de Richelieu-a full face and two profiles, in one frame-painted for the Roman sculptor Mocchi to make a bust from.

Jacobus van Artois, frequently called Jacques d'Arthois (1613-1684), was a popular landscape painter of this period. He frequently worked in

BY TENIERS THE YOUNGER.

conjunction with wellknown figurepainters.

Bertholet Flemalle (1614

-1675), of

Liége, first

turned his at

tention toward music, which he soon abandoned in favor of painting; he was according

ly apprenticed

to Gérard Douffet, an ar

tist of secondrate ability. He painted at Italy and at Paris, but principally in his native Liége. Flemalle's pictures present a mixture of the

Roman and the

French classic school; his his

toric pieces are especially in the style of the latter. His native

city possesses several of his best works. Anton Frans van der Meulen (1634-1690) was appointed by Louis XIV. court-painter, with a salary and apartments at the Gobelins; and he became one of the greatest historiographers of that monarch. His pictures are veritable annals, as interesting as those of St. Simon. It will suffice to mention among the

which he never recovered. Lairesse's works are executed in a classic style, with much ability.

Cornelius Huysmans (1648-1727) was a good landscape painter. The forest of Soignes, near Brussels, was his favorite resort for study. He occasionally introduced cattle in his works, which are noticeable for their powerful drawing and good color.

Jean François Millet (1642-1680), and his pupil. Pieter Rysbraek (1657-1729 ?), were both imitators of the style of Gaspard Poussin, whom we shall come across when we read of the French School.

Jan Frans van Bloemen (1662-1740), brother of

BY HALS. IN THE HAARLEM MUSEUM.

ish art was for a time forgotten; nor did it revive until the time of the French painter David, and his school, who, to some extent, reanimated it. For many years there were no artists of great original power, until, in the present century, a new master arose, who returned to the traditions of the early Flemish masters, and created a new school, which seems destined to be lasting and of much importance.

Jean Auguste Henri Leys (1815-1869) was intended for the Church, and received an education befitting that profession. But his early pronounced love of art prevailed, and in 1830 he entered the

studio of his brother-in-law,

Ferdinandus de Braekeleer (1792-1839). Three years later, Leys produced a picture of a Combat between a Grenadier and a Cossack, which was exhibited at Antwerp; and, at Brussels, La Furie Espagnole, a work which excited much criticism. Henceforth a brilliant career was open to him. Commission followed commission, and honor followed upon honor. To the Paris Exhibition of 1855, he sent Les Trentaines de Bertel de Haze, La Promenade Hors des Murs, and Le Nouvel An en Flandre-for which works he received a medal of honor. In the London Exhibition of 1862, appeared, among others of his works, parts of the series of pictures executed for the town hall of Antwerp, illustrating the Freedom of Belgium-a work which is well known in England, as the greater part has been exhibited in the French Gallery, Pall Mall. The manners and customs and life of his own city in the Middle Ages live again on his canvas, treated with a hard distinctness that recalls mediæval paintings. Learning, power, and skill, are so combined by him with genius, that his quaint original work took a high place during his life, and seems destined to exercise a lasting influence.

Gustavus Wappers (1803-1874) was influenced, first by the works of Rubens and Van Dyck, and subsequently by the Romantic School of Paris. His picture of The Self-devotion of the Burgomaster of Leyden, exhibited in 1830, made for him a reputation which his works amply justified.

Eugène Joseph Verboeckhoven (1799-1881) the animal painter, is as popular in Belgium as Sir Edwin Landseer is in England. His works, executed with great truth to nature, frequently represent sheep; examples have been exhibited in England from time to time.

Turning now to Holland, we find the Dutch School no longer an offshoot of that of Flandersoccupying in the middle of the seventeenth century an important independent position, its masters painting chiefly familiar subjects of every-day life, landscapes, sea-pieces, and battle-scenes-large historic and allegoric compositions being seldom attempted.

Before we come to the great Dutch Revival under Rembrandt, we must notice one master who, when regarded historically, stands almost alone.

Frans Hals (1584-1666), the celebrated portraitpainter, is supposed to have studied under Carel

van Mander, the painter and historian. In 1611 he was in Haarlem; and in that town he passed a not too reputable life, and there his best works are still to be found.

