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CATALOGUE, %c. 
 
CATALOGUE 
 
 OF THE 
 
 PRINCIPAL PICTURES 
 
 IN 
 
 FLANDERS AND HOLLAND. 
 1822. 
 
 LONDON: 
 
 MDCCCXXVI. 
 
Printed by W. Nicol, Cleve land-row, St. James's. 
 
TO 
 
 GEORGE GRANVILLE, 
 
 EARL GOWER. 
 
 My Dear Gower, 
 
 I am anxious to dedicate to you the fol- 
 lowing pages, not only as a mark of my 
 regard and affection, but also, as a slight 
 tribute to your love for the Fine Arts. 
 I cannot at the same time help express- 
 ing the hope I entertain, that your fond- 
 ness for the subject, may induce you to 
 overlook some at least of the faults of 
 the Author. 
 
 I remain, My Dear Gower, 
 
 your affectionate Friend 
 
 and Brother-in-law, 
 
 George Agar Ellis. 
 
 Spring Garden, 
 September 2, 1826. 
 
PREFACE. 
 
 The following account of the treasures of 
 Paintings, which are preserved in Flanders 
 and Holland, was written during a tour I made 
 in those countries in the month of August, 
 1822. It is put together upon the model of 
 the well-known Tour of Sir Joshua Reynolds 
 over the same ground ; and I have made con- 
 siderable extracts from his valuable observa- 
 tions, whenever I could avail myself of them. 
 My wish indeed would be that my Catalogue, 
 albeit unworthy of the honour, should be con- 
 sidered as a sort of Supplement to his work. 
 
 I found, when on the spot, that so many 
 changes had taken place in the position and 
 condition of various Pictures, during the period 
 of forty years which had elapsed since Sir 
 Joshua's time,* that his Tour, however inters 
 esting, as containing a series of admirable re- 
 marks on art, was become a very imperfect guide 
 to the modern traveller. It was this circumstance, 
 
 * Sir Joshua's Tour was written in 1781. 
 
PREFACE. 
 
 which first led me to make notes of the numer- 
 ous Pictures I saw, in order to -assist my own 
 recollection of them. Upon reading these over 
 afterwards, it struck me, they might perhaps 
 prove of some use to those of my friends, who 
 might chance to be lovers of the Arts, and to 
 travel through Flanders and Holland. I have 
 in consequence printed fifty copies ; and should 
 any portion of this number, however small, 
 answer the purpose intended, I shall think my- 
 self amply rewarded. 
 
 I have placed at the end of my Catalogue 
 raisonne an Alphabetical List of the Painters 
 mentioned in it, with the places and dates of 
 their births, the dates of their deaths, the 
 names of the Masters under whom they studied, 
 and the designations of the styles in which they 
 generally painted. 
 
 G. A- E. 
 
FLANDERS. 
 
CONTENTS. 
 
 Dedication, Page iii 
 
 Preface, v 
 
 FLANDERS. 
 
 Ypres. 
 
 The Cathedral, 1 
 
 Bruges. 
 
 Church of Notre Dame, 2 
 
 Church of St. Sauveur, id. 
 
 The Hospital, 3 
 
 The Academy, 5 
 
 Ghent. 
 
 The Cathedral, 7 
 
 Church of St. Michael, 8 
 
 The Mus£e, or Academy, 9 
 
 Private Collection. 
 
 M. Schamps, 11 
 
 Antwerp. 
 
 The Cathedral, 14 
 
 Church of the Dominicans, 19 
 
 Church of the Augustins, 20 
 
 Church of St. Andrew, 21 
 
 Church of St. Anthony of Padua, 22 
 
 Church of St. James, ib. 
 
 Chapel of the House of Orphans, 23 
 
 The Academy, 24 
 
 Private Collection. 
 
 M. Van Lancker, 34 
 
CONTENTS. 
 
 HOLLAND. 
 
 Rotterdam. 
 
 Private Collection. 
 
 M. Lockhorst, 39 
 
 The Hague. 
 
 The Mus£e, or Academy, 40 
 
 The Palace in the Wood, 47 
 
 Private Collections. 
 
 M. Stengraf's, ... 49 
 
 M. NagePs, ib. 
 
 Leyden. 
 
 The Town House, 50 
 
 Amsterdam. 
 
 The Mus£e, or Academy, 51 
 
 The Stadthouse,* 66 
 
 The Anatomy School, 68 
 
 The Spinhouse, 69 
 
 Private Collections. 
 
 M.Six, 70 
 
 M. Miiller's, 71 
 
 Alphabetical List of Painters, 73 
 
 Index of Names of Painters mentioned in the 
 
 Catalogue, 85 
 
FLANDERS. 
 
 Y.PRES. Ypres. 
 
 THE CATHEDRAL 
 
 Contains a curious, and very early picture, 
 in six compartments, of Adam and Eve, be- 
 fore, during, and after the Fall, of which, 
 the painter is not known 5 it is well co- 
 loured, and a faithful representation of the 
 liuman form, but without grace or beauty. 
 
 B 
 
2 
 
 FLANDERS. 
 
 Bruges. 
 
 BRUGES. 
 
 CHURCH OF NOTRE DAME. 
 
 Peter Porbus. The Crucifixion ; by Peter Porbus. Our 
 Saviour on the cross, between the two 
 Thieves. The figures of the Maries, and 
 others, below. A very large picture, and 
 probably the best ever executed by the 
 painter $ the figures are well designed, and 
 well coloured. This picture had originally 
 folding doors, like so many of the older 
 paintings : but from want of room, they are 
 not put up. They are thrown aside in ano- 
 ther part of the church, and are painted on 
 the outside with different coats of arms, from 
 which it would appear that the work was 
 executed for the Emperor, Charles the Vth. 
 
 Peter Porbus. A good picture, by the same, of Our Sa- 
 viour' s Last Supper. 
 
 CHURCH OF ST. SAUVEUR, 
 Contains a number of early pictures, of 
 which the masters are unknown, but which 
 are curious. 
 
FLANDERS. 
 
 3 
 
 Bruges. 
 
 THE HOSPITAL. 
 
 A Convent of Nuns, of the order of St. John Hemling. 
 Augustin. In a room there, are some ad- 
 mirable pictures by Hemling. A large one, 
 with folding doors ; the centre representing 
 a Holy Family surrounded by Saints ; on one 
 door, St. John the Evangelist writing the Re- 
 velations, in the distance are represented his 
 Visions 3 on the other, the beheading of St. 
 John the Baptist 5 on the outside of the doors 
 are some saints, with the portraits of the fa- 
 mily of the giver of the picture kneeling. The 
 whole is wonderfully finely coloured, and 
 most beautifully finished, and the heads 
 possess much character - } the faults, of 
 course, are stiffness, and a total want of 
 perspective : still it is a most extraordinary 
 performance for the time in which it was 
 painted. On the frame, at the bottom, is 
 written " Opus Johannis Hemling, 1479." 
 
 The preceding picture loses part of the John Hemling. 
 admiration which is due to it, by being 
 placed so near a still more admirable one 
 
4 
 
 FLANDERS. 
 
 Bruges, by the same master. This one is of a much 
 smaller size, but consists equally of a centre 
 and folding doors ; the former is occupied 
 with the Baptism of Our Saviour ; on one of 
 the latter, is the Nativity, on the other, the 
 Purification. It possesses the merits of the 
 former picture in a still greater degree, and 
 is, besides, superior in the ease and grace of 
 the figures, and the ingenuity of the group- 
 ing. It bears the same date with the former 
 picture, and, according to tradition, was 
 painted for, and presented to the Hospital by 
 Hemling himself, on his recovery from a fit 
 of sickness caused by his own irregularities, 
 during which, he had been received and 
 kindly treated. 
 
 John Hemling. There are also here two curious heads 
 by the same j one, a portrait of the giver 
 of the great picture before-mentioned, well 
 painted 5 the other, a female head, called a 
 Persian sybil, but whom the painter, whim- 
 sically enough, has represented in the dress of 
 his own time. 
 
 John Hemling In the chapel of the Hospital is preserved 
 
FLANDERS. 
 
 5 
 
 a sort of wooden coffer, or ark, containing Bruges. 
 relicks of St. Ursula and her eleven thousand 
 virgins, the sides and top of which are en- 
 tirely covered with paintings of the legend 
 of her life, by Hemling; they are divided 
 into small compartments, about a foot square 
 each, filled with numerous small figures, 
 excellently well painted. 
 
 THE ACADEMY. 
 
 A head of Our Saviour, which has a stiff John Van Eyck. 
 air, but is well coloured 5 it bears the date 
 1420, and is said to have been the first picture 
 painted by Van Eyck after his discovery of 
 the art of painting in oil ; which means, of 
 course, the first he painted after adopting 
 the use of oil in mixing his colours, as he 
 has been clearly proved not to have been the 
 inventor of that art. 
 
 A portrait of himself, by the same. John Van Eyck. 
 
 A picture, by the same, representing the John Van Eyck. 
 Virgin and Child, with St. George, St. Do- 
 natius, and other saints, dated 1436. This 
 picture is mentioned by Sir Joshua Reynolds, 
 
6 
 
 FLANDERS. 
 
 Bruges, who says, u it has great character of nature, 
 and is very minutely finished, though the 
 painter was sixty-six years old when it was 
 done." It was formerly in the sacristy of the 
 church of St. Sauveur. 
 John Hemling. A representation of the Crucifixion not 
 equal to his works in the Hospital, but pos- 
 sessing merit. 
 
 John Hemling. Two portraits, by the same, of a Man 
 and his Wife, kit-cat size ; both good, the 
 Man's the best. 
 
FLANDERS. 
 
 7 
 
 Ghent. 
 
 GHENT. 
 
 THE CATHEDRAL 
 
 Contains a picture, the work of the united Hubert and 
 
 John Van 
 
 efforts of the two brothers, Hubert and Ey C k. 
 John Van Eyck, and one of the most consi- 
 derable of their performances, painted for 
 Philip the Good, Duke of Burgundy. It 
 represents the Elders adoring the Lamb, a 
 subject taken from the Revelations, and 
 contains a multitude of small figures, and a 
 distant landscape. Sir Joshua says of it, that 
 the figures are painted <e in a hard manner, 
 but there is great character of truth and 
 nature in the heads, and the landscape is 
 well coloured." Above this picture, and as 
 it were united to it, are three figures as 
 large as life, ou three separate pannels 5 in 
 the centre Our Saviour, with the triple 
 crown on his head 5 on one side the Virgin, 
 on the other, St. John the Baptist. These, 
 apparently, are also by the hands of the 
 Van Eycks ; but it is only probably of late 
 
8 
 
 FLANDERS. 
 
 Ghent, years that they have been placed in com- 
 pany with " the Adoration of the Lamb/* 
 as, though almost all writers on Painting 
 describe the latter picture, they none of 
 them make any mention of these figures. 
 OttoVenius. A good Otto Venius of the raising of 
 Lazarus. 
 
 Peter Porbus. Our Saviour among the Doctors, by Peter 
 Porbus. 
 
 CHURCH OF ST. MICHAEL. 
 
 Vandyck. The Crucifixion 5 by Vandyck. A once 
 
 celebrated picture : but its beauties, by over- 
 cleaning and other injuries, are now almost 
 obliterated. In Sir Joshua's time, it was in 
 the same state, according to his description 5 
 he says of it, " by what remains, it appears 
 to have been one of his most capital works." 
 The horse, the attitude of which has been 
 much admired, is the same one on which he 
 has represented the portrait of the Emperor, 
 Charles the Vth, which is in the gallery at 
 Florence. 
 
 Gerard A good Seghers of the Flagellation of 
 
 Our Saviour ; well coloured. 
 
FLANDERS. 
 
 9 
 
 A Honthorst, an allegorical representation Ghent. 
 of the Holy Sacrament 5 and a Crayer of Gerard 
 the Glory of St. Catherine, which has a good Gaspar de 
 general effect. Cra ? er - 
 
 THE MUSEE, OR ACADEMY. 
 
 The great picture by Rubens, formerly in Rubens, 
 the Cathedral, of the legend of St. Bavon. 
 The story of the picture is, the Saint de- 
 serting the profession of Arms, to become a 
 Monk. In the higher part of the picture is 
 St. Bavon, in armour, kneeling to a priest 3 
 below are two women, spectators of the 
 scene, and a man distributing alms to the 
 poor. It is certainly a noble performance, 
 and u for composition, colouring, richness 
 of effect, and all those qualities, in which 
 Rubens more particularly excelled, claims a 
 rank amongst his greatest and best works.'* 
 See Sir Joshua Reynolds. 
 
