War had commenced. There was no time now
for pipe or tabor, for painting of pictures or curling of love-
locks ; and whilst trumpets were sounding to boot and saddle,
and dark days were coming for England, Van Dyck died in
Blackfriars on the 9th of December in 1641, and was buried hard
by the tomb of John of Gaunt in old St. Paul’s.

Possessed of less power of invention than his great master,
Van Dyck shows in his pictures that feeling which is wanting
in the works of Rubens. It is infinitely more pleasant to gaze
-on a crucifixion, or some other sacred subject, from the pencil of
Van Dyck, than to examine the more brilliant but soulless treat-
ment of similar works by his master. As a portrait painter Van
-Dyckoccupies with Titian and Velazquez thefirst place. In fertility
Lait (joie

Ye this
Wyse ZG
a fes Y

So,

eg
Ces ed

 

EEE
YY LE
MY LE LIZ GE

By Van Dycr.

In the Cassel Gallery.

Fra. 47.—Synpic MEERSTRATEN.
128 FLEMISH ART.

and production he was equal to Rubens, if we remember that his
artistic life was very brief, and that he died at the age of forty-
two. He lacked the inexhaustible invention which distinguishes
his teacher, and generally confined himself to painting a Dead
Christ, or a Mater Dolorosa. Of Van Dyck’s sacred subjects we
may mention the Taking of Jesus in Gethsemane (Museum of
Madrid), Christ on the Cross (Munich Gallery), the Vision of
the Blessed Hermann Joseph (Vienna), the famous Madonna with
the Partridyes (St. Petersburg), and a Dead Christ, mourned by
the Virgin, and adored by Angels, in the Louvre.

Portraits by Van Dyck are scattered widely throughout the
galleries of Europe, and his best are probably in the private
galleries of England. The melancholy handsome face of the
ill-fated monarch who fought at Naseby and died at White-
hall window is especially associated with the art of Van Dyck.
There is one famous Portrait of Charles I. in the Louvre
(Fig. 48), another of the king when twenty-five years old,
in the Hermitage at St. Petersburg. In the Louvre we also
find portraits of The Three Children of Charles and Henrietta
Maria, who became subsequently Charles IL, James IL, and

_ Mary of Orange. The National Gallery does not contain good
specimens of Van Dyck’s work. ‘The so-called Portrait of
Gevartins is an exception ; some critics have declared this picture,
which is really the portrait of the art-patron Cornelis van der
Geest, to be the work of Rubens, but Kugler’s ‘ Handbook’
considers it one of the finest from Van Dyck’s hand. At Windsor,
among many other of his portraits, is that of the Lady Venetia,
wife of Kenelm Digby, said to have been poisoned by her
husband whilst attempting to heighten her rare beauty by a
potion. Of this picture Hazlitt says, “‘To perform an unbecoming
action with that portrait hanging in the room would be next to
impossible.” In all his portraits there is that air of refinement
and taste which rightly earned for Van Dyck the name which the
Italians gave him, Pittore Cavaltereseo.
 

ATTENDED BY THE MARQUIS OF

VAN

@ CHARLES THE FIxSsT,

— KIN

1c. 48

F

By Dyck.

In the Louvre.

HAMILTON.

ern
1350 FLEMISH ART.

JacoB JoRDAENS, who was born at Antwerp in 1593, worked
as a friend in the studio of Rubens. Having married the
daughter of his first master Van Noort, Jordaens was obliged to
stay at home, and thus escaped the contagion of Italian
plagiarism. To this fact we owe the vigorous, though coarse,
originality of his style. He possessed much of the fire and
impetuosity of Rubens, and equals him in power of colour.
“Tn a certain golden glow and depth of chiaroscuro he even
excels him” (Kugler’s ‘Handbook’). Still Jordaens remains
what he has been called, “a vulgar Rubens.” His sacred sub-
jects have little or nothing sacred about them except the
name; the best specimen is an Adoration of the Shepherds, in
the Antwerp Museum. In the field of humorous art, however,
Jordaens is a master, although his humour is almost utterly
devoid of delicacy and taste. Intensely realistic in his pictures,
his realism often degenerates into coarseness and vulgarity.
His greatest picture in the department of history and allegory is
the Triumphal Entry of the Prince of Nussau, executed in
fresco, in the House in the Wood near the Hague, a picture which
- Sir Joshua Reynolds characterized as “a confused business.”
The Museum at Brussels is the best. place for the study of
Jordaens. In The Miracle of St. Martin we find the fiery
colour as well as the true force which often marked the master.
An allegorical painting representing the Occupation and Gifts of
Autumn is considered one of his finest works. On the whole,
however, Jordaens is most himself when depicting, as was his
wont, such scenes as the Musical Party, where we have an
illustration of the old Netherlandish proverb, “As the old
ones sing, so the young ones pipe” (Zo de ouden zongen,
zo pypen de jongen). A good example of this subject is in the
Berlin Gallery. Jordaens achieved considerable success as a
portrait painter. He died at Antwerp in 1678.

Tasopoor van TuLpen was born at Bois-le-duc in 1607 (2),
He was both painter and engraver, and was apprenticed at
FOLLOWERS OF RUBENS. 131

Antwerp, where he subsequently became one of Rubens’s favourite
pupils, and assisted his master in the picture of the Apotheosis
of Marie de Medicis. He was free of the Guild of Antwerp in
1625, and ten years later he married Maria, daughter of the
painter Hendrik van Balen. He died at Bois-le-duc in 1676 (1).
In the Louvre we have an Appearance of Christ to the Virgin,
and in the Berlin Museum a Triumph of Galatea, both good
specimens of Van Tulden’s later works. We find his pictures
in many churches of the Netherlands. The influence of the
French School, in which he studied, is to be traced in his latest
works.

Erasmus QuELLIN (1607—1678) was a man of education
and refinement, who abandoned the study of philosophy for that
of art, under Rubens. He aimed even higher than his master’s
style, but did not attain his mark. He may be studied in the
museum and churches of Antwerp.

JaN VAN DEN Hogcke* (1598—1651) was one of Rubens’s
best scholars both as an historical and portrait painter. He
settled in Antwerp, his native town, as court-painter to the
Archduke Leopold Wilhelm, Stadtholder of the Spanish
Netherlands. In the Vienna Gallery are two portraits of his
patron which favourably illustrate the powers of Van den Hoecke.
Of the many other disciples of Rubens, it will suffice merely to
mention ‘the names of Dropaat pew Mont (1582—1644):
Corne.is Scuut (1597—1655): Frans Wouters (1612—1659):
Pieter van Mon (1599—1650): and Wittem van Herp (1604
—1677).

We pass on to consider some painters of Flanders who were
not pupils of Rubens, although a few of them were imitators.

Davin Tenters, the elder, was born at Antwerp in 1582;
his father was Julian Teniers; he is said also to have been a
pupil of Rubens, but the best critics fail to discover-any traces
in his works of the great master’s influence. - Teniers visited

* Miscalled Van Hoeck.
12
132 FLEMISH ART.

Rome when quite a youth, and there received his most import-
ant lessons in art from Adam Elshaimer. On his return from
Rome, after a lengthened stay, he resided in Antwerp, painting
diligently till his death, in 1649. His favourite subjects were
genre pictures and landscapes. The Dresden Gallery contains
seven pictures of the elder David Teniers: the National Gallery
possesses three. In the church of St. Paul, Antwerp, is a
picture of his called the Seven Works of Mercy. His mythologic
and historic pictures are the least successful of his works.

Davin Teniers, the younger, was the third great master
of the Netherlands, and the greatest genre painter of his
country. He has been called the “ Proteus of painting,” and
indeed he ranged through almost every kind of subject, “from |
grave to gay, from lively to severe ;” now making us laugh at
his merry peasants keeping revel at a tavern, anon depicting in
terrible colours the horrors of war; at one time introducing us
to witches and goblins, who are more grotesquely comic than
terrible, at another showing us Biblical scenes which excite any
feeling rather than that of reverence. Teniers declared that it
would need a gallery, two leagues in length, to contain all his
pictures. Born at Antwerp in 1610, he received his earliest lessons
in art from his father. Whether he was a pupil of Rubens is
doubtful, but the influence of that master is traceable in the
pictures of Teniers. In 1632-33 he became free of the
Guild at Antwerp. In 1637 he married Anne, daughter of
Velvet Brueghel. By this marriage he had seven children,
and from a second marriage in 1656, four children. In
1644-45, Teniers was Dean of the Guild of St. Luke, and in
1663 he was instrumental in the erection of the Academy of
Fine Arts, in connection with the Guild. The Archduke Leopold
William, Governor of the Spanish Netherlands, became his
patron, and appointed Teniers to be court painter, groom of the
chamber, and superintendent of his picture gallery—appoint-
ments which were confirmed in 1656 by Don Juan of Austria,
TENIERS. 133

when he succeeded the Archduke as governor. Under such
patronage he soon became prosperous and popular, and lived in
grand style at his chateau of “de drij Toren” (Three Towers) at
Perck, between Vilvorde and Mechlin, entertaining noblemen
and art patrons, who made a point of visiting the painter.
Here he died in 1690, and was buried in the church of Perck

 

Fic. 49.—THE KNIFE-GRINDER. By ‘LuNLERS.

hard by his home, without stone or'epitaph to record his life
and labours. A portion of the old chateau, where among other
guests Teniers entertained Don Juan, natural son of Philip IV.
of Spain, still remains, but it has degenerated into an inartistic
farm-house Queen Christina of Sweden and Philip LV. of
Spain were magnificent patrons of Teniers.
134 FLEMISH ART.

The best works of Teniers belong to his middle, or “ silver
period,” when they are distinguished by a soft silver hue. Birger*
says of him: “ The pictures belonging to his middle life are the
best. In his youth he followed his father too implicitly ; in his
old age his imagination became somewhat stereotyped, and his
hand somewhat heavier. ‘Teniers is like one of the fishes which
he painted so well, excellent between the head and tail” The
vast numbers of pictures executed by Teniers in a working life
of more than half a century are scattered widely. At Madrid
there are fifty-three, at St. Petersburg forty, at Dresden thirty,
at Vienna eighteen, at Munich fourteen, in the Louvre fifteen,
in the National Gallery nineteen; others cannot be traced.
To speak at any length of this versatile master’s works—of
his guard-rooms with old armour, of his landscapes and cattle-
pieces, his monkeys and cats feasting, his village revels and
tavern - drinking - bouts, and other subjects as widely distant
from each other as the poles—would of course be impossible here.
We can only indicate a few specimens of his almost universal
art. In the Louvre we find many of Teniers’s after-dinner pieces,

“so-called because they were completed between dinner and bed-
time. There, too, are the Temptation of St. Anthony, full of
: grotesque humour, and his Peter denying Christ, in which work
a number of Walloon soldiers are playing cards. Teniers carried
the realism of every-day life into all his pictures, and though
perfectly at home in a tavern scene, was utterly out of place in
a sacred subject. In the Louvre also we find his picture of the
Prodigal Son. In the various peasant scenes, which he studied
from life, Teniers is unsurpassed, and resembles the Dutch School
more closely than any of his countrymen. Greuze said of him:
“Show me a pipe, and I will tell you if the smoker is by
Teniers” (Fig. 50).

At Vienna we find the Sacrifice of Isaac, in the Belve-
dere; the Féte de Sablons, in the gallery of the Archduke

* The nom de plume of M. Thoré.
ia
Nein

 

fic. 50.—THE PEASANT WITH THE BEEn-Juc. By TENIERS TIE YOUNGER,
136 FLEMISH ART.

Leopold; and the Seren Works of Mercy, in the Buda-Pesth
Gallery (formerly the Esterhazy Collection). At Munich there
is the Italian Fair, a huge picture measuring three yards by
four. At Madrid, the Museo del Rey contains among other
pictures by Teniers the famous Picture Gallery visited by Gentle-
men, describing the work which the master had done for the
Archduke Leopold William. At the Hermitage, St. Petersburg,
we must notice a Kifchen, containing fish, fruit, and game, in
which Teniers has painted his father as a blind fisherman, and
himself as a falconer; a view of his chateau of Dry Toren,
and the Archers af Antwerp, a vast work painted in 1643 for the
Guild of Archers. In the National Gallery we may mention
another picture of Drij Toren, the Fowr Seasons, and the Féte
aux Chaudrons.

Teniers had many pupils and imitators, many of whom not
only copied, or tried to copy, his style, but signed his name to
their works. His brother Abranam TenrEers (1629—1670-71) :
Joos van CraEsBEECK (1608?—living in 1654): Davip
Risckarrt (1612—1662): and Frans Ducnaten (1625—
1694 %), belong to this category.

Gowzato (or as he wrote it himself Gonzates) Coques,* who
was born at Antwerp in 1614, gained the name of the “ Little
Van Dyck,” from his fondness for that master’s style, and the
success with which he sometimes approached it. “He lived
at Antwerp, and was apprenticed to Peeter Brueghel, the third of
this name. His best pictures are to be found in England,
notably his group of Fumily Portraits in the National Gallery,
and full-length portraits of Charles I. und Henrietta Maria, in
the Bridgwater Gallery. Coques died at Antwerp in 1684.

PIETER VAN DER Faxes, who was born at Soest in 1618, is
better known as Sir Prerer Lety, the painter of the fair and
frail beauties of the court of Charles JL The story that he
gained the name of Lely from the sign of a lily over the

* Or Cocx.
SESS
SES

SS
SS
SS

ASS

SS

RSS

y j |
Wy yy Mf YH
Vy —

Wy

HY
a

Hd)

~

 

By Lety.

TRAIT OF THE COUNTESS DE GRAMMONT.

Iie. 51.—Por

alt Hampton Court.
138 FLEMISH ART.

‘perfumer’s shop where he lived is now generally discredited.
His father, a captain of infantry, changed his name Van der
Faes to Lely. Sir Peter did for the court of the second Charles
what Van Dyck did for that of the first, but his style is more
artificial, and his colouring is inferior. He painted portraits for
Charles I., and for Cromwell as well as for Charles IL, by whom
he was knighted. His chief pictures are in Hampton Court.
The best is the Portrait of the Countess de Grammont (Fig. 51).
Ue died in London in 1680.

Of animal painters belonging to this period we must mention
PauwEtL DE Vos, a native of Aelst. He ably followed up the
class of subjects of which Snyders was the greatest master ; in
colour and power of touch he was not far behind Snyders, but
was greatly his inferior in drawing and taste. At Madrid there
are good examples of his pictures. He died in 1678.

Jan Fyt * was born at Antwerp in 1609; studied under Jan
van Berch ; was free of the Guild of St. Luke in 1629: visited
Italy, and studied in Rome: entered in 1650 the Society of
Romanists at Antwerp on his return, and in 1652 became Dean
of the Society, and died in that city in 1661. Jan Fyt is, after
Snyders, the greatest animal painter of the Flemish School. He
was specially successful as a painter of greyhounds and hares;
no one has equalled him in this special branch of his art. The
fur of his animals and the plumage of his birds seem instinct
with life ; and his pictures lose no breadth from the extraordinary
minuteness with which he rendered every hair and feather in his
still-life subjects. We find him well represented at Munich,
Vienna, and Dresden. At the Dresden Gallery six fine pictures
of Dead Game, and in the Antwerp Gallery Tio Dogs sleeping,
are good specimens of Jan Fyt’s work ; some of his choicest
works are to be found in the collection of Sir Richard Wallace,
and in numerous other private galleries of England.

Apriaan van Urrecut, who was born at Antwerp in 1599, is

* Properly Fijt : written also, but incorrectly, Feyt, Feydt, and even Vyt.
LANDSCAPE PAINTERS. 139

a master whose works abound in most continental galleries. He
painted chiefly kitchen scenes, with game and fowls, alive and
dead. He travelled in France, Italy, and Germany, and settled
in Antwerp, where he died in 1652-53.

JacoB van Es (or Essen), who was born at Antwerp in 1606,
another painter of this class, was specially successful in depict-
ing fish and marine animals. His pictures of Fish Markets,
in the Vienna Gallery, are good examples. He died at Antwerp
in 1665-66.

In the department of landscape painting we find several
Flemish artists, who all, more or less, copied the French style of
painting, some of them becoming followers of Gaspard Poussin.
Hilly landscapes, richly wooded, are the favourite subjects of
some of these ; others choose a more ideal class of subjects, like
that of Poussin.

JacoBus vAN ArToIs * was born in 1613, at Brussels, and died
some time after 1684. He was a pupil of Jan Martens, an other-
wise unknown painter, but principally studied from nature.
His landscapes are found in most of the public galleries abruad,
and are also to be met with in the private collections in England.

CorneLis Huysmans (1648—1727), a native of Antwerp, was
a pupil of Jacobus van Artois; his pictures are smaller, and his
subjects more ideal The forest of Soignes, near Brussels, was
his favourite resort for study. Powerful drawing and brilliant
glowing colour distinguish his pictures.

