groveling. It is to be regretted that an artist of talent, which he certainly was, should have debased the art by embodying such exhibitions of the depravity of human nature, in compliance with the vitiated taste of those who employed him. That he was encouraged by amateurs of the day may be concluded from the avidity with which his pictures were purchased, and the great regard with which they were preserved. His touch is light, free, and spirited, and his colouring rich, soft, and transparent; the chiaroscuro masterly, and the perspective unexceptionable. His pictures are still highly appreciated in Holland, and are rarely seen elsewhere. He lived in the middle of the seventeenth century.

BOON, DANIEL, a Dutch painter, who was in England in the time of Charles the Second, and painted low revels. He might have made a good caricaturist if he had possessed a higher notion of satirical or comic humour; but his judgment was so depraved that he only made deformity more disagreeable, and ugliness more disgusting, by the low vulgarity of the actions, and the distorted grimaces of the actors: in other respects he showed some talent. He died about 1698.

BREDA, ALEXANDER, or PETER. These names, there is reason to suppose, are applied to an artist who painted Italian views, fairs, markets with cattle and figures, kermesses, and various other subjects, in which he frequently imitated the manner of Breughel. He was born at Antwerp in 1630, travelled in Spain and Italy, and on his return to his own country in 1691, was made director of the Academy at Antwerp, and was living in 1700.

BROERS, N -, painted fairs, village pastimes, and boorish frolics in a natural manner, with great truth in the expression of low humour, suitable to the characters, which are truly Dutch peasants in manners and dress. His figures are skilfully grouped, his penciling free, and his colour pleasing. His pictures indicate that he lived about the middle of the seventeenth century, but there is no account of him by the Dutch writers.

CARRE, FRANCIS, was an excellent painter of landscapes, with village festivals; but his works are little known out of his own country, and there are but few particulars of him recorded. He was born in Friesland in 1636, (some say 1630,) and died at Amsterdam in 1669.

DROOGSLOOT, JOOST CORNELISZ, was eminent in landscape and portraiture, and painted village scenes and kermesses, which have been commended by competent judges; the amateur must therefore not confound him with the painter named in the next article. He was a native of Utrecht, and was received into the Society of Painters there in 1616, and was living in 1666.

DROOGSLOOT, NICOLAS, was born at Gorcum in 1650, and is said to have been a scholar of Hendrik Mommers; if so, he deviated widely from the manner of his master. He painted fairs, markets, and village revels with numerous figures, all very vulgar and disagreeable, and coloured in a dull, heavy, monotonous tone. The landscape part would be respectable enough were it not for these defects in the colouring. It may be surmised that the praise bestowed on Nicolas by some writers, is in reality due to Joost Cornelisz Droogsloot. Nicolas died in 1702.

GOEBOUW, or GOBAU, ANTHONY, born at Antwerp in 1625, was a versatile and excellent artist. He painted village festivals and merry-makings in the manner of Teniers and Adrian Ostade, but not as an imitator; also Italian market-places and seaports, with large assemblages of persons of various grades, in the style of Lingelbach. His pictures are composed with great skill, full of vivacity, and excellent in colour. He died in 1677.

HALS, DIRCK, or THEODORE, the brother of Frank Hals, was born at Mechlin in 1589; he studied under Abraham Bloemart, and became a good painter of animals and huntings; but he quitted these subjects for village fairs, merrymakings, and drolleries, which he represents with considerable humour, and a nice display of colour. He died in 1656.

HALS, NICOLAS, the youngest son of Frank Hals, painted villages with groups of figures and cattle. His pictures are scarcely known out of his own country.

HELMBRECKER, THEODORE, was a native of Haerlem, born in 1624, and received his first instructions as a painter from Peter Grebber, but perfected himself at Venice and at Rome. He painted sacred history with great applause, but he could accommodate his pencil to almost any subject. He at one time adopted the style of Peter van Laer, (Bamboccio,) and painted mendicants at the gates of convents, fairs, con

versations, and troops marching; landscapes with cattle, and other compositions similar to his type; in all of which he displayed ingenuity, taste, and mastery of execution in drawing, distribution, purity of colouring, and a light, free, and firm pencil. When he returned to his own country for a short period, several of the most eminent landscape painters obtained figures from his hand to ornament their pictures; they are to be found in Hobbema's; but subjects painted entirely by him in Holland are very rare, all his best being of Italian origin, and not frequently found elsewhere. He died at Rome in 1694.

HELMONT, MATTHEW VAN, was a scholar of David Teniers, and may be found among the analogists of that master; but his penciling is not so free, nor his colouring, though rich, so transparent. He painted merry parties of Flemish peasantry, Italian markets, shops with vegetables and confectionery, and chymists' laboratories. He seldom exceeds the cabinet size, and there are always attractions both in the subject and his mode of treatment. It shows a want of connoisseurship to attribute a doubtful picture by Teniers to Van Helmont. He was born at Brussels in 1650, and died in 1719.