 St. Francis receiving the Stigmates 3 for- Rubens, 
 merly in the church of the Recollets. A 
 picture which Sir Joshua abuses, and with 
 reason, for its want of dignity 5 but it is 
 finely coloured. 
 
10 
 
 FLANDERS. 
 
 A series of large pictures by Grayer, for- 
 merly in the Town Hall, representing dif- 
 ferent actions of the life of Charles the Vth • 
 some of them painted with great spirit, and 
 all possessing merit, on the score of colour- 
 ing 5 which is so like, in many instances, to 
 that of Rubens, that an inexperienced eye 
 might be deceived by it. From the colossal 
 size of the figures in these pictures, and their 
 allegorical style, I should imagine them to 
 have been painted in imitation of Rubens's 
 Luxembourg Gallery. 
 
 By the same, Charles the Vth. and the 
 Archduke Ferdinand on horseback, in the 
 same picture, and of a colossal size ; spirited 
 and good. 
 
 A well painted portrait, on horseback, of 
 Charles the Hnd of Spain, of w r hich the 
 painter is not known. 
 
 A picture of considerable celebrity, and 
 much the best ever painted by the master, 
 by Francis Duchatel ; formerly in the Town 
 Hall 5 representing Philip the I Vth of Spain 
 receiving the oath of allegiance from the 
 
FLANDERS. 
 
 11 
 
 States of Flanders and Brabant. It contains Ghent. 
 a multitude of small figures, well grouped, 
 and well executed, after the manner of Gon- 
 zales, and the whole has a very pleasing 
 effect • it is however a good deal damaged. 
 I know of no picture containing so many 
 figures, except, perhaps, the great Teniers 
 of the Fair at Schleissheim, near Munich. 
 
 PRIVATE COLLECTIONS. 
 
 M. SCHAMPS. 
 
 A full-length portrait of a Spaniard, named 
 Gonsalvi, which is quite admirable both in 
 design and colouring ; the effect of chiaro- 
 scuro, and the harmony of the whole, is 
 perfect. It is called Vandyck, and perhaps 
 may be his, but I cannot help thinking it is 
 of the Spanish school, and probably by 
 Murillo. 
 
 A fine, full-length portrait, by Vandyck, Vandyck. 
 of Alexander Scaglia, the Spanish Ambas- 
 sador, at the Congress of Munster. 
 
 A half-length portrait, by the same, of Vandyck. 
 Wolfgang William, Duke of Neuburgh. 
 
12 
 
 FLANDERS. 
 
 Ghent. A Negro Head, by the same, in his most 
 
 Vandyck. spirited and best manner. 
 
 Rubens. Three heads, by Rubens, of himself and 
 
 his two wives, Catherine Brintes, and He- 
 lena Forman. He has represented himself in 
 a large hat ; a portrait of very fine effect. Of 
 the pictures of his wives, that of the second 
 is the best 5 which indeed is invariably the 
 case wherever, as frequently happens, we 
 find their two portraits together. He seems 
 always to have painted Helena Forman really 
 " con amore;" and upon no occasion more 
 than the present, in which his magic power 
 of colouring has done ample justice to her 
 bloom and beauty. She is represented in a 
 straw hat, and the owner affirms his to be 
 the real u Chapeau de Paille." They are all 
 three somewhat injured, and have been 
 rather incautiously repaired. 
 
 Rubens. Our Saviour bearing his Cross, by the 
 
 same 5 a good specimen of colouring. Also, 
 several spirited Rubens sketches of small 
 size. 
 
 Rembrandt. A Rembrandt Head of himself, in his 
 
FLANDERS. 13 
 
 finest and most spirited manner 5 a striking Ghent. 
 contrast to, 
 
 Another portrait by him, also of himself, Rembrandt, 
 full length, and small sized very highly 
 finished. The figure, which is a dark one, 
 nearly black, is wonderfully thrown out by 
 means of a light back ground. 
 
 A very pretty little Teniers, of Monkeys Toners, 
 dressed up. 
 
 By the same, a good picture of Peasants Teniers. 
 smoking, and a distant landscape. 
 
 A small Rubens imitation of Teniers, re- Rubens, 
 presenting Peasants drinking, deserves re- 
 mark, from its curiosity : besides which, it 
 is finely coloured, and has a good effect. 
 
 A good portrait, Head of a Man, by Vander Heist. 
 Vander Heist. 
 
14 
 
 FLANDERS. 
 
 Antwerp. 
 
 ANTWERP. 
 
 THE CATHEDRAL. 
 
 Rubens. The Descent from the Cross, by Rubens $ 
 
 very large, with folding doors, one of which 
 represents the Purification, the other, the 
 Salutation of Mary and Elizabeth. On the 
 outside of the doors, are St. Christopher 
 bearing Our Saviour on his shoulders, and a 
 Hermit holding a lanthorn. This picture is 
 too celebrated to require a more minute 
 description. Sir Joshua Reynolds thus speaks 
 of it : cc It is mortifying to see to what a 
 degree it has suffered by cleaning and mend- 
 ing. The Christ is in many places re- 
 touched, so as to be visible at a distance, 
 the St. John's head repainted, and other 
 parts, on a close inspection, appear to be 
 chipping off, and ready to fall from the 
 canvas. However, there is enough to be 
 seen to satisfy any connoisseur that, in its 
 perfect state, it well deserved all its repu- 
 tation. " He then proceeds to praise the 
 
FLANDERS. 
 
 15 
 
 composition of the Descent ; the figure of Antwerp. 
 Our Saviour, which, says he, *' I consider 
 one of the finest figures that ever was in- 
 vented $** and the Purification, on the left 
 hand door, which, he adds, has not suffered, 
 and " is admirable indeed, the head of the 
 Priest more especially, which nothing can 
 exceed. The expression, drawing, and co- 
 louring are beyond all description, and as 
 fresh, as if the piece were just painted." 
 The colouring of the St. Christopher he cen- 
 sures as too " red and bricky," and the out- 
 line " as not flowing 5" of the Salutation, 
 he gives no opinion, though it certainly 
 possesses great merit. Upon the whole, I 
 conceive, the general effect of the picture to 
 be considerably improved since Sir Joshua 
 saw it, by the more judicious cleaning and 
 repairing it received during its stay at Paris. 
 It is, certainly, still a most glorious effort 
 of Art. 
 
 This picture was painted by Rubens 
 for the Company of the Arquebusiers, in 
 whose chapel, in the cathedral, it remained 
 
16 
 
 FLANDERS. 
 
 Antwerp, till taken to Paris 5 it is now over an altar 
 in the north transept. The Arquebusiers 
 are said to have required of Rubens, only a 
 figure of their patron, St. Christopher 5 for- 
 tunately for posterity, the latter thought 
 that this was not a happy subject for an 
 altar 5 and the result was, the production of 
 the Descent from the Cross, and its accom- 
 panying pictures. 
 
 There is a well known story, which we 
 have no reason to disbelieve, that Vandyck 
 had a share in the painting of this picture. 
 The anecdote is related thus s at the time it 
 was in progress, he was a pupil of Rubens 5 
 by some carelessness of his brother students, 
 the picture was thrown down, and sustained 
 considerable injury, which Vandyck, as the 
 most capable, was selected by them to re- 
 pair. The arm of Mary Magdalen, and the 
 cheek and chin of the Virgin, were restored 
 by him, and are said to have pleased Rubens, 
 when he returned to his picture, more than 
 his own original design. The composition of 
 the Descent, more particularly the singular 
 
FLANDERS. 
 
 17 
 
 introduction of the white sheet on which Antwerp. 
 the body of Our Saviour is placed, is supposed 
 to have been taken from an Italian print. Sir 
 Joshua, who mentions the circumstance, had 
 never seen the print, nor have I. 
 
 Near the Descent from the Cross, is the Rubens. 
 Assumption of the Virgin, by Rubens, which 
 formerly decorated the great altar : a noble 
 picture, perhaps a more pleasing one than 
 the Descent, notwithstanding the criticism 
 which has been made of it, of there being 
 too much blue in the sky. The figure of the 
 Virgin has much dignity, and the face much 
 sweetness $ the little angels around her are 
 well grouped, and have an exquisite effect. 
 Rubens excelled in his representations of 
 children. The Apostles below form a fine 
 group. Tradition affirms this picture to have 
 been painted in sixteen days. 
 
 The raising of the Cross, by Rubens - 3 Rubens, 
 painted originally for the great altar of the 
 church of St. Walburge, and the first public 
 work executed by Rubens after his return 
 from Italy. It has two doors to it, one 
 c 
 
18 
 
 FLANDERS. 
 
 Antwerp, representing the followers of Our Saviour, 
 among which are the Virgin and St. John ; 
 the figure of the latter is full of grace and 
 beauty. On the other are the soldiers on 
 horseback, and the two Thieves. On the 
 outside of the doors are St. Catherine, St. 
 Eloi, a female saint, and angels. This pic- 
 ture is much praised by Sir JCshua, who 
 calls it one of Rubens' s u best and most 
 animated compositions he admires the 
 invention of throwing the Cross obliquely 
 across the picture 5 the attitudes of the 
 executioners, the horses, in short, all, ex- 
 cept the colouring, which he pronounces to 
 be inferior to many of Rubens' s other 
 works. It is certainly a picture of won- 
 derful conception and execution, but, in my 
 opinion, not of a pleasing effect, as it wants 
 repose. 
 
 Rubens. The Resurrection of Our Saviour, by 
 
 Rubens, the figures half the size of life ; 
 painted for the purpose of adorning the 
 monument of the family of the printer 
 Moretus, which situation it still occupies. 
 
FLANDERS. 
 
 19 
 
 It has doors to it, one of which is painted Antwerp. 
 with a figure of St. Barbara, deserving little 
 notice $ the other, with that of St. John the 
 Baptist ; which possesses great merit both in 
 colouring and character. Of the Resurrec- 
 tion, Sir Joshua observes, u the Christ is 
 finely drawn, and of a rich colour." 
 
 A small picture of a Holy Family, and St. Otto Venius. 
 John, by Otto Venius very pleasing, well 
 painted, and in a style of colouring some- 
 what resembling that of Baroccio. 
 
 CHURCH OF THE DOMINICANS. 
 
 The Flagellation of Our Saviour, by Rubens. 
 Rubens; finely painted, and the marks of 
 the scourge on Our Saviour represented 
 with a truth, which makes it painful to 
 look at. 
 
 A very large picture of the Adoration of 
 the Shepherds, said to be by Rubens, and I 
 own I should have thought it by him 5 but 
 Sir Joshua seems of a different opinion, who 
 says, there is nothing in the picture by which 
 his manner can be with certainty recognized. 
 
20 
 
 FLANDERS. 
 
 Antwerp. There are parts, which were certainly not 
 painted by him, particularly the drapery of 
 the Virgin." In fact, who it is painted by 
 is of trifling 1 importance, as it possesses but 
 little merit. 
 
 Vandyck. An early picture of Vandyck, Our Saviour 
 
 bearing his Cross : not one of his best per- 
 formances. 
 
 Jordaens. The Crucifixion 5 by Jordaens. A good 
 
 picture. 
 
 Teniers the The Seven Acts of Mercy 5 a strange, but 
 Elder. 
 
 curious picture, by Old Teniers. 
 
 CHURCH OF THE AUGUSTTNS, 
 
 Rubens. Over the great altar is a large picture 
 
 full of figures, by Rubens 5 in the upper 
 part of the picture are placed the Virgin 
 and Child, with St. Joseph and St. Catherine 5 
 behind, are St. Peter and St. Paul 5 below, 
 St. John Baptist, the Lamb, several Angels, 
 and female saints \ and, still lower, Saints 
 Sebastian, Augustin, Paul the Hermit, and 
 George. One of the finest effects of colour- 
 ing ever produced by Rubens. St. George's 
 
FLANDERS. 
 
