PUNTING. 



PAINTING. 



object of the arti* has been the expnerinej ol humour, or the prel 

 nea* of colour, or of light ami .hade. if thote qualitio* which i 

 orin in great wvrk* hare been to him end*, then H teem* 



OL 1M8, <L 11.-:. i. i. known a* VelvetBreug 

 denaqr of hi* handling : he punted aninul 

 thae genre. The elder Teuien (b. 15SS, d. 1 

 mikr to the elder Breughel*; but a* a 



.-..-.- ,-.:. :.::, ,.,-' 



van Uetade painted fewer intcriora, and follow 

 with lea* mm***. The humour of Adruui Hi on 



of humour, or the pretti 

 are 



i great wvrk* have been to him end*, then U aeem* to 

 within the negative da-, deaignetod by the Freoob word tued 

 bore. It i* the popular aide, the every-day life uf art. a. contrasted 

 with the epk grandeur of historical or the eulhuaiaam of devotional 

 work*. 



I the elder (b. lilO. d. 1570) wa* called Boor-Breughel, 

 i of manv of hi* pictures, a* hi* *oo, Peter Breughel 

 teed the name of Hell-Breughel, from the fantastic 

 he pourtnyed ; while a younger brother, Jan Breughel 

 . 194$, d . tiown a* Velvet-Breughel, from the eoftnea* and 



alsaud (lower* even better 

 1649) delighted in lubject* 

 a painter he by no mean* 



hi* eon and pupd David Tenien (b. 1610, d. 1690) in those 

 MM* of merry-making and peaeant life for which be U to celebrated. 

 Nothing can narpe** the reahty of the vulgar comfort with which the 

 ingle ngnre* *it and emoke, or the drunken gaiety of the larger aaeem- 

 hne*. in the picture* of the younger Tenien. Hi colour ui cool and his 

 touch arm and vigorona. Sometime* he amuaed himself with imitating 

 theworkiuf matter, of a different out. In Adrian van UsUde (b. 1610, 

 d. 1684) we have the aarne aubjecte treated in a warmer and more 

 meuuw tone, but perbap* with lea* individual truth and character, 



' effect, than by Tenier*. Isaac 

 followed hi* brother's style 

 in Brouwrr (b. 1608, d. 1640), 

 who i* reported to have mixed deeply in the scenes which he painted. 

 is of a broader cart. In Jan Steen (b. 1636, d. 1689) there are satirical 

 louche* end a genuine comic unity which remind one of Hogarth, 

 though there uwtie of lh Englishman'* stern moral purpose. There 

 i* another department of genre, which bean the same relation to 

 the drinking-bout* of Tenien or Brouwer that genteel comedy does to 

 broad farce. In thi* Gerard Terburg and Gerard Dow stand pre-emi- 

 nent The former (b. 1608, d. 1681) threw into the scenes which he 

 represented a delicacy of feeling and a sort of decorum which add 

 greatly to the value of hi* execution and high finish. Uf this kind are 

 the celebrated Satin Gown, engraved by Wille; the Trumpeter at 

 Munich; and the Cavalier and Lady in the Louvre. Gerard Dow 

 (b. Kit, d. 1680) wa* the pupil of Rembrandt, from whom he gained 

 a thorough knowledge of light and shade, and a feeling for general 

 fleet which preserved hi* elaborate execution from tcdiousnexs, while 

 he eecured by it a wonderful reality in the household scenes which he 

 delighted to paint In aome of hi* picture*, as iu that of the Drojwical 

 Lady, there u even pathue, Gabriel Metzu (b. 1615, d. 1658) was the 

 beat imitator of Terburg. Franz Miens, a scholar of Gerard Dow 

 (b. 1635. d 1681), equalled hi* master in fineness of finish, but nol in 

 genuine feeling. Caspar Netochcr (b. 1639, d. 1684) and Eglon van 

 der Necr (b. 1643, d. 17"3) {tainted in the same style. The interiors 

 of Peter van Hooghe (b. 1659, d. 1722) are remarkable for magical 

 efleoUof light 



The great Italian painten Ciorgimie and Titian were admirable iu 

 landscape. Annibale Caracci and Domenicbiuo have left excellent 

 picture* in thi* department Hut as if the ugliness of the country 

 .timulated its native* to study all the aids which moke an ordinary 

 OMB picturesque, it wa* in Flanders and in Holland that landscape 

 (Minting wa* mod cultivated. In the school of Van Kyck, the back- 

 ground* are often elaborately imitated from nature : Joachim Patenier 

 to. 1 497) and Herri de Ble* (b. 1180, d. 1550) executed works in which 

 the landeaape claim* an independent existence, and the (!_.,,,, h.v. .- 

 already become acoeeaoriea. Jan Breughel, or " Velvet-Breughel," as 

 ha* been mentioned, copied with wonderful minuteness all the variety 

 of vegetation. Contemporary with Annibale Caracci there lived a't 

 Rome a Flemish artiat Paul Bril ib. l.VM. d. KJ'!', who forms a sort 

 of link between the landscape paiuten of the north and south. 



