PAINTING. 133 
* Adrian Van der Werff (1659-1727) also belonged to the higher depart- 
ment of the Dutch scheol. He was born in the neighborhood of Rotterdam 
and was originally designed for a learned profession ; but he manifested such 
great talents for portrait taking that it caused him to turn his attention to 
painting, and he placed himself under the instructions of Van der Neer. 
When only in his 17th year, he worked independently, and with so much 
applause, that the elector palatine gave him employment and afterwards 
allowed him an annual stipend; the elector was very generous to him in 
other respects and conferred upon him the rank of knighthood. Accordingly 
the gallery of that Prince in Diisseldorf displays the finest productions of 
Van der Werff, who had but little time to work for others. There are some 
fine pictures by him in Dresden; but they are not to be compared with the 
Diisseldorf works. No artist has succeeded in obtaining such good prices 
for his works as Van der Werff. Thus for his picture of Zot and his 
Daughters he was paid 4,200 florins; the Adoration of the Shepherds 
(jig. 9), in the Florence Museum, a picture very remarkable both for com- 
position and execution, brought him 4,000 florins; an English nobleman 
purchased ten pictures from him for 33,000 florins; and his picture of the 
Prodigal Son was bought after the artist’s death for 5,500 florins; the Judg- 
ment of Paris, which went to England, cost 5,000 florins, &e. 
Of the painters of battle-pieces belonging to this school we will mention 
Palamedes, Jean le Duc, and Van der Meulen; of the landscape painters, 
Cuyp, Hobbema, Wynants, Van der Neer, Ruisdael, Berghem, Everdingen, 
&c. Marine views were painted by Bakhuysen, Peters, De Vliger, Van 
der Velde; architectural by Neefs, Steenwijck, De Witte; flowers by 
Breughel and De Heem; and low life by Adriaenssen, Van Aelst, &e. 
Dutch artists of recent times distinguish themselves in landscapes, marine 
views, and animal painting; of these we may mention Koeckoeck, Schelf 
hout, Schotel, Verboeckhoven, Jansen, and Dreibholz; historical painting 
on the contrary still remains in a backward state. 
6. Tae Eneuise Scuoot. During the middle ages the fine arts in England 
were almost entirely dedicated to the service of religion, and shared in the 
general European development until the time of the reformation under 
Heury VIIL., in the middle of the 16th century. By this event the existing 
relations of England with the south of Europe (the chosen seat of fine art 
cultivation) were rudely disturbed, and the consequence seems to have been 
that painting and sculpture, too often identified with the old religion in 
whose cause they had wrought, were treated with indifference and neglect. 
For nearly two centuries from this time we seek in vain for any distin- 
guished native artist. The names of Holbein, Zuccaro, Cornelius Jansen, 
Vandyck, Lely, and Kneller, to whom we owe the portraits of the great 
men of the Tudor and Stuart Dynasties, show that from a foreign source 
came the talent which met with a ready employment in perpetuating the 
fair and the brave of their times, for to portraiture the patronage of the 
great was almost exclusively confined. Charles I. indeed encouraged paint- 
ing and liberally rewarded its professors;but the distractions of the latter 
part of his reign, and the succeeding troubles, prevented his efforts for 
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