 21 
 
 figure, in armour, is magnificent 5 but the Antwerp. 
 total want of union in the picture, renders it 
 a less pleasing one than might have been ex- 
 pected. Sir Joshua compares it to a picture 
 of Titian's, of nearly the same subject, and 
 gives the palm to the latter 5 but adds, " I 
 confess I was so overpowered with the bril- 
 liancy of this picture of Rubens, whilst I 
 was before it, and under its fascinating in- 
 fluence, that I thought I had never before 
 seen so great powers exerted in the art. It 
 was not till I was removed from its influence 
 that I could acknowledge any inferiority in 
 Rubens to any other painter whatever." 
 
 The ecstacy of St. Augustin, by Vandyck. Vandyck. 
 A picture without much effect. Sir Joshua 
 disapproves of the colouring, but praises as 
 finely drawn, the head of an elderly woman 
 in the picture, said to be intended for the 
 Saint's mother. 
 
 CHURCH OF ST. ANDREW. 
 
 A good Crucifixion of that Saint, by Otto otto Venius. 
 Venius. 
 
22 
 
 FLANDERS. 
 
 CHURCH OF ST. ANTHONY OF PADUA, 
 
 A Dead Christ on the knees of the Virgin, 
 by Vandyck ; well painted, and the general 
 effect very good. 
 
 The Virgin and Child appearing to St. 
 Francis, who is represented on his knees 
 before them, by Rubens. I own I liked the 
 figures of the Virgin and Child, in spite of 
 Sir Joshua's criticism, that they are painted 
 in a H wretched hard manner y* he only 
 praises the head of St. Francis, which he 
 says is exquisite. 
 
 CHURCH OF ST. JAMES. 
 
 Rubens. In the chapel of the family of Rubens, and 
 
 where the painter is himself buried, is a pic- 
 ture by him, representing a Virgin and Child, 
 with St. Jerome, St. George, the (latter said 
 to be a portrait of the painter himself) Mary 
 Magdalen, and another female saint : the two 
 latter supposed to represent his two wives. 
 I cannot give a more clear conception of my 
 own opinion of this admirable picture than 
 
 Antwerp. 
 
 Vandyck. 
 
 Rubens. 
 
FJL ANDERS. 
 
 23 
 
 by quoting Sir Joshua's remarks upon it : Antwerp. 
 " For effect of colours, this yields to none 
 of Rubens's works, and the characters have 
 more beauty than is common with him." 
 And again ; " To a painter who wishes to 
 become a colourist, or learn the art of pro- 
 ducing a brilliant effect, this picture is as 
 well worth the studying as any in Antwerp. 
 It is as bright as if the sun shone upon it.'' 
 
 A well-painted oval head of Cornelius of Vandyck. 
 Landschot, over his monument, by Vandyck. 
 
 CHAPEL OF THE HOUSE OF ORPHANS. 
 
 A well painted oval head of the Burgo- Vandyck. 
 master Rockox, by Vandyck. 
 
 A curious early picture of the Last Judg- 
 ment, of which the painter is unknown. 
 
 In a small chapel, near the house of the John Erasmus 
 Governor, is a picture of a Holy Family, by ^ uellyn * 
 John Erasmus Quellyn; a work of great 
 merit, in colouring, design, and character. 
 It is rather in the style of Vandyck. 
 
24 
 
 FLANDERS. 
 
 Antwerp. 
 
 THE ACADEMY. 
 
 Vandyck. Our Saviour on the Cross, attended by 
 
 St. Catherine of Sienna, and St. Dominiek. 
 An angel seated on a stone at the foot of 
 the cross, extinguishes a flambeau. There 
 are two small angels besides, one on each 
 side of the cross. This picture formerly 
 adorned the great altar of the church of the 
 Jacobines, and from the inscription at the 
 bottom of it, was painted by Vandyck, in 
 honour of the memory of his father. Sir 
 Joshua approves much of the figure of Our 
 Saviour, which, says he, " is admirably 
 drawn and coloured, and a breadth of light 
 preserved over the body with the greatest 
 skill, at the same time that all the parts are 
 distinctly marked.' ' He thinks <e the idea 
 of St. Catherine'' (whom, by the way, he 
 calls St. Rosaria) <e closing her eyes, is 
 finely imagined, and gives an uncommon 
 and delicate expression to the figure." He 
 also praises the conduct of the light and 
 
FLANDERS. 
 
 25 
 
 shadow of the picture, but disapproves of Antwerp. 
 the colouring of the angels. 
 
 By the same, a dead Christ, the Virgin, Vandyck. 
 Mary Magdalen, and St. John; formerly 
 over the great altar of the church of the 
 Beguinage. Sir Joshua says, " The Virgin's 
 head is admirable for drawing and expres- 
 sion. The figure of Christ is likewise finely 
 drawn 3 every part carefully determined $ 
 but the colouring of this figure, and indeed 
 of the picture in general, is a little too cold 3 
 there is likewise something defective in one 
 of the hands of the Virgin." 
 
 By the same. A similar subject with the Vandyck. 
 preceding picture, with the addition of two 
 angels 3 formerly in the church of the Re- 
 collets. Sir Joshua says, c< this has been 
 one of his most chaste pictures, but the 
 colouring is gone : the expression of the 
 Virgin is admirable. The Virgin's drapery 
 and the sky being exactly of the same co- 
 lour, has a bad effect 3 the linen is remark- 
 ably well folded." 
 
 A finely painted portrait, by the same, Vandyck. 
 
26 
 
 FLANDERS. 
 
 Antwerp, of Malderus, Bishop of Antwerp ; half- 
 length. 
 
 Vandyck. A whole length of Alexander Scaglia, by 
 
 the same; formerly in the Recollets. 
 
 Rubens. The Crucifixion, by Rubens. Our Sa- 
 
 viour between the two Thieves. The Virgin, 
 St. John, and Mary the wife of Cleophas, are 
 standing near Mary Magdalen at the foot 
 of the cross ; the good Centurion on horse- 
 back 5 an executioner is breaking the legs 
 of one of the malefactors,, while the soldier 
 pierces our Saviour's side. Formerly over 
 the great altar of the church of the Recol- 
 lets. One of the most sublime efforts of 
 the genius of Rubens, in colouring, design, 
 force, and character. In all its parts this 
 picture cannot be too much admired. The 
 colouring of the figure of Our Saviour, the 
 expression of countenance of the penitent 
 thief, of that of Mary Magdalen, and her 
 attitude, and the varied appearances of grief 
 and anxiety in the Virgin, the other Mary, 
 St. John, and the good Centurion, are all 
 perfect. It would occupy too much space 
 
FLANDERS. 
 
 27 
 
 to transcribe here all that Sir Joshua says in Antwerp. 
 praise of this picture, but I cannot refrain 
 from quoting the following passage : " The 
 genius of Rubens no where appears to more 
 advantage than here : it is the most care- 
 fully finished picture of all his works. 
 The whole is conducted with the most con- 
 summate art 5 the composition is bold and 
 uncommon, with circumstances which no 
 other painter had ever before thought of, 
 such as the breaking of the limbs,, and the 
 expression of the Magdalen: to which we 
 may add the disposition of the three crosses, 
 which are placed prospectively, in an un- 
 common picturesque manner : the nearest 
 bears the thief, whose limbs they are break- 
 ing; the next the Christ, whose figure is 
 straighter than ordinary, as a contrast to the 
 others ; and the furthermost, the penitent 
 thief ; this produces a most picturesque 
 effect, but it is what few but such a daring 
 genius as Rubens would have attempted. !' 
 Of the countenance of the Magdalen, he 
 says in another place, "this is by far the 
 
28 
 
 FLANDERS. 
 
 Antwerp, most beautiful profile I ever saw of Rubens, 
 or, I think, of any other painter j the 
 excellence of its colouring is beyond ex- 
 pression." 
 
 Rubens. The Adoration of the Magi, by the same. 
 
 Formerly over the great altar of the church 
 of St. Michael. A splendid effect of colour- 
 ing, but I did not think a pleasing picture. 
 Sir Joshua however thinks it in Rubens* best 
 manner, but adds, " One of the Kings, who 
 holds a cup in his hand, is loaded with dra- 
 pery, his head appears too large, and, upon 
 the whole, he makes but an ungraceful 
 figure 5 the head of the ox is remarkably well 
 painted." 
 
 Bubens. The incredulity of St. Thomas* Our Sa- 
 
 viour showing his wounds to that Apostle 5 by 
 the same. This picture has doors to it, on 
 one of which, is a portrait of the Burgomas- 
 ter Rockox, on the other, of his wife. It was 
 painted for the chapel belonging to the family 
 of the Burgomaster, in the church of the 
 Recollets. Part of the centre picture is well 
 coloured 5 other parts of it have been much 
 
FLANDERS. 
 
 29 
 
 damaged. The portrait of the Burgomaster Antwerp. 
 
 is admirably well painted 5 that of his wife is 
 
 stiff and ungraceful. Sir Joshua rather praises 
 
 the head of the Christ for its character, and 
 
 very much the man's portrait. ee The ear/' 
 
 he remarks, " is remarkably well painted, 
 
 and the anatomy of the forehead is well 
 
 understood." 
 
 By the same. A dead Christ, supported Rubens, 
 by the Virgin, with St. John, St. Joseph of 
 Arimathea, and Mary Magdalen. It has 
 doors to it ; on one of which is a Virgin and 
 Child, on the other, a figure of St. John the 
 Evangelist. Painted for the monument of the 
 family of Michielsens in the Cathedral. The 
 centre is certainly a very beautiful picture, 
 admirably coloured, and the character of it is 
 of the finest kind. Sir Joshua remarks, " this 
 is one of his most careful pictures 5 the cha- 
 racters are of a higher style of beauty than 
 usual, particularly the Mary Magdalen weep- 
 ing, with her hand clenched. The colour- 
 ing of the Christ and the Virgin, is of a most 
 beautiful and delicate pearly tint, opposed 
 
30 
 
 FLANDERS. 
 
 Antwerp, by the strong high colouring of St. Joseph." 
 
 The Virgin and Child on the door forms a 
 very pretty picture ; the child is standing on 
 a table, held by the Virgin ; and the whole 
 is composed with much grace and harmony 
 of colouring. Sir Joshua thinks the Christ 
 wants dignity. The St. John is finely co- 
 loured. 
 
 Rubens. Our Saviour dead, on the knees of the 
 
 Father, with two Angels and the Holy 
 Ghost above, by the same. Formerly in the 
 church of the Great Carmelites. Sir Jo- 
 shua's only remark on this picture is, that 
 * the Christ is fore-shortened with great skill 
 in drawing." 
 
 Rubens. St. Theresa interceding with Our Saviour 
 
 for the Souls in Purgatory, by the same. 
 Formerly in the church of the unshod Car-? 
 melites. Sir Joshua's account of this picture 
 is as follows : " The Christ is a better cha- 
 racter, has more beauty and grace, than is 
 usual with Rubens 5 the outline remarkably 
 undulating, smooth, and flowing. The head 
 of one of the women in purgatory is beau- 
 
FLANDERS. 
 
 31 
 
 tiful, in Rubens's way - } the whole has great Antwerp. 
 harmony of colouring, and freedom of pencil. 
 It is in his best manner." 
 
 The Communion of St. Francis, by the Rubens, 
 same 5 formerly in the church of the Re- 
 collets ; finely painted and coloured. The 
 objection to it is, what Sir Joshua notices, 
 that the Saint himself is represented " with- 
 out dignity, and appears more like a Lazar 
 than a Saint.'* 
 
 The Virgin, with a book in her hand, Rubens, 
 St. Anne by her, St. Joachim behind, and 
 two angels above with a crown (called St. 
 Anne learning to read from the Virgin) ; by 
 the same. Formerly in the church of the 
 unshod Carmelites ; a remarkably pleasing 
 picture, and which possesses great merit, 
 both in colouring and design. It is praised 
 generally by Sir Joshua j who says, also of 
 the angels, that €< the union of their colour 
 with the sky, is wonderfully managed." 
 
 A Holy Family, with St. Joseph. This Rubens, 
 picture was painted by Rubens, for the 
 Academy of Antwerp, on the occasion of his 
 
32 
 
 FLANDERS. 
 
 Rubens. 
 
 Rubens. 
 
 Antwerp, being elected their President. It has a 
 pretty effect. Sir Joshua did not like it. 
 
 Our Saviour on the Cross 5 by the same. 
 A small-sized picture,, formerly in the 
 church of the Recollets $ which, says Sir 
 Joshua, " is admirable." 
 