JARDIN, or JARDYN, KAREL du. The exteriors of this master that are not what are denominated cattle pieces, represent charlatans addressing a crowd of rustics, and vending their nostrums; travelling musicians amusing villagers; muleteers and boys gambling; country farriers shoeing horses and mules, and sometimes oxen. These subjects he treats with amazing ability. The mountebank scenes have much humour and variety of character; the muleteers and boys are as desperately intent on their game for pauls as fashionable gamblers in high life are for their stakes of hundreds of pounds, or thousands of francs. The farriers' shops are of great excellence, having a variety of objects in the composition, and much smartness in the execution: these, and the mountebank subjects, obtain a high price when offered to competition in public sales.

See the article Karel du Jardin, under the head of Principal Painters; also under the heads Landscapes, Cattle and Figures, Huntings, &c., and other Alphabetical Classifica

tions.

JORDAANS, or JORDAENS, HANS, born at Antwerp in 1539,

was a scholar of Van Cleef, and painted landscapes, corps-degarde, village festivals, conflagrations, and moonlights. He also painted sacred history in small, in which the style resembles that of the elder Franck. He died in 1599. See Moonlights and Conflagrations.

KESSEL, NICHOLAS VAN, was a son of the younger Jan van Kessel, and born at Antwerp in 1684. He adopted the style of David Teniers in painting out-door scenes. He went to Paris, where he acquired some celebrity by his pictures of village festivals and other merry-makings, but fell into a dissipated and debauched course of life, which impaired his faculties and degraded his talent. His compositions may be known by the freedom in the drawing of the figures, looser than that of Teniers, but very spirited in execution. He died in 1741.

LAAR, or LAER, PETER VAN, generally called Bamboccio, was one of the best Dutch painters of his time; but his subjects are more Italian than Dutch. He went to Italy when young, and there acquired an elevated style of painting, which he exercised on what may be termed low subjects; such as fairs, rural festivals, drolleries, farriers' shops, peasants playing at bowls, and other practices of the lower orders; gamblers, beggars, monks, and robbers; huntings, masquerades, and musical conversations. Whatever he painted became interesting by the masterly manner of the treatment in composition, drawing, colouring, and all the concomitants of a good picture. He was attentive to his landscapes in ornamenting them with the picturesque objects found in the vicinity of Rome, and observant of atmospheric appearances; his perspective is marked by the truest gradations, and his figures and cattle designed with great care and accuracy. His pictures are rare in England; some of Jan Miel's are attributed to him. He was born in 1613, and died in 1673.

LINGELBACH, JAN. This excellent painter shows the versatility of his talents in almost every department of out-door subjects that admitted of interesting and picturesque composition. To notice his varieties would necessitate quoting him under the sections of huntings, battles and skirmishes of cavalry, naval engagements, seaports, Italian fairs, mountebanks surrounded by crowds, markets with cattle, and other

divisions; and also to note the numerous masters whose landscapes he embellished with figures and cattle, suited to the scene, whether wild and romantic, or cultivated and civilized. His handling is free and neat, and his colouring clear, often reminding the observer of Jan Asselyn and Wouwerman; his skies and distances treated with great attention to aërial perspective. He was born in 1625, and died in 1687.

MICHAU, THEOBALD, painted some merry-makings in imitation of Teniers, but they are easily distinguished from the works of that master. See Painters of Small Landscapes with Cattle and Figures.

MIEL, JAN, is best known by his pictures in the manner of Van Laer, consisting of carnivals, gipsies, beggars at convents, monks, banditti, officers of justice, and other subjects, called by the Italians bambocciate; these he represents with much spirit and truth, with a firm pencil and strong colouring, but generally too dark in tone, even to obscurity. The dinginess that appears in many is no doubt the effect of time on some impure vehicle, for in others the colours are rich and transparent. He was a perfect master of his art, but capricious in the application of his powers. See also Field Sports.

MOMMERS, HENDRIK, who is mentioned among the analogists of Karel du Jardin, painted Italian markets, chiefly of fruit and vegetables, which are remarkably pleasing, not only in the characters of the peasantry and the animals that form the groups, but in the rich colouring of the dresses, and the commodities exhibited for sale. As the scene is generally rural, there are none of the disagreeables that occur in the representations of town markets, and the painter increases the beauty by a pleasing landscape, a clear Italian sky, and cool silvery clouds. See also Italian Seaports. MONNICKS, or MONNIX, N. an artist whose works are but little known out of Italy, painted views in and about Rome, particularly the Campo Vaccino, and the principal streets, where there are noble specimens of architecture and remains of antiquity. These places he enlivened with processions and carnival scenes, fruit markets, and popular sports. His figures are correctly drawn and well grouped," but have much of Flemish expression in their countenances.

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