GeRARD DE LarressE (1641—1711), a pupil of his father Reinier
de Lairesse, and of Bertholet Flemalle, was born at Liege: he has
been styled “the Poussin of Belgium.” In Utrecht and Amster-
dam he was very famous ; but he became totally blind in 1690.
Lairesse’s works were executed in the classic style, and with
great ability. In the Dresden Gallery we find his Apollo and
the Muses on Mount Parnassus ; other pictures by him are in the
Louvre and Berlin Galleries.

* Or Artoys—frequently called Jacques .l’ Arthois.
140 FLEMISH ART.

Jean Francots Muitiet, comonly called Francisqur, was
born at Antwerp in 1642, his father being a Frenchman.
Millet settled in Paris, and formed his art upon the model of
the two Poussins. “He did not attain the beauty of line and
purity of drawing which characterized the Poussins, but his
compositions are elevated in taste, and his colouring, though
betraying a certain monotony, is warmer and clearer than that
of his models” (Kugler’s ‘ Handbook’). Millet died in Paris
in 1680.

Jan Frans van Biozmex (1662—1740), a native of Ant
werp, studied chiefly in Rome, and almost exclusively from the
works of Gaspard Poussin. From the extreme beauty of the
distances of his landscapes he has been called Orizonte. Many
of his pictures are at Rome, Vienna, Dresden, and Paris.

Flemish art, which had rapidly declined after Teniers, and was
almost dead at the close of the seventeenth century, was partly
revived by the school of the French painter David. It was not,
however, till the beginning of the present century that a true
revival took place. The Belgian School, which seems destined
to hold an important and lasting position in the world of art,
owes its establishment to

Jean AveusTte Henri Leys, who was born at Antwerp in
1815. Originally educated for holy orders, he commenced
studying art, in the year 1830, with his brother-in-law Ferdi-
nandus de Braekeleer, and in 1833 produced his picture of
a Combat between a Grenadier and a Cossack, exhibited at
Antwerp. Another picture at Brussels, La Furie Espagnole,
excited much attention, and its author became rapidly famous.
Honours crowded thick upon him, and he was made a Baron,
and a member of the Legion of Honour. In the London
Exhibition of 1862, Baron Leys exhibited, among other pictures,
part of a series executed for the town-hall of Antwerp, illus-
trative of the Freedom of Belgium. After his death, in 1869,
 

 

Fig. 62.—LuUTHER as Cuoirn-Boy IN THE STREETS OF EIsEnacu. By Leys.
142 E FLEMISH ART.

his body lay in state, like that of Raphael, with nis favourite
work, Margaret and the Magistrates of Antwerp, above his
head. “He was,” says a critic, ‘a man who sought beauty
in the human figure and face for its own sake. .... A fine,
powerful, and variously-endowed colourist—really a colourist
in the true sense of the term.” His earlier works are evidently
inspired by the study of Rembrandt; but later on he changed
his style, and adopted the manner of the earlier Flemish School,
which gives a certain quaintness to his work ; but his pictures
are in no sense imitations, for they are always carefully studied
from nature, and admirably true. He is one of the few modern
painters whose works will stand by the side of the old masters
(Fig. 52).

Gustavus Waprers, who was born at Antwerp in 1803,
received his first instruction in art from Matthias van Bree and
Guillaume Jacques Herreynes. Unsuccessful in his endeavours
to gain the travelling prize for Italy, he tumed his attention
towards the works of Rubens and Van Dyck. Then at Paris,
he was somewhat influenced by the new movement of the
romantic school On his return to Belgium in 1830 he
exhibited The Self-Devotion of the Burgomasters of Leyden;
a work which gained well-merited praise: and he shortly
became the centre of attraction and the head of numerous
pupils. It would be impossible here to give a list of his
works, which were mostly historical. He received commissions
and honours without ceasing — amongst others, the Director-
ship of the Academy at Antwerp (which post he resigned in
1853), and the post of painter to the King of the Belgians,
with the rank of Baron, and the Presidency of the Belgian
National Museum. He died in Paris in 1874.

The noble work of reforming the art of Belgium commenced
Ly Leys is being well carried out by Louis Gallait and others.
PAINTING IN HOLLAND.
 

Fic. 524.—EULENSPIEGFL.

Engraving by Lucas van Leuden.

rone an

tr
 

BOOK IIl.

THE DUTCH scHOOL (1450—1700).

CHAPTER I.

EFORE speaking of the general characteristics of Dutch
art, and of that brilliant School which made Holland of
the seventeenth century as famous in painting as in war, we
must notice briefly an earlier and little-known Dutch School,
totally distinct in character and aims from that of the later
masters. This School of the fifteenth century, which was really
more Flemish than Dutch in its character, was founded by ALBERT
van OuwaTerR, at Haarlem. He lived in the early part of the
fifteenth century, and none of his works are now remaining.
GrerTcen van Sint Jans,* or GERARD OF Haar.eEm, a pupil
of Van Ouwater, differs very little in character and style from the
old masters of Cologne, Wilhelm and Stephan. There are two
pictures attributed to him in the Vienna Gallery, one the Legend
of the Bones of St. John the Baptist ; the other a Pietd. Geert-

* So called from a monastery of the Knights of St. John at Haarlem.
GFDP K
146 DUTCH ART.

gen flourished probably in the sixteenth century. He is said to
have died at the early age of twenty-eight.

Hieronymus vaN AEKEN, commonly called JeRom Bosc
from his birth-place Hertogenbosch (Bois-le-Duc), was born
between 1460 and.1464. He painted pictures in which weird
and fantastic subjects abound. That he visited Spain, as has
often been asserted, is sometimes doubted: at all events he
did not make along stay there. He died at his birthplace in
1518. The Museum of Madrid contains several of his works.

CorRNELIS ENGELBRECHTSEN, who was born at Leyden in 1468,
was probably the first artist in that city who painted in oil. In
the town-hall of Leyden there is an authentic work from his
hand ; the centre picture represents the Crucifixion, and at the
two sides are the Sacrifice of Abraham and the Lifting of the
Brazen Serpent. Engelbrechtsen, who died in 1533, was the
master of a far more important painter of this school—

Lucas Jaconsz, better known as Lucas van Leypew (1494—
1533). During his brief life of thirty-nine years Lucas was the
friend of many great artists, among whom were Quinten Matsys,
Diirer, and Mabuse. He is said to have been acknowledged as
a master before he was twelve years old, and had at that early
age became famous as a painter, engraver, and wood-carver.
Lucas must have been well off, as he was wont to travel in grand
style, and to entertain his brother artists in princely fashion. He
is better known from his engravings (Fig. 53) than his oil paint-
ings ; the latter are rare, and difficult of access. In the town-hall
at Leyden is a Last Judgment ; at the Munich Gallery is a Cruci-
Jixion ; in the Royal Collection at Buckingham Palace is an
important Adoration of the Magi; and at Wilton House the
Earl of Pembroke possesses a Card Purty, from the hand of
Lucas van Leyden. He treated sacred subjects with a whimsical
and grotesque realism, which is the characteristic of his schoct.
Of his engravings, the Temptation of St. Anthony is said to
have been executed when Lucas was only fifteen. His Eulen-
TR AS

 

 

Fic. 63.—VinGin in rHe Basket. By Lucas van Leyven.

K 2
148 DUTCH ART.

spiegel, a queer quaint production, is prized for its scarcity ; there
are only four or five impressions in existence (Fig. 52a).

It will not be necessary to trace the line of feeble painters
who lived between the time of Lucas Van Leyden and Rembrandt.
Some of them, like Marten van VEEN, called from his birthplace
van Heemskerok (1498—1574), and Cornevis Coryetisz, called
CorNneLis van Haarvem (1562—1638), went to Italy and lost
their national art in following Raphael and Michelangelo ;
others, like CorvELis van PosLensBurG (1586—1667) introduced
the taste and style of the Italians into the simplicity of the
Netherlands, whilst Gerarp van Hontuorst (1590 — 1656),
called by the Italians ‘‘ Gherardo delle Notti,” painted nothing,
as a rule, but lamplight scenes, and so made for himself a
specialty in art.

We proceed to speak of that later Dutch School, which,
within a period of less than a century, between the birth of Frans
Hals (1584), and that of Jan van Huysum (1683), contained
the greatest painters which Holland has ever produced. The
birth of Dutch art aud of Dutch freedom were cotemporaneous.
Holland emerged from the long and cruel thraldom of the
oppressor to freedom of action and to freedom of thought. It
cast off the religion of its taskmasters, and the same religious
revolution which created a political Holland created also Dutch
art. The religion of the pictures of this school, when there is
any, is that of a bald Protestantism which makes their sacred
scenes as unlovely as the religious services where Protestantism
has sway. The Bible is interpreted in Dutch art not by the
Church, but by the people, and the simplicity of Scripture is
exaggerated to triviality. In their choice of subject the Dutch
masters stand out in sharp contrast to the painters of Italy.
The Italians take us into the seventh Heaven, and show us
lovely visions of saints and angels, flooded with a golden radiance
from on high; the Dutchmen teach us to find an idyll in a
broomstick, or # Paradise in a tavern parlour. ‘I'o their eyes a
DUTCH ART. 149

girl peeling onions is a worthier subject than a glorified Madonna ;
and if they paint sacred pictures, the Dutch Burgomaster and the
homely Vrouw peep out from the thin disguise of a Holy Family.

The Dutch School is the exponent of every-day life; it
has no aspirations after the great and glorious, the mysterious
or the unseen. Nature, as seen in Holland, either out of doors
or in the house, is the one inspiration of its art. We have come
to the domain of naturalism, and have left spiritualism in Italy ;
just as we have exchanged the blue skies of the South for the
leaden, cloudy atmosphere of the North. We must not suppose,
however, that the Dutch School in its realistic character presents
nothing but a brutal materialism, and never rises above the
delineation of drunken boors at a village inn. There is a truth.
fulness in the J)utch pictures which commands admiration; a
dead tree by Ruisdael may touch a heart, a bull by Paulus Potter
may speak eloquently, a kitchen by Kalf may contain a poem.
All the painters of this school confined themselves to loving,
understanding, and representing nature, every one adding his
own feelings and tastes,—in fact, adding himself. This love of
nature is specially shown in those landscapes and sea-pieces in
which the Dutch School excels. If we visit various parts of
Holland in different kinds of weather, we shall see how each
painter identifies himself with the special aspect which he depicts.
A barren, gloomy landscape under a leaden sky, unrelieved by
living creature, its grim monotony only broken by a waterfall or
a dead tree, at once shows us Jacob van Ruisdael, “the melancholy
Jacques” of landscape painters, who finds “tongues in trees,
books in the running brooks, sermons in stones.” A bright early
morning, when the sun flashes merrily on white sail and glancing
streams, and the fat cattle are browsing knee-deep in the rich
meadows, reminds us of the lover of light, Aelbert Cuyp. A
warm afternoon, when the shadows of the fruit-trees lie across
the orchard, and an ox, or horse, or some other animal, lies in the
grateful shade, tells us of Paulus Potter, the Raphael of animal
150 DUTCH ART.

painters, the La Fontaine of artists. An evening landscape.
where, amid the grazing cattle, some rustic Meliboeus “ sports
with Amaryllis in the shade,” and presents an idyll such as a
Dutch Virgil might have written, recalls Adriaan van de Velde.
A still pond, with the moon reflected on its surface, and a few
cottages nearly hidden by the dark alder and poplar trees, brings
before us the painter of the night, Van der Neer. The sea-shore,
with high-sterned Dutch ships sailing over the waves, is the
favourite haunt of Willem van de Velde; a river flowing on
towards the horizon, and reflecting a dull grey sky, recalls Van
Goyen, and if we look on a frozen canal, crowded with skaters,
Isack van Ostade stands confessed.

And this is not true only of landscape and sea-pictures ; the
every-day life of Holland is identified in its various phases
with different painters of this school. Owing to the changes
which time and fashion make, we shall not find in the streets
of Antwerp the Wight Watch of Rembrandt, or the Banquet of
Van der Helst inthe town-hall; the long satin robes of Ter Borch;
the plumed cavaliers of Wouwerman; or the drunken peasants
of Adriaan van Ostade. But if in passing through a Dutch
town, we see a young girl leaning over the old balustrades of a
window surrounded with ivy and geraniums, we may still recog-
nize Gerard Dou. In the peaceful interior of a Gothic house,
where an old woman is spinning, and which is lighted up by
the warm rays of the sun, we see Pieter de Hooch. The canal
bordered with trees, in a clean town, ever wearing a holiday
appearance, where every stone in the streets may be counted, as
well as every tile on the roof and every brick in the walls,
reminds us of Van der Heyde; and the vegetable garden at
Amsterdam still testifies to the fidelity of Metsu. We have seen,
then, that the origin of the Dutch School is to be traced to that
epoch when Holland successfully waged the war of Independence,
and threw off the yoke of Spain aud of the Tnqnisition. We
have seen that the religion of the school is that of a marked
VAN RAVESTEYN. 151

Protestantism, and that in its choice of subjects, Nature stands
first, especially the homelier side of nature in every-day life.
We may notice, too, that nearly every master of this school stands
by himself, delineating nature in his own special way. One
word must be said on the colouring of the Dutch masters. We
frequently find a brilliance of colour in their pictures which we
should scarcely expect under the gloomy skies of Holland. The
secret is to be found in the double existence of Holland, European
and Oriental. Cold and grey as its own skies may be, it possess-d
bright lands amongst colonies in the tropics ; and many a Dutch
master, as he saw the ships come home laden with the treasures
of the East, dreamed of the sun of Java, whilst he saw only the
grey shadows of Holland. We have said that the Dutch School
contained all its greatest masters within the space of less than a
century. That school sprung into vigorous life, full grown as
it were, at once, without preparation, and died as quickly.

Miceien Jaxsz Mriereveit was born at Delft in 1567, and
studied art under Bloklandt at Utrecht. He first painted altar-
pieces for the churches of Delft; but, some portraits which he
had executed being much admired, he turaed his attention
towards that branch of art, and subsequently became very suc-
cessful (Fig. 54). He died at his native Delft in 1641. Miere-
velt was a prolific painter. (Good specimens of his art are in
the town-hall of his native city.

Jan vaN RavesteyN, who was born at the Hague, probably
in 1572,* was a portrait-painter of no small merit. His chief
works are in the town-hall of his native city—the Civic Guard
leaving the ‘ Doelen’ (1616); a Banquet of the Town Council
(1618) ; a Meeting of the Town Council (1636) ; and the Officers
of the Civic Guard (1638).

As the artists of Italy were employed by princes and prelates
to paint, for their chapels, altar-pieces and wall-decorations, into
which they had to introduce the portraits of their patrons, either

* Several auth rities give 15.0.
152 DUTCHL ART.

as mere spectators or sometimes as participators in the sacred
scene, so in the Burgher-governed Holland of the seventeenth
century such painters as Ravesteyn, Van der Helst, Hals, and
even Rembrandt, were commissioned to execute large corporation
pictures, which partook more of the character of a mass of
portraits crowded into one frame than of an animated scene.
But Rembrandt and Hals emancipated themselves from this
formality, gave composition to their works, individuality to their
sitters, and thus produced pictures, and not mere portrait-groups.
To be just to the latter class, however, it must be remembered
that the composition of twenty or thirty figures was not rendered
easier by the fact that each worthy member of the Civic Guard
or Town Council wanted as much cf his person to appear as
possible; and the painter, very often, perhaps, had little to do
with the grouping of his picture. They were not all Rembranats,.
to dare to brook the anger of the burghers by arranging their
works as their eye would have them.

Other portraits by Ravesteyn are in the galleries of Berlin,
Munich, Amsterdam, and Brunswick. He died at the Hague
in 1657.

Frans Hats was born at Antwerp in 1584, and studied
under Karel van Mander at Haarlem, where the rest of his life
was spent. Though the records of his private life are not
pleasant; though he was to some extent a drunkard ; ill-
treated his first wife, Anneke Harmansz; and wronged his
second, Lysbeth Reyniers ; though he was frequently sued for
debt, was supported in later life by public charity, and died in
poverty—yet he was not the sot that some of his biographers
represented him. There are shadows in his life; but they need
not have been painted in colours black as ink. Moreover, Hals
held posts of honour in Haarlem—scarcely compatible with
continual drunkenness. He was a member of the Guild of
Rhetoric (de Wijngaardranken) ; of the Civic Guard ; and of the:
Guild of St. Luke.
 

SUL ee eno

 

£IG. d4.—PorRrkair oF WILLIAM THE SILENT. By MIEnEVELt.
1o4 DUTCH ART.