 Five spirited sketches of Triumphal Arches, 
 which were erected for the entry of the 
 Archduke Ferdinand at Antwerp. 
 
 A repetition, in small, of the Descent from 
 the Cross ; said to be by Rubens. 
 
 Portrait of an old Porter of the Academy 
 of Antwerp, by Cornelius de V os, half length. 
 An old Man, with a hard and singularly 
 marked cast of countenance; his dress is 
 adorned with medals, and he is placed before 
 a table, covered with gilt goblets, one of 
 which he is about to fill with wine. A pic- 
 ture of extraordinary merit, painted with 
 great power and force, and at the same 
 time with a pleasing effect. 
 
 Another picture, by the same, called " The 
 Family of Snoeck, at the feet of St. Norbert." 
 The family consists of many portraits of 
 
 Cornelius 
 de Vos. 
 
 Cornelius 
 de Vos. 
 
FLANDERS. 
 
 33 
 
 persons of both sexes, all kneeling 5 at Antwerp. 
 their head appears a good-looking, middle- 
 aged man, who presents to the Saint, who is 
 habited in the dress of his Order, and ac- 
 companied by many other monks, the Eu- 
 charist, enclosed in a gold ostensoir ; below, 
 appears a man, half concealed, who seems 
 by his expression to show he does not par- 
 take in this act of devotion. Some think 
 the painter, by this, intended to allude to 
 Tancherlin, an heresiarch of the eleventh 
 century. This is evidently the same picture 
 which was seen by Sir Joshua in the church 
 of St. Michael, and which he erroneously 
 calls " St. Norbert receiving the Sacrament, 
 by Simon de Vos." The persons on their 
 knees, are evidently the portraits of the 
 family who gave the picture to the church, 
 and are painted with great truth and cha- 
 racter} the figure of the Sainfc is also 
 
 gOOd.* r . - 
 
 * Sir Joshua mentions a fine portrait, also by de Vos, 
 which is in the Poor-house of Antwerp, and praises it 
 very much : unfortunately I did not see it. 
 
 D 
 
34 
 
 FLANDERS. 
 
 Antwerp. A picture by John Erasmus Quellyn, 
 
 John Erasmus representing the Pool of Bethesda, which 
 Quellyn. _ . 
 
 is only remarkable from its enormous size. 
 
 They call it the largest picture ever painted 
 on canvas $ but I think the Tintoret in the 
 School of St. Roch, at Venice, of the Cruci- 
 fixion, and the Triumph of Frederic Henry 
 Prince of Orange, at the House in the Wood, 
 are at least its equals in size. It was for- 
 merly in the church of St. Michael.* 
 
 PRIVATE COLLECTION. 
 
 M. VAN LANCKER. 
 
 Rubens. A well-coloured Rubens. Our Saviour 
 
 giving the Keys to Peter. 
 Vandyck. Portrait of a Man in black j half-length, 
 
 by Vandyck. 
 
 A very pretty Wouwermans. Fishers on 
 
 * In consequence of an exhibition of modern pictures 
 being placed, as is the vile custom in man y places, over 
 some of those by the old masters, I missed seeing some 
 curious pictures by Quintyn Matsys, Albert Durer, 
 Francis Floris, and others of the earlier masters. 
 
FLANDERS. 
 
 35 
 
 the beach at Scheveling. Well painted, Antwerp. 
 
 and different from his usual manner. Wouwermans. 
 
 A large and fine Wynants' Landscape, Wynants and 
 
 with the figures by Lingelbach. Lmgelbach. 
 
 A small Ostade 3 Peasants drinking 5 good. Ostade. 
 
 An Arnold Vanderneer, a Moonlight Scene 5 Arnold 
 
 one of the prettiest I have seen of the master. ^ anderneer ' 
 
 Cattle in a Landscape j by Cuyp. Cuyp. 
 
 * # * Brussels is not among the towns mentioned in 
 the text, because, when I was there, it contained no 
 pictures worthy of being mentioned. M. Burtin's Col- 
 lection, which possessed some good ones, had just been 
 sold and dispersed; and the Muste was made up of 
 rubbish* 
 
HOLLAND. 
 
[ 39 ] 
 
 Rotterdam. 
 
 HOLLAND. 
 
 ROTTERDAM. 
 PRIVATE COLLECTION. 
 
 M. LOCKHORST. 
 
 A finely painted Rembrandt, a Head of a Rembrandt. 
 Man, with ruff and hat. 
 
 A Water-fall, by Ruysdael good. Ruysdael. 
 
 A Winter Scene, by the same. Ruysdael. 
 
 A small Wouwermansj Trees and Sand Wouwermans. 
 Hills, with a few Figures 5 remarkably 
 pretty. 
 
 De Hooge ; A Woman receiving Linen De Hooge. 
 from another 5 spirited, and the effect of 
 chiaro-oscuro admirable. 
 
40 
 
 HOLLAND. 
 
 The Hague. 
 
 THE HAGUE. 
 
 / 
 
 THE MUSEE, OR ACADEMY. 
 
 Paul Potter. The celebrated Picture, by Paul Potter, of 
 the young Bull, with a Cow and a Sheep 
 lying down, the Herdsman standing behind 
 a pollard Willow, and a distant flat Dutch- 
 looking landscape j the animals and man 
 the size of life. The only pleasing large pic- 
 ture of the master I ever saw. The animals 
 are executed with a fidelity and correctness, 
 joined to a brilliancy of colouring, which is 
 above all praise 5 the man, perhaps, is rather 
 hard, but the effect of light thrown on the 
 distant landscape is of the greatest beauty ; 
 quite magical. 
 
 Paul Potter. A small picture of cattle, by the same, 
 called " The Cow, looking at itself in the 
 Water, " from a strong shadow thrown upon 
 some water by a cow, which is about to 
 drink} remarkably pretty. 
 
 Paul Potter. There is another small Potter, of Cattle 
 and Pigs, but inferior to the former 5 and a 
 
HOLLAND. 
 
 41 
 
 large one of a Bear Hunt, of which the TheHague. 
 details are disgusting ; and which, besides, 
 possesses but little merit, being hardly and 
 coarsely painted. 
 
 A beautiful small Rembrandt, with a fine Rembrandt, 
 effect of chiaro-oscuro, of St. Simeon receiv- 
 ing the Infant Christ in the Temple. 
 
 By the same; a Head of a young Man, with Rembrandt, 
 a hat and feathers, which cast a shade over 
 the upper part of his face; admirably well 
 painted. Sir Joshua observes, " for colour- 
 ing and force, nothing can exceed it." 
 
 A large Wouwermans, of a Battle ; very Wouwermans. 
 fine. The figures and horses admirably 
 grouped, and highly and spiritedly finished, 
 and coloured in his very best manner. 
 
 There are several other smaller pictures, Wouwermans. 
 by the same, of different degrees of merit) 
 the best of them are, one known by the 
 name of the <( Hay Cart " the other, by 
 that of " The Marriage,'' in which there is 
 a coach and six white horses. These two 
 are much praised by Sir Joshua. 
 
 Two portraits, by Rubens, of his two Rubens. 
 
42 
 
 HOLLAND. 
 
 The Hague. Wives, kit-cat size 3 that of Helena Forman, 
 represented in a black hat and white feather, 
 is, as usual, the best, and admirably drawn 
 and coloured j the other is a good portrait, 
 though much inferior. 
 
 Vandyck. By Vandyck 3 a very good portrait of 
 
 Simon, a painter of Antwerp. What Sir 
 Joshua says of this picture, is very remark- 
 able ) " This is one of the very few pictures 
 that can be seen of Vandyck, which is in 
 perfect preservation 5 and, on examining it 
 closely, it appeared to me a perfect pattern 
 of portrait painting; every part is distinctly 
 marked, but with the lightest hand, and 
 without destroying the breadth of light: 
 the colouring is perfectly true to nature, 
 though it has not the brilliant effect of sun- 
 shine, such as is seen in Rubens' s wife: it 
 is nature seen by common day light/ 1 
 
 Vandyck. By the same; two half-length portraits 
 
 of a Man and a Woman, falsely called the 
 Duke and Duchess of Buckingham. Of their 
 real history, I could discover nothing 5 
 but from the arms, in the corner of the 
 
HOLLAND. 
 
 43 
 
 man's portrait, I should imagine him to be The Hague. 
 
 either a Dutchman, or a German 5 the 
 
 woman has a fan of feathers in her hand. 
 
 Sir Joshua says she has been engraved. 
 
 They are both very fine portraits : I rather 
 
 prefer the woman's. 
 
 Gerard Dow. A Woman near a Window, Gerard Dow. 
 with a Child in the Cradle ; one of the best 
 and most pleasing pictures of the master I 
 know. The effect of the light thrown from 
 the window on the figure of the woman is 
 admirable ; her countenance is also beau- 
 tiful. 
 
 A highly finished small picture of a Gerard Dow, 
 Woman, with a Lamp in her hand 5 by the 
 same. 
 
 An excellent large Berghem, of Banditti Berghem^ 
 attacking a Caravan : the figures are touched 
 with his usual spirit. 
 
 A good Terburg. A Man sitting, a Terburg. 
 Woman on the ground leaning on his 
 knees, and a Trumpeter delivering them a 
 message. 
 
 Two very good Lingelbachs, with numer- Lingelbach. 
 
44 
 
 HOLLAND. 
 
 Theodore de 
 Keyser, 
 
 Theodore de 
 Keyser. 
 
 The Hague, ous small figures) one, the departure of 
 Charles the lid. for England at his restora- 
 tion ; the other, a march of Cavalry at 
 Welna, near Amsterdam. 
 
 A small full-length portrait of a Man in 
 black, by Theodore de Keyser ; excellent ; 
 the colouring equal to Rembrandt. 
 
 By the same 5 the Burgomasters of Am- 
 sterdam deliberating on the honours to be 
 rendered to Mary of Medicis, on her arrival 
 in that city, in 1638 5 a picture possessing 
 great merit, on the score, as well of design 
 as of colouring. 
 
 Diogenes in search of an honest man, by 
 Ccesar Van Everdingen. The scene repre- 
 sents the Market-place at Harlem, where 
 Diogenes is supposed to have found what 
 he wanted, in the persons of the different 
 members of the family of Steyn, who stand 
 round him; the figures are all portraits. 
 The heads are painted with great clearness, 
 force, and character, and the whole is ad- 
 mirably finished. 
 
 Cassar Van 
 Everdingen, 
 
HOLLAND. 
 
 45 
 
 A Storm, by Vernet; admirably well The Hague 
 
 represented. Vemet. 
 
 A curious picture, the united work of Francis 
 
 Franks, and 
 
 Francis Franks the younger, and Francis Francis 
 Porbus the younger, representing a Ball at 
 the Court of the Archduke Albert and his 
 Wife, the Infanta Clara Isabella Eugenia j 
 the figures are by Porbus, and the archi- 
 tecture by Franks. 
 
 A very good small portrait of a Man with Holbein, 
 a Hawk on his hand, and bearing inscribed 
 on it the name of Robert Cheseman, by 
 Holbein. Sir Joshua praises it much for its 
 truth, precision, and colouring, and says 
 that, but for " the blue flat ground which 
 is behind the head, which gives a general 
 effect of dryness to the head, this portrait 
 might have stood in competition with the 
 works of the best portrait painters.'* 
 
 A Boy blowing Bubbles 5 by Francis Francis Mieris. 
 Mieris. 
 
 Two pictures, by Adrian Ostade, of the Ostade. 
 inside and outside of a Peasant's house 5 
 painted in his best manner. 
 
46 
 
 HOLLAND. 
 
 The Hague. 
 Schalcken. 
 Jan Steen. 
 
 Adrian Van 
 de Velde. 
 
 William Van 
 de Velde. 
 
 Vandermeer, 
 of Delft. 
 Samuel Van 
 Hoogstraten. 
 
 Albert Durer. 
 
 Hoekgeest. 
 
 Teniers. 
 
 A Lady before her Glass, by Schalcken; a 
 very pretty effect of candlelight. 
 
 The Menagerie, by Jan Steen ; very good. 
 There are also some other well painted pic- 
 tures by this master. 
 
 View of the beach -of Scheveling, with 
 figures of Fishermen, by Adrian Van de Velde 3 
 a remarkably pleasing picture. The figures 
 have all the neatness and spirit which belong 
 to the touch of this master 
 
 Two Views of Calms at Sea, by William 
 Van de Velde very pretty. 
 
