were at least as essentially national as | genius has made the most of the mateany of their confrères. They went in rial. There is no background of snowy by preference for what was exception- mountain or foreground of sunlit scene. ally and especially Dutch. Naturally But what can be more savage or more they give us colored photographs in picturesque, within its limits, than the abundance of the general features of merry mill-wheels over the rushing the landscape; a broad expanse of stream, breaking in tiny cascades and monotonous flat, with a stretch of canal swirling pools beneath the branches of or a stagnant pool in the foreground, the shattered pines? What can be and steeples or windmills standing out more pathetically dramatic than the against the sky-line. But fully to ap- verdant loneliness of the Jews' burypreciate the characteristic handling and ing-place, with the flat slabs of the the exquisite truth of their effects, we gravestones with their time-worn inmust have walked or driven in the scriptions, among the thickets of bramhalf-submerged islands, — say in Wal-ble with the background of copse? cheren. Walcheren is a verdant cup As for Cuyp, he was the Dutch Claude, or saucer, sunk within the circle by its and to do justice to his genius we must lofty dykes, and perpetually steeped in have travelled in his own country, and water. When it does not rain there, seen it, moreover, under favorable cirit always drizzles; and the heavy dew cumstances. His shapely cattle, neveris impregnated by the saline sea-fogs.theless showing shoulder-blades and The herbage and the very seaweeds ribs, and his comfortable horsemen have tints of the most vivid emerald. in their scarlet tunics, are comparaOr if you would see how the painter passed from the abstract to a romantically suggestive bit of the concrete, you will come upon some sixteenth-century chateau, embosomed in a dense growth of storm-beaten trees, which would be all the better for thinning. As in the parks and woods around the Hague in the autumn, you tread on a thick carpet of fallen leaves, which have been rotting through successive seasons. From brown tiles to basement the house is tapestried with velvety moss; the moat is overspread with a sheet of glossy duckweed. The Dutchman, de- It is a proof of the truthfulness of lighting in the expression of details, these Dutchmen, as well as of the conhas rendered all that with microscopic | servatism of Holland, that their picfelicity. When we consider the de- tures are faithfully reflected in the life pressing atmosphere he inhaled, we of the present day. Railways and wonder at the exhilarating lightness of steamers have facilitated communicahis touch. But the most brilliant pro- tions, but have scarcely changed manfessors of landscape seem to have ners and customs. It is not only in wearied of that out-of-doors cabinet- the little fishing community of the work. Ruysdael and Hobbema must island of Marken, or in the dead cities have sought for subjects in the more of the Zuyder Zee-which, by the broken country of eastern Utrecht or way, are again beginning to awaken to in secluded nooks among the sedgy life-that you see the old rich and meres of Friesland. Necessarily there quaint costumes, or the quaint old cotis no such sublimity in their scenes as tage interiors with their wealth of in the savage Apennines of Salvator pottery and wood-carving. As the Rosa, or in the glowing landscapes steamer takes a turn backwards at a of Claude Lorraine or Poussin. Yet quai, the figures of the little crowd, in

tively common and conventional. But neither Claude at his best, nor Turner when he sought to rival Claude, ever surpassed Cuyp when he steeps the Dutch mists in the mellow warmth of a vapory sunshine. The struggle of the sun, though just falling short of success, pervades everything, and misses no opportunity. Each landscape is inspired by cheerfulness within the limits of credibility, though the pale luminary that irradiates the mists from the Dogger Bank would cut but a poor figure at Palermo or Cairo.