Hals stands pre-eminent among the portrait-painters of the
Dutch School. He excited the admiration of his contemporary,
Van Dyck, whose portrait he is said to have painted with great
rapidity when summoned from the ale-house to execute the task.
His most notable works are the Portrait of Himself and his
wife Lysbeth (Amsterdam Museum), the Banquet of the Officers
of the Civic Guard (Fig. 55), (Haarlem Museum), the Regents
and Regeutes of the hospital where he died (Haarlem Museum), a
Portrait of Hille Bobbe, the Haarlem fishwife (Berlin Museum) ;
three portraits in the Dresden Gallery ; and one Portrait of a
Woman in the National Gallery.

Numerous good portraits by Hals are to be found in private
collections in England, but it is only of late years that his merits
have been appreciated.

The crown and giory of the Dutch Bélioal however, is—

REMBRANDT HaRMENSZ,* van Rin. Jew persons have suffered
more from their biographers than the painters of the Dutch
school, and none of them more than Rembrandt. The writ-
ings of Van Mander, and the too active imagination of Hou-
braken, have misrepresented these artists in every possible way.
Thus Rembrandt has been described as the son of a miller, one
whose first ideas of light and shadow were gained among his
father’s flour-sacks in the old mill at the Rhine. He has been
described as a spendthrift reveller at taverns, and as marrying a
peasant girl. All this is fiction. The facts are briefly these:
Rembrandt was born on July 15th, 1607, in the house of his
father, Hermann Gerritszoon van Rijn, a substantial burgess, the
owner of several houses, and possessing a large share in a mill on
the Weddesteeg at Leyden. Educated at the Latin school
at Leyden, and intended for the study of the law, Rembrandt?s
early skill as an artist determined his father to allow him to
follow his own taste. He studied for a short time under Jacob

“ Or Harmenszoon—i.c. Renibrandt, the son of Harmen of the Rhine
(who was Gerritszoon, i.e. the son of Gerrit).
oD
gy
°
&
a
a
oe
3
&
I
5
g
nw
<
i
‘6
‘6

s
S
&
=
Q
Ss
&
irae
=
&
J
—}
2S
=
3
S

 
156 DUTCH ART.

van Swanenburch at Leyden, then under Pieter Lastwan at
Amsterdam, and perhaps also under Jan Pynas at Haarlem.

But it was not from these nor from any master that Rem-
brandt learnt to paint. Nature was his model, and he was his
own teacher. In 1630 he produced one of his earliest oil paint-
ings, the Portrait of an Old Man (Cassel Gallery), and at this
time he settled as a painter in Amsterdam. He devoted
himself to the teaching of his pupils more than to the cultiva-
tion of the wealthy, but instead of being the associate of
drunken boors, as some have described him, he was the friend
of the Burgomaster Six, of Jeremias de Decker the poet, and
many other persons of good position. In 1632 Rembrandt
produced his famous picture, The Lesson in Anatomy, about
that time he was established in Siut Antonie DBreedstraat ; in
the next year he married Saskia van Ulenburch, the daughter
of the Burgomaster of Leeuwarden, whose face he loved to
paint best after that of his old mother. We may see Saskia’s
portrait in the famous picture, Rembrandt with his wife on
his knee, in the Dresden Gallery ; anda Portruit of Saskia
alone is in the Cassel Gallery (Fig. 56).

In the year 1640 Rembrandt painted a portrait, long known
under the misnomer of Zhe Frame-maker.* It is usually called
‘Le Doreur,’ and it is said that the artist painted the portrait
in payment for some picture-frames ; but is in reality a portrait
of Dorer, a friend of Rembrandt. The year 1642 saw Rembrandt’s
master-piece, the so-called Night-watech. Saskia died in the
same year, and the four children of the marriage all died early,
Titus, the younger son, who promised to follow in his father’s
steps, not surviving him. Rembrandt was twice married after
Saskia’s death, first to Hendrickie Jaghers, then to Catharina
van Wyck. The latter years of the great master’s life were
clouded by misfortune. Probably owing to the stagnation of
trade in Amsterdam, Rembrandt grew poorer and poorer, and in

* In 1865 it fetched no less than 155,000 francs, at a sale.
 

 

Dy)

SES
IS
NSE
WN

SS \

 

5
Pree
Soe
Deere

a BESS
EE RS
ee
ZZ LESS

Fee
eee as
Dore

 

 

lig. 56.—SaSKia VAN ULENBURCH. By REMBRANDT.
In the Cassel Gallery
158 DUTCU ART.

1656 was insolvent. His goods and many pictures were sold
by auction in 1658,:and realized less than 5000 guilders. Still
he worked bravely on. His last known pictures are dated 1668.
On the 8th of October in 1669 Rembrandt died, and was buried
in the Wester Kerk. :

Rembrandt was the typical painter of the Dutch School ;
his treatment is distinctly Protestant and naturalistic. Yet
he was an idealist in his way, and as “‘ the King of Shadows,”
as he has been called, he brought forth from the dark recesses
of nature, effects which become, under his pencil, poems upon
canvas. Rembrandt loved to paint pictures warmed by a
clear, though limited light, which dawns through masses of
shadow, and this gives much of that air of mystery so notice-
able in his works. In most of his pictures painted before
1633 there is more daylight and less shadow, and the work is
more studied and delicate. To this class of works belongs the
Lesson in Anatomy (Museum of the Hague), which represents
Professor Tulp dissecting a dead body in the presence of several
other doctors. The subject exactly suited the realistic character
of the painter. M. Maxime du Camp says of this work : “ This
is a European picture of world-wide renown, which will remain
in traditions even after it is destroyed, for it is one of those few
things done by men which is perfectly beautiful.” In the
Museum of Amsterdam, the city where Rembrandt died, is his
greatest work, the Night-watch (Fig. 57). It is difficult to under-
stand why this name has been given to a picture which represents a
daylight scene. Its more correct name is the Sortie of the Com-
pany of Frans Banning Cock. It contains twenty-three figures of
life size. They are a band of the civic guard starting to patrol
the streets of Amsterdam, and possibly about to shoot at a mark,
the prize being a cock which a gaily-dressed girl holds in her
hand. The popular name for this picture probably arose from
its luminous and transparent tints, the great effects of light and
shade, which seem produced by an artificial light rather than
fi

_ SS
See

 

By Remprannr,

Fie. 67.—Tue Niout-Watcu.

fuseum of Amsterdam.

In the A
160 DUTCH ART.

by the sun. ‘It is neither the light of the sun, nor of the
moon, nor does it come from torches, it is rather the light from
the genius of Rembrandt.” “The faces of the civic guard repre-
sent the popular heroes who saved Holland from Spain. This
picture will preserve the remembrance of Dutch liberty, perhaps
even beyond the existence of Holland.” Another picture by
Rembrandt is by some critics placed in a higher rank than the
Night-watch. This is the collection of portraits of the Syndics
of the Cloth Hall (Staathof), of the year 1661, in the Amsterdam
Gallery. We do not, in looking at this picture, seem to see
six portraits, but six living men. In the Louvre we may study
some very small but exquisite pictures by this master. The
Philosophers in Meditation, and the House of au old Carpenter,
(probably intended for a Holy Family), show to perfection that
poetry of naturalisin of which Rembrandt was the great teacher.
In the National Gallery we tiud two portraits of Rembrandt,
one representing him at the age of thirty-two, another when
an old man. In the same collection is the Woman taken in
Adultery (1644), and the Adorution of the Shepherds (1646), both
superb in arrangement and execution. Germany and Russia are
almost as rich as Holland in the number of Rembrandt’s pictures
which they possess. The Descent from the Cross, in the Munich
Gallery, is a specimen of the sacred subjects of this master. He
interprets the Bible from the Protestant and realistic standpoint,
and though the colouring of the pictures is marvellous, the
grotesque features and Walloon dress of the personages repre-
sented make it hard to recognize the actors in the gospel story.
Many of his Scripture characters were doubtless painted from the
models afforded him in the Jews’ quarter of Amsterdam where
he resided. Every one knows the portraits painted and etched
by Rembrandt; he delighted to draw the heads of old people,
in which every wrinkle and line are faithfully delineated, and
every emotion of the sitter is expressed. In his landscapes

tembrandt again shows his profound feeling for the poetry of
erence

PR

BA

 

58.—Eccr Homo.

Fia.

From an etch

embrandt.

y T

ing b

GFDP
162 DUTCH ART.

nature, and invests the cold, cheerless scenery of Holland with
beauty. The magnificent panoramic landscape belonging to
Lord Overstone, and the famous picture of The Mill against a
sunset sky, are signal examples of his poetic power, and_his
etchings show us this peculiarity of his genius even more than
his oil paintings. Of these etchings, which range over every
class of subject, religious, historical, landscape, and portrait,
there is a fine collection in the British Museum; and they
should be studied in order to understand the immense range of
his superb genius. The Hece Homo (Fig. 58), to say nothing of
the splendour, the light and shade, and richness of execution,
has never been surpassed for dramatic expression ; and we for-
give the commonness of form and type in the expression of
touching pathos in the figure of the Saviour; nor would it be
possible to express with greater intensity the terrible raging of
the crowd, the ignobly servile and cruel supplications of the
priests, or the anxious desire to please on the part of Pilate.
The celebrated plate Christ healing the Sick exhibits in the
highest perfection his mastery of chiaroscuro, and the marvellous
delicacies of © gradation which he introduced into his more
finished work. The number of Rembrandt’s pictures in Holland,
although it includes his thrze greatest, is remarkably small—
indeed they may be counted on the fingers; and lately, by the
sale of the Van Loon collection, the Dutch have lost two more
of his finest works in the portraits of the Burgomaster Siz and His
Wife. But his works abound in the other great galleries of Europe.

Of the pupils of Rembrandt many attained to great excellence
as portrait-painters ; in other works they are frequently but the
shadow of the great master. The first pupil who was received
by Rembrandt was Gerarp Dou, but it will be more convenient
to speak of him later among other Dutch genre-painters.

Among the students and imitators whom the great master
kept penned up at work at the top of his house, each partitioned
off from his neighbour, was—
 

aT

Het

Hl

Fic. 59.—Porrrait oF Bor. BY WIMSELP.
{64 DUTCH ART.

Ferpixanp Bot who in his early days followed closely the.
style of Rembrandt. Of his life little is known. He was
born at Dordrecht in 1611; was taken when still a child by
his parents to Amsterdam, of which he was made a citizen.
There he resided until his death in 1681. A woman’s portrait
in the Berlin Museum, date 1642, shows this earlier and better
form of Bol’s art. Later in life he forsook his great teacher’s
manner entirely, and his historical pictures show indifferent
workmanship, and his colouring displays less refinement. Bol:
excelled as a portrait-painter (Fig. 59). His master-piece is The
Four Regents of the Lepers’ Hospital, in the town-hall, Amster-
dam. In the National Gallery we have a Portrait of an
Astronomer from his hand. He is also well represented at.
Dresden and St. Petersburg.

JacoBp Backer * was born at Harlingen in 1608 (or 1609)..
He first studied under Lambert Jacobsz at Leeuwarden, and:
then with Rembrandt, whose studio he entered between 1632
and 1634. He resided chiefly at Amsterdam, where he died
in 1651. LBacker, like Bol, adhered to the style of Rembrandt
in his earlier works, as we may see by studying his portraits.
of himself and his wife in the Museum at Brunswick. The
picture of The Syndics, in the Van der Hoop collection at
Amsterdam, illustrates the later period when he had sought
other sources of inspiration. Backer was celebrated for the
extreme facility and rapidity of his work. It was his wont, it
is said, to finish a portrait ina day. He was also successful as
an historical painter.

GovarrT Finck was born at Cleves in 1615. Like Backer,
he first studied under Lambert Jacobsz at Leeuwarden, and then
with Rembrandt at Amsterdam, where he took the freedom in
1652, and resided until his death in 1660. Flinck was the
friend as well as the pupil of Rembrandt. He painted his
master’s portrait, and Rembrandt, in return, painted those of

* Or Bakker, not to be confounded with Jacob de Backer of Antwerp;
FOLLOWERS OF REMBRANDT. 165

Flinck and his wife. Next to Van den Eckhout he ap-
proaches Rembrandt most closely ; and many of his pictures
have been mistaken for those of the great master. In his
latter years he imitated Murillo with considerable success.
He was also distinguished as a painter of genre subjects, but
especially in portraiture. Of his historical paintings, Jsaae
blessing Jacob is the best. Among his portraits we may
specially notice those in the Banquet of the Civic Guard: both
these pictures are in the Amsterdam Museum.

PHILIPS DE Konincx (or Koxtxa@), who was born at Amster-
dam in 1619, studied under Rembrandt, and became a very
good painter of landscapes, into which fizures were introduced
by Lingelbach and Dirk van Bergen. He sometimes painted
portraits, and occasionally, it is said, executed historical pieces.
He is represented in the galleries of Amsterdam and the Hague.
A Landscape, a View in Holland, in the National Gallery, is a
very good example of his style; in the same collection there is
a Hilly Woody Landscape, also by him. De Koninck died at
Amsterdam in 1689.

GERBRAND VAN DEN Ecksour was born in 1621 at Amster-
dam, there studied under Rembrandt and painted, and died
there in 1674. He imitated very successfully Rembrandt's
style, especially in his treatment of Biblical subjects. In power
and in colour he sometimes came very near to his master.
He painted many portraits, and also genre subjects. His works
may be seen in most public galleries. We may specify Ruth
and Boaz (Rotterdam Museum), ane the Raising of Jairus’s
Daughter (Berlin Museum).

Jaw Vicrors is an artist the dates of whose birth and death
are unknown. He has been often confounded with Victor
Wolfvoet of Antwerp, and Jacob Victor, the painter of
poultry. He sometimes signed his name Victor, Victoor, or
Fictoor. He probably worked in Rembrandt’s studio from
about 1635 to 1640. The dates on his works extend from 1640
166 DUTCIT ART.

to 1662. In his Biblical subjects Victor imitates Rembrandt.
more closely than in his other works. Of his Old Testament
pieces we may mention, Joseph explaining his Dream, dated
1648 (Amsterdam Gallery), and Tobias giving thanks for the
recovery of his sight (Munich Gallery). An Isaac blessing
Jacob, in the Dulwich Gallery, formerly ascribed to Rembrandt,
is given by Dr. Richter to Victors. Of other subjects we have
The Pork Butcher, and The Dentist (Van der Hoop collection,
Amsterdam), and a Village Wedding (Antwerp Gallery).

JAN DE Bray, a native of Haarlem, was a very fair portrait.
and historical painter of his time. In the town-hall of Haarlem
are some of his best corporation pieces, two of them are Lady
Regents of the Hospital ; and in the Amsterdam Gallery he is
represented by the Syndics of the Guild of St. Lule of Haarlem,
dated 1675. It contains seven figures in all, of which fonr are
by Jan de Bray ; one, a portrait of Jan himself, is by his brother
Dirk, who also figures in the picture. The remaining two are
autographic portraits of Jan van Goting and Jan de Jong. Jan
de Bray died in 1697.

Kare, Fasritius, or Faser, who was born about 1624, was.
a pupil of Rembrandt ; he might have become famous had he
not met with a premature death by the explosion of a powden
magazine at Delft in 1654. A fine Head of a Man (Rotterdam
Museum) by Fabritius, was for a long time ascribed to.
Rembrandt. Fabritius was the instructor of Jan ver Meer, of
Delft.

SaMUEL VAN HovuGsTRaETEeN was born at the Hague probably
mn 1627. He studied under his father Dirk van Hoogstraeten
a native of Antwerp, and with Rembrandt. After visiting
Vienna, Rome, and London, he settled in his native country,
and worked at the Hague and at Dordrecht, where he died in
1678. Van Hoogstracten painted portraits, landscapes, and still!
life. Best among his genre pictures is that of a Sick Girl,
dressed in light colours (Van der Hoop collection).
MAES. 167

Nicotaas Mazs (or Maas) was born at Dordrecht in 1632.
But little is known of his life. He studied under Rembrandt
at Amsterdam ; and then went about 1660-65 to Antwerp, but

 

Fie. 60.—THe IDLE SERVANT.
By Nicolaas Maes.

returned to Amsterdam in 1678, and died there in 1693. Maes
followed Rembrandt closely in his earlier works. After painting
grave subjects for some time, he devoted himself to portraits
168 DUTCH ART.

with «reat success. His Old Woman Spinning, and a Girl ata
Window, eve in the Amsterdam Gallery. The Portrait af a
Child of the Burgomaster Six, and the Eavescdropper, are in
the Six Gallery. in England we have in the National Gallery,
The Cradle, The Dutch Housewife, and The Idle Servant (similar
in composition to Fig. 60); the two last signed anc dated, “ N,
Mies, 1655.” His genre subjects are less trivial than those of
many of his brethren; and often present beautiful little idylls of
Dutch home life.

 

Vic. GL.—FRoM ax ETOVUUING RY Remsen,
 

CHAPTER II.