In that kind of landacape the excellence of which consuls in gran- 

 deur and the form of the huge m*m, Nicolas Poussiu led the way. 

 He was followed by Ua|r Duget, or Poussiu (b. 1600, d. 1663), and 

 flebeetian Bourdon (b. 1616, d. 1671). Claude Gelce wa* a native of 

 Lorraine ib. liJOO, d.j!682); he wa* fint educated by A. Toasi, a scholar 

 d Bril, but nature, and nature alone, taught him to tinge hi* 

 graceful form* of foliage and bin rippling water with the cool peony hue 

 of morning, or the rich glow of an Italian evening His pictures acq'ui red 

 in hi* lifetime the value which they have ever since maintained. 



The atylr reacted on thu Low Countries. Hermann 



Swanevelt (b. 1620, d. 1080) wa* hi* pupil : John Bolh (b. 1'ilu, d. 



ind Adam Pynacker (b. 1621, d. 1673) were pointer* of tl. 

 character. The Dutch landscape painten kept rlo-er to Northi-rn 

 nature; such are the works of John von Ooyen (b. 1 :.::, ,1 

 generally low aea coasts, executed in a brown transparent tone. An 

 thony Waterloo (b. 118, d. 1660) is better known by his admirable 

 etching, than by hi* pictures. 



The genius of Hembraudt exercised considerable influence over 

 landeaape; and he was admirably followed by bin pupil I'hilip de 

 Kotiinck (b. 1619, d. 1689), who in' br.d, open, flat landscapes, often 

 equalled, and aometime* mirpawd, H.-mbmndt himself. Hut the 

 leaden of thi* particular achool were Jacob llimidael (b. 168fi, d. 1681) 

 and hi* pupil Mink-it BobbMM (b. 1611). The best work* of these 



masten carry u* Into the depth of the forest, and convey that sort of 

 lonely feeling which retired woodland scenery impart*. Albert 

 dingen <b. Id:!!. <L 1675) gave hi* pictures more of the Norwegian 

 character, and often painted water-falls and pinc-fonwU. 



\\'e have said nothing of the pastoral aide of landscape, iu which 

 Nicola* Berghem (b. Hi'JJ, d. liS3l, Albert Cuyp (!. !'i'"l, Carl du 

 Jardin (b. liil >, d. lti7M, and Adrian \an der Velde 

 cx-llL I'hilip Wouveruian* (b. 1620, d. 166S) pursiu- 1 a hn 

 liar almost to himself, or in which at legist he lias no rival. He exe- 

 cuted battles, fairs, hulls of cavalry, and all scenes iu which horses 

 occur, with truth and delicacy. 



The uiont eminent marine paiutcrx were Bonaventura Peters (b. 1614, 

 d. 165J), Ludolf Hackhuyseu (b. 1631, d. 1709), and William van der 

 Velde (b. 1610, d. 1693). John Fyt (b. 1625, d. 1700), and John 

 Weenix (b. 1644, d. 1719), painted animals: while I>c Heriu, Van 

 Sehriek, Vromans, and others, devoted themselves with exjual / 

 |uinting flowers, insects, &c., De Heein being, all things considered, 

 the fint in his line. 



In the 18th century, painting was in Flanders nnd Holland as coldly 

 imilalive and conventional as elsewhere. Adrian and Pietor van I!>T 

 \Verll'. and llendrick van Limborch, produced academically correct 

 historical pictures ; Jacob de Wit displayed extraordinary dexterity in 

 making his canvases look like bronze relievi ; the elder \ '.u 

 {minted portrails and flowers ; the younger wrought mythological n-il>- 

 jects and poultry yards ; the Van Nickelens, father and sou, {tainted 

 architecture and landscape; and Van Huysuui flowers, with a truth 

 and taste only inferior to De Heeui. The schools of Belgium and 

 Holland were somewhat late in arousing themselves from the slumber 

 into which they had fallen in the hut century ; but at the pre-i-nt 

 time ji:iinti!u; is nowhere more earnestly and diligently, nor in some 

 of its branches more successfully followed, than iu Belgium. 