its cumbrous, work-a-day dress-in the | itable Velasquez as a painter of sujets many-buttoned jacket or bodice, the de genre, and he is noways inferior to balloon-like breeches and petticoats, the Spaniard in brilliant versatility. and the sabots a world too big for the Rembrandt is the glory of the Dutch sturdy feet-might have stepped out school, and he has found a critic and of some canvas by Teniers. The biographer who does his genius justice. groups in the village gardens watching Our article has been suggested by the the skittles from behind their beer- magnificently illustrated work by M. jugs, or the gapers looking on at the Emile Michel, which has been brought horse-shoeing at the forge, might be out by the Libraire Hachette, with all the ancestors immortalized by Brouwer the adventitious luxury of type and or Ostade. Only nowadays we are apt binding. M. Michel has devoted himto miss the long churchwarden pipes, self to the elucidation of his subject which are being replaced by rank and with an enthusiasm and industry bemalodorous cigars. It is true that in youd all praise. Years ago he had the towns the dresses have been mod- written a monograph on the artist, ernized. But there is no mistaking the which has been expanded into a portly old Dutch type of features; for few and sumptuous quarto. Since then he nations have intermarried less with has visited all the public galleries of the foreigner, and the latest family Europe, as well as many private collecportraits in some of the civic private | tions. He has explored unknown portcollections show resemblances to the folios filled with the author's sketches old burgomasters that are almost ludi- and etchings. He has ransacked all crous. We know not whether those the accessible literature in print or practical and worldly minded men of manuscript relating to the painter. genius would have been more delighted | And as the result, not even Rembrandt or disgusted could they have foreseen himself ever brought a striking subject the future. Some of them were hard- into more effective relief. M. Michel's working husbands and fathers; others Rembrandt is the grand central figure were gay Bohemians, indulging freely on a broad canvas which conjures up in the rough joviality they depicted. the Holland of the first half of the But almost all had to struggle hard for seventeenth century. The Dutch Vea decent livelihood and a respectable lasquez, his genius was as versatile as appearance. They were frequently that of the immortal Spaniard. Like patronized by the guilds and the rich him, he not only excels in the spirited householders; they were grateful for fidelity of his portraits, but shows a an invitation to a good dinner; they most masterly and humorous command were seldom or never honored by mu- of sujets de genre. As for his landnicipal dignities; their greatest pictures scapes, they seem to deserve even fetched moderate prices, and many higher praise than has generally been were given away for a mere song. given. For we may remark, by the While they lived they found no foreign way, for the benefit of those who have patrous, and it was only an exception not travelled in Spain, that Velasquez which proved the rule when Rem- as a landscape-painter is only to be brandt was flattered by commissions studied and appreciated in the gallery from the stadtholder. Now those of Madrid. Every one is familiar with Dutch cabinet paintings are among the engravings of his "Meniñas " and priceless gems of every famous gallery "Hilanderas;" but so far as we know, in Europe. The blacksmith and the no one has thought it worth while to boor divide admiration with the Vir- reproduce the sylvan enchantments of gins by Raphael and the Madonnas by his "Gardens of Aranjuez.” Murillo. As a master of portraiture To return to Rembrandt; his life, Rembrandt holds his own against the his rise, and his triumphs are a repretriumphs of Vandyck, Titian, or Velas-sentative illustration of the difficulties quez. He scarcely yields to the inim- with which the early Dutch painters

had to contend, and which those who | brandt and taught him invaluable leswere gifted with genius nobly sur-sons. It is extremely likely. The mounted. Like most of his contempo- career of Lucas had been brilliant as it raries and successors, he was humbly was brief. As Rembrandt was to do, born. The Dutch had always a keen he began young, worked hard, suceye to the main chance, and the sons ceeded early, and lavished his genius of wealthy families, imbued with the in extravagances, which landed him hereditary prejudices of the mercantile prematurely in difficulties. Nor had caste, would never have dreamed of Rembrandt lost his time when he turning Bohemians and trusting their shirked his classes. When he played fortunes to the hazards of the brush. truant, he loved to wander in the enRembrandt was the fifth child of a virons of the city, among the peaceful miller of Leyden, who was blessed with scenes which had a charm of their a large family. Like so many other re- own, and which stirred the fancy of a markable men, he was fortunate in his patriotic Hollander. His own genius mother. She appreciated his talents, developed itself less precociously than and was specially solicitous as to his that of Lucas. He was ambitious in religious instruction. No doubt that his subjects as Clive Newcome, when subsequently influenced him greatly Clive painted his grand battle-piece of and as we shall see, not always to the Assaye; and all M. Michel - who is advantage of his reputation-in his better acquainted with them than we strong partiality for Biblical subjects. are can say for those productions is, But the atmosphere in which he was that they contain precious indications brought up must inevitably have biassed for the critic. But the artist's natural him in the same direction. The heroic good sense made him retrace his steps Leyden of the memorable siege was in the mean time. When he could invited to ask a boon of the grateful afford the leisure, he again launched stadtholder. The half-ruined citizens, out upon sacred subjects; but now, for in place of a money grant or a remis- a time, he shook himself free from the sion of taxes, preferred to apply for the seductions of the Delilahs and Susanfoundation of a university. So trans-nals, and fell back upon portraits and formed, their town not only became a the subjects which surrounded him. school of the arts and sciences, but a He enjoyed few advantages; he had great theological centre. The worthy no professional models, for Leyden, miller sent his son to college, where unlike Amsterdam, though it turned the education was sufficiently cheap. But the youth scarcely repaid the money expended upon him, and among the precocious evidences of his special genius was neglect of his regular studies. On the other hand, he soon began to make himself a domestic nuisance by sketching the members of his family à tort et à travers. Latterly, as they began to recognize his powers and take encouragement from the gulden with which he was rewarded, his par-auto- pictorial studies in existence. ents resigned themselves to sit with the best grace in the world, and so their faces are continually reappearing in all manner of characters and disguises.