DUTCH PAINTERS OF DOMESTIC LIFE.

E pass on from the immediate pupils of Rembrandt to
notice those artists who, though independent of him,
were all more or less influenced by the great founder of the
Dutch School. It will be more convenient to consider these
painters under four classes: (1) Painters of domestic life,
interiors, and portraits. (2) Painters of landscapes and battles.
(3) Painters of sea-pieces. (4) Painters of still life, game, archi-
tecture, etc. =
The Dutch genre painters generally preferred an interior to an
out-door scene for their subjects; the character of their climate
explains the reason. The Italian, dwelling in a soft, sunny
climate, loved to paint out-of-door life, and to depict the blue
skies beneath which life was a long holiday. A Dutchman’s
idea of happiness, on the contrary, was a snug room, shut in
from the cold mist outside, a bright fire burning, the furniture
and utensils shining from laborious polishing, and a pipe and a
flagon close at hand. These, then, are the kind of scenes which
will meet us most frequently in studying the works of Dutch
genre painting. The visit of the dentist, or the doctor, is
another subject which shares the popularity of the ale-bench,
the travelling musician, or the kitchen.
170 DUTCH ART.

Jan Livens,* who was born at Leyden in 1607, was the son
of Lieven Hendrikse, a carpet manufacturer. He first studied
under Joris van Schooten at Leyden, and then is said to have
been a pupil under Lastman at the same time as Rembrandt,
whose influence is to be seen in his works. In 1630 Livens
was in England, painting the portraits of Charles I., his family,
and chief courtiers. On his return he settled in Antwerp,
where he became free of the Guild in 1635, and of the city five
years later. In 1661 he entered the Guild of Painters at the
Hague, but died at Antwerp in 1663. “His treatment of
sacred subjects is thoroughly genre; his sense of beauty, as
regards form, is not higher than that of Rembrandt ; while in
depth of feeling, and power and warmth, as well as harmony of
colour, he stands far below him. On the other hand, he is
a better draughtsman” (Kugler’s ‘Handbook’). Works by
Livens are rather rare in public galleries. A Sturdy of a Head
(Rotterdam Museum), a Visitation (in the Louvre), and a
Portrait of Joost van den Vondel, the poet (Amsterdam Gallery),
and Abraham blessing Jacob, are among the best. A remark-
able picture, The Raising of Lazarus, by Livens, was exhibited
by the Baroness North in the collection of Old Masters at the
Royal Academy in 1871.

ADRIAEN Brouwer vt was born, probably at Guia
about 1605. Like his master Hals, he has suffered much at the
hands of his biographers, who have represented him as a
drunkard and the companion of drunkards. Though recent
research has not brought many facts to light concerning his life,
yet it has done sufficient to prove that he was not quite so bad
as Houbraken and Descamps would have us think. Brouwer
studied under Hals at Haarlem; then painted at Amsterdam,

* Or Lievens or Lievensz.

+ It is sometimes written ‘‘de Brauwere ” or “ Brauwer,” but the form
given above is the most correct.

¢ Haarlem is by some considered to be his birthplace.
‘SNGAIT LG ‘dooVE ONISSa'Ia NVHVUTY—'Z9 ‘Old

SY

idafs
A Ay
ly
cP
Pie p

 
172 DUTCH ART.

and subsequently Antwerp, where he was received into the
Painters’ Guild in 1631, and also, in 1634, into the Society of
Artists known as the “The Violet.” He died at Antwerp in
1638, and was buried in the church of the Carmelites.

Brouwer seems to have delighted in painting scenes of riot
and drunkenness in which he himself took part (Fig. 63).
His power of colour is wonderful, and won for him the admir-
ation of Rubens. His pictures are few and scarce. In the
Munich Gallery we find, Peasants playing Cards; Spanish
Soldiers throwing Dice, and another picture of the same class,
and one of his best, Card-Players Fighting. The Surgeon
removing the Plaster, in the same collection, is a wonderful
work; the agonized expression of the patient writhing under
the hand of the stolid doctor is perfectly life-like.

GeraRD TER Borcu * stands first among a class of genre -
painters who, forsaking scenes of low life, painted the higher
ranks of society. Ter Burch, who was born at Zwolle in 1608,
studied art under his father, and at Haarlem; and afterwards
visited Germany, Italy, and France; but without losing his
originality. In 1648 he was at Miinster, where the plenipo-
tentiaries of Philip IV. of Spain and the delegates of the Dutch
United Provinces were met to sign the treaty of peace. It
was then that he painted his famous picture, the Peace of
Minster, (signed “ G. T. Borch,”) now in the National Gallery,
which contains portraits of the various persons assembled to
ratify the treaty. Ter Borch was patronized and knighted by
Philip IV., whose court he visited. He also visited the courts
of France and England ; and finally died at Deventer in 1681.
The National Gallery contains another picture by this master,
The Guitar Lesson. Ter Borch’s specialité was the painting of
a white satin dress, by which the chief light in his pictures is
formed. Examples of this peculiarity of his style may be seen

* Or Terborch; the common form “ Terburg” is wrong. His signature,
when it does occur, is usually “G. T. Borch.”
 

 

Fic. 63.—Tur Torers. By ApriaEN Brouwen.
174 DUTCH ART.

in The Letter (Fig. 64), (The Hermitage); Paternal Advice *
(Amsterdam Museum), and a Lady in a Satin Gown (Dresden
Gallery). Other notable pictures by Ter Borch are, the Ausic
Lesson, and the Oficier Galant (Louvre).

ADRIAAN Jansz, commonly called Van Ostape,} was the son
of one Jan Hendriex of Eyndboven Adriaan was born in 1610
at Haarlem, where his parents had settled. He entered the
studio of Frans Hals, and was there a fellow-pupil with Adriaen
Brouwer. On leaving Hals he set up as a painter in Haarlem,
where he was made Dean of the Guild in 1662, and lived and
laboured until his death in 1685. Van Ostade has been styled
the Rembrandt of geure painters. His subjects are similar to
those of Teniers; indeed, he has been ‘characterized as “a
familiar Rembrandt, and a serious Teniers.” But Van Ostade
differs from Teniers as Rembrandt differed from Rubens:
Teniers lavishes light everywhere, like Rubens; Van Ostade
concentrates it, like Rembrandt. There is no beauty in Van
Ostade’s faces; his children are dwarfed and ugly, and
he frequently shows us the grim side of peasant life in his
pictures; but poetry is given by the glowing chiaroscuro,
and by the sheer simplicity and naiveté of the treatment.
He may be studied in the following works with advantage :
The Rural Concert (Madrid), where some choristers are ac-
companied by a bagpipe, a broom-handle, and a mewing cat;
three. of the Five Senses, a valuable series, at St. Petersburg ;

* Similar pictures are in the Berlin Gallery and at Bridgwater House,
London : and a study for it in the Dresden Gallery.

t The sobriquet Van Ostade was adopted by the children of Jan at
various times. We find it mentioned hrst in connection with Adriaan in
1636, when he was recorded as a member of the Civic guard. ..'he name
Ostade was derived from a small hamlet of that name (now ca:led Ostedt)
probably the birthplace of their father, near Eyndhoven. As Adriaan
sigued lunself ‘ Van Ostade” (or in early life “‘ Ostaden ") on almost aif
eis works it las, not uimaturally, been looked upon as a surname.
 

64.—THe Letter. By Tex Bonrcu.
dn the Hermitage, St, Petersburg

 
176 DUTCH ART.

a Smoking Scene, and a Painter's Studio in a garret (Fig. 65),
containing a portrait of himself, signed and dated 1663 (Dresden
Gallery); a Dutch Ale-house, with fighting peasants (Munich) ; .
an Old Man in His Study (Rotterdam); a Village Assembly
(Amsterdam) ; and the Interior and Exterior of a rustic house
(The Hague). In the Louvre, Van Ostade has, in His Family,
left ten wonderful portraits of Dutch faces. In the National
Gallery we have one picture, the Alchymist (1661), by him ; the
Dulwich Gallery possesses four.

Isack Jansz, vAN OsTapg, was born at Haarlem in 1621,
and was the younger brother and pupil of Adriaan van Ostade.
He, too, adopted the name Van Ostade, and so signed himself.
Little is known of his life. He died at Haarlem in 1649
(some say 1657). He was inferior to his brother in the
figures of his genre pictures, but in out-of-door scenes (Fig. 66),
especially in his favourite subject of a frozen canal with skaters,
he stands alone. His pictures are comparatively rare in foreign
galleries; England, which first brought Isack van Ostade’s
merits into notice, possesses most of the works of his short
life in her private collections. In the Louvre is the Halt of a
Carrier, refreshing himself outside a tavern, and an open Dutch:
landscape. There, too, is one of the numerous pictures of a:
Frozen Cunal. Two of these frost-scenes, and a Man in a
Village Street, are in the National Gallery.

BaRTHOLOMEUS vAN DER HeExst occupies the position of
one of the best portrait-painters of this time, especially as
producing a number of portraits in one picture. Almost nothing
is known of his life, or teachers; but his works suggest the-
influence of Frans Hals. He was born, it is thought, in 1613,
at Haarlem, where he passed his youth. He is supposed to
have studied under Pynas, and Hals has also been mentioned
as his instructor in art. In 1636 he was settled at Amsterdam,
where he was the principal portrait painter, and received larger:
sums than Rembrandt for his paintings. He died in that city-
SS

ON TINNY

 

Fic. 6).— ADRIAAN VAN OSTADE IN HIS WorRKSHOP. By HIMSELF.
In the Dresden Gallery.
GFDF M
 

By Isack VAN OSTADE.

Fic, 66,—TueE Coast oF SCHEVELING.
“wuinasny Uvplagsuep oye UT
‘I9IdY UIA NVA AQ ‘GUVAH OIAIN ANL JO LAAONVE aHI—'L9 ‘Old |

 
180 DUTCH ART.

in 1670. It is in the Museum of Amsterdam we must look for
the principal pictures of Van der Helst. Jere is his master-piece,
the Banquet of the Civic Guard (de Schutters-maaltijd),(Fig. 67),
which occupies a place of honour opposite to Rembrandt’s Might
Watch. It is dated 1648. “The chief charm of this work
consists in the strong and truthful individuality of every part,
both in form and colour; in the capital drawing, which is
especially conspicuous in the hands; in the powerful and clear
colouring ; and finally, in a kind of execution which observes
a happy medium between decision and softness” (Kugler’s
‘Handbook’). Sir Joshua Reynolds said of this work: “This
is, perhaps, the first picture of portraits in the world, com-
prehending more of those qualities which make a perfect portrait
than any other I have ever seen.” In the Amsterdam Museum
there are also other works by Van der Helst ; notably a portrait
cf the Princess Mary, daughter of Charles I. of England. The
Rotterdam Museum among others has portraits of a Mfan and
his Sister, dated 1646, and of a Cavalier and a Lady ; and our
National Gallery possesses a Lady Studying.

GerarD Dov was a clever pupil of Rembrandt, but not a
follower. He was born at Leyden in 1613, and was appren-
ticed by his father, Douwe Janszoon de Vries van Arentsvelt, to
Bartholomeus Dolendo, the engraver, and in 1624 to Pieter
Kouwenhoven, the painter on glass. From this narrow sphere
of art he emerged, and at the age of fifteen entered the studio
of Rembrandt. Three years later Gerard Dou was an inde-
pendent painter. But few details are known of Dow’ life.
With the exception of two gaps—of from 1651 to 1657, and
again from 1668 to 1672—he resided in his native city, where
he died in 1675. Dou began by painting portraits, but
afterwards adopted the anecdotal style of art ; and soon stood at
the head of a school of artists who made the infinitesimally little
their aim and object. Some critics have said that the ideas of
Dou were as small as his subjects ; but this is scarcely just. He
GERARD DOU. 18}

did, indeed, delight to depict a broom-stick, or a woman scraping
a carrot ; but then he painted broom-sticks and scraped-carrots
as no one else could. He made his own brushes, pounded his

 

Fig. 68.—Tuz Buncy oF Grapes. ly Dov.

own colours, prepared his varnishes, panels, and canvas, with
his own hands. He is said to have worked in a study opening
on to a wet ditch, to avoid the dust: At Leyden, Dou was
182 DUTCH ART.

highly esteemed ; and the President, Van Spiring at the Hague,
offered him 1000 florins a year for the right of making the first
bid for his pictures. Dou’s best work is the Woman Sick of
the Dropsy (1663), in the Louvre ; the Eveaing School (Museum
of Amsterdam) may be ranked next to it. Dou was fond of
painting scenes in which the deutist, the doctor, or the quack
plays a part; specimens of this kind are The Empirie (St.
Petersburg), the Chartalan on his Stage (Munich). Dou
frequently painted his own portrait; one of these portraits is
at Bridgwater House, another in the National Gallery. There,
too, we have a Portrait of Dows Wife,and the Poulterer’s Shop.

Frans van Mieris was born at Delft in 1635. He studied
under Gerard Dou, who called him the “ prince of his scholars.”
He afterwards entered the studio of Abraham Tempel; but it is
Dov’s influence which is always seen in his work. Van Mieris
even surpassed his teacher in his careful elaboration of minute
subjects. He might have been a draper from the accurate
knowledge of silks, satins, and velvets, which he displays. His
pictures are full of careless, happy, good-humoured life, like
most of those of the Dutch School; there is no emotion, no
feeling in his works; the outside is admirably depicted, but it
is nothing but outside. Among the best pictures by Van Mieris
are a Doctor feeling a Lady’s pulse, of the year 1656 (Belvedere,
Vienna), a Lady Fainting in the presence of the doctor (Munich
Gallery), The Tinker (Fig. 69), (Dresden Gallery), a Boy blowing
soap-bubbles, dated 1663 (The Hague), a similar work is at
Buckingham Palace. In the National Gallery, which is not
rich in Dutch masters, is a picture of a Lady in a crimson
Jacket. Almost nothing is known of his life ; he died at Leyden
in 1681.

Wittem van Mreris (1662—1747) imitated his father,
Frans, very successfully. He was born, lived, and died at
Leyden. His Fish and Poulétry-Shop, signed and dated 1713
in the National Gallery, is a fair specimen of his art.
 

By FrANs VAN MIERIS.

Fic, 69.—TuHE TINKER.

In the Dresden Gallery,
184 DUTCH ART.

GaBRIEL Mrtsu * was born in 1630 at Leyden, of parents
who were both artists. He first studied under his father,
Jan Metsu, a native of Belle, in Flanders, who was a painter
of no great note; and then with Dou. He was admitted into
the Guild of Painters at Leyden in 1648; but, leaving that city
two years later, he went to Amsterdam, where he settled and
probably spent the greater part of his life. In 1659 he received
the right of citzenship of Amsterdam, where he died some time
after 1667, the date of his last known work. He followed in the
steps of Ter Borch and Gerard Dou ; but made himself original
by the freedom of his touch, and the power, richness, and
harmony of his colours. We find the purple of the Van
Eycks, and the silver of Paolo Veronese, in Metsu’s pictures.
Like Ter Borch, he preferred to delineate the upper classes in his
pictures (Fig. 70); but he occasionally quitted the drawing-room
for the kitchen or the market. In the Louvre we find Metsu
well represented by the Chemist, the Officer and Young Lady, and
especially by the Vegetable Market at Amsterdam. At Dresden
are The Lacemaker, and the two Poulterers. In the Cassel
Museum are The Poulterer, and the Young Musician. In the
National Gallery we find three pictures by this master, two of
which are The Music Lesson, and a Duet.

Jan Havicksz STEEN was born at Leyden in 1626, the year
following the marriage of his parents. His father, Havick
Jansz Steen, who was in all probability a brewer, was of respect-
able family. The circumstances of Jan’s life are enveloped in
hopeless confusion. By some writers he is said to have been a
brewer only, and not a keeper of an ale-house ; by others, that
he had a brewery is denied, while his ownership of an ale-house
is upheld. And, again, the scene of his labours in various years
is the subject of much controversy. Noticing the precocious
talents of the young Jan, his father sent him to study under
one Nicolas Knuffer (or Knupfer), a German painter of historical

* Sometimes written Metzu.
 

 

 

 

 

Fic. 70 —A Dutcu Lavy PLAYING THE CLAVECIN. By MErsv.
186 DUTCH ART.

subjects, settled at Utrecht. Jan then probably went to
Haarlem and entered the studio of Adriaan van Ostade, the
influence of whose style is, at any rate, perceptible in many of
his works. Adriaen Brouwer has, without sufficient reason, also
been mentioned among the names of his instructors in art.
Steen’s last master was Van Goyen, of the Hague, whose
daughter, Margaretha, he married there in 1649; he had been
inscribed in the Painters’ Guild at Leyden in the previous year.
Steen, it appears, was absent from Leyden from 1649 to 1653,
from 1653 to 1658, and from 1658 to 1672, during which
period many of his best works were painted. Perhaps some
years after 1649 were spent at the Hague. That he resided at
Haarlem at various times from 1661 to 1669 is more than
probable. In 1672 we find Steen back again at Leyden, and
in that year he applied for and obtained permission from the
magistrates to open a tavern, which he established at Langebrug.
In 1673 he married for a second time—his choice being Marie
van Egmont, widow of one Nicolas Herculens. In 1679, Jan
Steen died, and was buried in the parish church of St. Peter at
Leyden on the 3rd of February.

