until this day, many of his portraits pass under the name of Van Dyck; but to the critical observer they want the courtly ease, the animated expression, the refinement in drawing, that are such distinguishing marks in the genuine works of the latter. In 1633 Mytens went to Holland, and was living at the Hague in 1656, but the date of his death is as uncertain as that of his birth.

ADRIAN HANNEMAN was born at the Hague in 1611, and came to England in the early part of the reign of Charles the First, and attached himself to Mytens; but on the arrival of Van Dyck, he adopted his works for models, and all his future portraits showed how much he studied them, and how desirous he was of imitating their beauties; he partially succeeded, and his works are esteemed for such resemblance. Hanneman died in 1680.

JANSONS VAN CEULEN, or KEULEN, supposed to have been born in England of Dutch parents, was patronized by Charles the First, and many of his court, before the arrival of Van Dyck. He painted the portraits of ladies in a style of elegance superior to most of his contemporaries, but improved upon it on seeing those of Van Dyck, with whom he formed a friendship, and seems afterwards to have made them his models. This has been to the injury of his reputation, for it is of rare occurrence to meet with a portrait bearing his name, though he generally put it in full on those of persons of high rank, being either satisfied with the performance, or desirous of having his ability known among them. He was an excellent artist both in design and colouring, but his female portraits have not that beautiful pearly tint in the carnations, that is such a distinguishing quality in those of Van Dyck. It is not accurately known in what year he was born, but he died at the Hague in 1656, having retired thither during the commotions in England, and was employed in painting the portraits of fourteen of the magistrates, in one picture, for the Town Hall, and which bears the date 1647.

HENRY STONE, generally called "Old Stone," was contemporary with Van Dyck, and avowedly a copyist of his portraits, in some of which he was eminently successful, particularly those of the male class; but they have not the dexterity of penciling and transparency in colouring of the

originals, and the detection lies in these defects. Whether it be that "Old Stone" is a favourite, or that his name has become familiar, he has the credit of making more copies than he did; for when an ignorant dealer is posed for the name of an artist for a picture that he would willingly attribute to Van Dyck, if he dared, he thinks himself sufficiently honest in ascribing it to " Old Stone," probably not knowing any other copyist. Henry Stone died in 1653.

JAMES GANDY, a native of Exeter, was born in 1619. It is said that he was a pupil of Van Dyck, but there is no proof of that; the copies he made of Van Dyck's works, and the similarity of style he adopted in his own productions, may have induced the supposition. He was an artist of considerable talent, as may be seen in many fine portraits in Ireland, where, under the patronage of the Duke of Ormond, he painted the principal persons of the viceregal court. At first sight, the name of Van Dyck immediately occurs to the spectator, and a connoisseur will acknowledge that they would do no discredit to a pupil of that master; many, indeed, pass under the name. He died in 1689.

GEORGE JAMESONE, called the Scotch Van Dyck, is named among the imitators of that master. He was certainly a skilful painter of portraits, but the resemblance to Van Dyck is so small, that it is hardly right to quote him as an imitator, or even as an analogist; his manner is of an older time, though he was contemporary. He died in 1644.

M. WEESOP is said to have been a native of Holland; he came to England in 1641. He imitated Van Dyck's manner in portraiture, exceeding well in some portions of the picture, especially in what are called three-quarter portraits of ladies; but though he had a free pencil and a delicate touch, and was a good colourist, the connoisseur readily discovers that they are not by Van Dyck. The death of Charles frightened him from England, for he thought it a great enormity to cut off the head of a king, though by birth he was himself a republican.

ABRAHAM DIEPENBECK is noticed as an imitator of Van Dyck, not as a portrait painter, but in some of his compositions called historical. He was educated in the same school of painting, and had a lively poetical genius, which he improved by studying the works of the great masters of Italy.

This improvement on his Flemish manner is observable in his approximation to that of Van Dyck, which is in some of his finest works so striking that tourists, and others, have attributed them to the latter. Diepenbeck came to England and made the designs for the illustration of the Duke of Newcastle's Treatise on Horsemanship. He died at Antwerp in 1675. See Scholars of Rubens.

ERASMUS QUELLINUS, born at Antwerp in 1607, was a learned man, and professor of philosophy in his native city, but became so enamoured of painting that he quitted his philosophic studies and entered the school of Rubens. As he advanced in the art, the refined manner of Van Dyck's painting seemed more congenial, and both in his portraits and large historical compositions it is pretty evident he made the latter his model, but still retained much of his master's manner. He died in 1678.

