eat repute. He was a harsh, exact recorder of
facts, often tin-like or woodeny in his cattle, and not in any way
remarkable in his landscapes, least of all in their composition. The
Young Bull at the Hague is an ambitious piece of drawing, but is not
successful in color, light, or _ensemble_. It is a brittle work all
through, and not nearly so good as some smaller things in the National
Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672)
was short-lived, like Potter, but managed to do a prodigious amount
of work, showing cattle and figures in landscape with much technical
ability and good feeling. He was particularly good in composition and
the subtle gradation of neutral tints. A little of the Italian
influence appeared in his work, and with the men who came with him and
after him the Italian imitation became very pronounced. Aelbert Cuyp
(1620-1691) was a many-sided painter, adopting at various times
different styles, but was enough of a genius to be himself always. He
is best known to us, perhaps, by his yellow sunlight effects along
rivers, with cattle in the foreground, though he painted still-life,
and even portraits and marines. In composing a group he was knowing,
recording natural effects with power; in light and atmosphere he was
one of the best of his time, and in texture and color refined, and
frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du
Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain,
producing semi-classic landscapes, never very convincing in their
originality. Van der Heyden (1637-1712), should be mentioned as an
excellent, if minute, painter of architecture with remarkable
atmospheric effects.

MARINE AND STILL-LIFE PAINTERS: There were two pre-eminent marine
painters in this seventeenth century, Willem van de Velde (1633-1707)
and Backhuisen (1631-1708). The sea was not an unusual subject with
the Dutch landscapists. Van Goyen, Simon de Vlieger (1601?-1660?),
Cuyp, Willem van de Velde the Elder (1611?-1693), all employed it; but
it was Van de Velde the Younger who really stood at the head of the
marine painters. He knew his subject thoroughly, having been well
grounded in it by his father and De Vlieger, so that the painting of
the Dutch fleets and harbors was a part of his nature. He preferred
the quiet haven to the open sea. Smooth water, calm skies, silvery
light, and boats lying listlessly at anchor with drooping sails, made
up his usual sub