colorist, was so long and so completely unknown, that his name has been frequently effaced from pictures in order to substitute that of some other painter better known. In the science of light and shadow, Rembrandt himself has not surpassed him, and no one else has produced equally well the effect of a ray of sunlight crossing shadow in a room. Among his best works are the Return from Market, at the Hermitage, the Dutch Cabin, at Munich; and the Interior, in the Amsterdam Gallery.

De Hooch is better represented in the Dutch private collections than in public galleries. The Steengracht Collection has a Musical Party; the Van der Hoop Collection, besides a Musical Couple, has three Interiors.

A

DUTCH PAINTERS OF LANDSCAPES AND BATTLE

SCENES.

Landscape painting is the creation of the Netherlands. Even Carracci, Domenichino, and Poussin merely used a landscape as the theater for some historical subject or human drama. It was Pauwel Bril, of Antwerp, who, half a century before Claude Lorraine, 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

Adriaan van der Werff (1659-1722) painted historic and mythologic subjects. The Pinakothek, Munich, contains all the best pictures which Van der Werff painted for the Elector Palatine. The artist is seen in almost every continental gallery, but his works are not popular in England.

Cornelis Dusart (1660-1704) imitated with much success the style of Adriaan van Ostade. Though the National Gallery has no work by him, his pictures are seen in many private collections in England. The Amsterdam Gallery has the best of Dusart's works; a Kermesse, a Fish Market, and especially the Village Inn, all works of great merit.

GALLERY OF W. WELLS,

Jan van Goyen, who, though his coloring is monotonous, was one of the best landscape paint. ers of this time. He was born at Leyden in 1596; studied under Isack van Swanenburgh, Jan de Man, and William 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, among others, a View on the Mesue and the Castle of Valkerhof by him. Among other pupils he taught Berchem, and Jan Steen, who, as we have seen, afterward became his son-in-law.

Jan Wynants (painting till 1679) commences the cycle of real Dutch landscape painters. He is both popular and well represented in England, in the National Gallery-which has five works by him— and in private collections. He excelled in the treatment of delicate aërial effects and details of foliage. Figures and animals were frequently painted in Wynants' landscapes by other artists.

Aelbert Cuyp (1605-1691), who is principally known for his pictures of animals, painted portraits

with success, and also fruit, flowers, still-life, landscapes and sea-pieces. His best works are in England. In the National Gallery there are no less than eight pictures by him; of these, the Landscape with Cattle and Figures is the principal. English private galleries are rich in his productions; among others, the Duke of Westminster, Lord Ellesmere, and Mrs. Hope of Deepdene, possess good works. Cuyp's pictures frequently represent the banks of a river with a herdsman tending cattle,

Italy, and was impressed by the works of Claude Lorrain; and his brother, Andries Both (ab. 1609bef. 1644), produced conjointly many landscapes with figures the former doing the landscape and the latter adding the figures-in which Italian influence is visible.

Pieter van Laar (1613-1674), called Bamboccio, also painted Italian scenes.

Salomon van Ruysdael (ab. 1606-1670) was a pupil of Van Goyen, and the instructor of his

and they are bathed in the warm golden light of the setting sun. It is chiefly for their splendid realization of light that his works are so highly prized.

Cornelis Decker (1643-1678) is a master whose works long passed as the production of Ruysdael. Adriaan van Ostade rendered him the same service that Adriaan van de Velde gave to Wynants, that of painting the figures of men and animals in his pictures.

Jan Both (ab. 1610-aft. 1662), who first studied in Holland under Bloemart, and subsequently visited

famous nephew, Jacob van Ruysdael. He painted views on the banks of the rivers and canals of his native country.

Aart van der Neer (1619?-1683 ?), more even than Gerard van Honthorst, was the poet of the night. Of his works we may especially notice, in the National Gallery, a Landscape, with figures and cattle by Cuyp, who has signed his name on a pail; also a River Scene and a Canal Scene; and in the Berlin Museum one of his many pictures representing a Moonlight Scene. He is well represented in

the private galleries of England and on the Conti

nent.

Philip Wouverman (1610-1668) painted an almost incredible number of works; but it is probable that he did not execute all the pictures which are attributed to him. There are ascribed to him, sixty-six in the Dresden Museum, fifty in the Hermitage, seventeen at Munich, thirteen at the Louvre, ten in Buckingham Palace, eight in the National Gallery, nine in the Dulwich Gallery; and

there are, besides, innumerable works dispersed through the galleries and cabinets of the whole world. Wouverman is the elegant painter of the life of gentlemen, of war, of hunting, of all the sports in which man has his dog and horse for companions. He is celebrated for the beauty of the landscapes in his pictures, and yet, unlike most other landscape artists, he was independent of the figure painter,

for he painted

both men and horses for himself.

works, Ruskin speaks of them with contempt, 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 picturesque; 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

Wouverman is a painter of whose life little is known. He was born at Haarlem in 1619. He first studied his father Paulus Joosten Wouverman, 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

. . .

most to admire, whether the beauty of their composition and grouping, the brilliancy and clear tone of their coloring, or their wonderful variety." Wouwerman must have been a master of vast industry, and of great rapidity of execution, since he declared that his pictures required two leagues of gallery for their reception. Like Holbein, however, Wouver

man has had a great number of works falsely attributed to him; some of them

tled at the Hague for a time, and his genius commanded universal respect. He returned in 1652 to Amsterdam, where he died of overwork in 1654.

The Hague has a work by him which may be said to be unique in its kind; it is a landscape in which are assembled a young brown bull, a cow, three sheep, and their shepherd, all of life-size. This picture, which he painted at the age of twenty-two, is known by the name of the Young Bull of Paul Potter. In England, the National Gallery has one Landscape by Potter; and the Duke of Westminster has a fine

whether at rest or stirred by the breeze, has seldom been excelled.

Paulus Potter (1625-1654) is generally considered the best animal painter of all time. He was born at Enkhuisen, and 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 set

PAUL POTTER.

picture of Cows and Sheep of the year 1647. But he is better represented in the Hermitage, St. Petersburg, than either in England or in his own country. The principal work there is the Trial of Man by the Animals, a singular composition of fourteen compartments, the two largest of which are surrounded by the twelve smaller. Potter did not paint all these chapters himself: the history of Acteon is by Poelenborch; that of S. Hubert, perhaps, by Teniers; but the central panel belongs to Potter himself; it represents the Condemnation of Man by the Tri