It has been the fashion to represent Jan Steen as a drunken,
roystering idler, never out of the ale-house. Like many others of
the Dutch masters, he has suffered from the misrepresentations of
biographers. As he has left upwards of five hundred pictures,
Steen must have been something more than a jovial, bibulous
landlord. He is, in fact, the laughing philosopher of Dutch art ;
but the scenes of revelry and drunkenness which he painted
from the life in taverns, are not without their grim moral. In

‘this Steen somewhat resembles Hogarth, but without his stern

purpose; indeed, it has been well said that Jan Steen “is on
friendly terms with the devil even whilst painting his cloven
foot.” Judging from Steen’s portrait of himself at Amsterdam,
the laughter of the painter often covered a thoughtful mind or a
sad heart ; and, like the melancholy clown, he made others laugh
 

By Jan Sreen,
Galler

3 CaGE,

HE Paxkror’

1.—T

Fic. 7

‘y.

In the Amsterdam
188 DUTCH ART.

without entering into the jest himself. Jan Steen’s favourite
subjects were, besides the tavern drinking-bouts, bean-feasts,
and the like—a schoolmaster with a set of unruly boys ; a doctor
visiting a young girl; children in play or mischief; the sad
effects of intemperance ; or the folly of the alchemist seeking to
make gold. When he exerted himself, Jan Steen rivalled all
other genre painters of his country; he is a master of expression,
and his best work is highly finished without triviality of execu-
tion ; but, perhaps from his habits of life, he was often careless.

At least two-thirds of Jan Steen’s pictures are in the possession
of Englishmen. In the Northbrook collection is a Portrait of
Steen singing to his lute, and a School, a picture of a number of
schoulboys indulging in mischief whilst the fat pedagogue sleeps,
unconscious. In the National Gallery we must notice the ALusic
Afaster ; and in the Queen’s collection at Buckingham Palace is
a picture of The Toilet, one of his most beautifully executed
works, remarkable for its clearness of colour and Juminous quality.
In foreign galleries we find, in the Louvre, a Flemish Festival, the
usual ale-house scene; not one of the best specimens of this master,
nor of his school. At the Belvedere at Vienna there is a Village
Wedding ; at Berlin we may see The Garden of an Alehouse ;
and at the Hermitage, St. Petersburg, The Game of Backgammon
shows Jan Steen in his natural style—his own portrait is in the
picture; whilst Ahasuerus touching Esther with his golden
Sceptre, exhibits the painter trying to treat a serious subject
seriously, and failing. At the Hague is the famous picture of
Human Life, which represents, oddly enough, about twenty
people, of all ages, engaged in eating oysters, hence it is some-
times called the Oyster Feast. In the same gallery is a picture
of Steen and his family. At Amsterdam there is a charming
picture in the best style of this master, called The Feast of
St. Nicholas ; where the good children are receiving toys, and
the naughty child finds a rod in his shoe. Here, and in the
picture representing the effects of intemperance,—in which
Hi i mil

Bs

i

at
‘ :

a

 

Fic. 72.—Tue SoLviek AND THE Laucuinc Maiven. By Ver Meen.
Formerly in the Double Collection, Paris
190 DUTCH ARTY.

portraits of himself and his wife appear—Jan Steen gives us
one of those brief, pointed lessons which no one could render
better than himself. In the Amsterdam Gallery, also, is his
Parrot’s Cage (Fig. 71), which, Kugler tells us, “ exhibits a deli-
cate taste in arrangement, a clearness and depth of warm tone
approaching Ostade, and a solid execution.”

JAN VER Meggr,* of Delft, was born in that city in 1632.
He is said to have studied under Karel Fabritius, and with
Rembrandt at Amsterdam ; but itis very doubtful if he ever had
‘the advantage of Van Ryn’s tuition. He resided principally at
Delft, where he probably died in 1696, for in that year a sale
took place of twenty-one of his works. Ver Meer adhered
somewhat closely to Pieter de Hooch in his subjects and effects.
His works are very scarce. The Soldier and the Laughing
Maid (Fig. 72) is an excellent example of his style. In the
Museum of the Hague we may see a View of Delft. In the
Six Collection at Amsterdam are two good specimens of this
master’s art—the View of a Street, probably in Delft, and a
Milk-Woman. A Lady playing a spinet, a very fine painting, is
in the possession of Her Majesty the Queen, at Windsor Castle.

Caspar Nerscuer, though a‘German by birth, belongs dis-
tinctly to the Dutch School. He was born at Heidelberg in
1639; studied art under Ter Borch at Deventer; and, after
marrying at Bordeaux in 1659, established himself at the Hague,
where he was elected a member of the Society of Painters in
1663. Hedied in 1684. He seems to have been very highly
esteemed. Charles II. invited him over to England, but he
seems to have remained faithful to his adopted country, and to
his art. A glance at Netscher’s pictures will suffice to show
how thoroughly Dutch were his tastes and manner of treatment.
The Singing Lesson and Lesson on the Bass Viol (both in the

* Commonly but incorrectly written Van der Meer. He is not to be

confounded with Van der Meer (or Ver Meer) of Haarlem. nor with Ver
Meer of Utrecht.
NETSCHER. 191

Louvre); Bathsheba, dated 1667 (Munich), treated after the
Dutch, and not after the Biblical, fashion; the Suicide of
Cleopatra (Carlsruhe), where we see a Dutch woman very unlike
the mistress of Roman Antony, are typical pictures by this
master. He rivalled Ter Borch and Metsu in painting fabrics,
especially in depicting goldsmith’s work. We may study him in
the National Gallery, where are three of his pictures—Blowing.

 

 

 

 

Fig. 73.—Tak SPINNER. By NETScHER.

Bubbles (1670), Maternal Instruction, and The Spinner (Fig. 73):
Pieter van SLinGELanp, who was born at Leyden in 1640,
was a pupil of Gerard, Dou; he painted with the greatest
patience and laborious alanine and is said to have occupied
three years in covering one square foot of canvas. His works.
are seldom seen in England. Indeed he only produced thirty:
192 DUTCH ART.

pictures during his lifetime, which fact is not remarkable, as he
took a whole month to paint a lace band. The Dutch Family
(Louvre) is one of his most important works. He lived and
laboured at Leyden, where he died in 1691.

GODFRIED SCHALCKEN, who was born at Dordrecht in 1643,
was another pupil of Dou, and made his fame by candle-light
-effects. In the National Gallery we find, amongst others, Leshia

 

Fig. 74.—THE VioLin PLayen. By EGLON VAN DER N&&x,

- weighing jewels against her sparrow. At Amsterdam is a candle-
light Portrait of William III. His pictures are also to be found
in the galleries of Vienna, Munich, and Dresden. He visited
England, but worked chiefly at Dordrecht and at the Hacue
~where he died in 1706. om

Eaton vay per Neer—who was born at Amsterdam in 1643,
DE HOOCH. 193

was appointed Court Painter to Charles II. of Spain in 1687,
and died at Diisseldorf in 1703—studied under his father, Artus
van der Neer ; but took for his models the works of Mieris and
Netscher. He also painted historical works and landscapes, but
they are less successful than his pictures of ladies playing the
lute, and similar subjects, in which he delighted (Fig. 74).

Prierer pe Hoocu,* the son of Thomas Pietersz, a painter,
was born at Ouderschie, a suburb of Rotterdam, about 1632.
He worked at Delft, where he married Jannettje van der Burch
in 1654; and a son was christened in the following year, and a
daughter was baptized in 1656. In 1655 he was received, as a
stranger, into the guild of St. Luke at Delft, but he appears to
have left the city towards the close of 1657. Van der Willigen
tells us that he went to Haarlem and died there in 1681; but
Havard (in ‘L’Art et les Artistes Hollandais,’ If[I. 1880, in
which he gives much that is new concerning this artist)
denies that he went to Haarlem, and moreover states that dates
on his pictures prove that he lived later than 1681. So
little was this master known for a long time, that, although
he even rivals Rembrandt in his wonderful light effects, his
signature was frequently effaced from pictures, and some better
known name inserted. In the effect produced by a ray of
sunlight crossing a room no one, except’ Rembrandt, has equalled .
De Hooch, and not even he has surpassed him. In depicting
the poetry of the fire-side, or the simple beauty of home life,
this master is as great as Ter Borch or Metsu. The Lace-
maker (Fig. 75), (Hermitage); The Dutch Cabin (Munich) ;
and the Buttery-Hatch (Amsterdam Gallery), the last lighted by
the sunbeam, are excellent specimens of De Hooch’s work.
The Card’ Party (Buckingham Palace); Two Courtyards, one
Interior (National Gallery), as well as several pictures in private
collections, represent in England this artist, whose works are
scarce even in his own country.

* Or Hooche, Hooghe, Hoogh, or Hooge.
GFDP N
 

 

 

 

 

 

 

 

 

 

 

rig, 75.— Tue Lace-Maker. By Prerer DE Hoocn.
In the Hermitage, St. Petersburg.
VAN DER WERFF. ' 195

ADRIAAN VAN DER WeRFF, who was born at Kralingen,
near Rotterdam, in 1659, studied under one Cornelis Picolett
and with Eglon van der Neer. He died at Rotterdam in 1722.
He stands alone in the Dutch School of this period as a
painter of historical and mythological pieces, instead of the
favourite subjects of his brethren. His pictures show a yearn-
ing after the ideal which he could never reach. Still his
works were most eagerly sought after, and from the Elector
Palatine downwards, Van der Werff’s studio was thronged by
patrons. His sacred subjects lack the dignity which should
belong to them. A picture of the Elector Pulatine and his
Consort, surrounded by allegorical figures of the Arts (Munich
Gallery), illustrates two of this master’s peculiarities, the union
of coldness and want of taste with wonderful workmanship. A
sacred picture, Ecce Homo (Munich Gallery), displays the ivory-
like hue of the flesh which is one of Van der Werff’s character-
istics. His works are not popular in England, but in Bucking-
ham Palace we find a picture of Lot and his daughters, of singular
warmth of colouring, a Boy with a sucking pig, and Girl with
a kitten.

CorneLis Dusart was born at Haarlem in 1660; entered
the Guild there in 1679, and died there in 1704. He studied
under Adriaan van Ostade, and imitated him successfully. His
works are found in the best foreign galleries, and in many
private collections in England. The Fish Market and the
Village Inn may be seen in the Amsterdam Gallery.
 

CHAPTER III.

PAINTERS OF LANDSCAPES AND BATTLE-SCENES.

ANDSCAPE painting is the creation of the Netherlands.
Even Carracci, Domenichino, and Poussin merely used a
landscape as the theatre for some historical subject or human
drama. It was Pauwel Bril of Antwerp, who, half a century
before Claude Lorrain, invented landscape painting pure and
simple. It is natural that the Dutch masters, who made Nature
in her varying aspects their special study, should cultivate
landscape painting as an especial branch of their art. Among
the earliest who cultivated this kind of painting we must
place—

Jan van Goren, who, though his colouring is monotonous,
was one of the best landscape painters of this time. He was
born at Leyden in 1596 ; studied under Isack van Swanenburgh,
Jan de Man, and Willem Gerritz; and then went to Haarlem,
and became influenced by the style of Esajas van de Velde. He
worked at Leyden and at the Hague, where he died in 1656. In
the Amsterdam Gallery we find, amongst others, a View on the
Meuse (Fig. 76), and the Castle of Valkenhof by him. Amongst
other pupils, he taught Berchem and Jan Steen, who, as we
have seen, afterwards became his son-in-law.
|

[

i

Hi i i
i ‘il Ilia
STi Tal
" pu
HH
|

 

; Be

feds
AAAS VT

Fia, 76-—-THE Banxs or THE Maas, By VAN GoYEn.

In the Amsterdam Gallery.
198 DUTCH ART.

Jan Wynants commences the school of real Dutch land-
scape painters. For him the flat scenery of his native Holland
possessed charms which he was never tired cf depicting. With
Wynants and his successors Nature is no more the theatre for a
subject. In his pictures we find as a rule a winding road,
apparently starting from nowhere, and leading nowhither, whilst
a few figures and animals are introduced by the hands of assist-
ants and cotemporary artists. Wynants may be studied in
England, at Dresden, Munich, Paris, Amsterdam, and the
Hague. At Dresden are two Landscupes with figures. At the
Hague is one of his last landscapes, dated 1675. ‘There are five
of his pictures in the National Gallery, and two intthe Dulwich
Gallery. Truthfulness to nature is the chief characteristic of
Wynants ; this is seen in aérial perspective, and in the leaves
of plants (Fig. 77). His tints are clear and bright, especially in
the blue-green of his trees and plants. Weynants painted at
Haarlem ; but details of his life are entirely wanting. The latest
date on any of his works, 1679, is seen on a Landscape with
Jigures, by him, in the Hermitage, St. Petersburg.

AxELBERT Curp, the son and pupil of Jacob Gerritsz Cuyp, a
portrait painter of note, was born at Dordrecht in 1605. He
lived, as a rule, on his own estate of Dordwijk, near Dordrecht,
in which city he died in 1691. He has been justly named “ the
Dutch Claude.” But it was not only as a landscape painter that
he was famous. He painted a number of portraits, and with fair
success. He painted also fruit, flowers, and dead game, but with-
out equalling the greatest masters of this branch of art. His
scenes of Interiors are executed in the manner of Van Ostade
and Teniers, as, for example, the Afwssel-eater, in the Rotterdam
Museum. His interiors of buildings have never been surpassed,
not even by Emanuel de Witte. He painted animals in a wav
which made him the model of Paul Potter, though unlike him
he never sacrifices the landscape to the animals. But above all
Cuyp is famous for his animated landscapes, and scenes on the.
 

ie

il |

i

a
A

”

7

ia
fi

a

iu

fe

ey

ia

ni

" ud

 

By Wynants,

 

—Tun Onp Casrut

io

Ira,
200 DUTCH ART.

banks of rivers. He is the greatest lover of light, except Rem-
brand, of all the Dutch masters. No painter has ever expressed
more truthfully the light warmth of a misty summer’s day, such
as Cuyp had often experienced on the banks of the Maes, or in
the streets of his native Dordrecht. Strangely enough Cuyp
was not appreciated in Holland till it was too late, and most of
his works had left that country before men learned to value
them. In the Dulwich Gallery there are fourteen works by
Cuyp, and there are eight in the National Gallery, among which
is the fine Landscape, with Cattle and Figures ; Evening (Fig.
78), signed A;Cursp. The love of light which this master dis-
played is seen even in a night scene, the Banks of a Lake, at
Grosvenor House. One of his finest pictures is a View of the
Maese near Dordrecht, in the Bridgwater Gallery, unrivalled for
the flood of golden sunset light with which the picture glows ;
another equally beautiful work represents the same favourite
scene, and is at Dorchester House. There is an excellent
specimen of his powers as a portrait painter in the National
Gallery.

Cornetts Decker, who entered the Guild at Haarlem in
1643, and died in poverty in that city in 1678, was a landscape
paiuter of the same school as Ruisdael, to whom Decker’s works
were for a long time attributed.

Jan Bots and Anpries Bots, were two brothers who lived
in the early half of the seventeenth century. Jan was born at
Utrecht about 1610, and Andries a little earlier. Though the
former was the younger, he was the more important of the tio.
We find that Andries devoted the greater part of his time to the
painting of figures in Jan’s landscapes, and works by his own
hands entirely are consequently rarely to be met with. They
both studied first under their father Dirk Both, a painter on
glass, and subsequently became pupils of Abraham Bloemart.
We learn that they travelled together to Italy, and were
influenced by the paintings of Claude Lorrain. In their land-
 

By Cuyrp,

Fig, 78,—LANDSCAPE, WITH CATTLE AND FicureEs,

In the National Gallery (No. 53).
202 DUTCH ART

scapes, therefore, we must look for Italian scenery rather than
that of Holland. Andries Both was drowned in a canal before
1644.* Jan resided chiefly at Utrecht, and was still living there
in 1662.t In the Hague Gallery are two good Italian land-
scapes, by the brothers. The Artist studying from Nature (Van
der Hoop Collection, Amsterdam) is their masterpiece. In
England the National Gallery has six works by Jan Both,
besides which there are several in private collections.