 Avery good View of Delft, by Vandermeer. 
 
 An open Portico, with the figure of a 
 Woman and a Dog, by Samuel Van Hoog- 
 straten. 
 
 By Albert Durer. Two curious Heads, 
 said to be the portraits of Laurence Costar, 
 the printer of Harlem, and of Aretin. 
 
 Two good Views of the interior of the 
 new church at Delft, with the mausoleum 
 of William Prince of Orange, by Hoekgeest, 
 a very rare master. 
 
 <e La Cuisine Grasse," by Teniers,, and an 
 
HOLLAND. 
 
 47 
 
 Alchymist, by the same 5 both possessing The Hague. 
 merit. 
 
 Two Fruit and Flower pieces, by De De Heem, J. 
 
 Van Huysum, 
 
 Heem, two by John Van Huysum, and Hondekoeter, 
 
 ^Veeninx. 
 
 several of Fowls and Game, alive as well as 
 dead, by Hondekoeter and Weeninx, deserve 
 notice, as possessing merit in their different 
 manners. 
 
 Full-length portrait of a Boy, by Velas- Velasquez, 
 quez, called Charles Balthazar, son of 
 Philip IV. King of Spain - 3 painted with his 
 usual spirit. 
 
 A Head of Charles the Vth, a sketch, by Titian. 
 Titian. 
 
 THE PALACE IN THE WOOD. 
 
 The great Saloon in this palace is entirely 
 covered with paintings in oil, by Jordaens, 
 Van Tulden, Peter Soutman, Caesar Van 
 Everdingen, Solomon De Bray, John Lievens, 
 Peter de Grebber, Gerard Honthorst, and 
 Cornelius Brize*, all relating, in some way 
 or other, to the life and actions of Frederic 
 Henry, Prince of Orange, in honour of 
 whose memory they were executed, by com- 
 
48 
 
 HOLLAND. 
 
 TheHague. mand of his widow, the Princess Amelia of 
 Solms. 
 
 Jordaens. The largest picture of all, which is by 
 
 Jordaens, representing Frederic Henry in a 
 triumphal car, drawn by four white horses, 
 and with a quantity of other figures, pos- 
 sesses some merit, particularly in the paint- 
 ing of the horses, which is very good, 
 though Sir Joshua's criticism on them is 
 just, ec that the fore-leg of each of the 
 horses being raised, gives them the formality 
 of trained soldiers." The rest of the pictures 
 are indifferent, the designs, for the most 
 part, absurd allegories, and but poorly exe- 
 cuted : as Sir Joshua observes, it is ({ a va- 
 riety of wretchedness." A few are tolerable, 
 on the score of colouring. I should say, the 
 best of them were, one by Honthorst, over 
 the windows, representing the Prince s Mar- 
 riage ; Prince Maurice and Prince Frederic 
 on horseback, by Van Tulden ) the Cyclops 
 forging the Arms of Eneas, by the same ; 
 and Venus and her Nymphs admiring them, 
 by the same. 
 
HOLLAND. 
 
 49 
 
 The Hague. 
 
 PRIVATE COLLECTIONS. 
 
 M. STENGRAF'S. 
 
 A most pleasing Teniers, of an old Man Teniers. 
 with a fur cap and long beard, distributing 
 alms to the people 5 painted with his usual 
 neat touch and transparency of colouring. 
 
 A good Ruysdael of a Torrent. Ruysdaei: 
 
 m. nagel's. 
 
 A fine calm Sea View, with Ships, by Cuyp. 
 Cuyp y beautifully clear. 
 
 Two pretty small Wouwermans, of Sand- Wouwermans. 
 hills. 
 
 A Teniers, of an old Man drinking 5 spi- Teniers. 
 rited and good. 
 
 E 
 
50 
 
 HOLLAND. 
 
 Leyden. 
 
 LEYD EN. 
 
 Lucas of 
 Leyden, 
 
 Cornelius En- 
 gel brechtsen. 
 
 George Van 
 Schooten. 
 
 THE TOWN HOUSE, 
 
 Contains a large and extraordinary compo- 
 sition of numerous figures, representing the 
 Last Judgment, by Lucas of Leyden, in 
 three compartments, painted in oil ; it pos- 
 sesses great merit for the time of its pro- 
 duction. 
 
 The Crucifixion ; a curious early picture, 
 by Cornelius Engelbrechtsen, formerly in 
 the church of Notre Dame, at Leyden. 
 
 A series of pictures, Portraits of Soldiers, 
 said to be those of the City Guard, during 
 the famous siege of 1573 ; by George Van 
 Schooten. Painted with considerable vi- 
 gour of execution, and well coloured. 
 
HOLLAND. 
 
 51 
 
 Amsterdam. 
 
 AMSTERDAM. 
 
 THE MUSEE, OR ACADEMY. 
 
 The picture which first deserves mention y an der Heist, 
 in this admirable Collection, is clearly the 
 great and much celebrated work of Van- 
 der Heist, which was formerly in the Stadt 
 Haus, representing the Portraits of the prin- 
 cipal persons of the City Guard of Amsterdam 
 in the year 1648. They are met together 
 to celebrate the Treaty of Munster, an event 
 which, as it was the first which solemnly con- 
 firmed the Independence of the Dutch nation, 
 has naturally been the occasion of seve- 
 ral of their best pictures. Some are sitting 
 at table, eating $ some standing over them 5 
 others drinking to one another , while 
 one of the principal figures is represented 
 shaking hands with the Spanish Ambas- 
 sador. They are in all about thirty figures, 
 whole lengths, all admirably painted ; the 
 attitudes and characters wonderfully diver- 
 sified, and the various passions and feelings 
 
52 
 
 HOLLAND. 
 
 Amsterdam, of each personage most strikingly expressed, 
 I cannot do better than add the character 
 Sir Joshua gives of this picture : " This is 
 perhaps the first picture of Portraits in the 
 world,, comprehending more of those quali- 
 ties which make a perfect portrait than any 
 other I have ever seen -> they are correctly 
 drawn, both heads and figures, and well 
 coloured 3 and have great variety of action, 
 characters, and countenances, and these so 
 lively and truly expressing what they are 
 about, that the spectator has nothing to 
 wish for. Of this picture, I had before 
 heard great commendations, but it far ex- 
 ceeded my expectation." The names of 
 the portraits in this picture are all known, 
 but as they are not persons in any way cele- 
 brated or distinguished, I have not thought 
 it worth while to mention them. 
 Vandei Heist. Another picture, by the same, consisting 
 of four portraits of individuals belonging to 
 a company of Archers, one of whom is the 
 Painter himself. They are represented with 
 the prizes of archery before them. On a 
 
HOLLAND. 
 
 53 
 
 slate are their names 5 the date of the pic- Amsterdam. 
 ture is 1657- A painting of first-rate merit, 
 possessed of all the character and power of 
 execution which belonged to Vander Heist, 
 with a ehiaro-oscuro effect of Rembrandt. 
 
 A good portrait, by the same, of Mary of Vander Heist. 
 England, wife of William the lid. Prince of 
 Orange, whole length, dressed in white 
 satin, holding an orange in her hand. 
 
 The Night Watch, by Rembrandt 3 an Rembrandt, 
 immense picture. A composition of many 
 portraits, representing the armed night 
 patrole of the city of Amsterdam. In the 
 midst of them are the figures of two little 
 girls, with an unnatural kind of yellow light 
 thrown upon them. The picture has been 
 much damaged. Some of the heads are 
 painted with spirit ; but, as a whole, it is 
 decidedly very inferior to many pictures of 
 this master. Sir Joshua could hardly per- 
 suade himself it was the work of Rembrandt. 
 He censures the general yellowness of it, 
 which certainly gives it a disagreeable effect. 
 This, however, I am not inclined to attri- 
 bute entirely to the painter, but to the 
 
54 
 
 HOLLAND. 
 
 Amsterdam, effects of time and bad varnish. The date 
 "~ is 1642. 
 
 Rembrandt. Much superior to the picture just men- 
 tioned is another by the same master, con- 
 taining five portraits of the Masters of the 
 Clothier's Hall, at Amsterdam : four of them 
 are sitting at a table, and the fifth standing 
 up. Behind him is a man with his hat on. 
 The heads are wonderfully well painted, 
 particularly the one the nearest to the right 
 hand side of the picture, which is as fine as 
 any thing I ever saw of Rembrandt. The 
 date, 1661. 
 
 Karel du The genius of Karel du Jardin appears 
 
 Jardiii. 
 
 nowhere to such advantage as at Amsterdam. 
 We are in general led to consider him as 
 only the painter of pleasing landscapes, 
 adorned with small figures and animals j 
 but we here find him in the character of an 
 admirable portrait painter, and author of 
 one of the most considerable works of that 
 kind in the world. He has represented in 
 one picture the portraits of the five Regents 
 of the Spin Haus at Amsterdam : they are 
 
HOLLAND. 
 
 55 
 
 inspecting the accounts of that establishment, Amsterdam. 
 which are presented to them by the Keeper, 
 who is called " The Father of that establish- 
 ment." They are all dressed in black, and 
 being upon a light back-ground, have a won- 
 derful relief. The heads are executed with 
 the most careful and masterly touch, and 
 the repose and harmony of colouring spread 
 over the whole picture are admirable. 
 
 By the same 5 a Yard of an Italian Ale- Karel du 
 house, with some small figures and mules 5 ^ ardin ' 
 very pretty. 
 
 Another Ale-house, with a Woman giving Karel du 
 
 Jardin, 
 
 drink to a Trumpeter ; by the same 3 a most 
 pleasing picture. 
 
 A sunny Landscape 5 a Peasant winnowing Karel du 
 
 Jurdi u 
 
 Corn before a Cottage ; in another part of 
 the fore-ground is a group of Cattle ; by 
 the same 5 also very good. 
 
 A picture of an Evening School, with Gerard Dow. 
 several different lights in it, by Gerard Dow. 
 An excellent specimen of the master. In 
 addition to the usual high finish and won- 
 derful power of chiaro-oscuro of Dow, this 
 
56 
 
 HOLLAND. 
 
 Amsterdam, picture has more story in it than is common 
 
 in his compositions. 
 Gerard Dow. A Hermit or Monk in a Cell, kneeling 
 
 before a Crucifix by the same j surprisingly 
 
 finished. 
 
 Gerard Dow. A young Girl with a Lamp in her hand ; 
 an effect of candle light j by the same. 
 
 Two figures of a Man and Woman in a 
 Landscape, with a Dog ; the figures said to 
 be by Gerard Dow, and the landscape and 
 dog by Berghem : but I doubt both 5 at all 
 events it is an indifferent picture : the 
 figures exceedingly stiff. 
 
 Schalken. Head of William the Hid. by candle 
 
 light, by Schalken. Of this picture, Horace 
 Walpole mentions that the artist made the 
 King hold the candle till the tallow ran 
 down upon his hand. 
 
 Schalken. A small picture, by the same, called, 
 
 " Every One his Fancy 5 " the face of a 
 Laughing Boy, who has slobbered his mouth 
 with yolk of egg, is inimitable. 
 
 Vandyck. Portraits in the same picture of Princess 
 
 Mary (afterwards wife of William the lid. 
 
HOLLAND. 
 
 57 
 
 Prince of Orange) and her brother the Duke Amsterdam. 
 of Gloucester, children of Charles the 1st. 
 King of England, by Vandyck. 
 
 A very good Van Harp, of a Shoemaker Van Harp, 
 at work, with his Apprentice : his Wife is 
 spinning. In the back-ground are Peasants 
 at play. 
 
 An unfinished, but very spirited Man's Francis Hals. 
 
 head, with a large hat on, by Francis Hals. 
 
 A large picture of the Port of Amsterdam, William Van 
 
 de Velde. 
 
 with many Ships, by William Van de Velde 5 
 one of the very best productions of this 
 admirable master. It was formerly in the 
 Wharf Office, where Sir Joshua saw and 
 admired it. 
 
 Two fine pictures, by the same, of con- William Van 
 siderable size, representing the Ships taken de ^ elde * 
 by the Dutch, in their engagement with 
 the English Fleet under the Duke of Albe- 
 marle, in 1666. 
 
