lections. The Print-room in the British Museum has a magnificent series. An early proof-impression of Christ Healing the Sick (known as the Hundred Guilder Print) was sold by auction in 1867 for $5,900. It is, of course, beyond the scope of the present work to enumerate even the principal of the etchings by which Rembrandt is so well known. The marvelous effects of light and shade he obtained with the simple means at his disposal produced wonderful results.

The pupils of Rembrandt-those, at least, who remained faithful to him-only attained an excellence which makes them approach in some degree to their master in portrait painting.

Ferdinand Bol (1611-1681) painted several historic works without much success, but excelled in portraiture. Of his works, his masterpiece, is the Four Regents of the Hospital in the town-hall at Amsterdam. In England we find, in the National Gallery, a Portrait of an Astronomer. Several good pictures by him are in private collections. He was also an engraver.

Jacob Backer (1608-1651) adhered in early life to the style of his great master, Rembrandt. He is chiefly famous for his portraits, but occasionally executed historic pieces.

Philips de Koninck (1619-1689) made for himself a distinct branch in landscape painting. The endless depths of a smooth plain, intersected by alternate shadow and light, was his usual and favorite subject. He appears to have endeavored to give an idea of infinite distance. The National Gallery has a Landscape, and Grosvenor House has fine examples of this master. Lingelbach frequently painted figures in his landscapes.

Govaert Flinck (1615-1660), one of Rembrandt's best pupils, painted historic and genre subjects, and portraits. His best works are an Isaac blessing Jacob, in the Six Gallery at Amsterdam; a replica is in the Museum.

Gerbrandt van der Eeckhout (1621-7674) so far succeeded in imitating Rembrandt's style, that his works have often been mistaken for those of his master.

Jan Victors (fl. ab. 1635-1662), of whose life little is known, painted sacred history and genre subjects. Most of the Dutch galleries contain examples of his art. An Isaac blessing Jacob, in the Dulwich College Gallery, formerly ascribed to Rembrandt, is now catalogued as a work by Victors.

Karel Fabritius (ab. 1624-1654) would doubtless have become more famous had he lived longer. He left very few pictures, and his name is consequently little known. His fine Head of a Man, in the Rotterdam Museum, was long ascribed to Rembrandt.

Samuel van Hoogstraeten (1627 ?-1678) painted portraits, landscapes and still life. Houbraken tells us that he visited England and Italy.

Nicolaas Maes (1632-1693) first painted genre subjects, but on settling at Amsterdam in 1678 gave himself up to portraiture, in which branch of art he was very successful. The Amsterdam Gallery has an Old Woman Spinning, and a Girl at a Window, noteworthy for the beauty of their coloring. In England, the National Gallery has three good examples-The Cradle; the Dutch Housewife, and the Idle Servant, one of Maes's masterpieces. Many private galleries in England possess examples of this

1635, and of the city five years later. In 1661 he entered the Guild of Painters at the Hague and died at Antwerp in 1663. "His treatment of sacred subjects is thoroughly genre; his sense of beauty, as regards form, is not higher than that of Rembrandt; while in depth of feeling, and power and warmth, as

Joris van Schooten at Leyden, and then is said to have been a pupil under Lastman at the same time as Rembrandt, whose influence is to be seen in his works. In 1630 Livens was in England, painting the portraits of Charles I., his family, and chief courtiers. On his return he settled at Antwerp, where he became free of the Guild in

well as harmony

of color, he stands far below him. On the other hand, he is a better draughtsman" (Kugler's "Handbook"). Works by Livens are rather rare in public galleries. A Study of a Head (Rotterdam Museum), a Visitation (in the Louvre), and a Portrait of Joost van den Vondel,

the poet (Amsterdam Gallery), and Abraham blessing Jacob, are among the best. A remarkable picture, The Raising of Lazarus, by Livens, was exhibited by the Baroness North in the collection of Old Masters at the Royal Academy in 1871.

Adriaen Brouwer was born, probably at Oudenaerde, about 1605. Like his master Hals, he has suffered much at the hands of his biographers, who have represented him as a drunkard and the companion of drunkards. Though recent research has

It is sometimes written "de Brauwere " or "Brauwer," but the form given above is the most correct.

not brought many facts to light concerning his life, yet it has done sufficient to prove that he was not quite so bad as Houbraken and Descamps would have us think. Brouwer studied under Hals at Haarlem; then painted at Amsterdam, and subsequently at Ant

werp, where he was received into the Painter's Guild in 1631, and also, in 1634, into the Society of Artists known as "The Violet." He died at Antwerp in 1638, and was buried in the church of the Carmelites.