Another Dutch artist who drew his inspiration from Italy is

Pieter van Laar, who was born in 1613 at Laaren, near
Naarden : he was called from his deformity Bampoccro. After
living for sixteen years in Rome, he returned to Holland, and
settled at Haarlem, where he died in 1674. His landscapes
show the influence of Claude and Poussin. His pictures, which
are very rare, are to be found in the Galleries of Florence, Cassel,
Dresden, Vienna, and Paris.

AART VAN DER NEER was a landscape painter, who remained
faithful to his native Holland in his choice of subjects. He
was essentially the poet-painter of the night, and his leading
characteristic is a certain mysterious twilight effect. In the
National Gallery is a Landscape, with the figures and cattle
added by Cuyp, who has signed his name on a pail. There,
too, are to be found a River Scene, and a Canal Scene. Van
der Neer may be studied in the Berlin Gallery where there
are eight of his works; he is found in many private collections
in England and abroad. Details of Van der Neevr’s life are
entirely wanting. He was born, it is thought, in 1619 at
Amsterdam, where he chiefly resided, and where he is said to
have died in 1683.

* Not 1650, as usually given.

t In this year an engraved portrait of him was published in ‘ Het
Guldencabinet’ at Antwerp: it bears the following inscription, “Jean
Both, good and well-respected landscape-painter, staying now at Utrecht,
his native town” (see Dulwich Gallery Catalogue, by Dr. J. P. Richter).
 

i) ar er
ara

le

al

a o

 

Fia.79.—Tur Fisn-Senuger.

 

By Wouwenman.
204 DUTCH ART.

Paitires Wouwerman * is a painter of whose life little is
known. He was born at Haarlem in 1619. He first studied
his father Paulus Joosten Wouwerman, an historical painter of
no great note; he then entered the studio of Wynants; and
after that, he made, at the early age of nineteen, a run-away
marriage at Hamburg, where he studied under Evert Decker.
Returning to Haarlem, he entered the Guild in 1640, and lived
in comfortable circumstances until his death in 1668. With
regard to his works, Ruskin speaks of them with contempt,t and
laughs at the various discordant elements which are introduced
into one picture. Kugler, on the other hand, says: ‘ His
compositions invariably evince a delicate feeling for the pictur.
esque; his figures and animals are well drawn and full of
animation... .. His general keeping is singularly tender .
his touch unites great finish with equal delicacy and spirit.”
And Lord Ronald Gower thus speaks of his works—“ paintings
in which it is not easy to know which most to admire, whether
the beauty of their composition and grouping, the brilliancy and
clear tone of their colouring, or their wonderful variety.”
Wouwerman must have been a master of vast industry, and of
great rapidity of execution, since he declared that bis pictures
required two leagues of gallery for their reception. Like Holbein,
however, Wouwerman has had a great number of works falsely
attributed to him ; some of them may have been painted by his
brothers Pieter and Jan. It has been a common mistake to
insist that every Dutch picture in which a white horse is con-
spicuous, must of necessity be the work of Wouwerman. He
chiefly painted battle-pieces and landscapes, in which are figures
of horses and dogs accompanying their masters (Fig. 79).

Of the many hundred pictures attributed to Wouwerman
there are in the Dresden Gallery sixty-six (of which about
sixty are considered genuine), in the Hermitage fifty, twenty-

* Wouverman, Wouwermans, and several other forms are found.
t But Mr. Ruskin has expressed his wish that all the pictures of the
Dutch School might be burnt.
 

ib, ihe
i a

a
1 vi i

lA mT

 

By Pautvus Porrer,

tia. 80.—THE Youne Butt.

In the Gallery at the Hague.
206 DUTCH ART,

three at Cassel, about seventeen at Munich, thirteen in the
Louvre, ten in Buckingham Palace, eight in the National Gallery,
and nine in the Dulwich Gallery, besides others scattered in
various places. Wornum declares, however, that we should
place the number of genuine pictures by Wouwerman at about
ninety instead of nine hundred. At the Louvre we may notice
the Beuf gras, the Riding Schovl, and two Cavalry Scenes.
At Dresden there are some excellent hunting scenes, Stag-
hunts, Heron-hunting, etc. At St. Petersburg we find the
Burning Mill and the Flemish Carousal. At the Hague isa
superb landscape known as the Chariot de foin, and a great
Battle-prece, similar in composition to the work, well-known as
the Battle of Nérdlingen, in the Munich Gallery.

Jan Frans van BREDAEL, a native of Antwerp (1683—1750),
was a pupil and follower of Wouwerman. He was also influ.
enced by the works of Velvet Brughel, as in his View of a Vil-
lage (Fig. 98) in the Amsterdam Gallery. Other works by him
are in the Dresden Gallery and the Louvre.

Paucus Porter stands at the head of the Dutch painters
who introduced animals into their pictures. He has been
styled the ‘Raphael of animals,” but he scarcely deserves the
name, as his object was accuracy of detail, not beauty, in his
delineations of the herd. Paul Potter, who was born at
Enkhuizen in 1625, was instructed in art by his father, Pieter
Simonsz Potter,* a landscape painter. He is said to have also
studied under Jacob de Wet, at Haarlem. He lived for some
time with his father at Amsterdam, then went to Delft, where he
was received into the Guild in 1646, and there painted many of
his best pictures. In 1649 he settled at the Hague, for a time,
and his genius commanded universal respect. He returned, in
1652, to Amsterdam, where he died of over-work in 1654.

At the Hague is the famous picture which Paul Potter painted
when only twenty-two—The Young Bull (Fig. 80). The picture

* A Stag-Hunt by him is in the National Gallery.
POTTER. . 207

represents a landscape in which are assembled a young bull, a cow,
three sheep, and the shepherd, all of life-size. In this somewhat
over-rated work, Paul Potter displays a new system of his own
creation, or rather the union of two systems. He first painted the
picture in the manner of the great hunting scenes of Snyders, with
a strong and deep impasto in the masses ; then over this he traced

 

 

 

   

saa lhe = L ue

al ay e itt a”
He (nt a a -.
x ss cot alan Oe

Fig. 81.—CatrLe. FRroM AN KICHING BY PauLUs Potter.

the details, as finely finished as a house by Van der Heyden, o1
a face by Denner. The Bear-huné (Amsterdam Museum) is an
unpleasant picture, which abundantly proves how inferior Potter’s
large-proportioned figures were to his smaller ones. In London
there are two of his master-pieces, Cows and Sheep in a land-
scape under willow trees, in the possession of the Duke of
208 DUTCH ART.

Westminster, and a Country Scene, in the possession of the
Queen at Buckingham Palace. The National Gallery has a
Landscape with Cattle, of the year 1651, and another work
called The Old Grey Hunter. In St. Petersburg Paul Potter is
better represented than in his own country, or in England.
There we may see the wonderful polyptych representing the trial
of man by the animals; the two central panels shows us the

 

Fic. 82.—Peasantx. A DRawinG BY BERCHEM,
Formerly in the Periere Collection.

Condemnation of Man by the Tribunal of Animals. There also
we must notice a Huntsmen Halting, dated 1650, and above all
The Cow of the previous year, which is considered one of his
masterpieces, In this latter picture the painter has introduced
into his landscape cows, horses, asses, sheep, hens, a cat and dog,
as well as human figures. There are admirable etchings of animals
by this artist (Fig. 81).
BERCHEM. 209

Nicowaas (or Cuaas, the shortened form) Pretersz is commonly
known as Bercuem * (or Berghem). He was born at Haarlem
in 1620, and received his first instruction in art from his father,
Pieter Claasz van Haarlem. He afterwards studied under Jan
van Goyen, N. Moeyaert, De Grebber, and Jan Wils, whose
daughter he married, and with Weenix. The pictures he painted
in early life have some resemblance to the works of Weenix,
and, like them, represent seaports and embarkations. He after-
wards formed for himself a different and more interesting manner,
representing landscapes and most delightful scenery, enriched
with architectural ruins and decorated with charming groups of
figures and cattle. He occasionally painted animals in the works
of other masters, as Ruisdael, Hobbema, and Jan Wils. In the
Museum of Amsterdam there area Ruth and Boaz and other
works ; a Cavalry Combat is in the Hague Gallery ; and in the
Louvre he is well represented by a View of Nice, the Port
of Genoa, a Ford, and Cattle drinking ; while in the National
Gallery are five good examples of his style, and at Dulwich six.
His pictures tell us that Berchem visited Italy, but there is no
further record on the subject. He died at Amsterdam in 1683.

ALDERT VAN EvERDINGEN, who was born at Alkmaar in 1621,
studied, it is said, under Roelandt Savery and Pieter Molyn.
While on a voyage to the Baltic, he was shipwrecked on the
Norwegian shore, where the rugged beauty of the coast made an
everlasting impression on his mind. As if in contrast to the
artist-travellers who brought back Italy with them to Holland,
Aldert van Everdingen, bringing back from his travels the
mountainous scenes of Norway, shadowed with firs, and inter-
sected with ravines and waterfalls, introduced into Dutch paint-
ing the nature of the extreme north. He died at Amsterdam in

« By several writers this has been assumed to be a mere nickname ;
but inasmuch as he is entered in the town records as Berchem, and that
he so signed his works, it may to all intents and purposes be considered a
surname.

GFDP oO
210 DUTCH ART.

1675. A Norwegian Landscape by him, in the Amsterdam
Gallery, is a good example of his style, and the Dresden Gallery
has five works by him. Van Everdingen deserves greater praise
as an engraver than as a painter; the British Museum possesses
a good collection of his prints. A version of ‘Reineke Fuchs’
with fifty-seven engravings from the original plates, by Van
Everdingen, was published in England in 1843 (Fig. 83).

= eS SSS

          

 

ase

F1G. 33.—PREPARATIONS FOR A PILGRIMAGE. BY VAN EVERDINGEN.

From Reynard the Fox.

Karen pu Jarpiy * was born at Amsterdam (?) about 1625,
He was a pupil of Berchem, and was influenced by the style of
Potter. He visited Rome at an early age, and became imbued
with a taste for Italian scenes. He returned through Lyons,
where he married, to Holland, in 1656, and having joined the
Guild at the Hague, settled at Amsterdam. In 1669 he returned
to Italy, and lived there till his death, at Venice, in 1678. In

* Or Dujardin.
‘NIGUVG AC AQ ‘CuOT TNT—' Fg ‘ort

 

 

 

 

 

 

 

 

‘ Ff Naw AR* yy
212 DUTCH ABT.

painting animals Du Jardin imitates the style of Paul Potter.
In the Amsterdam Museum we find, among other works by
Du Jardin, a Mounted Trumpeter, and a Peasant winnowing
corn. Sacred subjects are beyond his grasp, as, for example,
the Calvary in the Louvre, which collection is, however, rich in
better works by his hand. In the National Gallery there are
four works by this painter: Figures and Animals reposing (1656) ;
Fording the Stream (1657) ; a Landscape with Cattle ; and Sheep
and Goats. of the year 1673, when he must have been in Italy.

 

Fia. 85.—RIvER-ScENE. By SaLomon RUYSDAEL.

Asa portrait painter Du Jardin was not without merit, though
somewhat cold in tone. He is best seen in that branch of
art in the.Amsterdam Gallery, where are His own Portrait
(of the year 1662), that of his patron, @. Reijnst, and Portraits
of five Syndics, signed and dated 1669. He executed many
admirable etchings of landscapes with cattle (Fig. 84).
SaLoMon VAN RuysDaE. was born, about 1600, at Haarlem,
and was admitted as a master into the Guild there in 1623.
Haarlem, with its immediate neighbourhood, was the scene of
‘TaVaSINY NVA TOIVE AQ ‘“AoOuIUg oLsaY AH T—'9g ‘01,7
.

 

 

 

 

 

 
214 DUTCH ART.

most of his labours. He died in 1670. He was a pupil of Van
Goyen, and his landscapes are not without merit ; but his fame
has been surpassed by that of his nephew Jacob. He is best
seen in the galleries of Berlin and Dresden. The former has
four works by him, and the latter three.

Jacop van Ruispaet * stands at the head of Dutch landscape
painters. Born at Haarlem about 1625, and at first educated for
the practice of medicine, Ruisdael studied art under his uncle
Salomon, and perhaps also under Berchem. He died in poverty
in the almshouses at Haarlem in 1682.

The works of Ruisdael are the embodiment of the poetry of
melancholy. He painted the scenery of his own country, and
delighted to depict a wide stretch of land or water, darkened
by stormy clouds, or overhanging trees. He was not successful
in painting men and animals, and sought the assistance of
his brethren in this branch of art. He sometimes painted
views of a Norwegian character (Fig. 86), but it is not known
that he ever visited Norway. MRuisdael is probably equalled,
or even surpassed in some technical points, by other Dutch
masters, but none havo approached to the mystic melancholy
which invests his pictures. In the Louvre we find the Coup
de Soleil, and a Storm, the scene of which is on the coast
near the dykes of Holland. olichelet calls this picture, “The
prodigy of the Louvre.” In Holland, we see amongst others
in the Amsterdam Museum, The Waterfall, and a View of
Bentheim Castle. In England, Ruisdael’s pictures are chiefly
in private collections. The National Gallery, however, now
possesses twelve of his landscapes. In the Hermitage at St.
Petersburg there are fourteen pictures by Ruisdael. His
greatest works are, however, to be seen in Germany ; at Munich
there are nine landscapes, and among the fourteen of his
pictures at Dresden is the celebrated Chase. Under the

* Or Ruijsdael ; but only his earlier works are signed in this manner
(Dr. J. P. Richter).
 

By Hosnema.

In Buckingham Palace.

Fie. 87.—LANDSCAPE.
216 DUTCH ART.

wonderfully painted birch trees, Adriaan van de Velde has
depicted a stag-hunt which gives the picture its name. At
Vienna is the most important, and perhaps the most perfect, of
Ruisdael’s works ; it is called The Forest, and is the truest and
most excellent portrait of simple nature that can be imagined.

Friptric DE Moucueron, a landscape painter, was born at
Embden in 1633, and studied under Asselyn at Amsterdam.
Then he went to Paris, where he was very popular, and resided
for some time. Returning to Holland, he settled in Amsterdam,
and produced many good landscapes in which the figures were
usually painted by Adriaan van de Velde and Lingelbach.
Moucheron is said to have died at Amsterdam in 1686, but a
Garden Scene, in the Dresden Gallery, signed and dated 1713,
if genuine, disproves this statement. Landscapes by Moucheron
are in the Gallery at the Hague, in the Van Loon Collection at
Amsterdam, and in the National Gallery. He executed numerous
water-colour drawings remarkable for delicacy of drawing and
tender colour; somewhat in the style of Claude, but rather
overloaded with detail in the composition.

Jan Hackarrt, who was born at Amsterdam about 1636,
studied first in his native town, and afterwards in Switzerland.
He died at Amsterdam in 1699. He specially devoted himself
to woodland scenery. Adriaan van de Velde and other artists
painted the figures in Hackaert’s pictures. A Landscape with
Dogs and Hunters (Steengracht Collection at the Hague), is uf
great merit. A Stag-hunt is in the National Gallery.

Mzrvert Hospema was cotemporary with Jacob van Ruisdael,
and ranks next to him among the Dutch landscape painters.
He was born at Amsterdam, in 1638, and there spent the greater
part of his life. He died there in 1709. He probably resided
fora time at Haarlem ; and is said to have studied under Salomon
van Ruysdael. He chose similar subjects to those of his great
cotemporary, but as a rule painted sunlight scenes rather than
the gloomy effects beloved of Jacob van Ruisdael. Holbema
 

By ADRIAAN VAN DE VELDE.
In the Dresden Gallery.

Fic. 88.—WiInTER LANDSCAPE.
218 DUTCH ART.

was, during his life, and even long after his deavh, totally
unappreciated in Holland. Now his pictures are of the greatest
_ value, and command vast sums, whereas the painter died poor
and neglected. In Holland we find Hobbema represented
only at Rotterdam. In the Munich Gallery is a Dutch Cabin ;
at Berlin a Forest ; in the National Gallery, The Avenue, Middel-
harnis, and six other landscapes. Some of this master’s best
pictures are in private collections in England—such as those of
Her Majesty the Queen (Fig. 87), Sir Richard Wallace, Mr.
Holford, and Lord Oversione. Figures were introduced into
Hobbema’s paintings by Berchem, Adriaan van de Velde,
Lingelbach, Philips and Pieter Wouwerman and other artists.