 There are also several smaller pictures, William Van 
 
 dc Vcldc 
 
 by the same, representing Calms at Seaj 
 painted with the most exquisite clearness, 
 
58 
 
 HOLLAND. 
 
 Amsterdam, and with that faithful imitation of nature, 
 which belongs so peculiarly to this master. 
 
 John Assetyn. A curious picture, by John Asselyn, of a 
 Swan righting a marine sort of monster, in- 
 tended to represent the Pensionary John de 
 Witt defending the liberties of Holland. 
 
 Henry Van A strange picture, possessing consider- 
 Balen, and 
 
 John Breughel, able merit on the score of grouping and 
 colouring 5 the united work of Henry Van 
 Balen, and John, otherwise Velvet Breughel, 
 representing the different sects of Chris- 
 tianity in boats, on a large lake, fishing for 
 converts out of the water. On the shore 
 are numerous groups of small figures, among 
 which are many portraits 5 the figures by 
 Van Balen; the landscape by Breughel. 
 
 Backhuysen. The Pensionary John de Witt going on 
 board the Dutch fleet, in 1665 3 by Back- 
 huysen. 
 
 Backhuysen. View of Amsterdam and its environs, 
 from the Port, with many ships and figures ; 
 a Calm by the same. One of the best works 
 of the master. 
 
HOLLAND. 
 
 59 
 
 View of a Dutch town, with Trees and Amsterdam. 
 
 Canals 5 by Vander Heyden. The mellow- Vander 
 
 Hey den. 
 
 ness of colouring and high finish of this 
 
 picture are admirable 5 it is one of the best 
 
 of the master. The figures are by Adrian 
 
 Van de Velde. 
 
 Two smaller Views, by the same, of Vander 
 _ , _ , Heyden. 
 
 Dutch towns, are also good : and there are 
 
 two very pretty small Landscapes with 
 
 buildings by him which are great rarities, 
 
 as he usually painted streets or squares. 
 
 Several Italian-looking Landscapes with Lingelbach. 
 figures by Lingelbach, possessing merit : 
 particularly one called the " Hay Cart, 
 which is excellently and very pleasingly 
 painted 5 and a Landscape, in the manner 
 of Wynants and Wouwermans, with small 
 figures and horses ; very pretty. 
 
 A good Moucheron Landscape, with Moucheron. 
 Hunters 5 the latter by Adrian Van de 
 Velde. 
 
 A group of Peasants sitting before a Adrian Van 
 
 Cottage ; by Adrian Van Ostade 5 very good. 
 
 A Painter in his Room, occupied on a Adrian Van 
 
 Ostade 
 
60 
 
 HOLLAND. 
 
 Isaac Van 
 Ostade. 
 
 Paul Potter. 
 
 Paul Potter. 
 
 Amsterdam, picture, which is placed on an easel before 
 him 5 by the same j painted with even 
 more than his usual lightness and delicacy 
 of touch. 
 
 By his brother Isaac there is a pleasing 
 little picture of a laughing Peasant holding 
 an earthen can in his hand. 
 
 Orpheus charming the Beasts 5 by Paul 
 Potter. A good picture, though the colour- 
 ing of the Landscape is rather raw and 
 hard. 
 
 A large Landscape, by the same; with a 
 variety of Cattle 5 a Man playing on the 
 Bagpipes, and a Woman sitting under a 
 tree with a Child at her breast. A better 
 and more pleasing picture than the former. 
 
 A Herdsman, with Sheep and a Cow 5 by 
 the same 5 pretty and pleasing. 
 
 Two Landscapes, *by Pynaker, one very 
 woody, with Herdsmen and Cattle : the 
 other mountainous, with a River and Boats $ 
 in the fore-ground figures, animals, and 
 trees : both good. 
 Berghem. There are many Landscapes by Berghem, 
 
 Paul Potter. 
 
 Pynaker. 
 
HOLLAND. 
 
 61 
 
 all possessing merit, particularly one which Amsterdam. 
 
 represents a Man and Woman driving a 
 
 herd of Cattle through the Water 3 the effect 
 
 of the splashing of the water is nature 
 
 itself. 
 
 Also two very good ones, by the same 3 Berghem. 
 the one an Italian Landscape, with a River : 
 and on which are beasts in a ferry- boat 5 on 
 the banks are several figures. The other a 
 mountainous Landscape, with a River ; in the 
 fore-ground Cattle and Herdsmen. 
 
 The works of Wouwermans are also Wouwermans, 
 numerous, and mostly good. The best are, 
 a Stag Hunt, with many figures on horse- 
 back. The one known by the name of Ce the 
 Hawking Match," formerly belonging to the 
 Duke of Choiseul; and the attack of a 
 Village by Soldiers, over whom the Pea- 
 sants defending it have gained a victory, 
 and are binding and stripping the assailants. 
 The last is one of the most admirable and 
 spirited productions I know of this master. 
 
 A very beautiful Landscape, by John and John and 
 Andrew Both. It represents an Italian Sun- Andrew Botli * 
 
62 
 
 HOLLAND. 
 
 Amsterdam, set : and it is impossible to conceive any 
 
 thing more accurate than the delineation of 
 
 that period of day, as it appears in a southern 
 
 climate. In the fore-ground is a River and 
 
 Wood, with figures of Men and Animals, 
 
 and the prospect is bounded by Mountains. 
 
 It is certainly one of the finest works of 
 
 these brothers. 
 
 John and There is another pretty Landscape, by 
 
 Andrew Both. . . . 
 
 the same, with high Trees, Water, and a 
 
 group of figures. 
 
 Cuyp. A Sunny Morning ; by Cuyp 5 with a herd 
 
 of Cattle, and a Man and Woman riding on 
 Asses by the side of a river 5 a landscape 
 possessing all the silvery tone and clearness 
 which belong to this master. 
 
 Govert Flinck. A large picture, by Govert Flinck 5 Por- 
 traits of one of the Companies of the Burger 
 Guards of Amsterdam ; well painted, with a 
 good effect of chiaro-oscuro, and the figures 
 excellently grouped. 
 
 Govert Flinck. By the same 5 a good picture, painted in 
 imitation of his master, Rembrandt, of Isaac 
 blessing Jacob. 
 
HOLLAND. 
 
 63 
 
 A very pretty Landscape of a Wood, by Amsterdam 
 Hakkert, with figures by Adrian Van de Hakkert, and 
 Velde. The peculiar merit of Hakkert, of ^Velde?" 1 
 giving with great fidelity the effect of sun- 
 shine through trees, is very conspicuous in 
 this picture, and has a very pleasing effect. 
 
 A large picture of a Waterfall, by Ruys- Rnysdael. 
 dael 5 very good. 
 
 A smaller one, by the same ; a View of Ruysdael. 
 the Castle of Bentheim; below which is a 
 Waterfall. A remarkably pleasing picture, 
 painted with great truth, spirit, and har- 
 mony. 
 
 The Feast of St. Nicholas ; by Jan Steen. Jan Steen, 
 A Composition of several figures, and one 
 of the most entertaining works of this 
 entertaining master. Painted with all the 
 spirit and correctness which belong to his 
 touch. 
 
 There are several other pictures by Jan j a n Steen, 
 Steen in this Collection, of different degrees 
 of merit, but none so good as the one be- 
 fore mentioned. Perhaps the next best to 
 that is a small Portrait of himself. 
 
64 
 
 HOLLAND. 
 
 Amsterdam. An exceedingly pretty Temptation of St. 
 
 Anthony,, by Teniers. Painted in his freest 
 and lightest manner. 
 
 By the same. A Peasant sitting in a 
 Cottage, with a Can and Tobacco-pipe in 
 his hand. 
 
 A good Terburg, in which, as usual, a 
 Woman dressed in white satin is the most 
 prominent figure. 
 
 A curious picture, by the same; full of 
 small figures, Portraits of the Plenipoten- 
 tiaries of the Congress of Westphalia. 
 
 A Surgeon dressing the Wound of a 
 Peasant, by Slingeland, in his usually highly- 
 finished manner, and with more spirit than 
 is common in his pictures. 
 
 Two little Italian Landscapes, with nu- 
 merous figures, by Jacob Van der Ulft, pos- 
 sessing merit. 
 
 Two Dusarts j both good. One of a Fish- 
 market 5 and the other, Peasants making 
 merry. 
 
 Two very pleasing Interiors ; well and 
 spiritedly painted by that rare master, Quiryn 
 
 Teniers. 
 
 Teniers. 
 
 Terburg. 
 
 Terburg, 
 
 Slingeland. 
 
 Jacob Van 
 der Ulft. 
 
 Dusart. 
 
 Quiryn 
 
 Brekelenkamp 
 
HOLLAND. 
 
 65 
 
 Brekelenkamp 5 one, an Old Man sitting, Amsterdam. 
 and a Fisherman standing and talking to 
 him : the other, a Man sitting by the fire 
 with a jug in his hand, and another lighting 
 his pipe. 
 
 Two good portraits by Miereveld, of Miereveld. 
 
 William the First, Prince of Orange, and his 
 
 brother Maurice. There is also a curious 
 
 small portrait of the former, representing Adrian Van 
 
 der Venne. 
 
 him after death, by Adrian Van der Venne. 
 
 A well painted portrait of the Admiral de Ferdinand 
 
 Bol. 
 
 Ruyter 5 by Ferdinand Bol. 
 
 A Landscape, with Huntsmen, Herds- Wynantsand 
 
 Adrian Van 
 
 men, and Cattle; by Wynants. As usual, deVelde. 
 a most exact representation of nature. 
 The figures and Cattle by Adrian Van de 
 Velde. 
 
 A pretty little View on the Rhine ; by Herman 
 
 Zachtleven. 
 
 Herman Zachtleven. 
 
 Three little Italian Landscapes, possessing William 
 merit 5 by William Romein. 
 
 Dead Wild Fowl, with a Flower-pot Snyders. 
 full of flowers by them on a table $ by 
 Snyders. 
 
66 
 
 HOLLAND. 
 
 Amsterdam. Two pictures of Dead Game j by Weeninx. 
 
 Weeninx. Live Fowls, by Hondekoeter. A paint- 
 
 Hondekoeter. . 
 
 ing known by the name or " the Floating; 
 
 Feather," from a small feather which lies on 
 
 some water, and is painted with the most 
 
 extraordinary fidelity to nature. 
 
 John Van A Fruit Piece, and a Flower Piece $ by John 
 
 ^Huvsum. 
 
 Van Huysum. 
 
 These five last pictures are all in their va- 
 rious ways most perfect specimens of the 
 different masters whose names they bear. 
 
 Van der Meer, The Staircase of the Cloister of St. Agatha, 
 of Delft. 
 
 at Delft, where William the First, Prince of 
 Orange, was murdered 3 by Van der Meer, of 
 Delft. 
 
 DeHooge. An excellent De Hooge, of a Woman 
 
 giving a Can of Beer to a little Girl 5 the 
 effect of light and shade in this picture is 
 quite admirable. 
 
 THE STADTHOUSE 
 
 Contains some curious pictures, portraits of 
 the Burgomasters of Amsterdam in the six- 
 teenth century, of which the painters are 
 unknown. 
 
HOLLAND. 
 
 67 
 
 A good Frank Hals, of a great size, re- Amsterdam. 
 presenting a Company of the armed Bur- Frank Hals, 
 ghers of Amsterdam 5 a very well painted 
 picture, and of an admirable effect. 
 
 Another Company of the same, painted Vander Heist, 
 by Vander Heist ; and worthy of the hand 
 of that great master. 
 
 By the same. Portraits of four Burgo- Vander Heist, 
 masters in one picture; finely painted. 
 
 There are also one or two good pictures Govert Flinck. 
 by Govert Flinck ; and a very large one by 
 John Spilburg ; all Collections of Portraits. JolmSpilburg. 
 
 An excellent Lingelbach of considerable Lingelbach. 
 size, a View of the Great Stadthouse, now 
 the Palace, while building, with many small 
 figures j one of the very best productions of 
 this master, 
 
 A View of the Great Stadthouse after its Vander Ulft. 
 completion : with many small figures, by 
 Vander Ulft. Painted with much spirit, and 
 very highly finished. 
 
 A curious View of the Old Stadthouse at p e ter John 
 Amsterdam (which was burnt in 1652), by Saanredam ' 
 Peter John Saanredam. 
 
68 
 
 HOLLAND. 
 
 Amsterdam. 
 
