gradations are assisted by the introduction of figures by Jan Lingelbach, and other contemporary artists.

N.

DROST. An artist known by this name, with various initials prefixed, and sometimes called Van Terlée, was a scholar of Rembrandt, and imitated his works in a coarse manner, but with sufficient spirit to mislead the inexperienced. His name is seldom found on pictures, as they sell better without it. There is the same uncertainty about his birth as his name, some placing it in 1625, others in 1636, and 1638, and his death in 1690. As he went to Italy after he left the school of Rembrandt, he probably improved his style, for Smith says there is a capital picture by him in the gallery at Hesse Cassel.

SAMUEL VAN HOOGSTRAETEN was a scholar of Rembrandt, and acquired some reputation as such, particularly in portraiture; but he afterwards adopted the style of De Hooge, and was still more successful. He possessed great versatility of talent, and painted almost every class of subject with ability. See Imitators of Peter de Hooge.

ARNOLD DE GELDER was born at Dort in 1645, and received his first lessons in art from his townsman Hoogstraeten; he afterwards entered the school of Rembrandt, and became one of the ablest imitators of his style in composition. He painted portraits and historical pictures; in the last he follows his master with servility in colour and execution, but without his vigour and animation. His pictures, when cursorily viewed, are, however, apt to deceive, but a close inspection dissipates the illusion. On the whole, he may be considered a good painter, and were it not for his too servile imitation he would hold a much higher rank than he does. He died at Dort in 1727.

JAMES LEVESQUE is mentioned among the pupils of Rembrandt, but he produced nothing to justify the supposition. CHRISTOPHER PAUDITZ, born in Lower Saxony in 1618, was a scholar of Rembrandt, and did credit to the school. When he had completed his artistic education he returned to his own country, and pursued his profession successfully. He painted fancy subjects and portraits, and the galleries of Dresden and the Belvidere possess some clever examples, as also that of Munich, and several other principal cities of Germany. It is supposed that he died in 1666.

JURIAN OVENS was educated in the school of Rembrandt, where he became a good colourist, and acquired a competent knowledge of chiaroscuro. The subjects in which he most excelled were conflagrations and scenes by torch-light. He was also a good painter of portraits, and in some of his historical pieces imitated the vigorous style of his master. It is said that he was born at Amsterdam in 1620, but there is a portrait of him with the date 1666, anno ætatis 66. He was in the service of the Duke of Holstein in 1675, and died in 1678. See Moonlights and Conflagrations.

NICHOLAS MAES. See the article.

HEYMAN DULLAERT was the son of a picture dealer, and was placed in the school of Rembrandt, where, after a time, it is said that he painted several pictures so closely resembling the style of his master, that they were sold as such. His pictures are generally of the cabinet size, either history or portrait, and are painted in a broad smooth manner, and have harmony of colour and good effect of light and shade, but not the richness and transparency of Rembrandt's. He was born in 1636, and died in 1684.

LEONARD BRAMER is frequently quoted as a scholar or imitator of Rembrandt, but there is reason to doubt that he was either. It is true that his colouring, light and shadow, and even handling, remind the observer of Rembrandt, but not only was Bramer ten or twelve years older than Rembrandt, but he spent the greater part of his life in Italy, where he went when young. He painted small historical subjects, in which he introduced gold and silver vases elaborately imitated; conflagrations and caverns with light entering from above; all these were executed at Venice before he could have been acquainted with the works of Rembrandt. The portraits often attributed to him are probably by some imitator or young scholar of Rembrandt; they are not worthy of Bramer. He was born at Delft in 1596, but the time of his death is uncertain.

JAN VICTOR, OF FICTOOR, is also quoted among the scholars, or rather imitators, of Rembrandt, but there is so much uncertainty in all that relates to the Victors, (there being several of the name, all painters,) that it is thought better to refer the inquiring amateur to the annotations to the article Victor in the enlarged edition of Bryan's "Diction

ary

of Painters and Engravers," than to enter into a dissertation here.

GODFREY KNELLER, it is said, was, for a short time, a scholar of Rembrandt, but his works show no evidence of it. CHRISTIAN WILLIAM ERNEST DIETRICH, the skilful imitator of every Dutch or Flemish master worth imitating, holds a distinguished place among those of Rembrandt; but however near he approaches to him in the treatment of the subject, there is an opacity in his colouring, and a want of freedom in his handling, that betray the imitator, when compared with the genuine works of Rembrandt. Translate his imitations into prints, and they will pass as being from subjects painted by Rembrandt.

J. DOMER, or DOOMER, a Dutch artist born in 1647, imitated the manner of Rembrandt in his drawings, and perhaps in his dark paintings in oil, which have lost their name. His compositions are simple and true to nature, but are seldom recognised, except in his drawings.