out an extraordinary proportion of eminent artists, did not then possess a school of painting. But he set himself seriously to self-education, and laid violent hands on all accessible subjects. The wealthy miller had indulged in the luxury of looking-glasses, and so the young artist could always paint himself. To that early necessity, which became a habit, we are indebted for perhaps the most interesting series of

The first of them shows us a raw Dutch youth, with heavy features and dreamy eyes in deep shadow, with a shock head of luxuriantly curly hair, which M. Michel suggests that the works of might have done credit to Samson beLucas of Leyden, which were among fore the clipping. Yet the sketch is the glories of his native town, may doubly interesting and significant; for have stimulated the ambition of Rem-in the harsh contrasts of its strong

shadow and light, it is the forecast of domestic were on the most magnifithe favorite manner which became cent scale. His person is draped in almost a trick of his art. There are sumptuous robes, eminently unsuited precisely similar characteristics, but to that sultry climate; he shades his with a display of marvellous progress, swarthy countenance with a Dutch in another portrait, executed when he umbrella, and he is escorted by splenmay have been twenty-three. The didly appointed guards. The captain features have fined down, the locks are of the troop is a gay and glittering cavtrimmed; he wears the black surcoat alier, who ought to have worn the and falling collar of a well-to-do young spurs and belt of chivalry. The party burgher; but, above all, the lights had come upon a solitary pool or water and shades are managed with far brook after a weary march through greater delicacy. His powerful treat- thirsty deserts; but the luxuriant vegement of the chiaro-oscuro still obvi- tation overhanging the limpid wave ously leaves something to desire, but it might have been nursed in the dripping has all the promise of the perfection fogs of the Dutch flats. It is hard to it was destined to attain. conceive a quainter combination of the There were other aspiring young fantastic, uneducated, and untravelled painters in Leyden at the time; the imagination with the deep-seated inbest known and most distinguished was stincts of Dutch realism. Yet, as we Lievens, for Gerard Dou was consid-said, it is eminently characteristic. For erably younger. Much of the more the artist, when many orders had made ambitious work in which Rembrandt him affluent, sought to inspire himself, indulged has disappeared. We cannot believe that those grand canvases are much to be regretted, but it would be interesting to know what became of them. Probably they were consigned to the family lumber-room; but had the shrewd Dutchmen surmised the future of the famous master, we may be very sure they would have been carefully preserved. We have said that their suppression is not to be regretted, because, strangely enough, we It is to that early period, ere he had know exactly what they were. Among left Leyden, that we owe many of his Rembrandt's comrades was a certain cleverest etchings and sketches. He Van Vliet, who had little talent but a had to draw upon fancy for his high sufficiency of good sense. He soon priests and magi en grande tenue, but resigned himself to the conviction that everywhere he found studies in abunhe had no originality, and gave up dance for his tramps and beggars. painting to devote himself to engrav- The devastated Netherlands were long ing. As an engraver he was clever in recovering from the consequences and extremely faithful, and many of of the war; and the streets of Leyden the lost works of Lievens and Rem- swarmed with mendicants and crippled brandt survive in his very admirable old soldiers. Rembrandt dashed them etchings. Already we note the delight down and scratched them in, in every in gorgeous decoration which charac-attitude and in all conceivable circumterized the later pieces by Rembrandt. stances. Those grotesque and hasty He made choice for the most part of studies in the manner of Callot, as they the conventional subjects which were indicate his quick appreciation of the much in favor with devout Catholics. humorous, gave his hand a marvellous One of these was "Philip baptizing the facility. Some of them do him no Eunuch." The travelling arrangements great credit from a moral point of of the queen of Ethiopia's confidential view. The Dutchmen of the day were