ADRIAAN VAN DE VELDE, born at Amsterdam in 1639, first
studied under his father Willem van de Velde, the elder, and
was then apprenticed to Wynants at Haarlem. He died in his
native city in 1672. In addition to the calm, smiling landscapes
which he painted so admirably, Adriaan van de Velde drew
human figures nearly as well as Wouwerman, and animals in a
manner which Paul Potter would not have despised. Peaceful
pastoral scenes were his favourite subjects. The rustic Phyllis
and some Dutch Corydon resting in the shade are the usual
figures in his pictures. In the Louvre we find The Coast of
Scheveningen, where the Prince of Orange appears in a carriage
and six horses; the Frozen Canal, the Herdsman’s Family, and
three landscapes with animals. The galleries of Dresden, Munich,
Berlin, Rotterdam, the Hague, Amsterdam, and Antwerp, all
contain good specimens of this master. The Van der Hoop
Collection at Amsterdam contains one very notable work—
Portraits of Himself, his Wife, and his Two Children. In
the Dresden Gallery is a Winter Landscape (Fig. 88). There
are six pictures by him in the National Gallery.
 

CHAPTER IV.

MARINE PAINTERS.

TJ T is natural that Holland, a country stolen from the sea, and

at one time the rival of Britain in the sovereignty of the
waves, should have produced some famous marine painters. As
Holland possessed her De Ruyters and Van Tromps to manceuvre
her ships and fight her battles, so she had also her Van de
Veldes and Bakhuisens to paint them. One of the earliest of
these painters is—

Sm1on DE VLIEGER, who was born at Rotterdam about 1600,
and was still living in 1656. His master is not known with
certainty, but he doubtless studied under Jan van Goyen. He
entered the Guild of Delft in 1634, and became a citizen
of Amsterdam in 1643. De Vlieger combined the manner
cf Cuyp with the subjects of Van de Velde. He was the
first painter who set himself to represent the sea in its various
phases, now sleeping in calm, now lashed into fury by the
tempest. His colouring is often unpleasing. In one of his
earlier pictures, a Sea Piece (Hermitage, St. Petersburg), the
effect is cold. In the Amsterdam Gallery is a River Scene,
with the Admiral’s yacht firing a salute, which is far more
striking. A Storm at Sea (Munich Gallery), and a view of the
Coast of Scheveningen (Bridgwater Gallery), are excellent speci-
220 DUTCH ART.

mens of De Vlieger’s art. The etchings of this artist are varied
and powerful. ;

Jan Parce.wis, a native of Ghent, who was living in Haarlem
in 1628, had the reputation there, perhaps a purely local one,
of being “the best painter of ships in existence.” His master-
piece seems to be a sea-piece in the Schleissheim Gallery, dated
1629.

Remicius Nooms, called from his love of marine pictures
ZEEMAN, was born at Amsterdam about 1616. Nothing is
known of the life of this painter except what can be gathered
from his etchings. These show that he was cotemporary with
De Vlieger, and that he visited France and England. In his
marine pictures he does not equal other painters of this school ;
but his ships are carefully and accurately drawn. His pictures
are rare in public galleries. At Amsterdam there is a picture of
a sea-ficht between the English and Dutch fleets, near Leghorn ;
the galleries of Vienna and Cassel contain each a specimen of
this artist, whose etchings, however, are better than his oil
paintings. :

JaN BrerestTRaatTEN * is essentially a painter of Amsterdam.
“He was born there in 1622, painted there, and died there, itis sup-
posed, in 1687 ; and it isin Amsterdam that his best works must
be sought. From his works, however, we know that he visited
Bois-le-Duc, Minden, Rotterdam, Haarlem, and Leyden ; but it
is not likely that he ever went to Italy, although he painted
views of that country. His pictures are principally coast scenes
and views in towns, with figures which were occasionally painted
by Lingelbach. In the Amsterdam Gallery there is the Bout-
men's House, Amsterdam, the Ruins of the old Town-hall, Amster-
dam ; and a Seafight between the Fnglish and-Dutch ; and he

* An Alexauder Beerestraaten is mentioned by various writers on art as
a brother of Jan; but M. Havard (in ‘ L’Art et les Artistes Hollandais ’)
denies his existence, and considers Jan to be the author of those works
attributed to Alexander.
BACKHUISEN. 221

is also well represented in the Town-hall, and in the Six and
Van der Hoop collections. Jan Beerestraaten executed many
paintings, and a large number of drawings. He was a good
colourist, aud selected pleasing subjects, but was wanting in
firmness of execution.

 

Fig. 89.—A GALE, By LUDOLF BaKHUISEN.

Lupotr Baxuursen,* who was born at Emden in 1631, was
at first intended fur trade, and did not commence the study ot
art till after his eighteenth year. He was a pupil of Aldert
van Everdingen at Amsterdam, and, it is said, also received
instruction in art from Hendrik Dubbels. He died at Amster-

* Or Backhuijsen.
222 DUTCH ART

dam in 1708. Bakhuisen studied the details of every kind of
vessel, and re-produced the rigging and other technicalities of
the various craft with great accuracy. He is said also to have
gone afloat in all weathers, that he might study the ocean in its
many moods. Jn colour and in natural feeling, he is inferior
to Willem van de Velde. Bakhuisen was a popular, successful
painter, and had many royal and noble patrons. His most
notable works are, the Disembarkation of William III. (the
Hague); the Embarkation of Jan de Witte on the Dutch Fleet
(Amsterdam); View of the Port of Amsterdam (Vienna) ; and
Dutch Shipping, and Off the Mouth of the Thames, both in
the National Gallery, where there are four other works by. this
master. Comparing Bakhuisen’s dark and rather hard treatment
with the transparency of Willem van de Velde, a critic says,
“ Backhuysen makes us fear the sea, Van de Velde makes us
love it” (Fig. 89).

WILLEM VaN DE VELDE “‘the younger,” the elder brother
of Adriaan van de Velde, stands first among Dutch marine
painters. He was born at Amsterdam in 1633, and studied first
under his father, Willem van de Velde “ the elder,” but chiefly
under Simon de Vlieger. Whilst in Holland, in his earlier
life, he painted, among many other sea-pieces, several naval
battles in which the Dutch were victorious over their English
civals. - Subsequently he went with his father to England,
and obtained in 1677 a salary of £100 a year from Charles
II. for painting sea-fights of which his father had made draughts
at a similar remuneration. Whilst in England, Van de Velde
judiciously painted battles in which victory was on the side of
the English. James IL continued the pension’ to the two Van
de Veldes, the younger of whom died in London in 1707, and
was buried beside his father in St. James’s Church, Piccadilly.

By his constant study of nature, Van de Velde “ the younger’
has been able to present the sea in every phase of-its many-
sided temper, and always with equal success. In the technical

?
‘qaigA HO NVA NATIIAL Ad ‘NIV FHL—06 ‘ola

 

 
294 DUTCH ART.

part of his work, he is most accurate, every rope being painted
with care and study. These qualities made him the most
popular of painters with the two chief maritime countries
of the world, England and Holland; and it is in these two
countries that the majority of his many pictures (of which 329
are enumerated) are to be found.

In the Amsterdam Museum are two pictures representing the
battle between the Dutch fleet under De Ruyter and the English
in 1666. The artist has depicted himself in a small boat; and
it is a fact that he was actually present during the engagement
sketching the scene. In the National Gallery are fourteen
pictures by Van de Velde. Among private collections in Eng-
land, that at Bridgwater House contains the best specimens
—two Naval Battles ; a View on the Texel ; a Calm; Entrance
to the Bril; and the Rising of the Gale; but the finest of his
calm seas is perhaps the Morning Gun, a very large picture in
the possession of Sir Richard Wallace.

Jan DvuBBELS, a marine painter, of whose life nothing is
known, has been described both as the master and the pupil of
Bakhuisen. Many of his pictures have been wrongly attri-
buted to that master. ‘His subjects were chiefly sea-coast
scenes, which, for truth, mastery of keeping and aérial perspective,
beauty of lighting, and breadth and softness of execution, may
be placed on the same level with Ruysdael and Willem van de
Velde... .. His chief work, signed with his name, and of
considerable dimensions, is a Sea-coast, against which an agitated
sea is breaking; in the Van der Hoop collection at Amsterdam.
It is one of the finest sea-pieces in the whole Dutch school
known to me” (Kugler’s ‘ Handbook’).

JAN VAN DE CaPELLE* is another painter of whose life we
have no details. He received the freedom of Amsterdam in
1653. He clearly lived in the best period of his school; the
dates on his works extend from 1650 to 1680. Like De

* He sometimes wrote it Cappelle.
VAN DE CAPELLE. 225

Vlieger, whom he much resembled, Van de Capelle blended the
manner of Cuyp with the subjects of Van de Velde. There
are five of his pictures in the National Gallery, and ‘several
others in private galleries. His favourite subject is a calm sea
reflecting a light and sunny sky.

 

FIG. 91.—FROM AN BTICHING BY KEMBRANDT.

‘

arb? 4
 

CHAPTER V.

PAINTERS OF ARCHITECTURE AND STILL LIFE.

EFORE speaking of the Dutch painters of still-life, in the

proper sense of the term, we must notice some artists who

devoted themselves to the painting of buildings. Among those
who depicted the exteriors of buildings was—

EmanueL Muranb, a native of Amsterdam in 1622, and a
Pupil of Philips Wouwerman. He chose dilapidated farm-
houses and Dutch villages as his special suljects. The careful
exactness of the Dutch School is mainly manifest in his
houses, where every brick and stone is minutely described. The
works of Murand are most rare in public galleries. There is a
dilapidated old Farm-House in the Amsterdam Museum; and a
Farm-yard with Cattle, in the Museum of Rotterdam. Murand
died at Leeuwarden in 1700.

Jan van DER Herpe* was born at Goreum in 1637, and
first studied under a painter on glass, whose name has not been
recorded. Leaving his native town he established himself at
Amsterdam, where he soon rose to fame. He travelled in
Belgium, the Rhine Provinces, and visited England. Van der
ILeyde produced many pictures during his long life, and would

* Frequently written Heyden.
BERCK-HEYDS. 227

‘doubtless have painted many more, had not his improvement in
that very inartistic object, a fire-engine, gained for him in 1672
‘the post of director of the fire-brigade in Amsterdam. He died
in that city in 1712. Van der Heyde has been called “the
Gerard Dou of architectural painters.” He combined in his
‘pictures of buildings extreme minuteness of detail with a fine
general effect ; and his harmonious contrast of light and shadow
gave a picturesqueness even to a stiff and formal street of houses.
His favourite subjects were churches, palaces, and other public
buildings in Holland and Belgium. Adriaan van de Velde
painted many of the figures in Van der Heyde’s pictures, and
thus increased their beauty. After Van de Velde’s death, Van
der Neer and Lingelbach undertook this part of the work. Of
Van der Heyde'’s works we may specially call attention to the
Amsterdam Town-hall (The Louvre); View of u Dutch town
(Amsterdam); View of a public Square, shaded by trees
(Munich) ; View of a Netherlandish town (The Hague) ; and
a Street in Cologne (National Gallery, where there are three other
views by this artist). In the Dulwich Gallery there is 4 View
of two Churches and a Tovn-wall, with figures by Adriaan van
de Velde.

Jos Berckx-Heypge* was born at Haarlem in 1630; studied
under Jacob de Wet, and entered the Painters’ Guild in 1654.
With his younger brother Gerrit, who from his pupil became
his collaborator, he travelled through Germany and was
employed by the Elector Palatine. Settled in Haarlem, he
worked with success until his death in 1693. His best works
are views of towns, and sometimes landscapes, but his pictures
of village merry-makings are not without merit. His works are
somewhat rare in public galleries. The Berlin Museum has a
Winter Landscape, by him—signed. He is also Pep TOnOnied. 2 at
Amsterdam, Dresden, Rotterdam, and St. Petersburg.

Gerrit Berox-Heype,* the younger brother and pupil of Job,

* Or Berkheyden, or Berkeydon.
P 2
228 DUTCH ART.

was born at Haarlem in 1638. In 1660 he entered the Guild
of St. Luke. He frequently painted in company with his
brother, and they resided together with their sister Aechje.
Gerrit painted at Cologne, Heidelburg, Haarlem, and Amsterdam.
He died at Haarlem in 1698. He chiefly painted exteriors
of Dutch buildings (Fig. 92); occasionally he produced a church
interior, and Italian buildings. The figures of men and
animals which enliven his pictures were from his own hand.
His pictures are rare in public galleries. In the Amsterdam
Museum we may see a view of the Cathedral, the old Town-hall,
and new Church of that city. In the Louvre is a picture of
Trajan’s Column, showing his Italian style. In England,
Berk-Heyde is occasionally found in private collections.

Prerer JanszZ SaENREDAM occupies the first place among
Dutch painters of interiors. He was born at Assendelft in
1597, studied under Frans de Grebber, entered the Guild at
Haarlem in 1623, and died at Haarlem in 1665. His earliest
picture is a Gothic Church (Amsterdam Museum), dated 1636.
In the Turin Gallery is The Interior of a Protestant Church.
His masterpiece is a view of the old Yuwn-hall of Amsterdam,
which was burnt in 1651. The picture is in the present Town-
hall. /

EMANUEL DE Witts, who was born at Alkmaar in 1607, was
the scholar of Evert van Aelst, a painter of still-life at Delft.
Failing as a portrait-painter, De Witte devoted himself almost
entirely to the painting of interiors, choosing most frequently
churches of the later Italian style. In this branch of art he
is as unrivalled as Ruisdael among landscape painters. His
best pictures must be sought in the Amsterdam Museum, and
in the Van Loon and Van der Hoop collections of that city.
An Interior of a Church, probably at Delft, by De Witte is
in the Nationai Gallery. De Witte painted at Delft and at
Amsterdam, where he died in 1692. The influence of De Witte
may be clearly seen in the works of Henprik van VuteEr
ai
i
Hl
\

|
| i |
I

tH
i

i

   

| He
Ni

:

By Gerrit Bercx-HEYbE.

Fio. 94.— View oF HAARLEM,
230 DUTCH ART.

(about 1605—after 1671) of Delft, and Cornetis (1) Hoec-
GEEST, a painter of the seventeenth century, of whose life
nothing is known for certain: two interiors by him are in the
Antwerp Gallery.

Passing to the painters of still-life, we find the artists of this
class choosing various subjects, all more or less trivial; but dis-
playing the patience, minute workmanship, harmonious colouring,
and technical truthfulness which distinguish the Dutch School
in all its branches. Sometimes the still-life represents dead
game, sometimes a meal set out—oysters, boiled lobsters, and
bread—on other occasions philosophical instruments, gold and
silver vessels, pots and pans, or a human skull, are chosen.
Nearly all the best painters of still-life also painted fruit and
flowers. Indeed, the Dutch have ever been enthusiastically fond
of flowers; and were never tired of growing them first and
painting them afterwards.

Jan Davinsz DE HeEeEm was one of the earliest, and certainly
the best, of the painters of fruit. His arrangement, his power as
a draughtsman, and his colours, are all excellent (Fig. 93). His
two greatest pictures are to be seen in the Galleries of Berlin
and Vienna. At the latter gallery is a picture, painted in 1648,
representing the Holy Chalice crowned with a Wreath. Sym-
bolic sheaves of corn and bunches of grapes are mingled with
the flowers. In the Berlin Gallery (No. 963), the sides and top
and bottom of the picture consist of festoons of flowers. It
is signed Jouannes DE Heem, F. 1650. The picture of the
Madonna, which these flowers ornamented, was removed in 1806 ;
and is now replaced by a more modern work by Karl Begas
(1794—1854). Good work by De Heem is also seen in the
‘galleries of the Louvre, the Hague, Amsterdam, and Dresden.
Jan Davidsz de Heem was born at Utrecht in 1600, and studied
under his father David. He removed to Antwerp and entered
the Guild in 1636, and painted there and at Utrecht until his
death at Antwerp in 1674. Corxetis pe Heem (born at Utrecht
 

The property of MM. Duclos.

By De IJeEM.

93.—Frvit.

Fia.
232 DUTCH ART.

in 1623, died at the Hague after 1671), son of Jan, painted
similar subjects almost as successfully.

Henprik Marrensz Sorcu (not ZoreH), commonly called
Roxes, was born at Rotterdam in 1621. He was a pupil of
Willem Buiteweg, and is said to have also studied under
Teniers ; his works display a knowledge of this master, and also
the influence of Adriaan van Ostade and Brouwer. He died at
Rotterdam in 1682. In the Van der Hoop Collection at Amster-
dam there is a good Fish-Market by him; and in the Louvre
is an Inferior of a Kitchen ; while in the National Gallery he
is represented by Two jigures drinking, and Boors at Cards,
both acquired by the Henderson bequest. He is also represented
in the galleries of Berlin, Dresden, and Munich.

Maria vaN OostTerwrck, one of the very few female artists
whom the Low Countries produced, is not so well known as she
deserves to be. She was born at Nootdorp near Delft in 1630,
and was a pupil of Jan Davidsz de Heem ; she found patrons
in Louis XIV., William III. of England, the Emperor Leopold,
and Augustus I., King of Poland. She usually painted flowers
.in vases, and her pictures are marvellous for their truthful-
ness. In the gallery of the Uffizi, Florence, and at Vienna are
to be found her t-vo best flower-pieces. She died in 1693
at Eutdam.