ROLAND ROGHMAN, who was ten or eleven years older than Rembrandt, painted landscapes that have a strong resemblance to some of the latter; but they are coarser in the penciling, and less scientific in the chiaroscuro, and time has destroyed the transparency of the colours, if they ever possessed it: the composition alone recommends them. He made many designs of chateaux and other buildings in Holland.

HERCULES SEGERS, or ZEGHERS, if not a pupil, was a great favourite of Rembrandt, for there are six of his landscapes enumerated in the inventory of Rembrandt's effects taken in 1656. There is much of Rembrandt's manner in the ordonnance, colouring, and chiaroscuro of his pictures. His landscapes in oil are generally bird's-eye views, free in the execution, and in a low but clear tone of colour; in others, where he introduces cattle and figures, they resemble the penciling of Vanderneer. They do not appear to be recognised in England, for there is one in a public gallery, where it has been for many years, under a different name. See the article Segers in the enlarged edition of Bryan's "Dictionary of Painters and Engravers."

GERARD VAN BATTEM is supposed to have been a pupil of Rembrandt, as some of his pictures have a striking resem

blance to his style, though the subjects are different. He painted mountainous landscapes with banditti, travellers, stag-hunts, &c. He flourished from 1650 to 1700.

ADRIAN VERDOEL, born in 1620, was a scholar of Rembrandt, and followed the principles of his school, but was more correct than many of his fellow-pupils in his designs, and more elevated in his compositions. In harmony of colouring, and the science of chiaroscuro, he is not only inferior to his master, but to several of his scholars. Before entering the school of Rembrandt it is said that he had received lessons from Leonard Bramer, whence it may be inferred that he had been in Italy, which will account for his superiority in design and composition. He died at Flushing in 1681.

GERARD DE WET, who painted portraits and landscapes, imitated the manner of Rembrandt, and was a good colourist. He was born at Amsterdam in 1616, and died in 1679.

JAN, or JACOB, DE WET, or WETH, painted small Scriptural subjects, in which he imitated the manner of Rembrandt. It is probable that he was only an imitator, and not a scholar, as he was a picture dealer, and lived at Haerlem. If he be the same Jan de Wet who drew attention to the superiority of the pictures of Philip Wouwerman over those painted by artists who had studied in Italy, he deserves to be remembered for his critical discernment, if much cannot be said in commendation of his artistical performances.

ANTHONY VAN DYCK.

THIS very distinguished portrait painter was the son of parents of considerable property, who resided at Antwerp, and was born there in 1599. His first instructor

in painting was Henry van Balen, an artist of eminence, whose pictures are remarkable for suavity of colouring, and the beauty of the female and infantine figures. He remained under the tuition of Van Balen for about two years, in which time he made more than the usual progress of students of his age, and imbibed much of the delicate manner of his master, both in character and colour, as may be observed in several of his historical compositions. The bolder style of Rubens, however, and his high reputation, induced

Van Dyck to solicit admission to that school, which he entered in his sixteenth year. His talents and acquirements were soon discovered by Rubens, and he became one of his favourite pupils. The genius of Van Dyck developed its powers with great rapidity, and the master found in the scholar an able coadjutor. He remained with Rubens about five years, and then by his master's advice, and probably his own inclination, made a journey to Italy. An amorous incident retarded for a short time his progress thither, which is not to be regretted, as it furnished a bit of romance founded on fact, that has enlivened the dry details of the painter's history; produced two fine historical pictures, Saint Martin dividing his cloak with a beggar, and a holy family, containing the lady's portrait as the virgin mother; and elicited the generous anxiety of Rubens for his pupil's welfare. As the circumstances are related in the enlarged edition of Bryan's "Dictionary of Painters," they need not be repeated here. On his arrival in Italy he was delighted with the works of the great masters of the several schools, particularly the Venetian, and made partial sketches of their works, to which he annexed remarks on their peculiar excellences either in drawing, colouring, or composition. By these studies he divested himself of much of the Flemish manner, and attained that more refined air so conspicuous in all his future productions, whether in history or portraiture; but the reputation he acquired in the latter compelled him to devote almost the whole of his after-time to that department only. It need not be regretted, for his portraits are truly historical; they preserve the genuine likenesses of many of the most eminently distinguished persons of his time, whether for station or talent.

After some stay at Venice he went to Genoa, where he remained about three years, entirely occupied in his professional pursuits, except such recreations that a mind like his might require. He painted numerous portraits, as well as sundry historical compositions, but many of the former have the brown tone peculiar to the Genoese painters, and having become still more darkened by time, they are not so prized as those in his Venetian or Flemish manner. From Genoa he I went to Florence, and to Rome, and then produced some of the most glorious efforts of his pencil. Having gratified his

I