like Balzac, with a collection of costly properties. Even in the indulgence of a prodigal fancy, he would still be realistic. He surrounded himself in his studio with rich Venetian hangings and rare Eastern carpets; he decks the object of his adoration in a profusion of gold and gems; and then he reproduces the very texture of the finely woven fabrics, and the flashes and the colors of the glittering stones.

not over-refined, and were tickled by | prostitute, and engaged at the street the broadest and coarsest humor. Nor, corner for the purposes of the studio. although the practice which they gave paid him well in the end, did the sketches turn to gold in the mean time. His reputation was increasing fast, but his art was far from remunerative.

and we

In fact, the close obsequiousness of the study is literally stamped by the impression of the garter on the leg of the goddess. By far the finest of his many mythological pictures is the "Rape of So he took a bold resolution and re- Proserpine." The subject lends itself moved to Amsterdam. The great city happily to the artist's powers, on the Zuyder Zee was already growing may say that he shows himself at home rich again. The banks already trans- in hell. The shrinking Ariadue in her acted the business of western Europe; robes of white is really a subsidiary the bourse was crowded with mer- figure. What strikes us is the fiery chants, who did business with all quar-love or passion of the Prince of Tartaters of the world. Ships from the rus, as he throws the reins over the Dutch colonies discharged their cargoes necks of his infernal coursers, the of silks and spices at the doors of contrast between the smiling plains of stately mansions, which the owners Enna, under the Sicilian sun, and the loved to embellish. Syndics and burgo-gloom and bleak desolation beyond the masters perpetuated their features and stream of the Styx. Yet even in the those of their wives and daughters blooming vale of Enna we never leave in the family portrait-galleries. The Haarlem behind; and the flowers guilds and the civic corporations had which the beauty has been gathering become patrons of the arts, though for the banquet are the Dutch tulips probably they drove hard bargains, and and ranunculuses and corn-flowers. took every legitimate advantage of the The most masterly and perhaps the necessities of a rising artist. But it is most famous of all his paintings is the to that period we owe some of the most famous "Lesson of Anatomy," which brilliant of the works that hung upon is one of the glories of the Hague Galthe walls of the ill-lighted old Treppen-lery. At that time the Dutch schools huis, with its creaking wooden stairs, of medicine were already renowned; and which have since been transferred and assuredly their alumni must have to the new National Museum. And it is by comparing Rembrandt there with his contemporaries and scholars that we can come to a very definite conclusiou, and pronounce him the incomparable master and lord paramount of the Dutch School. Yet still in his passion for the realistic he illustrates the con-onstrations drew crowds of amateurs as fines of his genius. Imagination can never carry him far into the regions of the ideal, and his imitation of what he sees before him is almost servile. It is certain his reputation will never rest on his conception of the graceful shapes of classical or Scriptural beauties. His fair Susannah, emerging from the bath, would never have tempted anybody but matter-of-fact Dutch elders, who worshipped the substantial. Still less attractive is the chaste goddess Diana, who, in the ungainly attitude and the stolid expression of the face, gives us the idea of a peasant woman turned

had ample opportunities for surgical and medical practice during the wars. They carried a certain coquetry into the arrangement of their anatomical theatres, and Rembrandt and others have made us familiar with all the unpleasant technical details. The dem

well as professional students; and the subject lies extended on a slab in the centre, surrounded by the cushioned circular benches, rising tier over tier. The walls are embellished with skeletons of men and horses and various anatomical preparations. These pictures, unpleasant or revolting in themselves, and rather resembling architectural drawings, are chiefly interesting as indicating the wealth and popularity of the medical guilds. The "Lesson of Anatomy" is of a different order altogether. The dignity of the treatment is as remarkable as the vigor of