 THE ANATOMY SCHOOL 
 
 Rembrandt. I n this building is preserved one of the 
 finest works of Rembrandt. A Dead body, 
 laid on a table, is dissecting by Tulp, a cele- 
 brated surgeon of Amsterdam, while seven 
 other surgeons and physicians stand round 
 him. The chiaro-oscuro of the whole pic- 
 ture, and the colouring and expression of 
 the heads, are quite admirable: the dead 
 body equally so. Of the latter, Sir Joshua* 
 says, cC Nothing can be more truly the 
 colour of dead flesh " he also praises the 
 portraits as being c( coloured like nature 
 itself ; fresh, and highly finished." It is 
 much to be lamented that Rembrandt should 
 have exercised his wonderful powers on so 
 unpleasing a subject 3 for, though the 
 
 * Sir Joshua saw another picture of the same kind 
 here, Professor Deeman standing by a dead body. He 
 praises the head of the latter as being sublime, like 
 Michael Angelo, and says, " the whole is finely painted, 
 the colouring much like Titian. " It was not shown 
 to me. 
 
HOLLAND. 
 
 69 
 
 intended dissection is only marked by an Amsterdam. 
 incision in the wrist, the consciousness of 
 the subject, and the livid appearance of 
 the corpse, must render it always a very 
 disagreeable object. The date is 1672. 
 
 THE SPINHOUSE. 
 
 Portraits of four Directors of the Spin- Rubens, 
 house, in one picture, by Rubens. The 
 heads painted with force and spirit. 
 
 Four Directors of the Spinhouse; by the Rubens, 
 same. The heads still better painted than 
 those in the former picture : and the general 
 harmony of the colouring admirable. I 
 know few portraits by Rubens superior to 
 this painting, as a work of art. 
 
 By Vandyck. Portraits of two Direc- Vandyck. 
 tors and two Directresses, in one picture, 
 with a back ground, not the least like Van- 
 dyck's usual manner, representing a room 
 in the building, with Women at work, and 
 at a distance in the corner a secretary 
 carrying a book of accounts ; the latter 
 figure, and the light thrown upon him, are 
 
70 
 
 HOLLAND. 
 
 Amsterdam, excellently expressed. The four principal 
 figures are powerfully painted. 
 
 PRIVATE COLLECTIONS. 
 
 M, SIX. 
 
 Gerard Dow. An exquisitely finished Gerard Dow, of a 
 
 Girl with a Bird-cage. 
 Metzu. A Woman selling Fish to another, by 
 
 Metzu spirited and good. 
 Cuyp. Avery sunny Cuyp, of Ships and Water. 
 
 Cuyp. A fine Moonlight view ; by the same. 
 
 Hobbima. A large and good Hobbima Landscape. 
 
 Ruysdael. Another by Ruysdael. 
 
 Wynants. Two little ones, by Wynants. 
 
 Paul Potter. A small, but pretty Paul Potter, of Cattle. 
 Berghem. A large Berghem, of figures 5 good, and 
 
 curious, being painted a good deal in the 
 
 manner of Lingelbach. 
 Jan Steen. A Jewish Marriage, with many small 
 
 figures ; spirited, and very characteristic of 
 
 the painter 5 by Jan Steen. 
 Weeninx. A good Weeninx j a Dead Hare and Goose, 
 
 etc. 
 
HOLLAND. 
 
 71 
 
 Amsterdam 
 
 M. MULLER S. ' 
 
 A curious bird's-eye View of Harlem ; by Ruysdael. 
 Ruysdael. 
 
 A Candle-light ; Gerard Dow 5 good. Gerard Dow. 
 
 An excellent Landscape 5 by Hobbima. Hobbima. 
 
 A very pretty small Wouwermans of a Wbuwermans. 
 Sand-hill and distant Landscape. 
 
 Flowers 5 by Mignon. A most perfect Mignon. 
 copy of nature. 
 
 A Burlesque Marriage \ by Jan Steen. Jan Steen. 
 
 A silvery Cuyp, of Cattle grazing. Cuyp. 
 
 A small and very Italian-looking Land- Both, 
 scape, by Both. 
 
 A good Moucheron Landscape. Mducheron. 
 
ALPHABETICAL 
 LIST OF PAINTERS. 
 
 \ 
 
74 
 
 ALPHABETICAL LIST 
 
 Names. 
 
 Asselyn, John, otherwise \ 
 called" Crabbetjie".. .. J 
 
 Backhuysen, Ludolf. 
 
 Berghem, Nicholas. 
 
 Bol, Ferdinand 
 
 Both, Andrew 
 
 Both, John, otherwise 
 
 called " of Italy" 
 
 Bray, Solomon de 
 
 Brekelencamp, Quiryn. . . 
 
 Breughel, John, otherwise *] 
 called " Velvet Breu- >• 
 ghel" 
 
 Briz£, Cornelius 
 
 Crayer, Gaspar de. 
 Cuyp, Albert 
 
 De Hooge, Peter. 
 
 Dow, Gerard 
 
 Duchatel, Francis. 
 Du Jardin, Karel . 
 
 Durer, Albert 
 
 Dusart, Cornelius. 
 
 Place and date of Birth. 
 Antwerp, 1610. . . 
 
 Embden, 1631 
 
 Harlem, 1624. 
 
 Dort, 1611. 
 Utrecht. . . . 
 
 Utrecht, 1610., 
 Harlem, 1579.. 
 
 Brussels, 1560 
 
 1635 
 
 Antwerp, 1585 
 
 Dort, 1606 
 
 — 1643 
 
 Leyden, 1613 
 
 Brussels, 1625 
 
 Amsterdam, 1640.. 
 
 Zuremberg, 1471. . 
 Harlem, 1665 
 
 Date of 
 Death. 
 
 1660 
 
 1709 
 
 1683 
 
 1681 
 1656 
 
 1650 
 
 1664 
 
 1625 
 1669 
 
 1674 
 
 1678 
 
 J 528 
 1704 
 
OF PAINTERS. 
 
 Studied under 
 Esaias Vandevelde . . . .. 
 
 J Albert Van Everdingen. 
 
 X Henry Dubbels 
 
 f Peter Van Harlem. Van 
 
 J Goyen. Grebber. Mo- 
 | jaart. JeanWils. J. B 
 L Weeninx * 
 
 Rembrandt 
 
 Abraham Bloemart 
 
 Abraham Bloemart 
 
 Gerard Dow. . . 
 Peter Breughel, 
 
 Raphael Coxis 
 
 J. G. Cuyp 
 
 Berghem 
 
 f Bartholomew Dolendo. 
 < Peter Kouwhoorn. 
 
 I Rembrandt 
 
 Teniers 
 
 Berghem 
 
 f Michael Wolgemuth. 
 
 X Hupse Martin 
 
 Adrian Van Ostade 
 
 Principally painted 
 Landscapes. 
 
 Sea Pieces, and Ships. 
 Landscapes. 
 
 History and Portraits. 
 Figures and Landscapes. 
 
 Landscapes. 
 
 Portraits. 
 Conversations. 
 
 f Still-life. Landscapes 
 X with small figures. 
 
 Still-life. 
 
 History and Portraits. 
 Landscapes and Cattle. 
 
 Conversations. 
 
 {Conversations. Inter- 
 riors. Portraits. 
 
 Conversations. Figures, 
 f Landscapes. Figures. 
 X Animals. Portraits. 
 J History. Landscapes. 
 \ Portraits. 
 
 Conversations. 
 
76 
 
 ALPHABETICAL LIST 
 
 Names. 
 
 Engelbrechtsen, Cornelius. . 
 Everdingen, Caesar Van 
 
 Flink, Govert 
 
 Franks, Francis, otherwise ) 
 called "Young Franks" ) 
 
 Grebber, Peter de 
 
 Hakkert, John 
 
 Hals, Francis 
 
 Heem, John David de 
 
 Hemling, John 
 
 Hobbima, Minderhout 
 
 Hoekgeest, 
 
 Holbein, Hans 
 
 Hondekoeter, Melchior 
 
 Honthorst, Gerard, other- 
 wise called " Gherardo 
 delle Notte,". 
 
 Hoogstraten, Samuel Van .. 
 
 Huysum, John Van 
 
 Jordaens, Jacob 
 
 Keyser, Theodore de.. 
 
 Leyden, Lucas of, other-" 
 wise Lucas Jacobs, other- 
 wise Lucas Hugense, 
 otherwise Lucas of Hol- 
 land 
 
 Place and date of Birth. 
 Leyden/ 1460 
 
 Alkmaer, 1606 
 
 Cleves, 1616 ...... 
 
 Antwerp, 1580 .... 
 
 Harlem 1590, 
 
 Amsterdam, 1635 . . 
 
 Mechlin, 1584 
 
 Utrecht, 1600 
 
 Damme, 1450 
 
 Antwerp, 1611 
 
 Basle, 1498 
 
 Utrecht, 1636 
 
 Utretcht, 1592 
 
 Dort, 1627 
 
 Amsterdam, 1682 . . 
 Antwerp, 1594 
 
 Leyden, 1494 
 
OF PAINTERS. 
 
 77 
 
 Studied under 
 
 John Van Bronckhorst 
 
 f Lambert Jacobs. Rem- 
 
 X brand t 
 
 Francis Franks the Elder.. 
 
 f Francis Peter de Greb- 
 \ ber. Henry Goltzius. 
 
 Charles Van Mander 
 
 David de Heem 
 
 John Holbein 
 
 J GysbrechtHondekoeter, 
 X J. B. Weeninx 
 
 Abraham Bloemart 
 
 J Theodore Van Hoog- 
 X straten. Rembrandt. . 
 
 Justus Van Huysum 
 
 Adam Van Oort. Rubens 
 
 J Hugh Jacobs. Corne- 
 \ lius Engelbrechtsen. . 
 
 Principally painted 
 History. Portraits. 
 J* History. Portraits. 
 X Landscapes. 
 
 History. Portraits. 
 History. Small Figures. 
 
 History. Portraits. 
 Landscape. 
 
 f Portraits — small Con- 
 X versations. 
 Fruit. Flowers. Still-life. 
 History. 
 Landscapes. 
 Interiors — Perspective. 
 Portraits — History. 
 
 Fowls, and other Birds. 
 
 f History. Candlelight 
 
 X Pieces. Portraits, 
 
 r History. Portraits. 
 < Landscapes. Perspec- 
 L tives. 
 
 f Flowers. Fruit. Land- 
 
 X scapes. 
 
 f History. Bacchanalian 
 X Scenes. 
 
 Portraits. 
 
 History. Portraits. 
 
ALPHABETICAL LIST 
 
 Names, . 
 
 Lievens, John 
 
 Lingelbach, John 
 
 Metzu, Gabriel 
 
 Miereveld, Michael Jansen. . 
 
 Mieris, Francis, the Elder . . 
 
 Mignon, Abraham 
 
 Moucheron, Frederick . 
 
 Ostade, Adrian Van. . . 
 Ostade, Isaac Van 
 
 Porbus, Peter, otherwise \ 
 called "Old Porbus,".. J 
 
 Porbus, Francis, otherwise \ 
 called "Young- Porbus," J 
 
 Potter, Paul 
 
 Pynaker, Adam 
 
 Quellyn, John Erasmus 
 
 Rembrandt, Van Ryn . . 
 
 Romeir, William 
 
 Rubens, Peter Paul . . . . 
 
 Ruysdael, Jacob 
 
 Saanredam, Peter John 
 Schalcken, Godfrey • • . • 
 
 Place and date of Birth. 
 
 Leyden, 1607 
 
 Frankfort, 1625 ... 
 
 Leyden, 1615 
 
 Delft, 1568 
 
 Leyden, 1635. 
 
 Frankfort, 1639 .... 
 Embden, 1633 
 
 Lubeck, 1610 
 
 Lubeck, 1617 
 
 Ghent, 1510 
 
 Bruges, 1540 
 
 Enckhuysen, 1625 . 
 
 Pynaker, 1621 
 
 Antwerp, 1630 .... 
 
 Van Leyden, 1606.. 
 
 Cologne, 1577 
 
 Harlem, 1636 
 
 Leyden, 1570 
 
 Dort, 1643 
 
 Date of 
 Death. 
 