Whatever Hals's private life may have been, few painters have equaled him in his branch of art. He stands pre-eminent among the Dutch portrait-painters. Among the best of his paintings we may mention the Portrait of himself and his wife Lysbeth, in the Amsterdam Museum; a Young man with a flat cap, and Two Boys singing, both in the Cassel Gallery; the Banquet of the Officers of the Civic Guard, and the Regents and Regentes of the hospital, in which he died, painted when he was eighty years of age, all in the Haarlem Museum; a Portrait of Hille Bobbe, of Haarlem, in the Berlin Museum; and lastly, three portraits in the Dresden Gallery. Numerous good pictures by Hals are in private galleries in England. Sir Richard Wallace has, among others, a fine Portrait of a Cavalier: and a Portrait of a woman by him is in the National Gallery.

Frans Hals had five sons, all of whom were painters, but none of them rank above mediocrity. We must, however, mention his brother Dirk Hals (15891657), who studied under Bloemart, and painted in early life animals and hunting scenes; subsequently he changed his style for genre subjects. A Convivial Party by him is in the National Gallery.

REMBRANDT AND HIS PUPILS.

The tendency of the Dutch School had always been realistic, and in the period under review this tendency found its highest development, and was carried up to quite a noble range of art by Rembrandt van Ryn, a master who changed the school, and raised it to the high position it so long held.

Rembrandt Harmenszoon van Ryn was born at Leyden in 1607. He was first a pupil of an unimportant artist, Jacob van Swanenburch, with whom he remained three years; he then studied under Lastman at Amsterdam, and Jacob Pynas at Haarlem. In 1630, the year in which he painted his earliest known oil-picture-the Portrait of an Old Man, now in the Cassel Gallery-he was so far advanced in art that he left Leyden, where he had been living since the completion of his education, and established himself as a painter at Amsterdam, in which city he thenceforth resided. He gave himself up, like Teniers, to the instruction of his

pupils, rather than become a friend of princes and nobles, like Rubens or Van Dyck. In 1632 he produced the celebrated Lesson in Anatomy; and two years later he married Saskia, the daughter of Rombertus Ulenburch, burgomaster of Leeuwarden. Saskia was the wife whose portrait he loved to paint, though not to the same extent as he did his old mother. The Dresden Gallery has the beautiful and justly famous picture of Rembrandt with his Wife on his knee; and in the Cassel Gallery is one of Saskia alone. Saskia died in 1642, and Rembrandt married, again, about

1653, to Hendricktie Stoffels. Catharina

van Wyck is usually said to have been his third wife. This has recently been shown to be an error, arising from a mis-reading of the marriage register; and Rembrandt, therefore, so far as we know, was married but twice. He continued to paint at Amsterdam till his death in 1669. Rembrandt

ex

celled alike in every style, and treated,

with equal felicity, the noblest subjects -such as Christ Healing the Sick-and

tic life of the home-loving Dutch people. The want of feeling for refined physical beauty with which he, in common with all his countrymen, has been charged, is perhaps to some extent to be accounted for by his intense sympathy with the people with whom he was brought in contact-a sympathy which enabled him to catch and fix a likeness on canvas or on copper with the fidelity of photography without its coldness. That he was not without the power of appreciating spiritual elevation of sentiment is proved by the pathos of some of the heads in his

the most homely scenes, such as a cook tossing her cakes in a pan. His works are principally remarkable for perfect command of chiaro-oscuro, picturesque effect, and truth to nature. He combined the greatest freedom and grace of execution with thorough knowledge of all the technical processes alike of painting, engraving and etching. The effects of light and shade in his etchings have never been surpassed; and he has been justly called the Dutch Correggio. His landscapes and sea-pieces are vividly faithful representations of the inhospitable North, with its dull level stretch of ocean and dreary shores; while his interiors give us lifelike glimpses of the domes

Descent from the Cross, in the Pinakothek, Munich, and in a similar subject in the National Gallery.

Of his numerous works we can only name a few of the most celebrated. The Lesson in Analomy, in the gallery of the Hague-representing the dissection of a corpse by a celebrated surgeon of the time, the Professor Tulp, before seven other doctors -is universally considered the most excellent work of the master's earlier period.

In the Museum

of Amsterdam is the celebrated Sortie of the Frans Banning Cock Company. This famous picture, which contains twenty-three persons of life-size, represents a platoon of the civic guard-officers, soldiers, standard-bearer, and drummer-starting to patrol the streets of Amsterdam. It is usually called, in error, the Night Watch; the scene is in daylight. But the popular misnomer arises from the luminous and transparent tints, the great effects of light and shade, which seem produced by an artificial light rather than by the sun.

Another picture by Rembrandt in the Amsterdam Gallery, the Syndics of the Staalhof (the Cloth