RELIGION, EDUCATION, FINE ARTS. 



567 



some unworthy subject, which no genius can 

 redeem, and .which but excites a feeling of 

 regret to see talent so misdirected. Ostade, 

 Gerard Dow, the two Breughels, Karel du 

 Jardin, Pieter Laer (called Bamboccio), Jan 

 Lingelbach, Nicolas Maas, Gabriel Metzu, 

 Frans van Mieris, Eglon van der Neer, Gaspar 

 Netscher, Cornelius Poelemburg, Paul Potter, 

 Godfried Schalken, Pieter van Slingeland, Jan 

 Steen, Gerard Terburg, and Philip Wouver- 

 man may be named as the principal exponents 

 of the power of this school. Of the landscape 

 and marine painters of the same period, the 

 following were the principal : Ludolph Bak- 

 huyzen, Nicolas Berghem, Jan and Andries 

 Both, Albert Cuyp, Simon van der Does, Jan 

 van Goyen, Aart van der Neer, Jacob Ruis- 

 dael, Miudert Hobbema, Herman Swanevelde, 

 Adam Pynacker, Adrian, and the two Wil- 

 liams Vandervelde, and Antony Waterloo. Of 

 architectural painters : G. Hoekgeest, Jan van 

 der Heyden, Pieter Neefs, Hendrik van Vliet, 

 and Hendrik van Steenwyck. Of painters of 

 birds, still life, fruit, flowers, etc., the follow- 

 ing : Jan Davidszde Heem, Melchiorde Hon- 

 dekoeter, Jan van Huysum, Rachel Ruisch, Jan 

 Weenix, Jan Wynants, Adrian van Utrecht, 

 and Willem Kalf . 



The Spanish School, while it possesses 

 great power, has for its characteristics a certain 

 gloom and wildness belonging to the national 

 mind. This peculiar school of painting ap- 

 pears to have been one of the more recently 

 established of the modern schools of Europe ; 

 in its prevailing characteristics, it exhibits a 

 close connection with some of the schools of 

 Italy, especially those of Venice and Naples, 

 though its earlier development seems to have 

 been due to the immigration of Flemish artists 

 into Spain. The principal works undertaken 

 in Spain date from the time of Philip II. ; 

 they were chiefly executed by Italians, and the 

 principal Spanish painters studied in Italy. 

 Titian spent a few years in Spain in the reign 

 of. Charles V.; but the works he executed 

 were oil pictures, and chiefly easel pieces, 

 which, though guides in coloring to the Span- 

 ish painters, were less the models of the great 

 masters of Spain than those executed in Philip's 

 time. The painters of Spain have been classi- 

 fied into three principal schools, but these 

 divisions are as much local as characteristic ; 

 they are those of Valencia, Madrid, and Se- 

 ville. The following are the principal mas- 

 ters of these several schools, with the names of 

 the places where they chiefly resided, and 

 worked, arranged chronologically, from the 

 sixteenth century, inclusive ; Of the sixteenth : 

 Antonio del Rincon, Toledo; Alonso Berru- 

 guete, Castile and Toledo ; Luis de Vargas, 



Seville ; Alonso Sanchez Coello, Madrid ; Luis 

 de Morales, el Divino, Badajoz ; Dominico Theo- 

 tocopuli, el Greco, Toledo ; Vicente Joanes, 

 Valencia ; Miguel Barrosa, Escorial and To- 

 ledo ; and Alonso Vazquez, Seville. Of the 

 seventeenth century : Pablo de Cespedes, Cor- 

 dova and Seville ; Juan de las Roelas, Seville ; 

 Francisco de Ribalta, Valencia ; Juan del Cas- 

 tillo,Seville ; Francisco Pacheco, Seville ; Alon- 

 so Cano, Andalusia and Madrid ; Antonia de 

 Pereda, Madrid ; Diego Velasquez, Madrid ; 

 Juan de Pereja, Madrid ; Francisco Zurbaran, 

 Seville and Madrid ; Francisco Rizi, Madrid ; 

 Claudio Coello, Madrid and Zaragoza ; Juan 

 de Valdes Leal, Madrid ; Antonio Palomino y 

 Velasco (the Spanish Vasari), Cordova; Bar- 

 tolome Esteban Murillo, Seville ; and Francisco 

 de Herrera, el Mozo (the Young), Madrid and 

 Seville. This list comprises all the great 

 painters of Spain ; there were no very distin- 

 guished Spanish masters in the eighteenth cen- 

 tury. The following are the most distinguished 

 of those above mentioned : Antonio del Rin- 

 con, Luis de Vargas, Morales, Joanes, Cespe- 

 des, Roelas, Ribalta, Pacheco, Alonso Cano, 

 Velasquez, Zurbaran, and Murillo. 



The French School of painting was, 

 until the latter part of the eighteenth century, 

 in all respects a branch of the schools of Italy- 

 The earliest mature development dates from 

 the reign of Francis I., who employed many 

 distinguished Italian artists in France ; and 

 what is termed the French school arose from 

 the examples left by these Italians at Fontaine- 

 bleau. The masters who engrafted the Italian 

 principles of art among the French wefe II 

 Rosso, Primaticcio, and Niccolo dell' Abate. 

 The earliest French painters of distinction, and 

 the only two who cannot be said to belong to 

 this Italianized school of the sixteenth century, 

 were Jean Cousin and Frangois Clouet, called 

 Jeannet, who belonged to what is termed the 

 Gothic school, and painted in the manner of 

 the Italian quattro-centisti. The three great- 

 est names in French art are Claude Lorraine, 

 Nicolas Poussin, and Anthony Watteau. Le 

 Brun, Le Sueur, Dufresnoy, Jouvenet, and 

 others, can but be considered as the people of 

 a transition period, whose works picture the 

 taste of an age, rather than the exposition of 

 true art. It was with J. L. David that a new 

 era commenced in art, which may possibly 

 have been generated by the revived classicali- 

 ties of a revolutionary mania which convulsed 

 France. The Greek ideal of a monumental 

 kind was adopted by him for historic painting, 

 and has been happily characterized as "a 

 morbid imitation of the antique." He was 

 followed in his stiff insipidities by Gros, Gi- 

 rodet, and Guerin ; but nature again appealed 