 1687 
 1658 
 1641 
 
 1681 
 
 1679 
 1686 
 
 1685 
 
 1583 
 
 1580 
 
 1654 
 1673 
 1715 
 
 1674 
 
 1640 
 1681 
 
 1706 
 
OF PAINTERS. 
 
 79 
 
 Studied under 
 
 / Joris Van Schooten. 
 X Peter Lastman 
 
 Anthony Blockland 
 
 [" Abraham Toornevliet. 
 < Adrian Van Tempel, 
 I Gerard Dow 
 
 f James Murel. 
 X David de Heem. 
 John Asselyn 
 
 John 
 
 Francis Hals 
 
 Adrian Van Ostade. 
 
 J Peter Porbus. 
 I Floris 
 
 Peter Potter . . . 
 
 Francis 
 
 Erasmus Quellyn 
 f James Van Zwanenburg. 
 
 < Peter Lastman. 
 L Pinas . 
 
 John 
 
 f Tobias Verhaecht. Adam 
 < Van Oort. Otto Ve- 
 L nius 
 
 Henry Goltzius 
 
 J Samuel Van Hoogstra- 
 \ ten. Gerard Dow.. . . 
 
 Principally painted. 
 
 History. Portraits. 
 Battles. Fairs. Sea-pieces. 
 
 f Conversations. 
 X Portraits. 
 Portraits. 
 
 Small 
 
 {Conversations. Por- 
 traits. Still-life. 
 
 Flowers. Fruit. Still-life. 
 
 Landscapes. 
 
 J Conversations. 
 X makings. 
 f Conversations. 
 X makings. 
 
 Merry- 
 Merry- 
 
 History, Portraits. 
 
 J History. Portraits. Ani- 
 X nials. 
 
 Cattle. Landscapes. 
 
 Landscapes. 
 
 History. 
 
 History. Portraits. 
 
 Karel du Jardin. 
 
 f History. Portraits. 
 X Landscapes. Animals. 
 
 Landscapes. 
 
 History. Portraits. Con- 
 versations. Candle- 
 light, 
 
80 
 
 ALPHABETICAL LIST 
 
 Names. 
 
 Schooten, George Van 
 
 Seghers, Gerard 
 
 Slingeland, John Peter .... 
 
 Snyders, Francis 
 
 Soutman, Peter 
 
 Spilburg, John 
 
 Steen, John 
 
 Teniers, David, the Elder .. . 
 
 Teniers, David, the Younger 
 
 Terburg, Gerard 
 
 Titian, Vecelli 
 
 Van Balen, Henry 
 
 Vander Heist, Bartholomew . 
 
 Vander Heyden, John 
 
 Vander meer, called " Van- 1 
 dermeer of Delft " J 
 
 Vanderneer, Arnold 
 
 Vander Ulft, Jacob 
 
 Vandevelde, Adrian 
 
 Vandevelde, William, the V 
 Younger J 
 
 Vandervenne, Adrian 
 
 Vandyck, Anthony 
 
 Place and date of Birth. 
 Leyden, 1587 
 
 Antwerp, 1589 
 
 Leyden, 1640 
 
 Antwerp, 1579 
 
 Harlem, 1590 
 
 Dusseldorf, 1619 ... 
 
 Leyden, 1636 
 
 Antwerp, 1582 .... 
 
 Antwerp, 1610 ... . 
 
 Zwol, 1608 
 
 Cadore, 1480 
 
 Antwerp, 1560 . 
 Harlem, 1613 .. 
 Gorcum, 1637 - 
 
 Amsterdam, 1619 . 
 Gorcum, 1627 
 Amsterdam, 1639. 
 Amsterdam, 1633 
 
 Delft, 1589 
 Antwerp, 1599. 
 
OF PAINTERS. 
 
 81 
 
 Studied under 
 Conrad Vander Maes 
 
 (" Abraham Janssens. 
 < Henry Van Balen. Bar- 
 
 L tholomew Manfredi. . 
 Gerard Dow 
 
 Henry Van Balen 
 
 Rubens 
 
 Govert Flink 
 
 f Knufter. Brauvver. Van 
 
 X Goyen 
 
 Rubens. Adam Elsheimer. 
 / Teniers, the Elder. 
 
 X Brauwer 
 
 Old Terburg 
 
 John Bellini 
 
 Adam Van Oort 
 
 John Wynants 
 
 f William Vandevelde 
 i the Elder. Simon de 
 
 L Vlieger 
 
 J Simon deValck. Jerome 
 
 X Van Diest 
 
 Henry Van Balen. Rubens. 
 
 Principally painted. 
 History. Portraits. 
 
 History. Portraits. 
 
 Conversations. Portraits 
 J Animals. Landscapes. 
 X Huntings. ^Still-life. 
 History. Portraits. 
 History. Portraits. 
 f Conversations. Merry- 
 X makings. 
 Conversations. 
 
 Conversations. Still-life. 
 
 Conversations. Portraits. 
 f History. Portraits. 
 X Landscapes. 
 
 History. Portraits. 
 Portraits. History. 
 Landscapes. Buildings. 
 
 Towns. Interiors. 
 
 Landscapes — Moonlight. 
 
 f Italian Sea Ports, 
 
 < Towns, and Ruins. 
 
 L Small Figures. 
 
 Landscapes. Cattle. 
 Sea Pieces. Ships. 
 
 Merry-makings, Portraits . 
 History. Portraits. 
 
82 
 
 ALPHABETICAL LIST 
 
 Names. 
 
 Van Eyck, Hubert 
 
 Van Eyck, John 
 
 Van Harp, David, other- 
 wise " David Rick- 
 haarts, ** 
 
 Van Tulden, Theodore .. . 
 
 Velasquez, Diego 
 
 Venius, Otto, otherwise \ 
 called " Otho Van Veen" J 
 
 Vernet, Joseph . . . 
 Vos, Cornelius de , 
 
 Weeninx, John 
 
 Wouwermans, Philip 
 Wynants, John 
 
 Zachtleven, Herman . 
 
 Place and date of Birth. 
 Maaseyk, 1366 .... 
 Maaseyk, 1370 .. . 
 
 Antwerp, 1615 
 
 Bois-le-Duc, 1607. . 
 Seville, 1594 
 
 Leyden, 1556 
 
 Avignon, 1712 
 Hulst, 1600 .. . 
 
 Amsterdam, 1644 . . 
 
 Harlem, 1620 
 
 Harlem, 1600 
 
 Rotterdam, 1609 ... 
 
 Date of 
 Death. 
 1426 
 
 1441 
 
 1676 
 1660 
 
 1634 
 1786 
 
 1719 
 
 1668 
 1670 
 1685 
 
OF PAINTERS. 
 
 83 
 
 Studied under 
 
 Hubert Van Eyck 
 
 f David Ryckhaarts the 
 I Elder 
 
 Rubens 
 
 f FrancisHerrera. Francis 
 \ Pacheco . . 
 
 f Isaac Nicholas. John 
 < VanWinghen. Frederic 
 
 L Zucchero 
 
 Adrian Manglard 
 
 John Baptist Weeninx . . 
 John Wynants 
 
 Van Goyen 
 
 Principally painted 
 History. Portraits. 
 f History. Portraits. 
 \ Landscapes. 
 
 Conversations. 
 
 History. Conversations. 
 J History. Portraits. Con- 
 t versations. Landscapes. 
 
 History. Portraits. 
 
 Landscapes. Sea Pieces. 
 History. Portraits. 
 
 f Landscapes. Animals. 
 \ Dead Fowls and Game. 
 
 f Landscapes. Cattle. 
 \ Small Figures. 
 
 Landscapes. 
 Landscapes. 
 
INDEX. 
 
 Asselyn, John, 58. 
 
 Backhuysen, Ludolf, 58. 
 Berghem, Nicholas, 43, 60, 61, 70. 
 Bol, Ferdinand, 65. 
 Both, Andrew, 61, 62. 
 Both, John, 61, 62, 71. 
 Bray, Solomon de, 47. 
 Brekeleneamp, Quiryn, 64. 
 Breughel, John, 58. 
 Briz4, Cornelius, 47- 
 
 Crayer, Gaspar de, 9, 10. 
 Cuyp, Albert, 35, 49, 62, 70, 71. 
 
 De Hooge, Peter, 39, 66. 
 Dow, Gerard, 43, 55, 56, 70, 71. 
 Duchatel, Francis, 10. 
 Du Jardin, Karel, 54, 55. 
 Durer, Albert, 46. 
 Dusart, Cornelius, 64. 
 
 Engelbrechtsen, Cornelius, 50. 
 Everdingen, Caesar Van, 44, 47- 
 Flink, Govert, 62, 67. 
 Franks, Francis (the Younger) 45. 
 
 Grebber, Peter de, 47. 
 
 Hakkert, John, 63. 
 
INDEX. 
 
 Hals, Francis, 57, 67. 
 Heem, John David de, 47- 
 Hemling, John, 3, 4, 6. 
 Hobbima, Minderhout, 70, 71. . 
 Hoekgeest, 46. 
 Holbein, Hans, 45. 
 Hondekoeter, Melchior, 47, 66. 
 Honthorst, Gerard, 9, 47, 48. 
 Hoogstraten, Samuel Van, 46. 
 Huysum, John Van, 47, 66. 
 
 Jordaens, Jacob, 20, 47, 48. 
 
 Keyser, Theodore de, 44. 
 
 Leyden, Lucas of, 50. 
 
 Lievens, John, 47. 
 
 Lingelbach, John, 35, 43, 59, 67. 
 
 Metzu, Gabriel, 70. 
 Miereveld, Michael Jansen, 65. 
 Mieris, Francis (the Elder), 45. 
 Mignon, Abraham, 71. 
 Moucheron, Frederick, 59,71. 
 
 Ostade, Adrian Van, 35, 45, 59. 
 Ostade, Isaac Van, 60. 
 
 Porbus, Peter, 2, 8. 
 Porbus, Francis, 45. 
 Potter, Paul, 40, 60, 70. 
 Pynaker, Adam, 60. 
 
 Quellyn, John Erasmus, 23, 34. 
 
 Rembrandt, Van Ryn, 12, 13, 39, 41, 53, 54, 68. 
 Romein, William, 65. 
 
INDEX. 
 
 Rubens, Peter Paul, 9, 12, 13, 14, 17, 13, 19, 20, 
 
 22, 26, 28, 29, 30, 31, 32, 34, 41, 69. 
 Ruysdael, Jacob, 39, 49, 63, 70, 71 
 
 Saanredam, Peter J ohn, 67. 
 Schalcken, Godfrey, 46, 56. 
 Schooten, George Van, 50. 
 Seghers, Gerard, 8. 
 Slingeland John, Peter, 64. 
 Snyders, Francis, 65. 
 Soutman, Peter, 47- 
 Spilburg, John, 67- 
 Steen, John, 46, 63, 70, 71. 
 
 Teniers, David, (the Elder), 20. 
 
 Teniers, David, (the Younger), 13, 46, 49, 64. 
 
 Terburg, Gerard, 64. 
 
 Titian, Vecelli, 47. 
 
 Van Balen, Henry, 58. 
 
 Vander Heist, Bartholomew, 13, 51, 52, 53, 67. 
 Vander Heyden, John, 59. 
 Vandermeer of Delft, 46, 66. 
 Vanderneer, Arnold, 35. 
 Vander Ulft, Jacob, 64, 67. 
 Vandevelde, Adrian, 46, 63, 65. 
 Vandevelde, William, 46, 57. 
 Vandervenne, Adrian, 65. 
 
 Vandyck, Anthony, 8, 11, 12, 20,21, 22, 23, 24, 
 
 25, 26, 34, 42, 56, 69. 
 Van Eyck, Hubert, 7- 
 Van Eyck, John, 5, 7- 
 Van Harp, David, 57. 
 Van Tulden, Theodore, 47, 48. 
 
INDEX. 
 
 Velasquez, Diego, 47. 
 Venius, Otto, 8, 19, 21. 
 Vernet, Joseph, 45. 
 Vos, Cornelius de, 32. 
 
 Weeninx, John, 47, 66, 70. 
 
 Wouwermans, Philip, 35, 39, 41, 49, 61, 71. 
 
 Wynants, John, 35, 65, 70. 
 
 Zachtleven, Herman, 65, 
 
 London : Printed by W. Nicol, Cleveland-row, 
 James's. 
 
9 
 
GETTY CENTER LIBRARY 
 
 3 3125 00592 5496