Brouwer seems to have

delighted in

painting scenes of riot and drunkenness in which he himself took part. His power of color is wonderful, and won for him the admiration of Rubens. His pictures are few and scarce. In the Munich Gallery we find, Peasants playing Cards; Spanish Sol

Gerard Terborch (1608-1681), the painter par excellence of white satin, learned the rudiments of his art from his father, an otherwise unknown painter. Some time after the completion of his studies, Terborch paid a visit to Italy, which had

diers throwing Dice, another picture of the same class, and one of his best, Card-players Fighting. The Surgeon removing the Plaster, in the same collection, is a wonderful work; the agonized expression of the patient writhing under the hand of the stolid doctor, is perfectly life-like.

not, however, the slightest effect on his

style. From
Italy he went
to France, and
thence return-
ed to Holland,
where he be-
came much
honored and
patronized. In
1648 he went

to Münster,
while the pleni
potentiaries of
Philip IV. of
Spain and the
delegates of

the Dutch
United Prov-
inces were as-
sembled in the
Rathhaus for
the purpose of
ratifying the
treaty between
the two coun-
tries. He then

painted his justly celebrated Peace of Münster, now in the National Gallery, which contains

portraits of the person

ages present at that occasion. The National Gallery also possesses one other work by this master, the Guitar Lesson. Terborch may be well studied and appreciated at the Louvre; his Concert, his Music Lesson, and, especially, his Officier Galant, are very fine works, showing the ingenious arrangement,

and soft, but firm touch, which distinguish him amongst the crowd of lesser Dutch painters. Other good works by him are The Letter, in the Hermitage, St. Petersburg; the Young Lady with the Ewer, and the Lady in the Satin Gown, both in the Dresden Gallery; Paternal Advice (Conseil Paternal), of the Amsterdam Museum, of which replicas are in the Berlin Museum and at Bridgewater House.

Adriaan Jansz, van Ostade (1610-1685), studied under Frans Hals, and formed a friendship with Adriaen Brouwer. Like, the latter, he chose his subjects from low life, but he was more laborious and less dissipated, and has accordingly left us more works. Although Van Os

tade's usual subjects are similar to those treated by Teniers, he yet differs from Teniers as Rembrandt differs from Rubens. Teniers treats light in the same manner as Rubens, lavishing it everywhere; Ostade concentrates it, in the style of Rembrandt. His works are chiefly homely scenes from his native country, full of life, spirit, and individuality of character. At Madrid there is a Rural Concert. At St. Petersburg there are about twenty of his pictures, amongst which are three of the valuable series of the Five Senses; at Dresden, among others, two excellent works, a Smoking Scene and a Painter's Studio in a garret, his own, probably; at Munich, another superior work, a Dutch Ale-house, with peasants fighting, and their wives endeavoring to separate and pacify them; at Rotterdam, an Old Man in his Study; at Amster

WOMAN READING.

dam, a Village Assembly; and lastly, at the Hague, two wonderful pendents, the Interior and Exterior of a rustic house. The Louvre has also a good share of the works of Adriaan van Ostade. The National Gallery has but one picture by him-an Alchymist. The Dulwich College Gallery possesses four of his works.

Bartholomeus van der Helst occupies the position

of one of the best portrait-painters of his time, especially as producing a number of portraits in one picture. Almost nothing is known of his life, or teachers; but his works suggest the influence of Frans Hals. He was

born, it is thought, in 1613, at Haarlem, where he passed his youth. He is supposed to have studied under Pynas, and Hals has also been mentioned as his instructor in art. In 1636 he was settled at Amsterdam, where he was the principal portrait-painter, and received larger sums than Rembrandt for his paintings. He died in that city in 1670. It is in the Museum of Amsterdam we must look for the principal pictures of Van der Helst. Here is his masterpiece, the Banquet of the Civic Guard (de Shutters-maaltijd), which occupies a place of honor opposite to Rembrandt's Night Watch. It is dated 1648. "The chief charm of this work consists in the strong and truthful individuality of every part, both in form and color; in the capital drawing, which is especially conspicuous in the hands; in the powerful and clear coloring; and finally, in a kind of execution which observes a happy

BY GERARD DOU.