ApraHam Micnon, who was born at Frankfort in 1639, was
also a pupil of Jan Davidsz de Heem, whom he approaches
when at his best. As a rule, he was much inferior to his master
in arrangement, drawing, and colour. His pictures are tolerably
common in public and private galleries. Mignon entered the
Guild of Utrecht in 1669. He died ten years later. Another
follower, if not pupil, of de Heem was—

Jacos WALSCAPELLE,* who flourished about 1670. His pictures
are very rare, many of them being attributed to De Heem. A
flower-piece in the Dresden Museum is thus assigned, though it

* Or Van Walskappel.
RACHEL RUYSCH. : 233

bears the signature of Walscapelle.* --A picture of Flowers,
Insects, and some Strawberries, signed Jacos WatscaPELLe, is in
the National Gallery.

Racuret Rurscw occupies a very prominent place among
flower-painters. She sometimes painted fruit, and did so
excellently. In the Hague Museum are two fine flower-pieces

 

Fia. 94.—FLowkrs. By Van Huxsum.

by her, both signed, one dated 1700, and the other 1715.
There are also some of her best works at the Chateau of
WilhelmshGe, near Cassel. Rachel Ruysch was the daughter

*'No. 1164 in the Dresden Gallery, “though signed with the name of’

Walscapelle, is there assigned to Jan D. de Heem” (Kugler’s Handbook).
In the official catalogue it is said to be signed “J. S. (?) D. De Heem.”
234 DUTCH ART.

of a professor of anatomy and botany. Sbe was born at
Amsterdam in 1664, studied under Willem van Aelst, and
married in 1695 the portrait painter Juriaan Pool. In 1701
she entered, with her husband, the Guild of Painters at the
Hague. In 1708 she was appointed Court painter to the
Elector Palatine, who loaded her with presents, invited her several
times to his court, and stood godfather to one of her ten
children. She painted at an advanced age, and died in 1750,
at Amsterdam. :

JAN vaN Huysum, who was born at Amsterdam in 1628
began life as a scene-painter in conjunction with his father
Justus and three brothers. He soon showed a marked success
in flower-painting, and, devoting himself to this branch of art,
achieved the highest place. He resided all his life at Amster-
dam, where he died in 1749. ‘If De Heem, by the harmony
of his warm golden colour, be called the Titian of flowers and
fruits, Jan van Huysum’s bright and sunny treatment entitles
him to the name of the Correggio of the same branch of art”
(Kugler’s ‘Handbook’). Van Huysum painted the details
of his flowers, as the bloom and gloss on the leaves, with
wonderful minuteness (Fig. 94). He sometimes attempted land-
scapes, but not very successfully. His flower-pieces were, and
still are, highly valued. In the Louvre is a picture of flowers
in a terra-cotta vase, which shows his earlier style when in-
fluenced by his work as a scene-painter. Also in the Louvre
is a picture of a table spread with fruit mixed with flowers,
which shows Van Huysum at his best. His pictures may likewise
be found in the Amsterdam Museum, the Hague, and many other
galleries; the National Gallery contains a Vase of Flowers,
which is a masterpiece. It is signed Jan van Hutssum FEcit,
1736 EN. 1737; and in the Dulwich Gallery there are four
signed works by his hand.

Jan van Os, who was born at Middelharnis in 1744, was a
successful imitator of Van Huysum. He studied under Aart
Ne

iy ii i

 

By D'HonDECOETER.

- Fra. 95.—THE FRIGHTENED FowLs.
236 DUTCH ART.

Schouman at the Hague, and occasionally painted landscapes,
animals, and marine views; but it is as a flower-painter that he
is best known. A good flower-piece by lim is in the Louvre ;
and he is also represented by Fruit and Flowers and Dead Birds,
signed J. van Os, in the National Gallery. An example of his
marine pictures may be seen in the Stiadel Gallery at Frankfort.
Ife died at the Hague in 1808.

Among the painters of living birds and poultry—

Metcuior D’HonDECOETER occupies a prominent place. He
occasionally painted the grander kinds of birds, as swans and
peacocks, specimens of which are in the Louvre; but the
humbler denizens of the poultry-yard furnished his favourite
subjects (Fig. 95). He may be seen to advantage in a Might
between a Cock and a Turkey (The Heritage) ; The Menagerie
of Birds (The Hague); and The Floating Feather (Amster-
dam). In the National Gallery is a good picture by this artist,
called Domestic Poultry, and another of Geese and Ducks. His
works have a tendency to blackness. D’Hondecoeter, a member
of a noble family of Brabant, was born at Utrecht in 1636. He
first studied under his father Gijsbert, and then with his uncle
J. B. Weenix. From 1659 to 1663 he is mentioned in the
records of the ‘ Pictura’ Society at the Hague. He removed to
Amsterdam, where he obtained the rights of citizenship in 1688 ;
and died in that city in 1695.

Evert van AEtst (born at Delft in 1602—died there in 1658),
and Witiem van Asist, uncle and nephew, chiefly devoted
themselves to painting dead game. Willem van Aelst was born
at Delft in 1620, and studied under his uncle. He spent four
years in France and seven in Italy, where hs was much patronized
by the Grand Duke of Tuscany. From his long residence in
Italy he acquired the habit of signing his works “ Guilielmo
(or more frequently “ Guillmo”) van Aelst.” Van Aelst returned
to Holland in 1656, and after spending some time in his native
Delft, settled at Amsterdam, where he painted with great success
 

Fic. 96.—StiLL LirzE, By WEENIX.
In the Belvedere Gallery, Vienna.
238 DUTCH -ART.

until his death in 1679. Some of his works have been, by
mistake, attributed to his uncle. His pictures are seen at Berlin,
Munich, and Dresden. :

Jan WeEenIx, who was born at Amsterdam in 1640, was the
pupil of his father, Jan Baptist Weenix. He lived for some
time at Utrecht; and was also patronized by John Willian,
Elector of the Palatinate. He died in 1719, in Amsterdam,

 

Fig.97.—A KitcHxeN. By Kaur.

where he had spent the greater part of his life. He chiefly
painted dead animals and game, though occasionally, like his
father, he attempted landscapes. His dead hares (Fig. 96) are
chiefly remarkable, and sometimes rival those of Jan Fyt in
marvellous minuteness of execution. Two important pictures by
these two artists are in the collection of Sir Richard Wallace,
and are miracles of delicate and minute finish. Many of the
KALF. 239

best pictures of Weenix are in England; Dead Game and Dug,
sizned, and dated 1708, is in the National Gallery, and a
Shepherd clipping the hair of a Doz is iu the Dulwich Gallery.

Witiem Katr is, par excellence, the painter of the kitchen.
If it be a merit to be great in small matters, Kalf undoubt-
edly possesses that merit. Born at Amsterdam in 1630,
he studied under Hendrik Pot, and like his master painted
historical subjects. But this was not the true sphere of art for
which Kalf was intended; he commenced to paint kitchens,
and if ever an artist could extract poetry from a saucepan, or
beauty by the grouping of vessels on a dresser, Kalf has done
so (Fig. 97). He died in 1693 at Amsterdam. His pictures
may be seen in the Louvre, and the galleries of Dresden,
Amsterdam, and Rotterdam.

 

Art, which was born vigorous and full of life when Holland
became free, died out after the pzace of Utrecht (1713), when a
purely popular government was exchanged for that of hereditary
Stadtholders, who quickly became kings. The pictures of fruit,
flowers, game, crockeryware and the like, however admirable
in themselves, display a distinct degeneration from the vigorous
works which were the fruit of the young Republic. Those
earlier pictures of the Dutch School are, like the ballads of a
country, tne expression of the national thought and feeling. If
an historical picture appears among them, it is a history of some
national event, and intended for the Town-hall. If a religious
subject is chosen, it is meant for a sermon. But asa rule the
pictures deal with every-day life, and the painter speaks from
his canvas to his brethren. It has been observed that the
240 DUTCII ART.

Histary of Painting in the Low Countries forms a parallel with
that of ancient Greece. We have the Divine Age, consecrated
to religious- painting by the Van Eycks and Memling; the
Heroic Age, illustrated by the chivalrous painting of Rubens
and his school; and lastly, the Human Age, which finds its
exponents in the burgher painters of Holland in the seventeenth
century.

 

Fic. 9S. -—Vrew oF a VILLAGE. By Jan FRanss van DREDAEL.

In the Amsterdam Gallery.
 

 

 

 

INDEX OF NAMES.

(In the arrangement of the names no notice has been taken of prefixes.)

PAGE

Aeken, Hieronymus van. . . 146
Aelst, Evert van. . . . . . 236
Aelst, Willem van . . . . . 236
Aldegrever. . . . . . . . 388
Altdorfer . 2... 1: .:.° 35
Amman. . Gog a ~ Se 288
Artois, Jacobus van . . . . 139
Asselt, Jean vander . . . . 172
Backers so) Sy arn) & 2 a GA
Bakhuisen. . . . . . . . 221
Beaumez,Jeande . .... 72
Beerestraaten. . . . . . . 220
Beham, Barthel. . . . . . 35
Beham HansSebald . . . . 35
Berchem ....... . 209
Berck-Heyde, Job . . . . . 227
Bink: 3) chk ow a ee ee BB
Bles,Herri. . . . . . . . 108
Bloemen, Jan Frans van . . . 140
BOW ye He Gy te me oS.
Borch,Gerardter . . . . . 172
Bosch, Jerom. . . . . . . 146
Both, Andries. . . . . . . 200
Both,Jan . . ..... . 200
Bouts Soo fa) eee aes 1a Ry ee OO.
Bray,Jande ...... . 166
Bredael, Jan Frans van . . . 206

Bril, Pauwel .
Broederlam

Brosamer

Brouwer. ‘

Brueghel, Jan . a
Brueghel, Pieter. . . .
Brueghel, Pieter, the youn
Bruyn, Bartholomaus .
Bry, Theodor de .
Burckmair .

Carstens . Sone
Capelle, Janvande .
Christophorus, Meister
Claas (Berchem) .
Cocx (or Coques)
Cornelisz . . .
Cornelius ‘
Coxcien, Michiel van
Craesbeeck. . . .
Cranach, the elder .
Cranach, the younger .
Crayer, Kasper de .
Cristus . :
Cuyp .

David, Gheerardt
Decker .
bo
>
bo

PAGE
Denner. « 6 « © x & a = 82
Deutsch. ss 3 «es - & “49

Dietrich. . . . . s+... 52
Dot 2 ks oe ee ee wo SO
Datels, « « = = 2 « « Be
Duchatel . . i ge ate a ee
Dire 6-5 o 6 ee oe we 2S
Dusart . . Steee Aone cee
Dyck, Anton Van: gm «, & - 128
Eckhout, Gerbrand vanden. . 165
Elshaimer . 2 3 3 » ss + OL
Engelbrechtsen . . . . . . 146
Es, Jacob van. . .... . 139
Everdingen 7% “ie ee OO
Eyck, Huibrecht van . . . . 73

Eyck, Janvan . ..... 73
Fabritius . . Go oes Ge is, 1166
Faes, Pieter van dex ee oe > RS
Blinks we is: 6 Ge. toe = 164
Ploriss- se ieee He es, 102
Francisque. . ihc ae eae any BAO
FURS woes we eee OSE
OS Geyer. tis hence a ee ees eh
Ghent, Justus van . . . . . 83
Goes,Hugovander ... . 81
Goltzius., « 6 « «@ » & « » 80
Gagsart << g: sae ee eee 8
Goyen,Janvan. .... . 196
Griinewald. . . . .... 21

Haarlem, Cornelis van. . . . 148
Haarlem, Gerard of. . . . . 145
Hacksertt . ss ws ee as B16
Hals.. . ee ee Ske
Heem, Goinielie de we oe ee EO
Heem, Jande. . .... . 230
Heemskerck . . . . 148
Helst, Bartholomeus.van dee - 176
Herp, Willem van... . . 181

INDEX OF NAMES.

Hess, Heinrich Maria von
Hess. Peter

cieyde, Jan van der
Hobbema

Hoecgeest . ‘
Hoecke, Jan van eer .
Holbein, the elder .
Holbein, the younger .
Hondecoeter
Honthorst . :
Hooch, Pieter de
Hoogstraeten .
Huysmans .

Huysum, Jan van

Jacobsz, Lucas
Janssens, Abraham .
Jardin, Karel du .
Jordaens

Justus van Ghent

Kalf . .

Kauffman .
Kaulbach . .
Koninck, Philips ae
Kulmbach, Hans von .
Kunz. .

Laar, Pieter van .
Lairesse, Gerard de .
Lely .

Lessing . é
Leyden, Lucas van .
Leys .

Liemakere .

Livens . .
Lochner, Stephan
Lombard

Mabuse . .
Maes... .
Malwel, Jean .

Fane

66

65
226
216
230
131

42

42
236
148
193
166
139
234

146
120
210
130

83

238
58
638

165
INDEX OF NAMES.

PAGE
Manuel, Nicolaus . .... 49
Massys . . . ae ee Oe
Master of Tiechors haat. 17
Master ot the “ Lyversberg ab
sion”. . 16
Master of thie sé ‘Death of the
Nupgie o n & eee an 8
MiatsYS 5) soe wi a a pe 408
Meer, Janver . . ar eo OO,
Meire, Gerard van dens 2 ew 102
DISMIINE 6 ee ee ee EE
Menge 0. csr Ge an, Gai a Oe
Mets) « « « « ¢ 3 & « « 184
Mierevelt? . 204 & 2 » « » T6l
Mieris, Frans van . . . . . 182
Mieris, Willem van. . . . . 182
Misnonss:\ se cer Sn be os yn Ga 282
Millet . .. des. 140
Modena, craiircsieo diet et ee
Mol, Pieter van . . . . . . ll
Mont, Deodatdel . . . . . 181
Mor, Sir Antonis. . . . . . 106
Moucheron. . . . . .. . 216
Murand.. 2 « 4 2 « «+ « a 226
Neer, Aart vander. . . . . 202
Neer, Eglon vander . . . . 192
Netscher . . . -. +. - «= 190
INSOMS? <> Ga ee we we Gens 220)
Oosterwyck . . .... - 232
Orley, Barendvan . . .. . 101
Os, Jan van . a sah See ON
Ostade, Advlean < VaR . « « « 144
Ostade,Isack van . . . . . 176
Ouwater, Albert van . . . . 145
Overbeck . . . es ees 62
Pee 2 ke ee we ws BD
Patinir, Joachim de ... . 106
PeneZi | ig eh ss Sy ee a ye S86

Pepyo « « «
Potter

Quellin .

Ravesteyn .
Rembrandt .
Rombouts .

Roose
Hotbenhannes
Rubens . "i
Ruisdael, Jacob va.
Ruysch .
Ruysdael, Savane van
Kyckaert . .
Ryn, Rembrandt van

Saenredam. . .
Sandrart . a
Seeuw, Marinus de .
Schadow. . .

Schaufelin .

Schaffner . .
Schalcken . . .
Schnorr von Karola
Schongauer .
Schoreel, Jan van
Schiit.. « « «

Sint Jans, Geta. van .
Slingeland .

boyaers .

Solis .

Sorgh. .

Steen.

Stephan Tiecimee
Susterman . .
Suttermans

Teniers, Abraham . .
Teniers, David, the elder .

Tenicrs, David, the younger .

Terburg (Ter Borch) . .

Pace
120
206

131

151

125
120

110
214
233
212
136
154
225

51

96

19
192
66

102
131

191
122

38
232
184

102

136
131
122
172
244

Theodorich of Prague .
Tommaso da Modena .
Tulden, Theodoor van .

Uden, Lucas van é
Utrecht, Adriaan van .

Veen, Marten van

Veit es

Velde, ect, van ae

Velde, Willem van de,
elder ..

Velde, Willem van ‘de,
younger .

Victors .

Vlieger, Saee de

Vliet, Hendrik van .

Vos, Pauwel de

Vriendt, Frans de

INDEX OF NAMES.

PAGE PAGE
12 Wagner. . .-.. + + + = 34
13. Walscapelle 232
130 Wappers 142
Weenix . . 238
124 Werff, Aiciady van ae 195
138  Weyden, Rogier van der. . 16, 83
Weyden, Rogier van der, the
148 younger . ¥ f » « 22
65 Wilhelm, Meister 14
_ . 218 Witte, Emanuel de 228
the Wolgemut . 21
‘ 999 Wouters 131
the Wouwerman . 204
229 Wurmser 12
165 Wynants 198
219
228 Zeeman. 7 220
138 Zeeuw, Maianis tle ‘ 96
102.» Zeitblom 19

THE END.

Richard Clay & Sons, Limited, London & Bungay.