'The most recent and comprehensive general survey of the li 

 of the Northern schools, is Kugler's ' Handbook of Painting : ( icrman, 

 Flemish, and Dutch Schools,' as recast by Waagen, Lond. 186(1. 

 also Cavalcaselle and Crowe's ' Notices of the Early Flemish 1'aii: 

 Sandrart's 'Academia;' Descainps, 'La Vie des Peintres Flan- 

 Allemands, et Hollondais,' Par. 1733; Michiel's ' Histoire de la J'i-iii- 

 ture Flamande et Holloudoise,' Bruxelles, 1845-6; 'Hist.de I'lli 1. 

 Flamande,' Bmxelles, 1S5U ; and Worn urn's ' Epochs of Painting.') 



Tke f-jHtnix/t iiflivol of Painting cannot bo carried back farther than 

 the first half of the 15th century, though it is certain that miniatori 

 were employed in illuminating manuscripts as early as the 10th :m 1 

 llth centuries. The cradle of Spanish painting was Toledo. The 

 Castilions borrowed something from the Byzantines, with whom tli- v 

 had much intercourse. But, as might be expected, the Flemish pa 

 exercised a far more powerful influence in Spain. Two rl< 

 painters are especially singled out : Maestro Rogel (who was in Kpnin 

 in 14 lj), who is identified by gome with llogier van der Weydcn 

 Juan Plamenoo (1490), whom BOOM, without much reason, suppose to 

 be Hans Memling. Somewhat later, Titian, who spent some years in 

 Sjiain in the service of Charles V., helped to mould the .S|<im-H 

 painters' principles of colour. 



Luis de Vargas (b. 1502, d. 1568) was one of the first conspicuous 

 Spanish painters. A thorough devotee, he helped to foster that ascetic 

 tendency, and that entire subserviency to ecclesiastical canons, which 

 formed so marked a feature in early Spanish {ninting. The works of 

 Luis de Morales of Bidajoz (l>. about 1510, d. 15S6) show some i 

 of early Flemish minuteness and hai-dncss. with great power of ex- 

 preasion, occasionally exaggerated : from the devotional character of his 

 pictures, which are chiefly of the Saviour crowned with Thorns, or 

 thi M .Imsna Weeping, Morales bos acquired from hia countrymen the 

 surname of "the Divine." Femndo QallagO* imitated Albert I 

 Antonio del Kincou (b. 1446, d. 1500), Alonso Barruguete (b. 

 d. 1562), Pedro Campafta, a Fleming by birth (b. 1503, d. 1580), 

 I'.ecerr.i (b. 1520, d 1570), Pablo dc Cospedca (b. 1533, d. IfiOS), 

 and Vinccnto Joannes of Valencia (!' 1">23, d. ir>7'.M, wlm is re- 

 garded as the head of the school of Valencia, were the earlier Spanish 

 masters of eminence who studied in Italy : the ablest, and certainly the 

 most influential, being Berniguete, and next to him Uaspar Becerra. 



The works of Itiucon are rare : there ia an altar-piece of his at 

 Bobledoda Cliavel.-i, not far from the Escurial. Campaiia's DC 

 from the Cross, and the celebrated (Jamba of Vargas are in the < 

 dral of .Seville. The series of the Martyrdom of St. Stephen, l.y .! 

 is in the museum of Madrid. AlonwJ Sanchex IV-ello (d. l;V.iM 

 Juan Fernanili-/ Navorrete el Mudo (b. 1:"-''!, il. l. r .7!i) p,-.inti 



ly i-oitroiU and sacred subjects for Philip II. The colouring 

 of N.ivarette is very fine, and resembles that of the Veneti.m school. 



In the KC! 1 of .S.-ville, in the 17th century, the principal 



runners of KttriOo tNr* Juan Sanclu-/ de Castro; Juandehwl! 

 il>. l.V.s, d. 1625;, who studied iu Italy, and whose finest pictui 

 |-crhaps the Deith of St. Uidore, ill the church of that .skint at 

 Seville; the two Hcrrerae, and Francisco Xurbai an (b. 1598, d. ICil-Ji. 

 The elder Herrera (b, I. r i76, d. 1656) is dintinguished by vig.mr and 

 bnlduess of execution. Zurbaran's great work of St. Thoui 

 Aquino, foniicrly in the Colegio dc Santo Tonn,, will arison 



with the b..-t picture* of any master, llartolomd F.stebaii .Mnrillo 

 (b. 1618, ! IL^I lias left early pictures at Seville which give little 

 promise of his luWecrucut oxcvllenuu. U \v;u only after his return 