FRANCIS WOUTERS, a scholar of Rubens, is mentioned here as having adopted the manner of Van Dyck in his sylvan scenes, embellished with subjects taken from fabulous history.

GILES BACKEREEL, who is mentioned among the imitators of Rubens, may with equal propriety be placed with those of Van Dyck in historical painting.

JAN VAN HOECK, probably a fellow-pupil of Van Dyck in the school of Rubens, was born in 1600. After finishing his artistic studies as a pupil, he went to Rome to improve his knowledge by examining the works of the great masters there. On his return, his abilities recommended him to the emperor Ferdinand, and he was employed in painting portraits of the royal family, and altar-pieces for the churches. He was one of Rubens's favourite scholars, and is said by some writers to have approached nearer to his manner than any other; but an examination of his works, both in portraiture and what is called history, will show that Van Dyck's works were the objects of his attention. His designs and compositions are good, his figures have an Italian air, his penciling is fluent and fine, his colouring tender, yet forcible and clear; but he did not possess the powerful genius of Van Dyck. In some of his infantine figures there is a resemblance to those of Van Balen in form, expression, and colour. He died in 1650.

THOMAS WILLEBORTS BOSSCHAERT, born in 1613, was a pupil of Gerard Seghers, but imitated the manners of Rubens and Van Dyck, particularly the latter in his portraits; and in some of his compositions the design and colouring, in the opinion of many, will bear comparison. He died in 1656.

THEODORE BOEYERMANS, a scholar of Rubens, adopted the manner of Van Dyck in several of his larger compositions, and so far succeeded, that they have been mistaken by travellers for his works. The dates of his birth and death are not ascertained, but he was living in 1660.

PEDRO DE MOYA, a Spaniard and pupil of Juan del Castillo, is said to have visited England for the purpose of receiving instruction from Van Dyck, but, that master dying shortly after his arrival, he was deprived of the great advantage he might have obtained under such an able instructor. But it is said that he profited so far, that on his return to Spain, he imitated the works of Van Dyck with amazing

success.

Many more names might be quoted, but the foregoing are the principal, and may be considered sufficient for the amateur's information; if he require additional, he will find it in the enlarged edition of Bryan's "Dictionary of Painters and Engravers."

BARTHOLOMEW VANDER HELST.

As a portrait painter, Bartholomew Vander Helst takes a position in the highest class of his countrymen. Sir Joshua Reynolds has given his opinion of him in a few words, and it would be presumptuous to add anything to what he has said. Speaking on the subject of the well-known picture by Vander Helst in the Stadt-house at Amsterdam, he says, "this is perhaps the first picture of portraits in the world, comprehending more of those qualities which make a perfect portrait than any other I have seen; they are correctly drawn, both heads and figures, and well coloured, and have great variety of action, characters, and countenances, and those so lively and truly expressing what they are about, that the spectator has nothing to wish for." It is surprising that a painter, entitled to such high praise, should have had no

scholar nor imitator; but there is no mention made of the former, nor is there any recognition of his style, in the way of imitation, in the portraits by contemporary or subsequent artists. The picture referred to by Sir Joshua Reynolds may be considered as historical, and owes much of its interest to the suitable action of the figures, the characteristic differences in the countenances and expressions, and the spectator's knowledge of the subject which is supposed to be under discussion. In a single portrait much action is not allowable, and expression is confined chiefly to the eyes and some denotement of temperament, peculiar to the person, in the physiognomy, but showing no signs of excitement. In all Vander Helst's portraits of men there is dignity of deportment and characteristic expression, and a vigorous style in many that seems to blend the sweet colouring of Titian with the powerful tones of Rembrandt. In his female portraits the carnations are remarkably delicate, and the deportment easy and graceful, and when not shown in fanciful costume, they charm by their propriety; but when the lady is disguised as Diana going to the chase in a ball-room dress, or some other character from poetry or romance equally ridiculous, admiration of the workmanship is repressed by the absurdity of the costume. The painter, however, is not to be blamed for these aberrations from good taste; if ladies will be painted as goddesses, and not as mere mortals, the painter must offer incense to their vanity at a great sacrifice of their graces. Such portraits by Vander Helst are often seen in Holland and elsewhere; they are of half-length size, beautiful in texture and execution, but the flutter of the paraphernalia destroys the harmony of the picture, and withdraws attention from the person it was in

tended to adorn.

Vander Helst was born at Haerlem in 1613, and died at Amsterdam in 1670.